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TWIN PEAKS - Beware Season 3 spoilers!

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I believe that it was only the two pieces included on the TP return score album.  Here are bits from my post on 9/14 where I talk about the score album

 

On ‎9‎/‎14‎/‎2017 at 2:41 PM, mstrox said:

 

6 Windswept (Reprise) by Johnny Jewel - used when DougieCoop looks at the statue, and when he began writing on the case files.  On Jewel's Windswept soundtrack, which is pretty good.

 

13 Saturday (Instrumental) by Chromatics - a scene on the Roadhouse stage - from Johnny Jewel's Windswept, again

 

 

Windswept Reprise appeared several times.

 

I believe that almost everything that appears on the show is put onto the score and song albums, including the pieces tracked from S1-2-FWWM.  The only things "missing" that appeared on The Return are:

 

Au Revoir Simone : A Violent Yet Flammable World (available on their album The Bird of Music)

Audrey's theme backwards (end credits of episode 16)

There was one synth/drone/electronica thing in the background at the Roadhouse - a guy and a keyboard only - (before a proper Roadhouse song) in mid-run of the series that I believe wasn't included.

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Yeah. I've been trying to google around for the info, but haven't found anything. I ask because I'm hosting a quiz in a couple of weeks, and I want to play something from the year's films and tv series. It would be embarassing if I played a track from WINDSWEPT that wasn't included in the series (the title track "Windswept" is too obvious). Then again, the whole album sounds like TWIN PEAKS, so they'd probably catch it anyway.

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Her first two albums (the ones done with Badalamenti and Lynch) are wonderful.  They include all of her songs from TP and FWWM, and a bunch of other great ones (I really like "Floating" and "I Float Alone" from the first one.

 

It's a shame that they didn't continue that partnership.  Her third album was dance electronica and I disliked it so much that I didn't even bother with her fourth album in 2011.  She was unhappy with how they used her in S3 (something about how they edited the song, from what I could tell on Facebook), but I was unhappy for another reason (I was so pumped for a NEW Cruise/Badalamenti/Lynch song, and it was a repeat).

 

Lynch did write and produce an album with Chrysta Bell (Tammy from season 3 - you'll like her, @Denise Bryson), and it's OK, although her deep voice doesn't have the dreamy quality that Cruise had.  And it has Lynch's dreaminess and grime, but is missing that Badalamenti melancholy.

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It was amazing and trippy. This thing with Laura's face in the Giant's orb is fascinating. And who were all those soot-faced guys who revived Evil Cooper and showed up in the 40s? Like, whoa!

 

And I'm laughing at the fact that David Lynch has made himself almost the defacto main character in the absence of Cooper's sanity.

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It wasn't until I was half-way through watching this when I was made aware that a lot of classic Twin Peaks fans from back in the day really hated this new revival. You can't expect everything to be the same 25 years later. Many sequels have enough trouble with that after only a few years! I'm at an advantage because I've pretty much binged all of Twin Peaks in the space of a month.

 

And of course, it wasn't until I was midway through, I thought "geez, Cooper fans probably despised this!" It's like Lynch decided to relegate Cooper's plot to a comedic mime act, while he went and made himself the star of his own show! I kid you not, even with Evil Cooper in action, it really felt like Gordon Cole had more screentime than any of Kyle MacLachlan's characters/dopplegangers.

 

The show never fails at providing shocking moments that seem like a plot thread unfolding but ultimately they lead nowhere. Like that glass box. We never learn who was behind all that, what was its purpose, or what the 'MOM' monster really was. I guess stuff like this will be addressed in Season 4? Or does Lynch simply revel in creating a narrative that runs like a dream or nightmare, where things happen but they're never truly resolved?

 

And where can you go from here? Cooper rather recklessly altered the past, rather like what Barry Allen did at the end of Season 2 of The Flash, or the Season 8 two-parter Moebius in Stargate SG-1 where the team accidentally altered the past to an extent where the SG program was never initiated, creating an alternate present time where Laura wasn't murdered, but disappeared and reappeared elsewhere with a new identity. And Bob seems to have been destroyed by the pommie bloke with the super rubber fist, as if the Giant had it all planned out for that showdown in Truman's office.

 

Lynch probably ended this way for a laugh. Writing himself into a corner just in case a fourth season never happens. And he can sleep sound that he revisited this franchise and gave it a more satisfying conclusion that ties back to the very beginning.

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I got the Blu-ray set for Christmas, and I have watched a small handful of the featurettes over the past few nights.

 

Phenomenon

  • Part 1: Creation (4:40)
  • Part 2: Life After Death (4:50)
  • Part 3: Renaissance (4:50)

These were promo videos created to lead into the series.  It's mainly talking head interviews discussing the original series, its impact, and the fandom.  Nothing really of interest from the new series.

David Lynch Produced Promos

These were the commercials leading up to the series.  Nothing new here either.  It did have the promo of Badalamenti playing Laura's theme.  Revisiting these, it's also pretty neat to think how much of the pre-show promos actually came from parts 17-18.

A Very Lovely Dream: One Week in Twin Peaks (27:09)

This was a log of some of the on-location filming.  It was narrated with cast and crew interviews, but weirdly you never see the people talking.  Sometimes it's a little hard to keep track of who's who (they only get an onscreen text credit once, the first time they speak).  Visually, it's all on-set footage.  We see the arrival of the actors playing Andy, Lucy, and Hawk in the Washington area.  We see Harry Goaz (Andy) realize he's going to have to chop his ponytail.  We see some of the filming of Richard Horne on the attack (both the attack on his grandmother/Johnny, and his attack on the woman in the trailer park), the boys finding the woman in the trailer park (Lynch seemed to relish squeezing fake blood onto the actress's head).  They show the recreation of the Sherriff station, Kimmy Robertson (Lucy's) first steps back in, McLachlan's first day on set (filming both Cooper's and Mr. C's arrival at the station in part 17).  They also show Michael Cera shooting his monologue and discuss that.

Behind the Red Curtain (29:17)
I Had Bad Milk in Dehradun (28:11)

These were fly-on-the-wall (unnarrated) documentaries shot/directed by Richard Beymer (Ben Horne).  It could have been one hour-long thing - the second one picks up immediately where the first left off.  He spent a day on the set.  He captured rehearsals and filming of all of Laura's stuff in the red room, including her getting yanked out the curtains falling and the CGI horse, etc).  He got a lot of Cooper's adventure in the room from Part 2 (so lots of One-Armed Man, a good amount of )  We saw Cooper filming his scene as actual Dougie ("this is weird") appearing in the lodge in part 3 or 4.  We saw Lynch again painting blood on somebody (in this case, Ray, who died towards the end of the season with the ring on).  We saw Ray Wise filming his scene.

We also saw a little bit of filming on the Dutchman's set - Mr. C's arrival in part 14-15ish, Cooper and the One-Armed Man talking to Teapot Bowie.

Apparently the sheriff's office set was right behind the curtain, because we also see Robert Forster filming the scene where he takes a call from Gordon Cole.

Most interesting stuff from this:  seeing how they handle all the backwards talk (there's an app now) and how excellent the cast is with it. Also, apparently there was at least one Red Room scene of the Giant/Fireman filmed, but not shown in the series (I believe all of his scenes were in the black and white place in S3). Couldn't tell what he was saying - they didn't show much and he was saying it backwards.

 

 

 

These were mainly the Blu-ray exclusive extras. The bulk of extras are on the last disc, and I'm starting tonight.

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The main excitement I'm getting from watching these special features, honestly, is the desire to dive back in and watch The Return for a second time.  I'm sure, now that I know how the pieces eventually go together (or don't, in some cases), that I'll pick up on a lot more of the earlier nuance that leads there.

 

Also, even on my crappy 20+ year old projection screen TV without HD, this footage looks beautiful.  Better than streaming it on an iPad like I did previously.

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7 hours ago, mstrox said:

The main excitement I'm getting from watching these special features, honestly, is the desire to dive back in and watch The Return for a second time.

 

Oh yes! Once things have calmed down a bit in terms of various personal engagements, I'm gonna be all over a rewatch of THE RETURN. Can't wait!

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The Man with the Grey Elevated Hair (29:40)

 

Fly-on-the-wall footage intermixed with some weird, artsy narration from god knows who.  But lots of good footage of working out scenes in the woods - Jerry Horne on the run, Cooper rescuing Laura in Part 17, the cops finding Naido in the woods, Diane and Cooper in the hotel in Part 18, Sherilyn/Audrey learning her character motivations.

 

It's amazing to see how Lynch works with actors.  Guiding the actress who plays Naido in exactly how he wants her to move.  Telling Jerry Horne that he "turns [his] head and sees the thing, and then panics," and he asks later what "the thing is," and Lynch replies "anger."  Lynch losing his shit that Washington didn't have quick-set plaster for him to mold the golden circle in the woods, and they only had plaster of paris.  Sheryl Lee and Kyle McLachlan seeing themselves in their Fire Walk With Me costumes for the first time.  Lots of really neat stuff.

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Tell it Martin (29:08)

This is done in the same style as the previous one - I'm guessing that the entire "main program" of special features will be this way.  This featurette covers some of the Las Vegas filming - the longer bits include Dougie's car explosion, Lynch directing the two casino guys about how they feel about Dougie, filming Ike the Spike slaying the office with his ice pick, and the Fusco Bros (cops).  Apparently they only planned to have two, but they liked the third guy ("the big guy with the laugh" Lynch calls him) so they added him.

 

Two Blue Balls (24:14)

This covers some of the South Dakota scenes, the New Mexico scenes, and the New York scenes.  We see Lynch scouting the jail (an actual jail) and luxuriating in how roomy the cell is (it did not seem particularly roomy, but maybe in the context of other jail cells?).  Lynch directing Matthew Lillard and whoever played his wife, in the jail cell.  We see them building the radio station set from part 8, and a little bit of Lynch directing the main Woodsman.  We see Lynch testing out the blood effects (a massive cannon) and picking out the specific splatters that he wanted it to do - for the New York slaughter, directing the actors, and then filming the slaughter scene.

 

The title is about two blue balls on sticks that Lynch was poking the actors with off-camera (which were later removed) to make it look like The Creature from the box was still impacting their lifeless bodies.

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