What's missing from these scenes is music. Music would make things feel a lot less slow. I don't know if Lynch is just saving it for when Cooper is back in Twin Peaks, or if he's just fallen in love with silence (even The Missing Pieces scenes had silence, in contrast to the movie which had lots of music.).
Spoiler: Agreed I agree with more or less everything you're saying here, and like you I was annoyed by the Cera scene to the point of being outright frustrated. I too think Lynch could have trimmed some fat--especially in the first two episodes--and that his deviations (along with some other factors) are frequently creating a stiff sense of pacing. It even sometimes seems as if Lynch is trying to troll the viewer's patience--isn't seeing one shovel get spray-painted enough to get the point? Nevertheless, the good stuff is really, really strong so far in my opinion, so I'm definitely happy over all. The idea of expanding the Twin Peaks universe (or even making the show some sort of Mulholland Dr/Lost Highway/Twin Peaks hybrid) doesn't bother me, especially now that I'm warmed up to the show's rhythm and narrative. Regarding Dougie Jones, my understanding (so far) is that he was some sort of vessel created by Bad Coop meant to serve as an alternate channel for when Good Coop leaves the Black Lodge. Originally, Bad Coop and Good Coop are supposed to make some sort of switch, but then the Bad Arm shows up (I can't get enough of this scene) and Good Coop is re-directed, eventually popping out and replacing Dougie Jones. It would appear that Good Coop was kind of reborn in the process (or maybe his brain just got fried) and is now almost literally acting like a baby. Also, are you sure Dougie Jones is in Vegas? I can't remember if it was specified. The casino he visited didn't feel very Vegas to me.
It feels to me like both the music and camerawork get more energetic in the 3rd and 4th episodes. I agree that there are some scenes in the first two episodes that would have benefitted from the kind of dark, ambient music Lynch commonly uses to create atmosphere. I thought the early South Dakota scenes could have used more work all around, period. I should mention that when I've gone back and watched scenes from the first two episodes again, there are some moments that I originally thought had no music, but actually employ a very sparse, unsettling background score. Some other moments seem to consciously use natural sounds (trees rustling, a train passing by) to create a sense of ambience. All this said, I agree that music would've definitely helped with pacing and mood in the first two episodes.
There is a surprising lack of music. However, watching the episodes with headphones is a must. There is a phenominal amount of focus on subtle sound(s) -- it's one of the most impressive aspects of the series. But it is interesting how none of scenes in the Black Lodge have the breezy, echo guitar chords.
Yes, but wasn't that for a different scene involving two men who we've only seen once so far? Or are you saying there are two separate overhead shots of Vegas?
Oh crap you're right - the actor from Mulholland Drive who was in the diner (in Mulholland Drive) was in Vegas. Shout out to Patrick Fischler (the actor). He's great.
Spoiler: Vegas There was that scene in Vegas in the first or second part. I'm assuming that's where Dougie is.
Spoiler: Vegas Tell her she got the job. Who got the job? JADE. She's playing a part. It's bogus, man. You think a casino boss would be like, "please come back and see us again!" No, he'd be breaking Coops legs. The whole thing rings false.
Spoiler: Response I didn't read Jade as being anything but genuinely surprised at the transformation (and subsequent behavior) of her companion. I also read the casino scene as being Lynch-style humor over anything else (speaking purely for myself, I was cracking up). I think for the most part we're supposed to take most of these scenes at face value. Good Coop is being guided it would seem, but I don't suspect the casino boss or employees or customers have anything to do with it. Of course, I could be wrong.
And Jades yellow vehicle is clearly seen returning to the ca sino reflected in the glass as Coop attempts to enter the casino. It seemed deliberate.
Given the premise and show, anything is possible. I guess time will tell. I'll watch that scene again and look for her jeep.
Watching the first half of Episode 3 it struck me that this was basically silent film. Very few silent films have as little dialogue as that, and use of subtitles underlined the point. Also struck by how completely artificial looking much of the FX work in this series is. I suspect this is intentinal, not durnto budget constraints, and is perhaps another way Lynch is seeking to transport us back to the 50s, the time zone the TP residents have always seemed trapped in.
Spoiler: Vegas I was reading around on this, and someone pointed out that Dougie Jones' license plate is a Nevada plate.
I watched 3 episodes again last night and loved it again. I started falling asleep, so I had to turn it off.
I really hope we don't get much more time spent on Brando shtick. Thst scene was about 4x too long already. Enjoyed all the time spent zoomed in on power outlets after seeing good Coop in a room that had what looked like a giant power outlet opening on the wall.
It's probably one of the local native casinos. I'm not sure which one, though. According to the credit, the show was entirely filmed in Washington State.
I really kind of doubt that Bowie did this. It was pretty well known that Catherine returned to shoot footage prior to production because of her illness but I just don't how they would have fit Bowie in there without someone giving up the info. I would love to be wrong.
I haven't had time to watche episodes 3 and 4 yet but I enjoyed 1 and 2 which had all the weird mystery of the original first seasn and felt like it. I did think the Red Room stuff took way too long but it appeared as if Lynch was wedded to that footage particularly the talking tree with the gum ball brain on top.
I'm up to the fourth episode tonight, but I'm really enjoying it - maybe even more than the original series. It's doing a better job of keeping my interest.
In 1997 about a month before Lost Highway was released there was a week-long retrospective of Lynch's films in Brooklyn, NY. On the last day there was a screening of Lost Highway followed by a Q&A session with Lynch, and then autograph signings, etc. I went with my cousin who is a Lynch-FANATIC in the EXTREME. During the Q&A Lynch gave a whole breakdown of how sound has been a driving force in his work. Apparently because he wanted sound inside his paintings, he was prompted to explore filmmaking. After he finished paintings, he wanted a continual flutter of wind or the sound of crackling electricity to function inside the painting itself. He then went on to say that he doesn't rely on digital sound effects (at least he didn't at the time), and prefered to put small microphones inside empty wine bottles and blow air into them, or have people talk quietly at the end of a long hallway so the hiss would build up, as he believes this produces a more (in his words) "organic" sound and feel. At any rate, the use of sound in his work has always been incredibly well done. And in my view, the sound effects have more impact than the actual shots themselves -- although, those are quite beautiful and effecting as well.
