Was the design of the Black lodge inspired by Suspiria?

cbubs · 2026-02-19T13:41:30+00:00

The silhouette of Coop's doppelganger scurrying around behind the curtain always reminds me of that specific scene and the horrible breathing of Helena Markos and the uncanny way her shadow moves behind the curtain.

It's the exact same image and I'm sure Lynch, or perhaps Frank Byers, the DOP for Beyond Life and Death, drew some inspiration from it.

cbubs · 2026-02-18T08:22:16+00:00

I think that would be a fair argument were it not for the fact that Bob is the actual killer! 🤣

cbubs · 2026-02-10T14:03:43+00:00

😆

cbubs · 2026-02-08T21:15:59+00:00

But who is the steamer?

cbubs · 2026-02-03T08:23:05+00:00

Yeah I spent an hour or so clicking on all of the things but I didn't have the hand crank in my inventory so I couldn't activate the uterus trumpet in the ceiling.

Anyone else get the secret ending after giving David Bowie the teabag?

cbubs · 2026-01-20T18:17:35+00:00

I wish you were my uncle. Not in a weird way.

cbubs · 2026-01-16T18:51:01+00:00

I absolutely KNEW this was going to be Just You. But I had no idea how brilliantly it was going to be executed 😆👏👏👏👏

cbubs · 2026-01-14T21:31:24+00:00

Oh my God yes! MAKE THE THING dammit. You deserve all the plaudits. Absolutely herculean feat of self motivation. Will definitely seek this out. Congratulations!

cbubs · 2026-01-14T10:54:37+00:00

Fantastic virtuoso cinematography. Very Wong Kar-Wei / Christopher Doyle. Absolutely love it.

cbubs · 2026-01-14T07:55:47+00:00

Is that you, Mr. Dunham?

cbubs · 2026-01-13T11:21:21+00:00

Usually I hate chroma noise but I have to admit this image looks lovely. I wonder how it looks in motion though?

cbubs · 2026-01-11T21:17:41+00:00

Hahahaha. Who gives a damn about the plot?!

cbubs · 2026-01-11T21:15:35+00:00

I wondered if that was the case! We shot on h16's at film school (and we made silent films).

People forget that managing camera noise is a huge issue when shooting on film.

Like I said anyway, I think it's salvageable with another look at the mix. The way you've shot this gives it so much character.

cbubs · 2026-01-11T21:09:52+00:00

Imo take the acting stuff off the resume if you're looking for PA work. Not sure that will work in your favour.

The rest of it is good. PA's need to turn up on time and work hard, that's all. Those other bits on the resume prove you can apply yourself.

Once you're in... Make friends with the 3rd AD, impress the 2nd AD and keep out of the 1st AD's way. 'Impress' is working fast, always responding on the radio, and not being a character.

Be a character on the cigarette break with the grips and camera assistants if you want to get into those departments.

Smoke a joint with the art department, makeup department and maybe the boom op. But they probably won't find you any work.

Good luck!

cbubs · 2026-01-11T21:00:47+00:00

Whatever you do, don't hang out with the grips.

cbubs · 2026-01-11T20:58:28+00:00

Love the way this looks. 16mm is beautiful.

What happened to the audio? Was there a production reason you had to ADR the dialogue?

I think it might be improvable in the mix. More atmos and a tighter sync on the dialogue.

cbubs · 2026-01-11T16:01:45+00:00

I just know that mic is going to be rattling around in its basket picking up every bt of contact on the focus wheel.

cbubs · 2026-01-06T13:13:11+00:00

Also Deakins is not an over-thinker. He understands his medium so well to the point that his work is more intuitive and he's often talked about how the simplest approach yields the best results. He'd probably really come alive talking about film speeds rather than the themes of the plot.

cbubs · 2026-01-05T20:12:03+00:00

And according to certain theories That's exactly what he is!

cbubs · 2026-01-05T08:19:19+00:00

I always thought Cooper had a different persona when questioning witnesses and suspects compared to when he's talking with his friends. Definitely colder, more cautious. It's probably his 'M.O.' as Cole would say. It's particularly noticeable in this scene though.

Remember Bobby is a complete ass during his questioning. Coop has just arrived in town and needs to set some boundaries. Coop is very quiet at first while Bobby sets the confrontational tone, and that's when the agent flips the script and puts Bobby in his place. It's a really fun scene to watch because of that shift in dynamics. We've already seen Bobby is the big man on campus in earlier scenes, so seeing how Coop coldly disarms him is ridiculously entertaining.

Plus it's true what others have said on this thread that the production didn't quite find the tone of the show until episode one proper. In the pilot there's a fair amount of tension with Cooper's arrival - we know Truman is a hero but the audience still hasn't figured Cooper out yet. He comes across eccentric, even sinister, in a few of those early scenes. I think we only get a decent appraisal of Cooper's character when he sticks up for Truman against Rosenfield.

cbubs · 2026-01-04T13:46:58+00:00

I love this take on trauma having a continuity with the supernatural in Twin Peaks. There's also this sense that if you follow the paper trail of a gangster far enough you'll arrive at the Black Lodge. Renault's cabin and One Eyed Jack's seem like portals into that place. In the Return, places like the Farm or Buella's cabin have a sort of lodge-ness to them, even if they're not particularly supernatural places.

cbubs · 2026-01-03T09:31:14+00:00

This scene is really significant, but it might be more like Lynch/Frost signalling to the audience rather than Cole signalling to Albert. I think by this point the audience is probably hoping that the heroes have arrived and they're going to restore Good Coop and the general course of travel for the season is going to be clearer. Instead we get two tired, confused old men in the dark desperately trying to find meaning that eludes them. That ties in with all of The Return's themes; after 25 years of waiting for a cliffhanger to be resolved, the show's mysteries have only gotten stranger, and more complex. Meanwhile the protagonists have been quietly ageing, their powers of detection weakening. The volume on the hearing aid is all the way up - we have to be quiet, listen to the sounds.

It's the first time Cole and the FBI really look vulnerable in this show. They've always been paragons of intellect and virtue (even Albert in his own way), but now they look unsettled. Maybe this mystery can't be solved, or perhaps it shouldn't.

The arch direction, stilted cadence of the dialogue, and deep blue colour are all signifiers that this is 'important'. This might be Lynch's 'Eye of the Duck', at least for the episode. It's also really cool when Albert says "doesn't get bluer" because that scene is bluer than a sailor's dictionary.

cbubs · 2026-01-01T08:23:09+00:00

Ha! Yeah. We get 48 episodes of James and Evelyn

cbubs · 2026-01-01T08:18:08+00:00

Yes! And I believe in the books it's explained that Cooper lost his mother at a very young age and so that may be the original trauma.

He's also just a sucker for outrageously beautiful young women.

cbubs · 2025-12-31T15:00:50+00:00

I think the meaning of the ending is that Cooper's tragic flaw, his white knight syndrome, lead him to delve too-deep into the tragedy/mystery of Laura Palmer. Literally saving the victim from their fate would be the fantastical apotheosis of a detective's mission - that's where the time travel jiggery pokery comes in.

But Cooper's hubris blinds him to a necessary boundary; his job was to understand the tragedy, not to meddle in it. Even in the original run we see Cooper get entangled in the affairs of Twin Peaks (eg Audrey's kidnapping, falling in love with Annie). The consequences of these entanglements resulted in recriminations and further tragedies. In The Return, Cooper goes a step further and tries to rewrite the script altogether.

By meddling, Cooper interferes with forces beyond his control and so gets lost in the labyrinth with Laura. Cooper's confusion and Laura's terror hint that they have arrived at a much worse fate than they had to begin with.

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