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Twin Peaks

DRW50
in CBS | Paramount+ | Showtime

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I don't get media coverage like "Lynch says another season will take four and a half years," or "Another season? Don't hold your breath." 

 

He didn't say another season would take four and a half years - he said the last one did. That was with a 25-year gap. I can't imagine he'd take 18 hours for a new season. I think he'd also know that after losing a numbers of actors this season, 4 years would be a luxury he may not have. 

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    11 minutes ago, Vee said:

    Fùck:

     

    Oh that's so awful :(

     

    I know he had a long career and it's somewhat dismissive to just talk about Twin Peaks, but I just loved his work on the show this season so much - he was always such a beacon of kindness and warmth and love, yet never done in a way that felt syrupy or false. Many of the biggest moments of heart this season were with Carl Todd, and HDS made all of them so real. I especially loved the moments with Shelly after Becky sped off leaving her on the grass. And helping the man who was selling plasma.

     

    I'm glad he and David got to work together several more times as they seemed close. 

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    I think the new series was a possible deliberate signoff for a lot of folks - according to his interview upthread, Lynch says Catherine Coulson died only four days after she filmed her material.

     

    I assume Lynch has all this in mind when considering how and when to possibly do Season 4. I suspect it will not take quite as long as he currently claims.

     

     

    Edited by Vee

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    Maybe season 4 could show that cooper did save Laura Palmer..and that we are seeing the new present day world...shich could easily explain why certain actors that have passed aren't back.

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    From the artist behind those beautiful episode prints:

     

     

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    Cinematographer Peter Deming posts a long series of BTS shots. Click the arrow to the right on each pic to scroll through more on each one.

     

     

     

    Twin Peaks – The Return (2017)  in the fall of 2014 I received a call from david lynch’s office that he wanted to talk to me about something. he was in paris, and since I was working in london at the time, I agreed to go meet and learned about the revival of twin peaks. almost a year later we began production outside of seattle washington with a shooting schedule of 140 days (+1), wrapping in april of 2016. and despite being a “series”, it was conceived and produced as a very, very long feature film working with a script of 500+ pages with one director and one crew. we shot the show with an arriflex amira camera, wanting to stay small and mobile. designed primarily with documentary filmmaking in mind, we found the amira a good tool for narrative as well. and being a devotee of the arriflex alexa, the amira works with the same sensor and a feature which came in very handy for us. it could store CDL’s in the camera in a very user friendly way. now in the almost 8 months of shooting I was allotted exactly 8 weeks of DIT help and I’m thankful that ace DIT indy saini signed on. in her first two week block we created CDL’s for day exterior, day interior, night exterior, night interior and B & W, which was also part of the show. working from those 5 bases (4 really as the B & W was sort of one size fits all) we began to build a library of looks, adjusting saturation, contrast, green bias, magenta bias and a number of other specialized looks. now when we started production the camera could only hold 16 CDL’s which we quickly outgrew, having to shuttle looks in and out of the cameras hard drive. by the time we wrapped, it could hold 50+ and now I’m sure many more. so for the majority of the shoot I had looks to access and keep the ball rolling and at show’s end we had 70-80 looks to choose from. this was a lifesaver when you’re shooting with no color help on set! @peter_deming @indyksaini #twinpeaks @davidlynchfoundation @thin_man1 @panavisionoffcial #michaellaviolette @ctack1 @fotokem_la @panavisionoffcial @idemparis @aliciawitty

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    Twin Peaks – The Return (2017)  in the show we of course visit some of the locales and classic characters from the original series. david really wanted these to have the same look and feel from seasons 1 & 2 both for familiarity and the small possibility of using some original footage. “new” scenes, characters and situations (and there were plenty) were treated in and of themselves, much as you would in any film. and the black and white as a third reality (and my favorite) brought another look into play.  I can’t say there was much special treatment given to the small screen as we functioned just as we would with a feature film. and much of the casting in so many of the roles was keep under wraps until those characters showed up on set so that was always a pleasant surprise! @peter_deming @indyksaini #twinpeaks @davidlynchfoundation @thin_man1 @panavisionoffcial #michaellaviolette @ctack1 @fotokem_la @panavisionoffcial @danaashbrook @amysheilds1 @skyferreira @matthewlillard @mingey @kyle_maclachlan

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    it has been a pleasure and a privilege to host the ASC instagram for these past few weeks. many thanks to eric steelberg asc and the society for extending this invitation and I hope I haven’t over stayed my welcome or ran off at the mouth too much. and many thanks to indy saini and greg borkman for endless technical help. this is a great site for open dialogue and sharing of methods and ideas in cinematography and in a business where the constant focus is always on what’s next, it’s been interesting and strange to look back a bit.  the dictionary defines cinematography as “the art or technique of motion-picture photography” and I suppose that is true. but for me it is first and foremost storytelling. and as cinematographers we use all the tools at hand in service to telling that story. daily choices on cameras, film stocks (still hanging on!), focal lengths, camera placement, camera movement (or not), lighting and color and so on….. all to best reinforce and support the emotion, action, comedy, fear and countless other story points on the printed page. and while we resist the temptation to cast story aside and be self-serving, doing so can be destructive to the narrative and disrespectful to our many collaborators both behind and in front of the camera. so resist the new gadget or stylist affectation or gratuitous drone shot unless you believe it to be in service to the script and can propel it forward. the imagery can be magical, dramatic, bold, dark, desaturated or whatever you are feeling the story needs at that moment. cinematography is a such a perfect blend of technology and artistry working together to achieve results that can be so effective for audiences and quite personal at the same time. and no matter how long you’ve been at it, you are always learning and discovering and that’s what makes it so rewarding and magical. @peter_deming @indyksaini @sh35mm @thin_man1 @ctack1

    A post shared by The ASC (@the_asc) on

     

    From Sabrina Sutherland:

     

     

     

    Another "Original" shot

    A post shared by Sabrina Sutherland (@sabrinasutherland2691) on

    Edited by Vee

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    Edited by Vee

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