Twin Peaks review, part 2

I simply can't let go some of the images of Twin Peaks..Jukeboxes, neon signs, one-of-a-kind interiors, amazing costumes and peculiar gadgets… By the way, here is   an amazing blog gathering all sort of information about Twin Peaks locations, Twin Peaks cars and what not.

Lara Flynn Boyle / Donna Hayward:

'It was so beautifully soulful, and I think it just brought out the best of the actors. There was no acting going on – we were living on Twin Peaks.  
Me and the cast just went along for the ride. David created such an atmosphere of fantastic strangeness. I remember, in the pilot, I did a very long scene that we had to shoot 30 or 40 times. David came up to me and said quietly, in my ear: «Think of how gently a deer has to move in the snow…» It was strange direction. But that's what I thought of, and it worked. We were at the helm of a piece of heaven on Twin Peaks and we just went where David Lynch told us. That might sound very obscure but it really is true. How he sees the world is how we should all see the world.'

The perfect harmony of light and shadow, gestures and mimics, words and sounds..A genius creation of an enlightened mind, conscious of his inner self.

Julee Cruise — «Falling»

'I met Angelo Badalamenti on Blue Velvet and since then he has composed music for all my films. He’s like my brother.

The way we work is: I like to sit next to him on the piano bench. I talk and Angelo plays. He plays my words. But sometimes he doesn’t understand my words, so he plays very badly. Then I say, “No, no, no, no, Angelo.” And I change my words a little bit, and he plays differently. And then I say, “No, no, no, no, Angelo,” and I change my words. And somehow through this process he will catch something, and I’ll say, “That’s it!” And then he starts going with his magic, down that correct path. It’s so much fun. If Angelo lived next door to me, I’d like to do this every day. But he lives in New Jersey and I live in Los Angeles.'

(From Catching the Big Fish: Meditation, Consciousness, and Creativity by David Lynch)

There are also interesting effects applied in the series, which make it more psychedelic and ambiguous. Like   reflections or smoothly overlaying and merging shots, for instance. The slow transitions impart a sense of tranquility, while the overall mood implies something sinister or somehow unnatural:

Damn good coffee!

[Pete Martell pours coffee for Dale Cooper and Sheriff Truman.]

Pete Martell: Mr. Cooper, how do you take it?
Dale Cooper: Black as midnight on a moonless night.
Pete Martell: Pretty black.

Well, in below screenshots coffee in Coop's cup turns into scorched engine oil. A pool of such oil marks the gateway to the Black Lodge, its smell is generated by Bob. The alleged meaning of this coffee-oil linkage is only to be guessed…

...and doughnuts, of course :)

Sheriff Truman: Jelly donuts?
Dale Cooper: Harry, that goes without saying

Here go the most unforgettable, quirky and relatable characters:

Here is an interesting collection of Sherilyn Fenn's most provocative pictures (Odri Horn in the movie).

Kimmy Robertson / Lucy Moran, the distinctively squeakily-voiced receptionist at the Sheriff's department:

'It didn't make much sense to me when I read the script but I knew it was by David Lynch, so I loved it. When I first met him for my audition we spoke for a long time about how people who live in the wilderness (like the characters in Twin Peaks) are usually meaner than those who live in cities. It was an esoteric conversation, and the strangest way I'd ever got a part. When he directed us it was different to anybody I'd ever worked with before or since. He'd get us into a circle and ask us questions – it was like he was hypnotising us. There's a scene where Kyle had to throw a rock and hit a glass bottle. He sat us down and told Kyle he was going to hit the bottle – and that bottle was freaking far away. Kyle hit it, and everybody freaked out. It was like David used the power of the universe to make Twin Peaks.'

Dale Cooper:

'Diane, it's 1:17 p.m. I have just concluded my second meditation of the day in lieu of sleep. And I feel completely refreshed and struck again by the realization that all of us on this great planet Earth live at only a fraction of our potential.'