With regards to the last comment, so Mark Frost was wrong and Lynch was right? All hail Lynch the genius!

Congratulations, you've achieved message board enlightenment.

tp3, I'm pretty sure it's supposed to look like the MK2 edition. If anything, the official digital version, the New Line version, looks even slicker. And there is very little film grain on the 35mm print I've seen. An original film negative from film stock like that can look very slick indeed, nothing artificial about it. When Spike Jonze was filming his "Da Funk" video with Daft Punk, he scanned the film positive instead of the negative and worked digitally from there to get a grittier, more washed out look. That worked for that video, but I don't think that should be the standard. I personally think that FWWM looks absolutely gorgeous, it's in fact my favourite Lynch film from a purely cinematographic standpoint, and by a wide margin too.

I personally think that FWWM looks absolutely gorgeous, it's in fact my favourite Lynch film from a purely cinematographic standpoint, and by a wide margin too.

That's interesting. I would put in the bottom of the pile, next to Mulholland Drive.

I think the rich colours fit the narrative and look beautifully. Moreso than in Blue Velvet. I've never really liked the Lost Highway look all that much, although I like the film. If we're talking bottom of the heap, I think Dune is a complete miss. It just doesn't look very good at all. Btw, Mulholland drive looks fine to me. I like the Twin Peaks look too, as a whole, but the FWWM look fits that film better.

Of course, it does help that I love FWWM in almost every way. And I guess the fact that you dislike both FWWM and Mulholland dr. has no bearing on your opinion on the cinematography?

I personally think that FWWM looks absolutely gorgeous, it's in fact my favourite Lynch film from a purely cinematographic standpoint, and by a wide margin too.

That's interesting. I would put in the bottom of the pile, next to Mulholland Drive.

Interesting indeed. FWWM & IE are my favorites. I can't decide which I dig the most.
 

I love Lynch to death, but he seems like he has too much of an ego to revisit Twin Peaks, like it is an arrogance thing or something.

And I guess the fact that you dislike both FWWM and Mulholland dr. has no bearing on your opinion on the cinematography?

If they had been able to match BV I wouldn't dislike them as much.

Match BV as in match the "quality" of the look?

Match as in depth of field. BV - deep. FWWM and MD - flat.

I can see that. I normally value depth of field too, but I think the vibrant but still subtle use of colour in a somewhat trapped atmosphere in FWWM is just right for the story. Some of my favourite films use a lot of deep focus. But I think a trapped style - for lack of a better phrase - can work wonders too, like in Vertigo (which doesn't feel real at all). It's the visual equivalent of trying to escape

I can see that. I normally value depth of field too, but I think the vibrant but still subtle use of colour in a somewhat trapped atmosphere in FWWM is just right for the story. Some of my favourite films use a lot of deep focus. But I think a trapped style - for lack of a better phrase - can work wonders too, like in Vertigo (which doesn't feel real at all). It's the visual equivalent of trying to escape

The thing about FWWM to me was that it didn't have even one tenth of the atmosphere of the series.
It's as if someone decided to make a movie about the horror of being eaten alive by cancer, but all they did was shoot the actor in bed screaming "I'm being eaten alive by cancer!".

Hmm even though Booth's going a little into over-the-topness I think...I'd agree.

I didn't mean to go over the top. Was it the cancer thing? All I meant was that at the end of the movie you're supposed to feel happy that Laura has finally found "peace" after so many terrible things... and I just didn't care, at all.

Twin Peaks could continue as a new series with all new actors and delve into new storylines

Or the rain all over the lens in the est. shot of Leo and Shelley's house.

It had a B-movie feel, not really a massively cinematic feel I'd say. Obviously budgetary restraints figure large but also it was possibly down to the camera personnel.

I completely and utterly disagree with this. FWWM looks extremely expensive for a b-movie. I don't even know where to begin, so I won't.

Funny you should use the Johnson house as an example, as that's the old establishing shot from the pilot used all over again. The weather is in fact much nicer in FWWM as a whole. They had to reuse  the shot since the house looked completely different when they shot FWWM.

I can see that. I normally value depth of field too, but I think the vibrant but still subtle use of colour in a somewhat trapped atmosphere in FWWM is just right for the story. Some of my favourite films use a lot of deep focus. But I think a trapped style - for lack of a better phrase - can work wonders too, like in Vertigo (which doesn't feel real at all). It's the visual equivalent of trying to escape

The thing about FWWM to me was that it didn't have even one tenth of the atmosphere of the series.
It's as if someone decided to make a movie about the horror of being eaten alive by cancer, but all they did was shoot the actor in bed screaming "I'm being eaten alive by cancer!".

Well, I wouldn't be interested in seeing that, but I've seen FWWM several times just the past year. It has a different kind of atmosphere. Don't you get any audiovisual pleasure from when Mike screams at Leland in the car, or from Hap's Diner?

I won't be able to convince you to like it anyway, so I'll stop here.

Not many people mention this, but in his 60s now Lynch may well be a retired man, how's that idea? Will he make much more now in his lifetime? Couldn't he jumpstart something like a new Twin Peaks to provide a nest egg for his children? Or will Transcendental Meditation occupy the rest of his life?

Artists and filmmakers rarely retire.

Don't you get any audiovisual pleasure from when Mike screams at Leland in the car

Nope, it's one of Lynch's big misfires when it comes to tension-building, next to, you're not gonna believe this, the Castigliani brothers scene from MD.

Dan Hedaya is one serious looking dude. His face has all the tension you need...

Dan Hedaya is one serious looking dude. His face has all the tension you need...

... and his shoulders have all the hair you need...

Actually, the tension-building would be worthless if I didn't love the next scene. "Dad! WHO. WAS. THAT?? Do I know him?" But it works.
I like the Castigliani brothers scene because it's so ridiculous. It's comedy. And it has to be seen with Adam attacking their car with his golf club too. But I'm not surprised that people dislike that scene at all. You're all wrong though. Heh.