There's a surprising amount of people on here that dislike, or even hate FWWM. Although i was underwhelmed after seeing it, due to it's lack of answered questions in place of an abundance of unanswered ones, i do really love it as a stand-alone film. It's like the series' nasty cousin.
I might re-watch the pilot sometime this week after i get my DVD HD upscaler back tomorrow. I lent it to a friend so he could watch S2 of Flight Of The Conchords(!). I think i've only seen the pilot on the Gold Box half-way through. As far as i can remember it looked and sounded great though.
There's an interesting clip on YouTube of Lynch promoting FWWM on Letterman, and he says that he tried to do the movie "basically, like a jazz version of the show".
My feelings toward FWWM are ambivalent. As a movie it doesn't quite work for me. It's a rather cold and unpleasant experience, an emotional crash landing that's just going down and down and down.
On a technical level, however, the movie never ceases to make my jaw drop. Just the way the movie is constructed, the multiple hidden layers, how it doesn't just provide the backstory to the show but actually adds depth to it (making it a succesfull prequel AND sequel at the same time), the impeccable sound design, the strange visual inventions,... I could go on and on. For me, FWWM moves beyond being a mere movie and into the realm of "art". It's like an attempt to distill the very essence of Twin Peaks, and project it as some sort of three-dimensional kubist painting. I know that sounds terribly pretentious but I really mean it.
Like Lost Highway, FWWM is a movie to be admired rather than to be loved. It's not an emotional masterpiece the way Mulholland Dr is, and that's unfortunate, because otherwise it could have been Lynch's finest achievement.
Silencio
