The camera is all floaty and stuff.

I guess this is just a bit too obscure. *discard

Self-discarding this video (discard called by original submitter wildmanBill)

must *save any and all David Lynch... for a better tomorrow

Saving this video from queue deletion, sending it to the top of the queue for one more try. Originally submitted on Friday 18th May 2007 (save called by gold star member raven)

i feel like los angeles really does have the off balance/trying to be balanced feeling that david lynch's films posses. or maybe i've had too many hot dogs wrapped in bacon from the sidewalk vendor.

Hmm... must try hotdog wrapped in bacon tonight. It sounds genius.

*dead

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*notdead

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*cinema *dark

Adding video to channels (Cinema, Dark) - requested by Issykitty.

Amazing scene. The camera work and pacing throughout this film actually set me on edge, and this is the first time in a long time I've literally gripped the armrest with sweaty hands. (and I don't just mean during the sex scene, buhdum tsh)

*spoilers*

So this scene is the only one that doesn't fit into what I accept as the most reasonable interpretation of this film. Well it sort of does, in that it serves to set up the "you're in both dreams" bit, and to introduce scary-face man.

The interpretation I speak of was passed onto me just now after having seen it for the first time: the second half is the reality, evidenced by the real-world look, especially the lack of makeup and Diane's inability to maintain her fantasies (that's some really difficult acting that Naomi Watts did incredibly in). The first half is dream world, perhaps created out of a subconscious desire to reverse roles and put Diane in the position of power, whereby all the faces and aspects seen during that traumatic revelation at the party are pieced into logic by the dream-brain. Thus, the ever-presence of makeup (even after a shower) in the first half, as well as Naomi's overdone bubbly acting and Nancy Drew shenanigans. The extremely odd behaviour in the director's meeting could be a representation of Diane's resentment and imaginings of how the filmmaking executive world.

Also I was reminded of the beginning, in which we see Diane's perspective as she falls onto that pillow (presumably right after suicide), and thus came the inference that the first half occurs between the time she pulls the trigger and the time her brain shuts off.

Finally, in the Club Silencio, we (including Diane) are being reminded that it is all an illusion. The colour blue makes another dramatic appearance, popping in contrast to the black and red everywhere else. During the thunderstorm, Diane begins to convulse, which immediately reminded me (even though at the time I had no idea) of the waking convulsions that I get and I know some others get on occasion, especially when falling asleep sitting up.

As an afterthought, I don't know where the old people came from, and that last scene there scared the bejeezus out of me.

I realize that all of this is probably on some forum or site somewhere, but I just got home from seeing the movie and had to sort it out somewhere.

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nibiyabi has fixed this video's dead embed code - no star awarded because nibiyabi was awarded too recently.

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rasch187 has fixed this video's dead embed code - no Power Points awarded because rasch187's points are already fully charged.

*blocked

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*dead

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