Tag Archives: david lynch

The Raymond Benson Auteur Series: David Lynch Part II

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Raymond, Tim, and Frank finish their discussion about David Lynch’s filmography. They cover WILD AT HEART to TWIN PEAKS: THE RETURN. Please visit Raymond’s website for more information on his latest novel and where to order it!

 

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The Multi-talented Man of Action: An Interview with Jino Kang by Kent Hill

Jino Kang, the gentle-spoken son of a Hapkido Grand Master, grew up in South Korea during the 60’s, a time when the influence of the Western world was just beginning to emerge. The Kang family immigrated to California in 70’s.

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Jino adapted quickly to a new language and culture, all the while following the traditions of his father. He opened his Martial Arts school in the 80’s (http://hapkidousa.com/http://hapkidousa.com/). Jino holds a seventh degree black belt in Hapkido and continues to teach in San Francisco.  He was inducted in to Master’s Hall of Fame in 2009.

Although Martial Arts is in Jino’s blood, he had another passion – filmmaking. He began by making movies with his friends in Junior High School, his early screen heroes were Kurosawa and his frequent leading man Toshiro Mifune. Studying at the College of Marin, Jino elevated his skills and appreciation for the craft of making movies.

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In 90’s, Jino starred in, directed and produced his first feature film, “Blade Warrior”, shot in glorious 16mm. Jino has since shot, produced, and acted in Fist 2 Fist aka Hand 2 Hand.  Fist 2 Fist won numerous awards and critically acclaimed as “belongs in the top end of the scale of Martial Arts films”. His new film, Fist 2 Fist 2: Weapon of Choice won “Action Film of the Year” at Action on Film International Film Festival in 2014. He is currently at work on new films including a short subject action series, Kid Fury, starring one of his pupils Timothy Mah.

His balletic style and approach to action cinema set him apart from the multitude of entries in the genre. I believe should he continue to embrace this as he grows in his ambition, we shall someday soon no doubt witness an action/martial arts spectacle the likes of which this world has never seen.

PTS Presents the Raymond Benson Auteur Series: DAVID LYNCH Volume 1

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Podcasting Them Softly is incredibly excited to continue our Raymond Benson Auteur Series with our first of a two part chat about the works of David Lynch. Frank, Tim, and Raymond discuss Lynch’s early works continued through his features ERASERHEAD, THE ELEPHANT MAN, DUNE, BLUE VELVET, and the first two seasons of TWIN PEAKS. The three of them will be back soon covering Lynch’s filmography from WILD AT HEART to TWIN PEAKS: THE RETURN. For those local listeners, please check Raymond’s website for upcoming book signing appearances for Raymond’s new novel, THE SECRETS OF CHICORY LANE.

David Bowie’s Missing Pieces

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There was something about David Bowie. He wasn’t just worldly, he was out of this world. It was as if he knew something the rest of us didn’t. Bowie died on January 10th, 2016. More than a year and a half later he is not only missed by many, but he’s constantly being talked about. He was a rock star first and foremost, but he was also an actor. He wasn’t prolific, he was selective. He weaved in and out of some of the strangest films and some of the very finest. As Renny Harlin said in our podcast with him, Bowie was attached to play the villain in CLIFFHANGER opposite Sylvester Stallone, but Bowie couldn’t commit due to his concert schedule. That was a very big what if. What would it have been like to see Bowie face off against Sly?

Magnificent.

TWIN PEAKS: THE RETURN

One of the many burning questions that circled the unraveling mystery of David Lynch and Mark Frost’s phenomenon of TWIN PEAKS: THE RETURN was did David Bowie film a secret cameo reprising his FIRE WALK WITH ME role as Philip Jeffries? He was mentioned heavily throughout the show. It was obvious Jeffries played a huge part in the main narrative of the show. He first showed up in archived footage from FWWM, but his voice was overdubbed by actor Nathan Frizzell. Lynch later said that Bowie gave them permission to use the footage, but not his voice. Lynch had guessed that he didn’t like his faux Louisiana accent he used.

Instead, Philip Jeffries came back as a machine with a spout that puffed steam and GPS coordinates once again voiced by actor Nathan Frizzell. We never got Bowie, and after the show finished, David Lynch was asked about it and said that Bowie declined to reprise without a reason, and that the reason was quickly known thereafter. At the very least, the legend of David Bowie was introduced to an entirely new generation of Twin Peaks fans.

GUARDIANS OF THE GALAXY VOLUME 2

Once the film was released, and all the cameos were exposed, James Gunn quickly came out in a Facebook Q&A with fans and said that he originally sought David Bowie for one of the original Guardians members who show up at the end of the film. Had Bowie been alive and appeared in the film, it would have kept the door open for him to have an expanded role in the next phase of the Marvel Cinematic Universe.

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Recently director Denis Villeneuve said that Bowie was his first choice as the role of the villain that ultimately went to Jared Leto. Needless to say, Bowie would have been fabulous in the much-anticipated sequel. Jared Leto is a fair supplement, but wouldn’t it have been incredible to see Bowie in the Blade Runner universe?

As time marches on, and more and more people discover and devour everything that Bowie left us with, there will certainly be more stories, more “what ifs”, and as sad as that may come, it is also more than welcomed. Because thinking about David Bowie makes most of us very happy.

 

 

Werner Herzog’s My Son My Son What Have Ye Done


Werner Herzog’s My Son My Son What Have Ye Done, although not quite congruent with what you’d call my cup of tea, is an impressively bizarre little foray into… well, something. Michael Shannon plays a disturbed stage actor who, in an offscreen fit of violence, slays his mother (the great Grace Zabriskie) with a sword. Now, whether by mental illness, strange Peruvian spirits that piggy-backed on his psyche after a trip down there or reasons unknown, he slowly unravels throughout the rather short yet obstinately molasses paced film, until the final act solidifies his exodus into the realm of total bonkers lunacy. Shannon is an expert at all things in the circle of mental unrest in his work, and even when playing innocuous supporting characters or stalwart leads, there’s always a glint of menace in the whites of his eyes. It’s an impenetrable character study though, giving us not much to go on other than obtuse clues and the weird, wacky troupe of people in his life, portrayed by an appropriately zany bunch of cult actors. He has an uncle (Brad Dourif, a Herzog regular) with an ostrich farm and some, shall we say, interesting views on life. His quiet girlfriend (Chloe Sevigny) looks on in unsettlement, and his mellowed out drama instructor (Udo Kier) tries to make heads or tails of everyone else’s strange behaviour. You know you’re in the twilight zone when Udo Kier is the most well adjusted character in your film, but such is the territory. As Shannon descends into whatever internal eye of the storm privy only to him, he takes his mother and her two friends hostage, and the obligatory salty detective (Willem Dafoe) and his rookie partner (Michael Pena) show up to add to the clutter. David Lynch has an executive producer credit on this, and although the extent of his involvement is hazy to me, simply having his moniker post-title in the credits adds a whole dimension of bizarro to go along with Herzog’s already apparent eccentricities. It’s well filmed, acted and looks terrific onscreen, and I’m all for ambiguous, round the bush storytelling as a rule, but this just wasn’t a dose that sat well with me or tuned into my frequency as a viewer. Worth it in spades for that cast though, and their individual, episodic shenanigans. 

-Nate Hill

PTS Presents IT DOESN’T GET ANY BLUER Episode 1

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We’re back to discuss the finale of TWIN PEAKS: THE RETURN. We’ve rebranded slightly, Tim and Frank are officially joined by Mya McBriar to assemble Podcasting Them Softly’s It Doesn’t Get Any Bluer Twin Peaks podcast! Today we’ll be discussing the last two episodes of the latest season, discuss what we all think it meant, how we felt about it, and will there be any more TWIN PEAKS?

Two Wolves, a snake eating its tail and a secret- A review of Twin Peaks: The Return by Nate Hill 


Twin Peaks: The Return has come full circle, and I mean that quite literally. Carefully, lovingly and maddeningly orchestrated by David Lynch, who has proven himself to be nothing short of a brilliant mad scientist of the cinematic arts, this is an endlessly deep, fiercely creative vision that refuses to compromise or meet anyone halfway, and it’s all the better for it. Showtime gave the man full and total control over every aspect, a decision they most likely didn’t fully understand at the time, but one which will have a beautiful ripple effect upon the landscape of serialized television and art itself in the decades to come, just as the original series did until now. 
  As the show unwinds in elliptical, rhythmic kaleidoscope fashion, it arrives at what can be called an ending only for the fact that there must be a last episode, but it’s not really an ending at all, there never was one in Twin Peaks, and likely never will be, a quality that has given it it’s vitality since day one. Many are having trouble accepting Lynch’s open ended, haunting finale, and that’s alright, considering human beings are simply wired to seek answers, and engineered to get frustrated, hostile even, when they aren’t provided. If one sits at a table with a jigsaw puzzle spread out, how would it be if the puzzle were quickly, neatly solved? The very quality that makes it a puzzle evaporates, the mystery gone, and one would simply lose interest, get up from the table and walk away. Now, if a handful of pieces are missing and never found, if the puzzle remains unsolved indefinitely, it feeds the observer with the fuel to pour thought, attention and care into continuously pondering how they might fit the pieces together, if ever at all. In short, the mystery lives on, and on. Lynch understands this, and it’s a wondrous gift to give fans, who no doubt will have Twin Peaks on the brain until the day they move on to the white lodge. It is quite literally the gift that keeps on giving. Like a snake eating it’s own tail, like the never ending, billowy curtains of the labyrinthine Red Room, like the portentous infinity symbol that the Philip Jeffries teapot warns Cooper with, this is a story that has ends, beginnings, middles, alternate timelines, repetition and, thanks to the intangible forces constantly at work, will never truly be at rest, at least not in any way that we can comprehend. 
  The themes which have fascinated Lynch his whole career are in full bloom here like never before, but one that takes centre stage after being deftly touched upon in the show and Fire Walk With Me is that of duality, light versus dark and the uneasy realization that the line between them isn’t as stark as we’d like it to be. Leland Palmer was always thought to be possessed by Bob, unbeknownst of his heinous atrocities, a babe in the very dark woods. Fire Walk With Me blew that comforting certainty right out of the water with some very dodgy scenes implicating Palmer himself, blurring the lines to show that although good and evil may indeed occupy opposite sides of the fence, they most certainly hop over and tread on each other’s lawn, a truth that has been shied away from in cinema quite often, but one which Lynch won’t let you tune out so easy. As we see a mullet adorned doppelgänger version of Cooper engage in a tirade of crime and violence across the states, the real Agent Cooper, or at least that part of his soul that’s trapped in the embryonic limbo of a pastel phantasmagoria Vegas, seems lost in a sea of characters we’ve never met before the Return. When it comes time for that inevitable showdown, it’s quick, and the surface level battle is skimmed over so Lynch can dive into a disorienting rabbit hole in which Cooper is stoic, uncharacteristically violent, a concentrated prism of all the qualities that were separate in the worlds that came before, his psyche in narrative nursery school until Lynch hurtles past that 430 mile marker into territories with ugly truths and revelations that are hard to swallow. Two wolves fight inside every one of us, one light and one dark, but they’re only two sides of the same coin, rival essences within a single beast, and although they run along side by side, tussle occasionally and appear to be separate entities, they’re one and the same when they look in each other’s eyes, as we see in the mirror, or when we come face to face with our doppelgänger against the backdrop of a shimmering red curtain. 
Twin Peaks has always been about secrets, from the very moment that Laura Palmer’s body washed up on those shores, wrapped in plastic (or did it?). Who killed her? That one secret lead to many, and as a story unfolds that’s scope vastly captures realms far beyond the sleepy little northwestern town it began in, we see a story at play that’s so much more, one that is very much filled with secrets, a motif we were warned about almost right off the bat. “She’s filled with secrets”, the Arm gleefully imparts to Cooper. That she is. The hollow screams of a shell shocked Sarah Palmer. The haunted, weary eyes of trailer park supervisor Carl (the beloved Harry Dean Stanton). Audrey Horne sharply awakening in the frightening unknown. Cooper and Laura being foiled yet again by the powers that be (those darn Chalfonts). An empty glass box that isn’t so empty. Coordinates that nestle between shrouded mountain glades. Heartbreakingly gorgeous melodies from the maestro Angelo Badalamenti. Pages from a secret diary that document horror, madness, joy, bravery, vulnerability and an odyssey through time, space, love, evil and of course good, the secrets that keep us coming back for more each time. Lynch has spun his magnum opus here, a tale where every piece is important, even the ones we may likely never find. A testament to the power of storytelling, a treatise on the mystery genre, everything I could have hoped for in a return to the town of coffee and cherry pie, and a full on bona-fide masterwork. See you in the trees, and whatever kingdoms lie beyond them in the glow of the red curtain, the purple seas, the hum of electricity in the dreams of a homecoming queen and a lone FBI Agent on a road trip to…