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Yahoo
04-07-2025
- Entertainment
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‘Twin Peaks: The Return' Big Screen Marathon Set for New York's Metrograph
'Twin Peaks: The Return' is returning to the screen, and this time, it's the big one. IndieWire announces that the Metrograph theater in Lower Manhattan will host a weekend-long marathon of the 2017 David Lynch series, as presented with Mubi. The two-day marathon will take place July 5 and 6 to mark the 35th anniversary of Lynch and Mark Frost's original 'Twin Peaks.' The sequel series, also known as 'Twin Peaks: A Limited Event Series,' debuted on Showtime in 2017; it's one of late director Lynch's final projects. More from IndieWire William Stanford Davis of 'Abbott Elementary' Explains Why 'Location Matters' | 'What No One Tells You' Name a Prop and 'The Tonight Show' Has Put It in the Back of a Taxi to Get It to the Show on Time 'Twin Peaks' sound designer and collaborator Dean Hurley will be in attendance to introduce the series for select showtimes, and will also participate in a special pre-screening conversation. 'Twin Peaks' first premiered in 1990 on ABC. The second season aired in 1991 before being canceled by the network; it was later revived in 2017 with 'Twin Peaks: The Return.' The first two seasons of 'Twin Peaks' followed FBI Special Agent Dale Cooper (Kyle MacLachlan) as he investigates the murder of homecoming queen Laura Palmer (Sheryl Lee) in the border town of Twin Peaks. MacLachlan, as well as many other members of the ensemble cast, reprised their roles for 'Twin Peaks: The Return,' which Lynch directed. The sequel series is set 25 years after Laura Palmer's murder. All seasons of both iterations of 'Twin Peaks' are now streaming on Mubi. Check out the full schedule for the Metrograph marathon, with language provided by the theater, below. Twin Peaks: A Limited Event Series || Parts 1-3Saturday, July 5 – 12:00 by Dean Hurley. In which FBI Special Agent Dale Cooper appears where last we left him, trapped now for 25 years in the Black Lodge, while his psychopathic, stringy-haired doppelgänger leaves a trail of destruction behind him on our terrestrial plane. Escaping the Lodge following a visit to a fortress-like structure towering over a wine-colored sea, Cooper returns to Earth in the body of a second manufactured doppelgänger, or tulpa, called Dougie Jones, a corrupt and debt-riddled employee of the Lucky 7 Insurance agency in Las Vegas, whom he replaces while Jones is shacked up with an escort named Jade. Jade, finding 'Jones' (in fact Cooper) disoriented and incoherent, lacking all memory of his identity and the basic niceties of human interaction, drops the seeming idiot at a nearby casino, where he promptly wins 30 megajackpots in a row. Twin Peaks: A Limited Event Series || Parts 4-6Saturday, July 5 – 3:30 p.m. In which an amnesiac FBI Special Agent Dale Cooper, having taken the place on Earth of one Dougie Jones, returns to 'his' suburban 'home' and 'wife,' Janey-E, with the proceeds of 30 megajackpots, and attempts to adjust to Jones's routine at Lucky 7 Insurance as organized crime figures conspire to punish an oblivious Cooper for Jones's past transgressions. In Twin Peaks, Deputy Chief Hawk and Sheriff Frank Truman—filling in for ailing brother Frank—work on following a lead phoned in by an ailing Log Lady, while Richard Horne, son of Audrey Horne and Cooper's evil double, spiraling into depravity and addiction, kills a child in a hit-and-run. Further afield FBI Deputy Director Gordon Cole and agents Albert Rosenfield and Tammy Rosenfield investigate reports of a sighting of Cooper—the aforementioned doppelgänger—in South Dakota, eventually linking up with his former assistant, the heretofore unseen Diane. Twin Peaks: A Limited Event Series || Parts 7-9Saturday, July 5 – 7:15 conversation with Dean Hurley on his creative collaboration with David Lynch. In which Deputy Chief Hawk and Sheriff Frank Truman puzzle over clues as to the location of the long-missing FBI Special Agent Dale Cooper, while Cooper's wicked doppelgänger appears to be killed in a shootout in South Dakota with criminal associate Ray Monroe. In White Sands, New Mexico, 1945, the first atomic bomb is detonated. Eleven years later two disheveled woodsmen emerge from the New Mexico desert to violently occupy a local radio station, from which they broadcast the cryptic phrase: 'This is the water and this is the well. Drink full and descend. The horse is the white of the eyes and dark within.' A creature, part insect, part bullfrog, freshly hatched from an egg, crawls down the throat of a sleeping young woman. Nine Inch Nails perform. Back in Twin Peaks, Jerry Horne is convinced that his foot is talking. Twin Peaks: A Limited Event Series || Parts 10-12Sunday, July 6 – 12:00 p.m. In which Janey-E, noticing that 'husband' Dougie Jones has become considerably more fit and trim since his mysterious episode—in fact, his replacement with an amnesiac FBI Special Agent Dale Cooper—rediscovers the joys of the matrimonial bed. In Twin Peaks, Richard Horne continues on his violent spree; the Sheriff's department, with help from an ailing Log Lady, continue to attempt to decipher a trail of cryptic clues, auguries, and warnings ('There's fire where you're going'); and an unhinged Audrey Horne relentlessly henpecks her meek husband, Charlie, demanding he assist in helping her find her missing lover. FBI Deputy Director Gordon Cole's team, who've been investigating a savage and wholly inexplicable (double?) murder in Buckhorn, South Dakota, discover a tattoo on the arm of one of the decedents, coordinates that point them towards Twin Peaks, Washington State. Twin Peaks: A Limited Event Series || Parts 13-15Sunday, July 6 – 3:30 p.m. In which the amnesiac Dale Cooper, having assumed the place of unscrupulous Las Vegas insurance agent Dougie Jones, disarms with his guilelessness all those who would wish ill will upon Jones as payback for his misdeeds or cover-up for their own, while Cooper's homicidal doppelgänger, having survived an attempt on his life, is reunited with his equally bloodthirsty son, Richard Horne. James Hurley gives a moving performance at the Road House outside of Twin Peaks, and learns of an unusual vision experienced by his cockney co-worker at Great Northern security, Freddie, who will defend James from the attack of a jealous husband with a most unusual strength-enhancing glove. At a local dive, Sarah Palmer, long a confirmed drunk, teaches a rude trucker a lesson he won't soon forget, or in fact live to remember. The Log Lady, feeling death's chill, calls Deputy Chief Hawk to bid him goodbye: 'My log is turning gold. The wind is moaning.' Twin Peaks: A Limited Event Series || Parts 16-18Sunday, July 6 – 7:15 by Dean Hurley. In which Dale Cooper's doppelgänger sends his own son, Richard Horne, to a dreadful death by electrocution before heading for Twin Peaks, there to be shot down by fast-acting receptionist Lucy Moran, his corpse unleashing an orb inhabited by the corrupting spirit of BOB which will subsequently be pummeled into submission by Freddie, a cockney lad who followed a beckoning dream to Twin Peaks, here fulfilling his predestined purpose. The real Cooper, freshly awakened from a coma induced by sticking a fork in an electrical socket, his long-absent memory restored, arrives shortly thereafter, thence to be transported back in time to the night of the murder of Laura Palmer, which brought him to Twin Peaks so many years ago. Preventing the murder and causing a disturbance in the timeline, Cooper eventually finds himself at a diner in Odessa, Texas, where he encounters a waitress who is the spitting image of Palmer. Believing her to be the missing girl, now in middle age, he drives her to the Palmer home in Twin Peaks for a happy family reunion, but our misguided Perceval has not found his Grail. 'What… year is it?' Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See
Yahoo
04-07-2025
- Entertainment
- Yahoo
NYC Audiences Will Finally See ‘Twin Peaks' Season 3 the Way David Lynch Intended
It's one of the truly singular, transcendent, and masterful pieces of moving image art made this century, and this weekend New York City audiences will have the rare opportunity to see all 18 parts of David Lynch's 'Twin Peaks: The Return' on the big screen as part of MUBI and Metrograph's two-day marathon. Making the pilgrimage to New York is Dean Hurley, who was the re-recording mixer, supervising sound editor, and sound and music supervisor on 'Twin Peaks: The Return.' Appearing on the Filmmaker Toolkit podcast to discuss Lynch's use of sound and creative process, Hurley told IndieWire the marathon was more than an opportunity to see the series on the big screen. The Metrograph audience will also be the first to see the full version of the series, the way Lynch intended. More from IndieWire Brad Pitt Says Tom Cruise Dropped Out of 'Ford v. Ferrari' When He Realized He 'Would Not Be Driving That Much' Searching for the Ideal 4th of July Movie? Look No Further Than 'Drop Zone' 'It gets back to the whole, 'You may think you've seen the film, but you haven't,'' said Hurley, paraphrasing Lynch's iPhone rant that became an internet meme. 'These are the theatrical mixes and the one thing that I'm really excited about is this is the intention, this is how David mixed them, and this is how he experienced them.' Beyond his official titles, Hurley played a larger role in Lynch's creative life. The filmmaker hired Hurley in 2005 as engineer at his recording studio, a converted Hollywood Hills home he used as a 'Lost Highway' location. Hurley would become Lynch's jack-of-all-trades 'sound guy' who did everything from recording, mixing, session playing to post supervision and procuring instruments. Lynch preferred a DIY approach, working in the insular bubble of his studio. For Lynch, who took the sound designer credit on his films and 'Twin Peaks: The Return,' it is impossible to underestimate the importance sound played in all of his art. Sound was often the spark of emotional inspiration and his Hollywood Hills 'Asymetrical Studio' was a creative space where he spent a large portion of his waking hours. Lynch and Hurley recorded sounds used in 'The Return' a decade before scripts were completed. For example, Lynch had a library of recordings of electricity, which became a throughline across three seasons of 'Twin Peaks.' 'You might read electricity in [the script] and think, 'OK, I'm going to go out and record electricity,'' Hurley said on the podcast. 'But what David showed me is sounds in movies are exaggerated versions of themselves in real life… you jack them full of emotion, you make them larger than life when that sound carries that emotion, because we remember things differently.' Lynch preached to Hurley that at the heightened moments of our lives, we remember sound as louder and having far more impact than the reality. That's what the filmmaker wanted in his work. 'You need something that reaches into your caveman self, some primordial sound, that when you hear it your caveman self says, 'That's fucking dangerous,'' said Hurley. 'David loved volume, he loved extremes. His filmmaking could be summed up in extremes because he'll take an emotion and just jack it up to the nth degree, to this characterized version, a juiced up, steroidal version of that emotion, and especially with that atomic bomb sequence.' Hurley is, of course, referencing Part 8 of 'Twin Peaks: The Return,' one of the most celebrated episodes of television ever, in which an atomic bomb goes off. Hurley distinctly remembered working on Part 8 and Lynch yelling, ''Dean, jack this up to 11, I want to make ears bleed.' And I'm thinking, that's a major problem. This is a television show delivery system.' He and Lynch found themselves in paradox while mixing 'Twin Peaks: The Return.' 'The heartache on crafting one of his theatrical soundtracks is when you walk into a theater, it's what the director presents. If they want something super quiet and then they want to hit you over the head with a full-level, full-channel assault they can, and as an audience member you experience that as it's intended. Television is a different thing because you've got front-end compressors, treating the signal and squashing things into a band before they even go out.' Another major limitation is home speakers that make all of us theater managers able to adjust the decibel level with a click of our remotes. 'The power of the cinema and the standards of the presentation mode that was brought about with standards like THX, where you're tuning a room, it's playing at 85 decibels, you've got these giant crossover speakers with tweeter and fiberglass horns and 20-inch woofer, that has the potential to really move a ton of air in the theater,' said Hurley. 'And you can feel it physically, viscerally in a different way than on AirPods or a laptop speaker. I think that's what David was getting at with 'If you think you've seen it on the phone, it's a fucking joke.'' If you watch the video that inspired Lynch's famous meme, it's clear the filmmaker's rant stemmed from the deep 'sadness' Lynch felt about the delivery systems of how we experience his art. That sadness was something Lynch felt intensely while 'Twin Peaks: The Return' aired on Showtime, as it never had the emotional and physical impact of what Lynch felt in his studio. That frustration became anger while creating the 'nearfield' mix, the broadcast standard designed to limit sound for the home viewing experience. 'It was always hard for him because we would do mixes for things, [even] Criterion remasters, when he wanted to listen to them on his flat screen TV to see how they were playing,' said Hurley. 'He would get so emotional, like irate because he's like, 'The power isn't there.' And I'm like, 'It's there. Go in the studio and listen to it,' and it would verify that it's there. But a lot of these playback systems, it's exactly what he talked about with the phone. ' You think you're watching it,' but you can only watch so much coming out of two-inch cones.' After 'Twin Peaks: The Return' aired, Lynch instructed Hurley to create a theatrical mix for the full series. He previously created theatrical mixes for Parts 1 and 2 when they screened at the Cannes Film Festival. ''OK, Dean, go ahead, take the limiters off, put the mixes in a 85 decibel paradigm,'' Hurley remembered Lynch instructing. 'Because somebody said, I can't remember whether it was Sabrina [Sutherland], the producer, or David himself, 'Someday they're going to show these in a museum.'' Up until this weekend, beyond the Cannes premieres, Hurley said only Part 8 has screened publicly in its theatrical mix. Which is why the longtime collaborator, confidant, and friend is making the trip to New York for the marathon. 'This is what David was dreaming of when we did this mix,' said Hurley. 'This is how he experienced it while making it, and it'd make him happy it was finally being presented the way he intended.' Metrograph's two-day marathon of 'Twin Peaks: The Return' will take place July 5 and 6 to mark the 35th anniversary of 'Twin Peaks' Season 1. Dean Hurley will be in attendance to introduce the series for select showtimes and will also participate in a special pre-screening conversation. For more information, visit the Metrograph website. To listen to Dean Hurley's interview airing on July 10, subscribe to the Toolkit podcast on Apple, Spotify, or your favorite podcast platform. Best of IndieWire The Best Lesbian Movies Ever Made, from 'D.E.B.S.' and 'Carol' to 'Bound' and 'Pariah' The Best Thrillers Streaming on Netflix in June, from 'Vertigo' and 'Rear Window' to 'Emily the Criminal' All 12 Wes Anderson Movies, Ranked, from 'Bottle Rocket' to 'The Phoenician Scheme'
