FASTCUT PLUS MOVIE

Is this wind the grandfather of the whooshes filling Lynch’s distinctive sound design? Viewers who’ve had cause to visit boiler rooms may believe Lynch’s soundscape is more subterranean than atmospheric but the idea grows on you. The second chapter, Membranes, finds an ideal pairing of theme and speaker: Rodney Ascher, whose work often looks at people hovering between states of consciousness or ways of perceiving reality, speaks a bit about how thin the barriers between worlds are for Lynch’s characters. How many alternate realities does Dale Cooper step through, for instance, in Twin Peaks? But this chapter would work much better as a standalone short, as the link to Oz is its least compelling element. Ascher gets more mileage out of references to Kubrick and an extended, appropriately spooky reference to The Miracle Worker.Īscher is the first here to admit that the basic template of Oz - protagonist gets stuck someplace strange and wants to go home - is sufficiently generic to “apply to most anything.” The doc offers many dubious comparisons, both self-acknowledged and otherwise, and Philippe pushes further, sometimes stuffing in too many fast-cut clips from unrelated films. (Why am I seeing a clip of Babe: A Pig in the City right now? Oh, right, he’s a fish out of water.

Just like Dorothy, and, um, the Elephant Man?) The connection-making gets pretty tortured in a segment where filmmakers Justin Benson and Aaron Moorhead wind up using I Wake Up Screaming to connect dots between Lynch, film noir and Oz via “Over the Rainbow.” And that’s after looking at parallels between Oz and Suspiria, Pan’s Labyrinth and The Big Lebowski.Ĭhapters narrated by Waters and David Lowery are predictably engaging, but have far more to do with their speakers’ lives and artistry than Lynch’s.

FASTCUT PLUS MOVIE

#Fastcut plus edition movie#Įven the natural connections here - like the way the Midnight Movie phenomenon launched both Waters’ career and Lynch’s - have little if any bearing on the doc’s thesis, and you can practically feel an off-mic Philippe pushing Waters to speculate that “David might” share this or that approach to storytelling.

Beginning with a small way her life intersected with Lynch’s (before directing, she used to wait on Lynch at a New York City diner he frequented), she then recalls attending a Q&A in which he said, “There is not a day that goes by that I don’t think about The Wizard of Oz.” One of the film’s least obvious choices may be its best: Girlfight director Karyn Kusama comes to her segment, Multitudes, so amply prepared you wish she could just take the film over. Kusama touches on the obvious Wild at Heart stuff (for those who haven’t seen it, it’s the most Oz-stuffed thing Lynch has made) before diving into some beautiful thoughts on Mulholland Drive. She asks a seminar-worthy question or two - can we understand more about a character from her dreams than from her “real” life? - before moving on to very specific but far from obvious connections having to do with makeup and sound recording.