MovieChat Forums > Inland Empire (2007) Discussion > ANALYSIS of IE TRANSCRIPT SCENE by SCE...

ANALYSIS of IE TRANSCRIPT SCENE by SCENE




ANALYSIS of IE TRANSCRIPT SCENE by SCENE

THE NARRATOR

00:01:12,801 --> 00:01:17,077
Axxon N., the longest running radio play in history

2
00:01:17,910 --> 00:01:21,664
tonight, continuing in the Baltic region.

3
00:01:21,664 --> 00:01:25,731
A gray winter day in an old hotel.

***********************************


THE RABBITS


4
00:04:53,129 --> 00:04:57,195
I am going to find out one day.

5
00:05:01,679 --> 00:05:04,077
When will you tell him?

6
00:05:08,769 --> 00:05:12,419
Who could have known??

7
00:05:17,528 --> 00:05:20,135
What time is it

8
00:05:35,046 --> 00:05:38,174
I have a secret.

00:05:45,265 --> 00:05:49,748
There have been no calls today.

10
00:06:06,119 --> 00:06:09,768
I hear someone.

11
00:06:19,570 --> 00:06:23,740
I do not think it will be much longer now.

********************************

THE NEW NEIGHBOR:





12
00:10:00,836 --> 00:10:01,983
May l help you?

00:10:01,983 --> 00:10:04,485
I am a new neighbor.

14
00:10:04,589 --> 00:10:08,239
I live just down the street.

I've, l've been going around
meeting new neighbors.

31
00:11:17,059 --> 00:11:20,187
I think that it is important
know one's neighbors.

You have a new role
to play, l hear.

49
00:13:19,266 --> 00:13:21,039
Up for a role

50
00:13:21,143 --> 00:13:25,313
But, l'm afraid,
far from getting it.

51
00:13:25,313 --> 00:13:29,381
No, no, l definitively heard
that you have it.

A little boy
went out to play.

61
00:14:26,313 --> 00:14:28,920
When he opened his door...

62
00:14:28,921 --> 00:14:32,258
... he saw...
the world.

63
00:14:33,404 --> 00:14:36,636
As he passed through the doorway...

64
00:14:37,470 --> 00:14:41,746
... he caused, a reflection.

65
00:14:42,163 --> 00:14:45,499
Evil was born

66
00:14:46,959 --> 00:14:52,902
Evil was born,
and followed the boy.

67
00:14:59,055 --> 00:15:01,974
I'm sorry...
what is that?

68
00:15:04,894 --> 00:15:08,127
An old tale.

69
00:15:08,544 --> 00:15:11,671
And a variation:

70
00:15:11,776 --> 00:15:13,757
A little girl...

71
00:15:13,758 --> 00:15:17,304
... went out to play.

72
00:15:18,970 --> 00:15:23,142
... Iost in the marketplace...

73
00:15:23,142 --> 00:15:26,686
... as if half born.

74
00:15:32,318 --> 00:15:37,739
Then, not through the marketplace,
you see that, don't you?

75
00:15:37,844 --> 00:15:42,328
But through the alley
behind the marketplace.

76
00:15:42,432 --> 00:15:47,854
This is the way

to the Palace.

77
00:15:51,504 --> 00:15:56,091
But it isn't something you remember.

78
00:15:57,760 --> 00:16:02,765
Forgetfulness, it happens to us all.


79
00:16:03,077 --> 00:16:08,396
And me?... why, l'm the worst one!

80
00:16:09,335 --> 00:16:12,879
OH,where was I?

81
00:16:18,823 --> 00:16:23,098
Yeah.. Is there is a murder
in your film?

82
00:16:27,269 --> 00:16:31,648
Ah, no, it's not part of the story...

83
00:16:33,004 --> 00:16:33,943
No!

84
00:16:34,255 --> 00:16:37,174
I think you are wrong about that!

85
00:16:38,217 --> 00:16:39,886
No.

86
00:16:40,303 --> 00:16:42,910
Brutal *beep* murder!


The things you've been saying,
l think should go now.

89
00:16:53,546 --> 00:16:54,796
Yes...

90
00:16:55,422 --> 00:17:04,598
Me... I.. I can't seem to remember if it's
today, two days from now, or yesterday!

91
00:17:05,224 --> 00:17:10,542
I suppose that if it was 9:45...

92
00:17:10,542 --> 00:17:14,087
I'd think it was after midnight!

93
00:17:18,780 --> 00:17:20,969
For instance...

94
00:17:20,969 --> 00:17:22,950
If today...

95
00:17:23,472 --> 00:17:26,183
... was tomorrow...


96
00:17:26,184 --> 00:17:34,109
... you would'nt even remember
that you owed on an unpaid bill.

97
00:17:37,653 --> 00:17:38,695
Actions...

98
00:17:38,799 --> 00:17:42,554
... do have consequences.

99
00:17:46,724 --> 00:17:49,018
And yet

100
00:17:49,435 --> 00:17:52,251
... there is the magic.

101

00:17:55,380 --> 00:17:57,673
If it was tomorrow...

102
00:17:58,403 --> 00:18:04,659
... you would be sitting over there.

103
00:18:19,362 --> 00:18:22,802
You see?

*********************************

AT THIS POINT HERE WE JUMP UP AHEAD in TIME

Excuse me, ma'm,
telephone.

106
00:18:41,989 --> 00:18:43,449
It's for you.

107
00:18:45,326 --> 00:18:47,516
It's your agent.

888888888888888888888888


HERE WE JUMP UP AGAIN AHEAD in TIME to the MEET and GREET SCENE
inside of STAGE 32



Nikki, it's we who are happy
and fortunate to have you on board

113
00:19:36,523 --> 00:19:39,652
... on this film,
in this role.

**************************

STILL ANOTHER JUMP IN TIME to the CELEBRITY SHOW


Tonight, Nikki Grace
and Devon Berk.

133
00:20:51,599 --> 00:20:54,415
Marsha, honey l know where you live,
do not pull my hair.

134
00:20:54,519 --> 00:20:55,770
We're back in:

135
00:20:55,770 --> 00:20:59,941
5,4,3,2,1.

136
00:21:00,462 --> 00:21:04,008
Mamas, lock up you daughter's doors!

Are you going to be able to be true
to hubby with a wolf in the den?

140
00:21:16,104 --> 00:21:20,483
do with a bad wolf round you



*************************



DEVON BACK STAGE PISSED OFF at MARILYN calling him a PREDATORY WOLF:



How were you *beep* thinking? That
was the biggest crock of *beep* l ever saw!

156
00:22:33,578 --> 00:22:34,725
Show's popular!

157
00:22:34,829 --> 00:22:35,871
*beep*

************************


JUMP UP AHEAD in TIME AGAIN to STAGE 4



Is that our set?

181
00:24:48,506 --> 00:24:51,217
Yeah
lt's not finished yet

182
00:24:51,530 --> 00:24:54,763
There's Smithie's House.

183
00:24:54,867 --> 00:24:56,847
Smithie's House.


Well, I thought since we're here
and Smithie site's been started...

192
00:26:02,539 --> 00:26:05,146
We might go over some of the scenes
that take place there.

193
00:26:05,355 --> 00:26:08,483
Not the love scene, of course, but some of
the earlier scenes

194
00:26:09,004 --> 00:26:11,507
that indicate so beautifully your character.

195
00:26:12,445 --> 00:26:18,701
Lets take, for instance,
scene 35...

196
00:26:19,119 --> 00:26:25,166
... the scene where Devon...
you arrive,

197
00:26:25,166 --> 00:26:32,569
... Billy, at Smithie's house to find Sue,
--Nikki-- looking out the window.


I remember the scene

199
00:26:34,655 --> 00:26:36,532
Well...

200
00:26:36,636 --> 00:26:38,826
... we'll go through it....

201
00:26:39,869 --> 00:26:42,579
... and then we'll maybe take it on
the set and BLOCK it out as BEST as possible

we should just JUMP RIGHT in

205
00:26:47,898 --> 00:26:52,173
...on page 57

OH, *beep*

231
00:28:49,479 --> 00:28:52,711
Look in the other room.

232
00:28:53,441 --> 00:28:55,318
What is that?

233
00:28:55,423 --> 00:28:57,195
Freddy!

234
00:28:57,195 --> 00:28:59,490
No, someone's there.


Who was it?[/quote]

*******************************

THE ANSWER to this QUESTION is this:



IT WAS a TWIN COPY of DERN ...

the OTHER TWIN who ENTERS the AXXON N DOOR in the BACK ALLEY of STAGE 4 ...

and FINDS the OTHER COPY of herself sitting at the REHEARSAL TABLE doing SCENE 35 on PAGE 57


Since KINGSLEY also DESCRIBES what happens in this SCENE:



Lets take, for instance,
scene 35...

196
00:26:19,119 --> 00:26:25,166
... the scene where Devon...
you arrive,

197
00:26:25,166 --> 00:26:32,569
... Billy, at Smithie's house to find Sue,
--Nikki-- looking out the window.



DERN ENTERING the AXXON N DOOR in the BACK ALLEY of STAGE 4 ...


where she finds herself at an EARLIER TIME REHEARSING for SCENE 35 ...

before she RUNS AWAY from DEVON and into SMITHY'S HOUSE ...

is obviously also a PART of the MOVIE SCRIPT.

In other words, this is also the FIRST TIME that we JUMP BACK in TIME instead of JUMP UP in TIME the way we've been doing up until this POINT in TIME.











reply

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Conversation during THE BREAK after REHEARSAL for SCENE 35:


:32:18,232 --> 00:32:21,152
Now, Freddy has found out
that our producers...

265
00:32:21,257 --> 00:32:26,157
... Know the history of this film and have takenit upon
themselves not to pass on that information to us.

266
00:32:27,408 --> 00:32:29,077
Purposefully ...

Anyway, the film
it was never finished...

275
00:32:52,225 --> 00:32:55,771
Something happened before
the film was finished.

276
00:32:56,605 --> 00:33:00,254
I don'tot understand.
why wasn't it finished?

277
00:33:02,965 --> 00:33:06,823
Well, after the characters
had been filming for some time,

278
00:33:06,927 --> 00:33:15,477
... they discovered something... something...
inside the story.



**************************

DETECTIVE with WOMAN in the WHITE SHORTS:


What's this all about?

294
00:34:57,978 --> 00:35:00,584
I've been hypnotized,
or something

How are you going to kill
this person?

308
00:36:05,859 --> 00:36:08,779
With a screwdriver

***********************

THE GARDEN SCENE with DERN and DEVON as BILLY:


309
00:36:41,311 --> 00:36:42,980
Your wife...

310
00:36:47,150 --> 00:36:50,070
I've been with her since
l was a little boy.

311
00:36:50,905 --> 00:36:52,886
A little boy?

312
00:36:56,222 --> 00:36:58,933
Nothin' little about you now...

313
00:36:59,976 --> 00:37:03,834
As far as l heard, that is.

why are you doin this?

320B]0:37:31,883 --> 00:37:34,595
'cause l never met you before.

321
00:37:35,533 --> 00:37:36,993
what?

322
00:37:38,035 --> 00:37:41,164
I didn't know you before

323
00:37:43,666 --> 00:37:47,211
I never had this feeling.

All l see from this is blue tomorrows


328
00:38:17,242 --> 00:38:18,806
OK, cuts.

329
00:38:23,185 --> 00:38:25,271
That was brilliant
We're moving on...


we're going to leave this lovely weather?

**********************

NIKI getting MAKE UP applied:


is the 90 year old neice...

354
00:41:05,642 --> 00:41:09,082
Ever since we went into pre-production,
she's been

355
00:41:09,082 --> 00:41:10,542
... fascinated by Smithie.

356
00:41:10,855 --> 00:41:12,732
Keeps going on and on about Smithie...

357
00:41:13,879 --> 00:41:18,467
... asking in that ancient
foreign voice of hers

358
00:41:19,822 --> 00:41:22,534
Who is playing Smithie?

************************

After DINNER DRACULA SCENE between PIOTREK and DEVON:


There are consequences to one's actions.

384
00:43:51,539 --> 00:43:56,126
And there would, for certain, be consequences to...

385
00:43:56,335 --> 00:43:58,421
... wrong actions.

386
00:43:59,881 --> 00:44:01,966
Dark, they would be, and...

387
00:44:02,384 --> 00:44:05,094
... inescapable.

**************************

BUCKY J gets A CRAMP:



389
00:44:40,025 --> 00:44:42,319
Bucky J, are you there?

********************

PRODUCER talks to DEVON and CONTRADICTS what KINGSLEY told him:


Devon...

519
00:56:17,920 --> 00:56:23,134
There is absolutely no proof that anyting
bad happened around this film.

*******************

BLUE BEDROOM SCENE in SMITHY'S HOUSE:


Remember I told you, about this thing
this thing that happened.

534
00:58:15,747 --> 00:58:18,667
It's a story that
happened yesterday.

535
00:58:18,980 --> 00:58:21,586
But l know that it's tomorrow.


536
00:58:22,212 --> 00:58:23,776
That doesn't make sense

537
00:58:23,985 --> 00:58:24,923
It was that scene...

538
00:58:25,445 --> 00:58:27,009
... that we did yesterday.

539
00:58:27,218 --> 00:58:30,032
When I'm getting groceries for you
with your car

540
00:58:30,137 --> 00:58:33,578
And I was in that alley, and I parked the
car, there's always parking there.

541
00:58:33,682 --> 00:58:35,664
... So there I am...

542
00:58:35,664 --> 00:58:39,313
What?
Sue, damn!

543
00:58:42,754 --> 00:58:44,735
It's a scene we did yesterday.

544
00:58:44,944 --> 00:58:46,717
You weren't in it.

545
00:58:46,925 --> 00:58:52,243
That one where I'm in the alley, I'm going to get
groceries for you with your car.

546
00:58:52,556 --> 00:58:54,954
And I parked there 'cause there's always
parking.


547
00:58:55,371 --> 00:58:57,143
You know the one?

548
00:58:57,248 --> 00:59:00,168
I see this writing on metal.

549
00:59:00,169 --> 00:59:04,549
And l started remembering something...
I'm remembering...

550
00:59:04,651 --> 00:59:08,822
This whole thing starts floodin' in...
this whole memory.

551
00:59:10,804 --> 00:59:14,974
I start to remember...
And I... I don't know...

552
00:59:15,182 --> 00:59:18,832
I do not know what it is...

553
00:59:18,937 --> 00:59:24,150
It's me, Devon, it's me...
Nikki...

554
00:59:25,088 --> 00:59:26,444
That doesn't make any sense

555
00:59:28,321 --> 00:59:29,573
What is this?

556
00:59:31,657 --> 00:59:35,724
It's me, Devon, it's me...
Nikki...

557
00:59:36,246 --> 00:59:39,374
Look at me, you *beep*

*************************

In this part XXPO is ALSO LOST in TIME:

558
00:59:49,384 --> 00:59:52,616
Please, please

559
00:59:52,929 --> 00:59:54,598
Please

560
00:59:55,119 --> 00:59:56,788
Forgive me.

561
00:59:59,811 --> 01:00:01,271


Please

********************************

**************************


TWIN COPY of DERN finds HERSELF sitting at the REHEARSAL TABLE doing SCENE 35:



562
01:02:04,834 --> 01:02:06,920
Look in the other room...

563
01:02:08,275 --> 01:02:09,630
What the hell is that?

564
01:02:09,734 --> 01:02:10,151
Freddy!

565
01:02:10,673 --> 01:02:12,654
No, somebody's over there.

566
01:02:17,763 --> 01:02:20,892
The stage is supposed to be ours and ours alone.

567
01:02:25,793 --> 01:02:27,252
I'll go look

Billy!

**************************
DERN FINDS the other girls sitting inside of SMITHY'S HOUSE:

576
01:09:27,782 --> 01:09:29,555
Who the hell are you?

577
01:09:33,726 --> 01:09:35,291
Hey!

578
01:09:35,707 --> 01:09:39,252
Look at us and tell us
if you've known us before.


579
01:09:41,651 --> 01:09:43,007
There was a man...

580
01:09:43,841 --> 01:09:45,091
... I once knew

*******************

DERN MEETS MR. K:


That's one hell of a *beep* climb getting up here.

602
01:22:29,199 --> 01:22:33,475
So I was told you could help me.

603
01:22:44,840 --> 01:22:47,760
I guess I'll just tell you the thing..

604
01:22:48,907 --> 01:22:52,451
I just know that am l.

605
01:23:11,325 --> 01:23:13,306
There was this man...

606
01:23:14,975 --> 01:23:18,936
... I once knew...


607
01:23:19,145 --> 01:23:21,335
His name was...

608
01:23:22,691 --> 01:23:26,028
It doesn't matter what his name was...

609
01:23:28,530 --> 01:23:31,971
A lot of guys change.

610
01:23:32,388 --> 01:23:34,682
They don't change, but they reveal

611
01:23:37,080 --> 01:23:39,896
In time they reveal
what they really are.

612
01:23:40,313 --> 01:23:43,546
You know what l mean?

613
01:23:45,422 --> 01:23:48,967
It is an old story.

***********************

Hot dog Party ON LOCATION in the BACKYARD:

614
Hey!

726
01:37:32,197 --> 01:37:33,657
Look at me!

727
01:37:34,596 --> 01:37:37,723
And l tell me if you've known me before.

728
01:37:40,852 --> 01:37:45,543
Yes,
we will do that.


729
01:37:58,161 --> 01:37:59,934
Where is the paper towels?

*********************

LOST GIRL, LORI and LANI on the SNOWY STREET in POLAND

902
02:11:31,763 --> 02:11:33,536
Look at me

903
02:11:35,204 --> 02:11:37,602
And tell me if you've known me before

*******************

DERN in HOLLYWOOD:


904
02:12:20,459 --> 02:12:24,629
Someone is gonna *beep* kill me...
Someone is gonna *beep* kill me...

905
02:12:35,057 --> 02:12:37,038
Someone is gonna *beep* kill me...

********************

DERN with MR. K AGAIN:


908
02:14:57,910 --> 02:15:03,116
-I don't really understand what I'm doing.
-It's one hell of a *beep* climb getting up here.

909
02:15:06,043 --> 02:15:08,327
There was this man...

910
02:15:09,379 --> 02:15:13,230
... I once knew


911
02:15:16,678 --> 02:15:20,321
I'm trying to tell you so you understand
how it went.

912
02:15:24,395 --> 02:15:27,001
The thing is, I don't know....

913
02:15:27,105 --> 02:15:30,748
... what was before or after.

914
02:15:35,969 --> 02:15:38,576
I don't know what's happened first...


915
02:15:39,097 --> 02:15:42,739
...and it's kinda layin' a *beep* on me.

916
He was talkin this foreign talk and...

920
02:16:13,298 --> 02:16:16,628
... tellin' loud *beep* stories...

**************************

SMITHY BEATS DERN:

921
02:16:30,295 --> 02:16:32,790
I'm not who you think I am.

*****************

NIKI DOESN'T RESPOND to KINGSLEY:

Nikki.

1016
02:35:12,265 --> 02:35:13,090
Nikki.

1017
02:35:21,754 --> 02:35:23,100
Nikki.


1018
02:35:23,526 --> 02:35:26,019
You were wonderful.



The MAIN thing to NOTE here is the way we JUMP UP and JUMP BACK from one scene to another one ...

instead of mostly JUMPING FORWARD in TIME the way we did in the FIRST POST.

Or as the RABBITS say:

IT HAS SOMETHING TO DO WITH THE TELLING of TIME

TIME doesn't FLOW the right way in this AXXON N TALE.

After DERN ENTERS the AXXON N DOOR in BACK of STAGE 4 SOMETHING HAPPENS ...

TIME gets all MIXED UP ...

or as she explains to MR. K:


I don't know....

913
02:15:27,105 --> 02:15:30,748
... what was before or after.

914
02:15:35,969 --> 02:15:38,576
I don't know what's happened first...


LIKE the case with THE NEW NEIGHBOR, who doesn't know if it's today or yesterday and thinks 9:45 means it's AFTER MIDNIGHT:


I.. I can't seem to remember if it's
today, two days from now, or yesterday!

91
00:17:05,224 --> 00:17:10,542
I suppose that if it was 9:45...

92
00:17:10,542 --> 00:17:14,087
I'd think it was after midnight!



DERN is also just as confused:


It's a story that
happened yesterday.

535
00:58:18,980 --> 00:58:21,586
But I know that it's tomorrow


SO WHAT probably HAPPENS in the MIDDLE of the story is DERN ENTERS the AXXON N DOOR ...

and after that TIME gets all MIXED UP to the point where she doesn't know what comes FIRST or afterwards after that anymore.


So whereas other posters claim this is a STORY about a WOMAN in TROUBLE because she's been UNFAITHFUL and feels GUILTY about it ...

this is actually a story about a WOMAN in TROUBLE because she ENTERS the AXXON N DOOR ...

which is also a SITUATION that is CORRECTED by the END of IE ...

when we see by the CLOCK on the WALL ...

above the ZIG ZAGGY WAVY FLOOR PATTERN ...

that TIME FLOWS in the RIGHT DIRECTION again ...

12:13

12:22

12:25


before she SHOOTS the PHANTOM.

And we also see on the MOVIE SCREEN how TIME is also BACK IN SYNC again ...

with THE SCENE in the MOVIE MATCHING PERFECTLY in TIME with what MR. K and DERN are doing.

Then we also see TIME is back in SYNC inside of ROOM 205 as well ... on the MONITOR inside of that room ... which also MATCHES PERFECTLY with what DERN does before she DISAPPEARS into THIN AIR ... and then ends up sitting inside of the RABBIT ROOM.






[/b]


reply

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My eyes have just been assaulted by such a HORRIFIC sight that xxpo isn't able to do anything right now.

Remember that scene in WILD AT HEART where those women are dancing around naked in front of the motel where Dern is staying with Sailor before the shotgun blows off the other guy's head?

Well at the swimming pool a woman even bigger than those other women was laying down with a guy over top of her and at first it looked like he was CHOKING her.

But he was humping her as she lay there looking like a beached whale.

Then after I got some water to give to the kitties she's on her knees with that big butt sticking up in the air and his still humping away.

Why on earth would people want to screw in a LOCKED UP area of a SWIMMING POOL right in front of about 50 other places where people live and assault the senses of someone else with such a horrific sight as that LP???

And how does one get that kind of sight wiped out their mind after having seen it???

It definitely felt as if one had walked through an AXXON N DOOR and into a LYNCH film.

It was even worse than that other short film he recently made with the other girls flinging her boobs all over the place in the back yard.





PS: MD was on TV again tonight. This time I also noticed how much the LAST SHOT of NAOMI'S FACE looks a lot like the OPENING SHOT of her face before we see the DANCERS. She's smiling the same way as she did when she's suppose to have won the DANCE CONTEST. Only Rita's face is also there beside her instead of the face of the other OLDER COUPLE we see in the beginning.




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[deleted]

Are you still awake LP? Thought you'd gone to bed??? And do you also draw??? That's cool you did a charcoal drawing of COWS Beaming down in TP. Do you have a link so we can see it???

As for the use of the handy cam ...

the idea is to try and forget how my eyes were stuck by the FLASH of that ungodly sight ... not try to preserve it.

They looked like a couple of DEMONS from one of those BOSH paintings of HELL.

And even a cow has a better shape than this other woman. Those UGLY KNEES with all that BLUBBER around them. UGH. That BIG BUTT stuck up in the air. No thanks. Recording that sight is the last thing xxpo would want to do.



Really a crime takes place in the dance scene of MD???

Wonder if she's GLOATING about having killed her dance partner and that's the reason why we see her standing there without one???

Since she's got the same SMILE at the end of MD, and Rita's there, maybe everyone has that scene BACKASSWARDS???

And instead of a representation of Naomi being in HEAVEN where EVERYTHING IS FINE, she's Gloating again about having hired Joe to get rid of her CHEATING LOVER????



As for WALKING ON EGGSHELLS ...

Met this Psychiatric nurse at the IT board. Also met SPEAR at one as well but met him at the imdb board and not at the HBO board. Anyhow, this other nurse had been treating patients for 30 YEARS and like you she also says BPD are the WORSE ONES.

This other neighbor is probably also one ...

Abadonment issues as a child ...

CRACK CRACK CRACK ....

NEVER know when they're going to GO OFF on you and EXPLODE.

So yes RUN AWAY as fast you can if you want to remain SANE.




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There must have been some writin' on metal outside that thar darkened hallway when he took her there... some weird writing on metal... like axxon n... or something...

something that made her remember...

like axxon n... on metal... hypnotized... by that damned spinning record... HYPNOTIZED BY THAT DAMNED SPINNING RECORD!

And then something happened... either SHE KILLED in that room (IM AFRAID), and she is begging for forgivness for KILLING... or somebody ELSE did the killing and has made her think SHE has done the killing???

you can do it xxpo...




BLUE BEDROOM SCENE:

I see this writing on metal.

549
00:59:00,169 --> 00:59:04,549
And l started remembering something...
I'm remembering...

550
00:59:04,651 --> 00:59:08,822
This whole thing starts floodin' in...
this whole memory.

551
00:59:10,804 --> 00:59:14,974
I start to remember...
And I... I don't know...

552
00:59:15,182 --> 00:59:18,832
I do not know what it is...

*********************************

RABBITS:

I am going to find out one day.

892
02:05:44,745 --> 02:05:46,613
It was red.

893
02:05:51,940 --> 02:05:53,495
Where was I?

894
02:05:59,760 --> 02:06:03,924
This isn't the way it was.

895
02:06:18,634 --> 02:06:22,275
It was the man in the green coat.

896
02:06:25,203 --> 02:06:30,097
It had something to do with
the telling of time.


***********************************

HOMELESS GIRL (can't pay the rent):

In her blonde star wig

983
02:28:01,724 --> 02:28:06,208
She blows kisses

-----------

DERN'S DEATH SCENE:

You dying is all

1003
02:31:09,623 --> 02:31:12,952
I'll show you the light now...

1004
02:31:17,339 --> 02:31:20,877
It burns bright, for heaven.


1005
02:31:25,681 --> 02:31:29,218
No more blue tomorrows.

1006
02:31:36,526 --> 02:31:39,750
You on high now love.

===

MONOLOGUE SCENE:

watching everything go around me
while I was standing in the middle.

1022
02:37:34,492 --> 02:37:39,383
Watching it, like in a dark theater.

1023
02:37:41,061 --> 02:37:45,120
before they bring the lights up



Ok. So Now that the other HORRIFIC scene from the other night slowly begins to FADE AWAY ...

but also still continues to LINGER ...

something else has COME FLOODING IN ...

THE BIG BURNING MATCH HEAD in the RED RABBIT ROOM ...

which must also have a CONNECTION of some kind to the CIGARETTE LIGHTER ...

in DERN'S DEATH SCENE on the WALK of FAME.

SO when the RABBIT ROOM turns RED ...

and we see the RABBIT holding up the CANDLES ...

this must also be JACK RABBIT'S DEATH SCENE???

JACK RABBIT'S DEATH SCENE HERE:

http://www.youtube.com/watch?v=N2jUhuAIiTM


So the RABBITS should also be saying something like:



As you die

1003
02:31:09,623 --> 02:31:12,952
I'll show you the light ...

1004
02:31:17,339 --> 02:31:20,877
It burns bright, in heaven.






The NEXT SCENE shows JACK sitting inside of MR. K's room ...

where he probably complains about the CLIMB UP the stairs ...

before he begins telling MR. K about how

There was a WOMAN he once knew ...











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Note THE DIFFERENCE BETWEEN the 2 lines:

-It's one hell of a *beep* climb getting up here.

That's one hell of a *beep* climb getting up here.


One DERN says IT'S

the other DERN says THAT'S

which is also very similar to the way we hear FREDDY saying 2 slightly different things the 2nd time we see them doing the REHEARSAL for SCENE 35 after Dern enters the AXXON N DOOR in the back alley of STAGE 4.

So there's definitely 2 DIFFERENT VISITS with MR. K which also implies there are 2 DIFFERENT DERN's that visit him.

Thus Berny's theory that one DERN tries to call MR. K while the other one is there with him could also be correct.


🐇 🐰

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Note THE DIFFERENCE BETWEEN the 2 lines:

-It's one hell of a *beep* climb getting up here.

That's one hell of a *beep* climb getting up here.


One DERN says IT'S

the other DERN says THAT'S

which is also very similar to the way we hear FREDDY saying 2 slightly different things the 2nd time we see them doing the REHEARSAL for SCENE 35 after Dern enters the AXXON N DOOR in the back alley of STAGE 4.

So there's definitely 2 DIFFERENT VISITS with MR. K which also implies there are 2 DIFFERENT DERN's that visit him.

Thus Berny's theory that one DERN tries to call MR. K while the other one is there with him could also be correct
.

And the DERN calling MR. K could also be calling him to let him know that the DERN he's speaking to is NOT HER???

And we also hear MR. K saying:

CRIMP ... yeah he's around here somewhere

at which time DERN gets up and leaves ...

before Mr. K comes back to the desk again.

So if CRIMP is THE PHANTOM, then that would also indicate he's found a way to GET INSIDE of the EVIL TWIN COPY of DERN that's created when she uses the AXXON N DOOR.



🐇 🐰

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So if CRIMP is THE PHANTOM, then that would also indicate he's found a way to GET INSIDE of the EVIL TWIN COPY of DERN that's created when she uses the AXXON N DOOR.


And this also explains the reason why we keep seeing that strange LENS EFFECT, like when we see KAROLINA and when we see DERN entering STAGE 4.

Because the PHANTOM is probably also an UNSEEN EVIL PRESENCE like HAL 9000 is in the 2001 FILM.

And he sits there waiting for someone to ENTER the AXXON N DOOR, the same way as HAL 9000 waits for the others to EXIT from the SPACE SHIP DOOR, so that he can LOCK them out.

But instead of wanting them OUTSIDE like HAL does, THE PHANTOM wants to GET INSIDE of them when they use the AXXON N DOOR and create an EVIL TWIN COPY of them.





🐇 🐰

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No Message

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[deleted]

[deleted]






So whereas other posters claim this is a STORY about a WOMAN in TROUBLE because she's been UNFAITHFUL and feels GUILTY about it ...

this is actually a story about a WOMAN in TROUBLE because she ENTERS the AXXON N DOOR ...

which is also a SITUATION that is CORRECTED by the END of IE ...

when we see by the CLOCK on the WALL ...

above the ZIG ZAGGY WAVY FLOOR PATTERN ...

that TIME FLOWS in the RIGHT DIRECTION again ...

12:13

12:22

12:25


before she SHOOTS the PHANTOM.

And we also see on the MOVIE SCREEN how TIME is also BACK IN SYNC again ...

with THE SCENE in the MOVIE MATCHING PERFECTLY in TIME with what MR. K and DERN are doing.

Then we also see TIME is back in SYNC inside of ROOM 205 as well ... on the MONITOR inside of that room ... which also MATCHES PERFECTLY with what DERN does before she DISAPPEARS into THIN AIR ... and then ends up sitting inside of the RABBIT ROOM.



==





Here's the SITUATION:

ONE can either FOLLOW the STORY ITSELF ...

which MAKES SENSE ...

or one can Follow other LOST BOYS like SPEAR and their ONE MIND THEORIES ...

which will also result in a DEAD END situation ...

like THE BLIND LEADING the BLIND ...

or one where EVERYONE ends up in the DITCH.

So it's up to you.

FOLLOW the STORY ITSELF ...

or else Follow these other LOST BOYS who post their theories and other MISINFORMED interpretations here to this message board.





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[deleted]

A CONTINUATION of THE JUMBLED UP TIME THEME is also found in MTTH ...

Where Lost girl buys the WATCH from the PHANTOM and he tells her he will WATCH OVER her.

And in IE we also see her WATCHING the MONITOR ...

as we LOOK OVER her shoulder at it ...

as if there's also someone else inside of the ROOM with her where she's sitting as she WATCHES it.

In still another scene in MTTH ...

we also have NIKI ...

who finds herself laying on the floor of the bedroom inside of the PALACE wearing SUNGLASSES ...

as she hears BOTH the voice of Devon on the telephone and the voice of the PHANTOM at the SAME TIME who MOCKS her (because THE PHANTOM has probably also found a way to WATCH over NIKI and what she does as well).

And We also saw NIKI with the WATCH running BACKWARDS that looks like it is the SAME WATCH that LOST GIRL buys from THE PHANTOM in MTTH.

Because we also see the VISITOR arrive at SMITHY'S HOUSE who wears a WATCH on her arm which also looks like the WATCH the PHANTOM sells to LOST GIRL.

And the VISITOR who visits NIKI in SMITHY'S HOUSE also wears a SOCK on her arm to PROTECT her from the MAGIC SPELL of the WATCH,

the same way as the PHANTOM uses a piece of cloth to PROTECT himself from touching the WATCH as he hands it over to LOST GIRL in MTTH.

Scene where THE PHANTOM hands LG the WATCH by holding a cloth in his hand can be seen at the 3:25 TIME MARK:

http://www.youtube.com/watch?v=FnDBJyXxP64&feature=related



This WATCH is obviously a SYMBOL of TIME ...

and the way in which it isn't RUNNING the RIGHT WAY in this AXXON N TALE.

THE RABBITS also TELL US THIS when they say:

IT HAS SOMETHING TO DO WITH THe TELLING of TIME.

The NEW NEIGHBOR also TELLS us this when she says:

IF IT WAS 9:45 she would think it was AFTER MIDNIGHT .

So TIME is the MAIN THEME or ISSUE in this story.

And Once we see that TIME is RUNNING in the RIGHT DIRECTION again ...

then the rest of the story also appears as if it has a HAPPY ENDING ...

at least for LOST GIRL.

But she's probably also been SEDUCED in that FAKE TWIN COPY of the HOTEL ROOM by the BIG BAD WOLF (DEVON) in this TALE ...

which means she may also be PREGNANT by him when she's united again with the actor who plays the part of SMITHY and his son at the end of the story.

And it also appears as if DERN has taken the place of THE PHANTOM in the RABBIT ROOM ...

where she is now the one who will WATCH OVER LOST GIRL ...

the same way as the PHANTOM previously did ...

before DERN SHOOTS HIM and STOPS him from being able to have ACCESS to the RABBIT ROOM anymore.

Because we also see DERN sit there inside the RABBIT ROOM as she WATCHES the BALLET DANCER ...

who wears the SAME RED DRESS as we saw LOST GIRL holding up to her NAKED BODY at the begining of IE.

So instead of the RABBIT ROOM being a WOMB like SPEAR thinks it's suppose to be ...

THE RABBIT ROOM also appears to be the place where one can WATCH OVER LOST GIRL and see what happens to her ...

the SAME WAY as LOST GIRL could WATCH OVER NIKI inside of ROOM 205 where she WATCHES what happens to DERN on that other MONITOR in that ROOM ...

until the TIME when TIME begins to FLOW in the RIGHT direction again ...

at which TIME LOST GIRL goes back to SMITHY'S HOUSE or to SMITHY'S WORLD ...

and LANI and LORI may also return back to THEIR WORLD again ...

probably back to the 1930/40 WORLD where we saw them standing on the SNOWY STREET in POLAND as the CINDERELLA COACH drives by.

But this other BEATEN UP TWIN COPY of DERN isn't back in LA again.

She's most likely STUCK or TRAPPED inside of the RABBIT ROOM ...

where she will probably also stand WATCH over LOST GIRL ...

until the NEXT ACTRESS comes along to take the part of the NEXT SUE BLUE in the NEXT AXXON N TALE.

And it is only the TWIN COPY of DERN who wears the PALE BLUE DRESS ...

like the STYLE that we see her wearing in BLUE VELVET ...

who gets to remain sitting there inside of THE PALACE at the end.

And the other ABUSED and BEATEN UP COPY of DERN has apparently also taken the place of LOST GIRL.

Because that's most likely also a PART of THE CURSE ...

To GET LOST in TIME and SPACE ...

and INSIDE of the PART of SUE BLUE ...

once one takes the ROLE and attempts to PORTRAY IT.








And CRAWLING on the PLANET'S FACE

ARE CREATURES called THE HUMAN RACE

LOST in TIME

and LOST in SPACE

and MEANING ...

SO LET'S do the TIME WARP AGAIN ...

YOU gotta SWING your HIPS NOW ...

JUMP UP

JUMP BACK

and do the LOCOMOTION with me


http://www.youtube.com/watch?v=5ySTSId8OU4

OLDER ORIGINAL VERSION found here:

http://www.youtube.com/watch?v=Rtkdo7bOmJc




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[deleted]

You've LOST ME LP.

WHO is LB ???

Who IS IT you mean when you say LB???


AND Here's a youtube clip of the LIGHTENING SCENE to which you refer:

http://www.youtube.com/watch?NR=1&v=Y4hj40yH39I&feature=endscreen

Where we also see DORIS SIDE HIDE behind a TREE ...

like we see the PHANTOM doing ...

when DERN goes over to CRIMP'S HOUSE ...

and finds him with the LITTLE RED LIGHT BULB in his MOUTH ...

before DERN picks up the SCREW DRIVER???

SO is DORIS who chases DERN also suppose to be THE PHANTOM
???

And No xxpo has no TATTOS. Do you have any tatoos LP???

And Does LIFE imitate ART or does ART imitate LIFE???

This stuff about 3 MURDERS where 3 bodies had their throats slashed and POT sprinkeled onto their bodies ... along with $5K in cash ... having a CONNECTION to the BOSTON BOMBING and BOMBER ... seems just as BIZZARE as JOE KILLING 3 people and the POOR innocent VACCUM CLEANER (instead of the poor innocent PRESSURE COOKERS) in MD.




ANYHOW ...

So what's this about LB tunnels into LG ???

Watch that scene again.

Looks more like a TUNNEL of some kind takes us into the RABBIT ROOM where we see that

LITTLE RED LAMP ...

the one that the DERN who kills KIDDO use to keep on the BACK PORCH where she sleeps ...

because it also use to belong to her MOTHER.

And what gives you the impression a STORM is going on outside the ROOM where LG sits???

Also looks like the STORM takes place inside of SMITHY'S HOUSE ...

where the DERN WHO SITS in the CHAIR ...

has HOOKERS or some kind of human figures FLOATING around ...

before she finds herself OUTSIDE on the WALK of FAME in LA ...

with them saying HELLO and laughing at her ...

(before she MAKES FUN of the other girl in the BLACK and WHITE scene ...

with the BLURRY FACE ...

WHO also looks like she has the FACE of a RABBIT at the beginning of IE) ...

(BLURRY FACE that looks like it's a RABBIT FACE can be seen here):

http://www.youtube.com/watch?v=FnDBJyXxP64&feature=related

when DERN says:

SHE'S A WHORE

WHERE AM I ???

SHE'S AFRAID.






LB sees all the hookers on the street and even sees LG on the other side of the street being beset by these hookers.



Also don't recall a scene where DERN (as LB)??? sees LG on the other side of the STREET???


what does LB do next? Well, how about we tunnel bore right into LANI's brain and IN THERE we find not the Marketplace mind you, no, but THE ALLEY BEHIND the marketplace, yes this is the way to the Palace...




xxpo recalls the scene where we TUNNEL into LANI'S BRAIN ...

as she stands on the STREET in LA ...

and then we suddenly find her standing on the SNOWY STREET in POLAND ...

but you've LOST ME again when you say we find the ALLEY behind the MARKET PLACE that leads to the PALACE???

Which PALACE???

The one where DAVID studied how to MAKE FILMS???

(After liviing in the SLUMS of PHILLY it also must have seemed like a FAIRY TALE to him to end up there inside of that other PALACE SETTING) ...

The one where GRACE as THE NEW NEIGHBOR arrives to VISIT DERN as NIKI GRACE???

Or do you mean The other PALACE with the PINK WALLS ...

where THE PHANTOM visits with JANEK ...

( after JACK RABBIT MORPHS into his HUMAN FORM and then back into his RABBIT FORM again) ...

after the end of that VISIT where he says he wants an OPENING???

Since xxpo has trouble trying to FOLLOW whatever it is you're trying to say ....

maybe you can also explain a bit more about what it is that you see LP???




OMG.

On the RACHEL SHOW they showed a BLACK man holding a FRESHLY BLOODY KNIFE and MEAT CLEAVER as he LECTURES other people on the STREETS of LONDON about how they need to leave MUSLIMS alone???

Now she's also connecting this ACT of TERROR back with the BOSTOM BOMBING ...

and it feels like one has ENTERED into an AXXON N DOOR again or fallen into another LYNCH FILM AGAIN???

Unfortunately it also sounds like the soldier who was attacked with the BLOODY KNIFE and the MEAT CLEAVER is dead.

http://www.youtube.com/watch?v=Dtkp_nUumqM




Here's another youtube clip where you can also see the LIGHTENING SCENE and JACK MORPHING and DISAPPEARING at the DOOR:

http://www.youtube.com/watch?feature=fvwp&v=GZFrvOgx_Sw&NR=1












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[deleted]

LYNCH himself tells us MD and IE are both FILMS about the FILM INDUSTRY.

So if one makes it a story about a girl with 2 HEADS (like the case with DR. JEKYLL/MR. HYDE), or a story about someone who has a SPLIT PERSONALITY where her CONSCIOUS MIND fights with her UNCONSCIOUS MIND, then that also changes things.

Because instead IE being a story about the FILM INDUSTRY, like LYNCH said,

what you've said turns it into one where the main focus is a PYCHOLOGICAL drama about a girl with 2 SIDES of her personalities doing COMBAT WITH one another.

But THE PHANTOM in IE also seems to be a character more like BOB than like the MYSTERY MAN in LOST HWY ...

the MM who only seems to have an influence upon ONE person in that story ...

whereas BOB and THE PHANTOM also seem to have POWER and CONTROL over several other characters in TP and in IE.

We also have NO INDICATION that MR. K is a THERAPIST EITHER.

For all we know he may be another DETECTIVE like the one DORIS SIDE is seen talking to ...

who is searching for THE PHANTOM ...

who DORIS said had HYPNOTIZED her and told her she would KILL someone with a SCREW DRIVER???



CONFUSING TRANSCRIPT from MTTH where The PHANTOM TORMENTS NIKI while she speaks to DEVON on the phone:




One COPY of DERN looks down at the other COPY of her laying on the BEDROOM floor of NIKI'S PALACE.

THE PHANTOM

You don’t remember?

DEVON
Nikki. Nikki. I can hardly hear you. Better question is: where are you?

THE PHANTOM

You don’t remember? Do you understand?

DEVON
Speak into the phone.

NIKKI
Nah, cause I didn’t kill anybody.

DEVON
What?

NIKKI
I didn’t kill anybody.

THE PHANTOM

But are you sure?

DEVON
Are you crazy? What are you talking about?

THE PHANTOM

Tell me everything.

NIKKI
‘Cuz I’ve never been there. I don’t know where that is.

THE PHANTOM

Isn’t it so, right?

NIKKI
I don’t even know where that is.

DEVON
NIKKI.

Static overwhelms line, and we cut to the RABBITS.

SUZIE RABBIT
THERE IS SOMETHING HERE.


NIKKI
Listen.

THE PHANTOM

Do you hear?


DEVON
I gotta go now.

NIKKI
There is something here. Hear that?

THE PHANTOM

It glows within me. Like gold.


NIKKI
Something here.

DEVON
I don’t hear anything.

NIKKI
Something here.

DEVON
Go to bed, Nikki.

NIKKI
Last night…

DEVON
What about it?

THE PHANTOM

It could have destroyed a dream, right?

NIKKI
Your voice is frightening me.


NIKKI
I want you to come round. Why don’t you come round? I can’t sleep anymore. I can’t even sleep. I can’t even go to sleep. I just want to go to sleep.

THE PHANTOM

It wasn’t me. Maybe I *beep* you a few times…

DEVON
Nikki, are you still there?

NIKKI
Tell me the truth.

DEVON
What do you…what do you mean? What do you mean, Nikki?

CUT TO where DERN was standing before, observing – it’s the exact same space, but DERN is now gone. POV of a shaky camera, running to a locked door. JUMP CUT to DERN in formal dress looking on, suddenly breaking out in a deranged laugh.

Back to NIKKI on the floor.

NIKKI
WILL YOU STOP *beep* WITH ME? STOP IT!




Is that the way you see this scene LP???

As NIKI's CONSCIOUS MIND fighting with her UNCONSCIOUS MIND???

Or is something else going on in this SCENE???





After xxpo did some research (like you) here's what xxpo found:

LauraPalmtree (Sat Sep 1 2012

it sounds like Susan Rabbit is the phantom. if Susan is the phantom that means that nikki is going to have to kill someone that looks a lot like herself... yes/no?

LauraPalmtree (Wed Dec 12 2012

looks like Sue as a spirit comes up out of the old polish folktale when the film is being made and kills out of revenge or something and then tries to make it look like somebody in the original 47 film crew is guilty by the use of hypnosis or something, so a remake is made to expose the real killer. "Sue Phantom" seems to be talking to "Sue Blue" about "Sue Rabbit". Could that be rewritten as: "Sue Phantom"(old Sue, aka visitor1) seems to be talking to "Sue Blue" (niko/nikki) about "Sue Rabbit"(young Sue from polish days) This all is still not clear in my mind but it means that LG is Young Sue (sue rabbit) and the phantom is Old Sue (visitor 1) and Sue Blue is niko/nikki. In the original polish story somebody got pregnant.


So is this a NEW LP xxpo is talking to now???

Or has the OLD LP changed their mind about what they said before???


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[deleted]

I think the MAIN POINT of the FILM is LYNCH wants us to feel LOST. He also SUCCEEDS after the end of DERN'S DEATH SCENE when we're so CAUGHT UP in the HORROR of what's just happened (the BRUTAL FU*CKING MURDER) that we've FORGOTTEN WHERE WE WERE and then FEEL SHOCKED and DISORIENTED when the CAMERA pulls back to reveal we're on a FAKE TWIN COPY of the WALK of FAME.

And this scene is probably also the CLOSEST we've ever come to feeling what it must feel like to an ACTOR to COME BACK out of character again???

Surely they must also feel the same kind of DISORIENTATION sometimes when someone yells CUT and they're no longer that character anymore???

The possibility that LOST GIRL has also had sex with DEVON in the FAKE TWIN COPY of the HOTEL ROOM is also pretty cool.

Because this may also mean she's pregnant and the CURSE will follow her from the inside of the SCRIPT OUTSIDE of it into REAL LIFE ...

when she meets LUCAS ...

the actor who is probably also her HUSBAND ...

inside of the FAKE TWIN COPY of SMITHY'S HOUSE to celebrate having completed their ROLES in the FILM.

So even though the DREAM of an INNOCENT CHILD has come true (like the song lyrics are saying), which may be to have his parents united again, there's also the chance the CURSE is about to play itself out all over again when she announces she's pregnant again???

Then Lucas who may also have had a VASECTOMY gets pissed and reminds her how he can't father children???

So he takes off and takes another a FILM ROLE overseas, but when he comes back again the actress who plays LOST GIRL is gone???

So he searches for her but can't find her???

And then he also begins to feel like his life is like the STORY in the CURSED SCRIPT???

Anyhow I also like your idea about how SUZY RABBIT MURDERS someone and then tries to BLAME it on someone else from 47.

Maybe someone from 47 also murders someone and then tries to blame it on someone else from the BLUE VERSION???








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[deleted]

LP said:



looks like Sue as a spirit comes up out of the old polish folktale when the film is being made and kills out of revenge or something and then tries to make it look like somebody in the original 47 film crew is guilty




Here are some of the BASIC SETTINGS that we find in the 3 PART Structure of IE:

PART 1 Making the MOVIE: Room 205/DERN'S HOUSE/STAGE 4

PART 2: SMITHY'S HOUSE/Street in Poland

PART 3: BILLY'S HOUSE/ FAKE TWIN COPY of WoF/Room 205/Apt 47/ Dern's HOUSE


There's also other settings such as MR. K's room and the NIGHT CLUB.

Anyhow, in PART 1

we begin with TALK of DERN getting the part, and we also see PRE PRODUCTION scenes before we see her MAKING the FILM ...
like when we see the CELEBRITY INTERVIEW about MAKING it, before we see other SCENES of it being made, where we keep hearing *CUT* called out.


PART 2

also seems to be a PART of the FILM as well, due to what we hear KINGSLEY saying in the REHEARSAL for SCENE 35:


Lets take, for instance,
scene 35...

196
00:26:19,119 --> 00:26:25,166
... the scene where Devon...
you arrive,

197
00:26:25,166 --> 00:26:32,569
... Billy, at Smithie's house to find Sue,
--Nikki-- looking out the window.





So DERN ENTERING the AXXON N DOOR in the BACK ALLEY of STAGE 4 ...


where she finds herself at an EARLIER TIME REHEARSING for SCENE 35 ...

before she RUNS AWAY from DEVON and into SMITHY'S HOUSE ...

is obviously also a PART of the MOVIE SCRIPT ...

which also means the NEXT SCENE ...

where we see the Scene outside the WINDOW MORPH ...

from being inside of STAGE 4 to the OUTDOOR SETTING ...

would also be a PART of the MOVIE SCRIPT.


Because DERN also calls out BILLY'S NAME in this scene (and BILLY is also a CHARACTER in the MOVIE SCRIPT).

And she also tries to call BILLY on the PHONE ...

but the call gets sent to the RABBIT ROOM.

SO ...

is that BILLY in his RABBIT FORM who picks up the PHONE???

Because in PART 3 of IE ...

we also VISIT BILLY in HIS HOME ...

which also means PART 3 still has to be about MAKING the MOVIE (because BILLY is also a CHARACTER in the MOVIE SCRIPT).

So here's another QUESTION regarding what LP said about characters from one VERSION of the STORY sneeking into other VERSIONS:

Who is that standing there at the TOP of the STAIRS in NIKI'S PLACE???

Is that PIOTREK, or could that also be SMITHY or the MUSTASH MAN from POLAND ...

who SNEEKS into DERN'S WORLD after he uses the AXXON N DOOR ...

the SAME WAY as DERN finds her way into SMITHY'S WORLD after she used the AXXON N DOOR in the back of STAGE 4???

So in addition to TIME being ALL MIXED UP (after DERN ENTERS the AXXON N DOOR in the BACK ALLEY) ...

maybe we also have characters from each VERSION of the STORY also all MIXED UP and in the WRONG places as well???















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Why isn't the Polish story part three?

Structurally, Sue Blue is the FMW. There is no real reason to view them as separate characters.



It is better to be a human being dissatisfied than a pig satisfied.

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The BREAK between PART 2 and PART 3 seems to come where DERN LEAVES SMITHY'S HOUSE, gets into a CAR, and drives over to BILLY'S HOUSE.

Then after Doris SLAPS HER ...

the PHANTOM does some kind of FINGER WIGGLING at DORIS SIDE ...

a repetition of what we've also seen the other girls doing on the STREET IN POLAND where the CINDERELLA COACH pulled by 2 horses drives by ...

after which there's lots of LIGHTENING FLASHES and other SOUNDS ...

as DERN sits in the chair of the LIVING ROOM of SMITHY'S HOUSE and SCREAMS ...

before finding herself on the FAKE TWIN COPY of the WALK of FAME where she does her DEATH SCENE.

And after DERN ends up on the FAKE TWIN COPY of the WALK of FAME we NEVER seem to see any more SCENES in POLAND???

So where would you place the BREAK between PART 2 and PART 3???

Since LYNCH also said DERN plays the parts of 4 different CHARACTERS ...

trying to follow which CHARACTER she is would probably also NOT be a very good way to try to keep track of things that are happening in the story???

And what about the CALL to BILLY that gets sent to the RABBIT ROOM???

Is that BILLY in his RABBIT FORM who picks up the phone???

Since LUCAS also says:

I'M NOT WHO YOU THINK I AM

in the scene where he BEATS DERN (like we see the PHANTOM BEATING LG in POLAND)

WHO is that standing there at the TOP of the STAIRS in NIKI'S PLACE???

Could that be SMITHY or the MUSTASH MAN from POLAND instead of it being PIOTREK???

You haven't even addressed either one of those 2 QUESTIONS regarding how CHARACTERS in the STORY also seem to be ALL MIXED UP like TIME ITSELF is also all MIXED UP after DERN enters the AXXON N DOOR in back of STAGE 4.













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Structurally, Sue Blue is the FMW. There is no real reason to view them as separate characters.


According my view Laura Dern plays indeed four roles. In hierarchical order:

1. The blonde in house 1358 - aka The Real Woman in Trouble
2. The foul mouthed story telling bitch (monolog lady) - representing the blonde's low self esteem.
3. Nikki Grace - the imaginary actress getting/having a role in On High In Blue Tomorrows
4. Susan Blue - the character in OHIBT.


...Credo quia absurdum...

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The problem with your structure XAV is how we also see DERN INSIDE of SMITHY'S HOUSE ...

before she ever enters the entrance to it with the 1358 number ...

when she does the BLUE BEDROOM SCENE ...

where she MORPHS from being SUE into being NIKI ...

and then getting UPSET when BILLY has no idea why she's calling him DEVON.


So what's going on in that BLUE BEDROOM SCENE???

Is DEVON the MAN IN TROUBLE???

Because he's the one we see STUCK inside of his ROLE instead of NIKI???

Or is this scene there to LET us KNOW that NIKI/SUE and DEVON/BILLY are BOTH CHARACTERS in the ON HIGH MOVIE SCRIPT???



And IF that's the case ...

then DERN would also be required to portray a DUAL ROLE in this FILM ...

just like NAOMI did in MD where she plays the DUAL ROLE of BETTY/DIANE ...

and the other actress plays the DUAL ROLE of RITA/CAMILLA.

So instead of a WOMAN in TROUBLE in this BLUE BEDROOM SCENE ...

it appears we have A MAN in TROUBLE ...

one who also is so FREAKED OUT by the:

DAMN. THAT SOUNDS LIKE DIALOGUE from OUR SCRIPT scene

that he speaks to the PRODUCER of the film who reassures him nothing bad happened to the other actors who portrayed the ROLE before him.









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Yeah, confusing, isn't it? Have you ever had this feeling of entering a scene in a movie, whereas life itself just progressed, yet the emotional charge sort of cut off from how you would normally go with the flow? Not a deja-vu kind of experience, but something close to it. As if you've seen the situation on TV or in a theater or movie or read about it in a book. Fiction becomes reality. Well, the woman in trouble, uhh Lynch, uhh, the blonde in 1358, reverses this experience. She forcefully casts her traumatic real life events into and onto an imaginary script and movie.

"Is there a murder in your film?" (the blonde's conscience speaks)
- "No, it's not part of the story." (denial)

Notice that in stage 4 the movie prop called Smithy's house is blocked out by black screens labeled with numerous numbers 10. I've seen those black screens (blinds) in a street close to where I live, recently. I was on my way home, at night, on my bicycle. Normally I would turn left around the corner, but this time the road was blocked by those bloody pitch dark black two meter-heigh screens. So, I had to make another block around to finally arriving home. Then I started reading the news on the internet. It just happened. Indeed there was a murder. A woman shot her husband because of, you guessed it, marital problems. The man was a two-timer, and the woman herself worked in a night-club, here in my hometown near the harbor. Another juicy detail, a week before the actual murder, I passed by that same location again riding my bicycle as usual, this time a huge plant and a broken pot with dirt were lying spread out on the road. The front window of an apartment above was broken. Glass fine everywhere. Can you fücking believe that?

See what I mean?

...Credo quia absurdum...

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Ok. Just watched that scene AGAIN ...

and I was WRONG ...

because the HOUSE NUMBER is already there ...

along with the FRONT part of SMITHY'S HOUSE ...

which is also already PAINTED BEIGE.

But DEVON also walks to the BACK of it which only has some wooden BUTTRESSES holding it up ...

so there's definitely NO LIVING ROOM attached to it yet.

But you are also WRONG about PROP NUMBER 10 being SMITHY'S HOUSE.

Because that's the FAKE TWIN COPY of the STREET in POLAND.

Note the way DEVON comes from all the way at the BACK of the STAGE and WALKS PAST PROP 10 on his way back to the TABLE.

Also NOTE at TIME MARK 25:18 ??? on the REGION ONE DVD how SMALL the REHEARSAL Table looks ...

in comparison to PROP 10 ...

when we see the Table from the other DIFFERENT ANGLE ...

where we're looking at it from the perspective of KINGSLEY ...

And we can also see what looks like those 2 BIG Y2K LIGHTS they've got set up there on the other side of the table.

PROP 10 is HUGE.

About the size of an entire CITY BLOCK.

And we can also see a picture of PROP 10 (a PAINTING of the SNOWY STREET in POLAND) which is sitting SIDE by SIDE next to the REAL PICTURE OF THE REAL SNOWY STREET in POLAND at the ITALKYOUBORED LINK (if you also SCROLL WAY DOWN to see it).

http://italkyoubored.wordpress.com/2012/06/21/david-lynchs-inland-empire-an-attempt-at-a-roadmap/

Anyhow, what was on these screens???

Were they there to BLOCK off the MURDER SCENE???

Or was someone making a movie???

Has LYNCH been over there in the LAND of WOODEN SHOES making a film???

There's a woman over here who is HOUSE HUNTING.

What's weird is the way she keeps finding HOMES in the area where xxpo use to hang out back before she got fed up with them and when she still dated boyfriends.

So each time this woman finds a home, that also looks (on GOOGLE MAP) like it might be the former home where one of xxpo's BF's use to live, that also makes xxpo kinda feel like someone's doing some research so they can make a movie of xxpo's former life.



And SHAKESPEARE's character also sees all the WORLD as being ONE BIG STAGE:

Life is but a WALKING SHADOW ...

a POOR PLAYER that STRUTS and FRETS IT'S HOUR UPON THE STAGE ...

and then is heard NO MORE ...





So where did this woman shoot her hubby??? Did she shoot him in the head???

I still also think that's a HAMMER someone used to KILL the MUSTASH MAN with ...

because it also looks like the 2 pieces of BRAIN MATTER that lies NEXT to the DEAD BODY was pulled back out again with a HAMMER ...

like the ONE that we see the guys the HOT DOG PARTY fighting over???

Because if he was SHOT with a GUN, then the BRAIN MATTER probably also wouldn't come back out like that again, but would most likely have gone out the back of the head and landed elsewhere.








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I still also think that's a HAMMER someone used to KILL the MUSTASH MAN with ...

You're right about that.




It is better to be a human being dissatisfied than a pig satisfied.

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But what if that's the MUSTASH MAN or SMITHY who stands at the TOP of the STAIRS looking down at DERN (as Niki) when she gets the call from her AGENT GREG to let her know she's gotten the part???

Then could the CORPSE that we see with the 2 PUNCTURES in it's head be PIOTREK who has used the AXXON N DOOR ...

and is STUCK back inside of the 30/40 TIME FRAME ...

like DERN seems to be STUCK inside of SMITHY'S 60 TIME FRAME ...

after she uses the AXXON N DOOR in the back of STAGE 4???






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Mustache man is LGB (Lost Girl's boyfriend) in the Polish story. He becomes the husband in the Niki/Sue stories. Dern plays the adulteress whereas her Polish equivalent is the wife who was cheated on.

I'm not interested in characters time traveling through magic doors. My approach from the beginning was too infer as much as possible from the Polish, use other material from the film to fill in the holes, and then understand the Nikki/Sue problem in that context.



It is better to be a human being dissatisfied than a pig satisfied.

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This is not a painting: http://i.imgur.com/L6QUt.jpg


...Credo quia absurdum...

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Are you saying the SCENE that we see in the ITALKYOUBORED LINK is NOT a PAINTING of the SNOWY STREET in POLAND???

Look at it again.

It sits RIGHT NEXT to a PHOTO of the REAL SNOWY STREET in Poland.

Look at the RIGHT HAND SIDE of it.

You see what looks like it might be a WINDOW SILL.

But what he's done is CUT OFF the point where he ceases to keep PAINTING what it is we see in the other PHOTO that sits NEXT to it.

And The reason why we also KNOW he has a FAKE TWIN COPY of the PAINTING of the STREET in POLAND is because we also SEE IT ...

in the Scene before we ENTER the other RABBIT ROOM in POLAND ...

where the 3 HALF HUMAN/HALF RABBIT MEN give LUCAS the GUN ...

and we also see PROP 10 again in LA ...

which is sitting in the BACK WINDOW ...

when DERN climbs up the STAIRCASE inside of the CLUB in LA ...

that leads her to the ROOM of MR. K.

So there's also NO WAY LYNCH could have REALLY FILMED a SCENE in POLAND that sits OUTSIDE of a WINDOW in LA.

RIGHT???

So LYNCH creates PROP 10 ...

or this FAKE TWIN COPY of the POLISH STREET ...

or MAKES A PAINTING of it ...

so he can USE IT ...

the same way as he also MAKES the OTHER FAKE TWIN COPY of the WALK of FAME for DERN'S DEATH SCENE.

This is probably also the reason why he TELLS US IE is a FILM ABOUT THE FILM INDUSTRY.


Because he also keeps constantly USING these MOVIE PROPS in this story as a way to MAKE THINGS look like they MAKE NO SENSE.

So he's also like a MAGICIAN GONE MAD with the USE of his PROPS ...

who (in the IE DOCUMENTARIES) also keeps showing us how he uses them to do HIS MAGIC TRICKS ...

which is also a part of the reason why (at least imo) IE is such a MASTER PIECE of FILM MAKING.

To put it still another way ...

one could also say IE is the ULTIMATE REALITY SHOW ...

whenever it comes to showing us the HISTORY of FILM MAKING ...

(which also includes the history of RADIO which was used to tell a STORY before FILM).

And IE also shows us how a FILM is REALLY made in so many OTHER WAYS as well ...

such as in the SCENE where BUCKY JAY gets that CRAMP, can't get the LIGHTING RIGHT, and gets replaced by PETE.







PS: The closest IE comes to another REALITY film about THE FILM INDUSTRY is POSTCARDS from the EDGE ...

another STORY about the FILM INDUSTRY and the EFFECT that it has on an ACTRESS ...

a film where we also see FUNNY THINGS that keep happening ...

like the PROPS behind the ACTORS suddenly being MOVED AWAY by the FILM CREW ...

or like another scene where MERYL STREEP is suppose to be HANGING off the LEDGE of a HIGH RISE BUILDING ...

and she's let's go of it with BOTH HANDS to reveal how it's only still MORE MOVIE MAGIC that we see.


http://www.youtube.com/watch?v=gSm7CJNzEFY


AT THE 1:10 TIME MARK you can also see THE PROP of the HOUSE with the FRONT PORCH that sits behind and to the left hand side of Dennis ...

(THE BIG BAD WOLF in this TALE who also has SEX with all the other ACTRESSES in the film like DEVON/BILLY does) ...

being SHOVED AWAY.




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Can you include one URL to just one picture, the way I did? Not that it really matters, because it won't falsify my theory in anyway, but just for the sake of reliability. All I am saying and keep on saying is that reality takes place in house 1358, which by definition makes all the rest of the movie, all the rest of the scenes, unreal. So everything we see in stage 4 is unreal, an imagination, a fantasy of the blonde about the world of film making. The length of the black screens bearing those numbers 10 is too long for blocking out Smithy's house? Great argument. Not. Again, all we really know is that Lynch made at least two copies, one of house 1358 and the other one of the Walk of Fame. The first one creates the illusion of the real world being a prop, it catches the audience in his web full of unreal episodes in which one lurks the real one; house 1358. The latter for raising the curtain behind the world of illusions, and it evokes a feeling of "WTF" she's not dead, she's just an actress playing a role.

So there are more reasons to think that this WoF copy lies hidden behind those screens than some winter Polish street. Why would he need such copy anyway? He never pans out the camera to show 'us' this Polish world is a fake one. It makes no sense. Notice also that in Lynch One those black screens are also seen on the real Walk of Fame. Lynch is really trying to be very helpful by showing this.

Anyway, just remember, house 1358 depicts reality in all its living glory.

cheers,

Xav

Please refrain from decorating text as much as possible. Thanks.

...Credo quia absurdum...

PS. Please us URL tags and shorten the URL if its size is longer than about 60 characters. Much appreciated.

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If you want the URL to the ITALKYOUBORED link just type ITALKYOUBORED INLAND EMPIRE LYNCH into GOOGLE and it will pop up for you. If you want one picture, then NO I also have NO IDEA how to do whatever it is that you do.

We've heard your REALITY THEORY before. Many of us don't agree with it, anymore than we agree with Spear's OMT. Or any of you agree with the interpretation xxpo gives you.

C'est la vie whenever it comes to IE. No one seems to agree with anyone.

BLOCKING is a PROCESS where the ACTOR walks to the PART of the STAGE where they will say their LINES.

So the length of PROP 10 or the SNOWY STREET in POLAND also has nothing to do with SCENE 35 (which requires DEVON to WALK over to SMITHY'S HOUSE).


Maybe if you'd stop seeing everything as NOT REAL in this SCENE then you could also focus more upon it and upon the MAJOR IMPORTANCE that it has in this story?

Because this is the PART of it where DERN ENTERS the AXXON N DOOR for the FIRST TIME,

after which TIME GETS ALL MIXED UP,

along with DERN herself who also gets TRAPPED inside of the 60 TIME FRAME.

Thus resulting in both TIME and CHARACTERS being ALL MIXED UP.

The beginning of this TOPIC also explores this ISSUE in great DEPTH and DETAIL ...

discusses WHEN, WHERE, and HOW how this happens ...

and includes QUOTES from the SUBTITLES to PROVE what's being said.

So saying you disagree, simply because you think EVERYTHING isn't REAL, is also NOT an adequate response to disprove what's already been proven.

Such a claim makes you sound very much like SPEAR with his OMT.

To put it still another way, simply saying something doesn't MAKE IT SO.

Because you also need to PROVE IT.

If you can't see the reason why that's a FAKE TWIN COPY or a PAINTING of the SNOWY STREET in Poland, so be it.

It's your choice to Stick to your own interpretation and to see whatever you wish.

It's also my choice to REJECT your interpretation that NOTHING inside of STAGE 4 is REAL.

Because when MARLEY shows SCROOGE the FUTURE TIME (the same way as the NEW NEIGHBOR does DERN),

and what would happen IF Scrooge took that pathway into the FUTURE where TINY TIM DIES,

that was also a REAL SITUATION and NOT just something being IMAGINED.

DERN'S DEATH scene EVOKES so much more than you give it credit for.

It places WE the VIEWER into the SAME SITUATION as the ACTRESS.

It makes us feel just as LOST and as DISORIENTED after the END of that scene as the ACTRESS who portrays it must feel after having done it.

It's also one of the 3 MAIN REVELATIONS in the STORY:




1. DERN'S

2. OUR'S

3. LOST GIRL'S

REVELATIONS which also DEPEND upon our having a FIRM GRASP and UNDERSTANDING of the way in which these FAKE TWIN COPIES have been USED in the story.




1. DERN'S REVELATION is she's been having SEX with the SAME GUY as all of the rest of the girls have been screwing. Because Why else do they all know about that little thing that he does?

2. OUR REVELATION comes after DERN'S DEATH SCENE ... where we discover WE'VE also been LOST like LOST GIRL ... by thinking we were really located on the WOF ... when we were REALLY INSIDE of THE FAKE TWIN COPY of the WOF ... which is located inside of STAGE 4.

3. LG's REVELATION is the same as DERN'S and OUR'S:

She realizes she's also been having SEX with the same BIG BAD WOLF as DERN (and all of the other girls that he's SEDUCED), and that he's also taken her to the FAKE TWIN COPY of the HOTEL ROOM ... THE FAKE COPY which is also located inside of the MOVIE LOT... because THE WOLF also knows if he took LOST GIRL to a REAL HOTEL ROOM then the SPIES of MARILYN would also CATCH him at his PREDATORY behavior and REPORT it to the rest of the WORLD ... which would also PREVENT the BIG BAD WOLF in this AXXON N TALE from being able to SEDUCE other PREY who would then be able to see how he's a WOLF who WEARS the CLOTHING of a SHEEP.





Look at the FAKE TWIN COPY of the WoF after the 3 HOMELESS people get up. It's even smaller than the entrance to SMITHY'S HOUSE.

That means PROP 10 has to be FAKE TWIN COPY of THE SNOWY STREET in POLAND.

It's also how we're able to see it sitting there OUTSIDE the WINDOW on the STAIRS that are located in LA.

Sorry about how none of this fits in with your NOTHING is REAL THEORY, but that's also the way it is.

The FAKE TWIN COPY of the SNOWY STREET is also USED to TRANSFER us to the RABBIT ROOM in POLAND where we see the 3 HALF HUMAN/HALF RABBIT MEN MORPH back into being RABBITS AGAIN AFTER MIDNIGHT (the time when the MAGIC SPELL wears off in FOLK and FAIRY TALES).

Yes LYNCH has been helpful to us, but apparently the things that he REVEALS TO US has also not been understood yet by you. And as long as you continue to keep clinging to your NOTHING is REAL theory, it's highly unlikely you will ever understand what's going on or what's he's done.

At least that's the way I see it.

And you are also perfectly free to REJECT this interpretation, stick to your own, and NOT see things this way.































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Yeah, I already expected that what I was asking from you, would be too difficult, and apparently even the next line is something you can not remember:

Anyway, just remember, house 1358 depicts reality in all its living glory.

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[deleted]

A blonde woman sitting all alone with her back against the wall is as real as you will ever get to see it in a Lynch movie.

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as real as you will ever get to see it in a Lynch movie



Ever notice how LYNCH is quite fond of CUTTING OFF BODY parts and doing other GORY things? The MOTHER'S FLAT as a PANCAKE HAND, KIDDO'S HEAD and his PENIS, the EYE of the RAPIST, the SCREW DRIVER STUCK in the GUT, 6 guys puking in his short film, the BLOODY STUMP of the leg shooting out BLOOD in another short film, DERN PUKES up BLOOD on the WoF, ETC.

So Perhaps using the word SURREAL would also be a better way to put it?

Because, imo, that scene where she sits in the RAIN is also the DERN who's just KILLED KIDDO and set his HEAD and his other body part on her SHELF in the FRIDGE.




The Scenes that take place in BLUE VELVET also seem REAL enough ...

even though we also ENTER a part of the STORY by the CAMERA going into the CUT OFF EAR ...

and then we also EXIT from that EAR at the END of the TALE.

But that still doesn't mean what takes place in between this TIME is NOT REAL.


The SCENE in IE where we also have THE Y2K SHINE it's BRIGHT LIGHT onto NIKI and DEVON ...

as they sit BACKSTAGE inside of a DARK ROOM ...

also looks REAL ENOUGH as well.

Because this scene also shows us there's NO CHEMISTRY whatsoever between this ACTRESS and ACTOR,

thus also making that scene look REAL,

whereas the rest of the scenes we see them doing all seem to look like they're doing SCENES from a MOVIE that they're making.

Like was pointed out to you before, you are certainly welcome to see the situation however you chose ...

but the way in which you see things also does NOTHING to DISPROVE the way that someone else sees things ...

or prove they're WRONG whenever they see things differently from you.





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Actually 'we' were discussing Laura Dern's 4 roles. That's why I showed how the structure of my interpretation neatly complied. Then you claimed I was wrong and referred to Smithy's house in stage 4. But now it seems that all you could offer in supporting this claim was your own personal view, and no facts or details from the movie.

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PLEASE NOTE how This quote below was being DIRECTED back to MPAK ...

and not back to YOU Xav ...

who weren't even a participant in the discussion at the time ...

(except for posting your usual EXTREMELY RUDE and SNIDE remarks back to it ... in one of your TYPICAL efforts to try to SABATOGE IT):

Since LYNCH also said DERN plays the parts of 4 different CHARACTERS ...

trying to follow which CHARACTER she is would probably also NOT be a very good way to try to keep track of things that are happening in the story???




PLEASE also NOTE this:

How the SUBJECT and the TITLE to the this TOPIC is also ACTUALLY an ANALYSIS of IE Scene by SCENE.

And a BASIC STRUCTURE of the BASIC SETTINGS that we find in the 3 MAIN PARTS of IE was also offered up as a way to try to place the SCENES that we find into a situation where we could ANALYSE them more easily.


Then you try to CHANGE the discussion, by posting this OTHER STRUCTURE that contains YOUR INTERPRETATION.

So an effort was made, ON YOUR BEHALF, to try and show you the REASONS why YOUR INTERPRETATION DOES NOT WORK, no matter HOW neatly you may think it's been complied.

The problem with your structure XAV is how we also see DERN INSIDE of SMITHY'S HOUSE ...

before she ever enters the entrance to it with the 1358 number ...

when she does the BLUE BEDROOM SCENE ...

where she MORPHS from being SUE into being NIKI ...

and then getting UPSET when BILLY has no idea why she's calling him DEVON.


So what's going on in that BLUE BEDROOM SCENE???

Is DEVON the MAN IN TROUBLE???

Because he's the one we see STUCK inside of his ROLE instead of NIKI???

Or is this scene there to LET us KNOW that NIKI/SUE and DEVON/BILLY are BOTH CHARACTERS in the ON HIGH MOVIE SCRIPT???


And this was also NOT the FIRST TIME an effort was made ON YOUR BEHALF to explain this to you either. Because xxpo also tried to explain to you before on another topic the reason why what you say MAKES NO SENSE.

But just like before (or like the case with SPEAR and his OMT), YOU once again CHOSE to COMPLETELY IGNORE what you've been told.

As you can see, what you were told is that WE find DERN and BILLY inside of SMITHY'S HOUSE in the BLUE BEDROOM SCENE BEFORE she ever ENTERS the AXXON N DOOR in BACK of STAGE 4 (where you also think REALITY begins).

And you were also REMINDED about how DEVON thinks he is BILLY in this BLUE BEDROOM SCENE.

And you were also REMINDED about how it appears like DEVON is the MAN in TROUBLE in that SCENE.

And you were also REMINDED how NIKI MORPHS from being SUE into being NIKI in that SCENE, yet DEVON remains BILLY.


Then he also FREAKS out after the DAMN THAT SOUNDS LIKE DIALOGUE from OUR SCRIPT SCENE and asks the PRODUCER of the FILM about what KINGSLEY tells him about the ACTOR who had the ROLE before him being MURDERED.

And you were also REMINED about how DERN tries to CALL BILLY once she's TRAPPED inside of SMITHY'S HOUSE (after she enters the AXXON N DOOR), and the CALL gets SENT to the RABBIT ROOM.

And the QUESTION was also PUT FORTH (which was also ASKED more than ONE TIME) if the RABBIT who PICKS UP THE PHONE could be DEVON/BILLY in his RABBIT FORM.

So XAV,

now that we've TAKEN this DETOUR of YOURS ...

is it really ASKING too much for us to GET BACK TO THE TOPIC again ...

or FOR YOU to ADDRESS these OTHER 2 *ON TOPIC* QUESTIONS that were put forth and BEING ASKED ...

about WHETHER or not that's DEVON/BILLY in his RABBIT FORM ...

OR if THE CHARACTER who STANDS there at the TOP of the STAIRS looking down at DERN when she gets the call letting her know she's gotten the PART in the FILM could be SMITHY or the MUSTASH MAN instead of it being PIOTREK???


If you want to discuss YOUR 4 part STUCTURE (which we've already done) and which xxpo does not ACCEPT or AGREE with, then why not BEGIN another NEW TOPIC???

Because THIS TOPIC isn't about YOUR STRUCTURE.

IT'S ABOUT THE TELLING of TIME and the way in which it GETS ALL MIXED UP once DERN ENTERS the AXXON N DOOR in back of STAGE 4.

And it's also about how the CHARACTERS themselves (like DERN and DEVON/BILLY) also seem to GET ALL MIXED UP the same way as TIME does and end up inside of the WRONG TIME FRAME of the STORY.

And that's also the reason why the TOPIC is called AN ANALYSIS of IE SCENE BY SCENE.

And when we MAKE TIME to ANALYSE IE SCENE by SCENE, imo, this also PROVES the reason why your *NOTHING is REAL outside of SMITHY'S HOUSE* theory DOES NOT WORK.

STILL another thing to NOTE is the way LYNCH also talks about THE PATHLESS PATH which is also what DERN TAKES in this TALE when THE NEW NEIGHBOR uses her MAGIC as a way to TAKE her on this JOURNEY of DISCOVERY.

But there's also NO REASON to assume this PATHLESS PATH is an IMAGINARY ONE or to assume that is NOT REAL.











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another thing to NOTE is the way LYNCH also talks about

THE PATHLESS PATH ...


which is also what DERN TAKES in this TALE ...

when THE NEW NEIGHBOR uses her MAGIC as a way to TAKE her on this JOURNEY of DISCOVERY.

But there's also NO REASON to assume this PATHLESS PATH is an IMAGINARY ONE or to assume that is NOT REAL.







LYNCH SAYS his GURU SAYS:

... it's "the PATHLESS PATH."

We don't go from here to there,

we go from here to here.

It doesn't make any sense ...

but much of this is like that.

The world is as you are ...

with these stages you go through you start seeing a different thing,

and a different thing,

and then you see ENLIGHTENMENT is seeing it the way it really is.




Pg 261 LYNCH INTERVIEWS: RICHARD A. BARNEY/2008

SO ...

like the case is with DERN ...

who never moves PHYSICALLY ...

but takes a MAGIC JOURNEY MENTALLY ...

we the VIEWER also do the same thing in this TALE ...

as we also find a way to SNEEK into the STORY and WATCH DERN make this MAGIC JOURNEY.


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[deleted]

[deleted]

"meh. turns out she's not alone. the aforementioned chorus."

Meh! Diane Selwyn is all alone in her apartment, yet some non-real Camilla Rhodes appears right in front of her in the kitchen, yet some non-real creepy creatures creep under the door. Many, not you of course, are convinced that Diane's apartment depicts reality.

Deal with it.


Please refrain from decorating text as much as possible. Thanks.

...Credo quia absurdum...

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No Message

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*NOTHING is REAL outside of SMITHY'S HOUSE*


Correction: Nothing is real outside of the 1358 house. This is a very important difference. House 1358 is real, and Smithy's house is an imagination. You better believe it, because it works perfectly well in understanding each and every detail in the movie, and it provides a simple fundament for a complete and comprehensive story.
Sorry for the interruption.

BTW I thought your were stuck with the "penis"? So just ignore me.

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Ok. So ...

WHERE'S the PROOF of this XAV???

You were also ASKED to PROVIDE us with PROOF of what you say ...

but so far we haven't SEEN any ...

or SEEN you make an effort to POST any SCENES here as a way to try and BACK UP what you say.

All we've seen so far is you saying:

THIS IS THE WAY IT IS ...

and this simply because you SAY SO CLAIM that you've made.

RIGHT???

SO NO ...

IT IS ABSOLUTELY NOT this way ...

SIMPLY because you say so.




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Overview

Here is the premise. INLAND EMPIRE is a story about a woman in trouble that lives in house 1358. She is all alone and she interacts with her inner voices. All scenes taking place outside this confined space of house 1358 depict so called "abstractions". An abstraction is an unreal event depicting a wide range of the protagonist's mental landscape; i.e. a cryptic way of exposing the interior of the principle character.

First, what events take place in house 1358? At approximately the one hour mark in the movie the story arrives at house 1358, where the blonde woman in trouble sits with her back against the wall. Out of the blue the room is crowded by girls who seem not welcome guests in the blonde's world. Notice as the blonde set eyes onto the red lampshade the face of Billy superimposes the lamp, which starts to crackle and flicker as if alarming in a kind of protest. The previous hour her mind drifted away in a fantasy of film-making, aka On High In Blue Tomorrows. Apparently she returned into reality, house 1358, and now she is trying to get into that fantasy world again, albeit her inner voices have other plans. They confront the blonde with her troubled past and take her to the rear window, which beautifully contrasts the front window, where her fantasy initially started to deteriorate as her world of stage changed into the green green grass of her peaceful front yard.

House 1358 shows the blonde bringing home groceries while the husband sneaks in something hidden in the green coat, preparing breakfast, having dinner with her husband, wearing her negligee while having a fight with her husband, sneaking out of bed, staring down with her long blonde hair bathing in a flood of light, wandering through the house and last but not least sitting in her morning robe watching TV as her world starts spinning in thunder and lightning turning everything upside down and inside out.

Now, what do those "abstractions", these mental landscapes, expose of the blonde's interior? On High In Blue Tomorrows starts as a pleasant fantasy romance of an actress successfully returning into the filmbizz, yet the final stage at the Walk of Fame turns into a nightmare, and even the inner voices have 'travelled' with her. Yet, this nightmare reveals a lot more than just being a vehicle of escapism. It literally reverses a true event that happened in the past. The blonde swaps the roles of criminal and victim like a screwdriver flip flopping from one hand to the other. In her fantasy, in her nightmare, the blonde re-lives this dramatic event as she walks in the shoes of the victim. "Somebody's gonna fückin' kill me! You gotta let me in... I know that girl... Carolina! I know Carolina!" After the shooting is done, the blonde's mind drifts into the theater, where the movie of her life gets in sync with her inner world. Mr K, the omniscient guy from upstairs, has seen every step she took, and gives her free passage to a mysterious hotel's corridor, where she finally encounters the face behind all misery; Crimp's face, that haunts her mind like a phantom as she sees in him the source of all her evil and heinous deeds. Of course she does not kill him, a lbeit herself. Liberating all her demons, including her inner voices, who never stopped directing her to facing the past.
The past is a set of memories, which is depicted in black and white scenes, sometimes obscured, sometimes obfuscated, sometimes one to one reliable (events in house 1358).

All in all, this is the true story about a blonde in trouble. She once had an affair that made her pregnant. Her husband turned out to be infertile, which revealed her promiscuity. The husband never told the blonde about his infertility resulting into two partners hiding their secrets. Then a stranger rang at the door, who was wearing the husband's watch; the one with the green face.
Already the blonde's experienced her husband's behavior had changed. Her suspicion was triggered and she started to follow the boy, uhh the husband. She caught him in the act with a Polish courtesan. *beep* went to some Eastern Europe *beep* Can you *beep* believe that?" The blonde traced down the residence of that courtesan, and found out she lived in a room behind a nightclub. She killed her brutally. Unfortunately this was not the end of her misery. The husband found out his mistress was murdered and got himself a gun for revenge. But as he planned to leave his blonde wife, she snapped and in a rage she killed him too.

Why does the blonde end in heaven, in a palace where everything is fine and sweet? Did she deserve such a reward? According the gods of cinema (the omniscient eyes of directors like Mr Kubrick and Mr Lynch as his alter ego the lightman Bucky Jay) she surely did, because in her fantasy she acted and mimicked the situation of her victim so heartfelt true that it supersedes all failed confessions (as depicted at the man up the stairs, at the 7th floor, in Mr K's office).

Isn't this a great story?

(click to continue and read more about the details - have fun)

http://www.xaverius-empire.comze.com/ie/dummy.html

...Credo quia absurdum...

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[deleted]

Example 1. What or Who is Lost Girl

Confusion, unable to tell real from unreal, which started with a spinning long playing record, a black and white (love/sex) scene progressing into a hotel-room where Lost Girl comes to full color light, who watches the Rabbits, who sees the approaching new neighbor dressed in green near the palatial house. From Lost Girl's all white hotel room the movie transfers to the Rabbits' room and following Jack-rabbit brings the 'palace' into focus as he dissolves like a shadow in the light at the doorway. Janek and the phantom have a conversation about seeking an opening and understanding. Then finally after all these seemingly unrelated mumbo jumbo On High In Blue Tomorrow's outer-layer presents Nikki Grace, who more or less gets intruded by her New Neighbor. This unreal world at last finds it first 'retreat' at the entree of house 1358, as a real life memory floods in. The woman who lives in house 1358 remembers how she arrived home after her first adulterous adventure with her secret lover. Her world was not changed, her house was exactly how it always has been, yet her perception gave her this feeling of being in a different house, of being in a place she has never seen before. During that promiscuous escapade she lost a vital ingredient of her being: innocence. A secret was born, and this forced her to live with a memory she needed to hide for her husband. This memory was represented in an abstract sort of way by that Polish black & white love scene in the Axxon N play, in which the faces of the male and female were blurred. This scene is the axis in the story that makes the world spin like a record.
Left behind in that hotel-room, securely locked away was not some real woman, some prostitute, some Polish mistress, but a mental phenomenon that plays a major role in Lynch's own life; it's called Awareness.

Example 2. The midnight phone-call.

Later that night, she sneaked out of bed. Her troubled mind could not find peace and her husband's indifferent behavior probably made her aware that he did not love her anymore, or maybe she realized that he'd never loved her at all. Thus she tried to contact her lover by phone, albeit in her confused state of mind her memory gets mixed up with her daydream fantasy. Two impossible worlds collide; on one side her real life memory dawns and on the other side her daydream fantasy phantom lover tricks her brain. This phantom lover is called "Billy".

The mismatch in this wired inner connection is represented by the Rabbits, of which Jack-rabbit picks up the phone after it rang seven times. The audience's laughter emphasizes the discontinuity in the stream of events. Somehow the woman in trouble understands that she is mixing up fantasy and memory, but there are reasons to assume why she prefers this way of deceiving herself above admitting the hidden truth.

Example 3. The New Neighbor.

Why would the neighbor so forcefully confront the imaginary actress Nikki Grace with a murder in a film-script? Who would ever imagine such a character in a daydream's fantasy? According the semiotics the words if today was tomorrow mean nothing else than "yesterday", which sheds new light to all the neighbor says. Lost in the triangle of time's past, present and future, the fantasizing woman in house 1358, finds herself confronted with a mental phenomenon every normal human being gets to know sooner or later in life; the conscience, that intrudes a fantasy like an uninvited guest, that speaks words one would rather not hear, that confronts a mind with the past that is stored in memory. Isn't that exactly what the new neighbor does?
She knows details about Nikki that go beyond imagination, unless those are details of elements in events from the past. Does the new neighbor really refer to a murder in a script? The director of that imaginary movie called On High In Blue Tomorrows reveals that his movie is a remake, and besides that his assistant Freddie found out that the two leads in the original shoot were murdered. Directly following this dramatic 'news' Nikki finds herself in her palace among her husband and an old Polish couple. The dialogue seems to flow from that rehearsal scene fluently into this half Polish half English spoken fragment, in which the husband reveals another important issue. Nikki "understands more than she lets on", whereas Nikki disclaims by "but I don't speak it, so ..."

All in all the daydream does not have the look and feel of a comfortable meandering. Everywhere dark forces lurk around the corners. Caught in the fabrics of space and time the daydreaming woman's mind drifts into another obscure event that fiddles with actions and consequences. A police interrogation about a murder that hasn't been committed yet. A criminal that is announcing its heinous deeds as if a prophet dressed in victim's outfit with a screwdriver stuck in the guts. Wearing flip-flops and cut off jeans, a white t-shirt and the wound with the screwdriver wrapped in bandages. Why didn't the detective Hutchinson asked the wounded woman who stabbed her?

Something is wrong. Bad wrong. Is there any reasonable explanation for this bizarre nonsense? In other words, what idea had Lynch in mind when he created this interrogation scene? A common theme in the stream of events spirals around a murder. A gut-level feeling gives the impression of dealing with a person who is in denial, or who is playing dumb. Also suppressed memories, that intermingle with a romantic daydream are in play. Psychological projection is an often used defense mechanism. A defense against what? Do feelings of guilt stir up a state of utter confusion.
In Mulholland Dr a similar process was set in motion by Diane's dreaming mind. She orchestrated an assassination that was destined to fail by a coincidental car-accident. In the dream the victim survives, whereas in reality the dreamer is the criminal, who fully regrets her heinous deed. From a more poetic point of view, one could describe Diane's dream as a variation of the classical myth of Orpheus and Eurydice, who descends to the underworld in an attempt to resurrect her beloved one from the dead. Of course his mission ends in vain, just like Diane's dream. Someways Diane's subconsciousness guided her dreamscape enterprise to a dreadful real life memory; Diane saw that corpse.
Let's assume that again a subconsciousness pulls invisibly at the strings of the daydreaming woman in trouble, who can not find peace of mind because of some sinister and traumatic past. She depicts her victim as a fusion of both criminal and victim suffering from a screwdriver stabbing and confessing a murder in advance at the same time.

Example 4. The Chorus girls.

Where did those girls come from. Literally they came out of the blue light. From a cinematic point of view they seem another mental phenomenon that prevents continuation of the daydream. More or less these girls interrupt the re-entrance into her comfortable imaginary palace the same way the new neighbor tried to spoil her stay. It does not need much imagination to interpret these girls as the woman's own inner-voice.
They talk over a broken relationship, over the delights of intimacy, over their total submission as if ... being hypnotized? "I'd let him do ... anything." They also speak in riddles and they gently seem to guide the woman's internal journey onto a path that points to the past rather than the future. They support her toward the rear window and show her the street. Reluctant to 'see' the woman covers her eyes with her hands ... yet, the sweet voiced girls bring her to a place that feels so remote, so cold, and so grey. She opens her eyes, and ... finds herself at a location that causes shivers down the spine. "Do you want to see? Just down the way."
Her world turned black and then in a black & white setting the spinning record of the AxxoN n radio play comes in view. The spinning record functions as a mirror, as a boundary between two different worlds; Lost Girl's and the world of the woman in 1358. Is she asleep and is Lost Girl entering her sleep as a ghostly figure, as a messenger passing instructions for engaging introspection. Or is she one of Lynch's cinematic abstractions, expressing one of those moments during a sort of half-sleep, when a notion of awareness so vivid and so true, fills the whole brain?


and so on and so on ...





Please refrain from decorating text as much as possible. Thanks.

...Credo quia absurdum...

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[deleted]

Oh boy, I gave you four examples within the wink of an eye, and you reply with some Twin Peaks freaky foghead language? Wow Bob Wow!

Anyways, here is the Twin Peaks question for ye. What's the connection between a Polish city, INLAND EMPIRE and Twin Peaks?

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[deleted]

Hint 1: http://www.youtube.com/watch?v=dCnS4a2Mnjg

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[deleted]

You're always paying attention to the uhh 'wrong' things. Well, not wrong of course, hmm ... come to think of it, those are great Twin Peaks, but please concentrate on the pronunciation of Lodz.

WOOTCH --> woods.

get it?

or need another hint?

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[deleted]

Lets move on, shall we?
hint 2: http://www.xaverius-empire.comze.com/ie/web_images/lodgeMetal.png

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Intermezzo.

Notice that the man (husband/Piotrek/Smithy/whomever) wears his jacket inside out. Remember also that we (the audience) view everything from the protagonist's point of view; that is from the blonde's point of view who is still sitting with her back against the wall in house 1358, wondering "how can this be?" Also keep in mind that she doesn't know what was before or after. She doesn't know what's happened first. And it's kinda laid a mind *beep* on her. So 'we' need to help her. We need to shuffle the distorted memory pieces such way that they become a comprehensive story. And, yes we can.

What do you think, came first. The séance scene or the aforementioned lodge (which happen to be a wrong pronunciation of Lodz, but you already knew that of course) scene? The simple answer is the seance scene.

Now, what is felt and realized in that seance scene?

I will let you sleep on this on. ssssssssssh

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Now, what is felt and realized in that seance scene?

First of all we know that the husband/Piotrek/Smithy/whomever is not blind, yet he can not see Lost Girl, whereas the old Polish guys can see her. The good news is that the husband can hear her, and oh boy how lucky the guy must be, he even understands and talks Polish. Anyway the first question one of the old lads asked the husband is: "Do you recognize her?" A typical question asked in very peculiar circumstances, don't you think? A question that especially makes sense when someone has passed, is gone, is dead. Hey, what are seances for anyway? To communicate with the dead.
Remember that this story is being emerged from the blonde's point of view, even from her own very brain. In other words the blonde imagines how finally her husband would have found his Polish mistress, his courtesan, his favorite brunette. The next thing the blonde imagines concerns the gun. Somehow, in some mysterious ways, the husband managed to get himself a gun as being depicted at the end of the seance scene. It is something he will regret much much later, but lets not march too far ahead right now.
Back to the silver metal lodge in the Polish woods, which in the movie is a scene prior to the seance as is mentioned in the previous post, but had happened later of course. There the husband is no longer searching for his Lost Girl, cause he already found her, but he's trying to find the criminal. Again, it's the blonde's idea of how her husband might have 'acted'. And now she projects her worst nightmarish mystery onto her husband's quest by blaming Crimp for the brutal fücking murder, who according Gordy went to ...

INLAND EMPIRE.

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Static overwhelms line, and we cut to the RABBITS.

SUZIE RABBIT
THERE IS SOMETHING HERE.


NIKKI
Listen.

THE PHANTOM

Do you hear?


DEVON
I gotta go now.

NIKKI
There is something here. Hear that?

THE PHANTOM

It glows within me. Like gold.


NIKKI
Something here.

DEVON
I don’t hear anything.

NIKKI
Something here.


949
02:21:20,068 --> 02:21:21,831
Someone's there.

950
02:21:25,072 --> 02:21:26,418
Look.




You forgot to mention how THE ACTOR looking for Lost Girl ...

who supposedly also comes from SMITHY'S 1960 WORLD ...

(since it's also INSIDE of SMITHY'S HOUSE where their HAPPY REUNION takes place at the end of IE) ...

also RIDES around inside of POLAND in a MODERN DAY AUDI AUTOMOBILE.

Therefore the only way to MAKE SENSE of that SCENE ...

where we see the 3 HALF RABBIT/HALF HUMAN MEN who give him the GUN ...

MORPHING back into RABBITS again ...

would be to ASSUME that's PIOTREK (THE HUSBAND of NIKI GRACE) who VISITS THE RABBIT ROOM in POLAND ...

where he apparently also searches for LOST GIRL.

And people from or in SMITHY'S 60 WORLD would also NOT drive around in cars that were made in the 1990's or in the decade of the 2000 TIME FRAME.

Right XAV???

And this would also be still another FACT or INCONVIENENT TRUTH that BLOWS all the REST of what you have to say in these NON STOP BRAIN DUMPS of yours right OUT of the WATER again (so to speak).

The SCENE where LOST GIRL DISAPPEARS from the TABLE inside of the RABBIT ROOM also looks VERY SIMILIAR to the OTHER REHEARSAL for SCENE 35 inside of STAGE 4 that also TAKES PLACE at the TABLE ...

but one also doesn't ASSUME the REHEARSAL for SCENE 35 is a SEANCE ...

or that DERN is DEAD in that SCENE inside of STAGE 4 ...

simply because we also SEE HER DISAPPEAR from the TABLE where she sitting.

DO WE???

So perhaps what we see in this SCENE where the 3 RABBIT MEN give PIOTREK the MAGIC GUN that SHOOTS LIGHT BULLETS at the PHANTOM ...

is still ANOTHER REHEARSAL for SCENE 35 (or for whatever number this SCENE would be) inside of 47 or the GERMAN VERSION of the AXXON N TALE???

And PERHAPS the 3 OLD HALF RABBIT/HALF HUMAN CHARACTERS would also be the GERMAN VERSION of the DIRECTOR KINGLEY and FREDDY ...

and DEVON ...

THE LITTLE BOY who has probably also had TIME STOLEN AWAY from HIM ...

by whoever it is that SELLS DEVON's character a WATCH in the OTHER VARIATION of the AXXON N TALE???

Because a VARIATION of the TALE also means whatever happens to the LITTLE GIRL in the TALE would also happen to the LITTLE BOY as well.

Thus DEVON's character would probably also TURN INTO AN OLD MAN like we see LOST GIRL DOING in MTTH ... after he's also been SOLD A WATCH by some other PHANTOM CHARACTER inside of the GERMAN VERSION of this TALE.

And that would also help to explain the reason why it is 3 OLD MEN that we see SITTING there inside of the POLISH RABBIT ROOM before they MORPH back into being 3 RABBITS again AFTER MIDNIGHT ...

the way CHARACTERS in FOLK TALES and FAIRY TALES do.

Or are you also going to TRY and DENY that the GERMAN VERSION of this AXXON N TALE is REAL and say it is only an ILLUSION and isn't BASED upon the POLISH GYPSY FOLK TALE???

Here's still something else for you to PONDER.

In this POLISH RABBIT ROOM SCENE We also hear a character SAYING:

THERE'S SOMEONE THERE ...




There's someone there

871
02:01:56,493 --> 02:01:58,266
I have to tell you

872
02:01:59,986 --> 02:02:01,706
There's someone

873
02:02:17,347 --> 02:02:18,807
Do you recognize her?

876
02:02:33,614 --> 02:02:35,178
I don't know where l am



which is also the SAME LINE FREDDY says inside of STAGE 4 at the REHEARSAL for SCENE 35 ...



What is that?

233
00:28:55,423 --> 00:28:57,195
Freddy!

234
00:28:57,195 --> 00:28:59,490
No, someone's there.


What the hell is that?

564
01:02:09,734 --> 01:02:10,151
Freddy!

565
01:02:10,673 --> 01:02:12,654
No, [b]somebody's over there.





and the SAME LINE that DERN SAYS in MTTH ...

when we see the other TWIN COPY of DERN finding the OTHER COPY of herself laying on the BEDROOM FLOOR inside of of NIKI'S PALACE ...

where she speaks to DEVON on the phone ...

and we also hear THE PHANTOM who tells LOST GIRL he will WATCH OVER HER speaking to NIKI AT THE SAME TIME as she SPEAKS to DEVON on the phone.

So apparently THE PHANTOM also WATCHES over DERN in that SCENE ...

like he WATCHES over LOST GIRL ...

(who also TURNS into an OLD WOMAN and has TIME STOLEN AWAY FROM HER in MTTH) ...

after THE PHANTOM sends the 2ND VISITOR over to SMITHY'S HOUSE to SELL DERN that same WATCH he sold to LOST GIRL ...

the same WATCH that we also see the 2ND VISITOR wearing on her arm ...

with a SOCK to protect her from the SPELL of it (the same way as we also see THE PHANTOM using a CLOTH to protect himself from the MAGIC SPELL of TOUCHING IT when he sells it and hands it over to LOST GIRL).

SEE how much more SIMPLISTIC things are when one simply STICKS with the SCENES and with what happens IN THE MOVIE SCRIPT???

SORRY XAV, but you are such a LOST BOY whenever it comes to understanding this STORY that there's probably also NO HOPE whatsoever that you'll ever be able to find THE AXXON N DOOR or find your way back OUT of this AXXON N TALE again.


Instead of MAKING STUFF UP or WRITING FAN FICTION like SPEAR DOES, why not just STICK to the STORY and what you see happening in it INSTEAD???






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Let me just recap shortly what I've been trying to explain about just two scenes in detail; the séance scene and the lodge scene. They represent symbolically how the blonde wife in house 1358 understands how her husband found his murdered Polish mistress and got himself gun for revenge. Of course this never happened literally the way it is depicted but it gives a good impression of Lynch's cinematic language. Since these 'events' took place outside of house 1358 it is by definition an abstraction; a mental landscape. Even the Polish language in combination with the old guys represent an abstraction of course; i.e. the "blonde's understanding", which is closely related to her "reasoning" as portrayed by the Rabbits.

See how easy this works.

My understanding of A XX º Nn ---> is best shown by this gif-animation:

http://www.xaverius-empire.comze.com/ie/web_images/axxonn1.gif

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http://www.imdb.com/title/tt0460829/board/flat/208055817?p=1

http://listeningear.blogspot.com/2007/05/understanding-inland-empire.html


Thursday, May 17, 2007

Understanding Inland Empire


the characters ...
- they often seem unsure of which world they are in at any given moment.

Mulholland Drive and Lost Highway both received a good deal of attention on that question - critics made claims about what was real,

who was real, they tried to stabilize the ontological relationships between Diane and Betty or Fred and Pete.

It didn't really add anything to those films, and it would truly be a fool's errand with Inland Empire.

It probably can't be done, and spending time on it tends to obscure the formal systems actually at work in the film.

that this film is basically about Lynch's obsession with lamps isn't so far off.


it is possible to interpret Lynch's films - they are, usually, grounded in fairly clear emotional and moral positions



http://www.phawker.com/2007/02/09/review-inland-empire-directed-by-david-lynch-2006/

What Lynch does with Inland Empire is erase the border between dream state and reality, essentially by never establishing the real.

Everything is as real as it is unreal, and eventually you stop pondering the difference.





SORRY XAV,

But ONCE AGAIN all one SEES is YOUR OPINION of what YOU THINK takes place being posted here ...

with ABSOLUTELY no PROOF to BACK UP what it is that you say.

WHERE'S the QUOTES???

Where's the EVIDENCE for what you say???

THERE'S NOTHING HERE.

And that's also the reason why ONE can't UNDERSTAND YOU or what it is that you say.

People don't just UNDERSTAND OTHER people by the PROCESS of OSMOSIS.

Look at DROPKICK and the way he keeps posting his MD THEORY about how SOMEONE is A PRISONER that SWITCHES BODIES with someone else or something.

No matter how many times he REPEATS himself it sounds like GIBBERISH.

And Since he also doesn't USE QUOTES to PROVE what he's saying, all one does is GIVE UP the effort of trying to UNDERSTAND him.

Because without presenting someone with EVIDENCE or PROOF of what you say, THEN ONE also CANNOT UNDERSTAND IT ...

no matter how SIMPLISTIC or reasonable what you say may SEEM or sound to you yourself.

Look at EL'S THEORY about how they see 2 different scenes of LUCAS that MORPH or SWITCH back and forth from one TIME FRAME TO ANOTHER DIFFERENT ONE when he places that GREEN COAT into the DRAWER.

As hard as we others tried to see what EL saw, we DID NOT.

SEE what I MEAN???

Even though EL also directed us to the TIME FRAME on the IE DVD where they said they saw what they saw.

So NO ...

what SEEMS or LOOKS EASY enough to you or FOR YOU is also NOT EASY for someone else to understand ...

because WE SIMPLY DON'T SEE what it is that you see.

C'EST LA VIE.

And no matter how LONG you keep REPEATING what it is that you say ...

NOTHING is going to CHANGE that FACT either.

Because that's also the NATURE of the kind of a BEAST that we HUMANS are.

Because WE also tend to see things OUR WAY and NOT in the same way that others see it.

And unless you can SELL US A MAGIC WATCH or find a way to PUT THE REST of us INSIDE of YOU ...

so that we can WATCH OVER YOU and LOOK OUT from there ...

and SEE THINGS from INSIDE of YOUR EYES and from inside of YOUR MIND ...

LIKE THE PHANTOM seems to be able to do in the SCENE where NIKI finds herself laying on the BEDROOM FLOOR speaking to DEVON on the PHONE ...

then we'll probably also NEVER be able to UNDERSTAND you or what it is that YOU THINK YOU SEE happening in IE.










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Back to the Twin Peaks question. Dale Cooper went out into the woods to search for his Lost Girl. In those woods there are lodges containing spirits. In the black one there are evil spirits and in the white one kind spirits. In IE the husband travels through the woods (Lodz) wearing his jacket inside out. He, and his companions, hit upon the silver metal lodge. As it looked from the outside this must be a lodge bearing kind spirit, but surprise surprise, Gordy came out playing a circus trick with his coffee. Apparently he did not enjoy his coffee, just like Luigi in MD, who also happened to be a producer, just like Gordy (Marek Zydowicz in real life). He is indeed the one that Peter J Lucas and Karolina Gruszka worked for as is being said during the seance scene. Gordy said that "HE" was gone and had mumbled something like "INLAND EMPIRE". There is where the evil spirit headed for. Obviously the husband's inside out jacket was signaling that what we see is not what we get. The light colored lodge happened to be not a friendly one, albeit the inverse. The inside must have been dark and evil. Maybe you understand this, maybe not. Fan fiction? Who tells? Anyways, next time when you watch IE and arrive in the woods you might remember what I just told you.

Thanks for reading.

EDIT: dialogue at the séance.

1061
01:58:00,299 --> 01:58:02,210
You work for someone?

1062
01:58:05,143 --> 01:58:07,187
Yes.

1063
01:58:09,010 --> 01:58:11,634
The one she spoke of.

1064
01:58:16,233 --> 01:58:19,396
The one I work for.

1065
01:58:19,451 --> 01:58:22,128
So... you understand.

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[deleted]

by - kmkmiller on Fri Jun 7 2013 00:50:46
kind of yeah. i think you missed the giant.


Just in case.

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[deleted]

by kmkmiller (Fri Jun 7 2013 01:09:44)

i always wanted a personal archivist.
looks like you work for free.


Minitrue. Your endless traces of deletions show what kind of personality you have. Ye're a fraud. Of the worst kind. A cheap one.

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[deleted]

by - kmkmiller on Fri Jun 7 2013 01:23:57
its always interesting to see who reacts most violently when i delete my posts.
my posts. not yours.


In a face to face conversation one is unable to delete what's been said. A man should stand for what he has spoken.

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Here's a SIMPLE QUESTION for you XAV:

Is the HOT DOG SCENE suppose to be REAL or NOT REAL???

YES or NO???

Please also REFRAIN from giving us reasons why you think so.

Because What you've done is POST what amounts to A SUMMARY of your OPINIONS (or post A SERIES of BRAIN DUMPS here to use one of your favorite phrases).

And it's also the reason why what you posted wasn't READ, but was only SKIMMED OVER. So please also don't get upset later on and try to say you told us something before that we've ignored, when we also haven't read everything you said it in the first place (because there's simply way TOO MUCH of it posted here to read and ABSORB all at one time).

And This is also definitely NOT a SCENE by scene ANALYSIS like the TOPIC calls for.

And It still also offers NO PROOF that what you say is so.

Because We still also have NO QUOTES from the SCENES that you've mentioned ...

as a way to BACK UP and support what you're saying ...

the way QUOTES were given to SUPPORT the claim xxpo made at the start of this topic.

Anyhow, SINCE we also see THE GIRLS you claim DON'T EXIST ...

(because for you they are NOTHING but VOICES and ABSTRACTIONS) ...

standing on the WALK of FAME where they're TURNING TRICKS ...

while DERN is NO WHERE AROUND ...

this scene also offers PROOF that these GIRLS are REAL PEOPLE and NOT just VOICES coming from the MIND of some other character.

Sorry Xav, but once again NOTHING you've said makes any sense.




reply

Here's a SIMPLE QUESTION for you XAV: Is the HOT DOG SCENE suppose to be REAL or NOT REAL???
YES or NO???


Simple questions are my favorite. So let me rebounce by asking you:

Is the BBQ scene inside or outside of house 1358?

YES or NO ????

reply

[deleted]

ATTEMPTING to get BACK ON TOPIC again:


LP said:



looks like Sue as a spirit comes up out of the old polish folktale when the film is being made and kills out of revenge or something and then tries to make it look like somebody in the original 47 film crew is guilty



So LP:

is it possible The NEW NEIGHBOR is one of the RABBITS who SNEEKS out of the FOLK TALE and into the PALACE SETTING???

Could she also be AN OLDER VERSION of LOST GIRL ... due to the way it looks like we see the FACE of LG MORPH into the face of the NEW NEIGHBOR at the end of the TALE???





Here are some of the BASIC SETTINGS that we find in the 3 PART Structure of IE:

PART 1 Making the MOVIE: Room 205/DERN'S HOUSE/STAGE 4

PART 2: SMITHY'S HOUSE/Street in Poland

PART 3: BILLY'S HOUSE/ FAKE TWIN COPY of WoF/Room 205/Apt 47/ Dern's HOUSE


There's also other settings such as MR. K's room and the NIGHT CLUB.

Anyhow, in PART 1

we begin with TALK of DERN getting the part, and we also see PRE PRODUCTION scenes before we see her MAKING the FILM ...
like when we see the CELEBRITY INTERVIEW about MAKING it, before we see other SCENES of it being made, where we keep hearing *CUT* called out.


PART 2

also seems to be a PART of the FILM as well, due to what we hear KINGSLEY saying in the REHEARSAL for SCENE 35:


Lets take, for instance,
scene 35...

196
00:26:19,119 --> 00:26:25,166
... the scene where Devon...
you arrive,

197
00:26:25,166 --> 00:26:32,569
... Billy, at Smithie's house to find Sue,
--Nikki-- looking out the window.





So DERN ENTERING the AXXON N DOOR in the BACK ALLEY of STAGE 4 ...


where she finds herself at an EARLIER TIME REHEARSING for SCENE 35 ...

before she RUNS AWAY from DEVON and into SMITHY'S HOUSE ...

is obviously also a PART of the MOVIE SCRIPT ...

which also means the NEXT SCENE ...

where we see the Scene outside the WINDOW MORPH ...

from being inside of STAGE 4 to the OUTDOOR SETTING ...

would also be a PART of the MOVIE SCRIPT.


Because DERN also calls out BILLY'S NAME in this scene (and BILLY is also a CHARACTER in the MOVIE SCRIPT).

And she also tries to call BILLY on the PHONE ...

but the call gets sent to the RABBIT ROOM.

SO ...

is that BILLY in his RABBIT FORM who picks up the PHONE???

Because in PART 3 of IE ...

we also VISIT BILLY in HIS HOME ...

which also means PART 3 still has to be about MAKING the MOVIE (because BILLY is also a CHARACTER in the MOVIE SCRIPT).

So here's another QUESTION regarding what LP said about characters from one VERSION of the STORY sneeking into other VERSIONS:

Who is that standing there at the TOP of the STAIRS in NIKI'S PLACE???

Is that PIOTREK, or could that also be SMITHY or the MUSTASH MAN from POLAND ...

who SNEEKS into DERN'S WORLD after he uses the AXXON N DOOR ...

the SAME WAY as DERN finds her way into SMITHY'S WORLD after she used the AXXON N DOOR in the back of STAGE 4???

So in addition to TIME being ALL MIXED UP (after DERN ENTERS the AXXON N DOOR in the BACK ALLEY) ...

maybe we also have characters from each VERSION of the STORY also all MIXED UP and in the WRONG places as well???

















reply


ATTEMPTING to get BACK ON TOPIC again:


LP said:



looks like Sue as a spirit comes up out of the old polish folktale when the film is being made and kills out of revenge or something and then tries to make it look like somebody in the original 47 film crew is guilty



So LP:

is it possible The NEW NEIGHBOR is one of the RABBITS who SNEEKS out of the FOLK TALE and into the PALACE SETTING???

Could she also be AN OLDER VERSION of LOST GIRL ... due to the way it looks like we see the FACE of LG MORPH into the face of the NEW NEIGHBOR at the end of the TALE???





Here are some of the BASIC SETTINGS that we find in the 3 PART Structure of IE:

PART 1 Making the MOVIE: Room 205/DERN'S HOUSE/STAGE 4

PART 2: SMITHY'S HOUSE/Street in Poland

PART 3: BILLY'S HOUSE/ FAKE TWIN COPY of WoF/Room 205/Apt 47/ Dern's HOUSE


There's also other settings such as MR. K's room and the NIGHT CLUB.

Anyhow, in PART 1

we begin with TALK of DERN getting the part, and we also see PRE PRODUCTION scenes before we see her MAKING the FILM ...
like when we see the CELEBRITY INTERVIEW about MAKING it, before we see other SCENES of it being made, where we keep hearing *CUT* called out.


PART 2

also seems to be a PART of the FILM as well, due to what we hear KINGSLEY saying in the REHEARSAL for SCENE 35:


Lets take, for instance,
scene 35...

196
00:26:19,119 --> 00:26:25,166
... the scene where Devon...
you arrive,

197
00:26:25,166 --> 00:26:32,569
... Billy, at Smithie's house to find Sue,
--Nikki-- looking out the window.





So DERN ENTERING the AXXON N DOOR in the BACK ALLEY of STAGE 4 ...


where she finds herself at an EARLIER TIME REHEARSING for SCENE 35 ...

before she RUNS AWAY from DEVON and into SMITHY'S HOUSE ...

is obviously also a PART of the MOVIE SCRIPT ...

which also means the NEXT SCENE ...

where we see the Scene outside the WINDOW MORPH ...

from being inside of STAGE 4 to the OUTDOOR SETTING ...

would also be a PART of the MOVIE SCRIPT.


Because DERN also calls out BILLY'S NAME in this scene (and BILLY is also a CHARACTER in the MOVIE SCRIPT).

And she also tries to call BILLY on the PHONE ...

but the call gets sent to the RABBIT ROOM.

SO ...

is that BILLY in his RABBIT FORM who picks up the PHONE???

Because in PART 3 of IE ...

we also VISIT BILLY in HIS HOME ...

which also means PART 3 still has to be about MAKING the MOVIE (because BILLY is also a CHARACTER in the MOVIE SCRIPT).

So here's another QUESTION regarding what LP said about characters from one VERSION of the STORY sneeking into other VERSIONS:

Who is that standing there at the TOP of the STAIRS in NIKI'S PLACE???

Is that PIOTREK, or could that also be SMITHY or the MUSTASH MAN from POLAND ...

who SNEEKS into DERN'S WORLD after he uses the AXXON N DOOR ...

the SAME WAY as DERN finds her way into SMITHY'S WORLD after she used the AXXON N DOOR in the back of STAGE 4???

So in addition to TIME being ALL MIXED UP (after DERN ENTERS the AXXON N DOOR in the BACK ALLEY) ...

maybe we also have characters from each VERSION of the STORY also all MIXED UP and in the WRONG places as well???


















reply

Didn't Xav post this like five years ago?




It is better to be a human being dissatisfied than a pig satisfied.

reply

Since xxpo hasn't been here that long (maybe only about 3 yrs), how could they know if this was posted here before?

But since Xav also has hissy fits each time someone accidently stumbles onto an idea he's already had before ...

the answer is probably NO ...

due to the way he's said nothing to indicate this is the case?



But since Xav also thinks NOTHING that takes place OUTSIDE of SMITHY'S HOUSE is real, one can also rest assured NONE of these ideas or any of the rest xxpo has posted here were posted here before by him:


I think the MAIN POINT of the FILM is LYNCH wants us to feel LOST. He also SUCCEEDS after the end of DERN'S DEATH SCENE when we're so CAUGHT UP in the HORROR of what's just happened (the BRUTAL FU*CKING MURDER) that we've FORGOTTEN WHERE WE WERE and then FEEL SHOCKED and DISORIENTED when the CAMERA pulls back to reveal we're on a FAKE TWIN COPY of the WALK of FAME.

And this scene is probably also the CLOSEST we've ever come to feeling what it must feel like to an ACTOR to COME BACK out of character again???

Surely they must also feel the same kind of DISORIENTATION sometimes when someone yells CUT and they're no longer that character anymore???

The possibility that LOST GIRL has also had sex with DEVON in the FAKE TWIN COPY of the HOTEL ROOM is also pretty cool.

Because this may also mean she's pregnant and the CURSE will follow her from the inside of the SCRIPT OUTSIDE of it into REAL LIFE ...

when she meets LUCAS ...

the actor who is probably also her HUSBAND ...

inside of the FAKE TWIN COPY of SMITHY'S HOUSE to celebrate having completed their ROLES in the FILM.

So even though the DREAM of an INNOCENT CHILD has come true (like the song lyrics are saying), which may be to have his parents united again, there's also the chance the CURSE is about to play itself out all over again when she announces she's pregnant again???

Then Lucas who may also have had a VASECTOMY gets pissed and reminds her how he can't father children???

So he takes off and takes another a FILM ROLE overseas, but when he comes back again the actress who plays LOST GIRL is gone???

So he searches for her but can't find her???

And then he also begins to feel like his life is like the STORY in the CURSED SCRIPT???

Anyhow I also like PLAMTREE's idea about how SUZY RABBIT MURDERS someone and then tries to BLAME it on someone else from 47.

Maybe someone from 47 also murders someone and then tries to blame it on someone else from the BLUE VERSION???










reply

Sure did. Nothing wrong with your memory, MPAK!

The audience find themselves in the same sort of confusion as the protagonist herself, who fabricated this imaginary world. Are the love-making figures acting, are these two actors making love, or is it a distorted memory hidden by deliberate fantasy elements?


from: http://www.xaverius-empire.comze.com/ie/dummy2.html

...Credo quia absurdum...

reply


So exactly what is it that you posted or said that has been repeated Xav?

Is it the TOPIC TITLE itself?

Or is it this off the wall remark you make where you say the viewer finds themself in the same state of confusion?

Because the statement posted doesn't make reference to any SCENE in particular or describe precisely WHERE this confusion takes place.

Whereas this topic makes a definite reference to the DEATH SCENE, and the way the CAMERA pulls back, to reveal how we've been TRICKED by the MAGIC MAN who has us on the FAKE TWIN COPY of the WALK OF FAME.

So whereas you've make a statement IN GENERAL, this topic also deals with a SPECIFIC instance in the story.

And it also doesn't share your view that the PROTAGONIST (whoever that is suppose to be) has fabricated an imaginary world.

Because the MAIN POINT on this topic is there is NO IMAGINARY WORLD that is being fabricated ...

which is also the reason why the CURSE in the SCRIPT will follow the actress who plays the part of LOST GIRL into REAL LIFE ...

where she and her husband (the actor who plays the roles of PIOTREK/SMITHY/MUSTASH MAN) ...

will also find themselves living a life that PARALLELS what happens IN THE MOVIE SCRIPT ...

or at a point where one of them may also find themselves saying what we hear DERN SAYING when she days:

DAMN. THAT SOUNDS LIKE DIALOGE from our SCRIPT.

Because LOST Girl has probably also been SEDUCED by DEVON (the Big Bad WOLF in the STORY) inside of the FAKE TWIN COPY of the hotel room and been impregnated by him.

Which is also why if we followed this story of the happy reunion that we see taking place inside of the FAKE TWIN COPY of SMITHY's HOUSE ...

at some point we would most likely also hear the ACTOR LUCAS telling LOST GIRL that he can't father children ...

after which he would probably also ABANDON her and take a ROLE in some other film overseas.







reply

[deleted]

What if ... what if ... Vier Sieben, Four Seven, 4 7, is an ink black memory dressed in the outfit of a movie, describing cause and effect of a double cross w/hole that ends with a brutal fücking murder in a stairwell (A XX º nn ---> here)

...Credo quia absurdum...

Edit:

http://www.xaverius-empire.comze.com/ie/web_images/axxonn1.gif

reply

... what if 47 is a KNOWN KILLER MOVIE and was selected FOR THAT REASON with the intention of killing Nikki or Devon or both because the Director was really mad at some stuff that was already going on...




Devon definitely isn't a likeable character in this tale. And Kingsley also has reasons to dislike him.

Just before the Rehearsal for SCENE 35 when KINGSLEY arrives with Freddy, NOTE the way DERN offers them some coffee that Devon's made.

But Kingsley looks displeased at the suggestion, mentions some TEA he's already had that he didn't like, and one could also interpret this rejection of Devon's coffee as Kingsley being jealous of Devon flirting with and hitting on DERN.

Then Kingsley and Freddy also tell Devon about the film being a REMAKE which also upsets Devon, and later Devon also speaks to the PRODUCER about the rumors of the 2 LEADS being MURDERED.

So either this story about the 2 murders was a JOKE Kingsley and Freddy were playing on DEVON, (Freddy also has that SLY SMILE after KINGSLEY tells Devon the 2 leads were murdered), or else like you say LP maybe KINGSLEY was pissed off at the way Devon was hitting on DERN and becoming competition for her attention which he himself wanted???

So maybe KINGSLEY deliberately chose a CURSED SCRIPT ...

knowing beforehand that it would also be a way to use Devon for his well known name and reputation ...

and then it would also enable him to quickly get rid of DEVON???

KINSLEY:

... we all have people who gather...
agents, friends, producers...

252
00:31:27,139 --> 00:31:29,746
And sometimes they share,

253
00:31:31,309 --> 00:31:33,917
... sometimes not.

254
00:31:34,334 --> 00:31:38,297
Politics, ego,


257
00:31:42,675 --> 00:31:45,804
sometimes one just isn't told the whole story.



And that also seems to be the case with DEVON ...

HIS not being told THE WHOLE STORY by KINGSLEY ...

about how he's MURDERED in it ???




Devon also INSULTS Kingsley during the MEET and Greet Scene inside of STAGE 32 (saying IF YOU DON'T FU*CK it up)...

as well as inside of Stage 4 (where Devon keeps interrupting Kingsley to let him know he's tired of listening to his long reply and his tendency towards SPEECH making).

So what happens in these 2 Scenes could also help to explain the reasons why KINGSLEY would dislike Devon and not want him around:


Scene inside Stage 32:


forgive me, I do love
making speeches.

116
00:19:48,828 --> 00:19:50,287
I mean this too...

117
00:19:50,391 --> 00:19:53,832
You have everything you need to soar
back to the top...

118
00:19:53,937 --> 00:19:56,335
... and to stay perched there.

119
00:19:56,335 --> 00:20:01,444
This film, you and Devon,
a great director.

120
00:20:02,383 --> 00:20:05,407
Yes, do l hear?

121
00:20:06,554 --> 00:20:08,743
The script is well, we're going to plunge into.

122
00:20:08,847 --> 00:20:12,706
If all play our role,
do our best...

123
00:20:12,810 --> 00:20:15,104
... if we work hard together

124
00:20:15,313 --> 00:20:18,023
... well, this could be the one...

125
00:20:18,232 --> 00:20:21,360
This is a starmaker, if ever l saw
one, you'll see

126
00:20:22,820 --> 00:20:26,469
I think we have a chance
to pull it off...

127
00:20:27,408 --> 00:20:28,764
what do you say?

128
00:20:28,972 --> 00:20:31,892
Let's do it!

129
00:20:32,414 --> 00:20:36,167

DEVON'S INSULTING REPLY:

If you don't FU*CK it up Kingsley,





Scene inside Stage 4:



Devon makes a great capuccino.

187
00:25:24,167 --> 00:25:25,418
Care for one?

188
00:25:25,522 --> 00:25:30,007
Thanks, but Freddy and l just had a cup of tea.

189
00:25:30,008 --> 00:25:34,282
Actually, it was a terrible cup of tea
at the commissary.

190
00:25:36,471 --> 00:25:40,746
"Terrible" is an
adequate description of it.


... we all have people who gather...
agents, friends, producers...

252
00:31:27,139 --> 00:31:29,746
And sometimes they share,

253
00:31:31,309 --> 00:31:33,917
... sometimes not.

254
00:31:34,334 --> 00:31:38,297
Politics, ego,

255
00:31:39,234 --> 00:31:40,590
... fear...

256
00:31:41,215 --> 00:31:42,363
Kingsley?

257
00:31:42,675 --> 00:31:45,804
sometimes one just isn't told the whole story.

258
00:31:47,993 --> 00:31:50,809
Devon: Kingsley,get to the point.

259
00:31:58,420 --> 00:32:02,905
"On High ln Blue Tomorrows"
it is, in fact, a remake.

260
00:32:03,635 --> 00:32:05,302
It's a remake?

261
00:32:07,179 --> 00:32:08,848
I wouldn't do a remake.

262
00:32:08,952 --> 00:32:11,768
No, no no, l know, of course,
But you didn't know

263
00:32:11,872 --> 00:32:16,564
The original was a differrent name.
Started, but never finished.

264
00:32:18,232 --> 00:32:21,152
Now, Freddy has found out
that our producers...

265
00:32:21,257 --> 00:32:26,157
... Know the history of this film and have takenit upon
themselves not to pass on that information to us.

266
00:32:27,408 --> 00:32:29,077
Purposefully

267
00:32:29,181 --> 00:32:31,266
Not on me, and l assume not the two of you...

268
00:32:31,579 --> 00:32:32,622
True?

269
00:32:33,039 --> 00:32:35,437
No, absolutely

270
00:32:35,542 --> 00:32:37,523
Nobody told me anything.

271
00:32:37,627 --> 00:32:40,129
No. Me neither.

272
00:32:40,546 --> 00:32:43,570
I thought this was
an original script.

273
00:32:44,405 --> 00:32:45,969
Yeah, well...

274
00:32:49,618 --> 00:32:52,121
Anyway, the film
it was never finished...

275
00:32:52,225 --> 00:32:55,771
Something happened before
the film was finished.

276
00:32:56,605 --> 00:33:00,254
I don'tot understand.
why wasn't it finished?

277
00:33:02,965 --> 00:33:06,823
Well, after the characters
had been filming for some time,

278
00:33:06,927 --> 00:33:15,477
... they discovered something... something...
inside the history.

279
00:33:16,103 --> 00:33:18,814
DEVON: Please, Kingsley.

280
00:33:19,232 --> 00:33:23,299
The two leads,
were murdered.


We also have the scene where he INSULTS MARILYN LEVENS and the other one where he upsets PIOTREK who warns him to stay away from his wife.

And his body guards or his entourage also don't have very high opinions of him or the way he behaves either.


Backstage Scene after interview with MARILYN LEVENS:


So Devon, this one's off limits, right?

163
00:22:52,660 --> 00:22:53,702
Don't even think about it...

164
00:22:54,015 --> 00:22:57,456
...If l don't kill you, her husband will,
and he is THE most powerful guy around.

165
00:22:57,560 --> 00:23:00,689
He knows everything. There is not a
thing he does'nt know.

166
00:23:00,897 --> 00:23:03,295
I can tell you stories that
would curl your hair.

167
00:23:04,025 --> 00:23:06,006
So listen to me when l tell you.

168
00:23:06,111 --> 00:23:09,760
Around Nikki, keep it in your pants.

169
00:23:10,595 --> 00:23:12,888
What the *beep* are you guys
talking about?

170
00:23:12,992 --> 00:23:16,851
She's a nice girl, she's so far
from my style, it's not even funny.

171
00:23:16,955 --> 00:23:21,125
Beautiful, Devon. Great.
We'll be able to sleep tonight

172
00:23:23,315 --> 00:23:27,070
You gotta admit though...
She's got a nice ass.


And Devon also complains that DERN TALKS to much during the SEX SCENE.

So
for all of these reasons it also MAKES SENSE that the DIRECTOR might want to get rid of him by having his CHARACTER in the SCRIPT KILLED OFF.


Scene with the FREAKED OUT DEVON and the PRODUCER:



we just don't know the actual, real reasons.

508
00:55:38,296 --> 00:55:40,591
... why this film wasn't finished.

509
00:55:41,216 --> 00:55:44,344
Now, you know some stories,

510
00:55:44,448 --> 00:55:47,681
But stories are stories.
Hollywood is full of them.

511
00:55:47,994 --> 00:55:48,932
Thank God.

512
00:55:48,932 --> 00:55:51,331
In this case, the same thing.

513
00:55:51,435 --> 00:55:54,354
Stories which grew out of imagination.

514
00:55:54,980 --> 00:55:58,734
And we're surrounded by these
old stories every day

515
00:55:59,464 --> 00:56:03,530
And they shouldn't be taken as truth.
Or given creedence.

516
00:56:03,739 --> 00:56:07,284
Or jeapordize Nikki's performance.

517
00:56:09,161 --> 00:56:11,038
Unless the stories are true.

518
00:56:11,142 --> 00:56:13,228
Devon...

519
00:56:17,920 --> 00:56:23,134
There is absolutely no proof that anyting
bad happened around this film.


The SCENE with BUCKY J may also be there due to the way BUCKY J is also having PROBLEMS with his WIFE.

So this situation with BUCKY J may be still another indication that THE CURSE is also at work on not just the 2 LEADS but on other MEMBERS of the CREW as well???


http://books.google.com/



Lynch says:

For Bucky Jay ... I think there's more there, but I don't know for sure, but I like Bucky J and I like to think about what happened to him the night before and what the consequences are for the future.












reply

The "cursed" script is a symbolic term for the facts that the WiT was repressing. The leads were murdered and the WiT was one of the murderers. Why is that so hard to understand?




It is better to be a human being dissatisfied than a pig satisfied.

reply

Try READING the ENTIRE TOPIC and PAYING ATTENTION to what has been said on it.

This is OBVIOUSLY a story about THE TELLING OF TIME (the RABBITS themselves also TELL US this).

And TIME FLOWS NORMALLY up to the point where they do the REHEARSAL for SCENE 35 and DERN enters the AXXON N DOOR in the BACK ALLEY of STAGE 4 for the first TIME.

And After that TIME no longer FLOWS NORMALLY anymore, not until the very end of IE, where we see the CLOCK on the WALL above the ZIG ZAGGY WAVY FLOOR PATTERN telling us TIME is FLOWING in the right direction again.

Then we also see DERN BACK IN SYNC with TIME again on the BIG MOVIE SCREEN, and we see TIME is IN SYNC again on the MOVIE MONITOR that sits inside of ROOM 205, as LANI and LORI run down the hallway, and then they also run past the OPEN DOORWAY of the HOTEL ROOM, which also lets us know TIME is back in SYNC again.

And since LYNCH himself also states that BOTH MD and IE are films ABOUT the FILM INDUSTRY,

why is so hard for others to understand how this is NOT film about the psychological STATE of mind being REPRESSED ...

as much as it is a FILM about how the FILM INDUSTRY itself causes one to have a CONFUSED state of mind.


And as long as others continue to keep insisting this is a FILM about a person who lost their mind ...

due to repressing things that she is obviously NOT REPRESSING ...

but FREELY and WILLingly and OPENLY speaks about ...

then one will forever remain LOST ...

and in a STATE of DENIAL about the rest of what one sees HAPPENING INSIDE of THE FILM itself.

To put it another way ...

The CURSE is NOT SYMBOLIC at all.

Not when it is REAL enough to FOLLOW characters like LOST GIRL and DERN (who is no longer NIKI anymore after the end of her DEATH SCENE) from INSIDE of the SCRIPT to OUTSIDE of it ...

and INTO their REAL LIVES that continue on after the end of the FILM.

And that's obviously also what's happening to NIKI at the END of IE ... and when the ACTRESS who played the part of LOST GIRL is united again with the actor who played the part of SMITHY/PIOTREK/MUSTASH MAN in the film.

Because at that point LOST GIRL has also had an AFFAIR with DEVON ...

the SAME PREDATORY WOLF who has also SEDUCED DERN ...

and all the rest of the girls who have parts in the film.

Thus leaving us with the possibilty that LOST GIRL has also been IMPREGNATED by ANOTHER MAN ... just like what happens INSIDE of THE MOVIE SCRIPT itself.

The BOTTOM LINE is this:

THE CURSE one finds INSIDE of the SCRIPT INFECTS the ACTORS who PORTRAY the part and FOLLOWS them OUTSIDE of it into their REAL LIVES (due to the way women keep falling for the PICK UP LINE of the PREDATOR and getting HYPNOTIZED by the character who plays the part of the BIG BAD WOLF).





PS: The PICK UP LINE is this:

I've NEVER KNOWN ANYONE LIKE YOU BEFORE.

After which the women also MAKE FUN of IT by saying:

LOOK at me and tell me if you've KNOWN me BEFORE.

The STORY we see HAPPENING IN THE FILM itself is also so much more INTERESTING than this other BORING REPRESSION stuff ...

UNORIGINAL BORING stuff that we've also seen in other stories and heard about so many other times before.

So either FOLLOW the STORY itself ...

which is about the effect the FILM INDUSTRY has on the LIVES of these characters ...

or DON'T ...

and STAY forever LOST about what's really going on in the FILM.



PSS:



Lynch says:

For Bucky Jay ... I think there's more there, but I don't know for sure, but I like Bucky J and I like to think about what happened to him the night before and what the consequences are for the future.



Please also NOTE the way in which the CURSE also follows LYNCH himself from INSIDE of the SCRIPT to OUTSIDE of it ... and into his REAL LIFE as well ... when he also has problems with his wife ... problems which also ends in DIVORCE and in a relationship with another new wife.

Still another reason why it's ABSURD to try and suggest the CURSE is SYMBOLIC and is NOT REAL.













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You're damn right, Mpak. Well, the horse fücked that piece of sh!t and afterwards they start thinking. Hey that cowboy was great. Anyways, pony tales and girl's talk will last for ever and many many years later they come to the conclusion that it was ... yeah, you guessed it ... symbolic.

howdie

...Credo quia absurdum...

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[deleted]

[deleted]

What if ... what if ... Mr K really said: "The whore's to the *well, yeah."

* stairwell

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[deleted]

What are you LOADED on LP???

LYNCH got loaded on COFFEE and MILK SHAKES (Sugar RUSHES)???

What's also interesting is how THE NEW NEIGHBOR, MARILYN LEVENS, Devon's ENTOURAGE, and almost everyone else seems to be shoving Devon and Dern at each other by the things they say to them.

The NEW NEIGHBOR telling DERN her husband is in the FILM, Marilyn saying LOCK UP YOUR DAUGHTERS DOORS, Devon's Entourage saying what a NICE ASS she has, Niki hearing PIOTREK warning Devon to STAY AWAY from her (which also only makes NIKI look that much more attractive to DEVON and as a challenge to try and overcome), etc.

And Yes LP, way back after first arriving here, and posting to the what's your interpretation of IE topic that Spear began, that's precisely what my impression of IE was at that time (which was also when xxpo hadn't seen IE many times and didn't have the DVD as a way to watch it yet).

Anyhow, that was also my summary of it, that it was a story about EVE in the GARDEN, the loss of innocence, and the DEVIL who TEMPTS her into EATING from the FORBIDDEN TREE of KNOWLEDGE ...

a situation which also seems to involve SEXUAL MATURITY ...

since ADAM and EVE also become aware of their bodies and try to hide their nakedness after eating from it.

Plus that other scene in MTTH where the PHANTOM sells LG the WATCH ...

which also seems to represent her having TIME STOLEN away from her ...

(due to the way she also seems to MORPH into the OLD WOMAN that we next see with her hands over her face) ...

which would also MATCH up pretty well with what the DEVIL does when he TRICKS EVE into EATING from the TREE ...

by telling her she'd be *LIKE GOD* if she did.

And sure enough EVE does become *LIKE GOD*. ...

due to the way she can also CREATE OTHER CREATURES after that.

But the PRICE she PAYS was also the SACRIFICE of TIME ...

meaning she was also no longer IMMORTAL anymore ...

but would DIE ...

thus also meaning SATAN found a way to STEAL TIME away from her by TRICKING her into eating from the FORBIDDEN TREE.

And we also see that PAINTING in MTTH when LG buys the WATCH ...

where the NAKED PREGNANT GIRL reaches up towards the ANGEL ...

while the CLAW of the DEVIL (which has also already SCRATCHED the ankel of the naked pregnant girl) reaches up for her leg.

So that scene in MTTH definitely seems to REPRESENT the situation in the GARDEN, which would probably also place THE PHANTON who SELLS WATCHES into the role of SATAN???

MR. K also reminds me of ST. PETER at the GATE who listens to stories people tell him to see if they are WORTHY ENOUGH to GET INSIDE or not.

The other scene between JANEK and THE PHANTOM also reminds me of GOD having a conversation with the DEVIL, maybe the one where SATAN challenges GOD and makes the BET with him that if GOD LETS him TORMENT JOB then JOB wouldn't love GOD anymore after that???

Anyhow, maybe the DEBT is not only the UNPAID RENT that we hear about in the SONG LYRICS,

and that we also hear FREDDY repeatedly asking people for MONEY for,

but it may also be TIME ITSELF ...

that is PAID FOR with the price of being able to REPRODUCE oneself ...

or being able to CREATE other CREATURES in ONE'S OWN IMAGE???












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[deleted]

It's about the Hollywood dream
Everyone wanting to be a star
The casualties
Of the dream are awake and dead
Nobody cares
About anyone
They seem to but they don't
They applaud only the act of caring
But it's Hollywood so , of course....

Poverty doesn't not exist in Hollywood
The crack addicts are actors the down and outs are rich
It's only a dream
So it's ok.

I won't rate it either way
As i cannot it is too dangerous to rate for or against.


What's the last word said in the script?
I forget.
It is a very dangerous movie
It's more than a movie in fact
Ha ha

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No Message

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[deleted]

[deleted]

[deleted]

[deleted]


LP,

Do you ever suspect this forum is full of lots of little versions or TWIN COPIES of CAIN and ABEL'S???

THE 2 CREATURES that EVE CREATES after she EATS from that TREE that STOLE TIME away from her and from her offspring as well???

Because doesn't one of them also GET JEALOUS of the other one ...

and he also tries to DENY that he knows where he is ...

when he asked about his LOST and missing brother ...

by asking if he's his brother's keeper???

At least DERN never tries to DENY what she's done ...

and she LEAVES a NOTE for her sister ...

explaining WHY the HEAD and PENIS of KIDDO sits there on her SHELF in the FRIDGE.

That's probably also the reason why the other WOMEN SING the SINNER MAN you ought to be PRAYING SONG at the end of IE ...

where we also see RITA from MD GRAB HOLD of the WRIST of other DUDE sitting next to her ...

who is wearing A WATCH on his WRIST ...

that also looks very much like the one the PHANTOM SOLD to LOST GIRL in MTTH.


So it also looks like RITA will be the FEMALE PHANTOM in the NEXT VERSION of the NEXT AXXON N TALE.

Maybe the ONE LEG GIRL and NIKO with the MONKEY on her back who CRAPS all over the place are also her relatives or maybe even her OFFSPRING???

Maybe a couple of FEMALE VERSIONS of CAIN and ABLE???









David Lynch interviews Michael Sragow 1999 google book link

MS: One story that seems to get into all your movies is Dr. JEKYLL and MR. HYDE.

Lynch: Well, Alvin changed -- he was another person and he changed.

MS: And he compares the trumatic breakup with his brother to CAIN and ABEL --who are not that far, in a way, from Jekyll and Hyde.

Lynch: And he meets up with TWINS -- but they are pretty much the same.
P. 210


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[deleted]

"she said penis."

She must be a real Vajunka.

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[deleted]

how about I give xav 5 details from the movie and xav will write a very brief sentence on each of those details clearly showing how it relates to the 1358 house and how real it is, in relation to everything else in the movie??? is five details too much??? how about 3????


Shoot!


Please refrain from decorating text as much as possible. Thanks.

...Credo quia absurdum...

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[deleted]

After LANI and LORI take DERN from INSIDE of SMITHY'S HOUSE ...

through the WINDOW ...

and OUT onto the SNOWY STREET in POLAND ...

they also tell her it's JUST DOWN the WAY ...

and the DIEMBODIED LOST GIRL is also asking DO YOU WANT TO SEE.

So ...

what is the NEXT THING we see AFTER this question DERN is asked???

The NEXT THING We see DERN calling out BREAKFAST:



- You'll be dreaming...
- in a kind of of sleep...

When you open the eyes...

595
01:11:26,027 --> 01:11:29,989
someone familiar will be there.

596
01:12:15,765 --> 01:12:17,538
This is the street.

597
01:12:23,377 --> 01:12:26,088
Do you want to see?

598
01:12:37,350 --> 01:12:40,477
Just down the way.

599
01:16:02,453 --> 01:16:04,330
Breakfast


So instead of the SCENES in SMITHY'S HOUSE BEING REAL ...

it looks more like the OTHER GIRLS have placed DERN into some kinda TRANCE like STATE ...

where she's DREAMING in a KIND of SLEEP.

And while she's in this TRANCE like state ...

she is also seeing herself MAKING BREAKFAST for this SMITHY CHARACTER ...

or maybe she is seeing herself as if she's actually living the LIFE of SUE BLUE ...

and making breakfast for this guy.

But LOST GIRL is also the ONE who has ASKED DERN if she WANTS TO SEE.

RIGHT???

So like the case is with THE NEW NEIGHBOR using her MAGIC to show DERN what happens if she takes the ROLE or the PART in the FILM ...

LOST GIRL (or LANI and LORI) also seems to be using some kind of MAGIC as a way to SHOW DERN what life was like for SUE BLUE ...

(or maybe what life was like for LOST GIRL when she also played the part of SUE BLUE)???

But we also have NO REASON to assume DERN was or REALLY is married to this other guy who looks like her husband PIOTREK.

Do we???

Not when MAGIC or this TRANCE LIKE STATE is also being used to show DERN what life was like JUST DOWN the WAY???







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the DIEMBODIED LOST GIRL is also asking DO YOU WANT TO SEE.



And here's an article that discusses still more about the DISEMBODIED GHOSTLY LOST GIRL who is also called THE GRAMOPHONE PHANTOM:

http://www.slantmagazine.com/house/2006/06/strange-what-love-does-david-lynchs-inland-empire

a ghostly feminine figure appears to Nikki/Susan over the image of a scratchy record player ...


and offers up the key to INLAND EMPIRE's unhinged wonderland

where Mulholland Drive's Club Silencio impresario called Betty (Naomi Watts) and Rita's (Laura Harring) attention to cinema's elemental breakdown ("There is no band, and yet, we hear a band."),

INLAND EMPIRE's gramophone phantom beckons Nikki to look beyond the divide —

to allow the medium and its methods to completely absorb her ...

the answers to the film's many mysteries, for those who need them, are contained in Zabriskie's sideways glance and virtuous smile -



So what is THE ANSWER to the MANY MYSTERIES???

Is this the ANSWER to at least one MYSTERY:

that THE NEW NEIGHBOR ...

who SPEAKS with a POLISH ACCENT ...

is an OLDER VERSION of LOST GIRL who has come to WARN her NOT to take the PART in the CURSED FILM ...

before she proceeds to use her MAGIC to SHOW DERN what will happen to her if she does take the CURSED part???



BREAKFAST!!!!


There was this man...

606
01:23:14,975 --> 01:23:18,936
... I once knew...

607
01:23:19,145 --> 01:23:21,335
His name was...

608
01:23:22,691 --> 01:23:26,028
It doesn't matter what his name was...

609
01:23:28,530 --> 01:23:31,971
A lot of guys change.

610
01:23:32,388 --> 01:23:34,682
They don't change, but they reveal

611
01:23:37,080 --> 01:23:39,896
In time they reveal
what they really are.

612
01:23:40,313 --> 01:23:43,546
You know what l mean?

613
01:23:45,422 --> 01:23:48,967
It is an old story.

Looking back on it...

617
01:24:02,939 --> 01:24:06,589
All along it was being revealed.

618
01:24:09,718 --> 01:24:12,950
He was planning something...

619
01:24:13,784 --> 01:24:17,434
... planning something with me
in mind.

******************

I started saving some money
-Oh

663
01:29:36,402 --> 01:29:39,322
So now we rich?

664
01:29:40,157 --> 01:29:42,764
so I drink this piss called beer.

*****************************


There was a murder…
750
How awful. Where?
751
Just down the way


So ...

LANI and LORI take DERN to POLAND to show her the SCENE of a MURDER???






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STILL ANOTHER THING to NOTE is the way THE RABBITS/DERN/ and LOST GIRL all say:

THERE'S SOMEONE THERE.

And when DERN and LOST GIRL say it they also DISAPPEAR.

DERN disappears after finding the other TWIN COPY of herself laying on the BEDROOM FLOOR in MTTH who says SOMEONE'S THERE (which is the other COPY of herself).

Lost GIRL says it when she's sitting at the TABLE with the 3 RABBIT MEN in the RABBIT ROOM in POLAND before she DISAPPEARS.

AND in the RABBIT VIDEOS JACK and SUZY RABBIT also say it before they DISAPPEAR into THIN AIR after they talk about some kind of a

GREEN TEAR, a VINYL KNIFE, and a DOG with TEETH.

And in the REHEARSAL for SCENE 35 inside of STAGE 4, it is also FREDDY who says THERE'S SOMEONE THERE ...

before DERN DISAPPEARS from the REHEARSAL TABLE ...

after the other TWIN COPY of herself who enters the AXXON N DOOR in the BACK ALLEY of STAGE 4 finds herself sitting at the REHEARSAL table.

LANI and LORI also tell DERN SOMEONE FAMILIAR will be there before they take DERN through the MAGIC WINDOW in SMITHY'S HOUSE to THE SNOWY STREET in POLAND and tell her IT'S JUST DOWN the WAY after she's there.

And JUST DOWN THE WAY is also the SAME THING that the NEW NEIGHBOR tells DERN when she describes WHERE she LIVES at the beginning of IE.

So there's definitely also a CONNECTION of some kind between SUE BLUE (the characters played by DERN and LOST GIRL) and SUSY RABBIT who all say SOMEONE'S THERE.












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SHORT VERSION:


LOST GIRL says:

I don't know where I am

RABBIT says:


Where was I?


DERN on the WALK of FAME:


Where am I?

LUCAS:


I'm not who you think I am.


HOOKERS on the WALK of FAME:


Where did you go?

Where 'you been?

Someone's there.

Look.


******************************************************************

LONGER VERSION:

I don't know where l am

877
02:02:48,734 --> 02:02:51,445
- I hear her now
- Do you see her?

878
02:02:54,155 --> 02:02:55,302
No

879
02:02:57,597 --> 02:02:59,265

It was...

880
02:03:03,227 --> 02:03:04,478
...red


890
02:04:20,180 --> 02:04:22,683
Right away! It's past midnight!

***********************************

RABBITS (who also say it's AFTER MIDNIGHT in the RABBIT video):


891
02:05:36,195 --> 02:05:40,358
I am going to find out one day.

892
02:05:44,745 --> 02:05:46,613

It was red.

893
02:05:51,940 --> 02:05:53,495
Where was I?


This isn't the way it was.

895
02:06:18,634 --> 02:06:22,275
It was the man in the green coat.

896
02:06:25,203 --> 02:06:30,097
It had something to do with
the telling of time.

=============

DERN on the WALK of FAME:

Where am I?

899
02:07:53,834 --> 02:07:56,223
I'm afraid

==================

LUCAS:

921
02:16:30,295 --> 02:16:32,790
I'm not who you think I am.

============

HOOKERS on the WALK of FAME:

Where did you go?

948
02:21:12,456 --> 02:21:14,011
Where 'you been?

949
02:21:20,068 --> 02:21:21,831
Someone's there.

950
02:21:25,072 --> 02:21:26,418
Look.





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Here's a copy of a PM sent to a friend:



BUNNIES was made BEFORE IE. And then a few clips from the RABBITS video footage was added into IE. So maybe you see the RABBITS about 4 or 5 times, and each time they probably also don't stay around for more than a min or two.

The RABBITS also represent the ORIGINAL AXXON N TALE ...

or are the ORIGINAL POLISH GYPSY FOLK TALE ...

which the OTHER FILM in POLAND is based upon ...

and since the director KINGSLEY (Jeremy IRONS) is also making a REMAKE of the other FILM ...

that also means BOTH FILMS (the one called 47 (in German) and KINGSLEY'S FILM (called ON HIGH in BLUE TOMORROWS) are based upon the ORIGINAL FOLK TALE with THE RABBITS.


In one scene in POLAND you also see LOST GIRL DISAPPEAR from the LONG TABLE where she's seen sitting with 3 OLD POLISH MEN (like you also see DERN DISAPPEAR from the REHEARSAL TABLE inside of STAGE 4 after she finds herself sitting there).

After LOST GIRL DISAPPEARS from the TABLE in POLAND, then you also see those 3 OLD MEN MORPH and change back into RABBITS again (because it's also AFTER MIDNIGHT when the MAGIC of the FAIRY GODMOTHER wears off and the COACH turns back into the PUMPKIN again, and the HORSE that pull the carriage go back into being MICE again.

And Cinderella also goes back to wearing RAGS again instead of the PRETTY BALL GOWN.

LOST GIRL also holds up a RED DRESS to her NAKED BODY at the start of IE.

And the BALLERINA also wears the SAME RED BALL GOWN dress in the BONUS DVD where you also see her DANCING.



But the PRINCE probably also wasn't a VERY CHARMING FELLOW in this FOLK TALE.

Not when we begin it with the guy asking if she knows what whores do and telling her he'll TELL her what he wants???

So DERN begins the AXXON N TALE living in a PALACE where she has lots of SERVANTS at her beck and call, but by the end of IE she's also a HOOKER or a WHORE walking on the WALK of FAME. Kind of an INVERTED CINDERELLA.

But GRACE (THE NEW NEIGHBOR) is also the FAIRY GODMOTHER who uses her MAGIC to tell the TALE (like MARLEY who shows SCROOGE what kind of a PATHWAY he's taking into his future).

And that's also the reason why we END the TALE back where we began it, with the FACE of LOST GIRL MORPHING into the FACE of GRACE, and then seeing DERN turn her head to look across the ROOM where she finds the other COPY of herself sitting over there across the room on the other couch ... in the PALE BLUE DRESS from the 60 era ... (like the style of dress DERN wears in BLUE VELVET).

In MTTH (the Bonus DVD) you also see DERN holding up CANDELS like the RABBITS do in one scene, and you also see an IRONING board sitting there in the LIVING ROOM of SMITHY'S 1960 ERA HOUSE (like the RABBITS also have the IRONING BOARD sitting there in their living room).

So it's also pretty clear that DERN represents one of the RABBITS.

And since DERN also plays the part of SUE BLUE, she would probably also represent and be SUZY RABBIT.

What seems to happen is DERN gets TRAPPED in the 1960 WORLD, and LOST GIRL (form the 60 WORLD) gets TRAPPED inside of some kind of late 30/40 WORLD. Because the AXXON N STORY is also a CURSED one and that's also what the CURSE SEEMS to involve.

The actress who takes the ROLE of SUE BLUE gets TRAPPED inside of the WORLD of the other ACTRESS who had the ROLE before she did.

You also see DERN get TRAPPED when she ENTERS the AXXON N DOOR in the BACK ALLEY of STAGE 4 and then finds herself sitting at the REHEARSAL TABLE still doing the REHEARSAL for SCENE 35 with KINGSLEY/FREDDY/ and her co star DEVON (the BIG BAD WOLF in the TALE).

Then Freddy (Harry Dean Stanton) also says:

THERE'S SOMEONE THERE

and DEVON (Justin ) goes to the back to see WHO'S THERE.

And the 2ND TIME this happens DERN also RUNS inside of SMITHY'S HOUSE ...

where the DOOR LOCKS so she can't GET OUT ...

and then she looks out the FRONT WINDOW and watches as the INSIDE of STAGE 4 MORPHS and changes into a FRONT YARD.

And from this point on she's TRAPPED inside of the 1960 WORLD ...

until the END or 3rd part of the FILM when lights start WHIRLLING around and she SCREAMS LOUDLY, and then finds herself standing on the WALK of FAME in HOLLYWOOD with the HOOKERS.

But after the end of her DEATH SCENE the camera also PULLS BACK to show you the PANAVISION CAMERA ...

and how we're not really in HOLLYWOOD ...

but are still INSIDE of STAGE 4 on a FAKE TWIN COPY of the WALK of FAME.

And it is also at this POINT that you also realize you've also been a LOST BOY or a LOST GIRL just like LOST GIRL.

So the 3 RABBITS can also be viewed in this way:

1. DERN
2. YOU
3. LOST GIRL


And you have pretty much also been a LOST CHARACTER in the AXXON N TALE.












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