It is one of the truly singular, transcendent and masterful pieces of moving visual arts that made this century, and this weekend the New York City audience will have the rare opportunity to see all 18 parts of David LynchS “Twin Peaks: Return“On the large screen as part of Badly and Metrograph’s two-day marathon.
To make the pilgrimage to New York is Dean Hurley, who was the re-recorded mixer, monitoring audio editor and audio and music supervisor at “Twin tops: The return. “Shown on the filmmaker Toolkit Podcast To discuss Lynch’s use of audio and creative process, Hurley told IndieWire that Marathon was more than an opportunity to see the series on the big screen. The Metrogent The audience will also be the first to see the entire version of the series, how Lynch thought.
“It will come back to the whole”, maybe you think you have seen filmBut you don’t have that, ”Hurley said, paraphrasing Lynch’s iPhone -Rant that became an internetmeme. “These are the theatrical mixtures and the only thing I am really excited about is that that is the intention, that’s how David mixed them, and that’s how he experienced them.”
In addition to its official titles, Hurley played a bigger role in Lynch’s creative life. The filmmaker hired Hurley in 2005 as an engineer on his Recording studioA converted Hollywood Hills home that he used as a “lost highway” place. Hurley would be Lynch’s Jack-of-All-Trade “Sound Guy” that did everything from recording, mixing, session to play to publish monitoring and procurement of instruments. Lynch preferred a DIY strategy and worked in the isolated bubble in its studio.
For Lynch, who took sound designer credit on his films and “Twin Peaks: Return“It is impossible to underestimate the importance of the sound played in all his art. The sound was often Spark of emotional inspiration and his Hollywood Hill’s “Asymetrical Studio” was a creative space where he spent much of his waking hours.
Lynch and Hurley recorded sounds used in “The Return” a decade before the script was completed. For example, Lynch had a library with recordings of electricity, which was a review over three seasons of “Twin Peaks.”
“You might read electricity in (the script) and think,” Ok, I’ll go out and record electricity, “Hurley said on the podcast.” But what David showed me is sound in movies are exaggerated versions of themselves in real life … You lose them full of emotions, you make them bigger than that sound it is feeling, because we remember things differently. ”
Lynch preached to Hurley that at the increased moments in our lives, we remember sounds higher and had much more impact than reality. That was what the filmmaker wanted in his work.
“You need something that is in your cave yourself, a little primordial sound, that when you hear it, your Grottman himself says:” It’s fucking dangerous, “Hurley said.” David loved volume, he loved extremes. His filmmaking could be summarized in extremes because he will take a feeling and just jacket it up to the ninth degree, to this characterized version, a juiced up, steroidal version of that feeling, and especially with that atomic bomb sequence. “
Hurley, of course, refers to Part 8 of “Twin Peaks: The Return,” One of the most famous episodes of TV ever, where an atomic bomb goes off. Hurley remembered that I worked with Part 8 and Lynch screamed, “‘Dean, Jack this up to 11, I want to make ears bleed.’ And I think, that’s a big problem.
He and Lynch were in Paradox while mixing “Twin Peaks: The Return.” “The Heartache on Crafting One of His Theater Soundtracks is When You Walk Into a Theater, It’s What The Director Presents. If they want something super quiet and then they want to hit you over the head with a full-level, full-channel you, Intended. Television is a Different Thing because you’ve got front-end compressors, Treating the signal and squash Things into a band before they even go out. ”
Another major limitation is home speakers that allow us all theater managers to adjust the decibel level with a click on our remote controls.
“The power of the cinema and standards in the presentation mode that is achieved with standards such as THX, where you agree with a room, it plays on 85 decibels, you have these giant crossover speakers with tweeter and fiberglass horns and 20-inch woofer, which has potential to really move lots of air,” “” “And you can feel it physically, viscerally in a different way than at Airpods or a laptop speaker. I think that’s what David got with” if you think you’ve seen it on the phone, it’s a damn joke. “
If you watch the video that inspired Lynch’s famous meme, it is clear that the filmmaker’s rant comes from the deep “grief” Lynch felt about the delivery systems for how we experience his art.
This grief was something that Lynch felt intense while “Twin Peaks: The Return” was broadcast on Showtime, as it never had the emotional and physical effect of what Lynch felt in its studio. That frustration became anger when he created the “Nearfield” mix, the broadcast standard designed to limit the sound for the homeguard experience.
“It was always difficult for him because we would make mixtures for things, (even) criteria, when he wanted to listen to them on his flat -TV to see how they played,” Hurley said. “He would be as emotional, as annoyed because he is like” the power is not there. “And I’m like:“ It’s there.
After “Twin Peaks: The Return” aired, Lynch Hurley instructed to create a theater mix for the entire series. He previously created the theater mix for parts 1 and 2 when they were shown at the Cannes Film Festival.
“‘OK, dean, move on, remove the limits, put the mixtures in an 85 decibel paradigm,’ ‘Hurley remembered that lynch instructed. “Because someone said, I can’t remember if it was Sabrina (Sutherland), the producer or David himself,” one day they will show these in a museum. “
Until the weekend, in addition to the Cannes premiere, Hurley said that only part 8 has shown publicly in its theater mix. Therefore, the prolonged partner, trust and friend makes the trip to New York for Marathon.
“This is what David dreamed about when we did this mix,” Hurley said. “This is how he experienced it when he did, and it would make him happy that it was finally presented as he thought.”
Metrograph’s two-day marathon of “Twin Peaks: The Return” will take place July 5 and 6 to highlight the 35th anniversary of “Twin Peaks” Season 1. Dean Hurley will participate in introducing the series for selected Showtimes and will also participate in a special pre-screening. For more information, visit Metrograph website.
To listen to Dean Hurley’s interview that will be broadcast on July 10, subscribe to the Toolkit podcast on AppleThe SpotifyThe Or your favorite podcast platform.
