I made this breakcore song called "Doppelganger" inspired by Twin Peaks: Fire Walk With Me (1992):

https://on.soundcloud.com/pErslDyUnAArEIeYyD

It features the blood curdling screams of Laura Palmer as well as vocals from the giant and the man from another place.

Kick back, relax and listen to the terrifyingly soothing sounds of Doppelganger!

Thanks for listening! ~ natty.selxn

I love this movie so much it makes me sick. Still can't believe David Lynch could capture the very emotion I felt at some point of life

I made this for my wife a few years ago as a gift

Hbd MD! I’m not sure if this quote is supposed to be inspiring but I associate it with the idea of ‘snapping out’ of something - and looking forward to it as a constant reminder of questioning my own thoughts.

Hi everyone,

I’m thinking of buying this signed card. The seller is a German dealer with 30+ years in the hobby, member of a collectors' association and listed on PADAH, 100% positive feedback on 3,000+ sales (eBay). He says he got it by mail from Lynch in the 80s, but has no other documents.

I compared it to two dated RR Auction examples (1985 and 1987, the 1987 one PSA pre-certified). It looks consistent to me, especially the separate "K" stroke and the dots.

If anyone can confirm, it would really help me decide!

Thanks a lot 😄

love him

Damn fine!

For those interested, here's a nice Q&A chat with Film Obsessive about the book "The Dreamer's Path: Twin Peaks and David Lynch the Actor," which chronicles -- through research, analysis, and 70-plus new interviews -- EVERY onscreen Lynch performance and piece of voice work, from the famous to the obscure and even the newly uncovered.

https://filmobsessive.com/film/film-news/film-interviews/down-the-rabbit-hole-author-brent-simon-discusses-the-dreamers-path/

While obviously David was primarily a filmmaker and fine artist, he also continued to act (both in his own works, many short-form, and then also for others), so the idea of "performance" is an interesting new frame through which to reflect upon and more deeply ponder the fullness of what "the art life" meant to him.

I just put out my new song "Automagic" with a music video I shot on mini DV tapes. The video and song both pulled greatly from the work of David lynch in atmosphere and content. i hope you enjoy, thank you.

The David Lynch / Carrie connection (beside Piper Laurie in Twin Peaks)

The St. Sebastian statue from the prayer closet was heavily modified from a regular crucifix into St. Sebastian with the cross removed, arrows added along with the tiny wig. A foreshadow of Carrie's Mom's death. Then there were the eyes, lit from the inside with small lights.

The film's art director responsible for the prop was none other than Jack Fisk. Jack met David Lynch in 9th grade and the fast friends followed each other through art school, a failed trip to Europe, and then L.A.

If you've seen the greatest movie ever made, Eraserhead, you'll know Jack as "The Man in the Planet."

Jack's wife is a little known actor, Sissy Spacek. They've been married since 1974 and have supported each other their entire careers. Spacek actually worked on set on ERASERHEAD.

Extra trivia: The house next to the White's house is for sale by "Paxton Realty." This was Fisk's nod to his assistant, someone named Bill Paxton.

I really like Mulholland Drive and I give Lynch full credit for it. But after thinking about it a lot, there are a few things in the dream logic that don't add up for me, and I want to share them along with my own idea for a different ending.

Quick reminder of how I read it: the first part is Diane's dream. She imagines herself as Betty, a hopeful young actress, and Camilla, the woman she loved and had killed, becomes Rita, who lost her memory in the car crash. In reality Diane pays a hitman at Winkie's, and the blue key is the sign that the job is done.

First thing, the key comes too early. Rita walks out of the accident with the blue key already in her purse. For me that's a wrong move. The key is the symbol from reality, the proof of the murder, and here it just shows up again in the dream right at the start. In a dream, things from reality should come back changed, even turned into their opposite, not simply repeated.

The opposite of a key is something locked. So I think Rita should come with the blue box in her purse, not the key. A locked box gives you a big question straight away: what's inside? And what's inside is the reality. It also tells us we're in a dream world. Then later, at Club Silencio, the key could appear as the thing that might finally open it. A key on its own doesn't ask any question. It could be for a door, a safe, a car. It only means something once you know what it should open.

Second, Rita shouldn't be the one who opens the box. Rita isn't really a person in the dream, she's more like a character in Diane's role play. Diane, as Betty, is the one who has to face the truth, so she should open it.

I know the usual explanation is that Betty disappears because Diane is avoiding the truth. I don't buy it. You can't dream all of this while knowing the truth. If Diane knew what was in the box, the dream couldn't exist in the first place. So opening the box should be the moment she snaps back, and she should do it herself, without knowing what she's going to find.

Third, the scene where Betty and Rita go to Diane Selwyn's flat and find her body. The dream gets way too close to reality there. Seeing her own flat and her own dead body inside the dream already feels like a snapback, and too early. I think the movie would work better without it.

Now my alternative ending. Instead of Diane waking up and killing herself, I'd end it like this. Betty, not knowing what she's doing, opens the box and sees the reality of what she has done. She snaps it shut, throws it away, and the dream carries on. Then in the last scene we see her in a mental hospital, in white clothes, sitting in a wheelchair and laughing to herself. Facing the truth broke her mind, and the dream became her reality for good.

Why I think this fits better: Diane didn't kill out of hate. It came from love, heartbreak and disappointment. She's guilty, but she's not a cold killer. Camilla pushed her to it, like at the dinner party where she shows off her engagement to Adam right in front of her. In the dream Camilla is still alive as Rita, so Diane gets to keep the person she loved, at least in her head. To everyone around her she's a broken woman, but inside she's happy. To me that's sadder and more haunting than a suicide.

So here's my question. We're watching a dream world, so does ending it with a suicide really make sense? To me a lover's tragedy fits better, with Diane keeping her dream world where Camilla is still alive. That's what matters most here: because of her love she made the wrong choice, and looking inside the box and facing the reality was so hard and brutal that her mind completely broke down. What do you think?