My Childhood Cinema Experiences: Truly a Magical Experience

I grew up in a 2 parent home with an older brother, sister, and a cousin whom we took in before I was born. My father worked at Kenworth Trucks in Seattle and on his one income we were able to have food, clothes, and shelter. We always had presents for Christmas and on our birthdays. We had cable TV and we were never needing any necessities. The one area where we did sacrifice was in entertainment.

We never had vacations as a family. We never went to Disneyland and we only took a couple of trips to downtown Seattle, both of the trips ended with my parents getting mad at each other and a long, awkward drive home.

Going out to the movies was almost as rare. I can recollect about half a dozen times I went to the movies before my teenage years. I’m not sure if it was because of financial reasons or if it was because my father just didn’t want to deal with the drama that could arise but, in any event, our trips to the cinemas were rare. Although I remember feeling jealous and left out hearing about the movies vicariously through kids on the playground at school, I believe that this made me truly start to love movies.

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The movies I remember seeing as a kid were “Superman II”, “Return of the Jedi”, “Jaws 3-D”, “Gremlins”, “E.T. The Extra-Terrestrial”, “The Last Starfighter”, and “Splash”. There were a few more when I was much younger that I don’t remember, like “The Muppet Movie” and several older Disney live-action movies. Of the ones I do remember seeing, I don’t remember the images so much as the feelings I had during the films.

I always remember the enormous excitement and anticipation of going to the movies. The morning of, I could barely contain my excitement. In those days, movie theaters allowed outside food and drink. We would always grab candy, chips, and a 6-pack of soda, and drive off to the movies. In the early 80’s, living in Redmond, the closest cinema was in Bellevue, at the Crossroads Cinema (which still stands). I remember the auditoriums were so big and looking up at the ceiling the lights looked like stars. I remember what seemed like hundreds of people crowded into the auditorium, filling all the seats. I remember how excited I felt when the lights turned down and then the trailers began.


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During the movies I was mesmerized. The huge screen, the loud sounds, the collective responses of the audience, were all things I did not experience at home on our small TV. The movies at home were in mono and their aspect ratios were cut to fit the screen. I could never turn up the volume loud enough to give me that theater experience. The only time I felt like I was truly experiencing a movie was at the cinemas. One thing that always stands out in my memory is hearing that faint echo from the movie. I don’t know if it came from the speakers or if it is a fake memory, something my childhood insists happened but my adult self denies, but that is something I never hear anymore. Perhaps the advent of THX, Dolby Digital, DTS, and Dolby Atmos have corrected this.

As I got older I went to the movies more often. Although I do enjoy the experience of going out with friends to the movies and participating in the collective experience of hundreds of strangers, nothing today will ever compare to those few experiences I had as a child. My need to re-create those theater experiences at home led me to ultimately getting my own home entertainment system and getting a Laser Disc player. This also reinforced my love of film. Although I felt, at the time, that I was missing out on going to see all of these films at the cinema, my parents ended up giving fuel to my passion for film that remains to this day.



Has Our Love of Bad Films Destroyed Cinema?

About 20 years ago, when I worked at the Redmond Town Center Cinema, I noticed a sad, though not surprising trend: People were ignoring the good movies. More and more I would see smaller, more personal films like “Kundun”, “He Got Game”, and “The Truman Show” get passed over for movies like “Deep Impact”, “The Siege” and “Enemy of the State”. The selection process of the average film goer was twofold: If it had big actors and an interesting cover, then it trumped anything else available to view. Being a fanatic of Roger Ebert, I would get a little depressed seeing these mediocre movies fill up on the weekends while the other films died short, quiet deaths.

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Last weekend, I saw “Blade Runner 2049”. This was a film that, to me at least, was nothing short of a masterpiece. Beautifully shot, it captured the tone and feel of the original film perfectly. At nearly 3 hours in length, I was never bored. However, it seemed the people behind me thought otherwise. “Get me out of here” was something I heard somewhere behind me, followed by other grumblings. I remember hearing the same complaints after a screening of “Traffic.”

Now I’m not really a film snob. I was one of the few people who enjoyed “Batman Vs. Superman: Dawn of Justice.” True, the film had a lot of problems, but I am a huge DC comics fan and I loved the portrayals of Batman and Wonder Woman. I also enjoy horror movies. It seems that most people who go to the movies are not looking for art, they are looking for escape. Through mindless action, overblown special-effects, and cheap laughs, your average weekend film goer is not looking to see a work of art.

Is that why it seems like films keep getting worse?

The general complaint seems to be movies are bad nowadays while TV shows have become the new art form. I see this as a very valid argument. TV gives storytellers the opportunity to tell stories over a number of hours, allowing viewers to become entranced with the complicated lives and characters of the drama. With film, it seems that those same aspects (deliberate pacing, complex characterizations, surprising outcomes) in film seem to be something to avoid.

Now, from the point of view of the average film goer, I can see the logic. Films have become expensive, especially if movie going is part of a date night. Tickets for 2 at the cinemas average $40. For $40, the film has got to be worth it. Big, special effects epics are the obvious choice. The big screen is still, and will always be, the best way to see epic films. Who wants to pay $40 to see a complex, probably depressing, film with people who just sit around talking?

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Image Courtesy Skye Gould/Tech Insider

Unfortunately films are expensive. In order to invest in a film, there has to be a promise of a financial windfall. This is the reason we see so many sequels, remakes, and formula films. These have all proven to be successful and the money men make millions off of these films. Who cares if they’re any good? Look at those opening week numbers!

There will always be a voice for smaller, independent film. There is always an audience for these and they can be made relatively cheap. Big name stars eagerly cut their salaries to work in a film that shows off their talents and garner awards. No matter how big the films get, the smaller ones will never be extinct.

What may become extinct, however, are the big idea films hiding inside a blockbuster budget. Perhaps the marketing for “Blade Runner 2049” tricked people into thinking it was going to be an exciting action picture. Those familiar with the original should not have been surprised that this film would present a lot of ideas and be more than just effects and action.

Not all bad films succeed. This last summer saw a slew of big budgeted movies that failed at the box office due to no interest, poor reviews, and bad word of mouth. But if the bottom line is dollars the major studios will not stop pumping them out like shotgun shells. The tragic thing is that the more challenging big-budget films that fail, the more cinema will go back into that divide of the big, horrible films with the small, great ones. I for one love to see a big movie try to be more than mindless entertainment.

Experience has shown me, however, that most people don’t share this view.

The Boys Club of Hollywood

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Photo Courtesy Fox News

This week it is virtually impossible to not come across some article about Harvey Weinstein and the women who have come forward with their stories of harassment and assault. Not surprisingly, as soon as the first stories were being reported, several celebrities publicly denounced Weinstein and his actions, while at the same time claiming ignorance.

Is the ignorance real or, like so much of Hollywood, fake?

Hollywood, like many sectors in this country, and around the world, is basically a boys club. If the number of studio heads, producers, and directors haven’t convinced us of that fact by now, then the films themselves should be the final proof. For every female director there are 24 male. posted an article back in February of 2015 stating that 100% of all major Hollywood studio executives were male.

Hollywood films have always been about the strong, white, male lead. The woman, if any, is always an attractive companion for the hero, nothing more. Oh, there may be a scene here or there where the woman “helps”, but overall, for decades women in film were there simply to be beautiful. The romantic comedies, or so-called “chic flicks”, are supposed to be the films for women. The women in these films are usually only concerned with finding the right man, usually have a gay best-friend or a chubby girlfriend, and are presented as whiny and somewhat clumsy.

Another example of the male fantasy behind the movies is the fact that the men can age and still be the action hero while the woman, wants she hits 40, is either never cast again or only cast as the “mom” or “crazy lady” character. Meryl Streep, Helen Mirren, and Judi Dench are just some exceptions to this rule. But while actors from the 70’s like Robert De Niro, Al Pacino, and Dustin Hoffman, are still offered lead roles in films, who remembers Jill Clayburgh, Diane Keaton, or Faye Dunaway? The fantasy of the older male lead romancing the much younger female co-star is something Hollywood has been doing since Cary Grant was romancing Doris Day. The Guardian wrote an article about this issue. It’s not surprising that this is a Hollywood tradition since most of the men making these films are older and the films themselves are an extension of their fantasies. Even today, films starring Johnny Depp, Tom Cruise, and others much older, have them co-starring actresses 20 or 30 years younger.

There have been some strides in the last few years, but only because more and more women are producing and directing their own films. There have been some exceptions of course: “Room”, “Juno”, “Bridesmaids”, and “Thelma & Louise” are just some examples of female driven movies directed by men. Yet, in order to be more inclusive, and make sure that female characters are more than just the stock figure of eye candy or witch, women have had no choice but to take the reins themselves and give us three-dimensional characters.

Recently, “Wonder Woman” was acclaimed, both critically and financially, as a certified hit. While a lot of the credit was given to Gal Gadot’s endearing performance, most felt it was due to the direction of Patty Jenkins. Before “Wonder Woman” there had only been a handful of comic book movies that centered around a female protagonist. Because they all flopped, Hollywood seemed to have decided that no one wanted to see women starring in these types of films and, therefore, simply stopped making them. Hollywood, like always, had failed to put into account the fact that the problem with those films wasn’t the main character being female, but because the films themselves were horribly written and directed: all by men.

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Photo: Clay Enos/Warner Bros. Pictures

Although it was refreshing to see a film directed by a woman become such a phenomenon, it was a little disheartening to read all of the headlines about the film’s success. The Guardian and Variety were just 2 of the many articles that pointed out the fact that it was shattering the previous records held by female-directed films. It was almost a backhanded compliment, something akin to saying “look a woman can make a film that people want to see!”

Harvey Weinstein is emblematic of the Hollywood establishment: a boy’s club. A place where men make the films and seduce the stars. The reason that Weinstein was tolerated seems to be that his behavior was something not unexpected. It seemed to be a matter of “boys will be boys.” I won’t be surprised when we start hearing about other producers, filmmakers, and actors who have participated in the same behavior. I believe that the first step in ending the monopoly of male filmmakers and empowerment in film is to give women more opportunities to make film. Will it end the harassment, discrimination, and assault that has been part of Hollywood since it’s infancy? I don’t know. But at least now women will have a place where they can fight back against this behavior, allow women to continue to work in film long past the age of 40, and create realistic and fully realized characters.

My Adventures with VHS

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VHS. Such a love-hate relationship I had with you. I loved that you were the format that I had at my disposal that allowed me to discover movies that I could not see on Showtime, HBO, or on the broadcast channels. You allowed me the opportunity to see independent, foreign, and classic films that were all but forgotten. On the other hand, you were sometimes a pain. Often times I had to adjust the tracking, since the continuous replay of the tape would decrease the playback and cause those annoying lines to cross horizontally over the tops and bottoms of the screen. When we rented you (from Blockbuster or Hollywood video) we had to rewind you before we returned you or else we might incur a fee. Even though you were a pain, I think that, upon further reflection, my affection for you outweighs the negative.

My family got our first VCR in 1985. For me, it was better than getting a Nintendo. Although I liked playing games, I was never a gamer and never very good at it. Watching movies took little effort and I was already becoming more than just a casual film watcher thanks to our Showtime and HBO subscriptions. Our trips to the video store began the same day we received our player.

Our family lived in Redmond in those days and the closest video store to us was a little shop called National Video. It was located on Redmond Way and the building itself still exists. The design of the store was unusual. The videos were lined up, covers forward, behind a long bar-like counter. If we wanted to look at the back of the box, to read about the film, the employee would have to hand them over the counter to us. The first movies we rented that evening were “Friday the 13th-The Final Chapter” and “Poltergeist.” My brother’s pic was the former and mine was the latter.

For several months my brother and I would go to the video store daily and rent a movie apiece. Before long we had rented practically every movie there (except for the adult movies which were displayed on the shelf but with the covers hidden). Eventually we had to find other video shops, with a larger selection, and eventually we ended up renting from about a dozen video shops.

Soon enough we began purchasing blank tapes and recording movies off TV. Although it was technically illegal at the time, everyone was doing the same thing. Purchasing movies on VHS at the time was expensive, and a lot of movies were still not available on that format, not only to buy, but also to rent. After some time, VHS became more affordable, and we began to collect movies from the store.

I remember to this day Christmas morning of 1986. Wrapped under the Christmas tree was a rectangular box, wrapped in white and red wrapping paper, that, upon my physical inspection, felt like VHS tapes. When I opened it I saw that I had my own copies of “Star Trek II: The Wrath of Khan”, “Raiders of the Lost Ark” and “Indiana Jones and the Temple of Doom.”

My favorite Christmas

As I got more into film I began to watch more adult-oriented epics like “The Godfather”, “The Godfather, Part II”, “The Deer Hunter”, “Scarface”, and “Once Upon a Time in America.” What I loved about these films was that they were so long that they had to be contained on 2 tapes. I remember loving the look of the double-packed films on my shelf.

As I got older the technology changed. I began to long to see films in their original widescreen format, something that VHS all but ignored. Laser Discs, another film medium, had all of their films released in widescreen. Eventually, this new technology won me over. I eventually stopped buying VHS, then even stopped using VHS to record movies or shows.

30 years later, I have gone from Laser Discs to DVDs, and finally to Blu Rays. Although the technology has improved, and watching movies at home, and your computer, is nearly as good as watching films at a theater, I still miss the old VHS. Even now, remembering my huge collection of VHS tapes brings me back to when life was simpler. Before school became harder, before I had to get a job, before I left home. For me, VHS was my childhood.

Cinerama: A Movie Theater for Movie Lovers

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Photo Credit: Seattle Daily Journal of Commerce

In 1999, Paul Allen, billionaire philanthropist and businessman, opened up the doors to the new and improved Cinerama. Prior to then, I had never gone there, mainly because it meant either a long bus ride or an annoying drive across the bridge and into the always annoying downtown Seattle traffic. Even though I had never been inside, being a film lover, I had often heard about what a fantastic experience it was to see a movie there. At that time, the Cinerama was the only place that 70mm versions of classic, and modern films, were shown. I remember hearing about the huge, curved screen and how watching films like “2001: A Space Odyssey” there was an almost religious experience. I always paid attention to what films were being played there and would often dream about making the long trip to see that wonderful screen and become completely immersed in that experience…

Sometime in the Spring of 2000, Cinerama presented a film series of Columbia Pictures Classics, chief among them “Lawrence of Arabia.” Like “2001”, “Lawrence” was a film that I had always wanted to see on the biggest screen possible. Shot in 70mm, I had only seen it on a VHS widescreen version at home on my family’s 24″ TV. When it was announced that “Lawrence” would be playing at the newly renovated Cinerama, I had to go.

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Lawrence of Arabia

I remember taking a couple of my high school buddies and standing in a line so long it went down 2 blocks and around a corner. Inside, the auditorium was packed. When I saw the screen I gaped in wonder: This was by far the biggest screen I had ever seen. At 97 feet, it is hard to top it.  Seeing this film on that screen was one of the most memorable moments of my life. It took me back to my childhood and my first experiences with watching films at the cinema (a luxury for my family: we rarely went to the movies). My friends were equally impressed with the experience and afterwards we returned to watch several films such as “Close Encounters of the Third Kind”, “The Bridge on the River Kwai”, the original Indiana Jones trilogy, “Taxi Driver”, and, of course, “2001”.

After a while I stopped going out to the movies. The Cinerama continued playing a mix of classic and modern films. Every year, toward the end of summer, they spend 2 weeks showing about a dozen 70mm films as part of their 70mm Fest. Although I wanted to go, I simply never found the time, or energy to go the extra miles to see a film there.

Until last Friday night.

I finally visited the Cinerama, 3 years after their most recent renovation, and I was overwhelmingly impressed. From the beautifully kept and decorated lobby, full of movie memorabilia, to the absolutely amazing concession offerings (the chocolate popcorn mix is to die for) I was already impressed before I even sat down.

The seats are wider now than I remember but the screen is still as large and beautiful as ever. Watching “Blade Runner: The Final Cut” in pristine 4k (via digital projection) and with Dolby Atmos was the perfect way to watch this classic movie. I took a friend to it, also a stranger to the Cinerama over the last 10 years or so, and afterwards told me that she couldn’t wait to go back. She didn’t even care what would be playing.

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Blade Runner

My plan going forward is to go back to the Cinerama as often as I can, especially when classic films are showing. The Cinerama is a cinema designed for movie lovers, not just casual film viewers. Seeing a movie at the Cinerama makes you feel like you are truly part of the film. For a wannabe like me, that is one step next to Paradise.

“Jackie Brown”: Tarantino’s forgotten classic

About 20 years ago my friends and myself were preparing to watch “Jackie Brown” for the first time. We were all excited, all us guys being huge Quentin Tarantino fans after the one-two punch of “Reservoir Dogs” and “Pulp Fiction.” Naturally we didn’t really consider “Four Rooms” a Tarantino film (neither does Quentin) so we were excited to finally see something new from him. Going in, the film had so much going for it: Samuel L. Jackson, who became a sensation in “Fiction”, was in it, as was the great Robert DeNiro. Like his previous film, Tarantino had brought back from the 70’s another film icon: Pam Grier. The trailers made it look as funny and exciting as his previous films. We were, obviously, very pumped to see it.

Then we did.

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Something funny happened while watching this film: It was not “Pulp Fiction.” Although I remember liking it (I later bought it on Laser Disc) I didn’t remember really thinking it was great, certainly not on the same level as Tarantino’s previous films. “Jackie Brown” had a lot of the same ingredients as the past films: witty dialogue, long scenes of two characters talking, surprising scenes of violence, a catchy soundtrack. However, the tone of the film was different; it wasn’t fun like “Dogs” and “Fiction” were. Perhaps it was because this was based off of a novel and not Tarantino’s own story, perhaps it was our fault for thinking it was going to be “Pulp Fiction 2”, but, for whatever reason, it didn’t stand out like the other films.

It seemed like my reaction was the same as most of the people who saw it. “Jackie Brown” came and went, with almost little fanfare. Even though Pam Grier was the star, it was another lost icon, Robert Forster, who found some success (including an Oscar nomination). While most people didn’t hate this movie, no one really loved this movie.

20 years later…

I revisited the film again a few days ago and was struck by how wonderful the film really is. Once the expectations of another “Pulp Fiction” are scrubbed away, I got the opportunity to re-view the film on it’s own merits.

It did not disappoint.

One of the things that stood out for me was the performances. This is an actor’s dream. Not only are all of the characters given wonderful and fully-developed characters, they are allowed to inhabit their roles as well. Conversations about guns and crime are side-by-side with fears of growing old and of being poor. Tarantino notoriously was going through hard times before his breakthrough. He has talked about living in his car and passing out on his friend’s couches. Perhaps only someone who has been poor can write about people who have honest money concerns. When Jackie is first hauled into the police station she is told, almost as an insult, that not only is she a “44 year-old black woman” she only makes $13,000 per year. Her retort is “I make $16,000 plus benefits.” Later, when she is in her apartment speaking to Max, she remarks that her benefits “ain’t worth a damn.”

Jackie, poor, middle-aged black woman that she is, is pitted against Ordell Robie, a narcissistic gun-runner who revels in designer clothes, cars, and the fact that he has different women scattered throughout the city. Although he acts like he is fearless and streetwise, when he is confronted with the possibility of someone putting him in prison, his first reaction is that of the coward: shoot them dead. While this method works well with Beaumont Livingston (a funny turn by Chris Tucker), it backfires with Jackie. Although Jackie is not successful and streetwise like Ordell, she is a survivor. Being poor and scared  has made her wary of people like Ordell and that fear has made her more streetwise than he is, perhaps only as a defense tactic.

While it seems that Jackie uses this defense tactic as a way to manipulate Ordell and keep her out of jail (while delivering her to the police in a neat little package) she also uses this skill to manipulate Max Cherry. Cherry, a jaded bail bondsman, is immediately smitten by Jackie. The first time he sees her, Tarantino blasts “Natural High” by Bloodstone, to illustrate how hard he falls the moment he lays eyes on her. Jackie, again out of necessity, uses her streetwise instincts to see how much Max cares about her and to use it to her advantage.

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Max, who is smart and not stupid (as so many Tarantino characters are) understands how he is being manipulated by Jackie but he just can’t help himself. Like anyone who has ever been in love, he is a prisoner to the whims of the one he loves.

To Jackie’s credit (and Tarantino, again) at the end, Jackie acknowledges what she has done to Max, even half-heartedly inviting him to go along with her, off into the sunset. Max declines, choosing to stay at his job, which he earlier stated he was tired of, and Jackie goes off to a, supposedly, happy ending.

While there are fantastic scenes with Ordell and his cronies, Louis and Melanie (fantastic, chameleon-like turns from DeNiro and Bridget Fonda), the heart of the film is in this middle-aged, scared, and lonely characters. For me, 20 years later, and 20 years older, I find that the older I get, the more I can relate to these sad, desperate characters.


Martin Scorsese: My First Inspiration

Martin Scorsese is, without a doubt, one of the greatest directors working today and one of the greatest directors who ever made a film. I discovered him shortly after discovering Roger Ebert. My first experience with Scorsese was with the film “The Color of Money” which I rented almost as many times as I rented “The Goonies.” I realized after a while that what I loved about the film was how it was shot. Afterwards I did my best to rent every Scorsese movie I could find. Here is a short Google Slide Show that shows some of the impacts of his most import or controversial films.

Au Revoir, David Lynch

Lynch announces he will no longer be making films

When the news came out that David Lynch will no longer be making any movies my heart sank. His last film, Inland Empire, was released in 2006 and, and was only his 10th feature film. Now, with the announcement, related in an interview he gave The Sydney Morning Herald, it seems that 10 features will be all that we will ever have from Lynch.

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Photo Credit:

Twin Peaks

There is still hope, on the other hand. Twin Peaks, Lynch’s famous and iconic 1990 TV show, is currently being revived for the Showtime channel and fans of Lynch and Peaks will be treated to 18 hours of content. Lynch has found a freedom on television that he doesn’t have with film; the restraints of staying within a 2-hour running time and also the pressure of making a film that is profitable. Since cable TV makes money through subscriptions, there is no financial pressure on Lynch; also, long-format storytelling, (which is in a lot of ways superior to current films) has been enjoying a major boom over the last decade and a half. With binge-watching seemingly a part of everyone’s day-to-day life, Lynch (and other filmmakers) are finding not only creative and artistic freedom with this medium, they are also finding new fans.

First encounters with Lynch

When I first began to obsess over film and began to follow film directors, one of the first directors I was attracted to was David Lynch. I was a huge fan of Dune and had just seen Blue Velvet which had completely taken me by surprise. The mixture of the dark and horrifying with the humor and the corn struck me, even at the tender age of 12 or 13, as something special. When news came out that he and co-creator Mark Frost were going to create a TV show set in the Pacific Northwest (where I reside) I was ecstatic. When the series initially aired, I was unable to catch it as my family had decided to watch another program instead. Growing up in a poor-middle-class home with only one TV to share between us, this often times caused us to sacrifice one show over another. Of course, being 1990, there was no on demand viewing, or even YouTube, so the only way I could hope to watch this show is if it was ever shown again.

Thankfully for me the show was a sensation. It was promptly re-aired to coincide with the second season premier and I was ready and armed with my blank VHS tapes to record the entire phenomena. I don’t remember how many times I watched the entire series on those old VHS tapes. I was obsessed with the show, with the characters, and I even began to drink my coffee black like Special Agent Dale Cooper did. When the show was cancelled and the story ended on huge cliffhangers I was devastated. In those days when a show was cancelled that was the end. No revivals, no pickup from another network; the show was dead and buried.

Shortly before the premier of the second season of Twin Peaks, Lynch’s Wild at Heart was released. I remembered reading that the film had been booed at the Cannes Film Festival after it won the Palme d’Or. I remember reading that a lot of the complaints about the film were mostly in its content; the sex and violence. When I finally saw the film I enjoyed it. I loved Nicolas Cage and thought Willem Dafoe was brilliant. It wasn’t as good as Blue Velvet but it wasn’t a horrible film either.

Post Twin Peaks

A year after Twin Peaks was cancelled, Lynch returned to the Pacific Northwest to shoot the prequel, Twin Peaks: Fire Walk with Me. Shortly before the premier, the film debuted at a tiny movie theater in North Bend, Washington, which was about 30 minutes from my family’s home at that time, in Redmond. The weekend of the premier, the town of North Bend, along with Snoqualmie, had a Twin Peaks Festival, which I attended with my father and my best friend. I didn’t see any of the cast or Lynch himself unfortunately but I still had a lot of fun.

The film itself was very powerful for me. The restrictions of TV having been lifted, Lynch was able to tell the tragedy of Laura Palmer in a brutal and graphic way. The final scene was haunting, as was the score by Lynch regular Angelo Badalamenti. Although I thought it was a good film (not without some flaws) it left a lot of unanswered questions as to the mythology of this world.

Lynch’s film output since Fire Walk with Me has been sporadic, (similar to Stanley Kubrick in his later years) Mulholland Drive being the best and most widely seen of these later films. Now, with the news of his retirement, Lynch has given his fans almost a farewell present with his return to Twin Peaks which will, hopefully, offer some closure.

Lynch seems to enjoy the TV medium. If he insists on not continuing to direct features perhaps we can hope that he will continue to create new TV shows. As a fan of film, I still appreciate that a lot of television is superior to most of the films that are shown at the cinemas nowadays. As a fan of Lynch, the idea of being able to see more of Lynch, un-tethered to the requirements of film, is something that I would always welcome, whether it is on the silver screen or on my laptop.


A blog for film lovers and makers!

Welcome! This blog will be about my thoughts about films, filmmakers, and my own projects and ideas. I welcome feedback and interaction with other filmmakers and lovers of film! I will also include the occasional review both of films I have seen before and those I have seen for the first time!

Currently a student at Bellevue College in Bellevue, Washington! Visit their website!


One of the best film trilogies ever made, capped off with the midnight premier of The Dark Knight Rises!