Naomi Watts on Netflix's Gypsy, Twin Peaks, & David Lynch | Collider
Jul 5, Naomi Watts talks about starring in Netflix's new series Gypsy, or did your previous working relationship with David Lynch help reassure you. Apr 25, Laura Dern and Naomi Watts recall filming Wild at Heart and Mulholland Drive, tease the secretive Twin Peaks, and open up about David. Jul 15, Naomi Watts wonders aloud, trying to decide where to put us both in her . David Lynch was casting a new thriller, set in Los Angeles, and he wanted to meet . to Liev and I for them to have regular relationships with friends.
Did talent alone help Camilla? Note the occurrences surrounding the man behind Winkie's. Where is Aunt Ruth?
Naomi Watts on Netflix’s ‘Gypsy’ and Shooting ‘Twin Peaks’ without Knowing the Whole Story
The Christian Science Monitor film critic David Sterritt spoke with Lynch after the film screened at Cannes and wrote that the director "insisted that Mulholland Drive does tell a coherent, comprehensible story", unlike some of Lynch's earlier films like Lost Highway. He loves it when people come up with really bizarre interpretations. David works from his subconscious. In the dream, Betty is successful, charming, and lives the fantasy life of a soon-to-be-famous actress. The last one-fifth of the film presents Diane's real life, in which she has failed both personally and professionally.
She arranges for Camilla, an ex-lover, to be killed, and unable to cope with the guilt, re-imagines her as the dependent, pliable amnesiac Rita. Clues to her inevitable demise, however, continue to appear throughout her dream.
Rita is the damsel in distress and she's in absolute need of Betty, and Betty controls her as if she were a doll. Rita is Betty's fantasy of who she wants Camilla to be. She endured some professional frustration before she became successful, auditioned for parts in which she did not believe, and encountered people who did not follow through with opportunities.
She recalled, "There were a lot of promises, but nothing actually came off. I ran out of money and became quite lonely. Roger Ebert and Jonathan Ross seem to accept this interpretation, but both hesitate to overanalyze the film.
Ebert states, "There is no explanation. There may not even be a mystery. In a similar interpretation, Betty and Rita and Diane and Camilla may exist in parallel universes that sometimes interconnect.
Rita falls asleep several times; in between these episodes, disconnected scenes such as the men having a conversation at Winkie's, Betty's arrival in Los Angeles and the bungled hit take place, suggesting that Rita may be dreaming them.
The opening shot of the film zooms into a bed containing an unknown sleeper, instilling, according to film scholar Ruth Perlmutter, the necessity to ask if what follows is reality.
Bulkeley asserts that the lone discussion of dreams in that scene presents an opening to "a new way of understanding everything that happens in the movie".
After Diane shoots herself, the bed is consumed with smoke, and Betty and Rita are shown beaming at each other, after which a woman in the Club Silencio balcony whispers "Silencio" as the screen fades to black.
Sinnerbrink writes that the "concluding images float in an indeterminate zone between fantasy and reality, which is perhaps the genuinely metaphysical dimension of the cinematic image", also noting that it might be that the "last sequence comprises the fantasy images of Diane's dying consciousness, concluding with the real moment of her death: In Lynch's films, the spectator is always "one step behind narration" and thus "narration prevails over diegesis". Although the audience still struggles to make sense of the stories, the characters are no longer trying to solve their mysteries.
Roche concludes that Mulholland Drive is a mystery film not because it allows the audience to view the solution to a question, but the film itself is a mystery that is held together "by the spectator-detective's desire to make sense" of it. Despite the proliferation of theories, critics note that no explanation satisfies all of the loose ends and questions that arise from the film.
Stephen Holden of The New York Times writes, "Mulholland Drive has little to do with any single character's love life or professional ambition. The movie is an ever-deepening reflection on the allure of Hollywood and on the multiple role-playing and self-invention that the movie-going experience promises What greater power is there than the power to enter and to program the dream life of the culture?
Hoberman from The Village Voice echoes this sentiment by calling it a "poisonous valentine to Hollywood". Apart from both titles being named after iconic Los Angeles streets, Mulholland Drive is "Lynch's unique account of what held Wilder's attention too: David Lynch lives near Mulholland Drive, and stated in an interview, "At night, you ride on the top of the world.
In the daytime you ride on top of the world, too, but it's mysterious, and there's a hair of fear because it goes into remote areas. You feel the history of Hollywood in that road. He also portrays Betty as extraordinarily talented and that her abilities are noticed by powerful people in the entertainment industry.
It touches on the idea that nothing is quite as it seems, especially the idea of being a Hollywood movie star. The second and third times I saw it, I thought it dealt with identity.
Do we know who we are? And then I kept seeing different things in it There's no right or wrong to what someone takes away from it or what they think the film is really about. It's a movie that makes you continuously ponder, makes you ask questions.
I've heard over and over, 'This is a movie that I'll see again' or 'This is a movie you've got to see again. You want to get it, but I don't think it's a movie to be gotten. It's achieved its goal if it makes you ask questions.
It is a beautiful moment, made all the more miraculous by its earned tenderness, and its distances from anything lurid. Writer Charles Taylor said, "Betty and Rita are often framed against darkness so soft and velvety it's like a hovering nimbusready to swallow them if they awake from the film's dream.
And when they are swallowed, when smoke fills the frame as if the sulfur of hell itself were obscuring our vision, we feel as if not just a romance has been broken, but the beauty of the world has been cursed.
Mulholland Drive (film) - Wikipedia
Camilla as achingly beautiful and available, rejecting Diane for Adam. Popular reaction to the film suggests the contrasting relationships between Betty and Rita and Diane and Camilla are "understood as both the hottest thing on earth and, at the same time, as something fundamentally sad and not at all erotic" as "the heterosexual order asserts itself with crushing effects for the abandoned woman".
Watts said of the filming of the scene, "I don't see it as erotic, though maybe it plays that way. The last time I saw it, I actually had tears in my eyes because I knew where the story was going.
It broke my heart a little bit. These girls look really in love and it was curiously erotic. Rita's very grateful for the help Betty's given [her] so I'm saying goodbye and goodnight to her, thank you, from the bottom of my heart, I kiss her and then there's just an energy that takes us [over]. Of course I have amnesia so I don't know if I've done it before, but I don't think we're really lesbians. Betty is bright and optimistic, in contrast to Diane—also played by Watts—in the later part of the film.
But it is Betty's identity, or loss of it, that appears to be the focus of the film. For one critic, Betty performed the role of the film's consciousness and unconscious.
I had to therefore come up with my own decisions about what this meant and what this character was going through, what was dream and what was reality. My interpretation could end up being completely different, from both David and the audience. But I did have to reconcile all of that, and people seem to think it works. The sexuality erodes immediately as the scene ends and she stands before them shyly waiting for their approval.
One film analyst asserts that Betty's previously unknown ability steals the show, specifically, taking the dark mystery away from Rita and assigning it to herself, and by Lynch's use of this scene illustrates his use of deception in his characters. She is also the first character with whom the audience identifies, and as viewers know her only as confused and frightened, not knowing who she is and where she is going, she represents their desire to make sense of the film through her identity.
Her amnesia makes her a blank persona, which one reviewer notes is "the vacancy that comes with extraordinary beauty and the onlooker's willingness to project any combination of angelic and devilish onto her". Her search for her identity has been interpreted by film scholars as representing the audience's desire to make sense of the film.
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After Betty and Rita find the decomposing body, they flee the apartment and their images are split apart and reintegrated. David Roche notes that Rita's lack of identity causes a breakdown that "occurs not only at the level of the character but also at the level of the image; the shot is subjected to special effects that fragment their image and their voices are drowned out in reverb, the camera seemingly writing out the mental state of the characters".
It is this transformation that one film analyst suggests is the melding of both identities. This is supported by visual clues, like particular camera angles making their faces appear to be merging into one. This is further illustrated soon after by their sexual intimacy, followed by Rita's personality becoming more dominant as she insists they go to Club Silencio at 2 a.
She is considered to be the reality of the too-good-to-be-true Betty, or a later version of Betty after living too long in Hollywood. She is "a decent person corrupted by the miscellaneous miscreants who populate the film industry". Rita's fear, the dead body and the illusion at Club Silencio indicate that something is dark and wrong in Betty and Rita's world. In becoming free from Camilla, her moral conditioning kills her.
Referred to as a "vapid moll" by one reviewer,  she barely makes an impression in the first portion of the film, but after the blue box is opened and she is portrayed by Laura Elena Harring, she becomes a full person who symbolizes "betrayal, humiliation and abandonment",  and is the object of Diane's frustration. Diane is a sharp contrast to Camilla, who is more voluptuous than ever, and who appears to have "sucked the life out of Diane".
On a film set where Adam is directing Camilla, he orders the set cleared, except for Diane—at Camilla's request—where Adam shows another actor just how to kiss Camilla correctly. Instead of punishing Camilla for such public humiliation, as is suggested by Diane's conversation with the bungling hit man, one critic views Rita as the vulnerable representation of Diane's desire for Camilla.
Theroux said of his role, "He's sort of the one character in the film who doesn't know what the [hell's] going on. I think he's the one guy the audience says, 'I'm kind of like you right now.
I don't know why you're being subjected to all this pain. After he checks into a seedy motel and pays with cash, the manager arrives to tell him that his credit is no good. Witnessed by Diane, Adam is pompous and self-important. He is the only character whose personality does not seem to change completely from the first part of the film to the second.
Andersonall of whom are somehow involved in pressuring Adam to cast Camilla Rhodes in his film. These characters represent the death of creativity for film scholars,   and they portray a "vision of the industry as a closed hierarchical system in which the ultimate source of power remains hidden behind a series of representatives".
Coco, in the first part of the film, represents the old guard in Hollywood, who welcomes and protects Betty. In the second part of the film, however, she appears as Adam's mother, who impatiently chastises Diane for being late to the party and barely pays attention to Diane's embarrassed tale of how she got into acting.
Andersonas Mr. Roque, was fitted with oversized prosthetic limbs to give him the appearance of an abnormally small head. The filmmaking style of David Lynch has been written about extensively using descriptions like "ultraweird",  "dark"  and "oddball". By using these characters in scenarios that have components and references to dreams, fantasies and nightmares, viewers are left to decide, between the extremes, what is reality.
One film analyst, Jennifer Hudson, writes of him, "Like most surrealists, Lynch's language of the unexplained is the fluid language of dreams. Was there anything that you specifically wanted to bring to this character to make her as human as possible? I like that you go back and forth, from a place of judgement and forgiveness, and even rooting for her.
I wanted to make sure that she was human and not this hideously shallow person. She needs to feel alive and does so by creating other versions of herself. I liked that we are forced to shift from good feelings about her to negative ones, too. That makes it more interesting to play.
Yes, there is an unethical side to her, but I think she really did start out with the best intentions. It just went wrong.
How did you feel about Jean when you first started reading these scripts, and by the time you go to the end of her journey this season, did it change how you had initially felt about her? But yes, it would seem that way. Those are questions that come up, at this point in the lives of everyone I know, and with all of my contemporaries, but people experience it in different ways.
Image via Netflix The female characters in this are not objectified, and they very easily could have been.Naomi Watts Shows Off Her Best American Accent
With subject matter like this, was that important to you? Jean is definitely not a victim, in any way, and that was very important to Lisa.
The end of the season feels very open and like there could be many more stories about this woman. Yeah, I could be open to it, definitely. I had a good time with her. What did you most enjoy about playing this character, and what was the biggest challenge in living in her world?