I've usually figured that Lynch and Frost construct their scenes according to a kind of dream logic, where atmosphere and visual/emotional content take precedence over linear story telling. But examples like this makes me wonder if they actually have a meticulously worked out narrative of intersecting time lines and alternate realities.
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Somehow, I doubt it.
I think In recall him saying once that even he doesn't know what his films are about. In that sense, I've come to think he's half meticulous half letting it all hang out. I'm not sure whether to take him seriously, and look for 'his' meanings, or just let it wash over me and enjoy my own interpretations.
"It seems rather obvious that plants have free will. Don't know why that would be controversial."
(John Platko)
Woop, just found this thread again! Finished the season a couple days ago, the whole thing is still swirling around in my head. I don't buy the whole thing about the last two episodes being synced (especially with Lynch calling it "bullshit"), but there's something very wrong with the last episode that I don't feel like I'm getting. Cooper isn't himself. Lynch normally does these long, hanging spaces where nothing happens, but even for him it's excessive here. The final image of the house is haunting.
"They call it the American dream, because you have to be asleep to believe it." -- George Carlin
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