Author Topic: Lost Highway  (Read 23206 times)

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mogwai

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Lost Highway
« Reply #75 on: August 19, 2005, 11:46:13 AM »
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MK2 will be releasing a newly re-mastered Special Edition DVD of Lost Highway in France scheduled for release later this year. Extras to include a brand new interview with David Lynch.

MacGuffin

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Lost Highway
« Reply #76 on: September 28, 2005, 01:37:38 PM »
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Industrial Symphony #1 May Get a DVD Release With Lost Highway

MK2 in France will be releasing a brand new remastered R2 two DVD set of Lost Highway on November 23. The details have not been confirmed yet, but sources say one of the included extras may indeed be Industrial Symphony #1! This would mark the first official DVD release of this concert anywhere in the world. Other tenative extras are a 15 minute making of, interviews with Barry Gifford, David Lynch and Angelo Badalamenti, and the theatrical trailer. Lost Highway itself will be presented in a transfer taken from a new high definition master with both Dolby Digital and DTS 5.1 audio. Again, these details are only tenative, nothing official has been announced yet. So don't get your hopes up yet. But even without IS1, the specs of the new disc are pretty impressive.
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Brazoliange

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Lost Highway
« Reply #77 on: September 28, 2005, 09:58:24 PM »
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this is the best news I've heard in ages
Long live the New Flesh

MacGuffin

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Lost Highway
« Reply #78 on: October 06, 2005, 01:29:34 PM »
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Lost Highway Region 2 Final Specs from MK2 and No Industrial Symphony

It appears that MK2 has released the final Specs for the Lost Highway DVD. Although Industrial Symphony was dropped from the release specs, this DVD will be the best that Lost Highway has ever looked or sounded. Apparently there were some problems securing the rights to Industrial Symphony. Along with a new HD Transfer of the film and the original 5.1 mix transfered in DTS, below are the details on the 2nd bonus materials disc from dvdrama.com:
 
New interview with David Lynch from 2005 (16 mn)
Making-of (10 mn)
Interview with David Lynch when the movie came out (5 mn)
Interview with Bill Pullman (4 mn)
Interview with Patricia Arquette (4 mn)
Interview with Robert Loggia (3 mn)
EPK (Electronic Press Kit) (7 mn)
Trailer (3 mn)
Booklet
 
The release will also come with a limited edition hologram cover. Cover art below:
“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol


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modage

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Lost Highway
« Reply #79 on: October 06, 2005, 02:04:47 PM »
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OVER 52 MINUTES OF EXTRA FEATURES!
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

SiliasRuby

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Re: Lost Highway
« Reply #80 on: May 20, 2006, 02:38:02 AM »
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Saw the MK2 version Thursday Night at film society night at my film school.
This was the 6th time I've seen this movie and it really gets better each time. It's the most viseral experience I've ever had with a Lynch film so far. I LOVE the experience of this whole film, and for those who want to purchase this version don't click on the extra that says "O.J. Simpson" unless you want the whole film completely spoiled for you. So, ya, just a warning. I have tried to forget I even watched that extra featurette. But the transfer is spectacular and it really can't get any better. Hopefully, they will bring more extras to the region 1, if it ever comes out.
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Pubrick

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Re: Lost Highway
« Reply #81 on: May 20, 2006, 03:24:24 AM »
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and for those who want to purchase this version don't click on the extra that says "O.J. Simpson" unless you want the whole film completely spoiled for you.
more advice to ppl: you shouldn't be watching extras until you've seen the film anyway.
endless 'nothing is what it seems'-isms

modage

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Re: Lost Highway
« Reply #82 on: January 22, 2007, 04:22:02 PM »
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45 minute audio interview with David Lynch at the Museum Of The Moving Image around the release of Lost Highway...

David Lynch - February 16, 1997
“Jimmy Stewart on Mars” was how Mel Brooks, who produced The Elephant Man, described David Lynch. The collision between the quotidian and the dreamlike has been Lynch's key theme, from the suburban nightmares of Blue Velvet and Twin Peaks to the noir netherworlds of Lost Highway and Mulholland Drive. In this discussion, just before the 1997 release of Lost Highway, Lynch demonstrates his aversion to interpretation, preferring to let viewers take what they will from the mood and texture of his films. He reveals his method of working by instinct and embracing the role of chance in his creative process.

http://www.movingimage.us/pinewood/mp3.php?media_id=204
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

MacGuffin

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Re: Lost Highway
« Reply #83 on: January 25, 2007, 12:11:49 PM »
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Lost Highway US DVD Comments at INLAND EMPIRE Austin Premiere

At the Austin Q&A session, Lynch said that the DVD was "ready to go" but Universal was sitting on it and not making it a priority. He asked people to write Universal and ask them to release the DVD. You can do so by clicking here.
“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol


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matt35mm

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Re: Lost Highway
« Reply #84 on: January 25, 2007, 01:04:05 PM »
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Oh, he said that about a year ago at the UC-Irvine talk on Transcendental Meditation.

If nothing's changed in the past year...

RegularKarate

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Re: Lost Highway
« Reply #85 on: January 25, 2007, 04:39:12 PM »
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Lost Highway US DVD Comments at INLAND EMPIRE Austin Premiere

At the Austin Q&A session, Lynch said that the DVD was "ready to go" but Universal was sitting on it and not making it a priority. He asked people to write Universal and ask them to release the DVD. You can do so by clicking here.


First he just answered "August", then waited for everyone to get the joke.

MacGuffin

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Re: Lost Highway
« Reply #86 on: February 10, 2007, 02:29:49 PM »
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'Lost Highway': New places to explore
The U.S. takes its first trip on a road rerouted through the twists of an eerie, hallucinatory David Lynch film.
Source: Los Angeles Times

OBERLIN, OHIO — Thirty miles west of Cleveland, Oberlin is not Twin Peaks. But the joe's serviceable, the doughnuts are superb and this sleepy, currently snow-covered college town has just enough alternate-universe feel, with its old-time sweet shops and 1960s prices, that David Lynch might approve of it. It also has the Oberlin College Conservatory of Music, which has long spilled major performers and composers onto the American scene.

Thursday night, the conservatory and alternate universe came together as the Lynch-pin for the U.S. premiere of a recent opera based on the filmmaker's 1997 feature, "Lost Highway." Olga Neuwirth, a 38-year-old Austrian, is the composer. She fashioned a libretto with the Austrian novelist and winner of the 2004 Nobel Prize, Elfriede Jelinek. A deep, disturbing film has met its operatic match.

In "Lost Highway," Lynch, who wrote the film with novelist Barry Gifford, observes a musician's collapse. A hot jazz saxophonist married to an inaccessible, beautiful brunet suffers icy sex and enters a world of dread. Lynch looks on as that world turns strange yet remains real.

We are in and out of Fred Madison's mind. He doesn't know whether he kills Renee or not, and we don't know either. He is sentenced to death but outwits the executioner by becoming someone else. Fred's fantasy is Pete, a young mechanic. Renee is now Alice, blond temptress and porn-king Mr. Eddy's girl (both are played by Patricia Arquette in the film). Sex heats up; so does violence; so does the mystery. A weirdo, played by Robert Blake and straight out of Twin Peaks, stops "Lost Highway" from making sense. Pete murders Mr. Eddy, and his mind dissolves in his escape as he flees at high speed, lost on the highway.

Lynch's genius is to create startlingly beautiful two-dimensional surfaces full of clues to the ineffable strangeness underneath them. You know something's there; you just don't know what it is. Angelo Badalamenti's score undulates like waves along this secretive surface.

Neuwirth, however, takes the plunge. One of the leading young-generation composers in Europe and one of the most fearless, she finds what is really going on with these people. She adds texture and emotional activity. She is just as weird as Lynch but in a different way.

The opera, which had its premiere in Graz, Austria, in 2003, follows the film closely. Jelinek, who is best known for the novel "The Piano Teacher," has a talent for getting the greatest amount of debasement from the shortest sentences. She retains Lynch and Gifford's dialogue but reduces an already laconic text to its essence. Neuwirth then fills the aural space with commotion.

Her musical style has many facets. She has a way with electronics, and the score for "Lost Highway" is full of extraordinary acoustical effects. The orchestra is a percussion-rich chamber ensemble enhanced by solo accordion, keyboard, trombone, clarinet, saxophone and electric guitar.

Live instruments are used straight but also have their sounds manipulated in real time. Prerecorded music can be added to the mix. Sometimes you can tell what is what, and sometimes you can't. The ear connects but remains unsure.

The score is built of layers and loops. Often, different things happen at once. The musical materials can come from anywhere. Miles and Monteverdi are part of the mix. But the larger musical gestures are more intellectually complex, with the wealth of European new-music techniques at Neuwirth's disposal. The result is a rich mix and an invitation to many listenings.

In the first part of the opera, the singers mostly speak their lines with little inflection. They are, like the characters in the film, distant and abstract. The orchestra, though, expresses confusion, and the confusion ultimately takes over.

Music eventually infects the characters, as speech becomes inflected and turns into elaborate song. Electronics make crazy-mad Mr. Eddy scarier than ever. By the end, electronics dissolve everything. Fred emerges from a drone and returns to it; sanity and madness have the same source.

As in the film, Renee/Alice is a single role. For Lynch, she is the unknowable, seriously intimidating feminine ideal, too beautiful to approach, let alone own. She is all body, all physical substance. Fred, the musician, is all mind (and sound), but without substance, he cannot withstand physical reality.

Neuwirth turns Fred into a trumpet player (her instrument) and writes fabulously for brass. But her main invention is to, so to speak, flesh out Renee/Alice, to give her all the qualities of a true operatic femme fatale. She becomes not just an object of lust but a personification of lust. In the film, her beauty makes her desirable and elusive. In the opera, she has a soul, and that becomes the more arresting source of her sexual power.

Perhaps a woman should stage "Lost Highway." That was not the case at Oberlin, but the performance in Finney Chapel was a remarkable achievement for undergraduates. Jonathon Field's production, presented in front of a scrim and using video projections, never strayed far from the film or its ideas and sometimes seemed a slave to them. That reportedly was the case with the original production in Graz as well.

The performers — Alice Teyssier (Renee/Alice), Barry Bryan (Fred), Michael Weyandt (Pete), Raphael Sacks (Mr. Eddy), Chad Grossman (Mystery Man) — made the extra effort but were apparently asked to tone down their natural sex appeal. The conductor, Timothy Weiss, also toned down a bit of the electronics, but he conducted a musically solid performance.

"Lost Highway" needs more than a college can give it, but what could be scarier to American opera companies than exposing their audiences to Hollywood's darkest side, further darkened and deepened by a provocative young Austrian woman? Oberlin deserves credit not only for taking on this daunting task but also for making sure America notices. The production travels to Columbia University's Miller Theater in New York later this month.

A liberated "Lost Highway" yet awaits. Maybe that will be the case when the English National Opera gives its London premiere next season.
“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol


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MacGuffin

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Re: Lost Highway
« Reply #87 on: December 12, 2007, 12:50:34 AM »
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Universal Announces Lost Highway on DVD in 2008

According to DVDActive and DVD Times, Universal has announced the release of Lost Highway on DVD for a March 5th 2008 release. So far, extras include a 10-Part Multi-Angle Interview with David Lynch. This may be the same interview on the MK2 DVD. More details as they come.

http://www.dvdactive.com/news/releases/lost-highway.html

http://www.dvdtimes.co.uk/content.php?contentid=66514
“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol


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picolas

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Re: Lost Highway
« Reply #88 on: December 12, 2007, 03:31:22 PM »
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YES

edison

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Re: Lost Highway
« Reply #89 on: December 12, 2007, 04:23:39 PM »
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Where's Neon? probably passed out somewhere from this news


 

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