...just got back from seeing it again in the theater, and I wanted to vomit out all the little details I noticed this time; I imagine this'll be of little interest to anyone, just minutia-processing...

1. the "16 Reasons Why I Love You" could be (loosely) seen as a point-by-point arc of Betty and Rita's love...although at the time we hear the song, they're only at point 8 or 12. going from memory...the next one is something about love, followed by "our love's complete" (post-coital bliss), then "your (something like smooth?) voice"...ironic, given how absolutely broken her "NO HAY BANDA" voice is.
2. Louise BonHeur is in the background, between Camilla and Adam at the dinner party. This time her face is almost washed-out, instead of shadowed-out. Also, she's there when Adam is saying, "Some times good things happen" (Bon Heur = good humor ~ aka, spirits/health/luck, if I remember my French)
3. I know people were talking about Winkies/a pun on "Win-Keys"...I'm sure someone's thought of this and documented that thought, but similarly, "Sellwyn" = Sell/Win. Sell = Win, Win = Key, all success-oriented stuff.
4. When Diane sees Eyebrows Man Dan at the diner, he's of course standing "just there"...where Dan's Friend was. In his dream, Dan was scared...but seeing how scared Dan's Friend was when he was standing Just There made Dan even more scared. I like the implication, Diane is scared (ordering the hit), but seeing Dan's reaction makes her more scared.
5. My "tracking the outside dream-contacts to the apartment of the sleeping/dead Diane" didn't turn up much...except that I counted the various knocks:
   
   • in the dream, everyone does two series of knocks...if I recall correctly,
   • Betty does two sets of four knocks on #12,
   • Betty does two sets of five knocks on #17,
   • Lamp Lady does two sets...hmmmm, donno on #17.
   • In reality, everyone does three series of knocks:
   • Lamp Lady does three increasing sets: 8, 10, 12(?) knocks, to get her dishes and ashtray back.
   • The Harpies come after three sets of seven knocks each.
   The only thing particularly interesting in ALL that is the "7"-s, given all the biblical slant about 7 being good & 6-6-6 = the number o' the beast.
6. Visual Echo: the laughing teen party-goers in the beginning, who walk by Rita as she hides on the lawn at night, are laughing to hard to complete their sentence. Adam and Camilla, at the party, are laughing too hard to ever actually complete their sentence.
7. I noticed a lot more lines that could have a "pregnancy/abortion" angle this time around, now that I was looking for them (accident, "came in there", the word "come" used a number of times...EXCEPT noticeably when Rita takes Betty to the Club Silencio, that's "I want you to go somewhere with me"). Still not as thematically core as the sexual molestation stuff, though.
8. I'd forgotten how the casting director at the audition was the only other redheaded lady of a certain age, like Aunt Ruth.
9. On the drive up to Beechwood Ranch (which never struck me before as, beach = ocean, wood = tree, but did this time), the other commentor was right: all the parked cars are red and white/gray, all the trashcans are blue...
10. The lamp-light that brings the cowboy illuminates to the same washed-out level that the naked looped lightbulb pointing at one of the phone-chain phones does.
11. When Diane has just been dumped and is crying and masturbating, the things she sees when the blur resolves itself (pebbly stone chimney, a metal fan) can be seen as a special guest appearance by the long-neglected OTHER two alchemaic elements, Earth and Wind! Nice to see you guys, sorry that David Lynch casts Fire and Water a lot more than you (well, and wood, too...but that's only in Chinese alchemy...).
12. Two things I missed: what does the non-espresso-drinking Castigliani brother shout when things hit the fan?
13. What does Rita say after Diane disappears (aside from Diane's name) and Rita is looking around the house for a few moments? (I believe it was "what's happening" or "Where are you", in french or spanish)

Ok, that's all my OCD-dar scooped up for the first time this time. Feel free to ignore or use any bulletpoint as a leaping off point

Also, my comment to my friend afterwards was, "knowing what's coming doesn't help when you see it on the big screen." Ouch.

PS: Limo's license plate: 2GAT123. ("Gat" of course being slang for "gun", it has some fun implications as a hit-limo). The 3rd-to-last thing, a straight line, could have been a "letter-i" or a "Number-1", but I think it's a "1": Betty's cab has a license plate of all digits and its last character is the same vertical-line character.

Two things I missed: what does the non-espresso-drinking Castigliani brother shout when things hit the fan?

HELP ME!

What does Rita say after Diane disappears (aside from Diane's name) and Rita is looking around the house for a few moments? (I believe it was "what's happening" or "Where are you", in french or spanish)

Where are you?
http://www.mulholland-drive.net/studies/spanish.htm

If it was me who noted the black and red cars throughout most of MULHOLLAND DRIVE, check out the arial interstitial shots. I might be seeing things, but it's black, white and red little tiny dots criss crossing across the streets of LA.

For me it basically reinforces my theory that the entire movie takes place inside what was formerly referred to as the Black/White Lodge in TWIN PEAKS.

To the extent that I might just be seeing things, yes, I have considered that the point where I actually notice the color of the cars in an aerial shot is a sign that it's time to move on....

To a different movie. INLAND EMPIRE!!!!

Did you notice Betty shooting Rita after the practice audition?

KyleOrKyla wrote:...just got back from seeing it again in the theater ...

Really?

Bob wrote:

KyleOrKyla wrote:...just got back from seeing it again in the theater ...

Really?

Thanks to a friendly neighborhood college-funded theater.

Since 2008 or so, this is the second time I've seen MD on the big screen, also managed to see Inland Empire and Repo Man.

It's worth keeping an eye on what those kind of places are playing.

KyleOrKyla wrote:[*]My "tracking the outside dream-contacts to the apartment of the sleeping/dead Diane" didn't turn up much...except that I counted the various knocks:

• in the dream, everyone does two series of knocks...if I recall correctly,
• Betty does two sets of four knocks on #12,
• Betty does two sets of five knocks on #17,
• Lamp Lady does two sets...hmmmm, donno on #17.
• In reality, everyone does three series of knocks:
• Lamp Lady does three increasing sets: 8, 10, 12(?) knocks, to get her dishes and ashtray back.
• The Harpies come after three sets of seven knocks each.

The only thing particularly interesting in ALL that is the "7"-s, given all the biblical slant about 7 being good & 6-6-6 = the number o' the beast.

Others to think about:

- 3 slow taps by Irene on the leg of her companion in the limo after leaving Diane at LAX
- 3 quick taps on the table by Adam with his finger in the Ryan Board scene ("there's 3 of the top actresses that want this thing")
- 3 slow taps by Coco on Diane's hand at the dinner party

Perhaps relevance, perhaps not, but the symmetry is interesting in some of this stuff at the very least.

Seven droppings by Wilkin's little doggie ...

Xav wrote:Seven droppings by Wilkin's little doggie ...

I don't know whether to be silly and say, "holy crap" (pun intended),

...or to be hooked on trying to make ironic compound words out of everything (after someone mentioned "Win: Keys") and point out "Will = Kin" (Aunt Ruth left Diane some money when she died).