i just saw this guy in mad men yesterday, then I saw him in L.A. Noire today during my 1st ever playthrough, and now im seeing him here.
what is god trying to tell me?
He's talking about the midget. Which is the dream he has when he faints. Where the midget sees through walls. That's who he's expecting behind Winkie's. Because the hobo corpse is very obviously something you wouldnt want to see even in a dream. He doesn't want to see the midget outside of a dream because then he knows he fricked up. Like the cowboy's talking about. Or he's talking about the cowboy maybe. But it's literally impossible that he's talking about the hobo behind Winkie's. Which is Camilla's reanimated corpse.
I can buy this >there's a man behind winkies
the corpse-thing isn't a man. if he's drawing from diane's psyche then it'd make more sense for him to be referring to the hitman instead.
Yep and I think the whole seeing him outside of a dream thing is objective. Based on that statement he literally cannot be talking about the hobo because it doesnt make sense. In addition to the supporting evidence in addition that its specifically the midget.
nah the hobo is a representation of the "rotten underbelly" of hollywood, which makes women put out to Pedos and Weinstein-type people. "He's the one who is doing it" means the spirit of Hollywood is the thing that made this movie possible
Lots of great individual moments. The diner scene, even if taken completely out of context, is one of the best scenes ever filmed. Maybe the single creepiest scene I've ever seen. Like the other anon said Lynch has massive talent, and I'll add he was motivated at that point by seething spite. He knew he was a genius and that he was being treated like shit. That's why the last part of the movie is the way it is.
I agree with the other responses, but I want to add that Mulholland Drive was the last Lynch film before he got too experimental for his own good.
Not that I dislike Inland Empire or The Return, but they feel like Lynch got full of himself and wanted to make them as convoluted as possible. And, between Inland Empire being shot with a handheld camera and The Return having some extremely questionable special effects, it seems like he deliberately made them ugly. Perhaps it was to make it more uncanny, but I personally love the cinematography of his older works like Blue Velvet, Twin Peaks, and Mulholland Drive so it seemed like a waste to cast that aside.
it was me. I was behind Winkie's. I was the one who was doing it. I made it half-night and I put the fear in him like he couldn't tell you.
Why this Winkie's?
Why not?
i just saw this guy in mad men yesterday, then I saw him in L.A. Noire today during my 1st ever playthrough, and now im seeing him here.
what is god trying to tell me?
that he's the one doing it
Go watch the new season of Barry
what do i do now?
Do not fret graccus.
Go and watch Under the Silver lake
Don't watch Signs
Check out Twin Peaks the Return
idk maybe watch Swimming with the Sharks to relax
the entire cast of madmen is in la noire except for like don, joan, roger and cooper
that mad men is a trash anti-west israelite fantasy and you shouldnt watch it
the only tv worth watching nowadays seems to be the northman
go watch Hail Caesar!
another anti-west israelite psiop all about white man bad
All signs point to you watching Idiocracy.
watch Happy!
He's talking about the midget. Which is the dream he has when he faints. Where the midget sees through walls. That's who he's expecting behind Winkie's. Because the hobo corpse is very obviously something you wouldnt want to see even in a dream. He doesn't want to see the midget outside of a dream because then he knows he fricked up. Like the cowboy's talking about. Or he's talking about the cowboy maybe. But it's literally impossible that he's talking about the hobo behind Winkie's. Which is Camilla's reanimated corpse.
None of that makes sense
I can buy this
>there's a man behind winkies
the corpse-thing isn't a man. if he's drawing from diane's psyche then it'd make more sense for him to be referring to the hitman instead.
Yep and I think the whole seeing him outside of a dream thing is objective. Based on that statement he literally cannot be talking about the hobo because it doesnt make sense. In addition to the supporting evidence in addition that its specifically the midget.
nah the hobo is a representation of the "rotten underbelly" of hollywood, which makes women put out to Pedos and Weinstein-type people. "He's the one who is doing it" means the spirit of Hollywood is the thing that made this movie possible
The hobo is Diane black, dirty, rotten soul. "The one who's doing it" means Diane is the dreamer.
But who was hobo?
The way it's phrased is wonderful for me
I'm the one who's doing it. I'm doing it right now.
I'm doing it and so is my wife.
You don’t get to bring jump scares
How did a mashup of nonsensical bullshit and discarded pilot shots end up being one of the greatest kinos ever produced?
Normies will say >lmao what is this guy smoking xD
but it's just talent
This.
It just understands inherently how to be compelling. It's never even frustrating, it's always got you guessing.
Lots of great individual moments. The diner scene, even if taken completely out of context, is one of the best scenes ever filmed. Maybe the single creepiest scene I've ever seen. Like the other anon said Lynch has massive talent, and I'll add he was motivated at that point by seething spite. He knew he was a genius and that he was being treated like shit. That's why the last part of the movie is the way it is.
I agree with the other responses, but I want to add that Mulholland Drive was the last Lynch film before he got too experimental for his own good.
Not that I dislike Inland Empire or The Return, but they feel like Lynch got full of himself and wanted to make them as convoluted as possible. And, between Inland Empire being shot with a handheld camera and The Return having some extremely questionable special effects, it seems like he deliberately made them ugly. Perhaps it was to make it more uncanny, but I personally love the cinematography of his older works like Blue Velvet, Twin Peaks, and Mulholland Drive so it seemed like a waste to cast that aside.
someone give me the rundown. Why's he so scared of the hobo thing.
he was the one doing it
>Sneed's the one who's feeding it
Based on that quote, ''He'' is strongly implied to be a godlike mystical being who pulls all the strings behind the movie's plot.