The Owls Are Not What They Seem
March 2014 is the 25th anniversary of the murder of Laura Palmer in Twin Peaks. I watched the series for the first time last year and it is a gloriously odd. Not just odd in the way we might describe a work as Lynchian these days but often straight up baffling and sometimes simply bad. That goes double for Fire Walk With Me. But when it works, it really works. So I thought I would share my favourite scene from the series, one of the most unexpectedly powerful bits of television I can remember:
The score for Twin Peaks was composed by Angelo Badalamenti and has proved as enduring as the television series itself. This includes ‘Laura’s Theme’ which was a part of my life long before I’d even heard of Lynch via Moby:
Badalamenti describes composing the theme with Lynch at the beginning of this extraordinary Essential Mix by Nicolas Jaar:
(That mix truly is essential, make sure you download it.)
Everything Is Nice 
Very strange coincidence–I’ve been listening to the score while working for a good week now. Also the song “Between Two Mysteries” by Mount Eerie, which samples “Laura Palmer’s Theme.”
Nerds-feather (@nerds_feather)
3 March 2014 at 22:55
I should mention that when I was googling that scene, I discovered that it had been sampled too:
Martin
4 March 2014 at 07:10
That explanation by Badalamenti is something I’ve seen recently, either on a documentary on Sky Arts or in a DVD extra, I think more likely to be the former. Actually, might have been that BBC4 thing on the sound of the movies and screenwriting in general, as even though it’s not a movie as such it’s so well done in parts, especially the atmosphere.
I wonder if the show would’ve been half as succesful without the soundtrack? Not that it actually was a massive success but…
MatGB
4 March 2014 at 12:43
That explanation by Badalamenti is something I’ve seen recently, either on a documentary on Sky Arts or in a DVD extra
I’ve seen the clip on YouTube but it has obviously been taken down for copyright since it I couldn’t find it when I was writing this post. There was obviously a great working relationship between Badalamenti and Lynch that translated into an incredible harmony between the score and the programme.
Martin
4 March 2014 at 12:57