The Door Changes

Original Poster
Joined: Sep 2002
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I noticed that there were some physical differences in the apartment scenes. I already brought up that the headboard is different in the corpse scene and the one when Diane wakes up. There were other small differences (objects) etc. so I thought I would take a look. I decided to look at the exterior of the apartment(s) first to see if there were any physical differences. The only one I want to mention in this post is the door. The door has a carved design on it which appears to be different for each apartment (e.g. apartment 12).

So the first shot is of Betty and Rita approaching apartment 17 for the first time. Notice the design (rectangle) right above her pretty head and right below the peep hole.

Now, here are two views of Diane letting the Lamp Lady out of her apartment after picking up her stuff. Now notice the cut-out right below the peep hole ... what changed?

Notice that the original cut-out (first shot) had a odd-shaped cut on its right side. Now the right side is very straight. Notice even the slight shadow on the right edge is also pretty darn straight. Although the the shots are different sizes so proportions need to be accounted for - the distance from the bottom edge of the peep hole to the top edge of the referred to cut out also seems to change.

Now a view of the door, where Diane looks through the solid wood peep-hole before letting her neighbor in.

So it raises some interesting questions besides whether I'm correct. Lynch has commented that he likes to change things slightly so that the audience is slightly off balanced or confused - but don't know why. Is this his technique at work? Or are these continuity errors more a factor of many months between shooting and set stuff happening?
Oct 28, 2002 8:47 AM
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[QUOTE]Originally posted by ctyankee


<img src="http://www.rottentomatoes.com/forum/attachment.php?s=&postid=1011443">

So it raises some interesting questions. Lynch has commented that he likes to change things slightly so that the audience is slightly off balanced or confused - but don't know why. Is this his technique at work? Or is simply compounded prop errors that were missed or caused due to the added scenes for the movie?
[/QUOTE]
*not taking eyes off the women*

Erm, yeah, the compounded boob errors... IMO. Due to the added sex for the movie...

Oct 28, 2002 10:00 AM
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Seriously.

I've said this before. But what can I say, the line's multi-purpose.;)

Who knows with Lynch?

Oct 28, 2002 10:02 AM
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It means the switch of apartments occurred between the two scenes, doesn't it?
Oct 28, 2002 6:22 PM
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[QUOTE]Originally posted by TristanLove
Yeah, Mr. Gandalf. And it also does appear in these pics that there is a window up by the stove (a different stove?) in the "flashback" to couch-foreplay scene as oppose to no window by the stove in the Diane-answering-her-door-reality scene. But the designs of the doors may be because of the angle of the shot like the headboard, no? I haven't really scrutinized it with the DVD. [/QUOTE]
I believe there to be a window behind the stove in all shots that I've looked at. This shot simply doesn't show it.

I wish you would grab your DVD and review the headboard and these door shots. I'm sure that the head boards are not the same. That may be why Lynch gets so ridiculous with the lighting of the bedroom. How come in a room with light only coming from the windows can you see the bed but not the walls? Last I checked, that's not how light works. Check it yourself in your own bedroom. Which means that he either spot lighted the bed (for effect) or perhaps darkened the walls during editing.

The shot of the blonde in the bed scene - the headboard is severely hidden in the shadows. However, the shot where the cowboy sees the corpse, you can see the outline of the headboard and it does not curve like the one we see as Diane wakes up!!

Three shots

Corpse headboard

Betty's headboard

Comparison Shot
Oct 28, 2002 7:46 PM
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[QUOTE]Originally posted by TristanLove
Ctyankee,

Okay, I'll take your word for it. Then this makes sense that the dead woman/corpse on bed is not Diane as it is not her bed. There is a switch. Yes, it is supposed to be the woman in the Pilot the hit was supposed to be on. But it still represents the hit with the death imagery and the Cowboy appearing somberly to it in the final product of MD. It still means Diane has done bad.
[/QUOTE]

Please don't take my word for it. If you can't see the differences in the headboard, it could be your monitor. It is not that hard to see on one of my monitors and very hard to see on the other one. The advantage of screen-prints is that it is easier to download them and just click on one and then the other to see the differences. In the DVD, it may be clearer to see but you need to refer to two separate scenes which is a little harder. One the first image, the curve of the top slope of the headboard (heading away from the center and towards the post clearly curves back up) whereas the second headpost does not.

Hopefully this is something we can agree on. But if not, so be it. Of course what it means and how it might be interpreted should be the harder of the challenges .. wouldn't you agree?
Oct 29, 2002 7:27 AM
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A couple of people have mentioned that my screen shots are so dark that they can't even see what I'm talking about. So, my friend (Mac) helped me out by putting some "light on the subject."

Hopefully this will help. The first shot shows the comparison within the same picture ...

<img src="http://www.rottentomatoes.com/forum/attachment.php?s=&postid=1176671">

I've included the full shots for comparisons of other aspects of the frames.

Cowboy sees corpse ...
<img src="http://www.rottentomatoes.com/forum/attachment.php?s=&postid=1176662">

Diane wakes up ...
<img src="http://www.rottentomatoes.com/forum/attachment.php?s=&postid=1176658">

You really can't tell anything definitive if something is missing or present - as that can be explained by it being a different day (like a different color blanket, or even a disappearing gizmo between the light and the phone.) However, when the phone looks different and the base of the light looks different .....

So, the question remains. Were these deliberate changes just to work on our subconscious - to put some doubt into what we sense - a flat out and out clue that this is not Diane? Could this be intentional changes to indicate the flaws within dreams or is it simply the reality of prop problems ... with the filming occurring so many months apart?

Opinions?
Dec 2, 2002 9:30 PM
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[QUOTE]Could be when they shot more scenes a year later, as a film instead,[/QUOTE]

I don'r know much about movie production and little about DL's financing/ budget for MD. But don't you think that Mr. Detail that he is (assuming he meant for the bed(room)s to look exactly the same) he would have rather re-shot the old scenes with the new furniture than used new furniture... it's not like he doesn't know we're sitting here now wondering about it. I don't think DL leaves ANYTHING up to chance...
Dec 5, 2002 8:14 AM
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Hey CT,
Do you have a capture of the scene where Betty and Rita are knocking on the door of apt.#12, right before the roommate answers?
I would like to see it if you do.
Thanks.
Dec 9, 2002 9:58 AM
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[QUOTE]Originally posted by woodlouse
Hey CT,
Do you have a capture of the scene where Betty and Rita are knocking on the door of apt.#12, right before the roommate answers?
I would like to see it if you do.
Thanks.
[/QUOTE]

I assume you wanted the shot without the girls blocking the door.

Here goes.

<img src=http://www.rottentomatoes.com/forum/attachment.php?s=&attachmentid=9077">
Dec 9, 2002 1:26 PM
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Okay. That door (#12) is not the same door that Diane opens in the waking sequences, nor is it the door to #17 in the dream sequence.
So which apartment does Diane really live in?
I suppose, as some of us have speculated before, that it is probably #16.
Dec 9, 2002 3:21 PM
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[QUOTE]Originally posted by ctyankee


Now a view of the door, where Diane looks through the solid wood peep-hole before letting her neighbor in.

<img src="http://www.rottentomatoes.com/forum/attachment.php?s=&postid=1011439">

Now, a shot with Diane on the couch with Camilla. If you can pry your eyes off of the women for a second, notice the peephole.

<img src="http://www.rottentomatoes.com/forum/attachment.php?s=&postid=1011443">

[/QUOTE]

You are absolutely right about the exteriors of the doors. So I have no questions about that. In fact, it shows us that she is neither in #12 nor #17 (so where is she?).

I do, however have problems with the theory that the couch scene and the opening door to neighbor scene take place in different apartments from each other.

For example, you mention that Diane is looking through a solid wooden peephole, but there is a small door on the peephole, which we see her opening in the shot where she is about to open the door to her neighbor. Meaning that this little window can be either open or closed. In her happier days before Camilla's rejection, she may have had the flap open all the time - but then when she sank into her depression and was trying to evade reality, she might have taken to keeping it closed. In other words, I don't think that it is a different door from the couch scene to the letting-neighbor- in scene. Nor do I think it is a different apartment.
As for the stove, the reason we do not see the stove in the door-opening shot is because we are zoomed in a bit closer and at an ever-so-slightly different angle than we are in the couch scene, and therefore the stove is cropped out of the picture. Test it out for yourself... I think you'll see what I mean. In fact, I'll do some experimenting in Photoshop and see what happens.
Dec 9, 2002 3:39 PM
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Yes, I haven't ever noticed any problem with the stove.

As for the door peephole/flap. My point was the door flap, Diane looks through to see the neighbor was a solid flap that didn't let the light in. She had to open it to see out. When she has the couch scene with Rita, there may be a flap, but it is not solid and therefore you don't have to open it to see out.

Does this mean I think that it was a different apartment? I don't know what it means but I doubt it means that it is a different apartment. I think that the doors got changed during the x number of months between shoots. The flap would have been a change only during the last 4 weeks of shooting as Diane is only introduced then. That is the more puzzling thing.

If the flap was broken during a take, I doubt that the props department would be stupid enough to put in a glass flap where there was a solid one before. So perhaps it is deliberate. However, the rush to get this film completed does not give me confidence in Lynch's usual attention to detail ...

I do think that the piano ashtray was used to indicate that the fight with Rita occurred before the woman in apartment 12 came for her stuff. This would seem to indicate that Lynch is telling us that Diane's apartment in both scenes is the same, just the order we see them is in reversed order.

Here is a lightened version of the shot I posted.

<img src="http://www.rottentomatoes.com/forum/attachment.php?s=&postid=1211289">
Dec 9, 2002 8:20 PM
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The piano ashtray is definitely there to show us that the couch scene is a flashback ... no disputing that.
I'm just trying to figure out which apartment number Diane is really in. Not #12, not #17, not #16 .... then where?
As I've said before, I can't even check because I don't have my DVD.

Tristan, do you mean a storm door (or screen door)? Damn I wish I had my movie... my memory is trying to fill in the gaps but it's not working.
Dec 9, 2002 11:58 PM
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I don't think that there is enough evidence to solve that question. Nor do I think you can necessarily rule out the possibilities of 16 or 17.

Another thought about the peephole being deliberate. At the point we see a wide glass-only peephole, Diane is very happy with a relationship with Camilla. This goes sour in that very scene and when Camilla and Diane argue at the door - the peephole is now covered wood (not glass).

Perhaps this wood represents a change in Diane from one open to the world to one now closed off.

The only problem with that idea is that the other apartment doors (such as 12) are covered wood. But, if you buy that it is a dream metaphor, it may still be valid.
Dec 10, 2002 5:07 AM
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[QUOTE]Originally posted by ctyankee

Another thought about the peephole being deliberate. At the point we see a wide glass-only peephole, Diane is very happy with a relationship with Camilla. This goes sour in that very scene and when Camilla and Diane argue at the door - the peephole is now covered wood (not glass).

Perhaps this wood represents a change in Diane from one open to the world to one now closed off.

The
[/QUOTE]

I said that in my last post but one....


[QUOTE]In her happier days, before Camilla's rejection, she may have had the flap open all the time - but then when she sank into her depression and was trying to evade reality, she might have taken to keeping it closed. [/QUOTE]
Dec 10, 2002 12:56 PM
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[QUOTE]Originally posted by woodlouse
I said that in my last post but one.... [/QUOTE]

Yes, you did. The open flap portion of your discussion got my attention - which I responded to. As I already "covered", it wasn't that the flap was now open (it wasn't) it was now made of glass.

So, I'm agreeing that your idea is certainly feasible.

Sorry about that.
Dec 10, 2002 1:34 PM
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[QUOTE]Originally posted by TristanLove
Yeah, something like that, but think of two rectangles as the outer one is made of the same brown wood material as the other doors, and the inner transparently reveals a key lock of a door. (Look at the pic Axel posted in his "Les H. Shift tell long (A clue!)" thread (you can't see it clearly much, but you can see a speck of spot in where the lock should be, and that is what I'm talking about.) It's quite clear on the DVD with my 32 inch Flat screen TV. Ctyankee, is letting me down by not helping me/us with it and the magic touch of his Photo Shop tool. It's there. [/QUOTE]



Is this the picture you are referring to? If so, it looks like some kind of a storage shed to me. It doesn't have proper door knobs or anything. So you think that this might be apartment #16?

It also looks really peculiar because of the way that light is positioned - it looks like if you opened that outer door any further it would bash into the light fixture. It seems almost as if it wasn't supposed to be there at all.
Dec 10, 2002 2:13 PM
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[QUOTE]Originally posted by ctyankee
Yes, I haven't ever noticed any problem with the stove.

As for the door peephole/flap. My point was the door flap, Diane looks through to see the neighbor was a solid flap that didn't let the light in. She had to open it to see out. When she has the couch scene with Rita, there may be a flap, but it is not solid and therefore you don't have to open it to see out.


[/QUOTE]

I lightened up that shot and adjusted the contrast until I got to a point where you can see the vague outline of the wooden flap. If you look carefully, you can see the contrasting darker (because it is in shadow) wood of the flap offset against the lighter wood of the door. The flap is open slightly, at about a 45 degree angle.
Unfortunately, I can't get the picture any clearer than that.

Dec 27, 2002 9:10 PM
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[QUOTE]Originally posted by TristanLove
I have a developing theory that the hit on Camilla happened in the bedroom. There is a relocation of similar-styled apts. after the hit. It has something to do with what may be Camilla?s dead body of something hidden under that carpet/rug at the beginning scene with the heavy breathing and hitting the pillow; as once when the blue box was opened, we see aunt Ruth looking down there by the bed, but there is nothing and we?re taken to that dark bedroom with the corpse and all. Maybe aunt Ruth is a symbol of reprimand to Diane; and the fact that in the dream, she?s always leaving and never there for her, is Diane feelings of no real guidance/family being there for her, of her life in the city of dreams, that may have caused her imprudently unlawful/ungodly descent of a crime of passion, as she is all alone and lost in the world... Yes, this is weak... just throwing it out on the spot for you Ctyankee, since you called me out on not talking about different things about MD... But I don?t know, my head is hurting? Aunt Ruth, the rug/carpet, and who-is-that-woman-retrieving-her-things in exact relation to Diane, are the most elusive phenomenons in MULHOLLAND DR! I think it?s those things that are not meant to be solved, as intended by Lynch to keep the magic and mystery alive, forever! I?m still thinking and will be thinking? round and round we go on this merry-go-round till we want to get off or on again.

Anyone want to take a stab? I'm dizzy.
[/QUOTE]

i am thinking the same!
Diane set up Camilla in apt #17, tips off the hitman, and get her killed while she sleeps in her bed.

this gives a new meaning to the Silencio scene:
-Rita wakes up after sex, at aunt Ruth's, saying "silencio"(death). refering to Diane getting her killed after sex, while sleeping in apt #17.
-At the Silencio, Betty trembles on her own (she doesnt cuddle up with rita to seek confort), when the songs talk of a lost love, like if she realize the clash between her love and her plan to kill her.
-When they come back from the Silencio, Diane is in a hurry, the purse in hands holding it like a dirty bag.
-We know the key is the symbol of the hit (Camilla is going to be assasinated: the key=the sword of Damocles)
-the bluebox is the symbol of the hitman. Betty drags Rita into the trap, with the hitman, and vanishes when the hitman will deal with her. Rita is alone. She is assasinated. then vanishes into the blue box(death).
-Aunt Ruth's peeks and sees nothing, like to show that nobody knows, no witness, the perfect crime (like seen in the first hit: Joe doesnt leave witnesses!), or also the dream stand-in for DeRosa, who knocks at the door of apt. #17, without knowing someone has been killed in this place.
Dec 27, 2002 11:01 PM
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