David Lynch - Classic or Dud

Err, Lynch incidentally is brain-crushingly classic.

There's a much better book out there if you can find it at all -- The Making of Dune by Ed Naha. He was hired to essentially hang around on site during the entire length of filming and write a book about it all and did a fantastic job, I thought. While essentially uncritical about the final product itself, it actually doesn't talk about that so much as just the filming itself. Also laden with tons of photos.

Here's ten, in order of "classicness":

1. Mulholland Drive
2. Eraserhead
3. Blue Velvet
4. Wild at Heart
5. Elephant Man
6. Twin Peaks
7. The Straight Story
8. Dune
9. Fire Walk with Me
10. Lost Highway

1. Mulholland Drive
2. Blue Velvet
3. Eraserhead
4. Elephant Man
5. Lost Highway
6. Fire Walk with Me
7. Twin Peaks
8. Dune
9.The Straight Story

sorry, jaymc, my aside has troubled you, AND i used the wrong tense in one sentence!
and it revived a discussion, how about that ?
but huh ?, you haven't commented on Princess Anne and the BAFTAs, which was what i was getting at. Or anything else beyond the semantics of said paragraph. What do YOU THINK ?

I'm not sure I'll ever get round reading the book so could somebody please summarize what it adds to the movie?

David Lynch: Well, you know, nature can teach us a lot of things, and there's
something about, in painting, you're working within a certain shaped
canvas and there's many things that you, you know, one does
intuitively, to move the eye, you know, there's repetition of shape,
there's repetition of colour, but when you start looking at a duck,
you see your eye is moving in a certain way, and you see textures and
colours and shapes and you start wondering about a duck, what it can
teach us about, you know, any kind of abstract, you know, painting, or
proportions or even sequences, scenes, and it always is interesting
that the eye is in the perfect place - if you move it to the body, it
would get lost, if you move to the leg or the beak, it's two, kind of,
fast areas competing, even though the eye is the fastest, it's the
little jewel.

DL: Well, there's slow and fast. An empty room is a certain speed,
and a person standing there is another speed, and that proportion is,
you know, can be beautiful, if the room is a 2 and the person is a 7.
I think a person is around a 7; fire and electricity can go up to a 9,
for instance, or really intricately designed, you know, decorative
room is pretty disturbing, sometimes - it's too fast. But then if you
put something slow in it, it could work beautifully. A busy room and
a person, they fight each other. So...

MC: Is this to do with how fast our eye moves to scan it, to see
what's happening?

DL: It's a relationship thing, I think. Fast and slow areas.

MC: OK. What is the eye of the duck scene in Straight Story?

DL: I haven't thought about it. I have to think about it. I can't
just jump in and think, but I believe every film has the eye of the
duck scene. But, it can fool you. You know, which one it is - it
could be the scene we were talking about, I don't know.

MC: What's the eye of the duck scene in `Blue Velvet'?

DL: I used to know.

MC: Is it the `In Dreams' song.

DL: It's the eye of the duck, that's the eye of the duck, yes, yes.

[clip `in dreams']

MC: And what's the eye of the duck scene in Elephant Man?

DL: (laughs) I used to know.

MC: Is it the scene where he goes to the theatre? Near the end?

DL: No, I think, strangely, the eye of the duck scene is the ending.

- Lynch the American

http://www.dgp.toronto.edu/people/stam/suomi/stam/pics/duck_rabbit.gif

(x-post)

No, but maybe a little daffy.

"Lynch on Lynch" is one of the most entertaining books i have ever read.

lynch's nuanced use of the widescreen frame above all.... his knowing evocations of the heyday of 'scope and the accompanying emotional registers

still i think it's less than the sum of its parts somehow, i'm never too interested in rewatching the whole thing

that's a problem w/lynch

i am interested in the "business end" of motion picture filmmaking

er

oy!

Lynch invades an 'Empire'
Digital pic details a mystery

By ADAM DAWTREY
David Lynch is making a new movie with StudioCanal. In fact, he's already been shooting it under the radar for two years.

Titled "INLAND EMPIRE" (in capitals, though Lynch doesn't explain why), it stars Laura Dern, along with Justin Theroux, Harry Dean Stanton, Jeremy Irons and a host of others Lynch won't specify.

In fact, there's still very little the enigmatic Lynch is comfortable to reveal about the movie.

"It's about a woman in trouble, and it's a mystery, and that's about all I want to say about it," he comments diffidently.

The title refers to the bleak residential area on the edge of the desert near L.A. -- the antithesis of the tony locale of his last movie "Mulholland Drive."

Lynch has shot much of his latest film in Poland with local actors, after making friends with the organizers of the Camerimage festival in Lodz. He's now back shooting in and around Los Angeles.

Even at this relatively advanced stage of production, Lynch is cagey about when it will be finished. But it's understood that StudioCanal is aiming for a world preempreem at Cannes next year.

"Making a film is a beautiful mystery," Lynch says. "You go deep into the wood, and you don't want to come out of that wood, but the time is coming very soon when I will have to."

Lynch has financed the production to date from his own resources, with his wife and longtime artistic collaborator Mary Sweeney producing. The budget is unknown.

StudioCanal, which financed "Mulholland Drive""Mulholland Drive" and "The Straight Story," has come aboard "INLAND EMPIRE" to handle worldwide sales.

Digital convert

What Lynch will reveal -- and indeed, waxes lyrical about -- is the fact that he's shooting the movie on digital video.

"I started working in DV for my Web site, and I fell in love with the medium. It's unbelievable, the freedom and the incredible different possibilities it affords, in shooting and in post-production."

"For me, there's no way back to film. I'm done with it," Lynch says. "I love abstraction. Film is a beautiful medium, but it's very slow and you don't get a chance to try a lot of different things. With DV, you get those chances. And in post-production, if you can think it, you can do it."

DV has clearly given Lynch the freedom from having to clarify his intentions -- to financiers, or even to himself -- before he starts shooting.

"The explaining of things in words is always a huge problem," he confesses.

He characterizes the DV production process as a journey of "huge exploration" to discover what his film will be.

"I'm writing as I go," he says. "I believe in the unity of things. When you have one part, and then a second part that doesn't relate to that first part, it's very curious to find that they do relate after all. It's a most beautiful thing."

He also believes that it produces a different kind of performances from actors. "When you run out of film, you have to stop and reload, and during that time the heat sometimes goes off. But with this medium you can keep that heat, and it builds, and it's beautiful to see."

He says that Dern, in particular, has benefited from this freedom. "She's the most incredible actress. Some people get roles and do their thing, but some have a lot more inside and don't usually get the chance to show it."

As for the quality of the DV image, Lynch says, "It looks different. Some would say it looks bad. But it reminds me of early 35mm, that didn't have that tight grain. When you have a poor image, there's lots more room to dream."

"But I've done tests transferring DV to film, and there are all kinds of controls to dial in the look you want."