David Lynch - Classic or Dud

Last night, after the above discussion, I signed up for a Criterion Channel trial and watched the first 20-25 minutes or so of Dune… don’t think I can do anymore, y’all, but a scene with Kyle M., Sir Patrick Stewart, and Dean Stockwell was something I did not expect!

Watched Dune for the first time last year. Best part of it for me was watching Kyle McLachlan and Everett McGill together in a completely different universe years before Twin Peaks.

Yeah, I watched it a couple of weeks ago, first time in 39+ years, and was like "Big Ed is Stilgar?!"

Is Jack Nance in there somewhere? I think he's one of the spice miners or something.

For further watching, there's a good documentary about Nance called You Don't Know Jack.

he's the Baron's assistant

iakin nefud call him by his name

I thought he was Paul

plus Jürgen Prochnow is in Fire Walk With Me (admittedly for like 30 seconds and with no dialogue...)

5. Him and his buddies work on Eraserhead for five years. I think he gets divorced while this is going on, he's living in the Eraserhead set and delivering newspapers for money. But it gets made! It gets some sort of distribution and becomes a midnight movie hit!

Another point of serendipity left out of Cow_Art's (awesome!) narrative is that that Lynch had somehow hooked up with this producer Jack Fisk, whose wife is Sissy Spacek (I'm sure someone here knows more of the story), and their money helped keep the project afloat. Spacek is thanked in the end credits; I remember that from all the times I watched it in high school.

Anyway, I just made the connection that Spacek ended up delivering a (remarkable) performance in The Straight Story, decades later...

My question that i’m never going to research and answer is if altman and lynch ever crossed paths while lynch was either making eraserhead or at AFI. The timeline of eraserhead and 3 women intersect and 3 women is just so, so lynchian ime, - kind of unlike anything else altman did. The sissy spacek connection makes it even more curious to me

I think he's one of the spice miners or something.

ha i think you're thinking of... lynch

xps also Alicia Witt is a TP/Dune crossover (Gersten Hayward / Alia)

Lynch was in the first classes of their kind at the AFI, and I think it was more like a residency program than formal classes. There were some abandoned stables that they allowed him to take over and the majority of his time at AFI was spent there. They had to shoot late at night so outside sounds wouldn’t interrupt; when birds started making noise in the morning it was quitting time and he would go to sleep in Henry’s bed and padlock the door so nobody would wander in and find him living there. I can’t remember an Altman/Lynch connection

Jack Fisk and Lynch were high school friends, Jack probably knows Lynch better than anybody. They went to art school together and after graduating they planned a long European trip. They got there, hated it, and immediately returned. Lynch married Jack’s sister. Jack was the man in the planet in Eraserhead and I think after that their careers separated until the Straight Story. Fisk started in set design and then moved onto directing and producing.

The making of Eraserhead is fascinating. They lived in that world for a long time. Catherine Coulson, the Log Lady, was there constantly, feeding them and being a den mother. Lynch insisted on paying them regularly, although it wasn’t much and they would have done it for free because it was the center of their lives at a certain point. When the money ran out he wrote out a contract and gave them a percentage of the profits. Nobody thought there would be profits.

...I would love to hear david lynch and mel brooks talking movies...

The origin of 3 Women is also Lynchian. Altman says he dreamed the title, choice of lead actresses, and opening image exactly as they appear and wrote the movie around them.

brooks really threw his weight around for lynch back when lynch had none of his own:

When Paramount Pictures studio executives were shown a cut of this movie, they wanted the opening and closing surrealist sequences to be cut. Executive producer Mel Brooks, according to producer Stuart Cornfeld, said to them: "We are involved in a business venture. We screened the film for you, to bring you up to date as to the status of that venture. Do not misconstrue this as our soliciting the input of raging primitives."

Brooks was really as saintly a producer as you could have; he even kept his name off the credits and publicity so no one would get the wrong idea about the tone of the movie.

I just found a sweet video of Lynch talking about Altman. They got to know each other after they were both nominated for Best Director in 2002 (Straight Story/Gosford Park). It doesn't seem like there was any direct connection early in on in their careers.

Post it!

I found this:

https://www.youtube.com/watch?v=BjqEKfJvaJo

That's it! I don't know how to post pictures or video.

It took me a couple of years to figure out there was something beyond I Love Music.

I’ll have to revisit 3 Women… I saw it a long time ago, I remember being fairly ambivalent about it (despite the esteem in which I hold both actresses). The movie comes up a lot.

Trying to make good use of my Criterion trial, I watched a little of this movie today... it was so bad: https://en.wikipedia.org/wiki/Dream_Lover_(1993_film)

(This is very tangentially Lynch-related – as it starred Mädchen Amick, and the casting director was Johanna Ray. Also, it was sort of like a Lynch movie as made by someone who has heard Lynch movies described once or twice, but had never actually seen one, or any movie at all.)

That Coulson was AC on eraserhead AND killing of a chinese bookie is one of my favorite bits of film trivia

"it's better that way, david" - what a sweet story

pic.twitter.com/MIajUppbpA

— [ominous whoosh] (@ominouswhoosh) April 26, 2023

David Lynch is filming something in West Hollywood

Seems based on a random tweet by someone having lunch – pretty thin stuff – but I guess these are the scraps we have to grasp onto...

yeah i'll take this right now, just pop it on the 'reasons to live' pile.

I watched Lost Highway again, and kind of loved it this time. There’s something about it that’s just highly… enjoyable to watch. Maybe especially if you’ve seen it once or twice already, and aren’t hung up on trying to “figure it out.”

My local Landmark theater is doing a David Lynch month. I missed Blue Velvet, but caught Mulholland Drive last night. Next week is Wild At Heart, which I've never seen, then Lost Highway the following week. I've never seen Wild At Heart before, so looking forward to that.

Wild at Heart has a middling rep but it’s pretty good. The tangents and side stories are what really make it work for me.

Lynch has this stylistic shift in the late '90s that almost makes him seem like a different artist... Lost Highway and Mulholland Dr just have this "look & feel" that's so distinctive (and of course there's The Straight Story in between those, which is remarkable in its own way). It feels weird to say that this is where he really "takes off," obv the earlier stuff is great too, but there's something about his new sensibility that's even better (IMO), and the re-watchability is particularly high on the films in that period.

i rewatched Lost Highway again recently too after not seeing it for a good 20 years and quite liked it still. I don't try to 'solve' lynch movies. The only one I haven't had the urge to revisit is Inland Empire, which I didn't watch in one sitting the first time and have never seen in a theater. Probably would if someone would show it around here.

Inland Empire is the one that benefits the most from seeing in a theater

I still stop the film when Balthazar Getty appears.

lost highway and mulholland drive both give the general impression of coming full circle and tying up loose ends at the end via the timely repetition of certain images and lines, even if there's no traditional narrative logic to it. i never really felt like there was anything to 'solve' because of that, they solve themselves for you.

Crossposting but having put this in the Dune specific thread, new oral history of the film (with new interviews with him) now out:

https://www.1984publishing.com/bookstore/a-masterpiece-in-disarray-david-lynchs-dune-an-oral-history

xp I dunno, I feel like Mulholland Dr is pretty straightforward & comprehensible (although I recall some disagreement on this thread about what seemed to me like basic aspects of the "reveal"). By contrast, I have no "explanation" for the final act of Lost Highway, or how it all fits together.

So much of it plays like a boring reprise of Blue Velvet, with Robert Loggia playing Frank and Robert Blake playing Ben.

...I'm reading thru the booklet now, and here's Gifford quoted as saying:

I think it's a very realistic, very straightforward case study of one person who is at a loss to deal with the way things have turned out.

OK man! (Ha ha)

i think the tape of the murder is one of the most disturbing things that Lynch ever shot.

So much of it plays like a boring reprise of Blue Velvet, with Robert Loggia playing Frank and Robert Blake playing Ben.

― the dreaded dependent claus (Alfred, Lord Sotosyn), Wednesday, September 13, 2023 1:34 PM (five minutes ago) bookmarkflaglink

i do not agree with this at all!!!

Yeah I don't either (sorry Alfred!)

xp

Yes, seeing Mulholland Drive on release, the final act* was immediately "oh, this is what he was going for in Lost Highway, but it works properly this time."

*(not knowing that it was a kludge to salvage a TV pilot)


Never rewatched LH until a local theatre did an all-his-features-and-some-of-the-shorts series recently, and the climax's vibes are great, but the biggest difference between how the two play is that it's impossible to give a fuck about the Pullman/Getty characters, whereas both halves of Watts are sympathetic, and clearly lock together as a whole person.

Here's Lynch in the booklet (quoted from that Lynch on Lynch book, which must be quite a tome, as so many quotes you see are drawn from it):

Mystery is good, confusion is bad, and there's a big difference between the two. I don't like talking about this too much because, unless you're a poet, when you talk about it, a big thing becomes smaller. But the clues are all there for a correct interpretation, and I keep saying that, in a lot of ways, it's a straight-ahead story. There are only a few things that are a hair off.

So I guess they both really think that! I think it's more "off" than they may realize, but I'll try to follow the "clues" more closely next time (again, the "mystery" no longer detracts from my enjoyment).

that's sorta how i've always felt, though there's something about how highway is so freewheeling and less composed than mulholland... it was the lynch film i most imagined in my head before i finally saw it, it retains a dark pull, and even though i do not give a fuck about this obtuse saxophone guy being in extreme psyche-splitting denial about killing his wife, i sure love the journey

xp to sic

It struck me that (I think?) you never see The Mystery Man and Alice together in the same frame; and after Alice walks naked into the cabin and Fred follows her, she's gone and MM is there instead... and then MM somehow shifts alliances and becomes Fred's ally against Dick Laurent (after Alice has turned on him). I feel like Alice and MM may be two sides of a coin somehow, but can't articulate how or why.

The first half of LH is as compelling as any Lynch, especially whenever Bill Pullman's playing free jazz in that club (the editing, the lighting!).

I've still only seen Lost Highway once, when it came out, and need to rewatch it. I didn't like it at the time, and in the years since it has remained in the least-favorite-Lynch slot for me (I don't really count Dune, I guess). My reaction at the time was more or less as Alfred says, it felt sort of forced and sour, in a self-conscious Lynch-being-Lynchy way. I do remember a few particular scenes and shots, it has its moments, but overall I found it off-putting.