David Lynch

All of the above.

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nghst
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David Lynch

Post by nghst »

This 76 year old man is getting towards his end at life, but still artistically making a statement. What strikes as his most impressive endeavor so far? Here is an discussion about this fact: https://www.theringer.com/2022/10/12/23 ... ch-episode
swmcsherry
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Re: David Lynch

Post by swmcsherry »

There's something so appealing and rare about someone sharing his/her uncompromising weirdness. Just the vulnerability of putting your self out there and dealing with the consequences is admirable! (This sounds so clichéd because it's the basis of all art, but still... :D )

Will listen, thanks for sharing -
- ...if you've got a lonely heart too...

- Come on baby, stop your crying

- Don't wanna live, but I can't resist

- I would rather add some life to my years
nghst
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Re: David Lynch

Post by nghst »

Here's another great article on Lynch: https://www.nme.com/features/film-inter ... ve-3358314 A new documentary is being released about his affection for the Wizard of Oz.

On a side note I watched Twin Peaks the show, Twin Peaks: Fire Walk with Me, and Twin Peaks the Return over the past several months. I found that I enjoyed The Return much more than I did the first time I watched it. I don't know what changed, but this time I was fascinated by the character of Dougie and I wasn't concerned about the good Dale Cooper not being in the show till the end.
aadamm
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Re: David Lynch

Post by aadamm »

I think The Return's key scene (if it has one? whatever) is the arm wrestling scene. "It feels good when we're back how where started, doesn't it?" feels like direct commentary on audience desires and that Dougie Jones can be understood as response to that.
Pat Garrett
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Re: David Lynch

Post by Pat Garrett »

This is one of my favourite articles about Lynch.

http://www.lynchnet.com/lh/lhpremiere.html

You almost never from a Lynch movie get the sense that the point is to "entertain" you, and never that the point is to get you to fork over money to see it. This is one of the unsettling things about a Lynch movie: You don't feel like you're entering into any of the standard unspoken and/or unconscious contracts you normally enter into with other kinds of movies. This is unsettling because in the absence of such an unconscious contract we lose some of the psychic protections we normally (and necessarily) bring to bear on a medium as powerful as film. That is, if we know on some level what a movie wants from us, we can erect certain internal defenses that let us choose how much of ourselves we give away to it. The absence of point or recognizable agenda in Lynch's films, though, strips these subliminal defenses and lets Lynch get inside your head in a way movies normally don't. This is why his best films' effects are often so emotional and nightmarish. (We're defenseless in our dreams too.)
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