Lost Highway screenplay by David Lynch and Barry Gifford [pdf]. (NOTE: For educational purposes only) “You can say that a lot of Lost Highway is internal. It’s Fred’s story. It’s not a dream: It’s realistic, though according to Fred’s logic. But I don’t want to say too much. The reason is: I love mysteries. To fall into a mystery and its danger… everything becomes so intense in those moments. When most mysteries are solved, I feel tremendously let down. So I want things to feel solved up to a point, but there’s got to be a certain percentage left over to keep the dream going. It’s like at the end of Chinatown: The guy says, ‘Forget it, Jake, it’s Chinatown.’ You understand it, but you don’t understand it, and it keeps that mystery alive. That’s the most beautiful thing. For me, a film exists somewhere before you do it. It’s sitting in some abstract world, complete, and you’re just listening to it talk to you, telling you the way it’s supposed to be. But not until all the sound and music and editing has been done do you truly know what it is. Then it’s finished. It feels right, the way it’s supposed to be, or as right as it can. And when it’s finished, you’re back in a world where you don’t control anything. You just do the best you can, then say farewell.” —Rolling Stone, March 6, 1997 Lost Highway Lynch Interview The first time I lay actual eyes on the real David Lynch on the set of his movie, he’s peeing on a tree. This is on 8 January in L.A.’s Griffith Park, where some of Lost Highway’s exteriors and driving scenes are being shot. He is standing in the bristly underbrush off the dirt road between the base camp’s trailers and the set, peeing on a stunted pine. Mr. David Lynch, a prodigious coffee drinker, apparently pees hard and often, and neither he nor the production can afford the time it’d take to run down the base camp’s long line of trailers to the trailer where the bathrooms are every time he needs to pee. So my first (and generally representative) sight of Lynch is from the back, and (understandably) from a distance. Lost Highway’s cast and crew pretty much ignore Lynch’s urinating in public, (though I never did see anybody else relieving themselves on the set again, Lynch really was exponentially busier than everybody else.) and they ignore it in a relaxed rather than a tense or uncomfortable way, sort of the way you’d ignore a child’s alfresco peeing. —David Foster Wallace VISITS THE SET OF DAVID LYNCH’S NEW MOVIE AND FINDS THE DIRECTOR BOTH grandly admirable AND sort of nuts Tweet // Follow @LaFamiliaFilm //
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Lost Highway screenplay by David Lynch and Barry Gifford [pdf]. (NOTE: For educational purposes only)

“You can say that a lot of Lost Highway is internal. It’s Fred’s story. It’s not a dream: It’s realistic, though according to Fred’s logic. But I don’t want to say too much. The reason is: I love mysteries. To fall into a mystery and its danger… everything becomes so intense in those moments. When most mysteries are solved, I feel tremendously let down. So I want things to feel solved up to a point, but there’s got to be a certain percentage left over to keep the dream going. It’s like at the end of Chinatown: The guy says, ‘Forget it, Jake, it’s Chinatown.’ You understand it, but you don’t understand it, and it keeps that mystery alive. That’s the most beautiful thing. For me, a film exists somewhere before you do it. It’s sitting in some abstract world, complete, and you’re just listening to it talk to you, telling you the way it’s supposed to be. But not until all the sound and music and editing has been done do you truly know what it is. Then it’s finished. It feels right, the way it’s supposed to be, or as right as it can. And when it’s finished, you’re back in a world where you don’t control anything. You just do the best you can, then say farewell.” —Rolling Stone, March 6, 1997 Lost Highway Lynch Interview

The first time I lay actual eyes on the real David Lynch on the set of his movie, he’s peeing on a tree. This is on 8 January in L.A.’s Griffith Park, where some of Lost Highway’s exteriors and driving scenes are being shot. He is standing in the bristly underbrush off the dirt road between the base camp’s trailers and the set, peeing on a stunted pine. Mr. David Lynch, a prodigious coffee drinker, apparently pees hard and often, and neither he nor the production can afford the time it’d take to run down the base camp’s long line of trailers to the trailer where the bathrooms are every time he needs to pee. So my first (and generally representative) sight of Lynch is from the back, and (understandably) from a distance. Lost Highway’s cast and crew pretty much ignore Lynch’s urinating in public, (though I never did see anybody else relieving themselves on the set again, Lynch really was exponentially busier than everybody else.) and they ignore it in a relaxed rather than a tense or uncomfortable way, sort of the way you’d ignore a child’s alfresco peeing. —David Foster Wallace VISITS THE SET OF DAVID LYNCH’S NEW MOVIE AND FINDS THE DIRECTOR BOTH grandly admirable AND sort of nuts

Blue Velvet screenplay by David Lynch [pdf]. (NOTE: For educational purposes only) Lynch wrote two treatments of Blue Velvet at Warner’s request, but they hated both versions. The film was dead until Lynch finished filming Dune, and was asked by producer Dino De Laurentiis if he had any projects he’d like to do next. Lynch pitched Blue Velvet, with one condition — he had to have final cut. De Laurentiis agreed in exchange for Lynch cutting his salary and the film’s budget in half. Some questioned if it was wise for De Laurentiis to fund Lynch’s new project given the poor box office of Dune. According to Paul Sammon, former DEG vice-president of special promotions, “Dino appreciated David’s rather bizarre gifts, and besides, Dino’s system was to always presell everything through his European and international contacts, so he never lost money.” With the project a go again, Lynch completed two more drafts of the screenplay to Blue Velvet. The catalyst to set the story in motion was Jeffrey’s discovery of the ear. “The ear is like a canal, it’s like an opening, little egress into another place… It’s like a ticket to another world that he finds. If he hadn’t found it, you know, he would have kept on going home and that would have been the end of it. But the fascination with this, once found, drew him into something he needed to discover and work through.” It was on the fourth and final draft that Lynch finally came up with the ending to the film. “I was sitting on a bench and I suddenly remembered this dream that I’d had the night before. And the dream was the ending to Blue Velvet. The dream gave me the police radio; the dream gave me Frank’s disguise; the dream gave me the gun in the yellow man’s jacket; the dream gave me the scene where Jeffrey was in the back of Dorothy’s apartment, sending the wrong message, knowing Frank would hear it. I don’t know how it happened, but I just had to plug and change a few things to bring it all together.” —lynchnet Photographs from the 25th Anniversary Blue Velvet Exhibit held in the Dennis Hopper Building, 20 Princess Street, Wilmington, North Carolina, November 9th through the 13th 2011. Tweet // Follow @LaFamiliaFilm //
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Blue Velvet screenplay by David Lynch [pdf]. (NOTE: For educational purposes only)

Lynch wrote two treatments of Blue Velvet at Warner’s request, but they hated both versions. The film was dead until Lynch finished filming Dune, and was asked by producer Dino De Laurentiis if he had any projects he’d like to do next. Lynch pitched Blue Velvet, with one condition — he had to have final cut. De Laurentiis agreed in exchange for Lynch cutting his salary and the film’s budget in half. Some questioned if it was wise for De Laurentiis to fund Lynch’s new project given the poor box office of Dune. According to Paul Sammon, former DEG vice-president of special promotions, “Dino appreciated David’s rather bizarre gifts, and besides, Dino’s system was to always presell everything through his European and international contacts, so he never lost money.”

With the project a go again, Lynch completed two more drafts of the screenplay to Blue Velvet. The catalyst to set the story in motion was Jeffrey’s discovery of the ear. “The ear is like a canal, it’s like an opening, little egress into another place… It’s like a ticket to another world that he finds. If he hadn’t found it, you know, he would have kept on going home and that would have been the end of it. But the fascination with this, once found, drew him into something he needed to discover and work through.” It was on the fourth and final draft that Lynch finally came up with the ending to the film. “I was sitting on a bench and I suddenly remembered this dream that I’d had the night before. And the dream was the ending to Blue Velvet. The dream gave me the police radio; the dream gave me Frank’s disguise; the dream gave me the gun in the yellow man’s jacket; the dream gave me the scene where Jeffrey was in the back of Dorothy’s apartment, sending the wrong message, knowing Frank would hear it. I don’t know how it happened, but I just had to plug and change a few things to bring it all together.” —lynchnet

Photographs from the 25th Anniversary Blue Velvet Exhibit held in the Dennis Hopper Building, 20 Princess Street, Wilmington, North Carolina, November 9th through the 13th 2011.

Photographs from the 25th Anniversary Blue Velvet Exhibit held in the Dennis Hopper Building, 20 Princess Street, Wilmington, North Carolina, November 9th through the 13th 2011. All of the photos were taken on location during the production of David Lynch’s Blue Velvet in 1985 by Peter Braatz.

Mysteries of Love is a 2002 documentary about David Lynch’s Blue Velvet, directed by Jeffrey Schwarz. The documentary includes clips from the film, footage and photographs from behind the scenes, and interviews with Lynch, Kyle MacLachlan, Isabella Rossellini, Dennis Hopper and others.

Source: bluevelvet25thphotos.com

David Lynch Masterclass, April 6th 2013.

blackbookmag:

In, perhaps, my favorite bit of film journalism ever, David Foster Wallace wrote about David Lynch and his visit to the set of Lost Highway in 1996 for Premiere. And in speaking of what is properly Lynchian and why it’s important, he states: “An academic definition of Lynchian might be that the term ‘refers to a particular kind of irony where the very macabre and the very mundane combine in such a way as to reveal the former’s perpetual containment within the latter.’” He then goes onto explain such things as, someone like Ted Bundy wouldn’t be Lynchian but “good old Jeffrey Dahmer with his victims’ various anatomies neatly separated and stored in his fridge alongside his chocolate milk and Shedd Spread, was thoroughly Lynchian.” And his realization that “a good 65 percent of the people in metropolitan bus terminals between the hours of midnight and 6 A.M. tend to qualify as Lynchian figures,” is just one of many brilliant and wonderful observations made in the piece which you can read HERE. 

But although it’s been seven years since he’s released a proper full-feature, thankfully, there has been no shortage of David Lynch. Dipping his magical hands into all aspects of the creative world, we are still able to get a glimpse inside the mind of one of my favorite humans, the twisted and absurdly fantastic auteur who gave us some of the greatest psychological thrillers and dramas cinema has ever had to offer. And at the recent 5th Beaune International Thriller Film Festival, Lynch was honored and in conjunction, participated in a Q&A—Masterclass: David Lynch. Throughout the conversation he spoke about all of his work—notably Twin Peaks. And in speaking of the mysterious and mystical cult classic show of horror and lurid debauchery lurking beneath the placid facade of small town wonder, Lynch stated that:

It’s a real place. All the characters are real. And the place is real.

Well, duh. Twin Peaks has always been a place that has existed—but in the mind. Like the Red Room, it’s a world that existed on another plane of existence that lives somewhere between the subconscious in dreams. And personally, it’s my favorite destination. —Hillary Weston

Watch: The essential documentaries on David Lynch, including Pretty as a Picture: The Art of David Lynch (1997), David Lynch: Don’t Look at Me (1989), Lynch (2007), Mysteries of Love (2002), Eraserhead Stories (2001), Jonathan Ross Presents for One Week Only: David Lynch (1990), David Lynch presents: Ruth, Roses and Revolver (BBC Arena 1987), Scene by Scene: David Lynch (BBC, 1999), and David Lynch Interview (The GUARDIAN Lectures 1985).

Young David Lynch on New Wave Theatre.

Dangerous Minds:

A young David Lynch makes a brief appearance on New Wave Theatre sometime in the early 1980s. New Wave Theatre‘s host, Peter Ivers, wrote Eraserhead‘s “In Heaven,” the number sung by the “Lady in the Radiator,” for Lynch in 1976. Ivers was found bludgeoned to death in his Los Angeles apartment in 1983 and his death remains unsolved.

The booklet of Conversations in Black and White, with excerpts from Lynch on Lynch and Vincent Price: The Art of Fear.

Mike Figgis interviewing David Lynch about his working process and approach to ideas and filmmaking. Featured at Inland Empire DVD. 2007.

Day at Night: Vincent Price, actor and horror star. The series features fascinating interviews with notable cultural and political figures conducted in the mid 1970’s. (Taped:04/25/74)

‘When David Lynch met George Lucas’ as told by David Lynch.
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‘When David Lynch met George Lucas’ as told by David Lynch.

Source: dangerousminds.net

One of the strangest, but most beautiful, collaborations between Lynch & Badalamenti. Industrial Symphony No. 1: The Dream of the Broken Hearted is a short, avant-garde musical play directed by David Lynch, with music by Angelo Badalamenti and Julee Cruise and starring Nicolas Cage and Laura Dern. Angelo Badalamenti describes how he came up with the theme for Twin Peaks, while David Lynch was sitting beside him. I guess this says it all — so great.
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One of the strangest, but most beautiful, collaborations between Lynch & Badalamenti. Industrial Symphony No. 1: The Dream of the Broken Hearted is a short, avant-garde musical play directed by David Lynch, with music by Angelo Badalamenti and Julee Cruise and starring Nicolas Cage and Laura Dern.

Angelo Badalamenti describes how he came up with the theme for Twin Peaks, while David Lynch was sitting beside him. I guess this says it all — so great.

Source: dangerousminds.net

David Lynch: ‘Ideas flow through like these beautiful little fish, and you catch them.’

In this clips, director David Lynch discusses the concept of “ideas” like seeds, catching them when they come to him and staying true to them.


Happy Birthday, David Lynch! David Lynch / Roy Orbison Lynch reactivated Roy Orbison’s career and produced Orbison’s Best Of album “In dreams”, which paved him the way into the Rock ‘n’ Roll Hall of Fame:  12. Re-recorded Hits and “In Dreams”  QUESTION: What made you decide to re-record your greatest hits almost twenty years after their first release?  ANSWER: We were trying to duplicate “In Dreams”. What happened was the Monument masters, all of the old originals, were in Bankruptcy Court and we had no product out, so I decided to re-record them just so that they would be available. We were trying to recapture the exact sound. However, when we got to, when I signed with Virgin Records they wanted to call the album “In Dreams”. David Lynch had put “In Dreams” in the film “Blue Velvet.” We called David to see if he would let us use part of the film for the video and he said ‘Well, let me hear the re-recording’. He heard it and he said ‘Well I think we can do better’. So we went back in and re-recorded again and we did it live. T-Bone Burnett was the producer and David Lynch was the Director of the record. That’s the first time I had ever been directed on a record but he was great; he did a wonderful job. We recorded that live as I did the first one. There was no over-dubbing. We were all there the one time and made a few passes and then recorded it. In that sense it is live and it is me some years later still trying to be faithful to it. The arrangement is about the same. At the occasion of a Roy Orbison memorial night, Dean ‘Ben’ Stockwell lip synced in Dreams with a lamp like he did in Blue Velvet. Roy Orbison performs “Oh, Pretty Woman” as the finale of the Black & White Night Concert. In celebration, watch the essential documentaries on David Lynch, including Pretty as a Picture: The Art of David Lynch (1997), David Lynch: Don’t Look at Me (1989), Lynch (2007), Mysteries of Love (2002), Eraserhead Stories (2001), Jonathan Ross Presents for One Week Only: David Lynch (1990), David Lynch presents: Ruth, Roses and Revolver (BBC Arena 1987), Scene by Scene: David Lynch (BBC, 1999), and David Lynch Interview (The GUARDIAN Lectures 1985). David Lynch Interviews More: David Lynch
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Happy Birthday, David Lynch!

David Lynch / Roy Orbison

Lynch reactivated Roy Orbison’s career and produced Orbison’s Best Of album “In dreams”, which paved him the way into the Rock ‘n’ Roll Hall of Fame: 

12. Re-recorded Hits and “In Dreams” 

QUESTION: What made you decide to re-record your greatest hits almost twenty years after their first release? 

ANSWER: We were trying to duplicate “In Dreams”. What happened was the Monument masters, all of the old originals, were in Bankruptcy Court and we had no product out, so I decided to re-record them just so that they would be available. We were trying to recapture the exact sound. However, when we got to, when I signed with Virgin Records they wanted to call the album “In Dreams”. David Lynch had put “In Dreams” in the film “Blue Velvet.” We called David to see if he would let us use part of the film for the video and he said ‘Well, let me hear the re-recording’. He heard it and he said ‘Well I think we can do better’. So we went back in and re-recorded again and we did it live. T-Bone Burnett was the producer and David Lynch was the Director of the record. That’s the first time I had ever been directed on a record but he was great; he did a wonderful job. We recorded that live as I did the first one. There was no over-dubbing. We were all there the one time and made a few passes and then recorded it. In that sense it is live and it is me some years later still trying to be faithful to it. The arrangement is about the same.

At the occasion of a Roy Orbison memorial night, Dean ‘Ben’ Stockwell lip synced in Dreams with a lamp like he did in Blue Velvet.

Roy Orbison performs “Oh, Pretty Woman” as the finale of the Black & White Night Concert.

In celebration, watch the essential documentaries on David Lynch, including Pretty as a Picture: The Art of David Lynch (1997), David Lynch: Don’t Look at Me (1989), Lynch (2007), Mysteries of Love (2002), Eraserhead Stories (2001), Jonathan Ross Presents for One Week Only: David Lynch (1990), David Lynch presents: Ruth, Roses and Revolver (BBC Arena 1987), Scene by Scene: David Lynch (BBC, 1999), and David Lynch Interview (The GUARDIAN Lectures 1985).

David Lynch Interviews

More: David Lynch

Source: davidlynch.de

Yay! David Lynch drilling, sawing, painting, swearing, smoking, etc.

Source: biblioklept.org

David Lynch and cinematographer Freddie Francis confer on the set of The Elephant Man. John Hurt and crew talk about their experiences in making the movie. Included in the special features of the DVD.
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David Lynch and cinematographer Freddie Francis confer on the set of The Elephant Man.

John Hurt and crew talk about their experiences in making the movie. Included in the special features of the DVD.

David Lynch and producer Raffaella De Laurentiis during the filming of Dune. David Lynch on Dune: Sean Young’s mini-documentary on the set of Lynch’s Dune:
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David Lynch and producer Raffaella De Laurentiis during the filming of Dune.

David Lynch on Dune:

Sean Young’s mini-documentary on the set of Lynch’s Dune:

In a quick 59 seconds, David Lynch tells you the films and filmmakers that he likes best.

Previously on Cinephilia & Beyond:

Source: openculture.com

Previously on Cinephilia & Beyond: Watch: All the essential documentaries about #DavidLynch available online: is.gd/73CDBH #filmmaking — LaFamiliaFilm (@LaFamiliaFilm) November 10, 2012
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Previously on Cinephilia & Beyond:

(via lettertojane)

Source: oldfilmsflicker