Mulholland Drive

I thought about Blue Velvet when I saw that (he just needs an oxygen mask)

So the bum-behind-the-diner scene almost gave me a heart attack, and I had to flip over to a rom-com or something to get through the rest of the flight.

sorry but this rules

lol yes matt #2 i'm sorry to laugh at your misfortune but that is hilarious.

"'Mullholland Drive', eh? Hmm, 'drive'... driving... yes, something that can only be done on the ground, surely this will take my mind off flying and soothe me" *presses play* OH NO

the big audition for the lead role in his hot movie seems to basically involve lip-syncing to old pop tunes

always wondered if that was a sideways reference to Wild At Heart

Lipstick On Your Collar

hi im a huge lynch guy and mh is like my favorite movie. inland empire is REALLY BAD and looks like shit, yall.

false and incorrect my attorneys will be in touch

have you watched it lately? the digital handheld has NOT aged well.

I am sympathetic to the notion that IE looks bad (as it initially did look kind of bad to me until I warmed to the DV) but the rest of that opinion can take a long walk off a short pier.

"aged" "well"

part of the horror of inland empire def resides in the shitty fidelity of the sony digital camcorder he filmed it on. it's like david lynch's shot-on-video horror film... or rather it is

I think it's a mess with some fantastic scenes, but that's what I think of Fire Walk With Me, too. Haven't seen the Twin Peaks revival.

I'm tempted to revisit Wild at Heart - I remember not liking it too much in the theater (and that was at the height of my preteen Lynch interest).

i think of inland empire and the return as of a piece and i don't really enjoy either of them that much.

peak lynch for me is the run of blue velvet to mulholland drive (with the proviso that i haven't seen the straight story) and twin peaks the tv show and fire walk with me are my favourite lynch projects

Inland Empire didn't do much for me, but I don't think that means it's "bad."

My expectations for Wild at Heart were so low by the time I saw it, I ended up thinking it was kind of awesome and underrated. Not sure what I'd think now though and, yeah, I've never seen it a second time

in inland hes able to achieve some truly otherworldly images & effects, but theres also a lot of long stretches where the DV just makes it feel student film-y to me, like i can tell its obviously just a bunch of actors and david lynch all clomping around some backyard they found. was an unforgettable experience in the theater but i dunno if i'll ever muster the energy to sit through it again at home.

finally saw wild at heart for the first time a couple years ago and thought it was very self conscious and embarrassing, like he was trying to follow up blue velvet and knew what people liked about it but didnt know what made it good

^^that is kind of how I remember Wild at Heart feeling.

(but now I'm second-guessing my Lynch opinions! lol)

if anything it made me appreciate the perfect alchemy of blue velvet more, by taking most of the same ingredients and showing how if one or two of them had been calibrated juuust slightly differently it just becomes a goofy trainwreck

I saw Blue Velvet too late, and I will have always seen Blue Velvet too late, and so I will always feel like the things it broke ground on he did much more to my taste later on in his career.

my brother, who has operated similar cameras, claims the grain and color quality of the DV in Inland Empire were entirely conscious choices on Lynch's part and that the cameras can be easily set to be clearer and produce more accurate colors. I have no idea if this is true.

The first time I saw Wild at Heart a decade ago, I didn’t make it past the head smashing; the violence was too gratuitous for me. I tried again two years ago and liked it a bit better, but overall, one of my least favorite of his. I can see how it was influential at the moment—if I hadn’t known better, I’d have thought it was Lynch’s take on a Tarantino or Oliver Stone film—but OTM about it being too self-conscious and “edgy”.

Bobby Peru is still Lynch's greatest screen creep.

I’ve said it too many times here before, but I don’t really get how roundly disliked Wild at Heart is. I think, stylistically, it’s top tier. So many stunning scenes.

it's a bit cartoonish and the violence is OTT, but I still enjoy it

Yeah, it’s like MTV Lynch and it’s super cool imo.

yeah it rocks imo, a lot of fun

I think of Wild at Heart as his comedy, or at least his most comic film. There's plenty of disturbing stuff in it, but it's also packed with a kind of gonzo humor, much of it courtesy of Cage obviously. It's not in my top Lynch tier, but I like it a lot.

It's a very good blend of the plot-pulpiness / more drily detached humour of Gifford with the emotional intensity and tendency toward luridity of Lynch.

I think about that metal-slam-dance-to-Elvis-slow-dance scene a lot. With the repeated sample press of the Beatles show girl screams. Absolutely one of his best moments.

Wild at Heart is goofy as fuck but that's why it's enjoyable

part of the horror of inland empire def resides in the shitty fidelity of the sony digital camcorder he filmed it on. it's like david lynch's shot-on-video horror film... or rather it is

― mellon collie and the infinite bradness (BradNelson)

heavily otm

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

Long lynch piece by David foster wallace around the time of lost highway

Whenever I see Wild at Heart there are entire sections that I have totally forgotten about. So many digressions and short stories within the movie. Has anybody read the book? Does it have a similar format?

Inland Empire is sometimes my favorite Lynch movie but it is also the hardest to watch. I can dive into Mulholland Drive anytime but IE is intimidating.

Eraserhead and Inland Empire are the purest expression of Lynch in film. They are DIY and free of collaborators.

have you seen The Return?
Eraserhead and Inland Empire are the purest expression of Lynch in film.

the reason i ask is because the Return seemed to be Lynch doing what he wanted, at length, finally. at a length equal to all of his films combined. it was awesome

and in a way that immediately called to mind both IE and eraserhead, somehow. it was fucking amazing

the stagehand says it, according to #3 here:

OK, I hear it now - yeah, it's super quiet in the background, as she walks out. Definitely more of an "Easter egg," compared to other parallels and linkages (though you do have to watch closely to track some of them - and don't think it would be possible to catch them all on a single viewing).

The Return was great! It was a collaboration with Frost and it worked with concepts developed by other writers. It allowed Lynch to run amuck around a familiar property that would guarantee funding. I don't mean to sound cynical; Lynch obviously loves the world of Twin Peaks. The best part of TPTR was seeing modern Lynch push and pull at what Twin Peaks could be. Fire Walk With Me strayed a little outside of the familiar universe: Chet Desmond? What? David Bowie? The Return spun out to Las Vegas, Paris, anywhere could be Twin Peaks.

I would love a Laura Palmer/Agent Cooper Route 66 style road trip series.

I'm glad everyone here calls it The Return (like me) – instead of A Limited Event Series, the wack ass name used in home video contexts, for reasons which completely escape me (The Return is obv. a perfect title, in addition to what it was actually called when it aired!).

Whenever I see Wild at Heart there are entire sections that I have totally forgotten about. So many digressions and short stories within the movie. Has anybody read the book? Does it have a similar format?

killfiled by Cow_Art :(

The book (and ime the other Sailor and Lula novellae) is largely a collection of sketches and vignettes and discurses and dialogues and memories too, but iirc barely any of them are adapted for the film.

I mentioned this in another Lynch thread but anyone who loves his work and wants to know the why and how from the horse's mouth should read "Room To Dream". It goes up to The Return chronologically.

“The Return” was coined by Showtime, I believe. I remember an interview with a crew member who said Lynch always just called it Twin Peaks, or season 3.

it was only called Twin Peaks onscreen, right? I assume The Return caught on as a shorthand bcz, as noted, it was so thematically resonant.

Twin P3aks or gtfo imo

can we stop using "dated" as a pejorative?

"Dated" is a phenomenon, not a descriptor.

the digital looked shitty at the time! it's part of it!

Agreed. Either you accept the shittiness or you don't, but it's not some technical failing.

This was def the convo at the time

in fact....

on this board

SILVIO: I don’t know, T. That digital looks pretty rough. Doesn’t sit right with me.

PAULIE (nodding): PD150. It’s to be expected.

TONY: Again with this shit. It’s an AESTHETIC DECISION!