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The Nerve Film Lounge
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Whatever you think of his films, in person, Lynch is definitely the latter. Though he's famously reluctant to answer questions about his films (in a recent New York Times profile, he remarks, "Talking — it's real dangerous"), he is also thoughtful, gentlemanly, and in possession of an underpublicised — but acute — sense of humor.
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I always say Eraserhead is my most spiritual film.
Le Revelateur and The Grandmother
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The
contradiction between Lynch's description of his own childhood as idyllic
and his apparent identification with the boy caused Philip Strick (in Monthly
Film Bulletin 639, April 1987) to argue that an autobiographical reading
had been "firmly discouraged", but it should be remembered that when, two
years earlier, Lynch's wife gave birth to a daughter (Jennifer Lynch, creator
of Boxing Helena [1993]), the director discovered that fatherhood's
unexpected responsibilities filled him with terror. It is, then, possible
to understand The Grandmother 's monstrous father as a powerful act
of self-criticism (Eraserhead [1976] can be seen as a partial remake
told from the father's point-of-view),
allmovie ((( The Grandmother > Overview )))
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The Grandmother anticipates his later Eraserhead in its depiction of family life as a surrealistic nightmare.
David Lynch - Wikiquote
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- In film, life-and-death struggles make you sit up, lean forward a little bit. They amplify things happening, in smaller ways, in all of us. These things show up in relationships. They show up in struggles and bring them to a critical point.
- As quoted in "Lost Highway" interview by Mikal Gilmore in Rolling Stone (6 March 1997)
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- Life is very, very complicated and so films should be allowed to be too.
- As quoted in The Los Angeles Times (20 April 2003)
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Francis Bacon Die Portraits
Bacon gilt vielen Kritikern - wie auch den Ausstellungsmachern - als schonungsloser Darsteller des "modernen Menschen" in seiner existentiellen Zerrissenheit, seiner sozialen Vereinsamung und seiner kreatürlichen Rohhei
lumierevolution: Stanley Kubrick's Influence on David Lynch
Stanley Kubrick's Influence on David Lynch
T’ai Chi Master Al Huang defines a master as one who teaches essence, where "every lesson is the first lesson" (Zukav, 1979, p. 9). Whatever a master does, he or she does with the enthusiasm of attempting a task for the first time. Additionally, the Chinese character, wu-li, embodies multiple meanings when
translated into English. Wu-li can mean nonsense, patterns of organic energy, my way, I clutch my ideas, enlightenment, or physics (Zukav). The cinema is inherently related to the science of physics because the existence of motion pictures depends on both mechanical and light energy. Applying the aforementioned definitions of wu-li and master to the work of a specific producer/director/writer of motion pictures, Stanley Kubrick’s films reveal him to be a true wu-li master of twentieth-century cinema who demonstrated his
personal interest in science and physics (or wu-li) with the 1968 release of 2001: A Space Odyssey. This film, along with the rest of Kubrick’s cinematic oeuvre still influences many contemporary directors including director David Lynch who acknowledges the impact of Kubrick’s style on his own approach to filmmaking (Strasser, n/a). Specifically, cinematic wu-li master Stanley Kubrick influenced David Lynch's darkly-comic writing style, his use of repeating dialogue, his purposeful use of dissolve in editing his films, and the theme of enlightenment apparent in many of his films.
'You don't walk away until it feels correct' | Art & Architecture | guardian.co.uk Arts
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ynch started out as a painter at Pennsylvania Academy of Fine Art way back in 1966, and famously moved to making short abstract films, which he calls 'moving paintings', when he saw one of his canvases moving in the wind. With the money he made from his first private commission while still an art student, he bought a Bolex Super 8 camera. Given the almost accidental nature of his move into film-making, would he ever have been satisfied had he remained a painter? 'Oh yes,' he says, without hesitation, 'for sure. That's all I wanted to do for a long time. Just paint. But, suddenly, now there was film. This big thing
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Does he concern himself with traditional notions of, say, composition and colour? 'Well, you don't think about it, no, but it's there. It's not an intellectual thing. It's an intuitive thing. I mean, I don't think you could teach that, really. There's billions of variations on a theme of composition. Just infinite. It's just a thing that's there. It just, um, starts feeling correcter and correcter until it's done.'
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ArtandCulture Artist: Francis Bacon
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Born in Ireland in 1909, Francis Bacon spent his formative years in a nation wracked by the Sinn Fein uprising, an event that haunted him long after his family moved to England. He never trained formally as a painter but began to pursue art in London in the late 1920s, eventually receiving recognition in the 1940s for his disturbing figure studies.
Though Expressionist in style, Bacon’s distortions of the human form were based as much on his interest in medical textbooks as in art theory.
Interview: David Lynch - Ein Kafka Hollywoods - Feuilleton - FAZ.NET
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Würde Franz Kafka noch leben, sie wären vermutlich sein Lieblingsregisseur.
Das wäre etwas, worüber ich mich sicherlich sehr freuen würde. Kafka ist für mich schon seit jeher ein Quell großer Inspiration. Ich finde es eigentlich sehr schade, dass ich bis heute mein “Metamorphosis“-Projekt nicht realisieren konnte. Diese Verwandlungsgeschichte ist einfach fabelhaft.
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Ich ziehe eben den Mikrokosmos dem Makrokosmos vor.
The Deformation Man: David Lynch’s Chimerical Universe of Metamorphosis
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The Deformation Man: David Lynch's Chimerical Universe of Metamorphosis
L´oeil de Lynch Air France magazine
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Air France
magazine, May 2007, p.94-99
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Francis Bacon really traumatized
me: I´ve been in love with his work since the 1960s! But influence
can be a prison, and you have to learn to escape from it. Surrealism also
had a big impact on me. I put as much energy into distortion and twists
as I do in actually creating, in the strict sense of the term.
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