David Lynch is dead 2025 aged 78, The Elephant Man, Robot Chicken, Blue Velvet, Eraserhead Mulholland Drive, Wild at Heart, Twin Peaks, Dune

POSTED BY: JAYNEZTOWN
UPDATED: Sunday, December 28, 2025 20:43
VIEWED: 1622
PAGE 3 of 3

SECOND

Saturday, January 18, 2025 11:29 PM

The One Time David Lynch Gave Us Clues To Unlock His Work

By Bill Bria | Jan. 17, 2025 8:07 pm EST

Read More: https://www.slashfilm.com/1765495/david-lynch-mulholland-drive-clues-u
nlock-his-work/

Film critic Roger Ebert speaking to Director David Lynch about Mulholland Dr.: Naomi Watts told me she plays between three and six characters.

David Lynch didn’t confirm or deny those numbers.

Roger Ebert said he was going to a University of Colorado classroom and analyze the picture one shot at a time for ten hours to understand it. Ebert complimented Lynch: “I love films that refuse to be over.”

https://x.com/EliOlsberg/status/1393992598826672137

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y  | REPLY  | REPLY WITH QUOTE  | PERMALINK  | TOP  | HOME

6IXSTRINGJACK

Sunday, January 19, 2025 4:10 AM

Quote:

---

Originally posted by second:

Quote:

---

Originally posted by 6ixStringJack:

C'mon...

No explanation for the monster behind Denny's?

---

Diane is the scary homeless person behind the diner, most likely to symbolize the trash that got spit out from the Hollywood machine. It's a commentary on the Hollywood industry through Diane's fantasies and envy. She reimagines reality so that her failure as an actress can only be a conspiracy for the "obviously not as talented" actress that beat her, and Camilla, who made it and ditched her (before Diane had her killed), is now a servile partner who is in awe of how amazing she is.

---

NOTIFY: Y  | REPLY  | REPLY WITH QUOTE  | PERMALINK  | TOP  | HOME

SECOND

Sunday, January 26, 2025 7:13 PM

Too Long, Didn't Read: Lynch is a surrealist.

David Lynch’s (Possible) Realism
His movies were dreamlike. But what if life is a dream?

By Joshua Rothman | January 25, 2025

https://www.newyorker.com/culture/the-weekend-essay/david-lynchs-possi
ble-realism

With his meditator’s aversion to preconceptions, Lynch embraced collaborative improvisation. After a cameraman working on the “Twin Peaks” pilot accidentally caught the image of Frank Silva, a set dresser, in a mirror, Lynch cast Silva as Bob, the series’ main villain. . . . For the second-season finale of “Twin Peaks,” the show’s writers had produced an elaborately plotted, painfully literal script, in which Kyle MacLachlan’s Agent Cooper finds himself in a dentist’s office where Bob, disguised as a dentist, tries to extract his soul with a giant syringe. According to the fanzine Wrapped in Plastic — a collection, “The Essential Wrapped in Plastic: Pathways to ‘Twin Peaks,” was published in 2016 — when Lynch arrived to direct the episode, he ignored much of the script, and improvised something new. The result was a drifting, enigmatic episode, set mostly in the Red Room, in which many of the best moments consist of wordless hand gestures. It’s one of the most compelling hours in television history; Lynch appears to have made a lot of it up on the spot.

In Jon Nguyen’s documentary, “David Lynch: The Art Life” (2016), Lynch shares a story from around this time. His father had come to Philadelphia for a visit and, as it drew to a close, Lynch took him into his building’s unfinished basement to show off some “experiments” he was conducting. On the earthen floor, he had set up a number of small platforms. “I wanted to see what fruit would do after a long period—different stages of fruit, and how it would decay,” Lynch explains. “And I had some dead birds, and I had my mouse in plastic, and I had, you know, a bunch of stuff I’d collected. So I wanted to share this with my father.” Afterward, ascending the stairs, Lynch smiled with pride and happiness, only to turn and catch his father’s pained expression. “Dave?” his father said, on the way to the train station. “I don’t think you should ever have children.” (In fact, around that time, his girlfriend, Peggy Reavey, became pregnant with Jennifer.)

“He was worried about me,” Lynch says. “Inside me, I felt there was nothing to worry about. But I still understood why he said it. He misunderstood my experiments for some kind of . . . like, diabolical, you know, man who needs serious help mentally and probably emotionally.” Lynch had collected the raw materials for his work: a sensitivity to suburban and arboreal beauty; an eye for bio-industrial decay; a Boy Scout’s martial playfulness; a musician’s sexy cool; a soaring, scared romanticism; a knowledge of secret violence; the experience of living a hidden life; a sense of a world behind the world. What he lacked was a method for assembling them into art.

In his book “Mad Love,” from 1937, André Breton, one of the founders of Surrealism, describes a trip to a flea market with his friend the sculptor Alberto Giacometti. They wander among the stalls, searching for objects that speak to them; Giacometti selects a metal mask with slats across its eyes, and Breton chooses a wooden spoon resembling a heeled shoe. Breton explains that, for a Surrealist struggling with an artistic project, finding a resonant object is like having a prophetic dream: It “comforts him and makes him understand that the obstacle he might have thought insurmountable is cleared.” It’s as though he’s retrieved an artifact from an invisible world that, briefly, made itself visible. Such an artifact can center the imagination, and direct one’s intuition back toward that space. Objects that resonate with more than one person are especially valuable, Breton writes, because they reveal that our minds are connected.

After some trial and error—a few more short films, created in the years before “Eraserhead”—Ly