Oct. 11, 2006, 3:59 a.m. CST
Oct. 11, 2006, 4:36 a.m. CST
But this sounds like three hours of the ridiculous end part of MULLHOLLAND DR., shot on digital video. Which I'm pretty sure would kill me. However I am confident that he will do an excellent job distributing it to the other people who are brave enough to give it a shot.
Oct. 11, 2006, 4:52 a.m. CST
...is that it's genuinely weird. Most weird movies are "weird" as in just different from the majority of stuff. The Matrix, for example, is different from what you see on ABC's prime time schedule, but most AICNers saw everything in it somewhere else--Giger, PKDick, video games, etc. Lynch's weirdness, on the other hand, is the real deal, a heapin' handful of bloody, dripping, raw whatthefuck. It's a genuine adventure when you go into one of his movies, because you risk disappointment or boredom because the stuff inside isn't pre-tested. I remember seeing Blue Velvet in the theater and hearing more than one person say "What the hell is this?" Again, the risk you take with genuine weirdness is alienation from it--there might be nothing you can connect to, nothing to relate to, in an artist's original vision. But in Lynch's case, even when I don't know what's going on, it feels like the artist DOES know, or at least he's offering up something from his unconscious, not something he thought someone ELSE would think was weird. He's one of the very few living artists I can say that about. I may be disappointed THIS time, and have been in the past by some of his work, but unlike Tim Burton I don't feel I'm getting the film equivalent of a goth high schooler who really just wants to be as popular as the cheerleaders; I'm getting the guy who keeps running away from home to join the freak show and doesn't give a damn WHAT anyone else thinks.
Oct. 11, 2006, 5:09 a.m. CST
I will see it. I'm hooked on his damn movies. Especially after I realized that, for the most part, Mullholland Drive and Lost Highway could be figured out.
Oct. 11, 2006, 7:26 a.m. CST
A release date would be nice.
Oct. 11, 2006, 8:41 a.m. CST
All of his films can be figured out. Usually it's as simple as paying attention - that's all. Some are more complex - others (Mulholland Drive, INLAND EMPIRE) less complex.
Oct. 11, 2006, 8:52 a.m. CST
Like Harry is going to post my review- so I'll just put it right here... I'm a HUGE Lynch fan- however I'm not an apologist- I do not feel that everything Lynch does is gold- namely Rabbits, Darkened Room, Dune, The Amputee, The Room to Dream segment- all pretty horrid- and while I enjoy Wild at Heart and Fire Walk with Me I don't feel that they are very good movies. That said- I love mostly everything else- especially Mulholland Dr., Eraserhead, Blue Velvet, Lost Highway, Industrial Symphony, The Grandmother, The Alphabet, and Dumbland. The point is I had MAJOR fears going into this- being highly critical of Rabbits, Darkened Room, the Room to Dream clip and the DV quality in general. My fears were allayed- though not within the first forty minutes. This may sound odd because I see there has been general praise for the first forty or so minutes followed by complaints that the movie falls apart thereafter- Lynch fans- this is the complete opposite. The movie starts off considerably deliberate and slow- aside from a few moments of interest- and there is at first no justification for the fuzziness of the DV format. I began to consider the length of the film- thinking I was in for a sore a$$ and more embarrassing laughter from a few theatregoers- laughing at parts that I didn't feel were intentionally funny (by the time the movie kicked into high gear- the laughter diminished). Just as I started to sense the length- Lynch starts dazzling with high energy sequences that tear the movie wide open- and from then on the movie grows in depth, weight, visuals, even soul. Everything I had fears about snapped together perfectly- dashing my fears into the nether regions. My main complaint about Rabbits- that except for one different angle of a phone on a table there is no change of camera position for forty minutes- that was allayed. The Rabbits are shown from different angles- they even come out of the room that we are familiar seeing them in- they become much more interesting in that sense- and in context they make greater sense- which I will get to in a bit. There are elements from Darkened Room that snapped together- elements from the Room to Dream segment (no the scene is not in the movie- but footage obviously from the same scenery with the same actor and actresses is used) snap together as well- the DV quality and the benefits for it being used for this movie become clear- especially in close ups- for the DV in close-ups seems hyper-real -- like the faces could poke right out of the screen and sniff you out as you fall back into your seat- for a movie dealing with deeper and deeper levels of reality- let's just say it works. Now about the plot- I've read from critics that this was Lynch's most inaccessible film since Eraserhead- not true. I can sum up the plot in one sentence- something I'd have extreme difficulty doing with Eraserhead- the plot is this- A successful actress descends rapidly down the rabbit hole through varying connected realities, finally ending up on the dark side of Wonderland. Consider this Lynch's Alice in Wonderland (there's rabbits, a watch, teacups- holes leading to different realities, a leading female changing proportions and dimension, etc.)- or the evil (until the credit sequence) twin of Mulholland Dr.. The themes of Mulholland Dr. are sooo similar- yet this strips away a lot of Mulholland Dr.'s lushness; it is more ugly, more brutal- yet it finds a hyper-real beauty in its ugliness- and a soul is bared- flayed- and finally ascended. The acting- Laura Dern. Laura Dern. Enough said. I have to say that this movie is AS GOOD as Mulholland Dr.- which is why I'm confused as to the thus-far critical bashing. Maybe the Venice crowd just didn't get it- I read that the reactions in Venice were silent- I don't know if that's true- but Inland Empire at the NYFF on Monday was thunderously applauded- and thankfully Lynch was in attendance (along with Laura and Justin) to bask in it. I took it as a celebration of all things Lynch- it referenced so many elements from his nine other full-length films and numerous shorts that at times it felt like a greatest hits- yet at the same time something completely new and original. Overlapping black and white imagery, experimental soundtrack (Eraserhead), Deformity (Elephant Man), shadowy hallways (Lost Highway), Red curtains, black and white zig-zagging floors (Twin Peaks), an endless parade of surreal weirdos, Harry Dean and Grace, Badalamenti, log-sawing (Industrial Symphony), you name it. Even references to an aborted Lynch project, and a surprise appearance of someone from a recent movie of his during the credit sequence- which itself is like the culmination of everything Lynch- a celebration for Lynch heads- the capper of a three hour ride that explodes through hell and leaves your mind blown. I tried to stay away from as many spoilers as possible- you won't want some of the smaller moments ruined- SPOILER- I will tell you of one surprise- there is a Beck song in the soundtrack- but I won't tell you which one- only that it shows how brilliant this man is that he can blend in something so unexpected and make it work 100%. The soundtrack as a whole was amazing- and is one of the many things that will stay with you long after the lights go up. Lastly- the film ends (before the credit sequence) with one word from a stranger- similar to the "Silencio" at the end of Mulholland Dr.- only much more appropriate. After hearing that one word- I knew I just witnessed a masterpiece- and the three hours seemed so much shorter- I immediately wanted to see it again. And again. Lynch fans- rejoice. Even if Lynch were to give up directing- this WOULD be a suitable closing act.
Oct. 11, 2006, 9:30 a.m. CST
That is, he has an amazing eye for finding beauty in ugliness, and the wonder in a nightmare. If this movie is half as good as Mulholland Drive or Lost Highway, I'm there! (Lost Highway on DVD! Say it with me, now...)
Oct. 11, 2006, 10:15 a.m. CST
David lynch in my humble opinion is the hitchcock of our generation, if only he had the rights to enders game or a live action uncenscored version of the anime Berserk, but a geek can dream cant he :-(
Oct. 11, 2006, 10:48 a.m. CST
Lynch revealed the new 5.1 sound mixes for Season 2 are done, and sound great, which must mean the DVDs are imminent. He also revealed that the MANY (hours worth) of deleted scenes for Fire Walk With Me are also close to be getting some sort of a release. www.dugpa.com
Oct. 11, 2006, 11:09 a.m. CST
Pabst Blue Ribbon!!
Oct. 11, 2006, 11:31 a.m. CST
...with a cast of fresh WB (or CW) faces. Hopefully by Marcus Nispel. Genius!
Oct. 11, 2006, 1:30 p.m. CST
No offense but what does Hitchcock have to do with Lynch. Not only are they polar oppisites but Hitchcock would despise Lynch since Hitch was about story and not about metaphorical images.
Oct. 11, 2006, 4:11 p.m. CST
Cocolopez, thanks for the fine review; IE, it seems, is just as I'd have hoped. I just love how with this project Lynch and his Asymmetrical crew have seemingly freed themselves entirely from the Hollywood studio system. Show us the way. DanielKurland, good news indeed, but I believe that there's only about 1 hour worth of deleted scenes from FWWM that have been awaiting a proper scoring and transfer, but still, Wow, Bob, Wow! Lovecraftfan, I don't think you can entirely dismiss the connection between Lynch and ol' Hitchcock. Alfred Hitchcock, as with Douglas Sirk and Billy Wilder, was undoubtedly one of the major influences that Lynch grew up with. Both filmmakers are fascinated with the subconscious (Hitch in a very overt and "Freudian" way, Lynch in his own free-form, transcendental modus operandi) as embodied in the darker impulses of obsession that hide behind veneers of civility.
Oct. 11, 2006, 7:44 p.m. CST
I live in the IE .
Oct. 12, 2006, 1:06 a.m. CST
by Wild At Heart
Lost Highway is available on Region 4 (Australia) and has been for a few years. JFYI.
Oct. 12, 2006, 1:08 a.m. CST
by Wild At Heart
9 million? Whatever. I'm easy...
Oct. 12, 2006, 1:09 a.m. CST
You do realize what 'the Amputee' is right? Lynch was tasked by AFI to shoot a film scene using 2 different stocks of film so that they could compare the quality. They told him the subject matter wasn't important, they just needed 2 identically shot scenes to compare. So this is what he filmed, an amputee writing a letter while getting her stumps drained. The Amputee is basically David Lynch's 'in joke' on the old geezers at the AFI who had to sit through it no matter how much it grossed them out - twice.
Oct. 12, 2006, 1:12 a.m. CST
Actually I think Nic Cage would be better for an Eraserhead remake, with McG directing, or possibly Brett Ratner. I know everytime I watch the original Eraserhead, I am haunted by a single repeating thought - 'This scene needs a series of MTV quick-cuts and a bullet-time pan.
Oct. 12, 2006, 3:47 a.m. CST
Unlikely. Hitchcock had very dark, twisted tendencies himself. Not to mention the left of centre obsession with sex. His sense of humour was far darker than David Lynch's too. For example, Hitchcock would never have undertaken a work like The Straight story. It was much too sentimental. And I doubt Hitchcock's eagerness to make his audiences squirm was all that far removed from what David Lynch is doing by jarring his audiences expectations and sense of reality.
Oct. 12, 2006, 4:36 a.m. CST
You don't seem to uderstand either film maker. Hitchcock was first and foremost a silent film director. Everything was about "metaphorical images". When he started out he was obsessed with old German expressionist films like The Cabinet of Dr Caligari. I doubt Lynch would have struck him as too weird. Saying he was only about story is missing all the great details in his films eg. the dinner scenes in Frenzy, dream sequence in Spellbound, freaks in Saboteur, and most of Vertigo. And David Lynch's films are narrative driven. Just because the stories are unconventional and challenging doesn't mean they aren't there. Just as all books aren't easy to read, all films don't have to be served in an easy to digest format. With Lynch, I have learned to love the confusion. And now I am feeling very encouraged by cocolopez' review.
Oct. 12, 2006, 7:38 a.m. CST
yes- I realize what The Amputee is and I watched his intro to it on the short films DVD- didn't make my viewing of it any more enjoyable- and I didn't see why it should have been included on the DVD in the first place.
Oct. 12, 2006, 7:56 a.m. CST
try not to let my feelings for a director, or the story behind the scenes- influence my feelings on what I'm watching- the point being- if I had no idea who directed the Amputee and I saw it- my gut reaction would be that I was watching shit. For me to not let my love for Lynch change my gut reaction- makes me more of an objective viewer and critic... Sure it was cool that he made an 'in joke' for the old geezers- but that doesn't change my opinion of it being a poor film in general- Here's an example: I am a HUGE Van Morrision fan. In order for Van to get out of his early contract after making the record with Brown Eyed Girl and T.B. Sheets on it (the company was shafting him)- He decided to record an album of pure shit- each song with practically the same simple guitar riff and almost the same exact singing melody- the lyrics were ridiculous and weren't more than like two sentences worth for each track- one song is 'Ring Worm' where the lyrics are basically variations on Van saying "you got ring worm" and what not- There is a song called 'Blow in you Nose' and another one 'Nose in Your Blow'- basically all jokes. I think its fantastic that he did this- and it did get him out of his contract- but would I advise someone who likes the previous record to buy it? No. Me being a Van fan and being really intrigued I bought it and got a good laugh- but it certainly isn't a quality CD.
Oct. 12, 2006, 5:04 p.m. CST
by Like Sheep
I think Mr Lynch is more like Shinya Tsukamoto than Miike. In the way they work, rate of output, idosyncracies. Also this using of the word weird to describe David Lynch is a little off, he's a surrealist through and through and they wern't all that weird.