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Lynch on Lynch
David Lynch erupted onto the cinema landscape in 1977 with Eraserhead, establishing himself as one of the most original and imaginative directors at work in contemporary cinema. Over the course of his career, he has remained true to a vision of the innocent lost in darkness and confusion, balancing hallucination and surrealism with a sense of Americana that is as pure and simple as his compelling storylines. In this volume, Lynch speaks openly about his films as well as about his lifelong commitment to painting, his work in photography, his television projects, and his musical collaborations with Angelo Badalamenti.
336 pages, Paperback
First published January 1, 1997
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About the author
David Lynch
153 books1,655 followersDavid Keith Lynch was an American filmmaker, visual artist, musician, and actor. He received acclaim for his films, which are often distinguished by their surrealist, dreamlike qualities. In a career spanning more than fifty years, he was awarded numerous accolades, including the Golden Lion for Lifetime Achievement at the Venice Film Festival in 2006 and an Honorary Academy Award in 2019. Described as a "visionary", Lynch was considered one of the most important filmmakers of his era.
Lynch studied painting before he began making short films in the late 1960s. His first feature-length film was the independent surrealist film Eraserhead (1977), which saw success as a midnight movie. He was nominated for the Academy Award for Best Director for the biographical drama The Elephant Man (1980), the neo-noir thriller Blue Velvet (1986), and the surrealist mystery Mulholland Drive (2001). His romantic crime drama Wild at Heart (1990) won the Palme d'Or at the Cannes Film Festival. He also directed the space opera adaptation Dune (1984), the surrealist neo-noir Lost Highway (1997), the biographical drama The Straight Story (1999), and the experimental film Inland Empire (2006).
Lynch and Mark Frost created the ABC series Twin Peaks (1990–91), for which he was nominated for five Primetime Emmy Awards, including Outstanding Directing for a Drama Series and Outstanding Writing for a Drama Series. Lynch co-wrote and directed its film prequel, Twin Peaks: Fire Walk with Me (1992), and a third season in 2017. He also portrayed FBI agent Gordon Cole in Twin Peaks and John Ford in Steven Spielberg's The Fabelmans (2022), and guest-starred in shows such as The Cleveland Show (2010–13) and Louie (2012).
Lynch also worked as a musician, recording the albums BlueBOB (2001), Crazy Clown Time (2011), and The Big Dream (2013), as well as painting and photography. He wrote the books Images (1994), Catching the Big Fish (2006), and Room to Dream (2018). He directed several music videos, for artists such as X Japan, Moby, Interpol, Nine Inch Nails, and Donovan, and commercials for Dior, YSL, Gucci, and the NYC Department of Sanitation. A practitioner of Transcendental Meditation (TM), he founded the David Lynch Foundation to fund meditation lessons for students, veterans, and other "at-risk" populations. Lynch died on January 15, 2025, after being evacuated from his home due to the wildfires that started in Southern California earlier that month.
Lynch studied painting before he began making short films in the late 1960s. His first feature-length film was the independent surrealist film Eraserhead (1977), which saw success as a midnight movie. He was nominated for the Academy Award for Best Director for the biographical drama The Elephant Man (1980), the neo-noir thriller Blue Velvet (1986), and the surrealist mystery Mulholland Drive (2001). His romantic crime drama Wild at Heart (1990) won the Palme d'Or at the Cannes Film Festival. He also directed the space opera adaptation Dune (1984), the surrealist neo-noir Lost Highway (1997), the biographical drama The Straight Story (1999), and the experimental film Inland Empire (2006).
Lynch and Mark Frost created the ABC series Twin Peaks (1990–91), for which he was nominated for five Primetime Emmy Awards, including Outstanding Directing for a Drama Series and Outstanding Writing for a Drama Series. Lynch co-wrote and directed its film prequel, Twin Peaks: Fire Walk with Me (1992), and a third season in 2017. He also portrayed FBI agent Gordon Cole in Twin Peaks and John Ford in Steven Spielberg's The Fabelmans (2022), and guest-starred in shows such as The Cleveland Show (2010–13) and Louie (2012).
Lynch also worked as a musician, recording the albums BlueBOB (2001), Crazy Clown Time (2011), and The Big Dream (2013), as well as painting and photography. He wrote the books Images (1994), Catching the Big Fish (2006), and Room to Dream (2018). He directed several music videos, for artists such as X Japan, Moby, Interpol, Nine Inch Nails, and Donovan, and commercials for Dior, YSL, Gucci, and the NYC Department of Sanitation. A practitioner of Transcendental Meditation (TM), he founded the David Lynch Foundation to fund meditation lessons for students, veterans, and other "at-risk" populations. Lynch died on January 15, 2025, after being evacuated from his home due to the wildfires that started in Southern California earlier that month.
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Displaying 1 - 30 of 221 reviews
April 19, 2022
Me gusta mucho la filmografía de David Lynch y quería saber más sobre él.
Interesante.
I really like David Lynch's filmography and wanted to know more about him.
Interesting.
Interesante.
I really like David Lynch's filmography and wanted to know more about him.
Interesting.
October 3, 2015
I'm not what you'd call a big film buff, but about two years ago I developed an obsession with the work of David Lynch. It started slowly (with Twin Peaks, of course) until it's become this all-consuming fascination, not unlike when I first discovered Nabokov or Morrissey. And I think his films have consumed me so thoroughly because, at their heart, they're marvels of aesthetics.
So naturally I tore through this book in a few days (often at the expense of my thesis). It's very thorough and packed with nuggets of information that charmed and confused me. But part of me regretted reading it because Lynch's personality seems so at odds with his films, and part of me loved it for that same reason. His work is so bizarre and disturbing and unearthly (though also hilarious; people always seem to forget that when discussing him) that it seems impossible that it could come from the mind of a guy that regularly says "gee whiz." He comes off as this unbelievably naive, childish man who speaks predominately in folksy sayings from the 50s and loves wood made from rain forest trees and seems confused as to why people don't want the rainforest to be cut down to make this marvelous wood. He refers to everything as "great" and "fantastic" and "wonderful," often while describing scenes of extreme violence or nightmarish images. He hates drugs but smokes like a chimney, guzzles coffee, refers to sugar as "guaranteed happiness" and has Denny's grand slams for breakfast.
I also think he's a genius. I often use that term lightly but I really mean it here. I think it's his naivety that gives him such an incredible enthusiasm for everything, so much so that he doesn't filter any of the darkness that hides behind his "aww shucks" exterior and pours out from his brain onto the screen. He's just excited to see it come out. And fortunately he has an incredible sense of aesthetics to pair with these ideas. I generally believe in the value of contemplation and consideration in the creation of art, but Lynch is one of the few (Dylan is another) that really works better when he's completely spontaneous and unfiltered. It's incredible to hear the stories behind Twin Peaks and Mullholland Drive and how he was able to roll with all of these punches, when exterior circumstances required unforeseen changes and somehow he was able to use those as opportunities to explore new ideas, rather than throw up his hands in disgust like I would've done.
He spends large chunks of the interviews essentially refusing to say anything about the "meaning" of his films, often claiming he doesn't know. This fits with the image of the guy who just puts all of his unfiltered ideas on screen; he didn't really bother thinking about them first. There was no reason to. And honestly, I'm with him on this. His works is filled with so many beautiful and unsettling and disturbing and unique and original images. It's telling that he regularly refers to his films as dreams. Why do they need to be explained? I get so irritated when people do things like insist that Eraserhead is just about a man's fears of fatherhood. That's an ordinary idea. Anyone could think of it. Why does attributing it to the film make the film better? How is that idea more valuable than the raw image of Henry stabbing his horrific monster child with a pair of scissors or the man in the planet pulling his levers? Simple ideas aren't art; the lady in the radiator singing "In Heaven" is art. Trying to mine those gorgeous images for some banalities is a worthless undertaking. The only "meaning" worth drawing from art is how the work relates to itself, not how it relates to the real world. That's why Mullholland Drive is so fantastic. The mystery of how the last 20% or so relates to the first 80% is part of the thrill, and once you solve it, it makes the whole thing that much more powerful (I re-watched it last night and cried at two different points). And that's what's so great about Lynch: His work isn't just experimental or "weird" for the ask of experimentalism or weirdness. He does it because it creates new and original ways of impacting the viewer emotionally and viscerally.
This review was all one big excuse to rant about Lynch (thanks for listening!). But to get back to the book, it's worth reading if you're more than a casual fan. If you're looking for answers to his mysteries, you'll be disappointed. If you want insight into his creative process, you'll find a good amount of that (though you'll be left wanting more). Discussion of the more technical aspects of film making reveals him to be a consummate craftsman who cares about every minutia of how his work is presented. He can occasionally be frustratingly oblique, but he can also be really, really funny. Would (and probably will) read again.
So naturally I tore through this book in a few days (often at the expense of my thesis). It's very thorough and packed with nuggets of information that charmed and confused me. But part of me regretted reading it because Lynch's personality seems so at odds with his films, and part of me loved it for that same reason. His work is so bizarre and disturbing and unearthly (though also hilarious; people always seem to forget that when discussing him) that it seems impossible that it could come from the mind of a guy that regularly says "gee whiz." He comes off as this unbelievably naive, childish man who speaks predominately in folksy sayings from the 50s and loves wood made from rain forest trees and seems confused as to why people don't want the rainforest to be cut down to make this marvelous wood. He refers to everything as "great" and "fantastic" and "wonderful," often while describing scenes of extreme violence or nightmarish images. He hates drugs but smokes like a chimney, guzzles coffee, refers to sugar as "guaranteed happiness" and has Denny's grand slams for breakfast.
I also think he's a genius. I often use that term lightly but I really mean it here. I think it's his naivety that gives him such an incredible enthusiasm for everything, so much so that he doesn't filter any of the darkness that hides behind his "aww shucks" exterior and pours out from his brain onto the screen. He's just excited to see it come out. And fortunately he has an incredible sense of aesthetics to pair with these ideas. I generally believe in the value of contemplation and consideration in the creation of art, but Lynch is one of the few (Dylan is another) that really works better when he's completely spontaneous and unfiltered. It's incredible to hear the stories behind Twin Peaks and Mullholland Drive and how he was able to roll with all of these punches, when exterior circumstances required unforeseen changes and somehow he was able to use those as opportunities to explore new ideas, rather than throw up his hands in disgust like I would've done.
He spends large chunks of the interviews essentially refusing to say anything about the "meaning" of his films, often claiming he doesn't know. This fits with the image of the guy who just puts all of his unfiltered ideas on screen; he didn't really bother thinking about them first. There was no reason to. And honestly, I'm with him on this. His works is filled with so many beautiful and unsettling and disturbing and unique and original images. It's telling that he regularly refers to his films as dreams. Why do they need to be explained? I get so irritated when people do things like insist that Eraserhead is just about a man's fears of fatherhood. That's an ordinary idea. Anyone could think of it. Why does attributing it to the film make the film better? How is that idea more valuable than the raw image of Henry stabbing his horrific monster child with a pair of scissors or the man in the planet pulling his levers? Simple ideas aren't art; the lady in the radiator singing "In Heaven" is art. Trying to mine those gorgeous images for some banalities is a worthless undertaking. The only "meaning" worth drawing from art is how the work relates to itself, not how it relates to the real world. That's why Mullholland Drive is so fantastic. The mystery of how the last 20% or so relates to the first 80% is part of the thrill, and once you solve it, it makes the whole thing that much more powerful (I re-watched it last night and cried at two different points). And that's what's so great about Lynch: His work isn't just experimental or "weird" for the ask of experimentalism or weirdness. He does it because it creates new and original ways of impacting the viewer emotionally and viscerally.
This review was all one big excuse to rant about Lynch (thanks for listening!). But to get back to the book, it's worth reading if you're more than a casual fan. If you're looking for answers to his mysteries, you'll be disappointed. If you want insight into his creative process, you'll find a good amount of that (though you'll be left wanting more). Discussion of the more technical aspects of film making reveals him to be a consummate craftsman who cares about every minutia of how his work is presented. He can occasionally be frustratingly oblique, but he can also be really, really funny. Would (and probably will) read again.
October 26, 2017
Whether a fledgling über-fan or a loving Lynchette, this extended interview is an amiable peep into the mercurial and uncompromising artistic realm of David, and will appeal to all. Chris Royle is respectful of Lynch’s refusal to probe too specifically into the (anti-)plots for concrete meanings, and focuses on biographical convo with the odd illuminating insight here and thither about the astonishing imagery that characterises the director’s most famous work. The charming mix of naivity, friendliness, and mild trauma that marks Lynch’s persona comes across in the transcriptions, which include the colloquial quirks of his speech, and the occasional moment of aloof elusiveness one might expect from a man who seemingly possesses his own private channel into the subconscious mind. Lynch depicts the world of dreams and nightmares with more panache than any other filmmaker, and has consistently maintained a career-long tone of nagging terror and spookiness. He is also a talented painter and musician. Listen to the excellent LP Crazy Clown Time one night on a lost highway. (P.S. Covers everything to 2004).
November 24, 2023
Volim knjige intervjua, ima u njima nečeg posebno živog, uzbudljivog. Ponekad su, čak, razgovori o delu uzbudljiviji od samog dela. To nije dobro, ali ni sasvim loše. Jer, razgovorom, ono što je stvoreno dobija šansu za novo, punije postojanje.
Linč se u ovoj knjizi pokazao ne samo kao otvoren, dobronameran i šarmantan sagovornik, nego je Kris Rodli znao da postavi prava pitanja, utemeljena i sa merom. Čak je uspeo da, lukavo i promišljeno, uvuče Linča u interpretativne igre, što on, dobro je poznato, nipošto ne voli. Tako ova knjiga može služiti i kao neočekivana razbribriga i kao teorijski relevantno štivo, puno zanimljivosti, ali i vrednih podataka iz prve ruke.
Da je prevod Alekse Golijanina dobar vidi se u tome što je uspeo da tipične fraze na engleskom glatko presvuče na srpski, zadržavajući tok i neposrednost. Razgovorni jezik nikad ne treba potceniti kao prevodilački izazov.
Samo mi je žao što se ovo izdanje završava „Izgubljenim auto-putem”. Nakon nastanka knjige, Linč je snimio još i fenomenalni Mullholand Drive i izazovni Inland Empire, kao i treću sezonu Tvin Piksa i bilo bi odlično razgovorom obuhvatiti i ta dela.
Za kraj, nekoliko zanimljivosti:
Linč je sa snimanjem filmova počeo slučajno. Kao student slikarstva u Pensilvaniji, uživao je u umetničkim eksperimentima i, srećom, igra se isplatila.
Suprotno mišljenju mnogih duša inspirisanih psihoanalizom, koje tvrde da je Linč sigurno imao traumatično detinjstvo, posredi je nešto sasvim suprotno: rođen je i odrastao u idiličnoj američkoj porodici, punoj ljubavi i podrške: otac je bio istraživač Ministarstva poljoprivrede, majka domaćica, a imao je još sestru i brata.
Snimanje „Glave za brisanje” trajalo je čak pet godina. Za to vreme, Linč je radio kao raznosač novina i to noću. Međutim, i snimanje se ostvarivalo uvek noću, zbog specifične atmosfere, zato se Linč izveštio da obavi isporuku što pre.
Džordž Lukas je ponudio Linču da snimi „Ratove zvezda – povratak džedaja”. Srećom, odbio je. Nesrećom, prihvatio je drugu ponudu, snimanje „Dine”.
Omiljene kolege: Felini, Bergman, Hercog, Žak Tati. Jedan od Kjubrikovih omiljenih filmova: „Glava za brisanje”.
Dama sa kladom (Log Lady) iz Tvin Piksa inspirisana je jednom radnicom pilane koja je zatvorena neposredno nakon snimanja serije.
Osim muzike, režiranja reklama i spotova, slikarstva, fotografije i, naravno, filma, Linč je autor i jednog stripa, koji se zove „Najbešnji pas na svetu”.
Linč se u ovoj knjizi pokazao ne samo kao otvoren, dobronameran i šarmantan sagovornik, nego je Kris Rodli znao da postavi prava pitanja, utemeljena i sa merom. Čak je uspeo da, lukavo i promišljeno, uvuče Linča u interpretativne igre, što on, dobro je poznato, nipošto ne voli. Tako ova knjiga može služiti i kao neočekivana razbribriga i kao teorijski relevantno štivo, puno zanimljivosti, ali i vrednih podataka iz prve ruke.
Da je prevod Alekse Golijanina dobar vidi se u tome što je uspeo da tipične fraze na engleskom glatko presvuče na srpski, zadržavajući tok i neposrednost. Razgovorni jezik nikad ne treba potceniti kao prevodilački izazov.
Samo mi je žao što se ovo izdanje završava „Izgubljenim auto-putem”. Nakon nastanka knjige, Linč je snimio još i fenomenalni Mullholand Drive i izazovni Inland Empire, kao i treću sezonu Tvin Piksa i bilo bi odlično razgovorom obuhvatiti i ta dela.
Za kraj, nekoliko zanimljivosti:
Linč je sa snimanjem filmova počeo slučajno. Kao student slikarstva u Pensilvaniji, uživao je u umetničkim eksperimentima i, srećom, igra se isplatila.
Suprotno mišljenju mnogih duša inspirisanih psihoanalizom, koje tvrde da je Linč sigurno imao traumatično detinjstvo, posredi je nešto sasvim suprotno: rođen je i odrastao u idiličnoj američkoj porodici, punoj ljubavi i podrške: otac je bio istraživač Ministarstva poljoprivrede, majka domaćica, a imao je još sestru i brata.
Snimanje „Glave za brisanje” trajalo je čak pet godina. Za to vreme, Linč je radio kao raznosač novina i to noću. Međutim, i snimanje se ostvarivalo uvek noću, zbog specifične atmosfere, zato se Linč izveštio da obavi isporuku što pre.
Džordž Lukas je ponudio Linču da snimi „Ratove zvezda – povratak džedaja”. Srećom, odbio je. Nesrećom, prihvatio je drugu ponudu, snimanje „Dine”.
Omiljene kolege: Felini, Bergman, Hercog, Žak Tati. Jedan od Kjubrikovih omiljenih filmova: „Glava za brisanje”.
Dama sa kladom (Log Lady) iz Tvin Piksa inspirisana je jednom radnicom pilane koja je zatvorena neposredno nakon snimanja serije.
Osim muzike, režiranja reklama i spotova, slikarstva, fotografije i, naravno, filma, Linč je autor i jednog stripa, koji se zove „Najbešnji pas na svetu”.
May 21, 2021
Solid 24k gold all the way through. Some of the more hilarious things actually said by Lynch include:
I’d like to bite my paintings, but I can’t because there’s lead in the paint. Which means I’m kind of chicken.
One time I used some hair remover to remove all the fur from a mouse to see what it looked like – and it looked beautiful.
It was so fantastic. And I had my paper route! And soy beans. I was really into soy beans then. They’re very hard to digest – I wouldn’t recommend them, really!
I was building sheds, and whenever you can build a shed, you’ve got it made.
No, the burning nipples weren’t in the script . . . the actress told me this trick, and I said, 'You gotta do that, and I’ll tell you where.'
I was with the engineer, Arty Polhemus, and I was laughing so hard that something exploded. It was like a light bulb blew up in my stomach, and that was the end of my stomach wall.
Well, I had ants in my kitchen; they were sugar ants, but they were coming in for water. So I made a small human head of cheese and turkey and encased it in clay, and mounted it on a small coat hanger.
February 5, 2021
.
دیدن فیلمهای لینچ برایم آسان نبوده . اولین وآخرین فیلمی که ازاوتاانتها وکامل دیده ام ، مخمل آبی بود که اضطراب آوربود..بعدهاسعی کردم بقیه فیلمهایش راهم ببینم که نتوانستم .برایم وحشتناک واضطراب آوربود..
کتاب مجموع چندین مصاحبه است وحتما" برای اهالی سینما و دوستدارانش جالب است ..حدودبیست سی درصد صحبتهایش برایم جالب بود ..
فکرمیکنم اگردرمغزمن هم چنین حالاتی بود واین طورفیلمهایی میساختم ، حتما "مثل لینچ علاقه مندبه مدیتیشن ومراقبه میشدم وحتی واجب المدیتیشن :)..شایدهم برعکس باشد واحوالات اونتیجه مراقبه ومدیتیشن ..
دیدن فیلمهای لینچ برایم آسان نبوده . اولین وآخرین فیلمی که ازاوتاانتها وکامل دیده ام ، مخمل آبی بود که اضطراب آوربود..بعدهاسعی کردم بقیه فیلمهایش راهم ببینم که نتوانستم .برایم وحشتناک واضطراب آوربود..
کتاب مجموع چندین مصاحبه است وحتما" برای اهالی سینما و دوستدارانش جالب است ..حدودبیست سی درصد صحبتهایش برایم جالب بود ..
فکرمیکنم اگردرمغزمن هم چنین حالاتی بود واین طورفیلمهایی میساختم ، حتما "مثل لینچ علاقه مندبه مدیتیشن ومراقبه میشدم وحتی واجب المدیتیشن :)..شایدهم برعکس باشد واحوالات اونتیجه مراقبه ومدیتیشن ..
January 27, 2025
اندوهگینم و غمزده از نبودن چنین انسان شگفتانگیزی.
رویاپرداز اعظم سینما که به ایدههایش پایبند است....
رویاپرداز اعظم سینما که به ایدههایش پایبند است....
February 3, 2008
A very good David Lynch book in that he doesn't explain his work, but tells his feelings and thoughts behind his films. There is a difference. Lynch I find is super intelligent and very articulate about his work. He knows the importance to stay silent for two things: He himself doesn't know why and more important it's the audience or viewer's task to figure out or just to feel the work.
David Lynch for me is a great American artist. And I mention American, because I feel he's unique in that sense and is actually quite conservative as well. I am not surprised that he's a Republican (as reported to be) because I think his viewpoint is conservative. And strange enough this is partly why he has that edge.
I feel he deals with symbols and therefore trusts or is attracted to those who speak in that manner. But in a nutshell this is the book to get on David Lynch. From the horses mouth to your ear.
David Lynch for me is a great American artist. And I mention American, because I feel he's unique in that sense and is actually quite conservative as well. I am not surprised that he's a Republican (as reported to be) because I think his viewpoint is conservative. And strange enough this is partly why he has that edge.
I feel he deals with symbols and therefore trusts or is attracted to those who speak in that manner. But in a nutshell this is the book to get on David Lynch. From the horses mouth to your ear.
July 7, 2010
One of the best books on an artist's creative process that I've read in recent memory. I have to confess at times I've had moments of feeling like Lynch is a con man - like when I watch "Lost Highway" (which most of my friends really love), but mainly I love him and seeing "Eraserhead" and "Blue Velvet" the first times changed my life. This book truly, deeply goes into Lynch's vision and process and shows him to be religiously dedicated to getting across on film - or now video - the inner feelings or shadows he's chasing.
The portion on the long complicated, at times heartbreaking making of "Eraserhead", which took six years to complete, is epic. How almost no one believed in him even after it was made, he was almost completely broke, and yet it also was one of the best times in his life because he was lost in a fully realized micro-world of his own creation.
And you got to love Mel Brooks for his part in championing Lynch for "The Elephant Man". and nailing it on the head when he said after "Ordinary People" won the Oscar over "The Elephant Man": "Ten years from now 'Ordinary People' will be an answer a trivia question, but 'The Elephant Man' will be a movie that people are watching and discussing." Right motherfucking on.
The portion on the long complicated, at times heartbreaking making of "Eraserhead", which took six years to complete, is epic. How almost no one believed in him even after it was made, he was almost completely broke, and yet it also was one of the best times in his life because he was lost in a fully realized micro-world of his own creation.
And you got to love Mel Brooks for his part in championing Lynch for "The Elephant Man". and nailing it on the head when he said after "Ordinary People" won the Oscar over "The Elephant Man": "Ten years from now 'Ordinary People' will be an answer a trivia question, but 'The Elephant Man' will be a movie that people are watching and discussing." Right motherfucking on.
December 21, 2017
Libro de entrevistas a David Lynch que se hicieron a lo largo de muchos años. Se divide por películas. Va desde los comienzos de su carrera (cortometrajes como "La abuela" o "El alfabeto") y llega hasta Mullholand Drive.
Quizás vino un poco tarde la traducción (12 años después) porque Lynch cambió en muchos sentidos y lo que dice en las entrevistas ya no es tan así. Sin embargo está bueno leerlo porque se ve que Chris Rodley charlaba con él apenas salían sus grandes películas, lo cual es meritorio porque se nota la frescura que tiene al responder.
¿Qué decir de él? Personalmente es uno de los artistas que más me atrapa y este libro me ayudó a comprender un poquito más. Hay algo que admiro mucho y es su lógica del "no sé": ¿qué significa esto? no sé, ¿por qué hiciste eso? no sé, ¿a qué se debe tu obsesión con las identidades partidas? no sé.
Responder de esa manera y admitir que uno tampoco sabe lo que hace me parece hermoso. De hecho lo considero crucial al momento de realizar arte. "Saber todo arruina la experiencia" dice. "Cuanta más oscuridad se junta, más es la luz que se ve" afirma.
Interesante libro para conocer un poquito más sobre su universo personal. Creo que las obras hablan mejor pero vale la pena tener ciertos datos que permitan guiarnos.
Quizás vino un poco tarde la traducción (12 años después) porque Lynch cambió en muchos sentidos y lo que dice en las entrevistas ya no es tan así. Sin embargo está bueno leerlo porque se ve que Chris Rodley charlaba con él apenas salían sus grandes películas, lo cual es meritorio porque se nota la frescura que tiene al responder.
¿Qué decir de él? Personalmente es uno de los artistas que más me atrapa y este libro me ayudó a comprender un poquito más. Hay algo que admiro mucho y es su lógica del "no sé": ¿qué significa esto? no sé, ¿por qué hiciste eso? no sé, ¿a qué se debe tu obsesión con las identidades partidas? no sé.
Responder de esa manera y admitir que uno tampoco sabe lo que hace me parece hermoso. De hecho lo considero crucial al momento de realizar arte. "Saber todo arruina la experiencia" dice. "Cuanta más oscuridad se junta, más es la luz que se ve" afirma.
Interesante libro para conocer un poquito más sobre su universo personal. Creo que las obras hablan mejor pero vale la pena tener ciertos datos que permitan guiarnos.
October 15, 2022
Miło, że Richard A. Barney zebrał do kupy rozmowy z Davidem Lynchem czy też teksty o nim, okraszone jego wypowiedziami, ale mógłby to wszystko przeredagować, bowiem przez trzy czwarte książki ma się uczucie déjà vu dla ubogich, czytając po raz kolejny o sielskiej okolicy z dzieciństwa reżysera bądź o klęsce „Diuny”.
Byłaby „trójka”, ale kocham twórcę „Twin Peaks” i większość jego filmów.
Byłaby „trójka”, ale kocham twórcę „Twin Peaks” i większość jego filmów.
February 5, 2008
Aside from watching his movies, this is the best way to get inside the master's head. It's pretty freaky in there. And I LOVE it.
December 20, 2021
Kedvenc ember.
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December 29, 2024David Lynch has got to be one of the most lovely people on this planet. You watch his movies deliver creepy and out of reach logic with genuine horror, you would think he would be a little more brooding. But he's a total 50's style sweetheart, with a refreshing take on the creative process. I don't think you need to see his catalog to appreciate this book of interviews, because his explanations on his process make instant sense.
I have no problem admitting not every Lynch movie is for me. Even the ones I love are plagued with strange stiff dialogue and many MANY scenes that could be cut down significantly. But its allure is undeniable, and you instantly recognize something special is happening. I think Lynch's work immediately communicates to creative people "hey we can do anything with this medium." He's not held back by unspoken time restrictions, traditional plot elements, or even logic. He's a painter, obsessed with textures and feelings, and with that lens so many of his "unsolved mysteries" become tangible.
People trip over themselves to explain what his movies are actually about, or to accuse his esoteric style as some sort of con are both missing the point. He has no intention of purposefully confusing his audience, he is just obsessed with mystery and feeling. There might be a scene that plays for me that I'm throwing my hands up at for not making sense or taking way too long to play out, but when asked about I can easily articulate minutes of analysis and impossible to define feelings that just played.
I don't think this book corrects every complaint I have about his movies, but it really doesn't matter how accurate any criticism leveled is. This is a guy more in tune with filmmaking, and of our humanity more than most. He's a total joy to listen to, almost childlike in his interests, and wakes up that part of you that remembers when you started making art for no other reason except your own satisfaction.
Couple funny quotes from it:
I’d like to bite my paintings, but I can’t because there’s lead in the paint. Which means I’m kind of chicken.
It was so fantastic. And I had my paper route! And soy beans. I was really into soy beans then. They’re very hard to digest – I wouldn’t recommend them, really!
I was building sheds, and whenever you can build a shed, you’ve got it made.
I was with the engineer, Arty Polhemus, and I was laughing so hard that something exploded. It was like a light bulb blew up in my stomach, and that was the end of my stomach wall.
Well, I had ants in my kitchen; they were sugar ants, but they were coming in for water. So I made a small human head of cheese and turkey and encased it in clay, and mounted it on a small coat hanger.
I have no problem admitting not every Lynch movie is for me. Even the ones I love are plagued with strange stiff dialogue and many MANY scenes that could be cut down significantly. But its allure is undeniable, and you instantly recognize something special is happening. I think Lynch's work immediately communicates to creative people "hey we can do anything with this medium." He's not held back by unspoken time restrictions, traditional plot elements, or even logic. He's a painter, obsessed with textures and feelings, and with that lens so many of his "unsolved mysteries" become tangible.
People trip over themselves to explain what his movies are actually about, or to accuse his esoteric style as some sort of con are both missing the point. He has no intention of purposefully confusing his audience, he is just obsessed with mystery and feeling. There might be a scene that plays for me that I'm throwing my hands up at for not making sense or taking way too long to play out, but when asked about I can easily articulate minutes of analysis and impossible to define feelings that just played.
I don't think this book corrects every complaint I have about his movies, but it really doesn't matter how accurate any criticism leveled is. This is a guy more in tune with filmmaking, and of our humanity more than most. He's a total joy to listen to, almost childlike in his interests, and wakes up that part of you that remembers when you started making art for no other reason except your own satisfaction.
Couple funny quotes from it:
I’d like to bite my paintings, but I can’t because there’s lead in the paint. Which means I’m kind of chicken.
It was so fantastic. And I had my paper route! And soy beans. I was really into soy beans then. They’re very hard to digest – I wouldn’t recommend them, really!
I was building sheds, and whenever you can build a shed, you’ve got it made.
I was with the engineer, Arty Polhemus, and I was laughing so hard that something exploded. It was like a light bulb blew up in my stomach, and that was the end of my stomach wall.
Well, I had ants in my kitchen; they were sugar ants, but they were coming in for water. So I made a small human head of cheese and turkey and encased it in clay, and mounted it on a small coat hanger.
July 15, 2019
Strade e teste che esplodono. Come ha detto qualcuno, a Quentin Tarantino interessa guardare uno a cui stanno tagliando un orecchio; a David Lynch interessa l’orecchio.
February 28, 2021
I raced through this incredibly fascinating and funny longform interview with David Lynch about his life's work (up to Mulholland Drive.) I only wish it was longer. I recommend this 100% to anybody into David Lynch. The book David Lynch: Interviews is very good too, though I think I liked this more. This contained several light bulb moments for me about imagery and motifs in Twin Peaks and where they came from.
October 10, 2022
I love you, David Lynch
September 28, 2024
David sos una de mis cinco personas favoritas del mundo, gracias por existir.
March 4, 2025
The greatest to ever do it? Beats me
March 18, 2025
Love my coffee, love my dreams, love my soy beans, hate studio interference, simple as.
January 29, 2020
Una maravilla de libro de principio a fin. Una sucesión de entrevistas sobre cada período de tiempo y filmación desde "El alfabeto" hasta "Mulholland Drive", podemos disfrutar la información que entrega Lynch sobre los rodajes, sobre sus obsesiones, sobre los personajes y sobre su manera de entender los sueños y la realidad. Precioso.
February 2, 2023
If you know me you know that I absolutely adore David Lynch with all my heart, always have been. To me he is the absolute crown jewel of pure creativity, an example of how you can be a pure human being with good intentions while doing the most gruesome, shocking stuff in your art.
The darker the dark side is, the lighter the light side, like Lynch says in this book. That was a very important sentence for me to read, especially now. To me Lynch is the greatest work of art in his ouvre.
This had great insights on the business side, especially. The creative process. Working with creativity for the last 10 or 15 years I know very well how big of a fight it can be to push forward a really creative idea. That's why Lynch is so important. He is all about the idea. I am too, that's why I love him so much. It's all about the idea, all good things are. Everything else is just semantics, polishing, usually a waste of time. If you have a "why", it will work, no matter what. Ideas are so beautiful. And they are all around us.
I loved this book so much. Lynch on Lynch, creative process, perfection.
This was also wonderfully dated, the newest film being Inland Empire. Would've love to hear about Twin Peaks: The Return, for example. Or the deaths of Harry Dean Stanton and Angelo Badalamenti.
I am prepared to lose Lynch soon. Or not lose: to return him to the unified field.
The darker the dark side is, the lighter the light side, like Lynch says in this book. That was a very important sentence for me to read, especially now. To me Lynch is the greatest work of art in his ouvre.
This had great insights on the business side, especially. The creative process. Working with creativity for the last 10 or 15 years I know very well how big of a fight it can be to push forward a really creative idea. That's why Lynch is so important. He is all about the idea. I am too, that's why I love him so much. It's all about the idea, all good things are. Everything else is just semantics, polishing, usually a waste of time. If you have a "why", it will work, no matter what. Ideas are so beautiful. And they are all around us.
I loved this book so much. Lynch on Lynch, creative process, perfection.
This was also wonderfully dated, the newest film being Inland Empire. Would've love to hear about Twin Peaks: The Return, for example. Or the deaths of Harry Dean Stanton and Angelo Badalamenti.
I am prepared to lose Lynch soon. Or not lose: to return him to the unified field.
October 25, 2011
In 2007 I was in Paris on a school trip. Our schedule (believe or not, a schedule, in Paris...) included a visit to the David Lynch art exhibition. At that time I was completely oblivious as to who he is, I just connected him very vaguely to Twin Peaks after I saw his scribblings related to the show. When I got to the actual paintings, my only thought was: wtf. They were dark and very weird, and I didn't like them that much. It was broad daylight and I was completely creeped out.
Anyway, I don't remember the following journey into the world of David Lynch but I can say that although I'm still not sure about his art, I adore his works. Even though I don't necessarily always understand what the hell is going on, I very much enjoy getting into the dream-like world of his. Like he himself says, you need to make up your own conclusions and experience his movies. I completely agree that it's not necessary for the director to explain his movies, people are not that stupid. I think they just don't always trust their own judgment and brains, and want everything ready and already chewed.
I also respect Mr. Lynch quite a lot, because he just wants to do his thing, and if someone happens to like his art, great. It's always interesting to find out what an artist has to say about the process of creation and the body of work itself. I mean, I'm not an artist myself, but I do love art and these kinds of books would be a great addition to my book shelf.
Oh, and I must be one of the very few who actually thinks that the baby in Eraserhead looks adorable. Like E.T. on drugs!
Anyway, I don't remember the following journey into the world of David Lynch but I can say that although I'm still not sure about his art, I adore his works. Even though I don't necessarily always understand what the hell is going on, I very much enjoy getting into the dream-like world of his. Like he himself says, you need to make up your own conclusions and experience his movies. I completely agree that it's not necessary for the director to explain his movies, people are not that stupid. I think they just don't always trust their own judgment and brains, and want everything ready and already chewed.
I also respect Mr. Lynch quite a lot, because he just wants to do his thing, and if someone happens to like his art, great. It's always interesting to find out what an artist has to say about the process of creation and the body of work itself. I mean, I'm not an artist myself, but I do love art and these kinds of books would be a great addition to my book shelf.
Oh, and I must be one of the very few who actually thinks that the baby in Eraserhead looks adorable. Like E.T. on drugs!
April 2, 2021
Lynch has to be one of the most interesting creators in cinema. I love the chronological format this follows, going through each of his films while delving into painting, music and his childhood to understand his creative process and work. And behind the cryptic, unsettling films is a simple man full of incredible ideas. Lynch is obsessed with the duality of good/evil and the relation between art and fiction and our subconscious mind, which it's easy to realize by seeing his films. It's fascinating how much weight he places on intuition, refusing to overthink and let ideas come to him instead of trying to work around preconceived narratives. Only nitpick I have about this book. is that I wish it included Inland Empire to round off his whole oeuvre, maybe we'll get another revised edition down the road.
All in all, a read as fascinating as the man himself.
All in all, a read as fascinating as the man himself.
July 1, 2016
Chris Rodley did a wonderful job trying to pry answers from David Lynch, especially regarding his more avantgarde approaches to storytelling. But have no fear, Lynch delivered in many ways and I appreciate his filmmaking even more.
The book covers Lynch's early life up to the film, THE LOST HIGHWAY. Of course I want an update to hear about MULHOLLAND DRIVE, THE STRAIGHT STORY, and INLAND EMPIRE, as well as the upcoming "Twin Peaks" series two - where Lynch directs every episode.
If you love Lynch, you will love the book - and if you don't like Lynch, you may give his art and film another go.
The book covers Lynch's early life up to the film, THE LOST HIGHWAY. Of course I want an update to hear about MULHOLLAND DRIVE, THE STRAIGHT STORY, and INLAND EMPIRE, as well as the upcoming "Twin Peaks" series two - where Lynch directs every episode.
If you love Lynch, you will love the book - and if you don't like Lynch, you may give his art and film another go.
June 12, 2018
عشق ناب هیچ چیزی را از طرف مقابل طلب نمیکند. فقط یک تکانه یا لرزش درونی است. اما متأسفانه آدمهای زیادی هستند که معنای عشق ناب را هنوز درک نکرده اند. ما تمایل داریم همواره مسئولیت را بر دوش شخص مقابل اندازیم و این مسئله نتیجه ی خوبی در پی ندارد
برای آشنایی با آنچه در ذهن متفاوت این مرد بزرگ میگذرد، مطالعه این کتاب میتواند کمک خوبی باشد-
برای آشنایی با آنچه در ذهن متفاوت این مرد بزرگ میگذرد، مطالعه این کتاب میتواند کمک خوبی باشد-
March 10, 2009
I enjoy his films much more than his (understandably) dodgy "explanations." But he's just fascinating and perplexingly hilarious to listen to or read nonetheless. And sometimes he says genuinely insightful things about the creative process (or his creative process, at the very least).
August 5, 2017
“David’s films are more of a sensation than a story.” (126)
-Isabella Rossellini
Three-and-a-half stars. As fans of David Lynch know, the director is not one to speak about the meanings of his films. (The closest readers get is co-writer Barry Gifford’s own pseudo-explanation of Lost Highway on page 215.) Yet, David Lynch as a character himself is totally captivating to hear and watch in interviews. (For example: the 90-ish minute storytelling session in the extras of Eraserhead DVD or the 2016 documentary, David Lynch: The Art Life) To read interviews with him isn’t the same without his distinct voice, but still this was a page-turner. How Lynch’s brain works is bound to be far more interesting than any secrets he could divulge about his films.
In addition to learning what makes Lynch tick, readers get a a great glimpse into other projects Lynch had wanted to make (or still wants to make) and other projects (short film, television, commercial) that make up Lynch’s chronology.
-Isabella Rossellini
Three-and-a-half stars. As fans of David Lynch know, the director is not one to speak about the meanings of his films. (The closest readers get is co-writer Barry Gifford’s own pseudo-explanation of Lost Highway on page 215.) Yet, David Lynch as a character himself is totally captivating to hear and watch in interviews. (For example: the 90-ish minute storytelling session in the extras of Eraserhead DVD or the 2016 documentary, David Lynch: The Art Life) To read interviews with him isn’t the same without his distinct voice, but still this was a page-turner. How Lynch’s brain works is bound to be far more interesting than any secrets he could divulge about his films.
In addition to learning what makes Lynch tick, readers get a a great glimpse into other projects Lynch had wanted to make (or still wants to make) and other projects (short film, television, commercial) that make up Lynch’s chronology.
October 29, 2021
"گفتوگو با دیوید لینچ از مجموعه کتابهای گفتوگو با کارگردانان و به قلم ریچارد اِی. بارنی منتشر شده است. گردآورنده این کتاب، مجموعهای از مصاحبههایی که با دیوید لینچ، کارگردان و فیلمنامهنویس نامدار آمریکایی انجام شده است را فراهم آورده است. در بخشی از کتاب میخوانیم: مشهور است که میگویند مصاحبه با دیوید لینچ به کلنجار رفتن با نوزاد زبانبسته چهار ماههای میماند که حرفهای زیادی برای گفتن دارد اما شما نمیتوانید به درستی منظور اصلی او را متوجه شوید. این ویژگی شخصیتی و کاری او به روشنی نشان میدهد که عبارت «طفره رفتن» یا گریزان از گفتوگو چندان برازندهی او نیست زیرا علاقه زیادی به گفتن دارد یا دقیقتر که بگوییم: او عاشق سخن گفتن است. لینچ از داستانگویی به شدت لذت میبرد، لطیفه گفتن و لطیفه شنیدن را دوست دارد و از فلسفهبافی بداهه شاد میشود. باوجوداین، در نظر او صحبت در مورد جنبههای گوناگون زندگی شخصی یا معنای محتمل آثارش موضوعی دیگر است. بنابراین او بیش از آن که طفره برود یک مبهمگوی کار کشته است، هدفی متحرک برای مصاحبهگر بینوا و یک خوشصحبت زیرک که در مصاحبه آنچه نمیگوید بر آن چه میگوید ارجحیت دارد و در یک کلام این رویکرد ابهام در همکلامی را میتوان شناسه منحصربهفرد او دانست. مصاحبه با لینچ به چند دلیل یک تجربه سینوسی است از جمله ضعف عموما ذکر شدهاش در مقوله زبان گفتاری. ساختار کلامی تاثیرگذار و همواره رو به پیشرفت لینچ و پایبندی سرسختانهاش به اصول زیباییشناسی خاص خودش پدیدهای مبهم را بهوجود میآورد که ما آن را مصاحبه با لینچ مینامیم. لینچ همیشه برای صحبت درباره روند شکلگیری فیلمهایش آماده است اما از تفسیر و توضیح معنایی عناصر و جزییات پرهیز میکند. علاوه بر این، از آنجا که لینچ میداند اظهارنظر او درباره معنای جزییات میتواند به عنوان رهنمونهای معتبری در رسیدن به تفسیری روشن از معنای آثارش به کار گرفته شود، هوشمندانه بر این پرهیز پافشاری میکند. "
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October 10, 2022¿Qué pienso al final de esto? Bueno, aquí llegamos a quitar una capa más para descifrar ese enigma que siempre ronda cada película de Lynch. No. Nunca lo resolveremos de una forma completa, puesto que el cineasta nunca deja conocer el que quiso dar a a entender con tal o cuál escena, totalidad y el significado que él le dá. El dice que cada persona debe encontrarle SU interpretación a sus obras, y no él decirles QUE significan.
Mucho de esto es en lo que gira este volumen . Nos acerca más a conocer el COMO Lynch hace una película y una gran parte de sus componentes. Sin embargo, nunca devela su significado. Y eso es lo que maravilloso su trabajo. Por lo menos, hasta "Mulholand Drive", que es la última etapa de este libro.
Complementaria su lectura me parece a otros textos sobre el artista que tambien he leido -principalmente dos- que serían el escrito por Michel Chion o el un poco más informal, por Dennis Lim, de tono más ameno.
En mi caso, sólo puedo decir que ese rompecabezas llamado David Lynch es un tema fascinante y trataré de leer todo texto de él o sobre él que caiga en mis manos. Ya tengo el reemplazo en el tema, que comenzaré pronto: "La Vida sin Nombre: La lógica del espectáculo según David Lynch", por Gabriel Cabello.
Ahi les comentaré como me va, cuando inmediatamente comience.
Mucho de esto es en lo que gira este volumen . Nos acerca más a conocer el COMO Lynch hace una película y una gran parte de sus componentes. Sin embargo, nunca devela su significado. Y eso es lo que maravilloso su trabajo. Por lo menos, hasta "Mulholand Drive", que es la última etapa de este libro.
Complementaria su lectura me parece a otros textos sobre el artista que tambien he leido -principalmente dos- que serían el escrito por Michel Chion o el un poco más informal, por Dennis Lim, de tono más ameno.
En mi caso, sólo puedo decir que ese rompecabezas llamado David Lynch es un tema fascinante y trataré de leer todo texto de él o sobre él que caiga en mis manos. Ya tengo el reemplazo en el tema, que comenzaré pronto: "La Vida sin Nombre: La lógica del espectáculo según David Lynch", por Gabriel Cabello.
Ahi les comentaré como me va, cuando inmediatamente comience.
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