Behind the Lens: David Lynch

26 04 2007

David Lynch has been selected to be featured in our latest installment of “Behind the Lens.” This is a special acknowledgment to directors who have made us think and refuse to give into the current trend. What they have offered us are original, daring visions often ignored or misunderstood by the masses. We salute you.

David_Lynch.bmpDavid Lynch
Born: January 20, 1946
Best Known For: 1986’s Blue Velvet
David Lynch is one director who refuses to dumb-down his work. He firmly believes movies should be thought-provoking, controversial and that he shouldn’t have to sacrifice his vision for a few more dollars at the multiplex. Lynch’s project are infused with shifting plots, high art and stellar performances. He has been making films since the late ’70s and has maintained a loyal fanbase who pick up anything the director associates himself with. Lynch scored cult hits with Eraserhead, Blue Velvet and most recently Mulholland Dr. In Inland Empire, Lynch played with the conventions of film making by shooting the feature without a working script. Each morning he would wake and write for that specific day of shooting then his cast (which included Lynch-veteran actress Laura Dern) would act it out. The director has been nominated for three Academy Awards for Best Director (Mulholland Dr., Blue Velvet and The Elephant Man) and won various other accolades. For his constant bravery and innovations in film, we salute David Lynch and hope to see more in the future.
Must See

Mulholland Dr.
Blue Velvet
The Elephant Man
Inland Empire
Wild at Heart

Worth a rent
Lost Highway


Lynch offers his own public service announcement

28 03 2007

Here is an ad for public awareness against littering by the master director, David Lynch. Enjoy!

Dern Defends Director/mentor Lynch

8 03 2007

Actress Laura Dern has defended David Lynch against accusations the director makes his surreal movies deliberately difficult to understand – and then refuses to explain them. Dern, who has starred in four Lynch movies including his latest Inland Empire, became incensed at the Venice Film Festival last September when one reporter criticized him for not explaining the movie’s plot. She says, “I get so protective of David, like an older sister or something, which is so absurd. He’s not waiting for us to get the movie because he doesn’t think the cinema is about ‘getting it’. I think he believes – which I’ve found very rare in filmmakers – in the intelligence of the audience, that they’re intelligent enough to discover the film and what it means within themselves.”

Lynch’s art as challenging as his films

2 03 2007

What is it like to glimpse into the mind of moviemaker David Lynch? A new exhibition in Paris shows that it is every bit as twisted as a true fan could imagine.
The exhibition, The Air Is on Fire, is the most comprehensive showing of Lynch’s visual art to date, and it includes paintings, photographs and countless doodles on Post-it notes, hotel stationery and napkins from Bob’s Big Boy diner.
Some sketches date back to 61-year-old Lynch’s high school days when, oddly enough, the Blue Velvet and Mulholland Drive director worked his way toward the rank of Eagle Scout.
Though many works have touches of Lynch’s quirky humor, the recurring themes are disconcerting, from leering women in red lipstick to decomposing corpses. Lynch even manages to make photos of snowmen look creepy.
At a news conference Thursday, a reporter gently inquired if Lynch was a happy man.
“Very happy,” Lynch replied. Then he faced a battery of scholarly questions.
What attracts you to the theme of metamorphosis?
“I don’t know,” Lynch deadpanned.
Another reporter asked Lynch what blue symbolized in his work. “It’s a beautiful color,” he said.
“So much of this is ideas that have nothing to do with an intellectual thing,” he said. “It’s an intuitive journey.”
The news conference took a bizarre turn. An aspiring actress grabbed the microphone, begged Lynch to remake Blue Velvet in France, sang the movie’s title song in off-key French, then threw her arms up in a flourish.
Lynch politely thanked her. “You did a very beautiful job singing,” he said, adding that although he loves France and is a regular visitor, he isn’t sure he will shoot a movie here. Lynch won the Cannes Film Festival’s top prize in 1990 for Wild at Heart, and he headed the Cannes jury in 2002.
The Air Is on Fire, which opens to the public Saturday, will run at the Cartier Foundation for Contemporary Art through May 27.

Deconstruction of a scene: Mullholland Dr.

21 02 2007

This is hopefully to become an either weekly or monthly feature on a past film and why a particular scene works to illustrate the general feeling of the entire picture or in some cases how it fails. I decided to go with one of my personal favorite for the first post and I would love to hear your insights and thoughts on this idea. And maybe even a few suggestions as to other movies that could be showcased in this format. I hope you enjoy.mulhollanddrive.jpg

Mulholland Dr.
Directed by: David Lynch
Starring: Naomi Watts, Laura Harring, Justin Theroux
Released: 12th of October 2001
Runtime: 145 minutes
Rating: R for violence, language and some strong sexuality
There are more than just a handful of great, unique, enthralling scenes but for the sake of this feature, I could only select one. Though, most people who will read this are unfamilar with David Lynch’s distinct puzzler, the movie is quite simply one of the best films released in 10-12 years. Mulholland Dr. is a film that commands your attention as it slowly and discreetly unravels a mystery. The film makes no apologies for those who happen to get lost along way and never dumbs itself down for the average mainstream moviegoer. For daring to be different by incorporating a complex storyline, vibrant visuals and artful eye to detail, the movie is a classic for those luck enough to survive the film’s labyrinth and capture its message.


Setting up the scene:
In the first act of the movie we are introduced to Betty (Naomi Watts) and Rita (Laura Harring) who are the film’s main attractions. Rita has lost her memoery after being involved in an accident. She stubbles into Betty’s aunt’s apartment, looking for a place to rest and collect herself. Bright-eyed Betty arrives in Hollywood from Deep River, Ontario (Canada) and is immediately starstruck by the lure of the city. The two women begin investigating the mysterious crash in hopes of solve the riddle on who Rita is and why people are looking for her. There are many memorable moments during this act from the man behind the winkie’s to the beautifully captured intimaticy of Club Silencio. But, alas our scene lies within the second half after the movie completely changes your perception and what you thought you knew is not true.
As the second act begins we are reintroduced to Diane (Watts) and Camilla (Harring) who are lovers but more importantly friends. The scene takes place after Camilla has just ended things romantically with Diane and she doesn’t take the separation so well.


The Scene (this post may contain images and language that is not suitable for all ages):

The single piece of film that stuck out the most for me was the infamous masturbaution scene and no I did not select this because it is a woman pleasuring herself. In the few moments, Diane showcases lonliness, anger, hurt and vengence and this is all seen in her eyes and the some rather alarming sounds. In this scene mulholland2.gifthe message of the entire relationship is crystalized with stunning beauty and misery. Watts scary “solo” performance here is uncomfortable to watch because as the viewer you are drawn into her pain and it is not about the sexual aspect of it. Normally, for most men watching a woman “give herself a treat” is a arousing experience but here despite the overwhelming nature of the scene you are more attract to the character than the act. When the trip “downtown” involves tears of agony, with shivers of heartbreak and the sound of fingers pounding your gentials begin to overpower the soundtrack we have a rare moment of true intimacy on film. While watching this scene one can’t help but feel ashamed as if you are intruding on this person’s moment of privacy and her release of anguish. Mulholland Dr. is a outstanding, enchantingly beautiful film that at the heart of it beats this intense love story between two women who find themselves in the city of dreams.

I would have loved to have found the clip online but it seems no one on youtube or google has this video posted with the exception being a few couple porn sites. So, you out there will just have to trust me and pick-up or rent a copy of Mulholland Dr. you will not be disappointed with the lure of this twisted Hollywood-fairy tale.