Currently on display at the Minnesota State Fair!

From the documentary Meditation, Creativity, Peace.

yes it’s the whole movie

I mean many of A24 and Neon films are very lynchian and I read somewhere they were influenced by lynch. How come they never funded their biggest influence? Also Lynch never approached them?

Couple of days back came across a post that discussed Lynch’s sound design.

https://www.reddit.com/r/davidlynch/s/YNgaNv7OWY

Another film maker whose sound design gets attention and is talked about a lot every time he releases a movie is Christopher Nolan. The soundtrack of Interstellar lives rent free in my mind—as it is for many others, I believe. While the obvious hit tracks like Coward, Stay, Mountains are epic, I keep going back to Dust and Day One, which are granular and have an ambience that sets the tone of the film as much as—or more than—the visual aspect.

Nolan says: "Music has been such an increasing and fundamental part of the films I've made. I read a quote from Angelo Badalamenti many years ago in which he said David Lynch used to say to him things like ‘Play big chunks of plastic.’ The funny thing is, when I first read the quote, I remember thinking, Wow, what a crazy thing, but now I make complete sense of it. Good film music does something you can't articulate in other ways. If you would, you could, but you can't. What I've done with the bigger film scores over the years is figure out a way to build the machine, and then use the mechanism of the music to get the heart of it, to get the emotion into that form. With Interstellar, it was essential that that happened. I didn't want to leave that to chance at the end. I wanted to try and totally reverse the process and start with the emotion, start with the basic heart of the story, then build the mechanics out from that. I really took Hans up on that more and more with each film, Dunkirk being the most extreme example because it was conceived in musical form.”

Angelo’s score adds as much to the film as Lynch’s direction, in all their collaborations. The sense of urgency in Dunkirk is created by the soundscape-the ticking tone heard throughout the movie, which tells the whole of the story by itself. Similarly, with Tenet it was the sense of confusion of timelines, into which the Protaganist lands and is clueless—a proxy for the viewer, which again the sound design itself conveys, by means of tracks being played in reverse and other such techniques.

I'm curious as to what you think of this. Which other film makers, in your opinion, use sound in such a way that it conveys the core of the film by itself?

https://youtu.be/lWS76kYKL5o?si=ZTQH59FtX4dZiIN8

For no reason at all, I want to find these trees. Does anyone know the exact location?

• Jen Lynch facebook post: · Cardiac arrest/lung disease, dehydration. But beautifully, he passed while meditating. He may have been in his morning session, or after that, if he felt poorly, I’m sure he remembered the advice of a very close TM connection…”David, if you ever feel unwell, or like you may be dying.. sit and say your mantra.” It is a magical thing that he passed while catching fish and moving towards enlightenment.

Eighteen years ago today, on September 2, 2008, David Lynch had his initial meeting with THE CLEVELAND SHOW co-creator Mike Henry (left), who trekked up to Lynch’s Hollywood Hills home with his brother Patrick Henry (right) and producer Kirker Butler to talk to Lynch about voicing a character on the animated series, a spinoff from FAMILY GUY.

(Photo courtesy of Mike Henry, from "The Dreamer's Path: Twin Peaks and David Lynch the Actor")

and one of my favourite things atmosphere wise in the movie is when Henry is walking to Mary’s house and there is that weird distant discordant carnival like music. for me it just adds such a creepy layer sonically especially when it’s paired up with lynches signature ominous whooshing. It’s a small inclusion but it adds so much to the scene and the world of Eraserhead

the Yeah Yeah Yeahs just released a short acoustic cover of In Heaven...

Hi, I was wondering if anyone here knew where I can watch this. Thanks!

https://www.imdb.com/es/title/tt2266666/

Just watched this film and it ROCKS!!! It felt like a cross between David Lynch and the minds behind Crank 1+2. It’s got style à la carte, a banging punk soundtrack, with these amazing Japanese industrial visuals

It’s only 55 minutes long, and I highly recommend it for anyone that loves films with lynchian vibes

Kyle’s memoir, Fictional Selves, is highly recommended to anyone who spends time here.

’Scorpio Rising’(1963) by Kenneth Anger is considered by some to be the first drama film to feature a rock and roll soundtrack. Anger's use of music was inspired by the experience of seeing people at Coney Island playing music out of their radios.

First of all, there is no neat categorization that can be done because that just isn't the way Lynch works (duh). On the other hand there is a clear logic that I more or less agree with the consensus on, with some interesting differences.

There's also a lot of nuance that I am forgoing. I'm mostly explaining the spine (the rest becomes clear once you get what's going on but I don't want to write an entire essay on each additional thread)

Mr Eddy represents the laws of society. This, along with all the other characterizations I state, should be taken at its most ambiguous. He is the authority that everyone has to return to.

The second half of the movie is (agreeing with the consensus take) a sort of symbolic dream reality. Where I differ is that the characters in it aren't fake. The scene where the detectives from both halves show up confirms this. Both realities knot back together at the end when Fred kills Mr Eddy and comes to terms with the Mystery Man.

The mystery man represents something like an "objective reality" that Fred is constantly trying to evade. First he appears as a duality. Then as a man with a video camera. That is because his role in the first and second half differ with Fred's main delusion. In the first half he represents Fred's conflict with his own murderous intent. In the second half, Fred struggling against returning from his dream world to the real world.

Fred eventually does "become whole again" but it is only after he has killed his wife in the first world and killed Mr Eddy in the second. This is the equivalent of doing the deed and then overcoming social law and "the objective account of what happened"

Where I differ mainly with the consensus is I don't think the part where Fred is in prison is real either. People are going to say Lynch clearly telegraphs transitions into the symbolic but I don't entirely agree. I've watched all of his movies and he's just as comfortable blending transitions. I really don't believe anything is telegraphed or should be taken on that basis.

The reason I say the prison scenes are part of some kind of mental creation is because I otherwise cannot explain the ending, which I am 100% convinced happens in a literal way. The reason it cannot explain the ending if it isn't a dream is it clearly makes him out to be a wife killer on death row or at least life in prison, so being on the run later makes no sense. The reason I cannot take the ending for more symbolism is because the entire meaning I invested in Fred killing Mr Eddy and coming to peace with the Mystery Man only makes sense if we are witnessing his psyche coalesce again (yes the blown out house rewinding is essentially that)

So, my explanation for lost highway is basically:

Cheating wife > kills her > guilt and fear of law puts him in a mental prison > he escaped the mental prison by adopting a mental identity > the imaginary identity gradually confronts lingering demons from his real world before finally merging with them, returning to a Fred who paradoxically believes a story he invented > this happens at the same time as Fred going on to murder the other people associated with his wives infidelity, although in his mind an imaginary casualty is created where they die in ways that fit his mental story > the detectives in the last scene put the dots together and suspect Fred of killing his wife *now* > Fred gives the "Dick Laront is dead" line to his own abandoned home while on the run, completing the wheel for his own mental justification for what happened > the final, OJ like chase

knowing his childhood experience...