David Lynch:
Movies like Dreams:
“Films are, and should be dream. In the movie theater, the “real” world shuts out. You are in the thrall of the filmmakers, you have to surrender and lets the images wash over you.”
“I think films should have a surface story, but underneath it there should be things happening that are abstract, things that resonate, and areas that words can’t help you find out about.”
Lynch was a painter, and he chose movies because he believed that “the camera is such a beautiful instrument. It paints with motion. I want my images to move. I want my paintings to move, I want them to make sounds.”
About his Muse:
“You don’t know where things come from. They could come from memories, they could be triggered, they could come to you from the ether. And if they are in the memory, if they’re stored away, one day, for some reason, they’re relieved, and it seems like a brand-new idea.”
With idiosyncratic visuals and sounds, Lynch transformed ordinary anxieties into indelible nightmares.
Pauline Keal has described Lynch’s Blue Velvet as “the work of a genius naif, and him as “the first populist surrealist,” a Frank Capra of dream logic.
The trajectory of his career evolution.
From introverted to extrovert movies.
Blue Velvet was a turning point, in the transformation of the conscious into the unconscious.
Robins as harbingers of love.
“Wild at Heart” a more calculated work, where sincerity exists between quotation marks.
References to Elvis and “Wizard of Oz” as substitute for feeling and imagination.
