David Lynch In Conversation

thank you very much this is David Lynch's modern his first visit to Brisbane but also to Australia so we're really happy we're so welcome to the David and David musical our in a moment David Lynch is going to play percussion and I'm going to try the flugelhorn but seriously the stage is set for a concert by the Queensland sympathy sympathy Symphony Orchestra tonight so that's why we're in this musical setting but it does give me a chance David to ask about the importance of music in your films and your work as a whole I'm very happy to be here with you all tonight good to see you every element in cinema is important and music is one element and I always say that the music or sound effects or anything has to marry to the picture so you can be in love with lots of different types of music but only a very few things will marry to that picture so it's an experiment to find those things that do that and I'll say that cinema is a lot like music I say cinema is sound in picture flowing together in time and just like music flows and so there's different movements there's different things that happen in cinema like in music and these transitions from one thing to another are critical like they are on music you said once the best thing in the world is creating so how do you begin the creative processes I say the best thing in the world is ideas and you none of us do anything without an idea even if it's you look in the cupboard and there's no coffee you get an idea to go to the store and get some coffee so there's ideas for everything and I love to try to catch ideas and catch an idea that I fall in love with and then I know exactly what to do stay true to that idea translate it to one medium or an stay true but how difficult is it to stay true when you create it's not really difficult you when you catch an idea you see it in your mind's eye and you feel it and you can hear it and then you write that idea down on a piece of paper and you write it down in such a way that when you read it the idea comes back in full and you hold this idea in your mind and you stay true to that and it guides you through the process you're an artist who has merged film television music design animation do you think art should be without borders without pigeon holes yes there's a thing called freedom and it's very very important free to think anything and do anything every human being has a line they won't cross but it's a different place for for each of us and but you need to have freedom to do your work any restrictions is a sadness and it can kill creativity so we know that meditation has played a very important role in your life so how does meditation help you create we are all human beings and the human being is a glorious being and even though it might not be taught in school each and every one of us human beings has a field within us a Treasury within us and this Treasury is known by many names but it's like an ocean of pure consciousness pure bliss unbounded this field is unbounded infinite eternal immutable in mortal consciousness and this field in Vedic language is called nitya and a perish ayah meaning eternal and uncreated no one created this field it's always and forever been there it's there right now and it will be there forever and this consciousness pure consciousness has qualities so within each and every one of us is unbounded intelligence unbounded creativity bliss happiness love energy and peace and we're living on the surface but deep within is this Treasury so I practice Transcendental Meditation as taught by Maharishi Mahesh Yogi and Myra she brought this it's a mental technique and ancient form of meditation he brought back for this time it's easy and effortless it's not a concentration form of meditation it's not a contemplation form of meditation these things keep you maybe near the surface at best any kind of mental activity will keep your near the surface this Transcendental Meditation easy and effortless all the way to the source of thought pure consciousness modern Sciences Unified Field the Kingdom of Heaven which lies within the absolute many names and once any human being experiences that transcends and experiences that they infuse some they grow in that they truly begin to expand whatever consciousness they had to begin with and the side-effect of expanding consciousness and these all positive qualities is negativity begins to recede so things like stress traumatic stress anxieties tensions sorrow depression hate anger fear start to lift away from the human being such a freedom Springs so I say it's like gold coming in from within and garbage going out and it saves our lives it brings so much happiness in the doing so much more flow of ideas better relationships seeing life as a better and better thing and it's it's very good it feeds the work and feeds the life David yeah let's talk a little bit about your films sure obviously we start with the Eraserhead but what what was the journey that took you to Eraserhead all I wanted to be was a painter and so I studied painting at the Boston Museum School in the Pennsylvania Academy of Fine Arts while I was at the Pennsylvania Academy of Fine Arts I mostly painted it where I lived but I also had a small cubicle in a big large studio in the school I was in this cubicle one night painting a garden at night mostly black with some leaves green coming out and I was sitting looking at this painting and from the painting I heard a wind and then I saw the green start to move and I said oh a moving painting okay so that was the beginning but then it took you what five or six years to make I'm from that experience I made a short film one-minute loop on a sculptured screen with a sound of a siren and that was six men getting sick different things happened and I then made a film called the alphabet on the strength of the alphabet and a script I got I won an independent filmmakers grant from the American Film Institute then I made a film called the grandmother and then on the strength of that I was accepted to the Center for Advanced Film Studies AFI in Los Angeles and it was there that I made Eraserhead you made it in a garage oh no no I was at the school at that time was in a mansion I made Eraserhead in a mansion in the best part of Beverly Hills California and this was a 55 room mansion on a high on a hill surrounded by 18 acres of land sounds like Sunset Boulevard it's very much like that down below the mansion there was what we call the stables there were car garages there were maid's quarters there was a hayloft there were other garages and stalls for horses there was a great place for firewood for the mansion and a greenhouse and I got control of a lot of that and I was able to make almost a small studio there like a soundstages and build the sets down there and work down there for a little over four years and it was a beautiful beautiful place to be in work there's an article today in The Sydney Morning Herald by very good writer Paul Burns who says that in every film you've ever made there's a character based on you you the character in Eraserhead no I identify with him but I'm quite a bit different than he is but I identify with him and I have great love for Henry and what he's going through I always thought it was extraordinary that you got to make the Elephant Man thanks to Mel Brooks I mean Mel Brooks Mel Brooks mm-hmm how did that happen this is another thing unless we talked about one time David um fate plays a huge role in our lives no one would believe that someone would pick me having made a racer head to do a Victorian drama in London with Sir John Gielgud and the rest so how it happened Mel is a very interesting fellow and he's an abstract thinker he there were several people along with me that were kind of a team that wanted to make the Elephant Man and one of them had worked with Mel was actually working with Mel and this person and Bancroft read the script first for the Elephant Man and then she gave it to Mel and he had just formed a new company Brooks films and they were going to make nan Mel Brooks films so Mel read this script and he loved it and he said you're in you're in you're in you're in and who is this David Lynch so it Mel's they said Mel you got to see Eraserhead and so I said listen guys it's been great knowing you and so Mel saw raised her head and after the screening they made me come there but not in this room but they made me come there and to be there when the screening was over and the doors burst open and Mel was running toward me he embraced me and said I love you you're a madman you're in so I'm interested to know you as you said the film starred a stellar cast John Hurt John Gielgud and Ben Crawford you had trained as an artist and a lot of the things you've done were I mean even a razor head was a fairly I would say solitary but was not a huge thing now suddenly you're working in London on a film set dealing with actors how did that go it was a baptism of fire I am Wendy Hiller Dame Wendy Hiller great actress when I first met her and she's kind of a small woman she grabbed me by the neck and marched me around the room and said I don't know you I'll be watching you she became a great supporter fortunately for me you know a lot of people thought I had no right being there and I really didn't have any right being there but I was in a derelict Hospital in East London and I was standing in the hallway there were still beds in the wards there was um excuse my french pigeon deep everywhere and it was there were broken windows but it was this hospital and I stood in the hall and suddenly I got like transported back in time and felt what it was to be in that time and it felt like I knew it and from that moment on I felt I owned it and it changed everything that experience and the people were great to work with I there were things that went wrong but in the end it worked out so beautifully and we got eight Academy Award nominations Freddy Francis was the Freddy Francis was a DP and and was it a challenge to shoot it in black and white because they know that we wanted to get a DP that had shot black and white and there were several British cinematographers that had done that Freddy became a great great great friend he since passed away but he is he was solid gold to work with he shot many films in black and white and but even more than that he became a great supporter and friend David do you want to say anything about June not a lot except to once again saying that it's very important for a filmmaker to have Final Cut total creative control and I knew that even before dune and for some reason I thought el everything will be okay and I signed the contract and everything wasn't okay so it was a terrible thing and as I always say the film was not a success and so I died the death in that regard and then I felt I had sold out so I died twice but June was Dino De Laurentiis right yes and so is blue velvet yes I love Dino I love Rafael his daughter great great Dino taught me how to cook rigatoni and Dena was such a great character I really loved him we just did not see eye to eye and he had the power but then I went and worked with him again with final cut on blue velvet so how did you get final cut on blue though I asked as for it so blue velvet was inspired I believe by your childhood in why you were born in Montana but you you spend some of your childhood insulin no it wasn't inspired by the head okay it was it was um there's a song called blue velvet yes and I can't remember the guy who wrote the original but anybody know who wrote the original song Bernie Wayne Burt probably Vinton no no Bobby's and I sang a Bernie Wayne I think is the name of the guy who wrote it in 1952 years passed and Bobby Vinton did a version of blue velvet when that song came out I did not like it it was schmaltzy and it was just not my cup of tea it wasn't really rock and roll and it just passed me by but later I was sitting somewhere and that song came on and in my mind's eye I saw green lungs red lips at night and these green lungs and red lips stuck in my mind married to this song and then the next thing was an ear a severed ear in a field and then more ideas started coming I I don't know who's the world-premiere but I saw a blue velvet at the Montreal Film Festival was that the world premiere I believe it was yeah and and um Fellini's wife Juliet - Julia - masseur I got to dance with Giulietta Masina on opening night in Montreal we opened the dancing of this party dancing together it was so beautiful such a beautiful soul she was imagine that I'm trying to yeah so I saw it there in Montreal mm-hmm and I I can honestly say I've never seen a film like it I mean when the the opening scenes of that film are just unforgettable I mean tell us a little bit about this thing you know that the white picket fence they the happy contented people in this little lumber town and the the horror sickness just under the surface well it wasn't um it's the ideas that come and many other ideas that come are conjured by our world and we all know that there's many mysteries and I always say that human beings are like detectives we want to know what's going on and what the the truth of the thing is and we see our world and we feel it and we feel there's things going on and then at some times these ideas come and they string themselves together and out comes something like blue velvet and I always say the filmmaker has to understand the thing for himself or herself but when things get abstract or a little bit abstract there's room for many interpretations and each person should be able to make up his or her mind to see to feel what what the things mean and blue velvet is like that I was wondering if Kafka was an influence on you I loved Franz Kafka I particularly liked the metamorphosis yes I can see that mm-hmm well blue velvet was something in my filmgoing life that was extraordinary can you talk a bit about wild at heart now wild at heart I read well I have a friend named Monty Montgomery and if you seem Mulholland Drive Monty played the cowboy and Monty is a southern boy and he is an interesting fellow he was one of the producers on on wild at heart and before all this he sent me a book that he wanted to direct and I was talking to him on the phone and I was just joking him I said Monty what if I read this thing and I want to direct it and then he said well David you'll direct me then and so it happened I read the book and Barry Gifford is a great writer and he writes in a strange way very short chapters but I always say his words are like seeds they conjured so much stuff in my mind and thing I just had a desire came from this to make this film and so we did and I'd gotten to know Laura Dern from blue velvet but I'd seen this side of her I knew she could play Lula knew that the perfect person for Sailor was Nicholas Cage a great great actor fearless actor and they signed on and I wrote the script in two weeks and then did a rewrite in another two weeks and we were out filming it just happened very smooth so so when you're AB filming on location is the much improvisation no you follow the script now you work very hard to make things a certain way once in a while um actors surprised you that it's even greater than what was you wrote on a page something really some incredible happens once in a while accidents happen and on blue velvet for instance Dennis Hopper was supposed to sing in dreams and Dean Stockwell is an old old friend of Dennis Hopper so they would rehearse together Dennis bless his heart he could not remember the lines and so Dean was always helping him out so they came to show me what they've been working on and they play I play them the music they are lip-synching to it Dennis forgets the line Dean's keeps going and I said wait a minute and flip them around and it's what it was there so things happen I always say nothing's finished till it's finished but improvisation is not the thing it's to get it to feel correct based on the script which is based on the ideas and well as while that hot won the Palme d'Or at the Cannes Film Festival was at a there was a huge shock half the audience was booing and very very loudly and the other half was applauding and it was but it was a thrill beyond the beyond now we should talk about Twin Peaks this same article that I mentioned earlier in today's Sydney Morning Herald let me just quote a line from the article it says if Lynch will be remembered for one great contribution to cinema it's the way he's been able to bring a sense of lingering unresolvable mystery back into movies and television to reimburse the subconscious hmm pretty beautiful he's easy I'll give you the article after ok no thanks so how did Twin Peaks come about because I think I think the success or the fact that Twin Peaks exists as a television series helped change American television would you that's what they say yes it came about I was with an agency called CAA Creative Artists Agency in LA and there was a young agent there named Tony Krantz he was all fired up that about blue velvet he said you should do work with mark frost and make a TV show and I said Tony I don't want to do a TV show and shortly after that mark and I had lunch at do pars restaurant on Ventura Boulevard and we started talking and there was this dead girl and started getting ideas so one thing led to another and so I waited this did go in her mind in her mind al can I say I had visions of in the restaurant you know so it was just like everything I had worked worked with mark before no let's see I don't remember yes I'd we'd written a screenplay called one saliva bubble of comedy and Mark and I were going to do a script on this book the goddess about Marilyn Monroe but those things didn't happen but then we started talking about Twin Peaks and that started started happening and so we we we made we made Twin Peaks so how difficult was it to sell that to television it was um it was it wasn't so for cold I I saw it as a film the pilot was just like making a film and they seemed to like the idea behind the scenes I think they were nervous and asking questions to people if this is a good idea and I know that after we shot the planet they did a lot of testing and it it didn't go horribly the testing but it didn't go great either so but on opening night when the thing ran it was the huge viewing number and then you made a feature film spin-off there's a line in Twin Peaks far walk with me we live inside a dream we live inside a dream that's a very Lynch iam know that's sort of the truth it's sort of the truth and one day we wake up and realize that it was a dream and we realize who we truly are it's a glorious day when that happens now I wonder if you can confide and nobody here is going to pass anything on is there going to really be another Twin Peaks I really don't know okay we've been negotiating a contract for about a year and it's a strange thing it's I don't know what whether it will it will happen but there's a script and we had a script we've been what we mark and I worked on this for four years and if it doesn't happen in America could it happen in France and I don't know if how twin peaks' twin peaks in France I guess no I'm but I mean with French money there's plenty of people with money that could make it happen but it's a long story there's complications okay there's complications so that's as far as we can go right okay I was wondering watching Lost Highway Edward Hopper comes to mind in terms of the look no and I can see that yeah a bit well I mean I wonder which if any painters have been in I love Edward Hopper I love Edward Hopper I love his paintings they're very lonely and they all have this sense of mystery what is really going on and they're just beautiful you could sit and look at them for a long long long time I just love them I don't necessarily I've never made a film I would like to make a film in Edward Hopper world but that and that hasn't happened not even with rabbits instead of pyramids as closest there that's true yeah okay I'm a big fan of the straight story I love the straight story it would appear on the surface to be your most linear film but I've heard you call it an abstract story I said it's my most experimental film because there's you follow a line like you say a very linear line that you can't deviate from in any way and you have very few elements to work with so the way things and it you know a lot of these things in cinema is so tender if if a piece of music is a little too loud it breaks the mood if it's too soft you don't feel it if this transition bumps or something happens you thrown out it's such a tender thing and with few elements trying to get this emotion the lots of I say this a bunch of times but people crying on the screen but no one in the audience is crying they don't feel it so when you you don't have to feel something I did not get those ideas myself it was based on a true story I did not write the script I read the script but just like catching ideas it came alive in my mind I feel things I felt the emotion of this thing and why I was an experimental thing what do you do to get that you know a motion in in the people you know watching it in yourself and so that was the trick with a straight story but and a long way down the road because of Richard Farnsworth a greatest natural actor and Spacek and great music by Angelo Badalamenti it was not so difficult Mulholland Drive now this started off well tell us the story I mean it was it didn't finish up the way it started this was again fate stepping in again Tony Krantz comes to me I had already written on a piece of plywood I will never do television again and but he came and started firing me up about doing something and so out came this script for a pilot for a television series and it was again with ABC and they they seemed to really like the idea of this I worked on the pilot for a long time and it came the time to show them something and I showed them a rough cut it was it was a little bit finer than a rough cut and the person I heard that saw it saw it at 6 o'clock in the morning having coffee standing up seeing it on a television across the room and he hated it so they canceled the thing so is a little bit depressing for for a while my dear friend Pierre Edelman from Paris came to visit and we started talking about this thing being a feature and he went back and one thing led to another and canal+ wanted to give me money to make it into a feature and that took a year to negotiate during the time it was being negotiated I didn't think too much about making it into a feature but on the day that the thing was done a horror came over me I had zero ideas of how to do it you don't meditate to get ideas you meditate to expand that container and get ideas more easily outside of meditation but that particular night I sat down to meditate and I've told this story a bunch of times as if it was a string of pearls the ideas came one after another how to do it and that was a real gift and so we may we shot again and made it into a feature and away we went and so how long in total was it between that fine cat well that rough fine rough cut and starting shooting again over a year / yes / maybe a year and I'm not sure how long it was but I believe it was over a year so the woods a chance you couldn't get Olli actors back oh is a terrible thing and that what made it all the worse I called and all the sets had been destroyed all the costumes had gone what they say into the stream gone for others all the props gone and I thought how in the world is this going to happen but the ideas came now as Australians I'm sure we are interested to know about Naomi Watts I and how you came to cast her in the film well I have to say we were David and I were talking earlier every Australian actor or actress I've met have been sensational they have the stuff but they don't go on ego trips they're regular straight shooters and great people to be around and it was one by one all the same super super people naomi is one of them Naomi her best friend is Nicole Kidman who has became a superstar and Naomi couldn't get arrested and in this world of television series you have to our actors have to sign on just in case there's many seasons they have to sign on for a long time so you can't get big stars to sign on to something they just won't do it whether they loved it or not so you swim in a different pool and Naomi was in that pool I'm I saw a picture of Naomi and then I met Naomi two times and then a third time and I saw the way she is and knew in my heart this was the perfect person and away we went and we had so much fun making this and bless her heart she has the stuff all the all the stuff and so then she was able to go on from there and become a superstar on her own I did an interview with Naomi at the time of Mulholland Drive came out and she told me that she was excited to work with you on what she thought would be a television series and when the news came that ABC didn't ABC America we should say because didn't want to proceed with it she was absolutely devastated she thought that was the end of her career she thought you know I'm a complete failure and then when the French came in and you've completed as a feature film she was so excited and so thrilled and she was absolutely full of admiration for your persistence in getting that film finished that's beautiful yeah yes Mulholland Drive Inland Empire you photographed it edited it but you made it like a painting really could we say them well not anymore than anything else I think but it did it was a strange road again making that film was it sort of back to basics do you think I had started an internet site and started making small digital things with the sony pd 150 camera and working with that camera was such a thrill you can see what you've got right away you can try experiments you can do things and so in those days I got an idea and for a scene and I went and got the people together and shot the scene but I thought that was it I've got a scene I don't know what it is really except what it just is that it's not part of something and then I got an idea for another scene and I went and I shot that and then I got an idea for a third scene and I went and shot that and then I got a fourth idea that United these three previous scenes and and had ideas for a much more so from that point forward as I say it became more of a normal shooting schedule normal shooting thing but based on the script it came from the ideas of that forth idea and off we went but we had to stick with a Sony PD 150 because those other scenes have been shot with that and what was fine with me but it's not a high-res you know camera and it was partly filmed in Poland why that that's where the ideas led me how do ideas lead you to Paolo I have friends that run the camera image Film Festival in watch Poland and they became to visit me in the year 2000 four of them and they wanted me to come to their festival and I loved factories and I loved nude women so I said could you guys image ordered you to they're pretty much equal I said could you guys get me into some of these factories I've heard about because it was a big industrial area in Poland and they said absolutely and I said could you get me nude women at night and they said I said no problem so they were true to their word and they became great friends so in Poland in which Poland I started I loved the mood of which Poland in the winter it was very interesting architecture and these black trees and low-hanging gray clouds and these factories and I started to dream and some scenes came and those scenes and other ideas came and into Inland Empire you've described it as a film about a woman in trouble a woman in trouble yeah you know I always say this a film is sort of like a book and books get written and the author maybe passes away so you can't go talk to them and say what did you mean you know I'm duly chastened I don't know I don't mean that in and Dave is a great you know film critic and and people have a right to analyze the thing and say what it is for them and to criticize it one way or another it's beautiful but I really believe the film should stand on its own and there should be nothing added nothing subtracted and you work a long time to make it just sold and it's a very precious thing every film so that's sort of the way it is fair fair enough but maybe you can answer this one how where did the title come from it came from the story okay I got the impression that making Atlanta but you were you were sort of in a relaxed mood because you you were making it without any pressure from a Hollywood producer distributor I mean you you if you must have been totally free well I've been free since dune but there must have been no no no there was freedom freedom freedom freedom it's so important you can't work without you know freedom and freedom doesn't mean that you don't listen to some suggestions but you um you don't have to take the suggestion you can listen and I say never turn down a good idea but never take a bad idea filmmaking has only ever been part of your working life you've you're a painter you're a photographer you're you've created animation and music they're all areas that you've explored and do you approach each art form with the same vision that distinguishes your films in a way I always say every medium talks to you and a lot of the mediums even cinema is a little bit action in reaction for instance in a rehearsal you watch a rehearsal and then you react to that and if it's not exactly right based on the idea you go talk to the actors and you talk to them with words so that they understand a certain thing and then you rehearse again and little by little it gets closer and closer and then I always say some light bulb goes off in their mind and they they catch this now they're going down the same road you're on based on the idea and and many mediums the thing you're going you're making some some experiments you start seeing what the medium does and how it reacts to this or this or this it's almost a dialogue with the medium and then you find your way with that particular medium and it's and then from then on it's ideas flowing in that particular mediums talk and away you go so when you're when you're making a film what for you is the most enjoyable part of the process is it is it the preparation working on the script is it the actual shooting working with the actors or is it the post-production every aspect is enjoyable and every aspect is critical so it's it's just beautiful from it's a beautiful world making a film and the crew and the cast you become like a family it's very very beautiful and as I say every element is so important is critical to the whole so you work until each thing feels correct and then you have a chance of the whole working jean-luc Godard this last year made a film in 3d does 3d tempt you at all I never really I think if I got an idea that said this is screaming for 3d more often than not people shoot 3d to get people into the theaters and that's not the wait reason to shoot 3d if the idea says this is a 3d idea just like some ideas are black some films are black and white ideas some are color some are this some of them it's the idea that tells you how it wants to be but I think it would be great if one day a three the ID idea came and you'd be up for that hmm and you'd be you'd be yeah yeah yeah if it came in it wanted to be 3d you bet if I was in love how does it feel when you've gone through the process of months of making a film and finally you finished it how does it feel sort of letting it go there's a point where our thing is finished and nothing is ever really perfect but it's finished and it feels complete and then there's a there's a very good feeling and it opens the door to the future until the thing is finished you really can't think too much about other things so when a thing is finished that door opens and you you start thinking about new things I think you're an admirer of the french director Jacques Tati I love Jacques Tati yeah but he would revisit his films constantly over the years I mean Levesque wants to miss youla mr. heelas holiday he was still tweaking it cutting bits for years uh-huh you're not tempted to do that no but Jacques Tati I love whatever he wants to do is cool with me um he was a very great genius and I loved his heart and I loved his creativity aspect under not just especially but one of the things as sound effects with Jacques Tati is humour incredible you know things and and and visually to everything about him I think he's a great great great filmmaker and a genius filmmaker the pet he made so shoe films yeah and he died broke and broken and no one came to help him and it was a big big big sadness yes indeed well we mustn't end because we're nearly at the end on a sad note no no we should not do that so what about David Lynch the singer I am NOT a musician and I'm not a singer but I do make music and sing a little more please on that I got into the I always say Angelo Badalamenti brought me into the world of music and Angelo um said David I I need lyrics I can't write music without lyrics so I started writing lyrics and that was something new and then working with Angelo I got to know many many great musicians that would come into the studio and they were other musicians I say are like children they like to sleep late and when they're playing together it's a high it's a thrill it's the most beautiful world and it and they it's almost like a love fest this music just brings people together into this so special place and I love being in the studio I had always wanted a studio to experiment with sound so finally I got up got to build a studio in Los Angeles and I started experimenting with just sound and I again Monty Montgomery came one time he his girlfriend and his future wife was a girl named Jocelyn and Jocelyn had fallen in love with Hildegard and wanted to do an album and I saw this thing as nature and Hildegard and we went to work making that album and it was called Lux viv ins and it's a I don't think you can get it anymore but it's it's so beautiful Jocelyn's singing is so incredible but we had a great time experimenting with the with the sound and music behind that and enduring the doing the experimenting I started playing an electric guitar to make sound effects and then the sound effects became more musical and I play the electric guitar upside down and backwards but it makes a thing that makes me happy well we started with music we weren't quite finished there I just got one more thing to ask you you once said that the hardest thing there is is to keep a fresh eye of what a fresh eye aha it is difficult yeah you still believe that if you um there is a chance making a film over a long period of time that you lose objectivity so as painful as it is I have a screening with say several people it could be there's not a magic number it could be 20 it could be 40 it could be even 10 and you sit with them and you can feel you don't need notes you can feel where it's not working or when or when it is these are people who know nothing about nothing about it and I think that's very important and it teaches you a lot it's it's very excruciating and a horrible thing but it's very good to fix things before it's too late and do you ever look at your films 10 years later and say I wish I'd done that or I'm so glad I did that I have one of my son's when he was 14 I told him he could start seeing my films so every Saturday night what did you start it with it raised a head start wouldn't eat sequins so he started with Eraser Elka and every Saturday night we saw a different film and in painting I think it's very important sometimes to look at old older work and it can give you ideas for you know the present work and or even ideas for the future it's kind of important to sometimes go back and I felt that same way about seeing the films with my son I was glad I went back and it kind of inspired some things for the future and it was basically a good experience well David you've been very generous with your insights this afternoon as most of you know I'm sure there was a wonderful exhibition David Lynch between two worlds at Goma it opened today and it runs until the 7th of June so if you haven't seen it yet be sure to go it is it is a marvelous exhibition and the catalog is fantastic isn't it it's a great a beautiful catalog yeah this show is so so but the catalog is incredible please thank David Lynch thank you all very much thank you you

Channel: QAGOMA

Views: 734,091

Rating: 4.9425402 out of 5

Keywords: QAG, GOMA, QAGOMA, Brisbane, Queensland, Australia, Queensland Gallery Of Modern Art (Tourist Attraction), david lynch, between two worlds, Twin Peaks (TV Program), Queensland Art Gallery (Location), Gallery Of Modern Art (Museum), in conversation, david lynch interview, david lynch music, david lynch twin peaks, Angelo Badalamenti

Id: jGd6lnYTTY8

Length: 58min 42sec (3522 seconds)

Published: Mon Jun 15 2015

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[u/CleganeForHighSepton]

March 2015, so we can be fairly certain that season 3 is fairly clear in his eye, they have a script, etc.

edit: the idea that it is a fantastic thing to wake up and realise who you really are is a very interesting idea. Is it better to live in a dream, if your reality is terrible, or should you wake yourself up and face it.

Another very interesting quote re: electricity and power lines: "It’s like when you go under power lines. If you were blindfolded and drove down a highway under those power lines, and really concentrated, you could tell when they occurred. There’s something very disturbing about that amount of electricity—they know these things now. A tumor grows in the head. Just because you can’t see it doesn’t mean it’s not, you know, whacking you.”

[u/amysteriousmystery]

This is one of Lynch's oft repeated phrases.

In case you don't know he presented his 2006 film Inland Empire with the following quote:

Lynch then asked Isaak to play him a couple of his beautiful chords while he read a quote from the Aitareya Upanishad: "We are like the spider. We weave our life and then move along in it. We are like the dreamer who dreams and then lives in the dream. This is true for the entire universe." Lynch then wished his audience a good experience viewing Inland Empire.

https://www.youtube.com/watch?v=LznR8OHCCh0

[u/blamtucky]

He looks like the kid at the end of Big when he transforms and he's still wearing the adult suit.

[u/Adaminium]

I'm pretty sure it's mighty fantastic to wake up and be David Lynch!

[u/[deleted]]

why is this so good, qualitatively speaking??! thank you!

[u/[deleted]]

I don't know if I'd call recurring artistic themes a "time travel easter egg".

[u/HumbrolUser]

Presumably "waking up" is metaphorical, as if coming to a realization, otherwise, well, if sleep, dreaming, and waking up are known concepts, changing the way any of that works, seems too much to hope for. So, I am inclined to think that "waking up" would mean, something metaphorical, and not something to be understood in a literal sense, as if we are literally all asleep right now, while also thinking we are conscious and awake.

[u/saracoop]

Cooper's realization of this accompanied with his big face is the real ending. Part 18 is an earlier struggle to understand this idea. Richard is a more realistic and hardened Cooper. Not one who attained enlightenment.

[u/uhhhh_no]

Since no one else has done it, for those who don't want to click through to the YouTube video on moral grounds:

Interviewer: There's a line in Twin Peaks: Fire Walk with Me: "We live inside a dream."

DKL: "We live inside a dream."

Interviewer: Yeah, that's a very Lynchian...

DKL: It's sort of the truth. [general laughter] It's sort of the truth, and one day we wake up and realize that it was a dream and we realize who we truly are. It's a glorious day when that happens. [smile, fidgeting]