MASTER CLASS de DAVID LYNCH (Completa) (Subtitulada en ESPAÑOL)

well mr. Lynch thank you very much you're very white here it's a great pleasure a great honor thank you as we are in an academic stage here and I think it's pertinent to start talking about your formation as an artist and just you you studied in in Philadelphia and I kinda make up arts and then in the American Film Institute in Los Angeles how do you recall that experience well I always say that Philadelphia Pennsylvania is my biggest influence and Philadelphia I'm so glad I went there but it is it was then called I always been called the City of Brotherly Love but almost a zero love corruption sickness thick fear very very bad place in many ways but it had beautiful feeling mood and the architecture and that that mood and that way the things were built it's a little bit of a factory factory town it seeped into me and all the fear and everything and so I end up saying I really loved the place I went to school to study painting I always wanted to be a painter and I it was at that Pennsylvania Academy in the Fine Arts that I made my first film and that's another story but anyway at the American film I got accepted to the American Film Institute's Center for Advanced Film Studies and I went there in the summer of 1970 it's a two-year school but I ended up staying four years and living in these stables down below this 55 room mansion where the school was housed and I made my first feature film there and so the American Film Institute has been so good to me I I can't say enough good words about Philadelphia for an influence and the American Film Institute for helping me give it get the chance to make my first feature well here in high school we encourage the students to embrace a multidisciplinary paper among cinema you know also that's music and sonography that's very very good and I wonder if you think that cinema is an art is there that where every activity every artistic activity comes together in a sense that's what they say seven arts or something I don't know what they all are but it's there's things about painting that find their way into cinema music finds its way into cinema and photography of course finds its way into cinema all these things are going together writing and so it's a magical magical language medium and for me it kind of led to still photography and like I said I already was a painter and in a way it led to music and it's a it's a thrilling medium as you all know I think that when you were 18 years old and you visit Europe were the main two to meet the the painter the expressionist painter or Scott Kokoschka and I knew do you recall the experience again explain how it was like it was yesterday I might have a good friend named Jack Fiske and I ended up marrying his sister for a while and but Jack was studying painting at Cork I mean a Cooper Union and I was at the Boston Museum school and we both hated our schools so we decided we would go I think it was Jack Kokoschka had a school in salzburg austria but we were completely unprepared and but we set out to go study with Oskar Kokoschka and before we went we saw The Sound of Music because it was all taking place in Salzburg aahs around it there and it was I should have known then I it was so clean and I it was beautiful but not inspiring for painting never met Kokoschka and left there after two days then went to Paris Jack wanted to go to Portugal I wanted to go to Athens we flipped a coin I win we took the original Orient Express down to Athens I woke up one morning with 15 lizards on the ceiling and I said you know what I'm not going to get anything done here and so we started a trip back and yesterday you you made a quick visit to the Prado Museum which paint is you wanted to watch it I only wanted to see Bosch Garden of Earthly Delights it's it resembles a lot of universe it does in a way the painting is so beautiful in standing in front of it there's not been a reproduction I've ever seen that captures what it really is it was such a thrill a real thrill well that's up to your creative process well I'm sure a lot of people wonder themselves where do you get the first idea for a film is it a character he said music is it an image and I the first idea is I always talk about it in terms of fishing yeah so how do you get your first fish it's a very weird thing you have to go fishing and you don't know what you're going to catch so every day maybe we all are on the lookout for ideas and ideas come but most ideas are not so thrilling but once in a while you catch an idea that is majorly thrilling and I always say the same thing I like ideas for two reasons one is the idea itself and that next is how cinema let's say this medium of cinema could say that idea so an idea comes that I love the idea and I see what a cinema to do with this I am so thrilled but this idea may just be a tiny fraction of the whole film but this came to me so I focus on that write it down so in such a way that you remember that feeling then you think about that focus on that and more often than not because that is a certain way it will it will bring in fish to it and hook on to it and a thing was starting merging and little by little a script will emerge so that's how it how it goes because the latest film Inland Empire and you film it without a script no no that's not true that's not true in the very beginning I got ideas excuse me I got one idea saying for a scene and in those days I was really falling in love with digital and digital cameras and so it was very easy to start going to work and just shoot this scene not thinking about anything else this is the scene I want to shoot so I shot that scene then a little bit later I got an idea for another scene has nothing to do with this scene and I get excited about that and I shoot that scene then a little bit later on I get an idea for another scene and I get excited and I shoot that scene and I've got three scenes they don't relate to each other at all but there is this thing called a unified field and there's a thing that unites and one day it happened that I got an idea that in and of itself I liked but it United these other three so then the four became something that conjured a script and then I wrote a long script and then we started shooting as if we're shooting a feature film and we returned to the idea of the region of a film I I believe that and Lost Highway for example there written was the OJ Simpson case no no no not at all yeah well in a strange way it it fed into it and it fed into it but in the beginning it wasn't an influence that was not noticed anyway but very Gifford and I sat and tell each other ideas and that back and forth started conjuring a story of Lost Highway and then when the story became more realized it was a story of what we call the psychogenic fugue which is some kind of mental condition where you do something so horrible so horrible that it would be difficult to go forward living but the mind can take that horror and place it in a in a compartment in the brain so you can go forward and in this way it sort of explains possibly OJ Simpson having done these things but is able to smile and play golf afterwards well you are you're regarded as an independent artist and you truly are - master of independence creativity if you can explain how it's been your relations through the years with with the Hollywood industry I have no relation to it I live in Hollywood and I love Los Angeles and Hollywood I love it because I love the light I love the light so much and Los Angeles is is spread out and I don't know what it is about it I have a feeling of freedom in Los Angeles so it's the light and freedom and it's a kind of a great feeling there for me so but the I've never made our out-and-out studio picture the studio's have kind of been on the periphery of a couple but I've always worked with a producer or a financier on his on his or her own and so I'm I'm in the city with them but I don't work with them because you're to data and Mulholland Drive in and Inland Empire and well there are in a sense dark portraits of Hollywood how it works in the streets yeah whatever lots of there's there's there's no film I say that shows Hollywood really mm-hmm pieces of Hollywood and Hollywood is always changing and so it's not ever exactly the same but there's certain generalizations you could say that it's a place very thrilling it's a place where people come to realize their dreams of creativity creating something expressing something working in the in the films for you some people come for money some people come for fame some people come to express themselves and and it's a it's a magnet for people to realize their dreams so it's it's a thrilling place do you think there's a there's a clear difference between American cinema and European cinema or le continent there was a big difference and now it's maybe a little bit less Hollywood is infiltrated like maybe like a disease it's spread overseas and then went around and so the way it is now the Hollywood blockbusters are what people go to the cinema to see and the alternative cinema doesn't have a many theaters left to to have those experiences so it's a little bit of a major sadness because I and I'm sure everybody else makes feature films to play on the big screen harder and harder to find great theater with a giant screen with great sound where the film can live there for a while and have people come and see it so that's that's a sadness because do you watch the cinema that's being made today do you have mmm and you know rest into makers I don't not that I don't have interest this there's only 24 hours in a day and I like to work so you can't mention some filmmakers from today that interests you or something I like the Coen Brothers I think they're always solid they're always solid I like Verner Hertzog I like Marty Scorsese I like I don't know rocky Curtis Maki I like I like a lot of lot of people you talked in you wrote about the influence that mmm and masters like Hitchcock Oh like yeah yeah yeah a lot of them I like are dead now you know Fellini I love I love Fellini I just was in Rome and met again almost 20 years to the day the nice of Federico Fellini and 20 years ago she I was shooting a commercial in Rome a Barilla pasta commercial with Gerard Depardieu and Tony no Dalek holy was the DP and I had met Tony no earlier that's two stories with Fellini having to do it Tony no but this is the strange thing how life is but I found myself south of Rome the first time because I was going with Isabella Rossellini and she was in a film called dark eyes I think it was Rico cough and marchello Mastriani and Savannah Mangano were in that film I'd worked with sivanna before some wife of Dino De Laurentiis so we had dinner marchello Mastriani Silvana Isabella and I in an outdoor restaurant and it was a mushroom season so there was mushroom starters than another course with a different mushrooms more courses with mushrooms and the main course was a mushroom like a steak and my cello Mastriani telling these fantastic stories and along the way he finds out that I love Fellini next morning I come out of the hotel there's marchello Mastry on his car and driver with instructions to take me into cinecittà and I spend the whole day with Fellini and it was so beautiful then some years went by and I was shooting this Barilla pasta commercial in Rome and there's Tony no who was Fellini was shooting intervie still when I saw him in Rome and Cinecitta Tony knows the DP and another guy had worked with Fellini and and they said Oh Fellini's in a hospital in the north of Italy and they're moving him down to a hospital here in Rome and he had been having some trouble so I said do you think it's possible if I could go say hello to him and they said well let's try so it turned out that the night we finished shooting the commercial of Friday night a beautiful sunny beautiful warm night got in a car and motored over to this hospital with Fellini's nice Francesca is her name and then she said to everybody only Tony know and David can go in so the other people had to wait and we went in deep into this hospital it was very busy in the front less busy in the middle and then finally we got to this quiet place a door and she went in and came out and said Fellini we'll see you I go in and there's Fellini sitting between two beds in a wheelchair and over here is Vincenzo a journalist Tonino knows but mentions oh and he goes to talk to Vincenzo I go and sit with Fellini he holds my hand and we talked for a half an hour so beautiful and at the end of the talk I said mr. Fellini the whole world is waiting for your next film and he smiled and we waved goodbye and out I went next day we go back to Paris and the next day watching television here Fellini has gone into a coma so how lucky was I to have that last visit well and we could ask you the same the whole world is waiting for your next film I'm not feeling really well because it's it's been already I've been painting and working on lithography and working on music and still photography and trying to catch ideas for the next film mmm what happened to cinema in the 21st century I'm talking about the digital compression of course well that's like there's good things and bad things and like they say the world is always changing and things do go in cycles art house cinema could come back but for right now they say the art house is cable television so people are able to do things in cable television that are really fantastic and the only problem with that is it's television it comes through a small screen and people are not even looking at it lots of times on a television they're looking at it on you know smaller things and this is this is there's there's very little power in that and not hardly any ability to to really go into another world well you embrace the digital compression I love the digital you know thing yeah yeah you know I have to say I recently saw some film and I'd been seeing digital even high quality digital but when I saw it when it was a digital transfer of film but at the same time I saw it hit me such a difference this thing of emulsion on celluloid it gets something that digital hasn't gotten yet and it's so beautiful and important it's really beautiful so you missed celluloid sir I miss it I miss that quality of it hmm you don't feel well about someone watching Bluebell that or any other of their films on a laptop people will do it anyway doesn't matter what I'm saying that's true well are you optimistic of the future of cinema I like they say cinema will never die painting will never die photography will never die so it just changes let's move a little bit to TV and in a sense Twin Peaks was a region of this revolution we live in so years ago in in the narrative television and well how how do you what do you think about this revolution right now and TV do you really think it is a revolution it's not really a revolution but I always said I love a continuing story a feature film as a beginning middle and end and even though even with that form there's much room to move it's not like a certain formula it's there's lots of room to move but it does end and a continuing story it doesn't have to end it can just keep going and this is a thrilling thrilling thing we were talking about Fellini and and and you mentioned Hitchcock and a lot of masters that influenced you I was wondering what about Luis buñuel never saw any Boone well films really no limit on Shannon de Loup no I have not seen him and so a lot of that I mean I never seen any I'd I haven't seen them what and went back to that the University create on your onion films the figure of the doppelganger of the novel it's yes it's very important in your very relevant and I don't think about it but then I realized that it is important and they keep coming up no wonder in the Senate Bertie go of catch cookies it's an influence for you I love vertigo I like rear window more but I wouldn't say that it was an influence no do you see a surface in a like Dennis Hopper called you an American surrealist not really I love the surrealism and I love absurdity but I love many other things too and the cinema can hold the other things and so it can go so real it can go into a love story it can go into a crime story or a mystery all all in the same film well this is a trick question a lot of studies and essays had very hard tried to define what is it the lynchin atmosphere no lynchin universe so now that we have David Lynch here how will David Lynch define something Lynch and I answered that my doctor has told me not to think about this because even in Spain for the Spanish now it's even worse is the whirling channel which it's very common between viewers to describe something you know then maybe they don't understand what has to do with Oneiric dimensions and so so no definition of mention from David Linton no um two more questions and then we pass oh okay well I'd like you to talk about the creative process with the music and image is so intertwined in your film so this this how do you work with Angelo Armenti mainly and sure sessions so when you get an idea and our ideas that come together they they are like you're seeing the thing but then you're also hearing the thing and you're feeling the mood and the mood music and sound huge elements for the mood and so you feel it and you you know it so the idea is to get every other department to going along the line of that that those ideas and you get these ideas before you have the ideas you have infinite possibilities as soon as you get these ideas they dictate a certain road not this road not that road just this road and so you try to get everybody you work with to understand that road and that happens by action and reaction they say something and then you say no no this is this and then they say something and then you say no no and then they say this and they say you say yes and then they say okay and then they do it a little bit more yeah yeah yeah and then they got it so all the things so Angelo can write any kind of music he's an incredible musician incredible so what music is he gonna write it would be ridiculous to give him the film and just say write what you write what you want to write how ridiculous would that be I mean it might work but check ninety-nine out of a hundred it won't work so you have to work with them too and I have a Angelou and I I sit next to him on the piano bench and so his hands are on the keys and I start talking to Angelo about mood or different things and he plays my words and then I say no no no no and I have to change my words because those words made this and that's not right and I'm feeling it and then he I say new words and he plays those words no no I have to change my words I say new words Angela plays Angelo Angelo intro you know Angelo any-any starts going and and very pretty fast it finds a thing that is satisfying the necessary mood for that for that thing and that's one way we work another way is we might make music through this system that just exists on its own and we call it firewood so I can go in with this pile or this pile or this pile and see if something works later for now I'll be quiet and we leave the audience okay we have four questions from students here from okay we start with them and then we'll make a short break and then come back for more okay fantastic so the first student I can't I don't think that microphones on we know just yeah there you go wait - not just Miami ready pregunta me pregunta ask andrei tarkovsky pienso que la calidad de cinéma como art s lucky cinema puede ver Darley tiempo que tu puedes ver de película a nun can el juego - quad s reproduce arumand on the basis a trans owes me preguntas koalas para nosotros para usted la época lead up the cynical martyr as you all know cinema can work with time it can go back in time forward in time and it can slow time down it can speed time up and but what I like about cinema is it's like music it's got it can have that based on the idea pace comes in and the pace is so important to me how it flows how these sounds come in how they come in how big they get how they go out and how the thing goes and each scene sort of has a flow and and I and that's it has to do with time but it has to do with a feeling of how time is it needs to go so and it's it can like I always say cinema can say concrete things and very abstract things like music it can it can get into a strange time of dreams and dream logic cinema can say next question hello mr. Lynch good afternoon good afternoon let me ask you this question Spanish well thank you Mucha Bethesda masu película Matunuck ASEAN para encontrar la el significant sentido la drama goethe a parent SC esta manera en our our day after película a correspondence a viene de una intención de radar a petal or ovn de una forma intrinsic Acadian a uniform a nada para Narayana Michaela de cosas el gouna hallowed I don't want to manipulate anybody I want to I to me that would be a very bad thing I want to realize these ideas in the way they came and the way they thrilled me so I always say I have to understand what these things mean for me and so sometimes I get an idea and I don't really understand the idea I love it and I so I have to think about it and think about it and think about it and think about it and a kind of understanding will come and then I kind of own it more so I have an idea that I love I see away cinema can do this idea and I understand this idea but even for actors or other people working on the it's not so important that they understand everything what's important is they do the thing so it's true to the idea and and and then if it feels correct if it feels correct to me based on the idea then I hope it feels that same way for the viewers but every viewer is different so some people they hate abstractions they want a concrete thing some love to go in a world and just not know where they are so you never know how the thing is going to go over so you yourself better be happy with what you did sorry mr. Lynch yeah yeah my question is about talking about surrealism I would like to know what made you go from a very surrealistic personal movie like Eraserhead to a more conventional understandable movie like the Elephant Man what happened in those three years of development thank you um I finished the Eraserhead and I took five years to make Eraserhead because I kept running out of money when I finished it I wrote a script called Ronnie rocket and I loved this script but I'm the only one that loves it so I couldn't get I couldn't get anything happening with this Ronnie rocket so I was just freshly married and I didn't know quite how much but my mother-in-law is putting pressure on my wife to get me to do some work to make some money and since nothing was happening with Ronnie rocket I one day called my friend Stuart Kornfeld and he is a producer and he has his ear to the ground for many things so I said Stuart do you know of any existing scripts that I could direct and Stuart said David I know of four scripts come I'll take you to lunch and tell you what they are so we went to this restaurant called nibblers I think it's closed and sat down and even before we ordered I said Stuart tell me and he said okay David the first script is called the Elephant Man and as I say bomb went off in my head and I said that's it well last question and then we take a break hi mr. Lind good night my question is what advice would you give to young people here in Spain but they're looking to enter the world of cinema what advice would I give to before entering the world of cinema yeah to young people here in Spain that are looking for are looking to enter in their world cinema yeah yeah yeah okay the the best thing I think is be true to yourself find your own voice be true to the ideas as always say never turned down a good idea but never take a bad idea be true to the ideas be true to yourself if you want to die the death sign a contract where you don't have final cut but if you want to live a healthy life never make a film without Final Cut why would anyone go to work on something they love and not have final control not be able to make the film that you want to make that doesn't mean like I say you won't take an idea or some kind of suggestion if it works you might say thank you very much that really helps me but if they make you take a bad idea you will die it's not your thing never make a film without Final Cut be true to the ideas be true to yourself don't take no for an answer and don't walk away from any element until it feels correct you might be working along somebody says we got to get out of this set we got to get out of this place right now and you say I haven't got it yet they say I don't care it looked good to me or something like this no no no no you stay there till it gets you say this is I've got it this is correct and every single element and then the thing has a chance to hold together as a whole and and then you put something out in the world you can never control how that thing is going to go if the big studios knew the secret of how to you know things go they may be trillionaires its audiences are funny the most important thing is that you love what you did you did the best you could in every element in every way and this is a this is a big happiness even if you don't make a nickel you've got that great feeling and chances are maybe maybe something will happen and and you'll make a success in money terms but you can't count on that now if you make something you don't love and you sold out and you make the money that money just won't it won't make you so happy it won't do it okay so this great advices we stopped just for five minutes and I also would say one more thing okay or two if you want okay you know I'm here promoting Transcendental Meditation as taught by Maharishi Mahesh Yogi I've been meditating for 40 years morning and evening and it has really served my work a technique and ancient form of meditation that allows you to dive within and transcend and experience the eternal Treasury pure consciousness happiness energy creativity intelligence love peace within every one of us intuition is there knowingness all these things that serve the work-energy to do more ideas flow more more of more and more and more freely bigger ideas come with this diving in and getting wet with this creativity within each one of us stress goes away that I say the the suffocating rubber clown suit of negativity begins to dissolve and you live and work and more and more freedom money in the bank to get this technique it'll serve your life and serve your work now we take a break hello I read that growing up in Montana you thought you were surrounded by creative emptiness and that when you move to the city you started having all these ideas for example Los Angeles in Mulholland right so I go like to know if Madrid cool inspired inspired you narratively for a film also I would like to know if you feel matter is a good play place for Transcendental Meditation perfect transcendental mediation the last part Madrid is a great place for Transcendental Meditation if you're a human being this technique will work no matter where you're from no matter what walk of life what religion Transcendental Meditation is a blessing for human beings and places talk to us we go to some place and we feel a mood and many times these places can conjure ideas unfortunately I've been you know in Madrid I haven't been able to go out and go around and catch the mood I've been in a hotel rooms or you know in in talks so it could happen that I out walking in Madrid or out in the land and it starts conjuring ideas it can happen anyplace next question hello in reims our passions and our impulses and our deepest feelings are reflected in our in a critical way and I think there is an impressive accuracy on how you translate that that reflection into your films also some some details that may happen on on daily life and someone can grab that detail and then that detail be reflected into into a dream like it happened in Mulholland Drive with a with that young when she when she saw a white dress whose name was Betty and then she a she dreamed she had that dream where herself a she was named Betty as well so the question is if you usually remember your dreams and if you're like the patterns you use the the Patterson on your on your on your dreams to make your films or you just another material something you have to write somewhere or I mean if your dreams supply your material to to make your fields thank you the question is do my dreams help me with the films if they appear in your fields have use money no I always say I never have I've only gotten one big idea from a dream and but I always say I love daydreaming I love to sit in a chair and daydream and it's to me like fishing and I am fishing we need patience we need a pole and a hook and some bait and for me desiring for an idea is like a bait on a hook so I like to sit and desire an idea that I could fall in love with and I just start daydreaming and just like sitting on a little boat and fishing and you don't know but sometimes you'll get a nibble and catch something and it may not be something you fall in love with so you keep on fishing ideas are there and they just we got to draw them in and sometimes it's good to walk around or like go to Madrid or someplace to see if it conjures the idea but at night time dreams only once did it come a big idea what was it okay I tell you quickly I was working on the script for blue velvet and blue velvet was maybe 90 95 percent done but there were that five percent there were as there was some big hole and I was thinking and thinking and waiting to find the ideas that would complete it and one day I went I don't even know remember why but I went over to Universal Studios for a meeting and the person I was meeting wasn't ready to see me so the secretary out in front office asked me to take a seat so I sat down and as soon as I sat down I remembered that the night before I'd had a dream and that dream started coming back to me and I went and asked her I said do you have a pencil and paper and she saw the thing in my eyes that she got something very quick and I started writing this stuff down and I realized that my dream had filled in that last 5% that's great high high one of one of your most haunting movies one of my personal favorites is Twin Peaks if I walk with me and through the years it's been a lot of talking in the internet about the cut will seen not being the ultimate cuts limousines yeah delete a lot of deleted scenes then the number of minutes of lost footage is really unbelievable so but I never we never heard about your opinion on this I don't know if you feel satisfied with the cartwheel scene I don't know if you consider that car the ultimate cut ultimate cut Willie ultimate cut you don't want to put something out if you have final cut you don't put something out that you're not happy with so but in Twin Peaks fire walk with me there are some deleted scenes hello hello well thank you for all your beautiful abs thank you in all these years I once heard Maya Davies used to prohibit himself to play classical songs he always kept saying to his band he prohibited himself from playing classical songs yeah he told his band that they should always moved forward and investigate an experiment you made a beautiful film a straight story in which he obviously showed and proved that you could do a classical theme very beautifully but I wonder if you have something of that thrive of that keep continuing investigating the language instead of doing what you could already know that's I I you know like I say ideas are the number one thing so if I get ideas then then they tell me what was going to be is classical or if it's more abstract so the straight story though my wife at another wife at the time she and her childhood friend wrote this script about this old man who rode on alone to see his brother I she and and her friend John spent years on this script I'm hearing about it all the time I have zero interest in this story and one day the script was finished and they asked me if I would read it not to direct it or anything but just read it and so I sat down one weekend and read this and I feel all this emotion and I'm thinking could this emotion be gotten in cinema and I said that I wanted to make this film it was so fortunate that Richard Farnsworth said yes to this because he is this person that was perfect and I say also that it may be it was one of my most abstract films because this thing of emotion it was a straight-ahead story couldn't deviate time was always going forward and so this these elements very few elements have to come together in a certain way in the look and the pace in the sound and the music to conjure a feeling like we all know that sometimes someone's crying on the movie screen but we don't feel sad and this thing of talking you know having the thing come out of that and give an emotion it's such a tricky tricky thing so delicate and the tiniest little thing can break it so to me it was a big experiment to try to get the the emotion that I felt from reading that script into the film but I I I loved the journey and am very happy I did it and very happy that I got to work with Richard Farnsworth and all the rest of them in that film well yesterday I was at a plainness of fear Museum and you talked many times about enlightenment I would like you if you want to talk as a parallel about the TV serie in light net by Laura Dern where the character she is trying to transform herself and transform the world at the same time I think maybe most of us here we agreed that the world we live in it's healing so I think we all have that mission in you where they are proposed of mass transit or meditation it's on his path so what can we do to transform ourselves but also trying to do something to the world so a beautiful a question such a beautiful question what we do to transform ourselves and what can we do to bring real peace to the world and the secret and it's always been the the answer the secret lies within in this world today all you got to do is turn on the TV and see that in pretty much every country people are divided they're divided on pretty much everything and when they talk they don't listen to the other and there's some still many well-wishers of humanity but if you picture a tree you picture the world as a tree and the boughs are falling down and the leaves are brown and yellow it's not a healthy tree up until now people try on the level of the leaves surface cures there's a leaf for AIDS there's a leaf for breast cancer there's a leaf for corruption there's a leaf for the Red Cross there's a leaf for everything and people pour money in to try to make a yell LeafGreen or a brown leaf green and what they find is as soon as they maybe get a leaf green and a tea and they may not even get the leaf green some six or seven leaves behind them have turned yellow or brown and surface cures were never going to take care of this but they say the experienced gardener waters the root gets the nourishment from the deepest level and automatically the whole tree comes up to perfection and the flowers appear on that tree and the fruit appears and on the world tree watering the root is enlivening this Unified Field at the base of all matter in mind and liven immunity in the midst of diversity is peace the fruit appears it's real peace real peace is not just the absence of war it's the absence of all negativity it's very very strange negativity they say is just like darkness and when you say what is darkness and you look at it you say darkness isn't anything darkness is the absence of something you start ramping up a light and darkness automatically goes you start ramping up this field of unity this light of unity and negativity automatically goes it's a big big big secret that's getting to be not so secret anymore peace creating groups that Myra she brought out these technologies for the individual and for peace and the world these advanced techniques of Transcendental Meditation done in a group are quadratically more powerful than that then the same number of people scattered about this group is this thing called constructive interference and the idea is the scientific thing where if you had three loudspeakers separated playing the same thing it's a certain volume but if you put the three loudspeakers close together it's nine loudspeakers worth of volume if you put these you know advanced meditators in a group on a permanent basis they say you just need the square root of one percent of a population and this is a small number of people that can generate so much of this unity this coherence and harmony for a population that they bring this harmony you know to the people without even they haven't even meditate these peace community groups are going to do it one day and you can do something to support peace creating groups for the individual you could become a lighted lamp unto yourself you get this technique stress goes away sorrow depression hate anger fear start to lift away big happiness and intelligence can grow of creativity grows Universal love is there its grows and this deep deep deep contentment of peace comes and we influence our environment so if you're stressed and angry and negative this is the vibe you put out if on the other hand you've got this happiness a lot of times arguments go because both people are miserable if one person suddenly gets very happy it stops the argument it's so incredible the happy person can take all this yelling and it's almost funny and it's it's and that stops this person this person says wait a minute you're not arguing anymore what's the problem and then you tell them about it and then they do it and then pretty soon you've got a very beautiful thing going for your friends and your family and it like I said it feeds the work more creativity more joy in the doing really really loving the doing more and more people work and work and work but they don't enjoy the work so much they do it for the goal of the work and your life is going by so it's it's this is this field within Transcendental Meditation is just a key that opens the door to that that field is what does everything for the human being so get this technique you do it 20 minutes in the morning 20 minutes in the afternoon and then go about your business and watch things get very very very good all you need is a legitimate teacher of Maharishi Mahesh Yogi's Transcendental Meditation mental technique an ancient form of meditation that truly works it truly allows you to transcend and experience this eternal level of life and it's it's such a blessing for the human being and the world yes about this technique that they're talking about if just a little meditation that it seems to be very like very simple of 20 minutes in the morning 20 minutes in the evening is it possible that if you get get this technique wrong or something you can like attract negativity no energy or something like that you won't get it wrong it's very simple it's easy and effortless it's not a trying or concentrated form of meditation not a contemplation form concentration forms the meditation and contemplation forms of meditation will just keep you on the surface this is a unique form of meditation that turns the awareness 180 degrees from out to within you naturally and easily and effortlessly dive through subtler levels of mind and intellect at the border of intellect you transcend and experience unbounded consciousness unbounded happiness it's such a sublime feeling and the reason once you're turned within the reason it's so easy and effortless the human beings mind always wants to go to fields of greater happiness each deeper level of mind has more happiness then each deeper level of intellect has a even more penis and at the border that transcendent is infinite happiness you'll go right in there you'll wish you could stay but you'll pop out with thoughts and then you dive again every time you experience that transcendent that ocean of pure consciousness you infuse some so you start expanding whatever science consciousness you had to begin with all those positive qualities and your boogying there have been six or seven hundred studies on this showing nothing but benefits no bad side effects the only side effect is negativity stops to giving you all the trouble okay let's have one more question yes you're the boss hi hello Willy weed sorry hello hello I was wondering in well while you're shooting the movie if you follow your screenplay or it's more some kind of reference and you prefer to swim into the improvisation no no I hate improvisation mostly I follow the screenplay because those are the ideas that come the screenplay is a chance to organize your ideas and get them in the right line up and so each thing that you write is written in a way that the idea will come back to you when you read it so it's a blueprint for the house like and so when you work you want to get everybody you know you want to follow the script now there's another thing you could think that your script is complete that it's it's the final thing but I say you should always be on your toes because something could come along that jumps it some things can come along but then you suddenly written you maybe I get an idea but it's not part of this it's some kind of thing that was triggered from something but it's not part of this but you write that down and put it in the box for later something some happy accidents can happen you're working and a thing can come out and you say oh this is such a blessing this is jumping this thing how did I think this was finished this is such a beautiful thing because it's it's it's now much more complete but you go along with with your eyes open your ears open because something could come along and join to it that jumps it and that you can't believe so but basically you you've you've got your ideas in order and basically you follow the script you go well thank you very much your silliness for this time has been wonderful Carlos thank you very much and thank you all for being here exceeding what to give you a gift

Channel: Escuela Universitaria de Artes TAI

Views: 378,747

Rating: 4.979672 out of 5

Keywords: Lynch, español, subtitulado, meditacion, cine, twin peaks

Id: pPial9mu-RI

Length: 62min 2sec (3722 seconds)

Published: Wed Apr 22 2020