He's a modern-day explorer, willing to dive deeper into human nature than many filmmakers. He's a guy who loves dark corners of the soul as much as he loves innovating bright spaces. He's a worker, someone who's creating not only in movies and TV but with artisan things like a cell phone holder and harvesting his own coffee brand. He's a genre-breaker, someone who's not concerned with tropes and moods, only with where his characters are going and their own material reactions.
Above all else, Lynch is an auteur. His work is so singularly him, so a part of his voice, and so skewed for the audience. When his name appears in the opening title, it changes our perception of what we watch. When speaking about his early life , Lynch has said, " I found the world completely and totally fantastic as a child.
Of course, I had the usual fears, like going to school It destroyed the seeds of liberty. The teachers didn't encourage knowledge or a positive attitude. That attitude and dichotomy between his perception of life and life as we know it became a feeling we describe as Lynchian , a sort of magical realism that is both macabre and mundane. So what makes Lynch who he is?
Is it his transcendental meditation, his artistic endeavors, or is it a combination of everything? Of course, we are not one thing, we are an amalgamation of everything. For Lynch, his point of view on the world is what I think defines him as an artist.
And his work in both is crucial to what's happening in the movie. Theroux told Indiewire about his experiences working with Lynch on Mulholland Drive. What reality are we in? Me and Justin need to talk. That has to be daunting as an actor. But it could be exciting at the same time to uncover a story together.
The stuff with Laura Dern and Inland Empire , we were laughing so much. Then you go to the screening of it, your brains all over the back wall. So much of an actor's work is trusting a director, and Lynch is great enough to put all your faith in him, even if you don't know how a scene fits or plays out.
But, if I can be frank, I think of Blue Velvet as more of a testing ground for the aesthetic Lynch would soon master in the s and s. And, I mean, I get it: the script empathetically details the story of a famous, misunderstood English figure; John Hurt and Anthony Hopkins deliver a pair of legendary performances; the black-and-white aesthetic gives the movie a starkly dramatic feel.
At times it can feel every bit as strange as Eraserhead , every bit as haunting as Twin Peaks , every bit as upsetting as Blue Velvet. Sure, the film is a tamed-down version of what Lynch would later fully embrace. But the eerie, dream-like world of The Elephant Man is anything but Oscar bait. And I love it for that. Am I always wrong. Because Eraserhead hits every. Eraserhead is both a horrifying take on sci-fi and a compassionate twist on coming-of-age.
It wants you to feel confused and lost and frustrated all at the same time because…well, who cares? Seriously: who cares. Lost Highway is David Lynch unhinged in the best way possible. Narrative coherency means nothing in this world.
Yet, at no point are you not invested in the deeply troubled characters, not awed by the slick-and-snazzy filmic movement, not transfixed by the otherworldly sound design. When he made Inland Empire nearly 40 years into his filmmaking career, it became undeniably clear how finished with Hollywood he truly was. Shot on digital, pretty much every single artistic decision made in this film is trying to push your general viewer away.
As a result, we are left with a fittingly isolated aesthetic.
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