Lynch news, tidbits and other miscellanea that maybe are not worth their own thread. If we get good discussion on any of the posts in particular we can always split some posts off into their own thread.

So David is the first guest artistic director of AFI Fest 2010 and has programmed 5 films to show as a part of the festival. No real surprises, they are:

1. Bergman's 'Hour of the Wolf'
2. Wilders's 'Sunset Blvd'
3. Kubrick's 'Lolita'
4. Tati's 'Mon Oncle' (red pipe ahoy!), and;
5. Hitch's 'Rear Window'

LA Times blog reports:

Lynch himself is scheduled to appear at the festival on Nov. 6 to present a double bill of "Eraserhead" and "Sunset Boulevard." He has prepared video introductions for the screenings in his program he will not attend. Lynch also created the artwork that appears on this year's festival poster, an image of a clay figure floating amid the Los Angeles skyline.

Source

Quite a predictable (but by no means lacking in quality) list.

Haven't seen 'Hour of the Wolf' though. Is that worth my time, anyone?

blu wrote:So David is the first guest artistic director of AFI Fest 2010 and has programmed 5 films to show as a part of the festival. No real surprises, they are:

1. Bergman's 'Hour of the Wolf'
2. Wilders's 'Sunset Blvd'
3. Kubrick's 'Lolita'
4. Tati's 'Mon Oncle' (red pipe ahoy!), and;
5. Hitch's 'Rear Window'

LA Times blog reports:

Lynch himself is scheduled to appear at the festival on Nov. 6 to present a double bill of "Eraserhead" and "Sunset Boulevard." He has prepared video introductions for the screenings in his program he will not attend. Lynch also created the artwork that appears on this year's festival poster, an image of a clay figure floating amid the Los Angeles skyline.

Source

Quite a predictable (but by no means lacking in quality) list.

Haven't seen 'Hour of the Wolf' though. Is that worth my time, anyone?

Certainly that Hour of the Wolf is in with the others is eye-opening. So much so that I'm going to rent the film to see what it is about. Lynch has enticed me or suckered me in - time will tell on which is more correct.

It's been a time since I saw Hour of the Wolf, but I all remember is it was very confusing and left me empty after the curtains fell (5/10).

Hour of the Wolf is worth seeing. But discussion of the film would be O.T. so I'll discuss it over on the 'films you've seen lately' thread.

http://www.mulholland-drive.net/forum/viewtopic17e4.html>

Dino De Laurentiis dead at 91

The guy who gave David the money and freedom to make Blue Velvet as he wished. One of a kind. Good night, Dino.

blu wrote:Dino De Laurentiis dead at 91

The guy who gave David the money and freedom to make Blue Velvet as he wished. One of a kind. Good night, Dino.

Just got that Dino De Laurentiis was probably the inspiration for the name Dick Laurent.

Wonder if anyone called Dino, "Dick".

Those on Twitter but not following @LOSTonMD, please do so.



From the Guardian today/tomorrow.

The latest offbeat experiment from filmmaker David Lynch: pop singles

http://www.guardian.co.uk/film/2010/nov ... songwriter

And the audio from the interview with some snippets of the music:

http://www.guardian.co.uk/music/audio/2 ... ynch-music

In it David reveals that DL.com is currently being rebuilt, hopefully for a December launch, and is "primarily music". Interesting. Although I'm not massively convinced about the snippet that's in the background of the interview (and I love house music!). We'll see. I'll buy the singles tomorrow and report back.

And here are the tracks. In all their living glory, baby.

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Your thoughts? Mine?

I Know is great, I like it a lot. Good Day Today is iffy, but better on the second and third listen.

Not a fan of Good Day, but I really like I Know. It reminds me of a bit more upbeat Portishead.

I love the video competition announcement he's made too. He seems to be having a ball at the moment!

I've also found Good Day Today to be very infectious - it really has got under my skin and I like how on both songs he seems to be using his vast library of "David Lynch Sounds". The train sounds in I Know for one and the basic chords of Good Day really sound like the TP theme to me.

Not bad for a man not far off retirement age :-) Don't know that we'll get another feature film from him though
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somethingbad wrote:I've also found Good Day Today to be very infectious - it really has got under my skin and I like how on both songs he seems to be using his vast library of "David Lynch Sounds". The train sounds in I Know for one and the basic chords of Good Day really sound like the TP theme to me.

I also preferred Good Day Today but honestly would any of us pay any attention to this music if it weren't David Lynch?

It's not hard to process electronically created vocals with some moody guitar and sound effects and call it music. And it's not hard to rhyme "know" with "go" and "so low" the last phrase summing up what I think about this.

Unfortunately, David Lynch may have 'jumped the shark' professionally with Inland Empire. It's unclear to me whether anyone will finance a feature length film with him at the helm AND receive wide distribution. No offense intended to anyone that liked Inland Empire but the box office speaks for itself. So, maybe his web site and selling over-priced goods and doing other small projects is what he is now about.

Valid points.

Quite right that we probably wouldn’t be talking about this music if it weren’t David Lynch, but it’s interesting to track his forays into different fields regardless of his levels of success. I assume that we’ll be talking about another feature (if one ever comes) whether it’s good or bad.

If you look at his last 2 films, Mulholland Dr only accidentally became feature length, and INLAND EMPIRE started off as a series of smaller projects (Rabbits, short scenes with Laura Dern etc) that were eventually worked together into a feature. Before MD it was Straight Story which came from a script that Mary Sweeney was involved with and not DL original ideas, so in essence we’re looking at nearly 15 years already since he went out there with a fully finished script of his own ideas looking for funding.

I think we will get more films from him, but it would seem that they’re more likely to be self-funded without any control or limitations imposed on him. Of which there are upsides and downsides. It will be frustrating if he doesn’t manage to rein himself in a bit in whatever we see next from him.

Frustrating for me, anyway. Others will no doubt love something else as abstract as IE.

Frustrating for all of us that have enjoyed Lynch's films over the years.

With digital filmmaking and actors willing to work for minimum just to be in a David Lynch film he probably can make a feature film without it being that expensive. It's the distribution that becomes hard. Distributors who control what we see in the United States want to know what kind of marketing campaign and dollars are going to support the film. The only way around that is to win in Cannes or Toronto and even that's no guarantee of major distribution. Unfortunately, MD and IE did nothing at the box office so Lynch has no track record to build on and Blue Velvet is ancient history to those guys. It's tough when you don't go after a mainstream audience. Even Tarantino was one film away from box office death after he released Jackie Brown.

Then again, I hope I'm wrong. Maybe some Lynch loving film student will make it big and head up some studio and give Lynch the green light on a project. Maybe.

I still maintain that he fucked up by marrying (and divorcing) Mary Sweeney.

All those hours locked away in an edit suite together. Late at night after a few glasses of red. Taking a break from the editing and putting some Barry White on the stereo.



I jest. But there's a serious point in there somewhere. I was a member at DL.com around the time he was editing IE, and whilst I never caught him in the X or Z chat rooms I saw some of the logs when he was talking with members about what a big job it was and how he was hoping to make Cannes with the film. As it was he missed Cannes by months. He should have given Mary a call and gone on autopilot a few weeks. Not only would it have been finished quicker, there would have been a voice in there asking whether he really needed such a scene and whatnot.

What I would love more than anything right now would be for him to find a script that maybe he didn't write himself that he wanted to make. Whether it's Straight Story territory or Dune territory. I'd love him to tell me an A to Z story again.

Behind most great men is a woman who tells him his shit does stink. I don't know whether that was Mary Sweeney or not but Lynch sure needs that person regardless. Look how important Hitchcock's wife was to his work. She read and revised scripts and was a general sounding board on everything from props to casting.

My thoughts on Lynch are much more critical than most. This whole bit about filming without a script is just juvenile stuff. Amateur hour really. He needs to wake up and smell the coffee.