David Lynch
David Keith Lynch (born January 20, 1946, in Missoula, Montana) is an American filmmaker.
Lynch's films are known for their elements of surrealism, their nightmarish and dreamlike sequences, their stark and strange images, and their meticulously crafted audio. Often his work explores the seedy underside of small-town U.S.A. (e.g. Blue Velvet and the Twin Peaks television series) or sprawling metropolises (Lost Highway, Mulholland Dr.). Due to his peculiar style and focus on the American psyche, producer Stuart Cornfeld once called Lynch "Jimmy Stewart from Mars."
Over a lengthy career, Lynch has developed a consistent approach to narrative and visual style that has become instantly recognizable to audiences worldwide. Although not a box office giant, he is a consistent favorite of film critics and audiences alike; has maintained a strong cult following and is well known by many.
Early days
Lynch grew up an archetypal all-American boy. His father, Donald, was a U.S. Department of Agriculture research scientist and his mother, Sunny, a language tutor.[1] He was raised throughout the Pacific Northwest and Durham, North Carolina. He attained the rank of Eagle Scout, and on his fifteenth birthday served as an usher at John F. Kennedy's Presidential inauguration.[2]
With the intention of becoming an artist, Lynch attended classes at Corcoran School of Art in Washington, D.C. while finishing high school in Alexandria, Virginia. He enrolled in the School of the Museum of Fine Arts in Boston for one year before leaving for Europe with his friend and fellow artist Jack Fisk with the plan to study with Austrian expressionist painter Oskar Kokoschka. Though he had planned to stay for three years, Lynch returned to the US after 15 days.
Philadelphia and the short films
In 1966, Lynch relocated to Philadelphia, Pennsylvania, attended the Pennsylvania Academy of Fine Arts (PAFA) and made a series of complex mosaics in geometric shapes which he called Industrial Symphonies. At this time, he also began working in film. His first short film Six Men Getting Sick (1966), which he described as "57 seconds of growth and fire, and three seconds of vomit," was played on a loop at an art exhibit. It won the Academy’s annual film contest. This led to a commission from H. Barton Wasserman to do a film installation in his home. After a disastrous first attempt that resulted in a completely blurred, frameless print, Wasserman allowed Lynch to keep the remaining portion of the commission. Using this, he created The Alphabet.
In 1970, Lynch turned his attention away from visual art and focused primarily on film. He won a $5,000 grant from the American Film Institute to produce The Grandmother, about a neglected boy who “grows” a grandmother from a seed. The 30-minute film exhibited many elements that would become Lynch trademarks, including unsettling sound and imagery and a focus on unconscious desires instead of traditional narration.
Eraserhead
In 1971, Lynch moved to Los Angeles to attend the M.F.A. studies at the AFI Conservatory. At the Conservatory, Lynch began working on his first feature-length film, Eraserhead, using a $10,000 grant from the AFI. The grant did not provide enough money to complete the film and, due to lack of a sufficient budget, Eraserhead was filmed intermittently until 1977. Lynch used money from friends and family, including boyhood friend Jack Fisk, a production designer and the husband of actress Sissy Spacek, and even took a paper route to finish it.
A stark and enigmatic film, Eraserhead tells the story of a quiet young man (Jack Nance) living in an industrial wasteland, whose girlfriend gives birth to a constantly hissing mutant baby. Lynch has referred to Eraserhead as "my Philadelphia story", meaning it reflects all of the dangerous and fearful elements he encountered while studying and living in Philadelphia ([3]. He said "this feeling left its traces deep down inside me. And when it came out again, it became Eraserhead".
The film also reflects the director's own fears and anxieties about fatherhood, personified in the form of the bizarre baby, which has become one of the most notorious props in film history. Lynch refuses to discuss how the baby was made, and a long-standing urban legend claims that it was created using an embalmed cow fetus [4].
The final film was initially judged to be almost unreleasable, but thanks to the efforts of distributor Ben Barenholtz, it became an instant cult classic and was a staple of midnight movie showings for the next decade. It was also a critical success, launching Lynch to the forefront of avant-garde filmmaking. Stanley Kubrick said that it was one of his all-time favorite films. It cemented the team of actors and technicians who would continue to define the texture of his work for years to come, including cinematographer Frederick Elmes, sound designer Alan Splet, and actor Jack Nance.
The Elephant Man and Dune
Eraserhead brought Lynch to the attention of producer Mel Brooks who hired him to direct 1980’s The Elephant Man, a biopic of deformed Victorian era socialite Joseph Merrick. The film was a huge financial and commercial success and earned eight Academy Award nominations, including Best Director and Best Adapted Screenplay nods for Lynch. It also established his place as a commercially viable, if somewhat dark and unconventional, Hollywood director.
Afterwards, Lynch agreed to direct a big budget adaptation of Frank Herbert’s science fiction novel Dune for Italian producer Dino De Laurentiis’s De Laurentiis Entertainment Group on the condition that the company release a second Lynch project, over which the director would have complete creative control. Although De Laurentiis hoped it would be the next Star Wars, Lynch’s Dune (1984) was a critical and commercial dud, costing $45 million to make and grossing a mere $27.4 million domestically. The studio released an "extended cut" of the film for syndicated television in which some footage was reinstated; however, the main caveat was that certain shots from elsewhere in the film were repeated throughout the story to give the impression that other footage had been added. Whatever the case, this was not representative of Lynch’s intended cut, but rather a cut that the studios felt was more comprehensible than the original theatrical cut. Lynch objected to these changes and disowned the extended cut, which has Allen Smithee credited as the director. This version has since been released on video worldwide.
Blue Velvet
Lynch’s second De Laurentiis-financed project was 1986’s Blue Velvet, the story of a college student (Kyle MacLachlan) who discovers the dark side of his small hometown after investigating a severed ear he finds in a field. The film featured memorable performances from Isabella Rossellini as a tormented lounge singer and Dennis Hopper as a crude, sociopathic criminal and leader of a small gang of backwater hoodlums.
Blue Velvet was a huge critical success and earned Lynch his second Academy Award nomination for Best Director. The film introduced several common elements of his work, including abused women, the dark underbelly of small towns (a theme that became popular after the film), and unconventional uses of vintage songs. Bobby Vinton’s "Blue Velvet" and Roy Orbison’s "In Dreams" are both featured in disturbing ways. It was also the first time Lynch worked with composer Angelo Badalamenti, who would contribute to all of his future full-length films.
Woody Allen, whose film Hannah and Her Sisters was nominated for best picture, said the best picture of the year was Blue Velvet.
The film is consistently ranked as one of the greatest modern American films ever made, and has become a pop culture icon.
Twin Peaks, Wild at Heart, Industrial Symphonies, American Chronicles and Hotel Room
After failing to secure funding for several completed scripts in the late 1980s, Lynch collaborated with television producer Mark Frost on the show Twin Peaks, about a small Washington town that is the site of several bizarre happenings. The show centered around the investigation by FBI Special Agent Dale Cooper (Kyle MacLachlan) into the death of popular high school student Laura Palmer, an investigation that unearthed the secrets of many town residents. Lynch directed six episodes of the series, including the pilot, wrote or co-wrote several more and even acted in some episodes.
The show debuted on the ABC Network on April 8, 1990 and slowly rose from cult hit to cultural phenomenon. No other Lynch-related project has gained such mainstream acceptance. Catch phrases from the show entered the cultural dialect and parodies of it were seen on Saturday Night Live and The Simpsons. Lynch appeared on the cover of Time magazine largely because of the success of the series. Lynch, who has seldom acted in his career, also appeared on the show as the partially-deaf, continually-shouting FBI Regional Bureau Chief Gordon Cole.
However, Lynch clashed with the ABC Network on several matters, particularly whether or not to reveal Laura Palmer’s killer. The network insisted that the revelation be made during the second season but Lynch wanted the mystery to last as long as the series. Lynch soon became disenchanted with the series and as a result many cast members would complain of feeling abandoned.
Adapted from the novel by Barry Gifford, Wild at Heart was an almost hallucinatory crime/road movie starring Nicolas Cage and Laura Dern. It won the coveted Palme d'Or at the 1990 Cannes Film Festival but met with a muted response from American critics and viewers. Reportedly, several people walked out of test screenings.
The missing link between Twin Peaks and Wild at Heart, however, is Industrial Symphony No. 1: The Dream of the Broken Hearted. It was originally presented on-stage at the Brooklyn Academy of Music in New York City on November 10, 1989 as a part of the New Music America Festival. Industrial Symphony No. 1 is another collaboration between composer Angelo Badalamenti and David Lynch. It features ten songs by Julee Cruise and stars several members of the Twin Peaks cast as well as Nic Cage, Laura Dern and Julee Cruise. Lynch described this musical spectacle as the "sound effects and music and ... happening on the stage. And, it has something to do with, uh, a relationship ending." David Lynch produced a 50 minute video of the performance in 1990.
Twin Peaks suffered a severe ratings drop, and was cancelled in 1991. Still, Lynch scripted a prequel to the series, about the last seven days in the life of Laura Palmer. The resulting film, Twin Peaks: Fire Walk with Me (1992), flopped at the box office and garnered the most negative reviews of Lynch’s career.
As a quick blip during this time period, he and Mark Frost wrote and directed several episodes of the short lived comedy series On the Air for ABC, which followed the zany antics at a 1950s TV studio. In the US only three episodes were aired, although seven were filmed; In the Netherlands all 7 were aired by VPRO. Lynch also produced (with Frost) and directed the Documentary television series American Chronicles.
His next project was much more low-key; he directed two episodes of a three-episode HBO mini-series called Hotel Room about events that happened in the same hotel room in a span of decades.
Lost Highway, The Straight Story, Mulholland Dr., INLAND EMPIRE
In 1997, Lynch returned with the non-linear, noir-like film Lost Highway, co-written by Barry Gifford and starring Bill Pullman and Patricia Arquette. The film failed commercially and received a mixed response from critics. However, thanks in part to a soundtrack featuring Marilyn Manson, Rammstein, Nine Inch Nails and The Smashing Pumpkins, it helped gain Lynch a new audience of Generation X viewers.
In 1999, Lynch surprised fans and critics with the G-rated, Disney-produced The Straight Story, which was, on the surface, a simple and humble movie telling the true story of an Iowa man (played by Richard Farnsworth) who rides a lawnmower to Wisconsin to make peace with his ailing brother. The film garnered positive reviews and reached a new audience for its director.
The same year, Lynch approached ABC once again with an idea for a television drama. The network gave Lynch the go-ahead to shoot a two-hour pilot for the series Mulholland Drive, but disputes over content and running time led to the project being shelved indefinitely.
With seven million dollars from the French production company StudioCanal, Lynch completed the pilot as a film. Mulholland Drive is an enigmatic tale of the dark side of Hollywood and stars Naomi Watts, Laura Harring and Justin Theroux. The film performed relatively well at the box office worldwide and was a critical success earning Lynch a Best Director prize at the 2001 Cannes Film Festival (shared with Joel Coen for The Man Who Wasn't There) and a Best Director award from the New York Film Critics Association.
In 2002, Lynch created a series of online shorts entitled Dumb Land. Intentionally crude both in content and execution, the eight-episode series was later released on DVD.[1]
The same year, Lynch treated his fans to his own version of a sitcom via his website - Rabbits, eight episodes of surrealism in a rabbit suit. Later, he showed his experiments with Digital Video (DV) in the form of the Japanese style horror short Darkened Room.
At the 2005 Cannes Film Festival, Lynch announced that he had spent over a year shooting his new film digitally in Poland. The film, titled INLAND EMPIRE (in capitals), included Lynch regulars such as Laura Dern, Harry Dean Stanton, and Mulholland Drive star Justin Theroux, with a cameo by Naomi Watts (supposedly one of the actors in the rabbit suits), and a performance by Jeremy Irons. Lynch described the film as "a mystery about a woman in trouble". It was released in December 2006.
