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That was really my film school,
working on ""Eraserhead"".
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l loved that and l thought
that"s how everybody made movies.
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Then l went on and worked
with John Cassavetes for a while
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and l saw there was some similarity,
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but then l went on
to the big Hollywood movies
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and l"d show up and find out
that it wasn"t anything like ""Eraserhead"".
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l mean, in the rest of the world,
one guy didn"t do everything.
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l think that for David, making
the transition into big-time directing,
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was one of the things
that was hard for him:
10
00:00:49,296 --> 00:00:51,890
he couldn"t stir the chickens
on ""Dune"",
11
00:00:52,032 --> 00:00:57,664
somebody else had to do it, and
he learnt to let go and still stay in control.
12
00:00:57,804 --> 00:01:03,242
What David missed after a while
was not being able to make the pudding
13
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that filled the drawer
that you put the peas on top of
14
00:01:07,914 --> 00:01:12,112
for Henry Spencer to get
the vaporiser out of in ""Eraserhead"".
15
00:01:12,252 --> 00:01:16,382
But David didn"t do the pudding
any more, somebody else did it.
16
00:01:16,523 --> 00:01:21,460
Although, l have to say,
l did make the pudding on ""Eraserhead"".
17
00:01:21,595 --> 00:01:25,326
Figuring out how many boxes
of vanilla instant pudding it would take
18
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to fill a dresser drawer was
one of the challenges l got to undertake
19
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along with Doreen Small,
who worked on the film.
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00:01:33,907 --> 00:01:36,808
We called ourselves
handmaidens to genius!
21
00:01:36,943 --> 00:01:38,570
l"ll make our cappuccino.
22
00:01:52,559 --> 00:01:57,690
lf you believe his interviews,
he had the idea for the red room.
23
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lt was just an image
24
00:02:00,700 --> 00:02:04,363
and he says he couldn"t sleep that night,
he was so excited.
25
00:02:04,504 --> 00:02:08,304
For him, it"s how to get the image
into the film,
26
00:02:08,442 --> 00:02:10,933
rather than the other way around.
27
00:02:11,077 --> 00:02:16,071
Most narrative film-makers begin
with the story and then illustrate it.
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l think he begins with an image.
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00:02:19,486 --> 00:02:22,683
The story is secondary, it"s not primary.
30
00:02:22,823 --> 00:02:25,758
lf you"re asking the narrative question
with David Lynch
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or, what does this mean?
32
00:02:28,261 --> 00:02:30,695
l say,
maybe that"s the wrong question.
33
00:02:30,831 --> 00:02:35,530
Maybe you should go back
to the Dadaist appreciation
34
00:02:35,669 --> 00:02:40,402
of the image as image
and ask those questions first.
35
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lt seems to me you"re going
to get a lot more out of Lynch
36
00:02:45,212 --> 00:02:48,739
if you appreciate the image
and the primacy of the image.
37
00:02:48,882 --> 00:02:53,376
One thing about David is
that he doesn"t want to over-analyse,
38
00:02:53,520 --> 00:02:57,217
which is why he doesn"t enjoy
doing extensive interviews.
39
00:02:57,357 --> 00:03:02,624
Because something comes out
of a place in his mind that"s indescribable
40
00:03:02,762 --> 00:03:05,822
and l don"t think he likes to analyse
the process.
41
00:03:05,966 --> 00:03:08,992
Much of the success of his work
42
00:03:09,135 --> 00:03:11,865
has been because
he just creates something
43
00:03:12,005 --> 00:03:14,940
and puts it out there
and doesn"t analyse it.
44
00:03:15,075 --> 00:03:20,672
Lots of other people have, of course,
but he just is.
45
00:03:20,881 --> 00:03:23,213
l think Lynch is one of those artists
46
00:03:23,350 --> 00:03:29,311
that doesn"t put a lot of filters
between him and what he does.
47
00:03:29,456 --> 00:03:33,552
What he wants to do
is what he does.
48
00:03:33,693 --> 00:03:39,256
He doesn"t question it,
he doesn"t kind of censor himself,
49
00:03:39,399 --> 00:03:42,163
he doesn"t go through
a political correctness filter.
50
00:03:42,302 --> 00:03:46,602
What he comes up with
is what ends up on the screen.
51
00:03:46,740 --> 00:03:53,202
l think when you"re operating at that kind
of vulnerable, raw, intuitive level...
52
00:03:54,481 --> 00:03:59,714
...and all you"re trying to go by
is what excites you aesthetically,
53
00:03:59,853 --> 00:04:03,380
there"s the danger
that you will repeat yourself
54
00:04:03,523 --> 00:04:05,821
and that someone may tire of it.
55
00:04:05,959 --> 00:04:09,725
On the other hand,
what is your responsibility as an artist?
56
00:04:09,863 --> 00:04:12,559
ls your responsibility
to be worrying about,
57
00:04:12,699 --> 00:04:15,566
is this a repetition, what l"m doing,
58
00:04:15,702 --> 00:04:20,730
or should l just be responding
artistically to the world around me?
59
00:04:20,874 --> 00:04:23,775
l think one of the things
l learnt from him
60
00:04:23,910 --> 00:04:28,006
is how completely open
to every moment he is.
61
00:04:28,148 --> 00:04:30,139
l remember a number of times
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00:04:30,283 --> 00:04:35,084
where he was directing a scene
in the hospital,
63
00:04:35,522 --> 00:04:38,821
where the sheriff and Cooper
64
00:04:38,959 --> 00:04:43,123
were going to see Ronnette Pulaski,
who was in a coma.
65
00:04:44,464 --> 00:04:48,423
Ontkean came in,
and they were going through the dialogue
66
00:04:48,568 --> 00:04:52,231
and the stool
that David had asked him to sit on
67
00:04:52,372 --> 00:04:57,002
was really shaky, so he lifted up the stool
and he was trying to fix it.
68
00:04:57,143 --> 00:05:00,237
Of course,
that became part of the scene.
69
00:05:00,380 --> 00:05:04,874
lt was wonderful to me, because
l was a fairly young director then,
70
00:05:05,018 --> 00:05:10,388
to observe that, to see how life comes in
and you incorporate it.
71
00:05:10,523 --> 00:05:15,290
l think that"s what makes David"s work
so alive; it felt so real.
72
00:05:15,428 --> 00:05:17,692
lt"s how much he"s open to that.
73
00:05:17,831 --> 00:05:20,925
Here"s the story as l have heard it.
74
00:05:21,067 --> 00:05:23,729
Frank was the prop guy on the show.
75
00:05:23,870 --> 00:05:27,169
They were doing
the POV of Grace Zabriskie looking at
76
00:05:27,307 --> 00:05:30,674
her daughter"s empty room
and her made bed
77
00:05:30,810 --> 00:05:34,143
indicating that she had not come home
the previous night.
78
00:05:34,514 --> 00:05:40,180
And... He calls, ""Roll!"",
they get the shot and he says, ""Cut!""
79
00:05:40,787 --> 00:05:43,415
He asked the operator how it was
80
00:05:43,556 --> 00:05:45,547
and the operator said,
""David, come here!""
81
00:05:45,692 --> 00:05:47,683
""Nobody move!""
82
00:05:48,261 --> 00:05:53,961
He said, ""Look through the camera. ln
the corner of the mirror on the dresser,""
83
00:05:54,100 --> 00:05:57,763
""you can see Frank
hiding against the thing,""
84
00:05:57,904 --> 00:06:02,466
""just the top of his head peering out
behind a chair.""
85
00:06:02,609 --> 00:06:05,203
David saw that
and just said, ""Perfect!""
86
00:06:05,345 --> 00:06:09,543
That sensibility is basically saying
that there are no mistakes.
87
00:06:09,683 --> 00:06:13,210
Everything is just
a possible opportunity
88
00:06:13,353 --> 00:06:17,084
or a new image l couldn"t have
thought up any other way.
89
00:06:17,223 --> 00:06:19,953
l was at the production company
one day,
90
00:06:20,093 --> 00:06:22,584
or some place,
the production studio,
91
00:06:22,729 --> 00:06:27,928
where they were cutting together
""Twin Peaks"" or ""Fire Walk with Me"".
92
00:06:28,068 --> 00:06:30,593
He and Mary were in there cutting
93
00:06:30,737 --> 00:06:35,572
and l just...wandered over
by the door.
94
00:06:35,709 --> 00:06:37,802
l was just listening in.
95
00:06:39,012 --> 00:06:42,948
He was talking to Mary,
saying, ""Play that again!""
96
00:06:43,083 --> 00:06:48,544
He played it again: ""Hey! You know,
l bet that"s what l meant by that!""
97
00:06:49,723 --> 00:06:53,716
Meaning that he had already shot it
and it was in the editing room,
98
00:06:53,860 --> 00:06:58,763
and now he was deciding
what maybe he had meant by that!
99
00:06:58,898 --> 00:07:00,889
That"s staggering!
100
00:07:01,668 --> 00:07:08,073
The kind of courage and belief in self
that that would require is...
101
00:07:09,442 --> 00:07:11,433
Boy, it"s just staggering!
102
00:07:11,578 --> 00:07:14,274
ln David"s best work,
you can really see it.
103
00:07:14,414 --> 00:07:18,851
You can see the connection,
like you were saying.
104
00:07:19,385 --> 00:07:21,615
Even starting back with ""Eraserhead"",
105
00:07:21,755 --> 00:07:25,316
or a little movie, like ""Elephant Man""...
106
00:07:26,025 --> 00:07:29,688
...and seeing his use
of some of the visuals
107
00:07:29,829 --> 00:07:34,232
that he goes back to time and again:
fire, you know, always...
108
00:07:37,871 --> 00:07:39,862
...insects, usually.
109
00:07:40,006 --> 00:07:42,167
You can really...
110
00:07:43,243 --> 00:07:47,009
David"s work is very identifiable:
that"s David Lynch.
111
00:07:47,147 --> 00:07:52,346
You watch David"s stuff
and it"s all framed pictures.
112
00:07:53,753 --> 00:07:56,881
Stuff happens inside that frame.
113
00:07:57,023 --> 00:08:00,254
And it works beautifully for David.
114
00:08:00,393 --> 00:08:03,590
He can focus one"s...
115
00:08:03,730 --> 00:08:06,927
...attention so well,
116
00:08:07,167 --> 00:08:10,694
to the smallest little detail.
117
00:08:10,904 --> 00:08:13,702
That"s his genius.
118
00:08:13,840 --> 00:08:16,866
He makes the ordinary extraordinary.
119
00:08:17,010 --> 00:08:21,845
lf you watch it for narrative,
you can almost see what"s going on.
120
00:08:21,981 --> 00:08:27,544
He"ll give you a patch of exposition
or a patch of narrative or a new character
121
00:08:27,687 --> 00:08:32,021
to build it to the next step
it needs to get to.
122
00:08:32,158 --> 00:08:34,649
Then it"s almost like,
""OK, we"ve done that.""
123
00:08:34,794 --> 00:08:37,354
""Now l can do some images
and strange stuff,""
124
00:08:37,497 --> 00:08:42,366
""now l can do some
the-darkness-beneath stuff.""
125
00:08:42,502 --> 00:08:44,527
""l can do that for a while""
126
00:08:44,671 --> 00:08:48,129
""and then l"ll need another patch
of narrative or exposition.""
127
00:08:48,274 --> 00:08:51,300
lt"s almost segmented in that way.
128
00:08:52,145 --> 00:08:57,014
""l"ll do that because that"s what l need
to hang this other stuff on.""
129
00:08:57,150 --> 00:09:02,087
l didn"t know all the places
l was going to go.
130
00:09:02,222 --> 00:09:06,283
One of the wonderful things
about working with David is that...
131
00:09:06,426 --> 00:09:10,863
Even if you have the script and
you know what you"re doing that day,
132
00:09:10,997 --> 00:09:16,060
you get to the set and you...
The layers...
133
00:09:16,202 --> 00:09:20,263
You go so much deeper
than where you think you"re going to go.
134
00:09:20,406 --> 00:09:23,239
l had a feeling
every time l went on the set
135
00:09:23,409 --> 00:09:27,243
that something magical
was going to happen, every single time.
136
00:09:27,380 --> 00:09:32,545
When you"re an actor,
you know who you"re supposed to be
137
00:09:32,685 --> 00:09:35,279
and why you"re doing this or that.
138
00:09:35,421 --> 00:09:40,586
You"re doing it ""as if this"" or ""like that"",
""because of this"".
139
00:09:40,727 --> 00:09:42,957
We didn"t know those things.
140
00:09:43,096 --> 00:09:46,429
""What am l?
Why am l doing any of these things?""
141
00:09:46,566 --> 00:09:50,297
He took pains
to make sure l didn"t know.
142
00:09:50,436 --> 00:09:53,667
There was a time...
l said to him one time,
143
00:09:53,806 --> 00:09:56,900
l tried from a lot of different angles,
144
00:09:57,043 --> 00:10:00,843
l can"t remember what l theorised,
but l said, ""You know what?""
145
00:10:00,980 --> 00:10:03,642
""l think maybe this is what l am.""
146
00:10:03,783 --> 00:10:06,809
""Maybe this is the reason
l"m doing what l"m doing.""
147
00:10:06,953 --> 00:10:10,980
And he turns to me and says,
""No. That"s not it at all.""
148
00:10:11,124 --> 00:10:13,058
""Are you ready? Action!""
149
00:10:13,192 --> 00:10:19,722
David can be cryptic,
but it"s best just to go along for the ride.
150
00:10:19,866 --> 00:10:22,391
That"s really what David wants you to do.
151
00:10:22,535 --> 00:10:24,662
He expects you to enjoy it
152
00:10:24,804 --> 00:10:28,399
and doesn"t want to have to explain
what he"s thinking.
153
00:10:28,541 --> 00:10:32,705
Maybe sometimes he"s not even sure,
he just has a feeling.
154
00:10:32,845 --> 00:10:37,976
So if you want an explanation, you
won"t get it, and probably shouldn"t.
155
00:10:39,319 --> 00:10:41,651
He lets you find your own way.
156
00:10:41,788 --> 00:10:46,657
lf you"re way off, he"ll bring you back,
but he wants it to come from you.
157
00:10:46,793 --> 00:10:52,129
He wants you to go into
the unconscious, like he does, l think.
158
00:10:52,265 --> 00:10:57,532
Other times, l said,
""David, what"s the context of this scene?""
159
00:10:57,670 --> 00:11:00,366
""How do l know where l"m going?""
160
00:11:00,506 --> 00:11:03,873
""What happened before
and what happened after?""
161
00:11:04,010 --> 00:11:09,880
He turned to me and said, ""Mike,
this scene doesn"t have any context.""
162
00:11:10,016 --> 00:11:13,611
""There"s nothing that happens
before this scene""
163
00:11:13,753 --> 00:11:16,722
""and there"s nothing
that happens after.""
164
00:11:17,190 --> 00:11:21,149
lt made me angry, a little bit,
because...
165
00:11:21,494 --> 00:11:23,962
""You"re lying to me!""
166
00:11:24,097 --> 00:11:28,397
""There"s no such thing as a scene
that doesn"t have a context!""
167
00:11:28,534 --> 00:11:31,765
The strange thing is,
when l saw the finished piece,
168
00:11:31,904 --> 00:11:34,566
there it was:
it had no context.
169
00:11:35,141 --> 00:11:38,907
lt was a disembodied scene
with nothing before or after.
170
00:11:39,045 --> 00:11:43,414
He was telling me the truth;
l just couldn"t quite swallow it.
171
00:11:46,953 --> 00:11:50,787
l just remember him saying,
""Sheryl Lee...""
172
00:11:52,158 --> 00:11:55,150
- l can"t do it!
- What did he say?
173
00:11:56,129 --> 00:11:59,326
He asked me how l would feel
about being wrapped in plastic
174
00:11:59,465 --> 00:12:02,628
and being thrown
into freezing cold water.
175
00:12:02,769 --> 00:12:07,206
l said, ""Fine."" That was within
the first ten minutes of meeting him.
176
00:12:07,340 --> 00:12:09,331
That was great.
177
00:12:10,510 --> 00:12:12,501
l"d never had someone say,
178
00:12:12,645 --> 00:12:15,842
""l want to wrap you in plastic...""
179
00:12:16,983 --> 00:12:20,646
""...and put you in freezing cold water.""
180
00:12:21,220 --> 00:12:23,211
That"s as much as l"m going to do!
181
00:12:23,356 --> 00:12:27,053
l know l"m going to get a phone call
from David Lynch!
182
00:12:27,193 --> 00:12:31,027
There was a scene early on with David...
183
00:12:31,164 --> 00:12:34,292
Which episode
did l eat the brie sandwich?
184
00:12:34,434 --> 00:12:36,595
Episode two.
185
00:12:36,736 --> 00:12:41,196
Episode two, and l still hadn"t
a real handle on the character yet.
186
00:12:41,340 --> 00:12:45,333
He hadn"t done enough. l knew
he was a wealthy guy and so forth,
187
00:12:45,478 --> 00:12:50,142
but l didn"t know he was so off the wall
and outrageous
188
00:12:50,283 --> 00:12:52,274
and humorous, also.
189
00:12:52,418 --> 00:12:55,854
l"m sitting with my wife, my son,
190
00:12:55,988 --> 00:13:00,448
who"s got a few oars out of the water
and has an lndian outfit on,
191
00:13:00,593 --> 00:13:03,221
and my brother"s just come back
from Paris
192
00:13:03,362 --> 00:13:08,493
and he brought
these brie sandwiches.
193
00:13:08,634 --> 00:13:10,261
They"re huge things.
194
00:13:10,403 --> 00:13:12,496
We"re having this very formal dinner.
195
00:13:12,638 --> 00:13:16,267
At one point,
when my brother hands me this, he says,
196
00:13:16,409 --> 00:13:19,071
""You"ve got to try this. lt"s delicious.""
197
00:13:19,212 --> 00:13:22,147
So l try it.
lt says in the script:
198
00:13:22,281 --> 00:13:26,775
""Ben eats the brie sandwich and says,
"Oh, this is terrific!"""
199
00:13:26,919 --> 00:13:30,912
l munch into it, still talking
to my brother... What am l saying?
200
00:13:31,057 --> 00:13:34,686
While you"re eating?
""You know what this reminds us of?""
201
00:13:34,827 --> 00:13:37,125
""Ginny and Jenny"s,
down by the river.""
202
00:13:37,263 --> 00:13:39,254
Right, right.
203
00:13:39,665 --> 00:13:43,465
Do we have that bread in there?
That brie?
204
00:13:43,603 --> 00:13:47,664
May l have a piece of brie
and l"ll show you what he had me do.
205
00:13:49,242 --> 00:13:50,869
We"re having fun now.
206
00:13:51,010 --> 00:13:55,947
David will come in and say,
""OK, Kale...""
207
00:13:56,082 --> 00:14:00,280
because he calls me Kale,
a nickname from a long time ago.
208
00:14:00,419 --> 00:14:03,684
He"ll say, ""l need a wind...""
209
00:14:03,823 --> 00:14:07,122
""...and a little more like Elvis.""
l say, ""No problem.""
210
00:14:07,260 --> 00:14:11,890
So l go back and translate that...
And that"s how it"s formed.
211
00:14:12,031 --> 00:14:16,127
David says,
""Eat the sandwich and talk.""
212
00:14:16,269 --> 00:14:20,171
l think l"m this wealthy guy,
l"ve got my Armani suit on,
213
00:14:20,306 --> 00:14:22,297
l"m supposed to be dignified.
214
00:14:22,441 --> 00:14:25,433
So my brother hands me this
and l take a bite.
215
00:14:27,480 --> 00:14:32,247
""That"s very nice."" And l continue
my lines: ""l see... Uh-huh...""
216
00:14:32,385 --> 00:14:34,717
""Cut! Cut, cut!
OK...""
217
00:14:35,221 --> 00:14:38,987
""What l"d like you to do,""
David says,
218
00:14:39,125 --> 00:14:43,118
""is really bite into that
and get a good mouthful.""
219
00:14:44,263 --> 00:14:48,199
And l"m still thinking,
""What"s the line here between being...""
220
00:14:48,334 --> 00:14:51,667
""...stupid,
out of character and, you know...""
221
00:14:51,804 --> 00:14:54,068
""...and doing what he wants?""
222
00:14:54,207 --> 00:14:57,040
l"m caught in this actor thing,
you know.
223
00:14:57,176 --> 00:15:00,612
So... ""Take two.""
So l take a bigger bite.
224
00:15:01,747 --> 00:15:05,046
""l see.
Well, that"s very interesting.""
225
00:15:05,184 --> 00:15:07,618
He says,
""Cut, cut, cut! No!""
226
00:15:07,753 --> 00:15:11,746
""l want you to take
a really big, big bite.""
227
00:15:12,592 --> 00:15:17,256
He"s kind of getting a little frosty here,
and l"m not getting it.
228
00:15:17,396 --> 00:15:19,557
OK, here we go again.
229
00:15:19,699 --> 00:15:23,863
l say, ""OK, l"ll take a bigger bite.
lt"s out of character...""
230
00:15:25,638 --> 00:15:30,473
And l say, ""OK, l understand...""
And he says, ""Cut! Cut, cut! No!""
231
00:15:30,610 --> 00:15:34,842
He says, ""Look, l want you
to take a bite so big""
232
00:15:34,981 --> 00:15:38,314
""you can"t even understand
what you"re saying.""
233
00:15:38,618 --> 00:15:43,317
So now, l"m... We"ve done this
more times than l"ve just suggested.
234
00:15:43,456 --> 00:15:45,549
We were now way over...
235
00:15:45,691 --> 00:15:49,525
We"re up to nine or ten takes
and l haven"t done enough.
236
00:15:49,662 --> 00:15:53,325
l feel the character"s off the wall,
l don"t know who he is.
237
00:15:53,466 --> 00:15:55,991
l think, ""OK"",
so we do it again
238
00:15:56,135 --> 00:15:58,126
and this time...
239
00:16:18,891 --> 00:16:21,052
And we cut...
240
00:16:22,495 --> 00:16:24,793
And he says,
""Thank you very much.""
241
00:16:24,930 --> 00:16:27,091
""That"s what l wanted.""
242
00:16:30,569 --> 00:16:32,901
That"s what happened.
243
00:16:36,242 --> 00:16:41,737
l remember David telling me
how to say ""bear claw"".
244
00:16:43,883 --> 00:16:48,320
But he didn"t tell me how to say it,
he didn"t give me a line reading,
245
00:16:48,454 --> 00:16:51,446
but it was a feeling that l had
246
00:16:51,590 --> 00:16:55,356
of the insult of being told...
247
00:16:56,228 --> 00:17:00,688
...that l had stuck my pitch gum
under the counter,
248
00:17:00,833 --> 00:17:07,102
and the kind of roiling anger that
the log lady was constantly sitting on,
249
00:17:07,239 --> 00:17:13,200
because she really had no use for a lot
of people because they were silly.
250
00:17:13,779 --> 00:17:18,079
And his way of telling me
251
00:17:18,217 --> 00:17:23,314
about how l wanted
to order that bear claw
252
00:17:23,456 --> 00:17:27,825
got to some place
deep in that character.
253
00:17:27,960 --> 00:17:30,258
l wish l could remember
what he said,
254
00:17:30,396 --> 00:17:33,593
but maybe if l did remember,
l wouldn"t tell you.
255
00:17:37,370 --> 00:17:41,500
lt was always great fun
working with David,
256
00:17:41,640 --> 00:17:46,202
because you never knew
what would happen next.
257
00:17:46,345 --> 00:17:50,475
You know, in some ways,
working with David can really spoil you
258
00:17:50,616 --> 00:17:55,815
because you get to go
to places creatively that...
259
00:17:57,423 --> 00:18:01,917
lt"s just so juicy.
You get to stretch and be challenged...
260
00:18:03,596 --> 00:18:08,033
...and feel excited and grow and play.
261
00:18:08,167 --> 00:18:10,499
lt"s very playful and fun.
262
00:18:12,838 --> 00:18:15,500
You can get very spoilt with that.
263
00:18:15,641 --> 00:18:19,805
On the surface, he"s so nice-looking
and he wears his khakis,
264
00:18:19,945 --> 00:18:24,939
and he"s, kind of, ""Gee, gosh!
That"s great, Peg!"" That kind of thing.
265
00:18:25,084 --> 00:18:28,019
But, yeah, l feel a part of him.
266
00:18:28,154 --> 00:18:30,782
Probably every actor
working with him does.
267
00:18:30,923 --> 00:18:34,654
Once l was in the car
with him and Mary
268
00:18:34,794 --> 00:18:38,127
and we were going
down Laurel Canyon.
269
00:18:38,264 --> 00:18:42,030
Some guy came up behind us
and was honking.
270
00:18:42,268 --> 00:18:44,259
lt was rude, and everything.
271
00:18:44,403 --> 00:18:47,566
He pulled over,
let this guy drive past us
272
00:18:47,706 --> 00:18:50,038
and then continued down the road.
273
00:18:50,176 --> 00:18:54,237
l said to him,
""David, you"re a nicer guy than l am.""
274
00:18:55,014 --> 00:18:59,849
And he turned around
and said, ""No. No, l"m not!""
275
00:19:01,654 --> 00:19:05,613
""l really want to destroy
that fellow up there,""
276
00:19:05,758 --> 00:19:08,226
""but l just don"t have time.""
277
00:19:10,362 --> 00:19:14,389
And then a little later,
when we saw ""Lost Highway""...
278
00:19:15,267 --> 00:19:20,204
...the same thing happened:
the car came up behind Mr Eddy
279
00:19:20,372 --> 00:19:25,366
and we saw Mr Eddy pull over, let
the guy by and then run up behind him!
280
00:19:25,511 --> 00:19:29,777
This is David vicariously
doing what he really...
281
00:19:29,949 --> 00:19:32,611
...what he had time for!
282
00:19:33,686 --> 00:19:37,383
lf l was sending somebody
to see a David Lynch film,
283
00:19:37,523 --> 00:19:41,823
l would tell them, ""Fasten your
seatbelts, you"re in for a bumpy ride.""
284
00:19:41,961 --> 00:19:45,021
""lt"s going to be provocative,""
285
00:19:45,164 --> 00:19:49,260
""it"s going to be disturbing,
it"s going to be probably violent""
286
00:19:49,401 --> 00:19:53,269
""and sexually disturbing
in some ways.""
287
00:19:54,840 --> 00:19:56,831
""On the other hand,""
288
00:19:56,976 --> 00:20:01,538
""you"re going to get images
probably like you"ve never seen before""
289
00:20:01,680 --> 00:20:06,117
""that will stick with you because
they are that unique and special.""
290
00:20:06,252 --> 00:20:10,154
Also the combination of ingredients
that l"ve talked about,
291
00:20:10,289 --> 00:20:14,726
the combination that you get with Lynch,
that it"s about images,
292
00:20:14,860 --> 00:20:18,819
that it"s about the dark underside,
about this strangeness
293
00:20:18,964 --> 00:20:22,161
that is part of life
that you can"t account for.
294
00:20:22,301 --> 00:20:25,361
There is this kind
of absurdist take on it.
295
00:20:25,504 --> 00:20:29,565
And also the humanism.
l think at the bottom of all of this,
296
00:20:29,708 --> 00:20:33,371
there is some humanism attached.
297
00:20:33,512 --> 00:20:36,481
That combination is unique
in film history.
298
00:20:38,784 --> 00:20:43,778
You boil it all the way down and
""Twin Peaks"" is about an abusive father.
299
00:20:44,290 --> 00:20:48,624
ln a way, it"s showing you
why Laura Palmer had to die:
300
00:20:49,428 --> 00:20:51,419
she was being abused.
301
00:20:51,630 --> 00:20:55,623
That becomes a very tragic tale
and a very human tale,
302
00:20:55,768 --> 00:20:58,965
so that"s quite a package
that he puts together,
303
00:20:59,104 --> 00:21:01,732
but it"s a unique one, l think.
26674
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