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Originally posted by 6ixStringJack:
I haven't seen probably more than half of his catalogue, but I really like the stuff I did see.

A brilliant mind.

He was able to tell the story of every girl Harvey Weinstien and his buddies raped 20 years before talking about it was cool. Not only did they allow him to put that movie in theaters and on DVD, but he was never murdered for it.

They were too stupid to realize what he had just done, and for the next 20 years after release they never figured it out.


I could just imagine the Suits getting together to watch an early screening of Mullholland Drive before it had the greenlight for release and saying "Yeah. That's fine. I don't know what the fuck any of that was about, but Lynch brings in all the weirdos with money and we know this will make us some on the Lynch Budget."

You, Suit. The movie was about you.

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Originally posted by Brenda:
I like "Dune", "Elephant Man".

Also seen "Blue Velvet" and tried watching "Twin Peaks" mostly because it was filmed in Washington State. I didn't like "Blue Velvet" and couldn't get into "Twin Peaks."

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Originally posted by second:

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Originally posted by Brenda:
I like "Dune", "Elephant Man".

Also seen "Blue Velvet" and tried watching "Twin Peaks" mostly because it was filmed in Washington State. I didn't like "Blue Velvet" and couldn't get into "Twin Peaks."

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You would probably like "The Straight Story" by David Lynch.

When David Lynch Played It Straight

One of our most disturbing filmmakers also made one of our greatest family movies.

By Dan Kois | Jan 17, 2025, 12:21 PM

Lynch took The Straight Story to 1999’s Cannes Film Festival, where in perhaps the greatest year ever for American independent film, he sold his movie to Disney. (It’s still streaming on Disney+.) He laughed, later, when it received a G rating from the MPAA — surely that would never happen again, he cracked. Yet he was obviously fond of this placid film. “I felt its yearning for pure, intense feeling represented something that was in the air,” he said.

More at https://slate.com/culture/2025/01/david-lynch-dead-movies-the-straight
-story.html

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

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Originally posted by second:

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Originally posted by 6ixStringJack:
I haven't seen probably more than half of his catalogue, but I really like the stuff I did see.

A brilliant mind.

He was able to tell the story of every girl Harvey Weinstien and his buddies raped 20 years before talking about it was cool. Not only did they allow him to put that movie in theaters and on DVD, but he was never murdered for it.

They were too stupid to realize what he had just done, and for the next 20 years after release they never figured it out.


I could just imagine the Suits getting together to watch an early screening of Mullholland Drive before it had the greenlight for release and saying "Yeah. That's fine. I don't know what the fuck any of that was about, but Lynch brings in all the weirdos with money and we know this will make us some on the Lynch Budget."

You, Suit. The movie was about you.

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Across Lynch’s filmography is the concept of the seedy underbelly beneath glossy surfaces. The perfect town in Blue Velvet hides an insidious nightlife and by the end of the film the two worlds collide violently. It’s the same in Mulholland Dr only substitute Hollywood for suburban town. David Lynch also references the Wizard of Oz in a lot of films and the Wizard of Oz is also an allegory for Hollywood. The small town girl dreams of the big bright city, but when she gets there she is scared and wants to go home. Dorothy gets to wake up and go back home to Kansas. I think Mulholland Dr is a dark version of the Wizard of Oz. The dancing old couple at the beginning can be seen as Auntie Em and Uncle Henry. Naomi Watts is Dorothy. She too dreams of the big city but her dream becomes a nightmare and she’s trapped. She has a rich dream life of what her Hollywood story could have been (the noir fantasy with her and Rita where she gets to be the hero, and the starlet, and all her other wishes fulfilled), but her reality (the Silencio scene is her wake up call) is that she didn’t make it. Like many would be starlets, she didn’t have what it takes and she dies alone and unloved. So basically like the Wizard of Oz most of the movie is Diane’s dream. Like Dorothy, she wakes up, but not to happily return to Kansas but to return to the failure of her life. David Lynch loves to play with genre. He especially loves noir. He loves American mythos and he loves old Hollywood.

Tldr: most of the movie is Diane’s dream. The message is that Hollywood is a brutal place that creates dreamy content for audiences, but in reality chews people up and spits them out.

With David Lynch, the meaning becomes clear if you take a step back and look at the whole picture rather than trying to figure out what every individual detail means. The details fall into place once the whole picture starts to make sense.

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Originally posted by 6ixStringJack:
I hate admitting it, but I've never seen Twin Peaks.

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Forty-two years ago, for reasons beyond my comprehension, David Lynch plucked me out of obscurity to star in his first and last big budget movie. He clearly saw something in me that even I didn’t recognize. I owe my entire career, and life really, to his vision.

What I saw in him was an enigmatic and intuitive man with a creative ocean bursting forth inside of him. He was in touch with something the rest of us wish we could get to.

Our friendship blossomed on Blue Velvet and then Twin Peaks and I always found him to be the most authentically alive person I’d ever met.

David was in tune with the universe and his own imagination on a level that seemed to be the best version of human. He was not interested in answers because he understood that questions are the drive that make us who we are. They are our breath.

While the world has lost a remarkable artist, I’ve lost a dear friend who imagined a future for me and allowed me to travel in worlds I could never have conceived on my own.

I can see him now, standing up to greet me in his backyard, with a warm smile and big hug and that Great Plains honk of a voice. We’d talk coffee, the joy of the unexpected, the beauty of the world, and laugh.

His love for me and mine for him came out of the cosmic fate of two people who saw the best things about themselves in each other.

I will miss him more than the limits of my language can tell and my heart can bear. My world is that much fuller because I knew him and that much emptier now that he’s gone.

David, I remain forever changed, and forever your Kale. Thank you for everything.

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Originally posted by 6ixStringJack:

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Originally posted by second:
Across Lynch’s filmography is the concept of the seedy underbelly beneath glossy surfaces. The perfect town in Blue Velvet hides an insidious nightlife and by the end of the film the two worlds collide violently. It’s the same in Mulholland Dr only substitute Hollywood for suburban town. David Lynch also references the Wizard of Oz in a lot of films and the Wizard of Oz is also an allegory for Hollywood. The small town girl dreams of the big bright city, but when she gets there she is scared and wants to go home. Dorothy gets to wake up and go back home to Kansas. I think Mulholland Dr is a dark version of the Wizard of Oz. The dancing old couple at the beginning can be seen as Auntie Em and Uncle Henry. Naomi Watts is Dorothy. She too dreams of the big city but her dream becomes a nightmare and she’s trapped. She has a rich dream life of what her Hollywood story could have been (the noir fantasy with her and Rita where she gets to be the hero, and the starlet, and all her other wishes fulfilled), but her reality (the Silencio scene is her wake up call) is that she didn’t make it. Like many would be starlets, she didn’t have what it takes and she dies alone and unloved. So basically like the Wizard of Oz most of the movie is Diane’s dream. Like Dorothy, she wakes up, but not to happily return to Kansas but to return to the failure of her life. David Lynch loves to play with genre. He especially loves noir. He loves American mythos and he loves old Hollywood.

Tldr: most of the movie is Diane’s dream. The message is that Hollywood is a brutal place that creates dreamy content for audiences, but in reality chews people up and spits them out.

With David Lynch, the meaning becomes clear if you take a step back and look at the whole picture rather than trying to figure out what every individual detail means. The details fall into place once the whole picture starts to make sense.

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C'mon...

No explanation for the monster behind Denny's?

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"I don't find this stuff amusing anymore." ~Paul Simon

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In the 1990s, artists like Trent Reznor of Nine Inch Nails, whose music is included on the official soundtrack of “Lost Highway,” also confronted audiences with images of decadence and social decay, which were inspired by his own disturbing experiences in Hollywood and the music industry.

These dark themes have since been personified in rich and powerful men like Sean “Diddy” Combs, Bill Cosby and Jeffrey Epstein who, for years, skated along the surface of high society with their perversions hidden from the public.

In his 2001 film, “Mulholland Drive,” Lynch turns his attention to Hollywood and the wretchedness that seems baked into its very nature.

A wide-eyed and innocent aspiring actress named Betty Elms arrives in Los Angeles with visions of stardom. Her struggle to achieve success – one that ends in depression and death – is certainly tragic. But it’s also not very surprising, given that she was trying to make it in a corrupt system that all too often bestows its rewards on the undeserving or those who are willing to compromise their morals.

As with so many who go to Hollywood with big dreams only to find that fame is beyond their reach, Elms is unprepared for an industry so consumed with exploitation and corruption. Her fate mimics that of the women who, desperate for stardom, ended up falling into the trap set by Harvey Weinstein.

Lynch’s death comes at a time when America seems to be hurtling toward an ever-darker future. Perhaps it’s one foretold by politicians turning a deaf ear to acts of sexual assault, tolerating the vilification of victims or even bragging that they can get away with murder.

Lynch’s vital body of work warns that the cruelty of such people isn’t really what we should fear most. It is, instead, those who laugh, cheer or simply turn away – faint responses that enable and empower such behaviors, giving them an acceptable place in the world.

When Lynch’s films were first released, they often appeared as surreal, funhouse mirror reflections of society.

Today they speak of profound and terrible truths we can’t ignore.

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Originally posted by second:

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Originally posted by 6ixStringJack:

C'mon...

No explanation for the monster behind Denny's?

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Diane is the scary homeless person behind the diner, most likely to symbolize the trash that got spit out from the Hollywood machine. It's a commentary on the Hollywood industry through Diane's fantasies and envy. She reimagines reality so that her failure as an actress can only be a conspiracy for the "obviously not as talented" actress that beat her, and Camilla, who made it and ditched her (before Diane had her killed), is now a servile partner who is in awe of how amazing she is.

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Originally posted by 6ixStringJack:
I've seen a lot of dirty homeless people. None of them looked that bad.

The "homeless person" is Rita's dream. Betty/Diane is also Rita's dream. Rita is the one who is reimagining reality.

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