[[Image:Eraserhead1.jpg|200px|thumb|left|David Lynch as a child.]]
[[Image:Eraserhead1.jpg|200px|thumb|left|David Lynch as a child.]]
On the day Lynch was born, a mysterious old woman in garish makeup, perhaps a reclusive neighbor, came to the door of his parents' house and ominously warned of some unspecified "grave danger" in an unplaceable accent. His parents were BOB—a malicious transdimensional spirit—and Laura “Who Killed…” Palmer—a [[slut|promiscuous]] meals-on-wheels volunteer and BOB’s high school sweetheart. Lynch was an [[loser|introverted and lonely child]], something that likely led to his later <s>adult problems</s> film career.
On the day Lynch was born, a mysterious old woman in garish makeup, perhaps a reclusive neighbor, came to the door of his parents' house and ominously warned of some unspecified "grave danger" in an unplaceable accent. His parents were BOB—a malicious transdimensional spirit—and Laura “Who Killed…” Palmer—a [[slut|promiscuous]] meals-on-wheels volunteer and BOB’s high school sweetheart. Lynch was an [[loser|introverted and lonely child]], something that likely led to his later <s>adult problems</s> film career.
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...
There was this great big light ... and ... oh? Why? why? why do there have to be people like Frank?
There was this great big light ... and ... oh? Why? why? why do there have to be people like Frank?
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David Lynch makes motion picture films. ''[static]'' Would you like to know how he makes his motion picture films? ''[static]'' Here is how he makes them:
David Lynch makes motion picture films. ''[static]'' Would you like to know how he makes his motion picture films? ''[static]'' Here is how he makes them:
"Do you know how many fuckin' car-lengths it takes to stop a car at 35mph!?"
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===The Straight Story===
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"Did you ride that thing all the way out here to see me?"
===Mulholland Drive===
===Mulholland Drive===
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===Inland Empire===
===Inland Empire===
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Baltic region akdb sdb dsnjfjbndfhs ddg hey it's that woman from [[Jurassic Park]] asje lfjdb fhb sabf dsnc ajfbasvb hablssg What? ahlafnsdfj jsauvd ''[[Rabbits]]?'' as fashfdsb dljsfdfs sdjs fnbld A asufsdu bkasaudsh nbdaebm buen DERN DERN DERN LAURA PALMER sdlnd is; sadnb sdsdh boen akd ''[[Poland]]?'' sdkbfdj ndsj ne akkn eiu Wait, what? sdi dbnfsdk No seroiusly what the fuck ibueljakentcojl; uebdiekgn She gets stabbed in the [[vagina]] kdnekj biekbam ubibeamd tuasantj look, I'm kinda in a mindfuck right now, and I don't know if today's tomorrow or what ''[Southern drawl]'' dkjaen iebabasd.
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Baltic region akdb sdb dsnjfjbndfhs ddg hey it's that woman from [[Jurassic Park]] asje lfjdb fhb sabf dsnc ajfbasvb hablssg What? ahlafnsdfj jsauvd ''[[Rabbits]]?'' as fashfdsb dljsfdfs sdjs fnbld A asufsdu bkasaudsh nbdaebm buen DERN DERN DERN LAURA PALMER sdlnd is; sadnb sdsdh boen akd ''[[Poland]]?'' sdkbfdj ndsj ne akkn eiu Wait, what? sdi dbnfsdk No seroiusly what the fuck ibueljakentcojl; uebdiekgn She gets stabbed in the [[vagina]] kdnekj biekbam ubibeamd tuasantj look, I'm kinda in a mindfuck right now, and I don't know if today's tomorrow or what ''[Southern drawl]'' dkjaen iebabasd.
==Recurring Motifs==
==Recurring Motifs==
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===Physical Deformity===
===Physical Deformity===
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[[Image:DavidLynch.jpg|220px|thumb|right|David Lynch's crazy hair represents his twisted, deep seated psychological and [[sex|sexual desire]].]]
It is also very common for David Lynch to make use of physically deformed characters in his films. Often, this motif is simplified to people who are just fucked up in general. Physical deformity is often taken to symbolize twisted, deep seated psychological and [[sex|sexual desire]].
It is also very common for David Lynch to make use of physically deformed characters in his films. Often, this motif is simplified to people who are just fucked up in general. Physical deformity is often taken to symbolize twisted, deep seated psychological and [[sex|sexual desire]].
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One of Lynch's most common themes is the plight of the woman in trouble. Lynch enjoys to portray women beaten, raped, stalked, ridiculed, oppressed, terrorized, stripped, frightened, left alone, confused, unstable, irrational, dependent, and squeezed through radiator grills. This quality in his female characters is portrayed with an enthralling lasciviousness, and is symbolic of twisted, deep seated psychological and [[sex|sexual desire]].
One of Lynch's most common themes is the plight of the woman in trouble. Lynch enjoys to portray women beaten, raped, stalked, ridiculed, oppressed, terrorized, stripped, frightened, left alone, confused, unstable, irrational, dependent, and squeezed through radiator grills. This quality in his female characters is portrayed with an enthralling lasciviousness, and is symbolic of twisted, deep seated psychological and [[sex|sexual desire]].
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Some critics claim that this tendency is pure [[mysogyny]], and the real reason he tears women to bloody unrecognizable shreds both physically and emotionally in every film is because of his irrational hatred of the female sex. This is bullshit, because these people clearly do not know what they are talking about.
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Some critics claim that this tendency is pure [[misogyny]], and the real reason he tears women to bloody unrecognizable shreds both physically and emotionally in every film is because of his irrational hatred of the female sex. This is bullshit, because these people clearly do not know what they are talking about.
===Weird Random Stuff===
===Weird Random Stuff===
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* ''Step #2'': Eat a dangerous amount of [[drugs|peyote]] before writing it down.
* ''Step #2'': Eat a dangerous amount of [[drugs|peyote]] before writing it down.
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* ''Step #3'': Mix the differentscenesinto a randomnon-lineartimeline, screwingupthecontinuity of theplot. Youmightwanttoconsidersuperimposing the film'sendingsceneover the openingscene, sothatbothscenesappearatthebeginningofthefilmat the sametime, albeitintermingledwitheachother.
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* ''Step #3'': Go out on a hunt for the most creepy, odd looking person you can find on the street.Payhim/her a fairsalarytoplay the role of... well... a creepy, oddlooking[[man]](or of an indeterminablegender). Evenifit'sawoman,she should still be cast as a male character for an even creepier appearance. Give the creepy,oddlookingcharacter some creepy dialog to creep the audience out. Forinstance, "Iamgoingtofindoutoneday"or"Ihavea secret." For the besteffect, thecreepy,oddlooking character should not have any name (except for [[Bob]], ofcourse).
* ''Step #4'': Record everything you do during one day on a [[tape recorder]] (for instance "it's 10:05 AM and I'm peeling the skin off an orange"), then pick out a few sentences and play them [[Sdrawkcab|backwards]]. Now insert the [[Sdrawkcab|backwards]] speech at a barely audible volume underneath the existing dialog.
* ''Step #4'': Record everything you do during one day on a [[tape recorder]] (for instance "it's 10:05 AM and I'm peeling the skin off an orange"), then pick out a few sentences and play them [[Sdrawkcab|backwards]]. Now insert the [[Sdrawkcab|backwards]] speech at a barely audible volume underneath the existing dialog.
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* ''Step #5'': Go out on a hunt for the most creepy, odd looking person you can find on the street.Payhim/her a fairsalarytoplay the role of... well... a creepy, oddlooking[[man]](or of an indeterminablegender). Evenifit'sawoman,she should still be cast as a male character for an even creepier appearance. Give the creepy,oddlookingcharacter some creepy dialog to creep the audience out. Forinstance, "Iamgoingtofindoutoneday"or"Ihavea secret". For the besteffect, thecreepy,oddlooking character should not have any name (except for [[Bob]], ofcourse).
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* ''Step #5'': Mix the differentscenesinto a randomnon-lineartimeline, screwingupthecontinuity of theplot. Youmightwanttoconsidersuperimposing the film'sendingsceneover the openingscene, sothatbothscenesappearatthebeginningofthefilmat the sametime, albeitintermingledwitheachother.
* ''Step #6'': Amazingly, you will have a [[script]] which David Lynch will steal from you and make into a film. There are no revisions, changes, or improvements.
* ''Step #6'': Amazingly, you will have a [[script]] which David Lynch will steal from you and make into a film. There are no revisions, changes, or improvements.
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* ''Step #7'': Even though the screenplay is, as Hollywood Execs would call it, "[[Gay]]", and the movie is "[[Gay]]", David Lynch makes million$ and gets critical acclaim.
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* ''Step #7'': Even though the screenplay is, as Hollywood Execs would call it, "[[Gay]]," and the movie is "[[Gay]]," David Lynch makes million$ and gets critical acclaim.
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* ''Step #8'': Log into a bunch of film-related forums, most importantly the film's own message board on [[Internet Movie Database|IMDb]], and write at least one post about how "deep", "subtle" and "profound" the storyline is, no matter what the [[plot]] is, or whether it's actually [[smart]] or [[Stupid|not]]. Hell, you don't even have to see it to write about it. Write some random [[Existentialism|existentialist]] gibberish about the plot in an attempt to make the script look coherent and yourself look smart. Make sure that the sentence "Look how deep I am!" is printed (metaphorically speaking) between the lines of your long and extensive interpretation of the plot
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* ''Step #8'': Log into a bunch of film-related forums, most importantly the film's own message board on [[Internet Movie Database|IMDb]], and write at least one post about how "deep," "subtle" and "profound" the storyline is, no matter what the [[plot]] is, or whether it's actually [[smart]] or [[Stupid|not]]. Hell, you don't even have to see it to write about it. Write some random [[Existentialism|existentialist]] gibberish about the plot in an attempt to make the script look coherent and yourself look smart. Make sure that the sentence "Look how deep I am!" is printed (metaphorically speaking) between the lines of your long and extensive interpretation of the plot.
* ''Step #9'': Accuse anyone who doesn't see the profanity or subtlety of the film of "not bothering to understand the film," "being narrow-minded," "not getting it" or even being downright [[stupid]]. Also say to the other person "go back to watching the Disney Channel, this film is for smart and deep people!"
* ''Step #9'': Accuse anyone who doesn't see the profanity or subtlety of the film of "not bothering to understand the film," "being narrow-minded," "not getting it" or even being downright [[stupid]]. Also say to the other person "go back to watching the Disney Channel, this film is for smart and deep people!"
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==See Also==
==See Also==
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* [[Amanda Palmer]]
* [[Dune]]
* [[Dune]]
* [[Joseph Merrick]]
* [[Joseph Merrick]]
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* [[Kyle MacLachlan]]
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* [[Laura Palmer]]
* [[Stanley Kubrick]]
* [[Stanley Kubrick]]
* [[Surrealism]]
* [[Surrealism]]
* [[WTF]]
* [[WTF]]
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{{greatfilm}}
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{{FA|date=25 March 2009|revision=3728101}}
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[[Category:Film]]
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{{DEFAULTSORT:Lynch, David}}
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[[Category:Directors]]
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[[Category:American artists]]
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[[Category:American film directors]]
[[Category:Attention Whores]]
[[Category:Attention Whores]]
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[[Category:Weird People]]
[[Category:Really Angry People]]
[[Category:Really Angry People]]
[[fr:David Lynch]]
[[fr:David Lynch]]
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[[it:David Lynch]]
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[[ru:Линч]]<noinclude>[[Category:Pages with deprecated tags]]</noinclude>
Latest revision as of 01:25, February 17, 2012
In the interest of good taste, some areas of this photograph have been digitally obscured.
David Lynch
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[ambient industrial sound effects]
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is an experimental
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[scenes of Americana supplemented with jazz music]
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and outlandish
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[close-up soft-focus shot of a phonograph playing something about the Baltic Region]
On the day Lynch was born, a mysterious old woman in garish makeup, perhaps a reclusive neighbor, came to the door of his parents' house and ominously warned of some unspecified "grave danger" in an unplaceable accent. His parents were BOB—a malicious transdimensional spirit—and Laura “Who Killed…” Palmer—a promiscuous meals-on-wheels volunteer and BOB’s high school sweetheart. Lynch was an introverted and lonely child, something that likely led to his later adult problems film career.
...
There was this great big light ... and ... oh? Why? why? why do there have to be people like Frank?
[flickering lights]
I won a swing dance contest, you know.
Film Career
David Lynch makes motion picture films. [static] Would you like to know how he makes his motion picture films? [static] Here is how he makes them:
"Do you know how many fuckin' car-lengths it takes to stop a car at 35mph!?"
The Straight Story
"Did you ride that thing all the way out here to see me?"
Mulholland Drive
Naomi Watts is a lesbian. This is all one need know about this film. That and she's in trouble.
Inland Empire
Baltic region akdb sdb dsnjfjbndfhs ddg hey it's that woman from Jurassic Park asje lfjdb fhb sabf dsnc ajfbasvb hablssg What? ahlafnsdfj jsauvd Rabbits? as fashfdsb dljsfdfs sdjs fnbld A asufsdu bkasaudsh nbdaebm buen DERN DERN DERN LAURA PALMER sdlnd is; sadnb sdsdh boen akd Poland? sdkbfdj ndsj ne akkn eiu Wait, what? sdi dbnfsdk No seroiusly what the fuck ibueljakentcojl; uebdiekgn She gets stabbed in the vagina kdnekj biekbam ubibeamd tuasantj look, I'm kinda in a mindfuck right now, and I don't know if today's tomorrow or what [Southern drawl] dkjaen iebabasd.
Recurring Motifs
[assorted disconcerting noises]
David Lynch uses a great deal of artsy, complicated symbolism in his films that is often lost upon the average filmgoer. Here are just some of his deeper, more notable motifs and symbols.
Crazy Hair
The crazy hair motif.
In all of David Lynch's films, it is typical for there to be a man with crazyhair. Typically, crazyhair in Lynch films symbolizes twisted, deep seated psychological and sexual desire. Because hair grows out from the head, it can be seen as a reflection of what goes on inside the head, the proverbial soil from whence it was grown. As Lynch's films almost invariably deal with sexual trauma/deviation of some kind, crazy hair directly symbolizing that is a given.
In Eraserhead, for instance, protagonist Henry (actorJack Nance) has extremely crazyhair. His hair is somewhat like an afro, but also flat on the top and somewhat on the sides. Because of this, his hair looks somewhat like a pencil eraser. Hence, Eraserhead. It is from Nance's hairdo that the title of the film is actually derived.
Some people, however, claim that the movie title is derived from a dream sequence that occurs near the end of the film in which Henry's brains are made into pencil erasers. This is bullshit, because these people clearly do not know what they are talking about.
Physical Deformity
It is also very common for David Lynch to make use of physically deformed characters in his films. Often, this motif is simplified to people who are just fucked up in general. Physical deformity is often taken to symbolize twisted, deep seated psychological and sexual desire.
In The Elephant Man, for instance, sexual adventurist John/Joseph Merrick is represented as a twisted monster, a representation of his twisted inner being.
Some claim, however, that Lynch actually contrasts Merrick's deformed outer being with his pure and benevolent inner being. This is bullshit, because these people clearly do not know what they are talking about.
A Woman in Trouble
One of Lynch's most common themes is the plight of the woman in trouble. Lynch enjoys to portray women beaten, raped, stalked, ridiculed, oppressed, terrorized, stripped, frightened, left alone, confused, unstable, irrational, dependent, and squeezed through radiator grills. This quality in his female characters is portrayed with an enthralling lasciviousness, and is symbolic of twisted, deep seated psychological and sexual desire.
Some critics claim that this tendency is pure misogyny, and the real reason he tears women to bloody unrecognizable shreds both physically and emotionally in every film is because of his irrational hatred of the female sex. This is bullshit, because these people clearly do not know what they are talking about.
Weird Random Stuff
David Lynch often employs a number of "weird, random" things in his films. These include, but are not limited to:
Flickering lights (certain scenes of Eraserhead)
Ambient, industrial sound effects (certain scenes of Eraserhead)
The repetition of everyday noises greatly amplified (certain scenes of Eraserhead)
Nonsequitor scenes that have nothing to do with the rest of anything (all of Inland Empire)
These seemingly random and quirky "personal touches" are in fact of heavy symbolic value. These instances are often credited as symbolizing twisted, deep seated psychological and sexual desire. In Eraserhead, for instance, there are flickering lights. Also, the film deals with sex. Therefore, the flickering lights symbolize twisted, deep seated psychological and sexual desire.
There are some people who not only do not agree with this analysis, but find this running joke really tired and uncreative. This is bullshit, because those people clearly do not know what they are talking about.
How to Make a David Lynch Film
This clown symbolizes twisted, deep seated psychological and sexual desire.
Step #1: Think of the weirdest thing ever (i.e., lizards eating a guy's leg while he walks to a post office in space).
Step #2: Eat a dangerous amount of peyote before writing it down.
Step #3: Go out on a hunt for the most creepy, odd looking person you can find on the street. Pay him/her a fair salary to play the role of... well... a creepy, odd looking man (or of an indeterminable gender). Even if it's a woman, she should still be cast as a male character for an even creepier appearance. Give the creepy, odd looking character some creepy dialog to creep the audience out. For instance, "I am going to find out one day" or "I have a secret." For the best effect, the creepy, odd looking character should not have any name (except for Bob, of course).
Step #4: Record everything you do during one day on a tape recorder (for instance "it's 10:05 AM and I'm peeling the skin off an orange"), then pick out a few sentences and play them backwards. Now insert the backwards speech at a barely audible volume underneath the existing dialog.
Step #5: Mix the different scenes into a random non-linear time line, screwing up the continuity of the plot. You might want to consider superimposing the film's ending scene over the opening scene, so that both scenes appear at the beginning of the film at the same time, albeit intermingled with each other.
Step #6: Amazingly, you will have a script which David Lynch will steal from you and make into a film. There are no revisions, changes, or improvements.
Step #7: Even though the screenplay is, as Hollywood Execs would call it, "Gay," and the movie is "Gay," David Lynch makes million$ and gets critical acclaim.
Step #8: Log into a bunch of film-related forums, most importantly the film's own message board on IMDb, and write at least one post about how "deep," "subtle" and "profound" the storyline is, no matter what the plot is, or whether it's actually smart or not. Hell, you don't even have to see it to write about it. Write some random existentialist gibberish about the plot in an attempt to make the script look coherent and yourself look smart. Make sure that the sentence "Look how deep I am!" is printed (metaphorically speaking) between the lines of your long and extensive interpretation of the plot.
Step #9: Accuse anyone who doesn't see the profanity or subtlety of the film of "not bothering to understand the film," "being narrow-minded," "not getting it" or even being downright stupid. Also say to the other person "go back to watching the Disney Channel, this film is for smart and deep people!"
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