David Lynch, explained by David Lynch. Impossible. David Lynch explaining his feelings after reading a biography of David Lynch. Plausible. And finished the reading of Space to dream (Reservoir Books), up to fascinating. Because a artist as filmmaker, the united states does not deserve an effort to use. And what that has done next to the journalist Kristine McKenna is at the height of his work. The same Lynch (Missoula, Montana, 1946) explains in the introduction: “She wrote first a chapter using the usual tools of a biography [has interviewed more than 100 people connected at some point with their object of study]. Then I checked the chapter, and using the memories of others to unearth my family, I was writing my own chapter”. And he finishes by warning: “human consciousness is too vast for confining it between the covers of a book, and each experience has too many elements to be taken into account. In summary, we wanted to enlighten this biography was the final, but remains a mere sketch”.
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Deciphering what lynchiano David Lynch: “An artist does not have to suffer to show suffering,”
A statement worthy of the creator of blue Velvet (1986), Carretera perdida (1997) or Mulholland Drive (2001), author of a masterpiece of television as Twin Peaks (1989 and 2017), which has held 23 exhibitions, 35 audiovisual works of different formats and recorded eight albums. That the same is capable of making a classic film narrative the old-fashioned way -A true story (1999)- as of run wild with your dreams in a rampant film -Inland Empire (2006)-. The volume is full of anecdotes and stories; however, the filmmaker is saved well to delve into his soul. In their first lines, McKenna already enters into the kernel: “The stem of David Lynch was in town, and his father, of field. This is a good starting point, as we have before us a story of dualities”. The book starts by the parents of the artist, to emphasize that his creative world, that the united States indatable in which you develop your best work, born of his years at Boise, the capital of Idaho, “a small town in which middle class children who grew up in it, enjoyed a level of freedom that today is unimaginable”.
it Is curious how the work of Lynch that comes out of that universe is in the end the least achieved: Dune (1984). And that landscape is emphasized in the chapter on blue Velvet: “The aesthetic of her films is largely determined by the unique relationship that he has with the time and the fact that you do not save fidelity to historical accuracy Neyine in what refers to styles of the period. In his kingdom, and the united States is a river that always flows forward carrying loose items in one decade to another.” As it reaffirms pages later: “Before David, no one would gather what is sad and what’s funny, or mixing the scary with the hilarious, or the sex with the strange”. What and how you answer the above? In any way, except by telling how he bought a mackerel on a fishmonger for diseccionarla and start like that for years what we called kit animals -“is that I’m obsessed with textures”-, or who attended the birth of his first stem -Jennifer – solo “because I wanted to see”. All the while, thanks to his kindness and persuasion, around the people is folded to its charms. The producer Rafaella Di Laurentiis -her father Dino was behind Dune and blue Velvet – gives enchanted her uterus after being removed in a hysterectomy (the surgeons finally throw it away), their wives and girlfriends break up with him, staying always with a good taste in your mouth… His own daughter points out that when he combines several romantic relationships is “innocent”, without wanting to do damage. And not lose sight of the importance to Lynch transcendental meditation.
And, of course, is his work. Since its inception in the painting, the influence on his work of the violence that he suffered during his time of residence in Philadelphia, the constant impression of the people around you that are on the side of a total artist, of someone who will be famous and stand out from the rest. In its parts, Lynch does not give so much importance to this concept as to what is really concerned about: controlling the creative process, to be the author total. That’s why he fought for four years by the end of her first film, Head borradora (1977), the movie that saw Mel Brooks -yes, the comedian, but also producer of movies, more serious – to hire him as director of The elephant man (1980), the beginning of his great voyage. When he saw the Head borradora, recalls Lynch, “Mel went out with a bang, it came to me, hugged me and said: ‘you Are a madman. I love you!”.
The book ends its 620 pages (plus another 80 for additional information) with the premiere of the second part of Twin Peaks, and the desire of the filmmaker of happiness and peace for all the world. Sentence latter that defines its author, a kind of character of Norman Rockwell’s that would take decades of dwelling and enjoying the black paintings of Goya.
