David Lynch

"The one thing that disturbs me is that many psychopaths say they had a very happy childhood. There's some line I read about the longing for the euphoria of forgotten childhood dreams. And it was like a dream. Airplanes passed by slowly in the sky. Rubber toys floated on the water. Meals seemed to last five years and nap time seemed endless. And the world was so small. I can't remember being able to see more than a couple of blocks. And those couple of blocks were huge. So all the details were blown out of proportion. Blue skies, picket fences, green grass, cherry trees. Middle America as it's supposed to be. But on the cherry tree there's pitch oozing out - some of it's black, some of it's yellow, and there are millions of ants crawling all over it. I discovered that if one looks a little closer at the beautiful world, there's always red ants underneath."

"I had my first thrilling thought in Philadelphia. When I was there it was a very sick, twisted, violent, fear-ridden, decadent, decaying place. I was like living in a small cloud of fear. It was horrible, but in a very interesting way. There were places there that had been allowed to decay, where there was so much fear and crime that just for a moment there was an opening to another world. It was fear, but it was so strong, and so magical, like a magnet, that your imagination was always sparking in Philadelphia. I just have to think of Philadelphia now, and I get ideas, I hear the wind, and I'm off into the darkness somewhere."

"I have to make what I see, whether it's a painting, a table, or a movie, or it's like a death and what would be the point of that?"

"I sort of go by a duck when I work on a film because if you study a duck, you'll see certain things. You'll see a bill, and the bill is a certain texture and a certain length. Then you'll see a head, and the features on the head are a certain texture and it's a certain shape and it goes into the neck. The texture of the bill for instance is very smooth and it has quite precise detail in it and it reminds you somewhat of the legs. The legs are a little bit bigger and a little more rubbery but it's enough so that your eye goes back and forth. Now, the body being so big, it can be softer and the texture is not so detailed, it's just kind of a cloud. And the key to the whole duck is the eye and where the eye is placed. And it has to be placed in the head and it's the most detailed, and it's like a little jewel. And if it was fixed sitting on the bill, it would be two things that were too busy, battling, they would not do so well. And if it was sitting in the middle of the body, it would get lost. But it's so perfectly placed to show off a jewel right in the middle of the head like that, next to this S-curve with the bill sitting out in front, but with enough distance so that the eye is very very very well secluded and set out. So when you're working on a film, a lot of times you can get the bill and the legs and the body and everything, but this eye of the duck is a certain scene, this jewel, that if it's there, it's absolutely beautiful. It's just fantastic."

"I feel that I live in darkness and confusion, and I'm trying, like we all are, to make some sort of sense of it."

Schedule

 7.30 pm Introduction by Mike Hartmann
 8.00 pm Lost Highway
10.30 pm Twin Peaks - Fire Walk With Me
plus an exhibition of over 100 pictures of
paintings, drawings, photographs & furniture

David Lynch 1946

Lost Highway 1997

starring Bill Pullman, Patricia Arquette, Balthazar Getty, Robert Loggia, Robert Blake, Natasha Gregson Wagner, Gary Busey, Michael Masse, Henry Rollins

directed by David Lynch, written by David Lynch & Barry Gifford, edited by Mary Sweeney, cinematography Peter Deming, music by Angelo Badalamenti, sound design David Lynch, production design/ costumes design Patricia Norris

Twin Peaks - Fire Walk With Me 1992

starring Sheryl Lee, Ray Wise, Kyle MacLachlan, Chris Isaak, Kiefer Sutherland, David Lynch, David Bowie, Harry Dean Stanton, Moira Kelly, Dana Ashbrook

directed by David Lynch, written by David Lynch & Robert Engels, edited by Mary Sweeney, cinematography Ron Garcia, music by Angelo Badalamenti, sound design David Lynch, production design/ costumes design Patricia Norris