David Lynch
David Lynch | |
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Born | David Keith Lynch January 20, 1946 Missoula, Montana, U.S. |
Other names | Judas Booth |
Education | |
Occupations |
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Years active | 1967–present |
Notable work | |
Spouses |
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Partner(s) |
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Children | 4, including Jennifer |
Signature | |
This article is part of a series on |
David Lynch |
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David Keith Lynch (born January 20, 1946) is an American filmmaker, painter, visual artist, musician, actor
Lynch studied painting before he began making short films in the late 1960s. His first feature-length film was
Lynch's other artistic endeavors include his work as a musician, encompassing the studio albums
Early life
My childhood was elegant homes, tree-lined streets, the milkman, building backyard forts, droning airplanes, blue skies, picket fences, green grass, cherry trees.
red antscrawling all over it. I discovered that if one looks a little closer at this beautiful world, there are always red ants underneath. Because I grew up in a perfect world, other things were a contrast.
[11]: 10–11
David Keith Lynch was born in
I found the world completely and totally fantastic as a child. Of course, I had the usual fears, like going to school ... for me, back then, school was a crime against young people. It destroyed the seeds of liberty. The teachers didn't encourage knowledge or a positive attitude.[11]: 14
Alongside his schooling, Lynch joined the
At
Career
1967–1976: Short films and Eraserhead
Back in the United States, Lynch returned to Virginia, but since his parents had moved to
We lived cheap, but the city was full of fear. A kid was shot to death down the street ... We were robbed twice, had windows shot out and a car stolen. The house was first broken into only three days after we moved in ... The feeling was so close to extreme danger, and the fear was so intense. There was violence and hate and filth. But the biggest influence in my whole life was that city.[11]: 42–43
Meanwhile, to help support his family, he took a job printing engravings.[11]: 43 At the Pennsylvania Academy, Lynch made his first short film, Six Men Getting Sick (Six Times) (1967). He had first come up with the idea when he developed a wish to see his paintings move, and he began discussing doing animation with an artist named Bruce Samuelson. When this project never came about, Lynch decided to work on a film alone, and purchased the cheapest 16mm camera that he could find. Taking one of the academy's abandoned upper rooms as a workspace, he spent $150,[17] which at the time he felt to be a lot of money, to produce Six Men Getting Sick.[11]: 37–38 Calling the film "57 seconds of growth and fire, and three seconds of vomit", Lynch played it on a loop at the academy's annual end-of-year exhibit, where it shared joint first prize with a painting by Noel Mahaffey.[11]: 38 [18]: 15–16 This led to a commission from one of his fellow students, the wealthy H. Barton Wasserman, who offered him $1,000 (equivalent to $8,800 in 2023) to create a film installation in his home. Spending $478 of that on the second-hand Bolex camera "of [his] dreams", Lynch produced a new animated short, but upon getting the film developed, realized that the result was a blurred, frameless print. He later said, "So I called up [Wasserman] and said, 'Bart, the film is a disaster. The camera was broken and what I've done hasn't turned out.' And he said, 'Don't worry, David, take the rest of the money and make something else for me. Just give me a print.' End of story."[11]: 39
With his leftover money, Lynch decided to experiment with a mix of animation and live action, producing the four-minute short
Learning about the newly founded American Film Institute, which gave grants to filmmakers who could support their application with a prior work and a script for a new project, Lynch decided to send them a copy of The Alphabet along with a script he had written for a new short film that would be almost entirely live action, The Grandmother.[11]: 42 The institute agreed to help finance the work, initially offering him $5,000 out of his requested budget of $7,200, but later granting him the additional $2,200. Starring people he knew from both work and college and filmed in his own house,[11]: 44–47 The Grandmother featured a neglected boy who "grows" a grandmother from a seed to care for him. The film critics Michelle Le Blanc and Colin Odell wrote, "this film is a true oddity but contains many of the themes and ideas that would filter into his later work, and shows a remarkable grasp of the medium".[18]: 18
In 1970,[19] Lynch moved with his wife and daughter to Los Angeles, where he began studying filmmaking at the AFI Conservatory, a place he later called "completely chaotic and disorganized, which was great ... you quickly learned that if you were going to get something done, you would have to do it yourself. They wanted to let people do their thing."[11]: 57–58 He began writing a script for a proposed work, Gardenback, that had "unfolded from this painting I'd done". In this venture he was supported by a number of figures at the Conservatory, who encouraged him to lengthen the script and add more dialogue, which he reluctantly agreed to do. All the interference on his Gardenback project made him fed up with the Conservatory and led him to quit after returning to start his second year and being put in first-year classes. AFI dean Frank Daniel asked Lynch to reconsider, believing that he was one of the school's best students. Lynch agreed on the condition that he could create a project that would not be interfered with. Feeling that Gardenback was "wrecked", he set out on a new film, Eraserhead.[11]: 58–59
Eraserhead was planned to be about 42 minutes long (it ended up being 89 minutes), its script was only 21 pages, and Lynch was able to create the film without interference. Filming began on May 29, 1972, at night in some abandoned stables, allowing the production team, which was largely Lynch and some of his friends, including Sissy Spacek, Jack Fisk, cinematographer Frederick Elmes and sound designer Alan Splet, to set up a camera room, green room, editing room, sets as well as a food room and a bathroom.[11]: 59–60 The AFI gave Lynch a $10,000 grant, but it was not enough to complete the film, and under pressure from studios after the success of the relatively cheap feature film Easy Rider, it was unable to give him more. Lynch was then supported by a loan from his father and money that he earned from a paper route that he took up, delivering The Wall Street Journal.[11]: 60, 76 [20] Not long into Eraserhead's production, Lynch and Peggy amicably separated and divorced, and he began living full-time on set. In 1977, Lynch married Mary Fisk, sister of Jack Fisk.[11]: 60, 80, 110
Lynch has said that not a single reviewer of the film understood it in the way he intended. Filmed in black and white, Eraserhead tells the story of Henry (Jack Nance), a quiet young man living in a dystopian industrial wasteland, whose girlfriend gives birth to a deformed baby whom she leaves in his care. It was heavily influenced by the fearful mood of Philadelphia, and Lynch has called it "my Philadelphia Story".[11]: 56 [21]
Due to financial problems the filming of Eraserhead was haphazard, regularly stopping and starting again. It was in one such break in 1974 that Lynch created the short film The Amputee, a one-shot film about two minutes long. Lynch proposed that he make The Amputee to present to AFI to test two different types of film stock.[18]: 28–29
Eraserhead was finally finished in 1976. Lynch tried to get it entered into the
1980–1989: Rise to prominence
After Eraserhead's success on the underground circuit, Stuart Cornfeld, an executive producer for Mel Brooks, saw it and later said, "I was just 100 percent blown away ... I thought it was the greatest thing I'd ever seen. It was such a cleansing experience."[11]: 88 He agreed to help Lynch with his next film, Ronnie Rocket, for which Lynch had already written a script. But Lynch soon realized that Ronnie Rocket, a film that he has said is about "electricity and a three-foot guy with red hair", was not going to be picked up by any financiers, and so he asked Cornfeld to find him a script by someone else that he could direct. Cornfeld found four. On hearing the title of the first, The Elephant Man, Lynch chose it.[11]: 90–92
The Elephant Man's script, written by Chris de Vore and
The Elephant Man starred John Hurt as John Merrick (the name changed from Joseph) and Anthony Hopkins as Treves. Filming took place in London. Though surrealistic and in black and white, it has been called "one of the most conventional" of Lynch's films.[18]: 29–30 The Elephant Man was a huge critical and commercial success, earning eight Academy Award nominations, including Best Director and Best Adapted Screenplay.[11]: 104
After The Elephant Man's success,
Dune is set in the far future, when humans live in an interstellar empire under a
In 1983, he began writing and drawing of a comic strip, The Angriest Dog in the World, that featured unchanging graphics of a tethered dog so angry it could not move, alongside cryptic philosophical references. It was published from 1983 to 1992 in The Village Voice, Creative Loafing, and other tabloid and alternative publications.[11]: 109 Around this time Lynch also became interested in photography as an art form, and traveled to northern England to photograph the degrading industrial landscape.[11]: 109–111
Lynch was contractually still obliged to produce two other projects for De Laurentiis, the first a planned sequel to Dune, which due to the film's failure never went beyond the script stage.[11]: 115 The other was a more personal work, based on a script Lynch had been working on for some time. Developing from ideas that Lynch had had since 1973, the film, Blue Velvet, was set in the real town of Lumberton, North Carolina, and revolves around a college student, Jeffrey Beaumont (MacLachlan), who finds a severed ear in a field. Investigating further with the help of friend Sandy (Laura Dern), he discovers that it is related to a criminal gang led by psychopath Frank Booth (Dennis Hopper), who has kidnapped the husband and child of singer Dorothy Vallens (Isabella Rossellini) and repeatedly rapes her. Lynch has called the story "a dream of strange desires wrapped inside a mystery story".[11]: 138
Lynch included pop songs from the 1960s in the film, including Roy Orbison's "In Dreams" and Bobby Vinton's "Blue Velvet", the latter of which largely inspired the film. Lynch has said, "It was the song that sparked the movie ... There was something mysterious about it. It made me think about things. And the first things I thought about were lawns—lawns and the neighborhood.[11]: 134 Other music for the film was composed by Angelo Badalamenti, who wrote the music for most of Lynch's subsequent work.[11]: 130–132 De Laurentiis loved the film, and it received support at some of the early specialist screenings, but the preview screenings to mainstream audiences were very negatively received, with most of the viewers hating the film.[11]: 148–149 Lynch had found success with The Elephant Man, but Blue Velvet's controversy with audiences and critics introduced him into the mainstream, and it became a huge critical and moderate commercial success. The film earned Lynch his second Academy Award nomination for Best Director. Woody Allen, whose Hannah and Her Sisters was nominated for Best Picture, said Blue Velvet was his favorite film of the year.[25] In the late 1980s, Lynch began to work in television, directing a short piece, The Cowboy and the Frenchman, for French television in 1989.[18]: 81
1990–1999: Twin Peaks and stardom
Around this time, he met the television producer
During season one Lynch directed two of the seven episodes, devoting more time to his film Wild at Heart, but carefully chose the other episodes' directors.
While Twin Peaks was in production, the
1990 was Lynch's annus mirabilis: Wild at Heart won the Palme d'Or at Cannes, and the television series Twin Peaks was proving a smash hit with audiences across the world. The musical/performance piece Industrial Symphony No. 1, which Lynch had staged with Angelo Badalamenti at the Brooklyn Academy of music, had spawned the album Floating into the Night and launched singer Julee Cruise. Five one-man exhibitions between 1989 and 1991 emphasized Lynch's roots in fine art and painting, and a rash of ads (including a teaser trailer for Michael Jackson's 'Dangerous' tour) confirmed the demand for the Lynch touch ... In an unlikely scenario for the maker of Eraserhead, Lynch had become an influential and fashionable brand name.
—Christopher Rodley[11]: 191
While Lynch was working on the first few episodes of Twin Peaks, his friend
After Wild at Heart's success, Lynch returned to the world of the canceled Twin Peaks, this time without Frost, to create a film that was primarily a prequel but also in part a sequel. Lynch said, "I liked the idea of the story going back and forth in time."[11]: 187 The result, Twin Peaks: Fire Walk with Me (1992), primarily revolved around the last few days in the life of Laura Palmer, and was much "darker" in tone than the TV series, with much of the humor removed, and dealing with such topics as incest and murder. Lynch has said the film is about "the loneliness, shame, guilt, confusion and devastation of the victim of incest". The company CIBY-2000 financed Twin Peaks: Fire Walk with Me, and most of the TV series' cast reprised their roles, though some refused and many were unenthusiastic about the project.[11]: 184–187 The film was a commercial failure in the United States at the time of its release, but it has since experienced a critical reappraisal. A number of critics, such as Mark Kermode, have called it Lynch's "masterpiece".[29]
Meanwhile, Lynch worked on some new television shows. He and Frost created the comedy series On the Air (1992), which was canceled after three episodes aired, and he and Monty Montgomery created the three-episode HBO miniseries Hotel Room (1993) about events that happen in one hotel room on different dates.[18]: 82–84
In 1993, Lynch collaborated with Japanese musician Yoshiki on the video for X Japan's song "Longing ~Setsubou no Yoru~". The video was never officially released, but Lynch claimed in his 2018 memoir Room to Dream that "some of the frames are so fuckin' beautiful, you can't believe it."[30]
After his unsuccessful TV ventures, Lynch returned to film. In 1997, he released the non-linear noiresque Lost Highway, which was co-written by Barry Gifford and starred Bill Pullman and Patricia Arquette. The film failed commercially and received a mixed response from critics.[31][32]
Lynch then began work on a film from a script by Mary Sweeney and John E. Roach, The Straight Story, based on a true story: that of Alvin Straight (Richard Farnsworth), an elderly man from Laurens, Iowa, who goes on a 300-mile journey to visit his sick brother (Harry Dean Stanton) in Mount Zion, Wisconsin, by riding lawnmower. Asked why he chose this script, Lynch said, "that's what I fell in love with next", and expressed his admiration of Straight, describing him as "like James Dean, except he's old".[11]: 247, 252 Badalamenti wrote the music for the film, saying it was "very different from the kind of score he's done for [Lynch] in the past".[11]: 260
Among the many differences from Lynch's other films,
2000–2009: Established career
That year, Lynch approached
With the rising popularity of the Internet, Lynch decided to use it as a distribution channel, releasing several new series he had created exclusively on his website, davidlynch.com, which went online on December 10, 2001.[35] In 2002, he created a series of online shorts, DumbLand. Intentionally crude in content and execution, the eight-episode series was later released on DVD.[36] The same year, Lynch released a surreal sitcom, Rabbits, about a family of humanoid rabbits. Later, he made his experiments with Digital Video available in the form of the Japanese-style horror short Darkened Room. In 2006, Lynch's feature film Inland Empire was released. At three hours, it is the longest of his films. Like Mulholland Drive and Lost Highway, it does not follow a traditional narrative structure. It stars Lynch regulars Laura Dern, Harry Dean Stanton and Justin Theroux, with cameos by Naomi Watts and Laura Harring as the voices of Suzie and Jane Rabbit, and a performance by Jeremy Irons. Lynch has called Inland Empire "a mystery about a woman in trouble". In an effort to promote it, he made appearances with a cow and a placard bearing the slogan "Without cheese there would be no Inland Empire".[37]
In 2009, Lynch produced a documentary web series directed by his son Austin Lynch and friend Jason S., Interview Project.
2010–2019: Return to television
In 2010, Lynch began making guest appearances on the
Lynch directed a concert by English
It was believed that Lynch was going to retire from the
On October 6, 2014, Lynch confirmed via Twitter that he and Frost would start shooting a new, nine-episode season of
While doing press for Twin Peaks, Lynch was again asked if he had retired from film and seemed to confirm that he had made his last feature film, responding, "Things changed a lot... So many films were not doing well at the box office even though they might have been great films and the things that were doing well at the box office weren't the things that I would want to do".[62] Lynch later said that this statement had been misconstrued: "I did not say I quit cinema, simply that nobody knows what the future holds."[63]
Since the last episode of The Return aired, there has been speculation about a fourth season. Lynch did not deny the possibility of another season, but said that if it were to happen, it would not air before 2021.[64]
2020–present: Weather reports and other projects
Lynch did weather reports on his now-defunct website in the 2000s.
In 2021, it was reported that Lynch was developing a new project potentially for Netflix with the working titles Wisteria and Unrecorded Night.[73]
Cinematic influences and themes
Influences
I look at the world and I see absurdity all around me. People do strange things constantly, to the point that, for the most part, we manage not to see it. That's why I love coffee shops and public places—I mean, they're all out there.
—David Lynch[11]: 199
Lynch has said his work is more similar to that of European filmmakers than American ones, and that most films that "get down and thrill your soul" are by European directors.
Motifs
Several themes recur in Lynch's work. Le Blanc and Odell write, "his films are so packed with motifs, recurrent characters, images, compositions and techniques that you could view his entire output as one large jigsaw puzzle of ideas".[18]: 8 One of the key themes they note is the usage of dreams and dreamlike imagery and structure, something they relate to the "surrealist ethos" of relying "on the subconscious to provide visual drive". This can be seen in Merrick's dream of his mother in The Elephant Man, Cooper's dreams of the red room in Twin Peaks and the "dreamlike logic" of the narratives of Eraserhead, Mulholland Drive and Inland Empire.[18]: 8–9 Of his attitude to dreams, Lynch has said, "Waking dreams are the ones that are important, the ones that come when I'm quietly sitting in a chair, letting my mind wander. When you sleep, you don't control your dream. I like to dive into a dream world that I've made or discovered; a world I choose ... [You can't really get others to experience it, but] right there is the power of cinema."[11]: 15 His films are known for their use of magic realism. The motif of dreams is closely linked to his recurring use of drones, real-world sounds and musical styles.[77]
Another of Lynch's prominent themes is industry, with repeated imagery of "the clunk of machinery, the power of pistons, shadows of oil drills pumping, screaming woodmills and smoke billowing factories", as seen in the industrial wasteland in Eraserhead, the factories in The Elephant Man, the sawmill in Twin Peaks and the lawnmower in The Straight Story.[18]: 9–11 Of his interest in such things, Lynch has said, "It makes me feel good to see giant machinery, you know, working: dealing with molten metal. And I like fire and smoke. And the sounds are so powerful. It's just big stuff. It means that things are being made, and I really like that."[11]: 110
Another theme is the dark underbelly of violent criminal activity in a society, such as Frank Booth's gang in Blue Velvet and the cocaine smugglers in Twin Peaks. The idea of deformity is also found in several of Lynch's films, from The Elephant Man to the deformed baby in Eraserhead, as well as death from head wounds, found in most of Lynch's films. Other imagery common in Lynch's works includes flickering electricity or lights, fire, and stages upon which a singer performs, often surrounded by drapery.[18]: 9–11
Except The Elephant Man and Dune, which are set in
Lynch also tends to feature his leading female actors in "split" roles, so that many of his female characters have multiple, fractured identities. This practice began with his casting
His films frequently feature characters with supernatural or omnipotent qualities. They can be seen as physical manifestations of various concepts, such as hatred or fear. Examples include The Man Inside the Planet in Eraserhead,
Recurring collaborators
Lynch is also widely noted for his collaborations with various production artists and composers on his films and other productions.[82] He frequently worked with Angelo Badalamenti to compose music for his productions, former wife Mary Sweeney as a film editor, casting director Johanna Ray, and cast members Harry Dean Stanton, Jack Nance, Kyle MacLachlan, Naomi Watts, Isabella Rossellini, Grace Zabriskie, and Laura Dern.
Filmography
Film
Year | Title | Distributor | Ref. |
---|---|---|---|
1977 | Eraserhead | Libra Films | [83] |
1980 | The Elephant Man | Paramount Pictures | |
1984 | Dune | Universal Pictures | |
1986 | Blue Velvet | De Laurentiis Entertainment Group | |
1990 | Wild at Heart | The Samuel Goldwyn Company | |
1992 | Twin Peaks: Fire Walk with Me | New Line Cinema | |
1997 | Lost Highway | October Films | |
1999 | The Straight Story | Buena Vista Pictures | |
2001 | Mulholland Drive | Universal Pictures | |
2006 | Inland Empire | Absurda, 518 Media[84] |
Television
Year | Title | Network | Ref(s) |
---|---|---|---|
1990–1991 | Twin Peaks | ABC | [83] |
1992 | On the Air | [85]: xxvi | |
1993 | Hotel Room | HBO | |
2017 | Twin Peaks: The Return
|
Showtime | [83] |
Other work
Painting
Lynch first trained as a painter, and although he is now better known as a filmmaker, he has continued to paint. Lynch has stated that "all my paintings are organic, violent comedies. They have to be violently done and primitive and crude, and to achieve that I try to let nature paint more than I paint."[11]: 22 Many of his works are very dark in color, and Lynch has said this is because
I wouldn't know what to do with [color]. Color to me is too real. It's limiting. It doesn't allow too much of a dream. The more you throw black into a color, the more dreamy it gets ... Black has depth. It's like a little egress; you can go into it, and because it keeps on continuing to be dark, the mind kicks in, and a lot of things that are going on in there become manifest. And you start seeing what you're afraid of. You start seeing what you love, and it becomes like a dream.[11]: 20
Many of his works also contain letters and words added to the painting. He explains:
The words in the paintings are sometimes important to make you start thinking about what else is going on in there. And a lot of times, the words excite me as shapes, and something'll grow out of that. I used to cut these little letters out and glue them on. They just look good all lined up like teeth ... sometimes they become the title of the painting.[11]: 22
Lynch considers the 20th-century Irish-born British artist Francis Bacon to be his "number one kinda hero painter", stating that "Normally I only like a couple of years of a painter's work, but I like everything of Bacon's. The guy, you know, had the stuff."[11]: 16–17
Lynch was the subject of a major art retrospective at the
His alma mater, the Pennsylvania Academy of the Fine Arts, presented an exhibition of his work, entitled "The Unified Field", which opened on September 12, 2014, and ended in January 2015.[87]
Lynch is represented by Kayne Griffin Corcoran in Los Angeles, and has been exhibiting his paintings, drawings, and photography with the gallery since 2011.[88]
His favorite photographers include William Eggleston (The Red Ceiling), Joel-Peter Witkin, and Diane Arbus.[89]
Music
Lynch has been involved in several music projects, many of them related to his films, including sound design for some of his films (sometimes alongside collaborators
In November 2010, Lynch released two
On September 29, 2011, Lynch released This Train with vocalist and longtime musical collaborator
Lynch's third studio album,
For Record Store Day 2014, David Lynch released The Big Dream Remix EP which featured four songs from his album remixed by various artists. This included the track "Are You Sure" remixed by Bastille. The band Bastille have been known to take inspiration from David Lynch's work for their songs and music videos, the main one being their song "Laura Palmer" which is influenced by Lynch's television show Twin Peaks.[107]
On November 2, 2018, a collaborative album by Lynch and Angelo Badalamenti, titled Thought Gang, was released on vinyl and on compact disc. The album was recorded around 1993 but was unreleased at the time. Two tracks from the album already appeared on the soundtrack from the 1992 movie Twin Peaks: Fire Walk with Me and three other tracks were used for the Twin Peaks TV series in 2017.[108][109]
In May 2019, Lynch provided guest vocals on the track Fire is Coming by Flying Lotus. He also co-wrote the track that appears on Flying Lotus' album Flamagra. A video accompanying the song was released on April 17, 2019.[110]
In May 2021, Lynch produced a new track by Scottish artist Donovan titled "I Am the Shaman". The song was released on May 10, Donovan's 75th birthday. Lynch also directed the accompanying video.[111]
Design
Lynch designed and constructed furniture for his 1997 film Lost Highway, including the small table in the Madison house and the VCR case. In April 1997, he presented a furniture collection at the prestigious Milan Furniture Fair. "Design and music, art and architecture – they all belong together."[112]
Working with designer Raphael Navot, architectural agency Enia and light designer Thierry Dreyfus, Lynch has conceived and designed a nightclub in Paris.[113] "Silencio" opened in October 2011, and is a private members' club although is free to the public after midnight. Patrons have access to concerts, films and other performances by artists and guests. Inspired by the club of the same name in his 2001 film Mulholland Drive, the underground space consists of a series of rooms, each dedicated to a certain purpose or atmosphere. "Silencio is something dear to me. I wanted to create an intimate space where all the arts could come together. There won't be a Warhol-like guru, but it will be open to celebrated artists of all disciplines to come here to programme or create what they want."[114]
Literature
In 2006, Lynch wrote a short book, Catching the Big Fish: Meditation, Consciousness, and Creativity, which describes his creative processes, stories from his career, and the benefits he has realized from his practice of Transcendental Meditation. He describes the metaphor behind the title in the introduction:
Ideas are like fish.
If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you've got to go deeper.
Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful.
The book weaves a nonlinear autobiography with descriptions of Lynch's experiences during Transcendental Meditation.[115]
Working with Kristine McKenna, Lynch published a biography-memoir hybrid, Room to Dream, in June 2018.[116]
Awards and nominations
In 2017, Lynch was awarded The
Reception
In 2007, a panel of critics convened by
Legacy
The moving image collection of David Lynch is held at the Academy Film Archive, which has preserved two of his student films.[119]
Personal life
Relationships
Lynch has had several long-term relationships. In January 1968, he married Peggy Reavey,
Political and public views
Lynch has said that he is "not a political person" and that he knows little about politics.
In 2009, Lynch signed
In the
In one of his daily weather report videos, Lynch expressed support for Black Lives Matter protests.[137] In another such video, Lynch condemned the Russian invasion of Ukraine and addressed Russian president Vladimir Putin directly, telling him there was "no room for this kind of absurdity anymore" and that Putin would reap what he had sown, lifetime after lifetime.[138]
Transcendental Meditation
Lynch advocates
In July 2005, Lynch launched the
Lynch was working for the building and establishment of seven buildings in which 8,000 salaried people would practice advanced meditation techniques, "pumping peace for the world". He estimates the cost at US$7 billion. As of December 2005, he had spent $400,000 of his money and raised $1 million in donations.[142] In December 2006, The New York Times reported that he continued to have that goal.[13] Lynch's book Catching the Big Fish (Tarcher/Penguin, 2006) discusses Transcendental Meditation's effect on his creative process. Lynch attended the funeral of the Maharishi in India in 2008.[145] He told a reporter, "In life, he revolutionized the lives of millions of people. ... In 20, 50, 500 years there will be millions of people who will know and understand what the Maharishi has done."[150] In 2009, Lynch went to India to film interviews with people who knew the Maharishi as part of a biographical documentary.[151][152]
In 2009, Lynch organized a benefit concert at Radio City Music Hall for the David Lynch Foundation. On April 4, 2009, the "Change Begins Within" concert featured Paul McCartney, Ringo Starr, Donovan, Sheryl Crow, Eddie Vedder, Moby, Bettye LaVette, Ben Harper, and Mike Love of the Beach Boys.[153] David Wants to Fly, released in May 2010, is a documentary by German filmmaker David Sieveking "that follows the path of his professional idol, David Lynch, into the world of Transcendental Meditation (TM)".[154][155] At the end of the film, Sieveking becomes disillusioned with Lynch.[156]
An independent project starring Lynch called Beyond The Noise: My Transcendental Meditation Journey, directed by film student Dana Farley, who has severe dyslexia and attention deficit disorder, was shown at film festivals in 2011,[157] including the Marbella Film Festival.[158] Filmmaker Kevin Sean Michaels is one of the producers.[159] In 2013, Lynch wrote: "Transcendental Meditation leads to a beautiful, peaceful revolution. A change from suffering and negativity to happiness and a life more and more free of any problems."[140]
In a 2019 interview of Lynch by British artist Alexander de Cadenet, Lynch said of TM: "Here's an experience that utilizes the full brain. That's what it's for. It's for enlightenment, for higher states of consciousness, culminating in the highest state of unity consciousness."[160] In April 2022, Lynch announced a $500 million transcendental meditation world peace initiative to fund transcendental meditation for 30,000 college students.[161]
Website
Lynch designed his personal website, a site exclusive to paying members, where he posts short videos and his
Lynch is a coffee drinker and has his own line of special organic blends available for purchase on his website and at
Solo exhibitions
- 1967: Vanderlip Gallery, Philadelphia[171]
- 1983: Puerto Vallarta, Mexico[171]
- 1987: James Corcoran Gallery, Los Angeles[171]
- 1989: Leo Castelli Gallery, New York[171]
- 1990: Tavelli Gallery, Aspen[171]
- 1991: Museum of Contemporary Art Tokyo[171]
- 1992: Sala Parpallo, Valencia[171]
- 1993: James Corcoran Gallery, Los Angeles[171]
- 1995: Painting Pavilion, Open Air Museum, Hakone[171]
- 1996: Park Tower Hall, Tokyo[171]
- 1997: Galerie Piltzer, Paris[171]
- 2007: Fondation Cartier pour l'Art Contemporain, Paris[172]
- 2008: Epson Kunstbetrieb, Düsseldorf[171]
- 2009: Max-Ernst-Museum, Brühl[171]
- 2010: Mönchehaus Museum, Goslar[171]
- 2010: GL Strand, Copenhagen[173]
- 2012: Galerie Chelsea, Sylt
- 2012: Galerie Pfefferle, Munich
- 2013: Galerie Barbara von Stechow, Frankfurt
- 2014: The Photographers' Gallery, London
- 2014: Middlesbrough Institute of Modern Art
- 2014/15: Pennsylvania Academy of the Fine Arts, Philadelphia
- 2015: Queensland Gallery of Modern Art, Brisbane
- 2017: Centre of Contemporary Art Znaki Czasu, Toruń, Poland
- 2018: Kayne Griffin Corcoran, Los Angeles
- 2018/19: Bonnefantenmuseum, Maastricht, The Netherlands
- 2019: Home, Manchester, United Kingdom[174]
- 2019: Sperone Westwater Gallery, New York[175]
- 2021/22: Nikolaj Contemporary Art Center, Copenhagen[176]
Discography
Studio albums
- BlueBOB (2001)
- Crazy Clown Time (2011)
- The Big Dream (2013)
Collaborative albums
- Lux Vivens (with Jocelyn Montgomery) (1998)
- The Air Is On Fire (with Dean Hurley) (2007)
- Polish Night Music (with Marek Zebrowski) (2007)
- This Train (with Chrysta Bell) (2011)
- Somewhere in the Nowhere (with Chrysta Bell) (2016)
- Thought Gang (with Angelo Badalamenti) (recorded 1992/93) (2018)
See also
References
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- David Lynch: Beautiful Dark by Greg Olson (Scarecrow Press, 2008, ISBN 0-8108-5917-3).
- The Film Paintings of David Lynch: Challenging Film Theory by Allister Mactaggart (Intellect, 2010, ISBN 978-1-84150-332-5).
- Interpretazione tra mondi. Il pensiero figurale di David Lynch by Pierluigi Basso Fossali (Edizioni ETS, Pisa, 2008, ISBN 88-467-1671-X, 9788846716712).
- David Lynch ed. by Paolo Bertetto (Marsilio, Venezia, 2008, ISBN 88-317-9393-4, 9788831793933).
- David Lynch – Un cinéma du maléfique, by Enrique Seknadje, Editions Camion Noir, 2010. ISBN 978-2-35779-086-5.
- David Lynch in Theory Archived July 18, 2011, at the ISBN 978-80-7308-317-5.
- David Lynch, 2nd Edition by Michel Chion (BFI Publishing, 2006, ISBN 978-1-84457-030-0).
- Mulholland Drive: An Intertextual Reading Archived June 2, 2018, at the Wayback Machine by Ebrahim Barzegar (CINEJ Cinema Journal, 2014)
- Labyrinths and Illusions in David Lynch's Mulholland Drive and Inland Empire Archived June 3, 2018, at the Wayback Machine by Ebrahim Barzegar (CINEJ Cinema Journal, 2016)
External links
- Official website
- Official YouTube Channel
- David Lynch at IMDb
- David Lynch at AllMovie
- David Lynch at Moviefone
- Bibliography of books and articles about Lynch via UC Berkeley Media Resources Center