David Lynch talks about the inspiration for his film "Lost Highway" (1997). January 13th, 2006 The full interview is available here : • David Lynch: The Idea ...
This is the most straight forward I have ever seen him do a interview. He actually gives away a lot of what the movie is about in a way I haven't seen him do anywhere else.
That's because David and all key figures involved have a secret formula to that film, even though he's often said the name of that secret formula to the public. So he's holding back more than what the typical viewer is aware of, but also letting it be known.
How is _Lost Highway_ considered so "dark and incomprehensible"? It's one of his more straightforward films if you ask me, and that's accounting for the symbolism as well, not just the superficial story.
i definitely agree with you on it being his most "dark and incomprehensible" - even with inland empire now in the equation - i still feel like i understand Lost Highway less
Inland Empire is more of a puzzle, but that's all it is. It's grimey and drags in the middle. it's too meandering and, in my opinion, isn't really on the level of his other work.
I both love and hate Lynch for giving away this tidbit about the film being inspired by the OJ Simpson case. It does definitely contextualize the film and help us discern a greater meaning from the story but I feel like it gives us a bit too definitive a conclusion. When I first watched the film I wasn't 100% certain if Fred was truly guilty or not but this basically confirms that he was. It takes away some of the mystery.
I think this is why David Lynch does the movies he does. To him, everything's kind of obvious, almost bland, but if you have NO idea what influenced his thinking, it's a bizarre mystery that you can almost barely put together. I think he knows that, so he tries to just never explain anything, and then a bunch of years pass, and then he goes "I'll just tell people, if they think it's that confusing."
I just finished watching the movie, and went through some reviews and explanations. I am now certain that Fred is actually guilty and that whole movie was his mind trying to cope with it while tricking itself like Lynch said here. What I find interesting is not Fred story itself anymore, but how does mind work, to which extend it will go, in which dimension and sphere its working. The whole thought process of the mind is dream like, surreal, just like this movie. czcams.com/video/obW5UEE1Cwc/video.html This interview gives a lot of insight
I get it, it’s his style. But can yall lynch fans at least admit the acting and dialogue is a tad jarring and unnatural? No one would talk like they do in his films. It throws me off. On top of that, the acting appears so soap opera. I want to like him. But maybe I’m just not equipped to get it
@@balladofthebroken7569 Lynch fan here. I don't think I've ever seen a Lynch fan try to say that his dialogue ISN'T jarring and unnatural? It's all a part of the fugue, dreamlike feeling his films are going for. If you try really really hard to remember the conversations you have in your dreams, they would play out much like a Lynch film. That's what we love about his work: few other filmmakers can well and truly capture the essence of what dreams feel like in the moment of living them - besides the dark corners of the CZcams algorithm at 4 in the morning after some booze 😂
@@balladofthebroken7569 That's interesting because I love the soap opera aspect of Lost Highway and Mulholland Drive. It's an excellent contrast to the disconcerting and strange things that occur in the plots of his films.
@@balladofthebroken7569 the soap opera acting thing is completely intentional. Lynch loves soap operas. You can especially see it in Twin Peaks, which is at the same time a satire of soap operas, a celebration of them and one itself.
This is the most straight forward I have ever seen him do a interview. He actually gives away a lot of what the movie is about in a way I haven't seen him do anywhere else.
'does duality play a lot in your work' lol that is not a necessary question to ask and david was like no duh
Yes, really dumb question with an obvious answer.
And he asks it like it's the most amazing question ever lol
Good to see Lynch in his thinking chair
David thinking to himself, "How do I answer his question without answering it?"
That's because David and all key figures involved have a secret formula to that film, even though he's often said the name of that secret formula to the public. So he's holding back more than what the typical viewer is aware of, but also letting it be known.
I love how he starts laughing at the duality joke. It's probably one of *the* themes that connect all of his works together.
For me, the best movie ever...
Inland Empire: Hold my 🍺
Psychogenic Fugue… I learned something new. It’s a symptom of PTSD.
i love how he started smirking when he heard “incomprehensible”
How to explain this masterpiece with few perfect words
What a head of hair, incredible
How is _Lost Highway_ considered so "dark and incomprehensible"? It's one of his more straightforward films if you ask me, and that's accounting for the symbolism as well, not just the superficial story.
Besides Twin Peaks, Lost Highway is my favorite Lynch creation.
Well, Twin Peaks was a collaborative creation with Mark Frost
i definitely agree with you on it being his most "dark and incomprehensible" - even with inland empire now in the equation - i still feel like i understand Lost Highway less
David bir Sanatçı Sinemasını çok gerçek ve başarılı buluyorum👏✨💮 😊
His most dark and incomprehensible? Bro clearly hasn’t seen inland empire
Bro hadn't seen Inland Empire because at the time of the interview it hadn't come out yet. And yes, it beat Lost Highway on that score by a mile.
@@KGSMMediaCache oh damn didn’t realise lol
Dark, incomprehensible, and an absolute masterpiece.
Inland Empire is more of a puzzle, but that's all it is. It's grimey and drags in the middle. it's too meandering and, in my opinion, isn't really on the level of his other work.
I feel that lost highway is consistently darker throughout, though inland has more intense moments of darkness
Notice when David speaks that his hands try to give a visual description of what he's explaining! His mind works very differently than most.
wtf happens at 1:44?
David resists saying "No shit, Sherlock" through a monumental act of will.
@@seniorslaphead8336 lol well put, I mean the weird change in the pitch of his voice. sounds like lucifer is escaping for a sec there
Sounds like Mr. C meeting Gordon Cole in Twin Peaks The Return ("it's very very good to see you again, old friend").
David is constantly trying to compress 3D ideas, into 2D strings of words.
Best comment in the entire section
I both love and hate Lynch for giving away this tidbit about the film being inspired by the OJ Simpson case. It does definitely contextualize the film and help us discern a greater meaning from the story but I feel like it gives us a bit too definitive a conclusion. When I first watched the film I wasn't 100% certain if Fred was truly guilty or not but this basically confirms that he was. It takes away some of the mystery.
It's been a week now since I watched it for the first time and I have an aching brain thinking about it
I think there is so much more to it than that, and I honestly don’t believe David Lynch gave anything away with what he said.
I think this is why David Lynch does the movies he does. To him, everything's kind of obvious, almost bland, but if you have NO idea what influenced his thinking, it's a bizarre mystery that you can almost barely put together. I think he knows that, so he tries to just never explain anything, and then a bunch of years pass, and then he goes "I'll just tell people, if they think it's that confusing."
I just finished watching the movie, and went through some reviews and explanations. I am now certain that Fred is actually guilty and that whole movie was his mind trying to cope with it while tricking itself like Lynch said here.
What I find interesting is not Fred story itself anymore, but how does mind work, to which extend it will go, in which dimension and sphere its working. The whole thought process of the mind is dream like, surreal, just like this movie.
czcams.com/video/obW5UEE1Cwc/video.html
This interview gives a lot of insight
He elaborated on that :(
Lost Highway is not incomprehensible... Inland Empire is Lynch's most inaccessible work by a mile
it would have made more sense if Patricia Arquette didnt mumble her lines
I get it, it’s his style. But can yall lynch fans at least admit the acting and dialogue is a tad jarring and unnatural? No one would talk like they do in his films. It throws me off. On top of that, the acting appears so soap opera. I want to like him. But maybe I’m just not equipped to get it
@@balladofthebroken7569 Lynch fan here. I don't think I've ever seen a Lynch fan try to say that his dialogue ISN'T jarring and unnatural? It's all a part of the fugue, dreamlike feeling his films are going for. If you try really really hard to remember the conversations you have in your dreams, they would play out much like a Lynch film. That's what we love about his work: few other filmmakers can well and truly capture the essence of what dreams feel like in the moment of living them - besides the dark corners of the CZcams algorithm at 4 in the morning after some booze 😂
@@balladofthebroken7569 That's interesting because I love the soap opera aspect of Lost Highway and Mulholland Drive. It's an excellent contrast to the disconcerting and strange things that occur in the plots of his films.
@@balladofthebroken7569 the soap opera acting thing is completely intentional. Lynch loves soap operas. You can especially see it in Twin Peaks, which is at the same time a satire of soap operas, a celebration of them and one itself.
Dumb questions.