Colleagues and friends revealed the secrets of David Lynch’s creative method

Transmits UNN with reference to The Guardian.

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Throughout his life, David Lynch remained an eccentric and remarkable individual who did not have constant access to Hollywood, but was a special auteur.

Paul Schroeder, the director, shares his memories of the film “Blue Velvet” (Blue Velvet) – the fourth full-length film of the American director David Lynch, shot in 1986 in the thriller genre.

David was unable to film Blue Velvet. Dino De Laurentiis told David he would pay me to rewrite the script and David gave it to me. This was one of the best scripts I’ve ever read. I told Dino that there was no way I could improve him. David thanked me and Dino financed the film. The rest is film history.

Mark Cousins, a documentary filmmaker, mentions Lynch; among his best-known works is the 15-hour 2011 documentary film History of Cinema: The Odyssey.

Edinburgh Film Festival, mid-1990s. I have to talk to David via satellite. He will be in Los Angeles, and I will be in a movie theater in front of 600 people. I arrive early. There are no viewers yet. The live broadcast shows a table and an empty chair, where David will appear in an hour. But in a few minutes he sits down with coffee, also very early. Just him and me, no PR guys. I will never forget how easy he felt, how calm he was.

Years later, we found ourselves in the same room. An interview for my BBC Scene by Scene programme, with lots of lights, cables, cameras and people.

This time he is more hesitant. At some point we are just sitting and he is smoking. He is not so much interested in topics as in the feeling of a place, the atmosphere. He tells me he would rate a room with bright wallpaper and a roaring fireplace an 8/10, perhaps for its intensity. It’s that calm-wild scale again, that introvert-extrovert scale again. You can watch his movies just by rating his rooms.

“His films were full of mystery, of the unexplained,” says Coralie Farguit, a French filmmaker who gained international recognition for her 2017 feature film Revenge, which won awards at several film festivals.

Lynch’s films opened the floodgates. Gate to imagination. To a limitless mental space where everyone could project their own inner world. We could wander in his films. Return to them. Again and again. They were full of secrets. Unexplained. They were full of junk. It was so important.

Coralie Fargit emphasizes that Lynch’s films became a space for the audience’s imagination.

It takes a lot of power: the purposeful act of creating worlds without borders.

“.. Carpets. Backyards. Heavy spaces. Roads. An entire invisible world was filled with each of these spaces. That’s why I loved his work so much.” – notes Coralie Fargit.

The unforgettable images of David Lynch’s works are told by Alice Lowe, director, actress, writer, known for her participation in the TV series “Horrible Histories”, as well as in the films “Bandersnatch” and “The Dark Place” by Garth Marenghi (Garth Marenghi’s Darkplace (2004).

Many people remember the first time they encountered Lynch’s unforgettable images, the first time they heard his sound and music.

For me, he was just always there. And that’s when cultural loss is felt the hardest: when you haven’t met someone, but his work seems personal to you.

The unusualness and intimacy of his works belies their popularity, their enormous power to make their way into culture collectively. His works spoke their own language, but a surprisingly universal language. At a time when the very nature of film as an individual perspective and human authorship in art is being questioned, we feel a seismic loss to have lost him.

We will remind

The creator of “Twin Peaks” and “Mulholland Drive” David Lynch died at the age of 78 after a battle with emphysema. The director left a rich legacy of surreal films and TV shows.

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