Trump misbruger Lynch

Trump-tweet på interview-click-bait (men jo meget sundt, for verden, tænker man, hvis det lokker præsidenten til at se Twin Peaks) 

7. @realDonaldTrump
“Director David Lynch: Trump Could Go Down as One of the Greatest Presidents”
11.638 svar 11.125 retweets 42.450 likes 
 
Her er hvad Lynch faktisk siger i Guardian-interviewet: 
 
"He is undecided about Donald Trump. “He could go down as one of the greatest presidents in history because he has disrupted the thing so much. No one is able to counter this guy in an intelligent way.” While Trump may not be doing a good job himself, Lynch thinks, he is opening up a space where other outsiders might. “Our so-called leaders can’t take the country forward, can’t get anything done. Like children, they are. Trump has shown all this.”
 
Trump er vældig fordi han ødelægger alting!
 
Hvilket jo så heller ikke ligefrem er stor politisk visdom, nærmest lidt Hella Joofsk - som Richard Brody, filmanmelder på New Yorker, skriver i to Tweets: 

@tnyfrontrow
"disrupted the thing"—there are many varieties of the Hollywood bubble of wealth and fame, and this is one of them—being insulated from the very real disruptions, permanent disruptions to lives, that the Puppet is inflicting on many, many people.


@tnyfrontrow
There is no contradiction between a filmmaker making silly or ugly political remarks and making films that are much more complex, open-minded, and empathetic. One can be a great filmmaker and a bad political commentator. Thinking in movies isn't the same as thinking in words—

I gårs usete Lynch-film

Rapport fra Twin Peaks-panelet på Comic Con i San Diego:

"Though Frost and Lynch did not make it to San Diego, Lindelof kicked things off with a film from Lynch. It was a short, strange piece that kept cutting out and piling on the strange developments. Lynch began by saying hello, but then he started yelling at someone off-camera. At that point, it sounded like a man fell from a great height. Lynch came back and said, “I’ve got to show you something” — and lifted up what looked like a dead hand. There was something in the hand: “This supposedly is the last golf ball O.J. Simpson hit before going into prison.” The film cut out again and then Lynch was back: “Today you’re going to meet some great actresses and actors …” Lynch began, but then, off-camera, it sounded like total chaos was breaking out. Lynch: “You can’t bring a horse in here. Manuel, take that gun away.” Fans packed into Hall H heard the sound of a horse whinnying. And then the film finally abruptly cut out."

At instruere en fluejagt

- fra interview med Amy Shiels, der spiller Candy i Twin Peaks The Return

"We’re reintroduced to Candie and get into her mind-set thanks to an extended fly-swatting sequence this week. How did David direct you in that scene specifically, since it’s well over a minute of you walking around aimlessly?

I was told I was going to have this red handkerchief and I’m going to be swatting a fly — the fly is flying all over the room and you’re going to keep on trying to hit it. It’s going to be down there; it’s going to be up here; it’s going to be over there. I knew we really had to just go for it. David would shout direction while I was walking around the room. It’s up your left! It’s down! It’s to the side! It’s to the right, Candie! It was really fun. And then you reach down and you pick up the remote control, and then it goes up in the air, and then it goes down and lands on his face, and then it goes off again. David was very specific. I didn’t feel silly doing it with Candie, because I felt so crazy all of the time anyway. I was in her world every day. I was like, “This is just a normal day in Candie’s world!”"

2 Lynch-citater til dig

(hentet fra i dags Twitter-feed) + et billede fra Gordon Coles kontor:

 

Ung visionær med hat (viskelæderhovedkulisse)

En hel mærkelig film som Blogdahls gave til alle jer

link HER

Ville have sagt til ham, at jeg lige havde set den omsider,, da jeg stod og fik min autograf inde på SMK, men jeg kunne selvfølgelig ikke finde ud af at sige andet "hallo", ligesom jeg i spørgetimen heller ikke fik stillet det spørgsmål, jeg havde formuleret, om det ikke-meditative i hans films intenst uheimliche hjemsøgelser af jo ikke bare mit sind!

En mesterlig David får lov at blive 70 i dag - tillykke!

Nemlig David Lynch, hvis Twin Peaks-sequel kan blive nødt til at være et comeback på Blackstar-niveau, der så for alt i verden ikke må blive et punktum, men bare afsæt til mange, mange års videre, flittig og rasende raptus ind i mørket. Her er titelsekvensen til Lost Highway til tonerne af "I'm Deranged" fra 1. Outside: 

 

Xtrablue

David Lynch fylder 69 i dag, can you imagine!

Jeg anmeldte lige den nye blueray-udgave af Blue Velvet MED DE + 50 MINUTTER LOST FOOTAGE til Ekkko, og der var slet ikke plads til ordentligt at forklare og fortælle om al den salige fortabte extrahed, hvoraf det meste er fino familiemæssigt og Jeffreys college girlfriend-mæssigt og Sandys high school boyfriend-mæssigt materiale, men så er der (dels termit-sporet, nævnt i min anmeldelse og dels) de virkelig virkelig virkelig virkelig mærkelige sekvenser fra The Slow Club, inden Dorothy synger "Blue Velvet", betragtet af Jeffrey og Sandy:

1.
En hund står alene på scenen foran det røde scenetæppe, hvorpå den hvide kontur af en kanin er projiceret (?), og labber vand i sig fra en hundeskål.

2.
En (tyk) komiker og en (smækker) danser optræder til højre for bandet (som komikeren har en vis ritualiseret interaktion med): komikeren fortæller dårlige vitser (fik ikke talt dem, men mindste 4-5 stykker, det er en insisterende lang sekvens) og danseren danser temmelig dovent, og det er så mærkeligt - eller ligesom hunden så mærkeligt spektakulært anti-mærkeligt - som det er, MEN bag komiker og danser skifter store, flade modeller af Et ÆG og EN HØNE igen og igen plads, således at det skiftevis er hønen og ægget, der kommer først!!!???

Var disse to Slow Club-sekvenser blevet inkluderet i filmen, ville den som kunstnerisk enhed være blevet totalt ødelagt, og Lynch havde aldrig fået lov til at lave helt anderledes løsagtigt digressive Twin Peaks, men jeg vil vædde med, at næste gang jeg ser filmen, så vil jeg savne hunden og kaninen og ægget og hønen (nej, hønen og ægget) en dirrende, lillebitte smule.






- en knap så mærkelig tabt scene (Aunt Barbara th. er næsten en hovedperson i fraklippene (og særlig jo i termit-sporet))

Bedstemortabu

Fra interview med Laura Dern i New York Times:

Q.

Have your kids seen your films?

A.

It might be a little too early. My favorite was David [Lynch], who’s a very close friend, was asked by my son recently, “So David, when am I going to get to see the movies you’ve made with my mom? When can I see ‘Wild at Heart‘ ?” He said, “Maybe when you’re 30,” and my son said, “Oh why, is my mom crazy in it or something?” And he goes, “No, it’s actually not your mom I’m worried about, it’s the fact that you have to see your grandma in it.” That’s when it just hit me — just all the things they’re going to get to see one day of both their grandparents is so amazing and crazy.

Lauras mor, Diane Ladd, i Wild at Heart

Uglerne i vores øjne

var min egen overskrift på min firestjernede anmeldelse (min første stjernede boganmeldelse ever?) af Andreas Halskovs bog om David Lynch, Paradoksets kunst, til Ekkos hjemmeside, der kan læses lige HER - sjældent og smukt med bøger, der går ind for overflødighed.

Jeg vil godt lige rette op på et let nedklippet afsnit til sidst i anmeldelsen:

-->

hellere end et kapitel om alle de tv-serier, som nemlig er så godt som alle, som Twin Peaks har inspireret (det grelleste og fedeste eksempel er ikke nået med: HBO’s splinternye The Leftovers) havde jeg hørt mere, gerne nørdet, om Lynchs ikke-filmiske aktiviteter, billedkunst, møbler et cetera.

Her er et prægtigt overflødigt fraklip fra Twin Peaks, der handler om størrelse på tømmer (og demonstrerer Lynchs - i bogen uomtalte - idiosynkratiske glæde ved tidsrøvende, småsenile gamlinge - og ved sprog-/kommunikationsforbistring: gamling + Josie + Pete):

Sådan fortsætter begyndelsen IKKE

på Blue Velvet, som skrevet står i manuskriptet på Lynchs hjemmeside.

Dette er begyndelsen, som den er:

- dette er fortsættelsen til begyndelsen, som den (desværre) ikke blev - så mærkeligt at LÆSE scener I ens yndlingsfilm (flertal), som på den måde er dobbelt fiktive:

10. EXT. BEAUMONTS' FRONT LAWN - DAY

Water is still spraying out over the driveway and onto the car and into 
the yard beyond.

A small boy, GREGG, appears wearing only white underpants and a white 
t-shirt.  He holds a large red popsicle.

Gregg waddles around looking at the crazy water show.  He holds his hand 
out to get it wet in the spray.  This makes him screw up his face in a 
laugh.

He waddles over and looks at Mr. Beaumont on the ground.

Mr. Beaumont seems to be worse now, unconscious, but still gripping the 
hose tightly. His clothes are sopping wet.

11. EXT. GREGG'S HOUSE - DAY

Screen window of Gregg's house. Gregg's mother calls out but remains 
looking at a bowl she is holding in her hands.

     GREGG'S MOTHER
     (calling out)
Gregg. Billy's waiting for his teddy.

She then turns to look out.

     GREGG'S MOTHER
      (continuing)
GREGG! Billy's waiting for his teddy, honey.

         CUT TO:

12. EXT. BEAUMONTS' FRONT LAWN - DAY

GREGG'S MOTHER P.O.V. THROUGH SCREEN WINDOW

IN THE DISTANCE, she sees Gregg's back, a bush, some legs with wet khaki 
trousers and water squirting up in the air.

         GREGG'S MOTHER (V.O.)
   TOM!!!

         CUT TO:

13. EXT. COLLEGE CAMPUS BUILDING - NIGHT

TRAVELING along sidewalk, bushes, to lighted windows of an auditorium. 
MUSIC is heard.

14. INT. COLLEGE AUDITORIUM - NIGHT

A dance is going on.  Sixties MUSIC plays, performed by a live band on 
stage.  College kids dance.

A COLLEGE BOY enters the auditorium, urgently looking for someone.  He 
quickly approaches a GIRL.

     COLLEGE BOY
   Louise? Where's Jeffrey? His mother's on
   the phone - it's an emergency.

       LOUISE
   He disappeared to the men's room a little
   while ago. I'm getting very tired of 
   waiting - let's go find him.

15. INT. JANITOR'S QUARTERS - COLLEGE - NIGHT

We MOVE INTO the face of JEFFREY. He is hiding behind a furnace.  He is 
fascinated by a sight beyond in the darkness of this basement room.

He sees a male student trying to rape his girlfriend.  She is crying and 
telling him to stop but the boy keeps forcing her down toward the ground. 
forcing her clothes off her.  Jeffrey at this point hears his name being 
called.  Each time he hears his name the caller is closer.  The boy is now
hurting the girl.  Before Jeffrey leaves the furnace room he yells out:

      JEFFREY
   Hey, shit head. Leave her alone. Don't 
   force girls!

The couple looks up but cannot see Jeffrey.  The boy is scared and releases
the girl who promptly pulls farther away, crying.

Jeffrey leaves the furnace room.

16. INT. HALLWAY - COLLEGE - NIGHT

Louise and the college student see him and move quickly toward him.

         COLLEGE BOY
   Jeffrey, your mother's on the phone. It's
   an emergency.

       LOUISE
   Thanks for keeping me waiting so long.

As Jeffrey moves quickly toward the telephone.

       JEFFREY
I'm sorry, Louise.

17. INT. PHONE/HALLWAY - COLLEGE - NIGHT

The phone dangles on its cord in the foreground as Jeffrey moves toward 
it in the background.  Louise slowly follows Jeffrey, but stays in back 
of him.  Jeffrey picks up the phone.

      JEFFREY
   Hello. Mom? What's wrong with Dad?. 
   What's happening?. Come home? Sure I will.

18. INT. BEAUMONT'S BEDROOM - NIGHT

Mrs. Beaumont sits talking on the phone in a dark quiet bedroom.

        MRS. BEAUMONT
   I mean, for good, Jeffrey.

         CUT TO:

19. INT. PHONE/HALLWAY - COLLEGE - NIGHT

CLOSEUP - JEFFREY

      JEFFREY
   For good?. I can't. Mom. Not right in
   the middle of the term.

         CUT TO:

20. INT. BEAUMONT'S BEDROOM - NIGHT

        MRS. BEAUMONT
        (now looks very tired and 
         poor health)
   Jeffrey. honey. Your father's condition
   is serious. It's going to cost so much.
   We just won't have the money to keep you
   in school. I'm telling you this now, so 
   that you can get your things together and 
   check out of school, honey, or whatever you 
   have to do. it'll save you another trip back.
   You're going to have to work at the store.

 
         CUT TO:

21. INT. PHONE/HALLWAY - COLLEGE - NIGHT

CLOSEUP - JEFFREY

      JEFFREY
           (crying)
Mom.

Louise looks at Jeffrey crying, then turns away.  Jeffrey hangs up the 
phone.

         CUT TO:

22. INT. BEAUMONT'S BEDROOM - NIGHT

Mrs. Beaumont hangs up her phone. just next to the phone traveling into 
a shadow is a winged termite.

FADE TO:

23. INT. GIRLS DORM LOBBY - COLLEGE - NIGHT

Jeffrey is waiting in a girls dorm lobby for Louise. 

Girls are milling around.  Louise gets off an elevator with some other 
girls.  She forces a smile at Jeffrey as she comes toward him.

      JEFFREY
   Can't you come to the damn airport?

       LOUISE
   Jeffrey. I can't. I really can't. I
   have to go to that class tonight. I can't
   get out of it. I really can't. I love
   you, Jeffrey. I'll miss you.

      JEFFREY
   Alright. I'll call you in a couple of days,
   you know. I'll let you know how things are.

       LOUISE
   Okay. I'll be here. You better git-going. I
   gotta go too sweetie. I hope your father's 
   okay. I love you. I'm sorry, Jeffrey.

      JEFFREY
   I love you too, Louise. Damn it. I'll see you.

They kiss.

         CUT TO:

24. EXT. LANDING STRIP

A PLANE TAKES OFF

Hvordan Herzog mødte Lynch gennem Brooks (og om faders lykkelige fravær)

Fra splinternyt interview med Werner Herzog denne måned på sitet Vulture:

It’s funny. Because Mel Brooks, a long time ago we connected in a way that nobody expected. We were really friends.

Which era?

At the end of the ’70s. I would walk into his offices unannounced. He would be with three or four attorneys having a discussion and I would just nod to him and sit down at the same table and disappear ten minutes later. [Giggles.] And there was a strange moment. I told Mel, “Mel, you know what, I have seen an extraordinary film. Something you must see. You must see. It’s only at midnight screenings at the Nuart Theater. And it’s a film by — I don’t know his name, I think it’s Lynch. And he made a film Eraserhead and you must see the film.” And Mel keeps grinning and grinning and lets me talk about the movie and he says, “Yes, his name is really David Lynch, do you like to meet him?” I said, “In principle, yes.” He says, “Come with me,” and two doors down the corridor is David Lynch in pre-production on The Elephant Man! Which Mel Brooks produced! And the bastard sits there and lets me talk and talk and talk and grins and chuckles. And I had no idea [and kept thinking], Why does he chuckle all the time when I talk about the film? But that was how I love Mel Brooks.
 

 - og om barndom og faderfarvær: 

 

The perspective with some of these older films seems to be rooted in the psychology associated with the traumautized generation of post-war Germany.No, no, no, no, no. Number one, when you look at my films they don’t look like post–World War II German movies. And there is no psychology. It’s more like King Ludwig II, the mad king of Bavaria who built dream castles. And everybody immediately believes childhood in postwar Germany was traumatic. My peers who lived in the city grew up in ruins and they had the greatest time in their lives. They all had the most wonderful childhoods. And I, growing up in the countryside, very remotely, I had the greatest childhood you can ever find.

Is it true you were a ski jumper?Yes, well, that was an aspiration that was stopped very quickly, but we had complete freedom because there was no fathers around to tell us what to do and how to do things. And we had weapons, and we handled explosives. [Smiles.]

That’s a sunnier interpretation of your childhood than what I’ve heard from you before.No, it’s not sunny. It’s not an interpretation. It was wonderful. It was great.

On the commentary track to Nosferatu, though, you talked about how the movie was an homage to your grandfather’s generation, because you are from a fatherless generation.Thanks, god. Thanks, god. What a blessing! What a blessing that there was not a Nazi as a father around telling me what to do and how to conquer Russia! And how to be a racist! Thanks, god! I thank god on my knees every day.

3 surrealistiske møgunger

1.
Babyen i David Lynchs Eraserhead

2.
Lille Otik i Jan Svankmajers Otésanek

3. Barnet i Preben Major Sørensen Barnet

Der kommer en kapers ud af munden på barnet. Det skal være sumobryder.

Der kommer en græsslåmaskine ud af munden på barnet. Det skal være stykjunker på en linjeskib.

Der kommet et bogstav ud af munden på barnet. Det skal være gangbesværet.

Barnet kaster en foxterrier op, og det skal være bisquitproducent.

Barnet kaster en rhodeisan ridgeback op, og det skal være manufakturvareforhandler.

Barnet kaster en old english sheepdog op, og det skal være Odd Fellow-ordensbroder.

Barnet kaster en engelsksygepatient op, og det skal være samlebåndsarbejder på en iskagefabrik.

Barnet kaster et blikfang op, og det skal være udspringer fra 10 meter-vippen på en badeanstalt i en større europæisk by. For et kort øjeblik. Derpå fortsætter det ad hovedlandevejen til Hamborg., uanset det kommer nordfra eller sydfra, hvor det hurtigt finder ansættelser i et konservesfirma som underdirektør efter at have være managementkonsulent i et par måneder. (Det vasker - i lagerrummets mørke - sporene af de våde hvidevarer af sig. Men dette er fortroligt og bør ikke kommer til offentlighedens kundskab).

Jamen, for helvede, David!

Kunstforeningen GL STRAND har hermed den glæde at invite dem til ferninsering på
Kunstforeningen GL. STRAND cordially invites you to the opening of

DAVID LYNCH
THE AIR IS ON FIRE
Kirstine Roepstorff
Stories

Fredag 24/09/2010, kl 16-18 i GL STRAND. David Lynch og Kirstine Roepstorff vil være tilstede ved åbningen.
Friday 24/092010, 16-18 at Gl STRAND. David Lynch and Kirstine Roepstorff will be present at the opening

- den dag deltager jeg i Debutantprisoverrækkelse på Vejle Bibliotek - hvis du nu kigger i din kalender, mon ikke vi så kan finde en anden dato?

Goya & Dennis

Goya &
den japaner, der gik foran os på Magdalena
som manglede det halve af højre øre,
som mindede mig om Blue Velvet,
som mindede mig om Dennis Hopper,
der døde i weekenden, og den scene,
hvor Kyle kommer ud af lejligheden,
hvor Isabellas mand sidder kneblet
med manglende øre, og han ser Dennis
med falsk overskæg for foden af trappen,
hvilket jeg altid syntes var langt uhyggeligere
end de scener, hvor han brillant går helt amok
& Goya