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> a single armchair is surrounded by thick curtains made of blue velvet — a nod to Lynch’s 1986 film Blue Velvet. I feel like Lynch might disagree with this. H
by mvkel 3y ago
> a single armchair is surrounded by thick curtains made of blue velvet — a nod to Lynch’s 1986 film Blue Velvet.
I feel like Lynch might disagree with this. He pretty consistently dissuades people from trying to explain his works.
Also:
> Lynch was adamant that his new foray into design exists separately from his film career.
- wk_end 3y agoFrom what I've seen, I've more gotten the sense that Lynch doesn't like people asking him what the "correct" interpretation of his work is, which is slightly different than opposing the personal act of interpretation, or discussing it.
- lagniappe 3y agoSometimes the essence of something is just 'to be'.
- grimgrin 3y agolead me to a different thought, from something I watched recently: "Art for No One". I wish I could submit Jacob Geller's video of that title, but rules are rules. art for no one is quite "to be", though https://www.youtube.com/watch?v=6oqO3FXSecM https://www.youtube.com/watch?v=6oqO3FXSecM
- drooopy 3y ago- "Believe it or not, Eraserhead is my most spiritual film." - "Elaborate on that" - "No."
- Rinzler89 3y ago[flagged]
- alfalfasprout 3y agoExactly this. He's never (as far as I know at least) thought it's somehow bad to discuss how his work might be interpreted. He just doesn't like the idea that there's somehow a definitive interpretation of his work that he owns.
- colmmacc 3y agoMany artists do feel that all interpretations are equally valid and that they don't want to stomp on that. But when Lynch expands on this, he often connects it to mystery. Most of his works have a strong sense of surrealism but there's enough realism there too to also sense that there really is a central and consistent thematic logic that connects everything. It's not just randomly surreal. Often there is explicitly meta-textual layer at which a real deeper narrative is there; usually critiques of Hollywood and modern culture. Lynch's philosophy is that mystery endures, and that we naturally dwell on the mysterious. His mysteries become a gift to the viewer/reader, and the vividness of his strokes make them dwell for decades. I still dwell on so many aspects of Twin Peaks. If he simply gave his own interpretation or explanation, that would be that, and the gift would vanish like owls in the night.
- flyer_go 3y agoIt is pretty clear that his movies are meant to explore the existence of psychological phenomena and are not a statement in of themselves. In that way, I don't think they are meant to be interpreted.
- louthy 3y agoI don’t believe that’s true. Lynch uses characters as abstractions — they represent a concept, which when you understand them add up to a ‘statement’: * Twin Peaks is an meta commentary about the lack of balance on the small screen (our desire for sex and violence). Interestingly this ended up being a meta-meta-commentary when the network forced them to reveal the killer of Laura Palmer prematurely. Laura Palmer is balance, Dale Cooper is the audience, Bob is our desire for sex & violence, … * Mulholland Drive is about the casting couch and the destruction of the Hollywood dream for women. Rita is the casting couch, the cowboy is Hollywood, … * Lost Highway appears to be a comment about plagiarism (namely other directors plagiarising David Lynch). But it also has a similar theme to Twin Peaks as a meta commentary about film — the shots of the road are meant to look like film, the vehicles are meant to represent movies, … etc. He always talks about being “true to the idea” — so all abstractions and all surreal elements must be true to the underlying concept. It’s up to us to work out what the underlying theme is (that links all of the abstractions together).
- sn41 3y agoVery interesting take, thank you! Of course, my favorite David Lynch movie is "The Straight Story" - what a heartwarming tale!
- rapjr9 3y agoLynch has said that his interest in making movies came out of painting, which was the first art form he had an interest in. He had an epiphany where he saw making movies as making moving paintings. Some of the most surreal scenes in his movies/shows are just that, combinations of elements that produce feelings in the viewer in the same way a painting might. Watch that scene in Twin Peaks: The Return in the Fireman's Theatre where someone floats up into the air and there are all sorts of other things going on. It's like a framed painting where there are all these moving elements that combine to create something phenomenal.
- riedel 3y agoI guess he just also very much enjoys being the madman [0] . It is fascinating to see the childish fun he has in all the things he is doing. [0] https://www.youtube.com/watch?v=TqZpi8zAqe0 https://www.youtube.com/watch?v=TqZpi8zAqe0
- deleted 3y ago[deleted]
- nicklecompte 3y agoOn the other hand Lynch has always been a bit of a troll, and despite his aloofness he is aware of his own celebrity. I could see this chair being a way of saying "yes this exhibition is by that David Lynch, the filmmaker."
- louthy 3y agoLynch has repeatedly hinted that there’s a correct interpretation to all of his works. He just wants you to have the joy of finding it yourself — which is why he refuses to explain any of it. Personally, as a massive David Lynch fan, I love the fact that he does this. I must have had half a dozen interpretations of Mulholland Drive over the years — all of which I like even though I’m fairly sure I know the ‘correct’ interpretation.
- rob74 3y agoAnd the red curtains outside the exhibit (https://cdn.mos.cms.futurecdn.net/XjDqSXDkvQBVceLropEs3C-768-80.jpg.webp https://cdn.mos.cms.futurecdn.net/XjDqSXDkvQBVceLropEs3C-768...) are obviously a nod to the red room in Twin Peaks...