Frasi di David Lynch

In acque profonde

Origine: Citato in [//allsongs.tv/news/news-gossip/lana-del-rey-cover-blue-velvet-spot-h-m-video/ Lana Del Rey: ecco la cover di Blue Velvet nello spot H&M], AllSongs.tv, 17 settembre 2012

Origine: Citato in Il regista David Lynch "Il mio sogno per la Sicilia" http://livesicilia.it/2014/03/10/il-regista-david-lynch-il-mio-sogno-per-la-sicilia_456504/, LiveSicilia.it, 10 marzo 2014.

Sono incidenti che capitano e mettono in moto l'immaginazione. Da cosa nasce cosa e se lasci fare ne nascerà un'altra completamente diversa.
In acque profonde

Origine: Citato in Il sogno di David Lynch: "Facciamo sparire il rumore" http://www.repubblica.it/spettacoli-e-cultura/2011/12/10/news/rclub_david_lynch-26369183/, la Repubblica, 10 dicembre 2011.

In acque profonde

Origine: Dall'intervista di Francesco Castelnuovo, Sky Cine News; video disponibile in David Lynch: da Palermo a Fellini http://cinema.sky.it/cinema/news/2013/10/25/sky_cine_news_intervista_a_david_lynch.html, Cinema.Sky.it, 25 ottobre 2013.

Origine: Da Stephen Pizzello, in American Cinematographer, vol. 78, n. 3, marzo 1997, p. 36; citato in Dario Martinelli, Il regista suonato. Note sul ruolo della musica nella cinematografia di David Lynch in G. Lanzo, C. Antermite (a cura di), Moviement: David Lynch, Gemma Lanzo Editore, 2009, p. 13.

About his contribution to CowParade New York 2000, " Eat My Fear http://davidlynch.de/eatmyfear.html", which was pulled after 2 hours, quoted in The New Yorker, Volume 76, p. 62 https://books.google.com/books?id=3rYeAQAAMAAJ&dq=%22my+cow+is+not+pretty%22

The Circle, p. 21
Catching the Big Fish (2006)
Contesto: I like the saying "The world is as you are." And I think films are as you are. That's why, although the frames of a film are always the same — the same number, in the same sequence, with the same sounds — every screening is different. The difference is sometimes subtle but it's there. It depends on the audience. There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things. And it's probably different from what I fell in love with.
So you don’t know how it's going to hit people. But if you thought about how it's going to hit people, or if it's going to hurt someone, or if it's going to do this or do that, then you would have to stop making films. You just do these things that you fall in love with, and you never know what's going to happen.

Origine: Lost Highway

As quoted in My Love Affair with David Lynch and Peachy Like Nietzsche: Dark Clown Porn Snuff for Terrorists and Gorefiends (2005) by Jason Rogers, p. 7
Contesto: I don't think that people accept the fact that life doesn't make sense. I think it makes people terribly uncomfortable. It seems like religion and myth were invented against that, trying to make sense out of it.

Suffocating Rubber Clown Suit, p. 8
Catching the Big Fish (2006)
Contesto: When I started meditating, I was filled with anxieties and fears. I felt a sense of depression and anger.
I often took out this anger on my first wife. After I had been meditating for about two weeks, she came to me and said, "What's going on?" I was quiet for a moment. But finally I said, "What do you mean?" And she said, "This anger, where did it go?" And I hadn't even realized that it had lifted.
I call that depression and anger the Suffocating Rubber Clown Suit of Negativity. It's suffocating, and that rubber stinks. But once you start meditating and diving within, the clown suit starts to dissolve. You finally realize how putrid was the stink when it starts to go. Then, when it dissolves, you have freedom.
Anger and depression and sorrow are beautiful things in a story, but they are like poison to the filmmaker or artist. They are like a vise grip on creativity. If you're in that grip, you can hardly get out of bed, much less experience the flow of creativity and ideas. You must have clarity to create. You have to be able to catch ideas.

Ideas, p. 23
Catching the Big Fish (2006)
Contesto: An idea is a thought. It's a thought that holds more than you think it does when you receive it. But in that first moment there is a spark. In a comic strip, if someone gets an idea, a lightbulb goes on. It happens in an instant, just as in life.
It would be great if the entire film came all at once. But it comes, for me, in fragments. That first fragment is like the Rosetta stone. It's the piece of the puzzle that indicates the rest. It's a hopeful puzzle piece.
In Blue Velvet, it was red lips, green lawns, and the song — Bobby Vinton's version of "Blue Velvet". The next thing was an ear lying in a field. And that was it.
You fall in love with the first idea, that little tiny piece. And once you've got it, the rest will come in time.

McKenna interview (1992)
Contesto: I love child things because there's so much mystery when you're a child. When you're a child, something as simple as a tree doesn't make sense. You see it in the distance and it looks small, but as you go closer, it seems to grow — you haven't got a handle on the rules when you're a child. We think we understand the rules when we become adults but what we really experienced is a narrowing of the imagination.

McKenna interview (1992)
Contesto: There's always fear of the unknown where there's mystery. It's possible to achieve a state where you realize the truth of life and fear disappears, and a lot of people have reached that state, but next to none of them are on Earth. There's probably a few.

Origine: Lynch on Lynch

Origine: Lynch on Lynch

McKenna interview (1992)

As quoted in "Lost Highway" interview by Mikal Gilmore in Rolling Stone magazine (6 March 1997) http://www.lynchnet.com/lh/lhrs1.html
Contesto: When you're an artist, you pick up on certain things that are in the air. You just feel it. It's not like you're sitting down, thinking, "What can I do to really mess things up?" You're getting ideas, and then the ideas feed into a story, and the story takes shape. And if you're honest about it and you're thinking about characters and what they do, you now see that your ideas are about trouble. You're feeling more depth, and you're describing something that is going on in some way.

As quoted in Lynch on Lynch (1997; 2005 revised edition) by Chris Rodley, based on personal interviews made from 1993 to 1996.
Contesto: 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.

As quoted in David Lynch's $1B Peace Plan" in The New York Post (22 October 2003) http://www.lynchnet.com/articles/peacepost.html
Contesto: There's this beautiful ocean of bliss and consciousness that is able to be reached by any human being by diving within, which is really peaceful and harmonious and can be enlivened by the group process. This group is a peace-creating group. It saturates the atmosphere. This is all about establishing peace. Right now, we gotta get peace back in the world. Peace is a real thing.

As quoted in Nightmares in Red, White and Blue: The Evolution of the American Horror Film (2004) by Joseph Maddrey, p. 160
Contesto: Being in darkness and confusion is interesting to me. But behind it you can rise out of that and see things the way the really are. That there is some sort of truth to the whole thing, if you could just get to that point where you could see it, and live it, and feel it... I think it is a long, long, way off. In the meantime there's suffering and darkness and confusion and absurdities, and it's people kind of going in circles. It's fantastic. It's like a strange carnival: it's a lot of fun, but it's a lot of pain.

Scene by Scene interview BBC 2 (1999)
Contesto: I'm not a political person.... I don't understand politics, I don't understand the concept of two sides and I think that probably there's good on both sides, bad on both sides, and there's a middle ground, but it never seems to come to the middle ground and it's very frustrating watching it and seemingly we're not moving forward. Some change, simple, simple really, relatively speaking, and we're going forwards somewhere, you know? It could be a beautiful place. There's many little obstacles and there's many, many people that are just opposed and we're not going forward.

Cinema, p. 17
Catching the Big Fish (2006)
Contesto: I'm not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you've got time and sequences. You've got dialogue. You've got music. You've got sound effects. You have so many tools. And so you can express a feeling and a thought that can't be conveyed any other way. It's a magical medium.
For me, it's so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music — it's a whole range of elements coming together and making something that didn't exist before. It's telling stories. It's devising a world, an experience, that people cannot have unless they see that film.

Casting, p. 69
Catching the Big Fish (2006)
Contesto: On Blue Velvet, I worked with a casting director, Johanna Ray. And we had all brought up Dennis Hopper. But everybody said, 'No, no; you can't work with Dennis. He's really in bad shape, and you'll have nothing but trouble.' So we continued looking for people. But one day, Dennis' agent called and said that Dennis was clean and sober and had already done another picture, and I could talk to that director to verify it. Then Dennis called and said, 'I have to play Frank, because I am Frank.' That thrilled me, and scared me.