Frasi di David Lynch

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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.

Starting Out, p. 9
Catching the Big Fish (2006)
Contesto: I started out just as a regular person, growing up in the Northwest. My father was a research scientist for the Department of Agriculture, studying trees. So I was in the woods a lot. And the woods for a child are magical. I lived in what people call small towns. My world was what would be considered about a city block, maybe two blocks. Everything occurred in that space. All the dreaming, all my friends existed in that small world. But to me it seemed so huge and magical. There was plenty of time available to dream and be with friends.
I liked to paint and I liked to draw. And I often thought, wrongly, that when you got to be an adult, you stopped painting and drawing and did something more serious.

On making films, from David Lynch: Dune Interview http://www.youtube.com/watch?v=6lZKcW9OGoU&feature=channel&list=UL.
Contesto: Don't make a film if it can't be the film you want to make. It's a joke, and a sick joke, and it'll kill you.

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.

About Inland Empire, from The Independent: David Lynch: In odd we trust http://www.independent.co.uk/news/people/profiles/david-lynch-in-odd-we-trust-439801.html
Contesto: There is a plot. What would be the point of just a bunch of things? There's a story, but the story can hold abstractions. I believe in story. I believe in characters. But I believe in a story that holds abstractions, and a story that can be told based on ideas that come in an unconventional way.

Darkness, p. 91
Catching the Big Fish (2006)
Contesto: People have asked me why — if meditation is so great and gives you so much bliss — are my films so dark, and there's so much violence?
There are many, many dark things flowing around in this world right now, and most films reflect the world in which we live. They're stories. Stories are always going to have conflict. They're going to have highs and lows, and good and bad.
I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I'm just a guy from Missoula, Montana, doing my thing, going down the road like everybody else.
We all reflect the world we live in. Even if you make a period film, it will reflect your times. You can see the way period films differ, depending on when they were made. It's a sensibility — how they talk, certain themes — and those things change as the world changes.
And so, even though I'm from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things.

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.

McKenna interview (1992)
Contesto: Dark things have always existed but they used to be in a proper balance with good when life was slower. People lived in towns and small farms where they knew everybody and people didn't move around so much so things were a little more peaceful. There were things that they were afraid of for sure, but now it's accelerated to where the anxiety level of the people is in the stratosphere. TV sped things up and caused people to hear way more bad news. Mass media overloaded people with more than they could handle, and drugs also had a lot to do with it. With drugs people can get so rich and whacked out and they've opened up a whole weird world. These things have created a modern kind of fear in America.

Eraserhead, p. 33
Catching the Big Fish (2006)
Contesto: Eraserhead is my most spiritual movie. No one understands when I say that, but it is.
Eraserhead was growing in a certain way, and I didn't know what it meant. I was looking for a key to unlock what these sequences were saying. Of course, I understood some of it; but I didn't know the thing that just pulled it all together. And it was a struggle. So I got out my Bible and I started reading. And one day, I read a sentence. And I closed the Bible, because that was it. And then I saw the thing as a whole. And it fulfilled this vision for me, 100 percent.
I don't think I'll ever say what that sentence was.

Darkness, p. 91
Catching the Big Fish (2006)
Contesto: People have asked me why — if meditation is so great and gives you so much bliss — are my films so dark, and there's so much violence?
There are many, many dark things flowing around in this world right now, and most films reflect the world in which we live. They're stories. Stories are always going to have conflict. They're going to have highs and lows, and good and bad.
I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I'm just a guy from Missoula, Montana, doing my thing, going down the road like everybody else.
We all reflect the world we live in. Even if you make a period film, it will reflect your times. You can see the way period films differ, depending on when they were made. It's a sensibility — how they talk, certain themes — and those things change as the world changes.
And so, even though I'm from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things.

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.

On the Alex Jones Radio show, as quoted in "David Lynch Questions 9/11 On National U.S. Radio" in Prison Planet (25 January 2007) http://www.prisonplanet.com/articles/january2007/250107lynchquestions.htm

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.

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.

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: It makes me uncomfortable to talk about meanings and things. It is better not to know so much about what things mean. Because the meaning, it's a very personal thing and the meaning for me is different than the meaning for someone else.

On the Alex Jones Radio show, as quoted in "David Lynch Questions 9/11 On National U.S. Radio" in Prison Planet (25 January 2007)
Origine: Catching the Big Fish: Meditation, Consciousness, and Creativity
Contesto: There's so many problems in our world, so much negativity. Don't worry about the darkness — turn on the light and the darkness automatically goes. Ramp up the light of unity within — help do that for yourself, help do that for the world and then we're really doing something, we're doing something that brings that light of unity.

As quoted in "Lost Highway" interview by Mikal Gilmore in Rolling Stone (6 March 1997)

As quoted in Pretty as a Picture : The Art of David Lynch (1997)

As quoted in The Making of Dune (1984) by Ed Naha, p. 213

As quoted in "Dark Lens on America" in The New York Times Magazine (14 January 1990)

As quoted in "Dark Lens on America" in The New York Times Magazine (14 January 1990) http://query.nytimes.com/gst/fullpage.html?res=9C0CE0D6113FF937A25752C0A966958260&sec=&spon=&pagewanted=all

As quoted in The Los Angeles Times (20 April 2003)

Scene by Scene interview BBC 2 (1999) http://web.archive.org/20040210020322/members.fortunecity.com/vanessa77/index2005.html

As quoted in Pretty as a Picture : The Art of David Lynch (1997)

The First Dive, p. 3
Catching the Big Fish (2006)

Interview with Chris Douridas (1997) quoted in David Lynch Interviews (2009) by Richard A. Barney

Advice, p. 159
Catching the Big Fish (2006)

McKenna interview (1992)