David Lynch is not the one who seems

In his films, the usual laws, neither physical nor spatial ones do not apply in his films. The usual logic is also useless in these worlds - the dead come to life, the living change the appearance. But the door to this, if not otherworldly, then the parallel world is always somewhere in the neighborhood

“We’ll meet in 25 years,” Laura Palmer said to the agent Cooper in their last meeting in Black Wigwam in 1991. 26 passed, but the promise of Twin Picks restrained: May 21 at the Cannes Film Festival and on the Showtime channel, the premiere of the new season of the series David Lynch will be held.

To this, almost the main cinematic event of the year, in Russia they are prepared especially thoroughly, because the original series, first shown on domestic television in 1993, became one of the unspoken symbols of perestroika. The “iron curtain” was replaced by red curtains, behind which not only a bizarre Lynchevsky world was hidden, but also a marvelous new Western world - the director almost instantly found a cult status in the post -Soviet space. Despite this, his early films did not go out in full rental. The situation is corrected by the distribution company Russian World Vision, which from May 18 to 21, 2017 will hold retrospective shows of tapes “Golov-Lastik”, “Twin Pixes: Through the Fire” and “Highway to now” in the country's cinemas.

Twin Pixes: Through the Fire / Twin Peaks: Fire Walk with Me, 1992 Photo: Russian World Vision

As if confirming the status of the chief film-tavern of recent months, Lynch himself in early May declared in an interview that the “internal empire” (the director insists that the name of the film should be written in capital letters) in 2006 and remain his last full-length feature film. “Much has changed. Wonderful films fail at the box office, while the pictures that I would not think to shoot successful. ” It’s not worth it: firstly, Lynch did not say a word either about TV shows or other formats, secondly, which of the masters at least once announced that he was leaving forever-and returned, thirdly, to believe that the director who shot his best films after a failed “dunes” can be disappointed to be disappointed, because it ceases to torment it, because below is lower than below. There is nowhere to fall. ”

"So, I became an artist"

In September 2016, the Venice Festival showed the documentary tape "David Lynch: Life in Art." The picture was released in the Russian rental in April 2017, already in the wake of the expectations of the new Twin Pixe and at the new round of Lyngemania. The film that the Nefans may seem boring and insane, in fact, is an incredibly valuable “document” for understanding the nature of the one who is called “the most mysterious director of our time.” Chamber to intimacy, shot in one location - the workshop of David Lynch - and with one hero in the frame, this incomplete and unfinished story is the key to all his work. Not releasing from the hands of either the brush or cigarette, then the little daughter of Lula, named after the heroine of the “wild heart”, the director talks about one -story America of his childhood, about family crossings in the Middle West, about walking in the forest, about the love of drawing and about how he wants to “live in art” - be it the Pennsylvania Academy His idol Oscar Kokoshka or experimental art courses.

Lynch says that he came to the cinema after he thought that one of his student paintings was stirred

In the film, Lynch says that he came to the cinema after he thought that one of his student picturesque works stirred. In his philosophical and humanistic autobiography of 2006, “catching large fish: meditation, awareness and creativity” he writes that he tried to portray the night garden with the help of black and green colors, when the drawn trees suddenly stirred and even rustled, as if from the wind. It was at this moment, according to Lynch, that he realized what cinema is capable of - to revive the paintings.

David Lynch Photo: Matt Rourke/Ap/East News

So the first short film of “six boiling men” was born, followed by “alphabet”, “grandmother”, “lean”, each time, more and more like revived drawings, but on the cinema. Cinema as a language, as a way to tell stories, combine dialogs, music and a video sequence so as to most accurately express the idea at a sensual level, and it did not require explanation.

“Casket and key. I have no idea what they mean "

David Lynch is a director whose work is so fond of “solving”, who is like to ask questions about the meaning of a particular detail, about the idea of ​​each new film - an ardent opponent of any copyright comments. He considers the shown on the screen exhaustive, confident that any viewer is able to understand the embedded meaning. Or its absence. The director, however, attached instructions to Malholland Drive - a card with ten hints, which supposedly should help the viewer in comprehending the picture. In fact, these tips are only confused - the classic Lynchevsky twist. A big joker in life and art, Lynch laughs from the screen - humor in his works from Twin Pixe to the “Highway to nowhere” than mysticism - and is mysticism? Rather, a slightly distorted reality, in which simple human fears-darkness, strangers, that someone will recognize or spy a secret secret, what can be seen in a dream-brought to the point of absurdity and at the same time remain an integral part of everyday life.

"Highway to now" / Lost Highway, 1997 Photo: Russian World Vision

What is a “highway to nowhere”? The story of one wife or two different people, tormented by a feeling of guilt? Even the actors are still confused in the testimony, perceiving the images they play differently. No wonder, because it is unlikely that any of them read the script entirely. Depriving the artists of the opportunity to see the whole picture and thereby creating the tension on the set, the Lynch prefers the rest to do it himself. Not a tyrant, but a perfectionist requiring rehearsals and attention to details. Not a despot, but a hypnotist, having played once, people return, you just have to call. Like Laura Dern, Kyle Maclahlan, Grace Zabriski, Jack Nance, even the Twin Pixe stars Sheril Lee and Sheril Fenn, who, after the series, happily agreed to completely episodic roles.

"I finally saw something"

Many of the actors of the original Casta learned about the resumption of “Twin Picks” from the news on the Internet, and by writing letters to the director with the question of whether this was true, they received Laconic answers in the Linchently: “We will meet very soon in the beautiful world“ Twin Pixes ”.” And this was quite enough. As for beginners - to get scripts exclusively with their scenes and accompanying notes with the place and time of filming. These lack of aging are the rules of the game and part of the very concept of the “silent author”, which minimally commenting on its own work. But the eight-speaking autobiography, who is eager to leave the scene with a shimmering light on the pixera, despite the fact that the lamp over the operating table was blinking because of problems with electricity, and how he invented the red room and how he took the costume of Frank Silva, who had reflected in one of the mirrors, on the role of an ominous bob. “I was looking for a key that would help me discover the common meaning. Then I took the Bible and stumbled upon a certain phrase. I closed the Bible because I realized - here it is. It is unlikely that I will ever tell you what the phrase it was, ”Lynch writes in the book“ Catch the Big Fish ”about work on the“ Head Head ”, his first and most personal picture, even loved by Stanley Kubrick. Almost the same story - “I finally saw something that united all the material” - is connected, according to the director, and with the “internal empire”.

David Lynch Photo: Sarah Lee /Eyevine /East News

And with other films, ideas for which he draws from different sources. From music - all his paintings are incredibly musical, thanks to the soundtracks of Angelo Badalamenti, the principle of working with which is not much different from the principle of working with actors - only hints. From painting - an integral part of life. From that time, when the painted trees seemed to stir with a gust of invisible wind, David Lynch draws voluminous, as if living paintings that go beyond canvas, convex and in their own way dynamic, witty and abstract, frightening, paradoxically repulsive and attractive, causing a desire to touch. Of the hiking-this children's habit due to the habitat, the director carried through his whole life, even having moved from the wooded area of ​​the north-west of the United States to Los Angeles, to the "rocky" soil of the metropolis.

The director is invariably looking for inspiration in the field of dreams - they serve as a Lynch model for the construction of moviegoers

From his own fetishes ... A few years ago, he brought to Moscow the photo exhibition of the same name, made together with fashion designer Christian Labuten. The walls of the black cube of the exhibition hall were decorated with photographs of dancers shod in bizarre, explicitly not for walking shoes and frozen in provocative poses. Red-blue-black, Linchevskaya, palette of pictures, in some places a blurry focus with an accent on his feet-as if frames from his own films, where the camera freezes on the feet of the Donna climbing into the car, then on the hands of Laura Durn with red varnish with nails. This fetishism often replaces remarks to the heroes, causing the viewer the necessary associations without unnecessary words. Eros and Tanatos at Lynch, as expected, go hand in hand. The director is also invariably looking for inspiration in the field of dreams - they, however, serve as a Lynch as a model for constructing moviegoers, rather than a source of ideas.

"I like the logic of dreams"

Starting from the earliest works, the plot of each new film David Lynch is somehow connected with sleep, moreover, it is built according to its principles. It is falling asleep, agent Dale Cooper from Twin Pixes for the first time falls into black wigwam and meets his inhabitants, in “Malholland Drive” everything that happens with the heroines of Naomi Watts and Laura Harring - either a dream, or they themselves, either girls, or either visions. The plot “Highway to nowhere” can easily be interpreted as a dream of a hero who was in prison on charges of killing his wife-or, conversely, he dreamed of one of the heroes.

"Head-Lastik" / Eraserhead, 1977 Photo: Russian World Vision

Giants and dwarfs, fatal beauties and sinister villains, singers with languid, hoarse voices from smoky bars, all kinds of “mysterious men” - all of them seem to be ... The usual laws, nor physical or spatial - distortion of the visual series are accompanied by distortion of the sound path. In the same way, the usual logic is useless in these worlds - the dead come to life, alive change the appearance. But the door to this, if not otherworldly, then the parallel world is always somewhere in the neighborhood. To be in the world of dreams, according to Lynch, it is not at all necessary to turn a blind eye. It is not necessary to change the state of consciousness - at least artificially.

"I did not take drugs!"

It is difficult to believe in this, but the linch does not get tired of repeating that even the same episode with a “moving” picture, which prompted him to make a movie, was not the result of taking any substances-to a change in his consciousness, the most valuable “instrument”, the director refers without enthusiasm. He does not get tired of repeating that his life is extremely simple, common and devoid of any experiences-art 24 hours a day seven days a week and “a little agorafobia”. All creativity, of course, repeats the opposite. In one of the recent interviews, the co -author of Twin Pixes Mark Frost called Lynch "an artist who went through a lot and created a lot as a result of this struggle." To which Lynch himself replied: “And with what, he thinks, I fought? This is interesting. This is wonderful. I love life and very happy. What does he know about me, what I do not know. Or maybe he just talks about himself. ”

David Lynch Photo: Matt Rourke/Ap/TASS

Happiness and suffering are important categories in Lynch's life and work. The first he considers the unproductive state that interferes with the process of creation. And in order to understand the nature of suffering, the hero’s tragedy and talk about it from the screen, it is not at all necessary to constantly worry it. Lynch does not deny that at the dawn of his careers he felt his inability to cope with a certain personal problem and turned to a psychotherapist. Entering the office, the first thing he asked if the sessions would damage the creativity. And, having received an affirmative answer, he left the office forever.

Lynch considers happiness to be an unproductive state that interferes with the process of creation

Since then, for more than 40 years, David Lynch has been practicing transcendental meditation. This method of knowing himself, according to the director, helped him - and still helps - get rid of negativity, love life, learn to get joy from it, clear the mind. The purpose of the linach of the charity fund bearing his name is to make TM part of every person’s everyday life. The director invests the money collected by the organization in the development of school programs for training transcendental meditation, considering its therapeutic, educational, educational effect necessary and indispensable for full development. The method, in his own words, helped his work as nothing else: “Ideas are like fish. I am looking for fish of a certain species - those that can be translated into the language of cinema. For me, meditation is the way inside, in the depths where I am looking for large fish. ” The fish there, in the depths, probably has not yet been transferred, so "we will meet in 25 years."

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