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5) All of these little
movies are accessed through the switchboard of
www.davidlynch.com
under the heading Experiments, whilst The
Angriest Dog In The World is located in the
Cartoons section.
6) “Well, you know
nature can teach us a lot of things, and there's
something about... in painting, you're working
within a certain shape canvas and there's many
things that you, you know, one does intuitively
to move the eye; there's repetition of shape,
repetition of colour. But when you look at a duck
you see your eye is moving in a certain way. You
see textures and colours and shapes and you start
wondering about a duck. What it can teach us about
any kind of abstract, you know, painting or proportions,
or even sequences, scenes, and it always is interesting
that the eye is in the perfect place. If you move
it to the body it would get lost. If you move
it to the leg or the beak, it's two kind of fast
areas competing, even though the eye is the fastest,
it's the little jewel.” (David Lynch in conversation
with Mark Cousins on the British Television broadcast
Scene by Scene, screened on BBC2 on 28th
November 1999).
7) For instance, before
Mulholland Drive was a feature film,
it was originally a pilot for a TV series with
an open ended structure. When Canal Plus offered
Lynch more money to finish the project and turn
it into a movie, Lynch had the problem of closing
the narrative to suit a cinema audience :
"A pilot has openings but very few closings,
so that was the trick. It's an interesting thing
to have something that makes you think of something
else. It's a kind of a trick that I would like
to trick myself again. Because it makes your mind
work in a different way." (taken from
an interview with Lynch on the French edition
of the 2 DVD set of Mulholland Drive)
8) In Lynch on
Lynch, page 91, in conversation with Chris
Rodley.
9) A good example
being "On A Windy Night A Lonely Figure
Walks To Jumbo's Klown Room"(1988), in
which the abstract figure walking is cast in sombre
blues against a door-like framework which ironically
contrasts the associated gay colours of clown
imagery (this painting can be found in the Hyperion
publication of Lynch's book Images on pages
178-179)
10) Lynch on Lynch,
page 10.
11) In the opening
scene of Alfred Hitchcock's 1954 classic Rear
Window (one of Lynch's favourite movies
incidentally), Jimmy Stewart plays a wheelchair
bound character called L.B Jeffries who observes
his neighbours across the courtyard going about
their daily chores and personal activities. Each
window he watches depicts isolated events of voyeuristic
interest. The point of view that Hitchcock employs
makes its audience identify with L.B. Jeffries.
Similarly with Rabbits, the audience is
made to take on the mantle of an intruder or voyeur
because the unfolding events has the feel and
look of a personal domestic set up, due to the
static head on camera shot, although with Rabbits
the pacing is slowed down to a speed tantamount
with Alvin Straight's lawnmower ride across the
States.
12) Creative Differences
by Tad Friend, New-Yorker, 30th
August 1999.
13) William. S. Burroughs
(1914-1997) was a key figure in the Beat Generation
literary movement along with Allen Ginsberg and
Jack Kerouac. The technique applied to his novels
combine visionary intensity, strong social satire,
and the use of montage, collage, and improvisation.
He invented a style called "The Cut Up Technique"
in which he literally cut up and reassembled his
combined text. This technique can be found in
one of his most famous novels, Naked Lunch
that David Cronenberg turned into a movie in 1991.
14) This is how Lynch
himself described the character in the chat rooms
of his website to a question asked by one of his
members.
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