, David Lynch talks us through the key films (and TV show) in his career){kind=link}
From Uncut's May 2007 issue (Take 120). We spoke to David Lynch for our Film By Film feature, covering his classic movies from Eraserhead and Wild At Heart through Twin Peaks on TV and his late classics, including Mulholland Dive. "They say that films are like children," he told Stephen Troussé. "And I love all of my children, except for one child named Dune."
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From Uncut’s May 2007 issue (Take 120). We spoke to David Lynch for our Film By Film feature, covering his classic movies from Eraserhead and Wild At Heart through Twin Peaks on TV and his late classics, including Mulholland Dive. “They say that films are like children,” he told Stephen Troussé. “And I love all of my children, except for one child named Dune.”
Does the director of Wild At Heart and Blue Velvet look back over the past three decades and see a pattern to his career? “It’s weird, I see it as a year to make a film, a year in between films. Something like that,” he chuckles. “So I’m surprised when people ask my age, because I feel I’m much younger. They say that films are like children. And I love all of my children, except for one child named Dune.” Here he is, then, one of cinema’s true greats…
ERASERHEAD
Lynch’s first feature, shot over a period of five years, was he said, “My Philadelphia Story”. An instant hit on the midnight movie circuit, it marked the beginning of long working relationships with Jack Nance and Catherine Couslon.
LYNCH: I kept running out of money to make the film. I eventually took a paper route, delivering The Wall Street Journal. I loved that route! Philadelphia… is my greatest influence. Eraserhead really grew out of that experience. I have three children and they’ve watched it for sure! I don’t know how they feel. You’d have to ask them!
I asked a theatre director friend to recommend someone to play Henry, and he recommended two people. I only ever met Jack Nance. You see, Henry had to have that hair. And what was very fortunate – and meant to be – was that Jack had a particular type of hair that could be teased and held. It was perfect.
The midnight slot put Eraserhead on marquees of theatres for up to four years. It was so important for Eraserhead to find that home and that’s where Mel Brooks saw it. I heard he was going to see it and determine whether I was going to direct The Elephant Man based on that screening. And I said, “Well, it was nice knowing you guys, but it’s over.” But on the contrary, Mel, bless his heart, loved it. Mel is a very special human being. There’s a lot of very special human beings in Hollywood… and some not-so-special human beings, too.
FIND THE FULL INTERVIEW FROM UNCUT MAY 2007/TAKE 120 IN THE ARCHIVE
