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Music has fed me a lot of ideas... The film BLUE VELVET came out of Bobby Vinton's version of the song BLUE VELVET.

David Lynch

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David Lynch
Age: 78
Born: 1946
Born: January 20
Actor
Animator
Composer
Film Actor
Film Director
Film Editor
Film Producer
Lyricist
Musician
Painter
Photographer
Recording Artist
Missoula
Montana
David Keith Lynch
Ideas
Feds
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Blue
Came
Song
Film
Bobby
Music
Velvet

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Consciousness-based education, which I am helping to promote, is basically the same education that good schools are giving today with Transcendental Meditation added for the students, teachers, staff, and principal.
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Absurdity is what I like most in life, and there's humor in struggling in ignorance. If you saw a man repeatedly running into a wall until he was a bloody pulp, after a while it would make you laugh because it becomes absurd.
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In film, life-and-death struggles make you sit up, lean forward a little bit. They amplify things happening, in smaller ways, in all of us. These things show up in relationships. They show up in struggles and bring them to a critical point.
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Nowadays, people shoot digitally and it's all in color, but you press a button and it all goes to black and white. But it's not lit for black and white. So, it's a tricky thing. If you're going do black and white, you better remember to separate things with light, because color ain't gonna be there.
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Films are 50 percent visual and 50 percent sound. Sometimes sound even overplays the visual.
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We all have at least two sides. The world we live in is a world of opposites. And the trick is to reconcile those opposing things. I've always liked both sides. In order to appreciate one you have to know the other. The more darkness you can gather up, the more light you can see too.
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Sometimes I get an idea for cinema. And when you get an idea that you fall in love with, this is a glorious day.
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If we didn't want to upset anyone, we would make films about sewing, but even that could be dangerous. But I think finally, in a film, it is how the balance is and the feelings are. But I think there has to be those contrasts and strong things within a film for the total experience.
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A lot of painters listen to music, I think, while they paint. But I hate to do that. It's a horror. I can't really listen to the music. I'm not really concentrating on it, and I'm not really concentrating on the painting.
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The artist does not have to suffer to show suffering.
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The ocean of solutions is within, enliven that. It's a world of clues, a world of mystery but the mystery can get solved, you can find a lot of answers for these things within.
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I just have to think of Philadelphia now, and I get ideas, I hear the wind, and I'm off into the darkness somewhere.
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My rule of thumb is, what Siskel and Ebert like, I don't, and vice versa.
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I like things that go into hidden, mysterious places, places I want to explore that are very disturbing. In that disturbing thing, there is sometimes tremendous poetry and truth.
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I would rather not make a film than make one where I don't have final cut.
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I like cappuccino, actually. But even a bad cup of coffee is better than no coffee at all.
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The feature film has changed a lot. Art houses are gone and people show a certain type of cinema in the big theaters now that, you know, it's not quite really good for me, and if I made a feature film, I was think I'd play in LA and New York for a week, and then go right to television.
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When you get an idea and you fall in love with it there's not a whole lot of choice. You're going down a street and you meet this girl and you know it doesn't have to make any sense. Bingo! You're in love.
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Because you make a world that didn't exist before, and you can go into that world deeper and deeper. It's unbounded out there. One film takes you into one area, another film takes you into another area. There could be trillions, zillions of worlds that exist in the big space.
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Chrysta Bell looks like a dream and Chrysta Bell sings like a dream. And the dream is coming true.
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