extensive interview with David Lynch by Mark Cousins

What a strange, inscrutable genius is David Lynch. There is no artist like him in the world, not even close. His mind has generated so many scenes of such visceral demented horror that sometimes you can’t help but wonder a little about the soundness of their creator … but then – later in the same film – suddenly a moment, or a stretch, of unimaginable beauty. Above all his films display an endlessly astonishing inventiveness that keeps me riveted to them even when they are – as they often are – exceptionally uncomfortable to watch. And a degree of almost unmatched cinematic purity which makes talking about them seem almost sacrilegious.

Certain scenes in Lost Highway or the Twin Peaks series, very much including the prequel Twin Peaks: Fire Walk with Me, and one scene in particular in Inland Empire (I think those who have seen it will know which one I mean) have terrified me more than just about anything I’ve witnessed on the screen.

At the same time, Mulholland Drive (also not without its heartpounding moments and atmospheric dread) is one of the most extraordinary and thoroughly fascinating movies I will ever see: inexhaustibly rich on multiple levels, exquisitely designed and filmed down to the last detail, still not quite (after seven or eight viewings) 100% narratively explainable, yet all the more satisfying for that. A luscious, deeply mysterious, ultimately sacred journey for me – and at least once every time its beauty reduces me to tears (very often during the scene at Club Silenzio, for example).

I can’t say I love everything of his. Lost Highway is one disturbing nightmare… Full of brilliance, no question, but also about as deranging a cinematic experience as one can have. Blue Velvet is another work of real artistry but I always walk away from it feeling a little queasy, if that’s the right word. The nastiness is so vivid while the 50s-esque small-town-American innocence with which it is contrasted never convinces to the same degree, so I’m invariably left with a sense of vertigo at the end – of a manichaean world tilted the wrong way, as it were. Whereas at the end of Mulholland Drive, which for me is unquestionably his masterpiece, I emerge in awestruck wonder at a perfectly realized artistic vision.

Then there is Eraserhead … and Inland Empire … about which I still can’t say much (having seen each only twice thus far) because they are both sui generis and so unutterably, stupendously weird – even for Lynch! – that they almost defy commentary. (For anyone interested in a superb – though ultimately, inevitably, inadequate – Lacanian perspective on Lynch’s whole oeuvre, I can recommend Todd McGowan’s The Impossible David Lynch, though this was published before Inland Empire came out.)

Then there is the tenderness and warmth of The Elephant Man, unlike anything else Lynch has produced apart from The Straight Story. But contrast that with a recent music video he has released for his own song “Crazy Clown Time” (and yes that is his own eerie singing), and I find myself wondering about him all over again, because, I’m afraid, that video is one of the creepiest, most nihilistic things I’ve seen in quite awhile… (Such cognitive dissonance watching that a second time: can this man I know to be a great artist really be producing something so pointless and seemingly juvenile, or am I truly missing something somewhere?)

So who on earth is this guy? From time to time I try to find out more with some biographical querying, but he remains an enigma. An extra on the Inland Empire DVD films him preparing one of his favorite meals (quinoa and broccoli, which I’ve made by the way and can recommend, although you have to reduce the amount of vegetable bouillon down to about an eighth of what he suggests unless you really, really, really love the taste of salt…). A nice homey insight into his daily life you might think, except that even that ends up being rather spooky to watch!

However, I was pleased to just discover a long interview he did in 1999 with Mark Cousins (and yes, that fish tank, presumably in Lynch’s own home, is full of sharks). Famously averse to talking about his films, he says more there about them than I’ve ever come across, so if you are a big Lynch fan like me you are in for a treat…

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