Lynch on Lynch, and the quality of Mulholland Drive

Reading the interesting and often hilarious interview book Lynch on Lynch (made by Chris Rodley for Faber and Faber Publishers), I think about Mulholland Drive, although the book was made before (1997) that movie, that it must be one of the, let’s say twenty, best movies I have seen. So maybe I should start making this list? Now I have one. I will let this one also represent his other work.

(Strange enough, Ingmar Bergman died today, and there will be reason to return soon to him.)

David Lynch is a quite outspoken person, about personal relations and the making of his films, but not when it comes to the meaning of the films. Even where he has some conscious meaning, he keeps it to himself.

The book gives a lot of information about how he works, and how he ended up making film – partly by chance (since he thought he was only going to be a painter), partly through great stubbornness (for example in making Eraserhead), some luck, and some people giving support in critical times. It also tells a lot about the importance of colour and music in his creations. He writes about how he loves working with Angelo Badalamenti. “Angelo looks at me and says, ‘What are you, crazy?’ And I said, ‘Angelo, that’s so beautiful! …’ And he’s looking kind of confused”.

Mulholland Drive seems to me to float freely in time, so that it starts with a different beginning and different end at different viewing occasions. I am not surprised to learn that Lynch is obsessed by the notion of time. If various copies of the film are not cut randomly, it must have rearranged differently in my head at different times. 

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