Amoeblog

Documenting the Already Forgotten: The Interview Project at davidlynch.com

Posted by Charles Reece, January 31, 2010 05:23pm | Post a Comment
The webcasts started back in June of last year, but I just heard about them. Directed by Austin Lynch and Jason S., a 100 so-normal-they're-surreal citizens of these United States are interviewed in situ by Angie Schmidt and Julie Pepin. The Interview Project covers 20,000 miles and selects potential subjects as "they're found." Each interview is about 2 minutes long and introduced by David Lynch (father to one of the directors):

 interview project david lynch

They go to places like Marfa, Texas:

interview project lynch marfa texas

Which is where No Country for Old Men was largely set. And they interview Texans like Doc Whitman:

interview project lynch doc whitman

Whose Steve Ditko-styled hands suggest a lifelong struggle against nature and industry:

interview project doc whitman hands   steve ditko hand

They, of course, meet other people from other places, too, if you're into that sort of thing:

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Taking the Lynch Meme Challenge: Canonizing David Lynch

Posted by Charles Reece, October 6, 2009 11:33pm | Post a Comment
No, I haven't given up on talking Inglourious Basterds to death; I'm almost finished, cross my heart. It's just that Dave Fiore distracted me with thinking about how I'd rank Lynch's feature films (The Grandmother and The Alphabet are probably my favorite shorts). Nothing will pull me into a conversation faster than my favorite living director. One thing I've noticed about my enjoyment of his films is that over time it's negatively correlated with my initial reaction: the less I liked them on first viewing, the more I like them with each re-viewing, and vice versa. Another is that I prefer the ratio-narrative Lynch to the one who lets his dreams/"ideas" take him wherever (granted, many, including Fiore, don't much agree that my preferred Lynch even exists). So, in order of my enjoyment/rewatchability/hours of mental masturbation afforded:

I. Lost Highway (1997)

lynch lost highway poster

Well, actually, it's the first half and finale with Bill Pullman's Fred Madison that place the film on top. For sure, LH contains some of Lynch's weakest moments: Balthazar Getty's Pete Dayton ("you liked it, hunh?"), music chosen by Trent Reznor (Bowie's "Lost Highway" over Payne's -- really?), and a menacing cameo by Marilyn Manson and Twiggy (about as spooky as W.A.S.P. in Ghoulies 2). Nevertheless, most of Lynch's major themes receive their fullest and most direct expression here: Vertig-inous duality (Renee vs. Alice), repression and oneiric escapism (the hallways, Fred's fugue state as a release from his impotence and murderous deed), and the demands of the always elusive Real (the intrusive mirror, phone calls, video tapes and, of course, Robert Blake's Virgil, the white-faced Mystery Man). Some poor casting and music supervision can't ultimately diminish Lynch and co-writer Barry Gifford's perfect construct.

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Solid Gold! Interview with David Lynch

Posted by Charles Reece, August 29, 2009 07:18pm | Post a Comment
My pal Kyle and I had a chance to interview the best living director. Here 'tis:


Stick around for the credits; the Amoeba film crew did a beautiful job making it.

(In which Job enjoys a field trip.)

Posted by Job O Brother, August 3, 2009 03:37pm | Post a Comment
goth

Yesterday, the boyfriend decided to surprise me with a spontaneous field trip to The Museum of Jurassic Technology, located in Culver City. It was my first time there, even though I’d been pining to attend for over four years, and it was not a disappointment.

It’s hard to explain how lovable the Museum is to people who’ve never been, because one doesn’t want to spoil its mystique and novelty, and explaining its merit to those who have experienced it is hardly necessary, assuming, as I do, that everyone is charmed by it. (I suppose there could be some whimsy-less, emotional cripples who wouldn’t appreciate it, but I’d like to think they have no interest in either my blog or my company. Humph!)

If your idea of a dream house is The Haunted Mansion at Disneyland...


...if your idea of a fashion magazine is The Delineator...

fashion vintagevintage fasion

...or if your shopping choice for bric-a-brac is Necromance on Melrose, then The Museum of Jurassic Technology is your idea of fun day out.

Your Pals Are Not What They Seem 2: Faith and Reason in Lost's Season 5 Finale

Posted by Charles Reece, May 30, 2009 02:07pm | Post a Comment
Page I

john lock weird eyes lostjohn locke dead coffin lost

Being a congenital skeptic, I had expected Lost to go the way of other fantasy shows exploring the issue of faith. It began by establishing the central antagonism between its central characters, the rationalist doctor Jack Shephard (the de facto leader -- get it?) and the faith-filled, ironically named John Locke (the namesake of the famous British empiricist whose philosophical inbred progeny was one B. F. Skinner). In regaining the use of his legs after crashing on the island, Locke was granted something of his own revelation. By way of this objective correlative, Locke and the audience had a inkling that there was something more to the island than Jack's skepticism allowed. Throw in a smoke monster, people coming back from the dead and time travel and any reasonable person starts sympathizing with Nochimson's vaginal heroism. The lure is there to wrap the antagonism up in the same generic package as all the aforementioned failed fantasy programs. Affirm faith by killing it with literalism (compare the deracinated horror of Stephen King's CGI-infested movie-adpatation of his The Shining to the dread of Stanley Kubrick's).

Seems to me that faith is both an opening and a closing. The believer must remain open to mysterious possibilities that defy the normative limits given by our best explanatory models while digging his heels in the sand and claiming his irrationally derived belief is the truth. Therefore, faith requires mystery. If the implausible is made normative, as it is so often in fantasy, there is no faith involved. Of course, the recipient (viewer, reader) must maintain a level of faith by way of the classic suspension of disbelief. Similarly, lest the believer become a mere ideologue, he must live with uncertainity, a nagging suspicion that he might be wrong (i.e., not all that different from the fantasy genre's suspension requirement).

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