“I don’t go by nighttime dreams because it’s daydreaming that I like.”
Read instead… in print #15
The moment I saw the title and cover of David Lynch’s memoir, I fell in love with it. Room to Dream. It’s all in that title. The possibilities that title holds. The mysteries it eventually further deepens. I didn’t expect anything less from David Lynch. Room to Dream does not demystify. What movie lover would want that? A deconstruction of David Lynch’s films? Art does not need explanation, but to be felt and experienced and interpreted by each individual differently. The Lynchian universe remains an enigma.
It’s the personal journey of the artist that you look for instead in this sort of book. Here is one truth I already knew, but which is worth repeating again and again and again: David Lynch is a creator who does not compromise, does not sell out, a filmmaker who does not make movies for critics “but answers to the higher authority of his imagination”. And there are many random things I took away from the book, the kind of things I’m looking forward to in an autobiography the most, the little details and contours and the personal stuff teasing that take you a little closer to the artist and the man, without intruding. You’ve been invited in and you take this chance, a brief splash of insight, because the door will not remain open for long.
His childhood shaped him. He’s got a sense of humour. He was a happy child and has a happy personality, but has always been drawn to dark things. In high school he already had a well defined style and he still dresses the same way as he did back then. Appearantly, every woman he has met finds him attractive. He discovered meditation in 1973 and it changed his life. His films don’t really make money, but he does what he believes in. He values his privacy and his favourite thing to do is to be home working. He loves Billy Wilder’s Sunset Boulevard and The Apartment. He thinks Grace Kelly and James Stewart’s kiss in Rear Window is one of the best in the history of cinema (the other one is Elizabeth Taylor and Montgomery Clift’s in A Place in the Sun). For Laura Dern’s character in Twin Peaks: The Return, he created his own lipstick palette and mixed colours until he found the pink shade that he wanted. He loves Los Angeles light. He works with actors, not stars. Work always comes first. He gives himself room to dream.
Editor’s note: Read instead… in print is about a good book about cinema or filmmakers. No discursive, pretentious analyses, no verbose scrutiny. Because the idea is to invite you to read the book, not read about it here. But instead of using social media, I use my journal. Back to basics. Take it as a wish to break free of over-reliance on social media (even if it’s just for posting a photo of a good book) for presenting my work, cultural finds and interests. These are things to be enjoyed as stand-alone pieces in a more substantial and meaningful way than showing them in the black hole of Instagram thronged with an audience with a short attention span. This is also a look through my voluminous collection of books about film that I use as research in my adamant decision to rely less and less on the online and more on more on print materials.
Read instead…in print #9: Bertrand Tavernier: Amis Américans
The poetic power of illustration: Interview with William Grill
This summer we’re channelling:Lauren Bacall in “Key Largo”