This is the most straight forward I have ever seen him do a interview. He actually gives away a lot of what the movie is about in a way I haven't seen him do anywhere else.
Duality😅 interviewer did his homework about Lynch 😅 a bit different entity. He basically opened the film. But interviewer was looking answers in a Lynchian dreamworld
I was so stunned by _Lost Highway_ that I couldn't speak for a good 20 minutes after leaving the theatre, or I didn't want to speak, I should say - I didn't want to listen to my friends, or process and respond to the things they were saying, I just wanted my mind to keep spinning, to allow that truly unique experience of confusion and wonder to resonate as long as possible.
That's because David and all key figures involved have a secret formula to that film, even though he's often said the name of that secret formula to the public. So he's holding back more than what the typical viewer is aware of, but also letting it be known.
@@tacituskilgore80your mileage may vary but IE is much, much less accessible I feel like. Imo, Lost Highway and Mulholland Drive are Lynch at his best (not including Twin Peaks) and IE is Lynch at his most experimental. I’ve only seen it once, recently, and found it rather long and difficult to get into. Not his best work but I respect that he stuck to a vision and saw it through.
Psychogenic fugue, at least from what I know and understand about it, may be a tricky subject for thrillers like Lost Highway. But I admire the most unique talents like David who can make the best possible use out of it.
In two minutes he's clearly confirmed the most accepted explanations for the movie : Fred murdered Renee (and possibly had had her new boyfriend killed). Fred goes to deathrow. Fred goes into dissociative fugue where he can live a better life than he's ever had except reality, guilt and whatnot eventually creep back inside until he can't run away anymore and ends up on the chair and boom, credit roll and a memorable soundtrack are left.
So many years passed and still in love in the movie... Thank you Paris for giving me the opportunity to watch it again in a movie theater ❤... funny how secrets travel...
How is _Lost Highway_ considered so "dark and incomprehensible"? It's one of his more straightforward films if you ask me, and that's accounting for the symbolism as well, not just the superficial story.
This idea of a psychogenic fugue state might also be applicable to Eraserhead. Since we're never given any context to either the images or the individual having these nightmares we're stumbling around in search of meaning. I've two interpretations. 1 (the more conventional one) This is the nightmare of a man totally unprepared with the idea of marriage and fatherhood and has turned his wife and child into monsters because of that anxiety. 2. This is the nightmare of man who has murdered his wife and child in his waking life and to ease his guilt over this has turned them into monsters, especially the baby who is human in only the most abstract way. But I imagine there are other theories. This is why the film has endured and continues to excite the imagination.
i definitely agree with you on it being his most "dark and incomprehensible" - even with inland empire now in the equation - i still feel like i understand Lost Highway less
Inland Empire is more of a puzzle, but that's all it is. It's grimey and drags in the middle. it's too meandering and, in my opinion, isn't really on the level of his other work.
I both love and hate Lynch for giving away this tidbit about the film being inspired by the OJ Simpson case. It does definitely contextualize the film and help us discern a greater meaning from the story but I feel like it gives us a bit too definitive a conclusion. When I first watched the film I wasn't 100% certain if Fred was truly guilty or not but this basically confirms that he was. It takes away some of the mystery.
I think this is why David Lynch does the movies he does. To him, everything's kind of obvious, almost bland, but if you have NO idea what influenced his thinking, it's a bizarre mystery that you can almost barely put together. I think he knows that, so he tries to just never explain anything, and then a bunch of years pass, and then he goes "I'll just tell people, if they think it's that confusing."
I just finished watching the movie, and went through some reviews and explanations. I am now certain that Fred is actually guilty and that whole movie was his mind trying to cope with it while tricking itself like Lynch said here. What I find interesting is not Fred story itself anymore, but how does mind work, to which extend it will go, in which dimension and sphere its working. The whole thought process of the mind is dream like, surreal, just like this movie. ruclips.net/video/obW5UEE1Cwc/видео.html This interview gives a lot of insight
I get it, it’s his style. But can yall lynch fans at least admit the acting and dialogue is a tad jarring and unnatural? No one would talk like they do in his films. It throws me off. On top of that, the acting appears so soap opera. I want to like him. But maybe I’m just not equipped to get it
@@balladofthebroken7569 Lynch fan here. I don't think I've ever seen a Lynch fan try to say that his dialogue ISN'T jarring and unnatural? It's all a part of the fugue, dreamlike feeling his films are going for. If you try really really hard to remember the conversations you have in your dreams, they would play out much like a Lynch film. That's what we love about his work: few other filmmakers can well and truly capture the essence of what dreams feel like in the moment of living them - besides the dark corners of the RUclips algorithm at 4 in the morning after some booze 😂
@@balladofthebroken7569 That's interesting because I love the soap opera aspect of Lost Highway and Mulholland Drive. It's an excellent contrast to the disconcerting and strange things that occur in the plots of his films.
@@balladofthebroken7569 the soap opera acting thing is completely intentional. Lynch loves soap operas. You can especially see it in Twin Peaks, which is at the same time a satire of soap operas, a celebration of them and one itself.
@@balladofthebroken7569 Notice that in Mulholland Drive, the first part has the Lynchian acting style and then after everything is jumbled--Betty is now Diane--the acting is completely naturalistic. Never thought of Lynch as an "actor's director" until that movie.
This is the most straight forward I have ever seen him do a interview. He actually gives away a lot of what the movie is about in a way I haven't seen him do anywhere else.
Duality😅 interviewer did his homework about Lynch 😅 a bit different entity. He basically opened the film. But interviewer was looking answers in a Lynchian dreamworld
this and when fred says he likes to remember things his own way
I love how he starts laughing at the duality joke. It's probably one of *the* themes that connect all of his works together.
Thought he was laughing because it’s a silly question
I was so stunned by _Lost Highway_ that I couldn't speak for a good 20 minutes after leaving the theatre, or I didn't want to speak, I should say - I didn't want to listen to my friends, or process and respond to the things they were saying, I just wanted my mind to keep spinning, to allow that truly unique experience of confusion and wonder to resonate as long as possible.
Saw it in 97 when it was released on the big screen, was awesome))
I know the feeling, this, Mulholand Drive and Possession did the same to me
i love how he started smirking when he heard “incomprehensible”
Good to see Lynch in his thinking chair
😂
He laughs because duality is present no matter what you’re seeing on the screen. It’s a constant and fact of life
David thinking to himself, "How do I answer his question without answering it?"
That's because David and all key figures involved have a secret formula to that film, even though he's often said the name of that secret formula to the public. So he's holding back more than what the typical viewer is aware of, but also letting it be known.
@@VicMikesvideodiarywhat do you mean by this?
'does duality play a lot in your work' lol that is not a necessary question to ask and david was like no duh
Yes, really dumb question with an obvious answer.
And he asks it like it's the most amazing question ever lol
Exactly!
For me, the best movie ever...
One of the best soundtracks, as well!
This, synchecode, and under the silver lakel
I agree
@@Orisitdonalddid you mean synecdoche?
@aamesworld yeah, that's about as hard for me to spell as the movie is to understand though haha
Besides Twin Peaks, Lost Highway is my favorite Lynch creation.
Well, Twin Peaks was a collaborative creation with Mark Frost
Amen - twin peaks is nirvana on earth - especially s3
Inland Empire: Hold my 🍺
Is it really better than LH I haven't seen it yet?
@@tacituskilgore80your mileage may vary but IE is much, much less accessible I feel like. Imo, Lost Highway and Mulholland Drive are Lynch at his best (not including Twin Peaks) and IE is Lynch at his most experimental.
I’ve only seen it once, recently, and found it rather long and difficult to get into. Not his best work but I respect that he stuck to a vision and saw it through.
How to explain this masterpiece with few perfect words
Psychogenic fugue, at least from what I know and understand about it, may be a tricky subject for thrillers like Lost Highway. But I admire the most unique talents like David who can make the best possible use out of it.
In two minutes he's clearly confirmed the most accepted explanations for the movie : Fred murdered Renee (and possibly had had her new boyfriend killed). Fred goes to deathrow. Fred goes into dissociative fugue where he can live a better life than he's ever had except reality, guilt and whatnot eventually creep back inside until he can't run away anymore and ends up on the chair and boom, credit roll and a memorable soundtrack are left.
So many years passed and still in love in the movie... Thank you Paris for giving me the opportunity to watch it again in a movie theater ❤... funny how secrets travel...
What a head of hair, incredible
Psychogenic Fugue… I learned something new. It’s a symptom of PTSD.
How is _Lost Highway_ considered so "dark and incomprehensible"? It's one of his more straightforward films if you ask me, and that's accounting for the symbolism as well, not just the superficial story.
This idea of a psychogenic fugue state might also be applicable to Eraserhead. Since we're never given any context to either the images or the individual having these nightmares we're stumbling around in search of meaning. I've two interpretations. 1 (the more conventional one) This is the nightmare of a man totally unprepared with the idea of marriage and fatherhood and has turned his wife and child into monsters because of that anxiety. 2. This is the nightmare of man who has murdered his wife and child in his waking life and to ease his guilt over this has turned them into monsters, especially the baby who is human in only the most abstract way. But I imagine there are other theories. This is why the film has endured and continues to excite the imagination.
David bir Sanatçı Sinemasını çok gerçek ve başarılı buluyorum👏✨💮 😊
wtf happens at 1:44?
David resists saying "No shit, Sherlock" through a monumental act of will.
@@seniorslaphead8336 lol well put, I mean the weird change in the pitch of his voice. sounds like lucifer is escaping for a sec there
Sounds like Mr. C meeting Gordon Cole in Twin Peaks The Return ("it's very very good to see you again, old friend").
i definitely agree with you on it being his most "dark and incomprehensible" - even with inland empire now in the equation - i still feel like i understand Lost Highway less
David is constantly trying to compress 3D ideas, into 2D strings of words.
Best comment in the entire section
Deja Vu synchronicity
Notice when David speaks that his hands try to give a visual description of what he's explaining! His mind works very differently than most.
His most dark and incomprehensible? Bro clearly hasn’t seen inland empire
Bro hadn't seen Inland Empire because at the time of the interview it hadn't come out yet. And yes, it beat Lost Highway on that score by a mile.
@@KGSMMediaCache oh damn didn’t realise lol
Dark, incomprehensible, and an absolute masterpiece.
Inland Empire is more of a puzzle, but that's all it is. It's grimey and drags in the middle. it's too meandering and, in my opinion, isn't really on the level of his other work.
I feel that lost highway is consistently darker throughout, though inland has more intense moments of darkness
I both love and hate Lynch for giving away this tidbit about the film being inspired by the OJ Simpson case. It does definitely contextualize the film and help us discern a greater meaning from the story but I feel like it gives us a bit too definitive a conclusion. When I first watched the film I wasn't 100% certain if Fred was truly guilty or not but this basically confirms that he was. It takes away some of the mystery.
It's been a week now since I watched it for the first time and I have an aching brain thinking about it
I think there is so much more to it than that, and I honestly don’t believe David Lynch gave anything away with what he said.
I think this is why David Lynch does the movies he does. To him, everything's kind of obvious, almost bland, but if you have NO idea what influenced his thinking, it's a bizarre mystery that you can almost barely put together. I think he knows that, so he tries to just never explain anything, and then a bunch of years pass, and then he goes "I'll just tell people, if they think it's that confusing."
I just finished watching the movie, and went through some reviews and explanations. I am now certain that Fred is actually guilty and that whole movie was his mind trying to cope with it while tricking itself like Lynch said here.
What I find interesting is not Fred story itself anymore, but how does mind work, to which extend it will go, in which dimension and sphere its working. The whole thought process of the mind is dream like, surreal, just like this movie.
ruclips.net/video/obW5UEE1Cwc/видео.html
This interview gives a lot of insight
He elaborated on that :(
it would have made more sense if Patricia Arquette didnt mumble her lines
I get it, it’s his style. But can yall lynch fans at least admit the acting and dialogue is a tad jarring and unnatural? No one would talk like they do in his films. It throws me off. On top of that, the acting appears so soap opera. I want to like him. But maybe I’m just not equipped to get it
@@balladofthebroken7569 Lynch fan here. I don't think I've ever seen a Lynch fan try to say that his dialogue ISN'T jarring and unnatural? It's all a part of the fugue, dreamlike feeling his films are going for. If you try really really hard to remember the conversations you have in your dreams, they would play out much like a Lynch film. That's what we love about his work: few other filmmakers can well and truly capture the essence of what dreams feel like in the moment of living them - besides the dark corners of the RUclips algorithm at 4 in the morning after some booze 😂
@@balladofthebroken7569 That's interesting because I love the soap opera aspect of Lost Highway and Mulholland Drive. It's an excellent contrast to the disconcerting and strange things that occur in the plots of his films.
@@balladofthebroken7569 the soap opera acting thing is completely intentional. Lynch loves soap operas. You can especially see it in Twin Peaks, which is at the same time a satire of soap operas, a celebration of them and one itself.
@@balladofthebroken7569 Notice that in Mulholland Drive, the first part has the Lynchian acting style and then after everything is jumbled--Betty is now Diane--the acting is completely naturalistic. Never thought of Lynch as an "actor's director" until that movie.
Lost Highway is not incomprehensible... Inland Empire is Lynch's most inaccessible work by a mile
David is so kind, but wanted to call this man a dumbass hahaha
So just compartmentalizing an unpleasant memory, Skeltons kept in the closet type of thing?
I think LOST HIGHWAY is a lot easier to interpret than MULHOLLAND DRIVE and INLAND EMPIRE.
Dumb questions.