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If we didn't want to upset anyone, we would make films about sewing, but even that could be dangerous. But I think finally, in a film, it is how the balance is and the feelings are. But I think there has to be those contrasts and strong things within a film for the total experience.
David Lynch
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On Blue Velvet, I worked with a casting director, Johanna Ray. And we had all brought up Dennis Hopper. But everybody said, 'No, no; you can't work with Dennis. He's really in bad shape, and you'll have nothing but trouble.' So we continued looking for people. But one day, Dennis' agent called and said that Dennis was clean and sober and had already done another picture, and I could talk to that director to verify it. Then Dennis called and said, 'I have to play Frank, because I am Frank.' That thrilled me, and scared me.
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Speaking in front of a large crowd is not pleasant. Once it gets rolling, it's okay. But beforehand, it's murder. I'm getting a lot better. The first interview I ever did was in 1972, I believe, and I couldn't speak. I couldn't speak one word. I only said, "I painted it black." That was my one sentence. And so I have improved.
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When I first heard about meditation, I had zero interest in it. I wasn't even curious. It sounded like a waste of time.
What got me interested, though, was the phrase "true happiness lies within." At first I thought it sounded kind of mean, because it doesn't tell you where the "within" is, or how to get there. But still it had a ring of truth. And I began to think that maybe meditation was a way to go within.
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There are so many clues and feelings in the world that it makes a mystery and a mystery means there's a puzzle to be solved. Once you think like that you're hooked on probably finding a meaning, and there' many avenues in life where we're given little indications that the mystery can one day be solved. we get little proofs, — not the big proof — but the little proofs that keep us searching.
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I guess I got whacked hard in the mystery department when I was little. I found the world completely and totally fascinating then — it was like a dream. They say that people who think they had a happy childhood are blocking something out, but I think I really had one. Of course I had the usual fears, like going to school — I knew there was some sort of problem there. But every other person sensed that problem too, so my fears were pretty normal.
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There is a plot. What would be the point of just a bunch of things? There's a story, but the story can hold abstractions. I believe in story. I believe in characters. But I believe in a story that holds abstractions, and a story that can be told based on ideas that come in an unconventional way.
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Instead of instilling fear, if a company offered a way for everyone in the business to dive within-to start expanding energy and intelligence-people would work overtime for free. They would be far more creative. And the company would just leap forward. This is the way it can be. It's not the way it is, but it could be that way so easily.
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In film, life-and-death struggles make you sit up, lean forward a little bit. They amplify things happening, in smaller ways, in all of us. These things show up in relationships. They show up in struggles and bring them to a critical point.
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Every single thing in the world that was made by anyone started with an idea. So to catch one that is powerful enough to fall in love with, it is one of the most beautiful experiences. It's like being jolted with electricity and knowledge at the same time.
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One change of attitude would change everything. If everyone realized that it could be a beautiful world and said let's not do these things anymore — let's have fun.
David Lynch
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This whole world is wild at heart and weird on top.
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Ideas are like fish.
If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you've got to go deeper.
Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful.
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Stay true to yourself. Let your voice ring out, and don't let anybody fiddle with it. Never turn down a good idea, but never take a bad idea. And meditate. It's very important to experience that Self, that pure consciousness. It's really helped me. I think it would help any filmmaker. So start diving within, enlivening that bliss consciousness. Grow in happiness and intuition. Experience the joy of doing. And you'll glow in this peaceful way. Your friends will be very, very happy with you. Everyone will want to sit next to you. And people will give you money!
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I discovered that if one looks a little closer at this beautiful world, there are always red ants underneath.
David Lynch
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It makes me uncomfortable to talk about meanings and things. It is better not to know so much about what things mean. Because the meaning, it's a very personal thing and the meaning for me is different than the meaning for someone else.
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Angelo Badalamenti brought me into the world of music and that's really what gave me permission to get into it even though I'm not a musician. It's just an intuitive thing for me.
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So much of what happened to me is good fortune. But I would say: Try to get a job that gives you some time; get your sleep and a little bit of food; and work as much as you can. There's so much enjoyment in doing what you love. Maybe this will open doors, and you'll find a way to do what you love.
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The only thing that disturbs me is that many psychopaths say they had a very happy childhood.
David Lynch
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If you keep your eye on the doughnut and do your work, that's all you can control. You can't control any of what's out there, outside yourself.
David Lynch
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I would rather not make a film than make one where I don't have final cut.
David Lynch
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Desire for an idea is like bait. When you're fishing, you have to have patience. You bait your hook, and then you wait. The desire is the bait that pulls those fish in-those ideas.
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Stories have tangents; they open up and become different things. You can still have a structure, but you should leave room to dream. If you stay true to your ideas, filmmaking becomes an inside-out, honest kind of process. And if it's an honest thing for you, there's a chance that people will feel that, even if it's abstract.
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As a teenager, I was really trying to have fun 24 hours a day. I didn't start thinking until I was 20 or 21. I was doing regular goof-ball stuff.
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You don't dive for specific solutions; you dive to enliven that ocean of consciousness. Then your intuition grows and you have a way of solving those problems-knowing when it's not quite right and knowing a way to make it feel correct for you. That capacity grows and things go much more smoothly.
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I just have to think of Philadelphia now, and I get ideas, I hear the wind, and I'm off into the darkness somewhere.
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But if you can expand that consciousness, make it grow, then when you read about that book, you'll have more understanding; when you look out, more awareness; when you wake up, more wakefulness; as you go about your day, more inner happiness.
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Life is very, very complicated and so films should be allowed to be too.
David Lynch
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I started out just as a regular person, growing up in the Northwest. My father was a research scientist for the Department of Agriculture, studying trees. So I was in the woods a lot. And the woods for a child are magical. I lived in what people call small towns. My world was what would be considered about a city block, maybe two blocks. Everything occurred in that space. All the dreaming, all my friends existed in that small world. But to me it seemed so huge and magical. There was plenty of time available to dream and be with friends.
I liked to paint and I liked to draw. And I often thought, wrongly, that when you got to be an adult, you stopped painting and drawing and did something more serious.
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All the movies are about strange worlds that you can't go into unless you build them and film them. That's what's so important about film to me. I just like going into strange worlds.
David Lynch
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Quote of the day
Good authors, too, who once knew better words Now only use four-letter words Writing prose — Anything goes.
Cole Porter
David Lynch
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Born:
January 20, 1946
(age 78)
Bio:
David Keith Lynch is an American director, screenwriter, visual artist, musician, actor, and author. Known for his surrealist films, he has developed a unique cinematic style.
Known for:
Twin Peaks (1990 – 1991)
Mulholland Drive (2001)
Blue Velvet (1986)
Eraserhead (1977)
Lost Highway (1997)
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