“We are all Icelander! “
So Jerry (David Patrick Kelly) proclaimed the “Cooper’s Dream” section of the original “Twin tops“Back in 1990. As a lot in Author/Director David Lynch’s life and artIt was both exaggeration and truth.
Exhibition A: On Reykjavik’s lively stock fish Film Festival on April 10, a panel entitled ”David Lynch and surrealism in movie and shorts ”celebrated the work and worldview of the late author, who died january 16 at age 78. The nonprofit stockfish festy focused its dynamic 11th edition on moviemaking ice creams relevant to the always, Reyds-Cool City at the Top of the Top of the Top of the Top of the Top Of Cinema, And, in a centerpiece of the 10-day festival, A Lynch-a-Thon That Brought Out Icelandic Cineastes.
The celebration at Reykjavik’s cozy Arthouse Theater Biouradis – translated from Icelandic as “Cinema Paradise” – was, to use a phrase “”Mulholland Drive“Director loved, a gas. The event began with a display of the doctor “David Lynch: The Art Life” (2016), followed by views of his proto-stylistic shorts from the late 1960s and early 70s, from “The Alphabet” (1968) with Lynch’s first wife, Peggy, to “The AMPUTE” (1974), Visa of ” Cather Elm Oter Ander Ander Ander Ander Ander Ander Ander Ander Ander Ander Ander Spirit Endar Endark Endarket Endart E. Coulson, later “Twin Peaks” load.
A panel discussion followed, as well as a revelation of a bust in memory (complete with dramatic turn of well -being hair) by Icelandic artist Klaudia Karolina Kaczmarek.
Panel participants included long producing veteran Sigurjón Sighvatson (“Basquiat”, “Brothers”), an executive producer of “Wild at heart”; Stockfish Guest of Honor Floria Sigismondi, an appreciated music video director (for David Bowie, The White Stripes and Björk; the movie “The Runaways”); And Icelandic screenwriter and poet Sjon.
“David made it surreal real, and that’s why he appeals to so many people – what we would normally not see because it is for Surrealistic, he made relaxation, “Sighvatson said.” His courses, unique as they were, somehow always fell away and put us all at his wavelength. “
Sjon said, “When I first saw” Eraserhead “, I remember that I came out of the theater with some friends and said:” Watching this movie will change us. “The last time I saw it I showed it to my teens because I wanted to something Artistic to happen to them. Maybe because I was looking at it with my family I realized that “Eraserhead” is a story If A family-it is about a man who is not ready to be a father, his complicated relationship with his in-laws, his horror to have a child, his horrible job in a horrible industrial place. There is something about the simplicity of Lynch’s plots that are so convincing. He is fooling us into going with him. ”
“And after seeing” Eraserhead “, the kids are doing well, don’t worry!” Seam added.
Sigismondi noted that she felt that Lynch’s audience and characters share a feeling of knowing the strange terrain they are in and then react to it as if weirdness was completely normal.
“I ‘Wild at heart’, when Nicolas Cage and Laura’s characters drive at night and see a car accident, they end up with a kind of eerie feeling between them, but in the way Lynch does, the stage also has a little humor,” Sigismondi said. “Then Sherilyn Fenn’s character comes out of the wreck that scratches his head, all confused and lynch remains at this moment – and in that mixture of dark comedy and weirdness we get the feeling that the characters Know It happens something, maybe even knowing that before It happens. It is a way that Lynch leads us through this ban that we and his characters know is imminent. “
“It was one of his many strengths – if you think about how incredibly odd or uncomfortable or surreal the things he brought to the screen were, he packaged it in a way it struck for so many people,” added Sigismondi.
But Lynch’s stories’ mysteries – go back to their work at art schools in Washington, DC, Boston and finally Pennsylvania Academy of the Fine Arts in Philadelphia, where his paintings, multimedia artwork and short films began – has an inevitability that Sjon described as an anchor in Lynch’s work.
“It was interesting to watch his short films before this panel, because in these works we saw that the mystery of things, whatever it is, already exists – the possibility of it is always ready,” said Sjon. “One of my favorite scenes in a Lynch movie is the” Lost Highway “party scene when the mystery man (played by Robert Blake) begins to talk to the main character (played by Bill Pullman) and asks him to call his own house, where the mystery man in some way also is. that the mystery was there in Reality, always ready to happen. “
Sigismondi made the connection between the inevitable aspect of Lynch’s stories and his practice of transcendental meditation, which she discovered through his book 2006 “Catching the Big Fish: Meditation, Consciousness and Creativity.” (Lynch had been a dedicated to the technology since the early 1970s and started the David Lynch Foundation for Conscious-based education and World Peace 2005.)
“Lynch never liked to explain what he did, in any of his artistic expressions,” Sigismondi said. “His films were at the same time plot-controlled and also, of course, deeply dream-like-so much melting. In his meditation advice, he would often talk about going deep within yourself, then going into the” uniform area “to get ideas back, and how we all are in the mental space, it is like the collective consciousness.” To go back “can mean something different to everyone; we all all interpret it, it is not necessary that it was not necessary. All out.”
Afterwards, which appreciated the Lynch bust in the lobby in bioucernis, the panelists noted that for all Lynch’s surreal non -sequences, opaque dark visions, explosions of violence and deadpan -while that Warp Americana norms, what stood out most for them was the director’s humanity and endless manner and the director’s manner.
“‘The straight story’, from 1999, is an important Lynch movie in that regard,” said Sjon. “There he allowed us to really see his human heart completely naked and beat, and this is the heart that is at the center of all his films, no matter how dark they can be. Angelo Badalamenti’s lush points were also crucial to him that way too … (helps to) emphasize humanity as much as it does the mystery.”
“People often lack humanity in David’s work – they jump to surrealism,” Sighvatson said. “But one of my favorite scenes of his is the final scene in ‘Wild at heart’, when Sailor runs after Lulu. Talk about romantic! You hardly hear the words ‘David Lynch’ and ‘Romantic’ together, but even the short films shown here it had to a certain degree.”
“In their meditation videos and posts on social media, and in life, Lynch was so articulated on very complicated things and so willing to share their insights,” Sigismondi said.
Lynch-who visited Reykjavik in 2009 at the invitation of Sighvatson and the Icelandic TM Foundation to teach a (very well-visited) meditation class free-can have ripped in Iceland in “Twin Peaks”, but he and Land of Fire and Ice had a special connection.
On the question of an audience member at the end of the panel what advice they had for Icelandic filmmakers, Sighvatons was as easy as a serving of pie and coffee: “Be more like Lynch.”
