ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

Ok, priznavam, ovdi je i novinar malko papak, sa ovim opisima enterijera, ali Dekili me zabrinjava... Tako su i Bitlsi poceli, pa sta je bilo...  

David Lynch Returns: Expect Moody Conditions, With Surreal Gusts

By DENNIS LIM
Published: October 1, 2006

LOS ANGELES

TO hear him tell it, David Lynch has spent the last five years killing the thing he loves, for fear that it will kill him first.

"The sky's the limit with digital," he said in a recent conversation, his voice approaching foghorn pitch. "Film is like a dinosaur in a tar pit. People might be sick to hear that because they love film, just like they loved magnetic tape. And I love film. I love it!"

He contorted his face into an expression that suggested pain more than love. "It's so beautiful," he said. But "I would die if I had to work like that again."

Not one for understatement or half measures, Mr. Lynch takes a giant leap into the post-celluloid future with the three-hour "Inland Empire," his first feature since "Mulholland Drive" in 2001, his 10th overall and the first to be shot on the humble medium of digital video. The movie had its premiere last month at the Venice Film Festival, where Mr. Lynch, who turned 60 in January, was awarded a Golden Lion for career achievement. It will have its first North American showings at the New York Film Festival on Oct. 8 and 9.

On this clear Los Angeles morning, his first at home after three weeks in Europe, Mr. Lynch was knocking back a huge cappuccino in his favorite corner of his painting studio, a scatter of stale cigarette butts on the cement floor around his Aeron chair.

"It's actually cleaner that I thought it would be," he said, looking around. The sunlit atelier is perched atop one of the three sleek concrete structures that make up his compound in the Hollywood Hills. He lives in one building; another is the office of his production company, Asymmetrical. This one, the hub of creative activity, served first as a location for his 1997 film "Lost Highway" and was later converted into a production facility with a recording and editing studio and a screening room. (Mr. Lynch's chair, off limits to anyone else, can be identified by the sizable ashtray on the armrest.)

The moods and objects throughout inevitably bring to mind that most resonant of eponymous adjectives: Lynchian. Corridors and stairwells are minimally lighted. One room has the signature red curtains. Propped against one wall is an Abstract Expressionist canvas by Mr. Lynch, a brown expanse with a violent splotch of blue and the inscription "Bob loves Sally until she is blue in the face." A photograph of the Maharishi Mahesh Yogi, the Transcendental Meditation guru, sits on a conference table, sunlight illuminating a single cobweb that hangs from its gold frame.

Lately Mr. Lynch has emerged as a keen proponent of Transcendental Meditation, which he said he has practiced twice a day since 1973 without missing a session. Last year he established the David Lynch Foundation for Consciousness-Based Education and World Peace with the goal of raising $7 billion to create "universities of peace." He also went on a campus tour, promoting the benefits of "diving within" with the help of a meditating assistant hooked up to an electroencephalograph.

His other consuming passion of recent years has been the Internet. Mr. Lynch grasped the potential of streaming media earlier and took to it with greater enthusiasm than filmmakers half his age. His sprawling Web site, davidlynch.com, begun in 2001, carries merchandise (mugs, photos, alarming ring tones) and subscriber-only content (original music, experimental vignettes, the animated series "Dumbland"). On the home page he delivers the daily weather report for Los Angeles direct to Webcam.

As it turns out, some of Mr. Lynch's online experiments found their way into "Inland Empire," which, despite his claims for the speed of direct video, took three years to make. It was shot in fits and starts and, for the longest time, on his own dime and without a unifying vision. At the outset, "I never saw any whole, W-H-O-L-E," he said. "I saw plenty of holes, H-O-L-E-S. But I didn't really worry. I would get an idea for a scene and shoot it, get another idea and shoot that. I didn't know how they would relate."

Only after the project was well under way did he contact the French studio Canal Plus, which financed the transformation of "Mulholland Drive" from a rejected television pilot into a feature film. Canal Plus signed on to "Inland Empire" even though, Mr. Lynch said, "I told them two things: 'I don't know what I'm doing, and I'm shooting on D.V.' "

Eventually the grand design revealed itself. In interviews Mr. Lynch has repeatedly advanced a poetic, democratic notion of ideas as independent of the artist, waiting to be plucked from the ether, or, in his preferred analogy, reeled in: he's working on a book about the creative process titled "Catching the Big Fish." With "Mulholland Drive," he said the eureka moment came while he was meditating. With "Eraserhead," his indelible debut in 1977, inspiration came while reading the Bible. (He declined to specify the passage.) There was no equivalent lightning bolt on "Inland Empire," but in due course "something started to talk to me," he said. "It was as if it was talking to me all along but I didn't know it."

A thoroughly instinctual filmmaker, Mr. Lynch could never be accused of overthinking things. Or of overtalking them. In discussions of his work he reverts to affable stonewalling tactics, deflecting detailed or analytical probes with a knowing vagueness.

The vertiginous "Inland Empire" is sure to provoke questions about meaning, literal and metaphoric. Still without a United States distributor, this may be his most avant-garde offering since "Eraserhead." In tone and structure the film resembles the cosmic free fall of the mind-warping final act in "Mulholland Driv

lynch kod mene ima veliki kredit, i mada mnogo toga ovde ukazuje na kojesta, ja mu verujem sve dok me samo delo (eventualno) ne razuveri.

a cak i to mora da mi ucini na II gledanje, jer prvom vise ne verujem: for the record, MULHOLLAND mi se nije dopao na premijeri, i zavoleo sam ga tek na II ili III...

Meni se Mulholland Drive dopao na prvo gledanje, al' nisam bas skapirao o cemu se radi. Drugo gledanje je pomoglo da skapiram, a i film mi se dopao jos vise. Valjalo bi da ponovo overim Lost Highway, jos jedan film koji se kriticarima nije dopao a u stvari je sjajan.

Meni je sve do sada bilo vanredno sjajno, sa izuzetkom Darkened Rooma koja mi deluje kao post-kokainski istrip... Ako Lynch nastavi u tom pravcu, vrlo je verovatno da ce stvari ispasti skroz gadne.

Pre jedno pola godine sam na nekom forumu (avaj, nisam bookmarkovala) nasla kratak nezvanicni insert iz navodnog novog lincovog filma, oko koga se vodila zestoka rasprava po pitanju autenticnosti... Izgledalo je bizarno Lynchasto-studentski, prilicno jadnjikavo, stavise. Kao, dve devojke i neki deda sede u stolicama ispred kolibe, u nekom setupu kanadske sume, i gledaju u nebo, picaju neke nepovezane gluposti, da bi me onda iz gaca istersle neke gadne digitalne pseudo-bizzare intervencije na slici, nesto sto bih se zaklela da Lynch nikada ne bi uradio. Jooj, majko, ak to ispadne the real McCoy...  

Kad smo već tu, da li je neko pogledao Inland Empire?

oćeš da kažeš: dal je neko od nas ovde išo u veneciju?                  

eh, slazem se za taj umal holandski drajv, i ja sam gledao dvaput, iz istoga razloga, nis mi jasno bilo nije, onda kad se provalilo posle malo mozganja, drugo gledanje mi bilo brezveze... kao, sve je san, pa sta? nijesan se prosvetlijo ni zamrachio, pobegla mi poenta filma, a i lezbejska scena nije vishe bila tak sochna. (mada je shto naomi to nadrumi vots bash lijepa cura bila i ostala.)
al' koga to zanima uopste sta sam ja gledo, da nalijepim bolje shtogod korisno. ne znam da li je ovo vec bilo, sto se babi snilo, oprashtam se ako je neko vec postovo, no evo recenzije iz veseloga kolivuckog svijeta... Variety oshtampo pre mesec dana:

By JAY WEISSBERG

Laura Dern plays an actress in David Lynch's 'Inland Empire.'
      
Jeremy Irons is a film director in 'Inland Empire,' David Lynch's 2½-years-in-the-making mystery.

Nobody loves a mystery more than David Lynch, but the king of the unexpected is awfully predictable in what he doesn't do: He doesn't give answers, he doesn't solve anything and he doesn't try to make sense. "Inland Empire" may mesmerize those for whom the helmer can do no wrong, but the unconvinced and the occasional admirer will find it dull as dishwater and equally murky. Almost held together by Laura Dern's intense performance, the three hours pass slowly by on unattractive digital. Despite frisky international sales, even arthouses may find it difficult to keep auds in seats.

Lynch always resists attempts at interpretation; here, he defies any kind of narrative description as well. Two and a half years in the making, this is seat-of-the-pants filmmaking at its most baffling. There was never a complete script, so thesps turned up each day with a new set of lines and no idea where they were going, making Dern's central turn even more remarkable for its coherence.

Dern plays Nikki, an actress offered a role in a film directed by Kingsley (Jeremy Irons). Co-star Devon (Justin Theroux) is warned to keep things professional, since Nikki's husband (Peter J. Lucas) is fiercely possessive.

Nikki's playing Sue, Devon is Billy, and the two characters are about to launch into an affair. Early in the shoot they learn the script, based on a Polish gypsy folktale, is a remake of a movie that never got finished because the original protags were murdered.

Inevitably Nikki and Devon wind up in bed together, but, during their lovemaking, she starts calling him Billy and he starts calling her Sue. They realize they're mixing lines from the movie into their own lives.

From here on Dern's character fragments, passing through realities in a state of barely concealed terror where everyone is menacing and it becomes impossible to tell whether she's Nikki, Nikki playing Sue, or Sue herself.

But that's the easy part. There are the Poles, who are possibly the first version of the movie's story. There's Grace Zabriskie as a menacing neighbor. There's Julia Ormond's character, first seen with a screwdriver in her gut and later cropping up as Billy's wife. And, of course, there are the giant rabbits on a stage -- two on a sofa, a third ironing (voiced by Naomi Watts, Laura Harring and Scott Coffey).

It could be that these (brown) rabbits are reminders of the White Rabbit in "Alice in Wonderland," taking Alice down the hole into bizarre lands. With the strange and terrifying occurrences, the low ceilings and the non sequiturs, there's more than a whiff of a threatening Wonderland. But since the rabbits first appeared in shorts on Lynch's Web site, it may be that he simply likes the image of people dressed in rabbit outfits.

A possible explanation for Nikki's switch to Sue and back could come from Lynch's deep-seated interest in transcendental meditation and the concomitant belief in reincarnation, making the shifts a kind of transference between lives. But since Lynch believes all things are ultimately connected, and he himself didn't know what he was going to add, there may be no true explanation.

Who knows, maybe the reason a group of prostitutes start singing "The Locomotion" is because Lynch heard it on the radio the day before. Does it belong? Does it matter, since everything belongs?

The usual Lynch trademarks -- intense close-ups, monumental headshots, red curtains -- are all here, but noticeably missing are the deep, rich colors and sharp images. Instead, they're replaced by murky, shadowy DV, which may give him more freedom but robs the pic of any visual pleasure.

Lynch's own experiments with music lead to repetitious spooky sounds and tension-filled noises, repeated so often in dark corridors that they, too, fail to enhance a mood already gone awry.

Quote from: "Ghoul"oćeš da kažeš: dal je neko od nas ovde išo u veneciju?                  

jok bre!
'oću da kažem dal' je neko daunloudovao neku skrndelj kopiju i odgledao.

Joj, sudeci po poduzem komentaru gore i DVD kopija ce biti skrndelj... Jedini torrent koji sam nasla vezan za Inland Empire je nekakav sestominutni promo:

http://thepiratebay.org/tor/3457988/

Quote from: "Kastor"'oću da kažem dal' je neko daunloudovao neku skrndelj kopiju i odgledao.

kastore, deluješ mi kao dobar dečko, a i bio ti rođendan pa si možda još mamuran, te ću se pravim da ništa nisi reko.

kakva bre skrndelj kopija za linča, of all people!?

poslednji put kad sam izeo gomno sa skrndelj kopiju bilo je kad sam, drčan, zapeo da gledam cronyjev CRASH čim se pojavio, na uber-krš piratu.
posle njega došlo mi da se samog sebe šutiram u dupe, uz reči: 'I šta, sad si, kao, GLEDAO film? Samo što pola dijaloga nisi čuo (a prevodilac nije čuo ni svatio niti trećinu) a od muzike ostalo samo neko brujanje. To što film izgleda kao da je traka oprana alkoholičarskom pišaćkom, to je posebna priča...'

dakle, skrndelj kopiju možda mogu da tolerišem glede, npr, wicker mana (ovog novog, zasranog), il tako nekog sorry-ass izvinjenja za film, al linča il ću gledam ko čovek, il neću uopšte.

a znaš zašto?
ne zato što će slika da bude uber-sharp eye-candy: štaviše, eno i varajeti kažu da film izgleda shitty: ali linčovi filmovi su uvek, i pre svega, bogati SOUNDSCAPES, njihov zvučni dizajn je toliko bogat i toliko suštinski, neraskidivi deo filma, da gledati linčov film kroz gazu i slušati ga sa zvučnicima ispod ćebeta, ili i gore od toga, to je zločin prema sebi, linču, čovečanstvu i bilo kakvoj nadi za duhovni opstanak ljucke rase, ne samo na zemlji već i u svemiru, a i šire.

zar ne?

Nisam gledao, svega mi...  
Opet sam nezasluženo išiban   Avaj!  ( )

Quote from: "Ghoul"
zar ne?

Yup.
Absolutely.

(kurvinski sam prećutao misao o Crashu   )

ovo je možda i najpametnija, najpronicljivija stvar koju sam ikada pročitao o linču - apsolutno sumira sve što mislim i osećam o njemu i voleo bih da sam ja ovo napisao:

autor je neki 'readingwriter', na forumu aicn-a:

'"Weirdness" and Weirdness...
by readingwriter Oct 11th, 2006
04:52:15 AM
...is that it's genuinely weird. Most weird movies are "weird" as in just different from the majority of stuff. The Matrix, for example, is different from what you see on ABC's prime time schedule, but most AICNers saw everything in it somewhere else--Giger, PKDick, video games, etc. Lynch's weirdness, on the other hand, is the real deal, a heapin' handful of bloody, dripping, raw whatthefuck. It's a genuine adventure when you go into one of his movies, because you risk disappointment or boredom because the stuff inside isn't pre-tested. I remember seeing Blue Velvet in the theater and hearing more than one person say "What the hell is this?" Again, the risk you take with genuine weirdness is alienation from it--there might be nothing you can connect to, nothing to relate to, in an artist's original vision. But in Lynch's case, even when I don't know what's going on, it feels like the artist DOES know, or at least he's offering up something from his unconscious, not something he thought someone ELSE would think was weird. He's one of the very few living artists I can say that about. I may be disappointed THIS time, and have been in the past by some of his work, but unlike Tim Burton I don't feel I'm getting the film equivalent of a goth high schooler who really just wants to be as popular as the cheerleaders; I'm getting the guy who keeps running away from home to join the freak show and doesn't give a damn WHAT anyone else thinks.'

NE ZNAM DAL JE LYNCH TRSO, ALI AKO JESTE, EVO UBEDLJIVOG RAZLOGA ZA TO:

And what does this have to do with David Lynch's new film INLAND EMPIRE? Well, anyone still in the dark about what an editor does should certainly seek it out: they'll soon realise how crucial an editor can be in shaping a director's vision. Because the "film" is a three-hour mess, desperate for the expert attentions of a Booth, a Morse or a Coates. Specifically, a Mary Sweeney, who cut Lynch's last four movies. The pair were a couple for well over a decade, got married in May of last year - and filed for divorce exactly a month later.      

The consequence: David Lynch served as his own editor for the first time since his 1977's Eraserhead. The result: three self-indulgent hours of grainy video containing flashes of humour and inspiration, some virtuouso moments of flat-out genius - and flabby, repetitive stretches of uninspired tedium.

itd.

nego, jos nema divxa?  

Nema,jos uvek vladaju FAKE verzije,ali iz pouzdanih izvora nacuo sam da i Inland Empire i 28 Weeks Later definitivno izlaze u toku leta !!!
Sacekajmo film,ne verujem nicijim konstatacijama dok ne odgledam,Lynch je u dobrom nizu filmova sto se mene tice ....

INLAND EMPIRE
D. Lynch
**            
2+

na žalost, linč je trs'o!
srce me boli, ali tako je. INLAND EMPIRE nosi jasne tragove stvaralačke demencije i autističke samozaljubljenosti koja je daleko iza sebe ostavila svaku potrebu za komunikativnošću.
progutali su ga sopstveni fetiši u delirijumu koji nema ni intenzitet ni emotivni ni intelektualni naboj njegovih dosadašnjih tematski bliskih radova (hajvej i malholand): ogromne deonice su apsolutno nepotrebne (SVE scene sa dž. ajronsom...), a neke su groteskno neprikladne (razgovor beskućnika na ulici kraj kojih lora dern umire), i pritom ništa od svega toga nema nikakve veze sa bilo čime.
a to vam kaže neko kome hajvej i malholand imaju smisla i ko ih vidi kao sasvim koherentne tvorevine.
ništa slično tome, ovde.
čak i RABBITS, koje je pozajmio od sebe i ubacio na parčiće, funkcionišu savršeno u prvobitnom obliku (8 epizoda od po 5 minuta), dok su filmu veštački, neubedljivo pridodati.
stoga, sada mogu da potpišem gornju dijagnozu: " three self-indulgent hours of grainy video containing flashes of humour and inspiration, some virtuouso moments of flat-out genius - and flabby, repetitive stretches of uninspired tedium."
da li to znači da film ne treba gledati?
pa, ne.
veliki ostaju veliki i u svom padu.
oni koje film ozbiljno zanima ionako će novi linčov film pogledati bez obzira na to šta tamo neki drkoši na tamo nekom forumu kažu o filmu.
prosto, red je da se ispoštuje jedan od najvećih živih režisera.
šta više, siguran sam da će film - da tako nazovem ovaj sirovi, nemontirani, nepromišljeni haos – biti inspirativan za određene snobovske kritičare i teoretičare: može se ovde govoriti o 'autorstvu', jer se linč (ponovo! ali pijan!) vraća svojim omiljenim temama; može se govoriti o 'meditaciji o...' kojekakvim postmodernim izdrkavanjima (citatnost; aluzivnost; film u filmu o filmu u filmu...; ogledala; udvajanja; stvarnost/fikcija/umetnost/san/košmar, itd. itd.
na žalost, linč se ovog puta samo DOTAKAO određenih stvari, ali NIŠTA SA NJIMA NIJE URADIO – bar ne u smislu celine.
što se tiče parčića, ima ovde fleševa genijalnosti i tragova stare slave (recimo, uber-scary scena sa grejs zabriski: samo linč ume da jebenu scenu jebenog razgovora dve jebene osobe u nekoj sasvim jebeno ne-jezivoj sobi inscenira tako da bude nešto najjezivije što sam u ovoj godini video!), ali su raspršeni i nepovezani kroz pihtijasto, mlitavo tkivo ovog tročasovnog izdrkavanja koje me u jednom trenu podsetilo na genijalnu početnu scenu edvardsove ZABAVE (THE PARTY) u kojoj piter selers 'gine' i ustaje i pada i gine opet i sve vreme duva u trubu: isto tako sam ja, pred kraj, bio na ivici da viknem ekranu: PA UMRI VEĆ JEDNOM, OSTANI NA PATOSU, NE DIŽI SE VIŠE, JEBO TE JA, SKRATI VIŠE TU GNJAVAŽU i to apsurdno trubadurisanje!

ehh, šta ostade od onolikog čoveka!
 

Već sam negde pisao na ovu temu - ali nije zgoreg ponoviti - i upozoriti. IE je užasan, užasan film! Činjenica da traje tri sata čini ga samo još užasnijim.

Na IMDb-u ima 7.7 (preko 6 hiljada glasova) - što samo govori koliko su hard core Lynchovi poklonici nekritični (i koliko IMDb ocena zna da  bude pogrešna).

E sad samo da nadjem vezana 3 sata vremena.......a voleo bih da imam kontra argumente,i da niste u pravu..........we'll see...........we'll see !!!!

Quote from: "taurus-jor"Meni se Mulholland Drive dopao na prvo gledanje, al' nisam bas skapirao o cemu se radi. Drugo gledanje je pomoglo da skapiram, a i film mi se dopao jos vise. Valjalo bi da ponovo overim Lost Highway, jos jedan film koji se kriticarima nije dopao a u stvari je sjajan.

U osnovi možeš da shvatip svaki njegov film jer on ostavlja mogućnost svakome da ih interpretiraju kako god žele. To je odlična strategija - napraviš nešto što nema značenje i onda ostaviš znak pitanja na kraju. I svako će imati potrebui da da neko svoje značenje. I stoga će sva biti tačna. No, da li će Lynchovi filmovi nadživeti svog autora? Ja lično mislim da neće i da će on u budućnosti biti mnogo manje smatran vrednim nego što je to danas.

Quote from: "LUH3417"Meni je sve do sada bilo vanredno sjajno, sa izuzetkom Darkened Rooma koja mi deluje kao post-kokainski istrip... Ako Lynch nastavi u tom pravcu, vrlo je verovatno da ce stvari ispasti skroz gadne.

Lynchovi filmovi i jesu kao LSD bez dobrog setinga. Puno sitnim malih stvari koje iskoče tu i tamo i koje su nebitne za radnju, bez da se dotiče neke realne dublje suštine. Mislim ok, samo postavlja se pitanje zašto bi to uopšte bilo zanimljivo? Meni bar nije, no šta ja znam. Ja i nisam baš neki mudrijaš...

pa nije baš tako.

to je popularno anti-mišljenje onih koji su suviše lenji i nemaštoviti da pristupe njegovoj vrsti filmmejkinga pa ga olako otpisuju kao 'anything goes' reditelja.
a nije tako.

vidi, npr. moje čitanje LOST HIGHWAYA u FAUSTOVSKOM EKRANU...

možda se tek za INLAND EMPIRE može reći da je konfuzna zbrka... ali MULHOLLAND svakako NIJE!

Quote from: "Ghoul"
vidi, npr. moje čitanje LOST HIGHWAYA

ajd postaj to razmišljanje o highwayu
možda se razvije kakva dobra diskusija

evo ga ovde:

http://www.dejanognjanovic.com/index.php/Odlomci-iz-studija.html

molim bez kopi-pejstovanja celog texta i sl. radnji, sem kraćih citata za svrhu diskusije.

gotovo da se u dlaku slažemo u tumačenju ovog 'kakti nerazumljivog' filma (te se lost highway time otkriva ipak razumljiv)

evo što sam ja rekao o filmu, u jednoj raspravi (stavljam moje citate iz diskusije, bit će dovoljno razumljivi i tako izvađeni)

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film možeš tumačiti na kakve god hoćeš načine, pa i one van pameti, a pri tome (čini mi se) da ljudima promakne onaj najjednostavniji (te i temeljni) smisao: lost highway je, u biti, ljubavna priča. ------ Fred je suludo zaljubljen u Renee. I naravno, gdje ima takve strasti, niče patologija: Fred ima određenih problema na seksualnom polju (impotencija), te konzekventno, postaje opsesivno ljubomoran na Renee. Klasičan ishod - Fred ubija Renee. -----

ljudi se fokusiraju na traženje ovog i onog smisla u lynchovim filmovima, a mogu ih promatrati sasvim obično: ljubavne priče. U Blue Velvet odnos Maclachlana i Laure Dern, Wild at Heart - Cage i Dern, Lost Highway - Pullman i Arquette, Mulholland Drive - Naomi Watts i ona druga ženska. Dakako, na taj osnovni odnos nadograđuju se košmari, fantazije i ostala lynchovšitna.

Što se tiče ove poveznice Lost Higway i Wild at Heart, ona stoji kroz Pullmanovo identificiranje sa onim dečkom (mehaničarom). Pullman je tu suprotnost Cageu, nesiguran, mekan, impotentan tip nasuprot cageovskom mačo frajeru, falusnom. Zato imamo identificiranje sa nešto potentnijim likom, mehaničarom (premda ni on nije onoliko falusni tip kao Cage u Wild at Heart). Taj par, mehaničar/Arquette jesu ekvivalent paru Cage/Dern, te sukladno, imamo isti scenarij: pokušaj bijega ljubavnog para od prljavštine i smrada podzemlja, polusvijeta.

ukratko, Fred ubija Renee, ali tu na scenu stupa NadJa, grižnja savjesti iliti some horror, te slijedi fantazmatski scenarij: nova priča o Fredu i Renee, kroz identificiranje sa mehaničarom itd...
Ali, to nije sve (nije samo "where the mind tricks itself to escape some horror") već je LH prožet drugim glavnim motivom: žudnjom ili željom.  
LH kaže nema smiraja, žudnja se ne može zadovoljiti, nemoguća želja i te finte. Dakako, izraz te žudnje/želje u LH je Renee (lijepa žena, a tko drugi). Ni kao edipovac (Fred) ni kao potentniji (mehaničar), naš heroj ne može imati Renee - što je samo, putem filmskog izraza, podcrtavanje svakodnevnog uobičajenog osjećaja (svakome intuitivno jasnog): nema smiraja dok si živ, što god da ostvariš, ispuniš, sljedeći trenutak to ispari i kreće iznova nešto drugo

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i sam Lynch bi se složio, kako sam kasnije doznao (u diskusiji) u ovom citatu - Lynch o Lost Highwayu

QuoteAt the time that Barry Gifford and I were writing the script for Lost Highway, I was sort of obsessed with the O. J. Simpson trial. Barry and I never talked about it this way, but I think the film is somehow related to that.
What struck me about O. J. Simpson was that he was able to smile and laugh. He was able to go golfing later with seemingly very few problems about the whole thing. I wondered how, if a person did these deeds, he could go on living. And we found this great psychology term—"psychogenic fugue"—describing an event where the mind tricks itself to escape some horror. So, in a way, Lost Highway is about that. And also the fact that nothing can stay hidden forever

Ja nisam konto nishta dok sam gledo Lost Highway al mi film bio dojaja, ne znam ni ja zashto jbmliga, uglavnom tek kad sam pogledo Pertvert guide to cinema Zizek mi sve potanko objasnio i meni sad jasno...u svakom sluchaju dojaja je to film bio i bez objashnjavanja...

Quote from: "Son of Man"u svakom sluchaju dojaja je to film bio i bez objashnjavanja...

I bolji je bez objašnjavanja... Izgubi se magija kad ti neko ponudi svoje sažvakano tumačenje, koliko god ono bilo smisleno.