Arguably one of the most eccentric and intriguing directors of the past few decades, David Lynch holds an unparalleled artistic vision stemming from a background in abstract painting, his personal exploration of moods and intentions applied most effectively within the craft of contemporary film.
Lynch’s directorial debut was an approximately seven-year struggle attempting to successfully present a post-apocalyptic nightmare dreamscape built solely on the subconscious mind. Notably, the usage of black and white superimpositions in composition and a hauntingly invasive sound design led the film, Eraserhead, to be soon heralded by filmmakers and critics (not so much by audiences) as one of the finest films ever conceived.
Falsely deemed a financial asset by the studios, Lynch was signed on to direct Elephant Man and Dune, the latter a popcorn blockbuster that he would soon refuse to acknowledge. With his burgeoning career nearly terminated from the start, he took one final chance in cementing his status as a professional filmmaker. With Blue Velvet followed critical and commercial acclaim. As a result, Lynch has been producing and directing for the past twenty years, now funding his own work with little restrictions impeding his artistic vision.
David Lynch is, at present, the most influential filmmaker and artist in my life. His work inspires one to break from molds and give pure, blatant emotional responses to life and events that we can not/are not allowed to decipher. Often, the work is confusing or even deemed incomprehensible. However, the beauty is existent within the inherent simplicity and truth, which is a fundamental trait Lynch has always carried – and refused to surrender. This successful purist attitude framed within a commercial realm in the cinematic medium is astoundingly atypical.
The themes and subjects explored in Lynch’s work are unique in such a way that conservative story structure is not adhered to in any obstructive manner. Of course, a story is still being told, with a beginning and an end, but there is no clear path from one to the other. Lynch has incorporated a surrealist painter’s attitude, relying less on character and plot than on the resultant mood, setting, and atmosphere – visceral properties experienced in a transient, episodic structure.
Commercials, a fun pastime for Lynch, are excellent examples of this due to their success of instigating an emotional reaction within the context of brevity. One such piece, which I will refer to as “The Third Place,” relies solely on communicating the experience of achieving full immersion within the world of a video game via subconscious desire and fear/hope. There is no explanation for the events of the short in an overarching sense, only an emotional pull through base audio-visual stimulants.
Ultimately, I believe David Lynch is a key forerunner of the future of visual media. His open experimentation, aesthetically as well as technically speaking, serves to give filmmakers such as myself hope in the face of highly negative concerns directed towards the cinematic medium, most notably the usage of celluloid and the attainment of a non-theatrical audience.
A strong proponent of digital, Lynch, rather than fighting the inception of a new storytelling age, embraced, somewhat recklessly, the technology, allowing a complete transition from 35mm to HD and even mini DV within the course of one film (Mulholland Drive). There was no trial and error period, safely testing the waters with a few scenes – rather, it was a unanimous, complete acceptance with no successive regrets. Such audacious, progressive behavior (noticeable also in the careers of directors such as Keaton and Kubrick) is a very rare occurrence.
Such a strong passion for one’s art with an uncompromising take on experimentation to achieve distance from the usual is a trait that I hold in high regard, and one which I, as a filmmaker, am constantly attempting to follow myself.
If interested in learning more on David Lynch, please visit: http://www.thecityofabsurdity.com/
