"Malin Krutmeijer is reading a badly translated tribute to the director that only lifts when he speaks"
"A geeky, but good looking and neat guy who drank a lot of coffee. Original in its straightforwardness."
"It sounds like FBI agent Dale Cooper in the tv series ”Twin Peaks”, but it is the artist Virginia Maitlands description of how she perceived the David Lynch when she met him. He attended the academy of fine arts in Philadelphia, painted and made sculptures, but began quite soon the interest for the film because he got to pass that one of his paintings ought to move."
"Lynch's first film, a short animation from 1967 called ”the Six but getting sick six times”, is available to see on Youtube. He finished the academy of fine arts and the rest is, as they say, history."
"kind, the story is told of about 600 pages in the ”dream worlds”, which is a mixture of biography and memoir. The greater part is about the film productions, and Lynch says that so many others: there is some artistic freedom in the film industry. ”Dune” (1984) was in an accident where the producer Dino De Laurentiis meddling too much. ”Twin Peaks” (1990), he lost control over after a few episodes. But when he made ”Blue velvet” (1986), he was happy."
"the Chapter which Lynch himself tells us interspersed with chapters in which the journalist Kristine McKenna presents the facts about the same period, and interviewing a terrible lot of people who give their perspective on it all."
"You can see the shape as a way to highlight the memory's unreliability and relativize the full demands for truth, but the grip is fiffigare on paper than in realized form. In the long run it becomes tedious to hear of the death of the same movie two times, and the McKennas style is fairly konstlös."
"Cast and McKenna collects the form in addition, a fjäskig hyllningskör to the apparently incredibly nice, insane, talented, hard-working, yes in every way glorious in David Lynch."
"Isabella Rossellini tells the still scenes during the filming of ”Blue velvet”, where it is obvious that she was treated ruthlessly and sexist. And she has certainly never understood why Lynch broke their love relationship by suddenly calling and saying that he never wanted to see nhenne more, but she is him still forever grateful for everything."
"nLägg to fjäsket that the translation is in all of the criticism, and the result is occasionally unbearable. Anglicismerna hails – ”chairman” consistent ”president” – but it's worse than that. ”His artistic sensibility was present in a very tangible way during the whole process”, is called it in one place, and at another that ”he was ninte one of the boys who bought the shirt with an irreverent drawing”. It sounds idiotic in so many ways."
"The chapter in which Lynch for the word fare better, partly because he does not have any devot admiration for himself, partly to his unique voice has stronger resistance against the translation."
"He is associative and anecdotal, and seems an unlikely well-integrated human being – not in relation to society, but to himself and his own past. He seems to be carved in one piece, the same person all the way from childhood in Idaho to now when he is over seventy. There is something both impenetrable and transparent of him."
"Still feels his life is not solidified on the way, which is typical for the famous people who have told it many times in the same way. Springing from a dull presbyterian family chugging along he on, energetic, cheerful and energetic but with a nice nose for mystery and perversion. ”Amazing” is one of his favoritadjektiv."
"nVad, we get to know more? That Lynch loves to work with his hands, and suddenly breaks out in the joinery and small building projects nduring filming. He daily exercise transcendental meditation. He believes that Lyndon Johnson's administration was behind the assassination of John F Kennedy. The practical and mystical side by side."
"the Book itself is aiming, unfortunately, more on the concrete surrounding the Lynch, than on the mysterious and creative. What still sticks with me is to Lynch mentions Marilyn Monroe as a kind of archetype behind many of their female characters. Part of it is when he's talking about the actor Dennis Hopper, who he thinks embodies the ”rebellious, romantic 50-talsgrejen, then a guy could cry in one second and it was totally okay and cool, but in the next second he could be banging the crap out of a man”."
"So defines therefore Lynch his childhood in the 50's, which is reflected so strongly in his films. Where can femme fataler and Elvis-copies nmöta 70-talsruff and 80-talsfluff to the 2000's, all of it drenched in irony, nsentimentalitet and blood."
"David Lynch, Kristine McKenna"
"Translation: Ulrika Jannert Kallenberg"