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Lynch, David 1946–

Lynch, David 1946–

(Judas Booth, Alan Smithee)

PERSONAL

Full name, David Keith Lynch; born January 20, 1946, in Missoula, MT; son of Donald (a tree research scientist) and Sunny (a language tutor) Lynch; married Peggy Reavey, 1967 (divorced 1974); married Mary Fisk, June 21, 1977 (divorced 1987); children: (first marriage) Jennifer Chambers (a director and writer); (second marriage) Austin Jack; (with Mary Sweeney, a producer and editor) Riley. Education: Attended Corcoran School of Art, Boston Museum School, Pennsylvania Academy of Fine Arts, and Center for Advanced Film Studies, American Film Institute.

Addresses: Agent—Rick Nicita, Creative Artists Agency, 9830 Wilshire Blvd., Beverly Hills, CA 90212. Contact—c/o David Lynch Foundation for Consciousness-Based Education and World Peace, P.O. Box 93158, Hollywood, CA 90093.

Career: Director, producer, writer, composer, and actor. Worked on television commercials for several products and services, including Monster cable, Cio and Opium colognes, Alka-Seltzer Plus pain reliever, Adidas athletic shoes, Jil Sander clothing, Sun Moon Stars, Parisiennes cigarettes, Georgia Coffee, Unipath Diagnostics pregnancy test, Playstation 2, and the Nissan Micra; director of promotional pieces for Michael Jackson's Dangerous; director of promotional tags; also worked on public service announcements. Worked as sound and sound effects technician. Musician, music producer and mixer, and member of the group Blue Bob; performer at various venues. Asymmetrical Studios/Asymmetrical Productions, principal. Cannes International Film Festival, jury president, 2002. Painter and furniture designer and producer of drawings and collographs. Art exhibited at various venues, including the Leo Castelli Gallery in New York City, the Paley Library Gallery, Philadelphia, PA, and in galleries in Mexico and Europe; also designed machines and products. David Lynch Foundation for Consciousness-Based Education and World Peace (fund-raising and scholarship organization promoting world peace and mediation), Hollywood, CA, principal; Davidlynch.com (subscription web site), Internet Web site owner and retailer at the Davidlynch.com store, c. 2001–. Worked as an engineer, janitor, newspaper delivery person, and in retail. Involved with transcendental meditation.

Member: Directors Guild of America, Writers Guild of America, West.

Awards, Honors: Grants from the American Film Institute, c. 1968 and c. 1972; awards from the San Francisco, Belleview, and Atlanta film festivals, all c. 1970, for The Grandmother; special jury prize, Avoriaz Fantastic Film Festival, 1978, and International Fantasy Film Award nomination, best film, Fantasporto, 1982, both for Eraserhead; grand prize, Avoriaz Fantastic Film Festival, Academy Award nominations, best director, and best writing, screenplay based on material from another medium (with others), Golden Globe Award nomination, best director of a motion picture, Directors Guild of America Award nomination, outstanding directorial achievement in motion pictures, Screen Award nomination, best screenplay adapted from another medium (with others), Writers Guild of America, and Film Award nominations, best director and best screenplay (with others), British Academy of Film and Television Arts, all 1981, Cesar Award, Academie des Arts et Techniques du Cinema, and Critics Award, French Syndicate of Cinema Critics, both best foreign film, both 1982, all for The Elephant Man; Los Angeles Film Critics Association Award, best director, and Caixa de Catalunya, best film, Catalonian International Film Festival, both 1986, National Society of Film Critics awards, best director and best film, Boston Society of Film Critics Award, best director, grand prize, Avoriaz Fantastic Film Festival, Fotogramas de Plata Award, best foreign film, Academy Award nomination, best director, Golden Globe Award nomination, best screenplay for a motion picture, Screen Award nomination, best screenplay written directly for the screen, Writers Guild of America, and Independent Sprit Award nominations, best director and best screenplay, Independent Features Project/West, all 1987, all for Blue Velvet; Emmy Award nominations, outstanding drama series (with others), and outstanding achievement in main title theme music (with Angelo Badalamenti), both 1990, for the series Twin Peaks; Emmy Award nominations, outstanding directing in a drama series and outstanding writing in a drama series (with others), both 1990, for the pilot of Twin Peaks; Emmy Award nomination, outstanding music and lyrics (with Badalamenti), 1990, for song "Into the Night," Twin Peaks; Golden Palm, best film, Cannes International Film Festival, 1990, and International Fantasy Film Award nomination, best film, 1991, both for Wild at Heart; Franklin J. Schaffner Award, American Film Institute, 1991; nomination for Golden Palm, 1992, and Saturn Award nomination (with Robert Engels), best writing, Academy of Science Fiction, Fantasy, and Horror Films, 1993, both for Twin Peaks: Fire Walk with Me; Life Career Award, Academy of Science Fiction, Fantasy, and Horror Films, 1993; San Diego Film Critics Society Award, best director, Screen International Award, European Film awards, and nomination for Golden Palm Award, all 1999, Bodil Award, Bodil Festival, and Robert Award, Robert Festival, both best American film, Independent Spirit Award nomination, best director, Sierra Award nomination, best director, Las Vegas Film Critics Society, and Chicago Film Critics Association Award nomination, best director, all 2000, Fotogramas de Plata Award and Sant Jordi Award, both best foreign film, both 2001, all for The Straight Story; Camerimage Special awards, best director-cinematographer (with Frederick Elmes) and film direction with a special visual sensitivity, 2000; Los Angeles Film Critics Association Award, Boston Society of Film Critics Award, Toronto Film Critics Association Award, and Cannes International Film Festival Award, all best director, National Society of Film Critics Award and New York Film Critics Circle Award, both best picture, French Academy of Cinema, best foreign film, named one of the top ten films of the year, National Board of Review, nomination for Golden Palm, Cannes International Film Festival, New York Film Critics Circle Award nomination, best director, Los Angeles Film Critics Association Award nomination, National Board of Review Award nomination, Toronto Film Critics Association Award nomination, and Catalonian International Film Festival Film Award nomination, all best picture, all 2001, Chicago Film Critics Association Award and Online Film Critics Society Award, both best director, Chicago Film Critics Association Award, best picture, and Cesar Award, best foreign film, all 2002, Academy Award nomination, best director, Golden Globe Award nominations, best director of a motion picture, best screenplay for a motion picture, and best motion picture—drama, AFI Film Award nominations, director of the year and best picture, American Film Institute (AFI), Saturn Award nomination, best director, nomination for Edgar Allan Poe Award, best motion picture, Mystery Writers of America, Chicago Film Critics Association Award nomination (with others), best original score, Broadcast Film Critics Association Award nomination, best picture, nomination for Silver Ribbon, best director of a foreign film, Italian National Syndicate of Film Journalists, and Online Film Critics Society Award nomination, best original screenplay, all 2002, Bodil Award, best American film, 2003, and Sant Jordi Award, best foreign film, 2003, all for Mulholland Dr.; French Legion of Honor, 2002; Lifetime Achievement Award, Stockholm Film Festival, 2003; Camerimage Award, contribution to Polish culture, 2003.

CREDITS

Film Director:

Six Figures Getting Sick (short film; also known as Six Men Getting Sick (Six Times)), 1966.

The Alphabet (short film), c. 1968.

The Grandmother (live action and animated short film), 1970.

The Amputee (short film), 1974.

Eraserhead, Almi Cinema 5/Libra Films/Miramax, 1978.

The Elephant Man, Paramount, 1980.

Dune, Universal, 1984.

Blue Velvet, De Laurentiis Entertainment Group, 1986.

Wild at Heart (also known as David Lynch's "Wild at Heart"), Samuel Goldwyn Company, 1990.

Twin Peaks: Fire Walk with Me (also known as Teresa Banks and the Last Seven Days of Laura Palmer and Twin Peaks), New Line Cinema, 1992.

"Premonitions following an Evil Deed," Lumiere and Company (also known as Lumiere et compagnie and Lumiere y compania), Pierre Grise Distribution, 1995.

Lost Highway, October Films, 1997.

The Straight Story (also known as Une histoire vraie), Buena Vista, 1999.

Mulholland Dr. (also known as Mulholland Drive), Universal Focus, 2000.

INLAND EMPIRE, Studio Canal, 2006.

Film Executive Producer:

The Cabinet of Dr. Ramirez (musical), 1991.

Hugh Hefner: Once upon a Time, I.R.S. Releasing, 1992.

Twin Peaks: Fire Walk with Me (also known as Teresa Banks and the Last Seven Days of Laura Palmer and Twin Peaks), New Line Cinema, 1992.

Nadja, October Films, 1994.

Big Blow, c. 1999.

Driven to It, c. 1999.

Lighthouse at the End of the World, c. 1999.

Mulholland Dr. (also known as Mulholland Drive), Universal Focus, 2000.

Surveillance, 2006.

Film Producer:

Six Figures Getting Sick (short film; also known as Six Men Getting Sick (Six Times)), 1966.

The Alphabet (short film), c. 1968.

The Grandmother (live action and animated short film), 1970.

The Amputee (short film), 1974.

Eraserhead, Almi Cinema 5/Libra Films/Miramax, 1978.

Crumb, Films Transit International, 1994, Sony Pictures Classics, 1995.

Woodcutters from Fiery Ships, 2000.

INLAND EMPIRE, Studio Canal, 2006.

Film Animator; Short Films:

Six Figures Getting Sick (also known as Six Men Getting Sick (Six Times)), 1966.

The Alphabet, c. 1968.

The Grandmother (live action and animated), 1970.

Film Cinematographer; Short Films:

The Alphabet, c. 1968.

The Grandmother (live action and animated), 1970.

Film Editor:

The Alphabet (short film), c. 1968.

The Grandmother (live action and animated short film), 1970.

The Amputee (short film), 1974.

Eraserhead, Almi Cinema 5/Libra Films/Miramax, 1978.

INLAND EMPIRE, Studio Canal, 2006.

Film Sound Designer:

The Elephant Man, Paramount, 1980.

(And sound re-recording mixer) Twin Peaks: Fire Walk with Me (also known as Teresa Banks and the Last Seven Days of Laura Palmer and Twin Peaks), New Line Cinema, 1992.

(And sound re-recording mixer) Lost Highway, October Films, 1997.

The Straight Story (also known as Une histoire vraie), Buena Vista, 1999.

(And sound re-recording mixer) Mulholland Dr. (also known as Mulholland Drive), Universal Focus, 2000.

Film Production Designer:

The Alphabet (short film), c. 1968.

Eraserhead, Almi Cinema 5/Libra Films/Miramax, 1978.

Film Work; Other:

Art director and special effects technician, Eraserhead, Almi Cinema 5/Libra Films/Miramax, 1978.

Designed and built furniture which appeared in his films.

Film Appearances:

Title role, The Grandmother (live action and animated short film), 1970.

Medical professional, The Amputee (short film), 1974.

(Uncredited) Painter, Heart Beat, Orion/Warner Bros., 1980.

(Uncredited) Spice worker, Dune, Universal, 1984.

Willie, Zelly and Me (also known as Phoebe), Columbia, 1989.

FBI regional bureau agent Gordon Cole, Twin Peaks: Fire Walk with Me (also known as Teresa Banks and the Last Seven Days of Laura Palmer and Twin Peaks), New Line Cinema, 1992.

Morgue receptionist, Nadja, October Films, 1994.

Lumiere and Company (also known as Lumiere et compagnie and Lumiere y compania), Pierre Grise Distribution, 1995.

Morgue attendant, Lost Highway, October Films, 1997.

Dennis Hopper: Create (or Die) (documentary), Easy Rider Productions, 2003.

Epreuves d'artistes (documentary; also known as Words in Progress), INA Enterprise, 2004.

Television Work; with Mark Frost; Series:

Creator and executive producer, American Chronicles (also known as Real Life), Fox, 1990.

Creator, Twin Peaks (also known as Northwest Passage), ABC, 1990–91.

Creator and executive producer, On the Air, ABC, 1992.

Television Work; Miniseries:

(As Alan Smithee) Director, Dune (extended version of the film), syndicated, c. 1984.

Director, "The Cowboy and the Frenchman," Les francais vus par (also known as The Cowboy and the Frenchman and The French as Seen by …), Antenne 2 (now France 2), 1988.

Creator, executive producer, sound designer, and director of segments "Blackout" and "Tricks," Hotel Room (also known as David Lynch's "Hotel Room"), HBO, 1993.

Television Work; Specials:

Special effects technician, "The Great American Fourth of July and Other Disasters," American Playhouse, PBS, 1982.

Director and producer, Industrial Symphony No. 1: The Dream of the Broken Hearted (performance piece), 1990.

Television Work; Episodic:

Segment director, American Chronicles (also known as Real Life), Fox, 1990.

Producer, "Dinosaurs of the Gobi," Nova, PBS, 1993.

Television Work; Pilots:

Director and executive producer, Twin Peaks (also known as Northwest Passage), ABC, 1990.

Director, On the Air, ABC, 1992.

Television Appearances; Pilots:

Director of Mulholland Dr. (also known as Mulholland Drive), ABC, a pilot which later became the film of the same name.

Television Appearances; Series:

Agent Gordon Cole, Twin Peaks (also known as Northwest Passage), ABC, 1990–91.

Television Appearances; Miniseries:

Spice worker, Dune (extended version of the film), syndicated, c. 1984.

Television Appearances; Specials:

Himself, The Making of "Dune," 1984.

Presenter, "Ruth roses and revolver," Arena, BBC-2, 1987.

Himself, No Frank in Lumberton, 1988.

Himself, Don't Look at Me (also known as Cineaste de notre temps: David Lynch—Don't Look at Me), 1989.

Hollywood Mavericks, 1990.

Jonathan Ross Presents for One Week Only: David Lynch, Channel 4 (England), 1990.

Siskel & Ebert Special, CBS, 1990.

Twin Peaks and Cop Rock: Behind the Scenes, ABC, 1990.

Don Van Vliet: Some YoYo Stuff, BBC, 1994.

Der Klang der Bilder, 1995.

Himself, Pretty as a Picture: The Art of David Lynch, 1998.

In Dreams: The Roy Orbison Story, 1999.

Little Jimmy Scott, Bravo, 1999.

Dino de Laurentiis: The Last Movie Mogul, BBC, 2001.

Art of Dennis Hopper, 2002.

Celluloid Dreams, Independent Film Channel, 2002.

Himself, Dennis Hopper: The Decisive Moments, AVRO Television (the Netherlands), 2004.

Midnight Movies: From the Margin to the Mainstream, Starz! and Encore, 2005.

Television Appearances; Awards Presentations:

Presenter, The 1987 IFP/West Independent Spirit Awards, Independent Film Channel, 1987.

Presenter, The 44th Annual Golden Globe Awards, syndicated, 1987.

(In archive footage) Himself, The 74th Annual Academy Awards, ABC, 2002.

Television Appearances; Episodic:

Bobby Bunn, "Reason for Leaving," Juliet Bravo, BBC, 1985.

Himself, "Dennis Hopper," Crazy about the Movies (also known as Crazy about the Movies: Dennis Hopper), Cinemax, 1991.

Himself, Independent Focus, Independent Film Channel, 1998.

Himself, Intimate Portrait: Laura Dern, Lifetime, 1999.

Himself, "Ann Miller: I'm Still Here," Biography (also known as A&E Biography: Ann Miller), Arts and Entertainment, 2000.

Guest, The Tonight Show with Jay Leno, NBC, 2001.

Himself, The Screensavers, TechTV (later known as G4techTV), 2002.

(In archive footage) Himself, Cinema mil, Television de Catalunya (TV3, Spain), multiple episodes in 2005.

Appeared in "The Films of David Lynch," The Directors, Encore.

Stage Work:

(With Angelo Badalamenti) Director and producer, Industrial Symphony No. 1: The Dream of the Broken Hearted (performance piece), New Music America Festival, Brooklyn Academy of Music, Brooklyn, New York City, 1989.

Stage Appearances:

Industrial Symphony No. 1: The Dream of the Broken Hearted (performance piece), New Music America Festival, Brooklyn Academy of Music, Brooklyn, New York City, 1989.

Internet Director; Series Featured on Davidlynch.com:

Axxon N., 2002.

Bees, 2002.

Coyote, 2002.

Dumbland, 2002.

Rabbits, 2002.

Lamp, 2003.

Water Circus, 2003.

Agave, 2003–2004.

Internet Director; Short Films Featured on Davidlynch.com:

Head with Hammer, 2001.

Out Yonder, 2001.

Pierre and Sonny Jim, 2001.

Sunset, 2001.

Cannes Diary (also known as The Davidlynch.com Cannes Diary), 2002.

Darkened Room, 2002.

The Disc of Sorrow Is Installed, 2002.

Industrial Soundscapes #1, 2002.

The Pig Walks, 2002.

Where Are the Bananas?, 2002.

Dead Mouse with Ants, c. 2002.

Boat, 2003.

Invalometer #3: Dining Room, 2003.

Steps, 2003.

The Bug Crawls, 2004.

Invalometer #4, 2004.

Wow Wow, 2004.

The Green Room in Lodz, c. 2006.

Worked on other short films broadcast on the Internet, including Invalometer #1, Invalometer #2: Kitchen Window, Painted Lady, and Sunset #2.

Internet Work; Short Films Featured on Davidlynch.com:

Producer and cinematographer, Darkened Room, 2002. Segment animator, Does That Hurt You?, 2002.

Internet Appearances:

Himself, Rabbits (series), Davidlynch.com, 2002.

I Don't Know Jack (documentary), Davidlynch.com, 2002.

RECORDINGS

Video Appearances:

Himself, Mysteries of Love, Metro-Goldwyn-Mayer/United Artists Home Entertainment, 2002.

Narrator, The Short Films of David Lynch, Davidlynch.com, 2002.

Himself, "Mulholland Drive!': Making of, Studio Canal, 2004.

Himself, Le son de Lynch, Nomad Films International, 2005.

Music Videos; with Blue Bob:

"9∗1∗1," c. 2002.

"Thank You Judge," 2003.

Video Director:

Director of "Rammstein," Rammstein: Lichtspielhaus, Universal Records, 2004.

Music Video Director:

Chris Isaak, "Wicked Game" (first version), 1990.

Massive (later known as Massive Attack), "Unfinished Sympathy," 1991.

Yoshiki, "Longing," 1995.

Rammstein, "Rammstein," 1996.

(With Blue Bob) "9∗1∗1,' c. 2002.

(With Blue Bob) "Thank You Judge," 2003.

Albums; with Others; Performer:

Jocelyn Montgomery and others, Lux Vivens: The Music of Hildegard von Bingen, Mammoth/PGD, 1998.

(With Blue Bob) Blue Bob, Solitude/MRI, c. 2002.

Appeared in the Blue Bob compilation Box Set.

Albums; with Others; Producer:

Eraserhead (soundtrack), A & M, 1989.

Blue Velvet (soundtrack), Varese Records, 1990.

Twin Peaks (soundtrack to television series), Warner Bros./Wea, 1990.

Wild at Heart (soundtrack), Polydor/PGD, 1990.

Until the End of the World (soundtrack), Warner Bros./Wea, 1991.

Twin Peaks: Fire Walk with Me (soundtrack), Warner Bros./Wea, 1992.

Julee Cruise, The Voice of Love, Warner Bros./Wea, 1993.

Executive producer, Lost Highway (soundtrack), Inter-scope Records, 1997.

(And mixer and sound effects designer) Jocelyn Montgomery and others, Lux Vivens: The Music of Hildegard von Bingen, Mammoth/PGD, 1998.

(And mixer) Blue Bob, Blue Bob, Solitude/MRI, c. 2002.

Singles; Performer and Producer; with Blue Bob:

"9∗1∗1," c. 2002.

"Thank You Judge," 2003.

Producer of "Cannes Memory," the theme for the 2002 Cannes International Film Festival.

WRITINGS

Screenplays:

The Alphabet (short film), c. 1968.

The Grandmother (live action and animated short film), 1970.

The Amputee (short film), 1974.

Eraserhead, Almi Cinema 5/Libra Films/Miramax, 1978.

(With Christopher DeVore and Eric Bergren) The Elephant Man (based on The Elephant Man and Other Reminiscences by Frederick Treves and The Elephant Man: A Study in Human Dignity by Ashley Montagu), Paramount, 1980.

Dune (based on the novel by Frank Herbert), Universal, 1984.

Blue Velvet, De Laurentiis Entertainment Group, 1986.

Wild at Heart (based on a novel by Barry Gifford; also known as David Lynch's "Wild at Heart"), Samuel Goldwyn Company, 1990.

(With Robert Engels) Twin Peaks: Fire Walk with Me (also known as Teresa Banks and the Last Seven Days of Laura Palmer and Twin Peaks), New Line Cinema, 1992.

"Premonitions following an Evil Deed," Lumiere and Company (also known as Lumiere et compagnie and Lumiere y compania), Pierre Grise Distribution, 1995.

Lost Highway, October Films, 1997, with Barry Gifford, author of screenplay published by Faber & Faber, 1997.

Mulholland Dr. (also known as Mulholland Drive), Universal Focus, 2000.

Woodcutters from Fiery Ships, 2000.

INLAND EMPIRE, Studio Canal, 2006.

Wrote Amnesia Moon, Gardenback, Goddess, Metamorphosis, Ronnie Rocket, Saliva Bubble, and Up at the Lake. Worked on You Play the Black, and the Red Comes Up, a script based on a story by Eric Knight. Some sources cite Lynch as the coauthor (with Mark Frost and Lee Reynolds) of Storyville, a film based on a novel by Frank Galbally and Robert Macklin and released by Twentieth Century-Fox, 1991.

Film Music:

Score composer and lyrics, Eraserhead, Almi Cinema 5/Libra Films/Miramax, 1978.

Composer of additional music and lyricist, Blue Velvet, De Laurentiis Entertainment Group, 1986.

Song "Mysteries of Love," Weeds, De Laurentiis Entertainment Group, 1987.

Composer of additional music and lyricist, Wild at Heart (based on a novel by Barry Gifford; also known as David Lynch's "Wild at Heart"), Samuel Goldwyn Company, 1990.

Composer of additional music and lyricist, Twin Peaks: Fire Walk with Me (also known as Teresa Banks and the Last Seven Days of Laura Palmer and Twin Peaks), New Line Cinema, 1992.

Composer of additional music, Lost Highway, October Films, 1997.

Composer of additional music and lyricist, Mulholland Dr. (also known as Mulholland Drive), Universal Focus, 2000.

Lyricist for the song "The World Spins," The Company (also known as The Company—Das Ensemble), Sony Pictures Classics, 2003.

Teleplays; Miniseries:

(As Judas Booth) Dune (extended version of the film; based on the novel by Frank Herbert), syndicated, c. 1984.

"The Cowboy and the Frenchman," Les francais vus par (also known as The Cowboy and the Frenchman and The French as Seen by …), Antenne 2 (now France 2), 1988.

Teleplays; Episodic:

"Ruth roses and revolver," Arena, BBC-2, 1987.

Teleplays; Pilots:

(With Mark Frost) Twin Peaks (also known as Northwest Passage), ABC, 1990.

On the Air, ABC, 1992.

Author of Mulholland Dr. (also known as Mulholland Drive), ABC, a pilot which later became the film of the same name.

Television Music; Series:

Composer of additional music, songs, and lyricist, Twin Peaks (also known as Northwest Passage), ABC, 1990–91.

Television Composer; Specials:

No Frank in Lumberton, 1988.

Industrial Symphony No. 1: The Dream of the Broken Hearted (performance piece), 1990.

Stage Music:

(With Angelo Badalamenti) Industrial Symphony No. 1: The Dream of the Broken Hearted (performance piece), New Music America Festival, Brooklyn Academy of Music, Brooklyn, New York City, 1989.

Internet Scripts; Series Featured on Davidlynch.com:

Axxon N., Davidlynch.com, 2002.

Bees, 2002.

Coyote, 2002.

Dumbland, 2002.

Rabbits, 2002.

Lamp, 2003.

Water Circus, 2003.

Agave, 2003–2004.

Internet Scripts; Short Films Featured on Davidlynch.com:

Head with Hammer, 2001.

Out Yonder, 2001.

Pierre and Sonny Jim, 2001.

Sunset, 2001.

Cannes Diary (also known as The Davidlynch.com Cannes Diary), 2002.

Darkened Room, 2002.

The Disc of Sorrow Is Installed, 2002.

Does That Hurt You?, 2002.

Industrial Soundscapes #1, 2002.

The Pig Walks, 2002.

Where Are the Bananas?, 2002.

Dead Mouse with Ants, c. 2002.

Boat, 2003.

Invalometer #3: Dining Room, 2003.

Steps, 2003.

The Bug Crawls, 2004.

Invalometer #4, 2004.

Wow Wow, 2004.

The Green Room in Lodz, c. 2006.

Worked on other short films broadcast on the Internet, including Invalometer #1, Invalometer #2: Kitchen Window, Painted Lady, and Sunset #2.

Video Scripts:

The Short Films of David Lynch, Davidlynch.com, 2002.

(With others) "Mulholland Drive": Making of, Studio Canal, 2004.

(With others) Le son de Lynch, Nomad Films International, 2005.

Albums; with Others:

Eraserhead (soundtrack), A & M, 1989.

(Lyrics; music by Angelo Badalamenti) Julee Cruise, Floating into the Night, Warner Bros./Wea, 1989.

Blue Velvet (soundtrack), Varese Records, 1990.

Twin Peaks (soundtrack to television series), Warner Bros./Wea, 1990.

Until the End of the World (soundtrack), Warner Bros./Wea, 1991.

Twin Peaks: Fire Walk with Me (soundtrack), Warner Bros./Wea, 1992.

Julee Cruise, The Voice of Love, Warner Bros./Wea, 1993.

Lost Highway (soundtrack), Interscope Records, 1997.

(With Hildegard von Bingen, Jocelyn Montgomery, and others) Lux Vivens: The Music of Hildegard von Bingen, Mammoth/PGD, 1998.

Mulholland Dr. (soundtrack), Milan Records, 2001.

(With Blue Bob) Blue Bob, Solitude/MRI, c. 2002.

Wrote material which appeared in the Blue Bob compilation Box Set.

Singles; with Blue Bob:

"9∗1∗1," c. 2002.

"Thank You Judge," 2003.

Nonfiction:

Art of Dune, Cliffs Notes, 1985.

Images, Hyperion, 1994.

(With Chris Rodley) Lynch on Lynch (autobiography), Faber & Faber, 1997, revised edition published as Lynch on Lynch: Revised Edition, Faber & Faber, c. 2005.

Humor:

(With Mark Frost and Richard Saul Wurman) Twin Peaks: An Access Guide to the Town, Pocket Books, 1991.

Author of the weekly cartoon strip "The Angriest Dog in the World," Los Angeles Reader and syndicated, 1983–92.

OTHER SOURCES

Books:

Alexander, John, The Films of David Lynch, Charles Letts and Co., 1993.

Authors and Artists for Young Adults, Volume 55, Gale, 2004.

Chion, Michel, and Robert Julian, David Lynch, British Film Institute, 1995.

International Dictionary of Films and Filmmakers, Volume 2: Directors, fourth edition, St. James Press, 2000.

Kaleta, Kenneth C., David Lynch, Twayne Publishers, 1993.

Naha, Ed, The Making of Dune, Berkley Publishing, 1984.

Newsmakers 1990, issue 4, Gale, 1990.

Nochimson, Martha P., The Passion of David Lynch: Wild at Heart in Hollywood, University of Texas Press, 1997.

Sparks, Christine, The Elephant Man: The Book of the Film, Ballantine, 1980.

Woods, Paul A., Weirdsville, USA: The Obsessive Universe of David Lynch, Plexus, 1997.

Periodicals:

America, November 20, 1999, p. 59.

American Cinematographer, March, 1997.

American Film, December, 1984; March, 1987.

Business Week, October 16, 2001.

Cineaste, Volume 15, number 3, 1987.

Cinefantastique, April, 1997.

Cinema Papers, March, 1987; August, 1992.

Empire, November, 2001.

Entertainment Weekly, April 17, 1998, p. 75; May 15, 2000; November 2, 2001, pp. 34-39; February 22, 2002, pp. 90-91.

Film Comment, February, 1985; September/October, 1986; October, 1986, pp. 32-35; December, 1986; January/February, 1991, p. 18; May, 1993; September/October, 2001, pp. 51-54.

Filmmaker, winter, 1997.

Films and Filming, April, 1979.

Forbes ASAP, October 7, 2002, p. 12.

Guardian (London), May 11, 2001.

Heavy Metal, October, 1982.

International Herald Tribune, May 19, 2001, p. 6.

Interview, March, 1987, p. 78; January, 1990.

LA Weekly, October 19, 2001.

Maclean's, September 3, 1990, p. 50.

Madison, October, 1999, pp. 62-69.

Marie Claire, February, 1997.

Monthly Film Bulletin, April, 1987.

Movieline, August, 1999, pp. 68-71.

Ms., November/December, 1990, p. 58.

National Review, February 21, 2000, p. 59.

New Architect, August, 2002, pp. 12-14.

New Leader, September 22, 1980; November 1, 1999, p. 18.

New Republic, October 18, 1980; November 15, 1999, p. 28; October 29, 2001, p. 28.

New Statesman, October 12, 1990, pp. 32-33.

New Yorker, August 30, 1999, p. 56.

New York Times, October 11, 1986.

New York Times Magazine, January 14, 1990, pp. 19-21, 42-43, 52.

People Weekly, September 3, 1990, pp. 79-84.

Premiere, September, 1996; November, 1999, pp. 71-74.

Psychology Today, March, 1997, pp. 28-30, 33, 74.

Radio Times, October 20, 1990, pp. 37-38.

Rolling Stone, March 22, 1990, p. 51; September 6, 1990; March 6, 1997.

Time, October 1, 1990, p. 84.

Time Out, November 18, 1992; August 13, 1997.

USA Today, March 3, 1997.

Village Voice, February 25, 1997.

Vogue, February, 1990; September, 1992.

Electronic:

David Lynch Foundation for Consciousness-Based Education and World Peace, http://www.davidlynchfoundation.org, March 11, 2006.

LynchNet: The David Lynch Resource, http://www.davidlynch.topcities.com, August 30, 2001.

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"Lynch, David 1946–." Contemporary Theatre, Film and Television. . Encyclopedia.com. 23 Oct. 2017 <http://www.encyclopedia.com>.

"Lynch, David 1946–." Contemporary Theatre, Film and Television. . Encyclopedia.com. (October 23, 2017). http://www.encyclopedia.com/education/news-wires-white-papers-and-books/lynch-david-1946

"Lynch, David 1946–." Contemporary Theatre, Film and Television. . Retrieved October 23, 2017 from Encyclopedia.com: http://www.encyclopedia.com/education/news-wires-white-papers-and-books/lynch-david-1946

Lynch, David

LYNCH, David


Nationality: American. Born: Missoula, Montana, 20 January 1946. Education: High school in Alexandria, Virginia; Corcoran School of Art, c. 1964; Boston Museum School, 1965; Pennsylvania Academy of Fine Art, 1965–69; American Film Institute Centre for Advanced Studies, studying under Frank Daniel, 1970. Family: Married 1) Peggy Reavey, 1967 (divorced, 1974), one daughter, writer/director Jennifer Lynch; 2) Mary Fisk, 1977 (divorced, 1987), one son, Austin. Career: Spent five years making Eraserhead, Los Angeles, 1971–76; worked as paperboy and shed-builder, late 1970s; invited by Mel Brooks to direct The Elephant Man, 1980; with Mark Frost, made Twin Peaks for video (two-hour version) and as TV series, 1989. Executive producer and writer of the CD-rom video game Woodcutters from Fiery Ships, 2000. Awards: National Society of Film Critics Awards for Best Film and Best Director, for Blue Velvet, 1986; Palme d'Or, Cannes Festival, for Wild at Heart, 1990.


Films as Director:

1968

The Alphabet (short) (sc)

1970

The Grandmother (short) (sc)

1978

Eraserhead (sc)

1980

The Elephant Man (co-sc)

1984

Dune (sc)

1986

Blue Velvet (sc)

1988

episode in Les Français vus par ...

1990

Wild at Heart (sc)

1992

Twin Peaks: Fire Walk with Me (co-sc + co-pr, role as Gordon Cole)

1995

episode in Lumiere et compagnie

1997

Lost Highway (sc)

1999

The Straight Story (+ mus)

2001

Mulholland Drive (co-sc, exec pr)



Other Films:

1988

Zelly and Me (role as Willie)

1991

The Cabinet of Dr. Ramirez (exec pr)

1994

Nadja (exec pr, role as Morgue Attendant)

1997

Pretty as a Picture: The Art of David Lynch (for TV) (as himself)



Publications


By LYNCH: books—

Welcome to Twin Peaks: An Access Guide to the Town, with Richard Saul Wurman and Mark Frost, London, 1991.

Images, New York, 1994.

Lost Highways, New York, 1997.

Lynch on Lynch, with Chris Rodley, London, 1999.


By LYNCH: articles—

Interview with Serge Daney and Charles Tesson, in Cahiers duCinéma (Paris), April 1981.

Interview with D. Chute, in Film Comment (New York), September/October 1986.

Interview with K. Jaehne and L. Bouzereau, in Cineaste (New York), vol. 15, no. 3, 1987.

Interview with A. Caron and M. Girard, in Séquences (Montreal), February 1987.

Interview with D. Marsh and A. Missler, in Cinema Papers (Melbourne), March 1987.

Interview with Jane Root, in Monthly Film Bulletin (London), April 1987.

Interview with D. Breskin, in Rolling Stone, September 6, 1990.

Interview with M. Ciment and H. Niogret, in Positif, October 1990.

"Twin Peaks: Fire Walk with Me: The Press Conference," with Scott Murray, in Cinema Papers (Fitzroy), August 1992.

"Naked Lynch," an interview with Geoff Andrew, in Time Out (London), 18 November 1992.

Interview with Bill Krohn and Vincent Ostria, in Cahiers du Cinéma (Paris), July-August 1994.

"A Passage from India," an interview with G. Solman, in Variety'sOn Production (Los Angeles), no. 2, 1997.

"David Lynch," an interview with Philippe Rouyer and Michael Henry, in Positif (Paris), January 1997.

"Lynch Law," an interview with D. Yaffe, in Village Voice (New York), 25 February 1997.

"Highway to Hell," an interview with Stephen Pizzello, in AmericanCinematographer (Hollywood), March 1997.

"The Road to Hell," an interview with Dominic Wells, in Time Out (London), 13 August 1997.


On LYNCH: books—

Kaleta, Kenneth C., David Lynch, New York, 1993.

Chion, Michel, and Julian, Robert, David Lynch, London, 1995.

Nochimson, Martha P., The Passion of David Lynch: Wild at Heart inHollywood, Austin, 1997.


On LYNCH: articles—

Hinson, H., "Dreamscapes," in American Film (Washington, D.C.), December 1984.

David Lynch section of Revue du Cinéma (Paris), February 1987.

Combs, Richard, "Crude Thoughts and Fierce Forces," in MonthlyFilm Bulletin (London), April 1987.

French, Sean, "The Heart of the Cavern," in Sight and Sound (London), Spring 1987.

"David Lynch," in Film Dope (London), June 1987.

McDonagh, M., "The Enigma of David Lynch," in Persistence ofVision (Maspeth, New York), Summer 1988.

Gehr, R., "The Angriest Painter in the World," in American Film (Washington, D.C.), April 1989.

Saada, N., "David Lynch," in Cahiers du Cinéma, June 1990.

Zimmer, J., "David Lynch," in Revue du Cinéma, July/August 1990.

Woodward, Robert B., "Wild at Heart . . . Weird on Top," in Empire (London), September 1990.

Hoberman, J., and Jonathan Rosenbaum, "Curse of the Cult People," in Film Comment, January/February 1991.

Sante, Luc, "The Rise of the Baroque Directors," in Vogue, September 1992.

Jankiewicz, P., "Lynch's Hall of Freaks," in Film Threat, October 1992.

Hampton, Howard, "David Lynch's Secret History of the United States," in Film Comment, May/June 1993.

Rastelli, D., "Non toccate la mia giacca," in Cineforum (Bergamo), July-August 1996.

Wyatt, J., "David Lynch Keeps His Head," in Premiere (Boulder), September 1996.

"Das Universum David Lynch," a dossier, in Zoom (Zürich), no. 3, March 1997.

Dossier, in Filmihullu (Helsinki), no. 4–5, 1997.

Biodrowski, S., "David Lynch," in Cinefantastique (Forest Park), no. 10, 1997.

Szebin, F.C. and Biodrowski, S., "David Lynch," in Cinefantastique (Forest Park), no. 12, 1997.

Leitch, Thomas M., "The Hitchcock Moment," in Hitchcock Annual (Gambier), 1997–98.


* * *

The undoubted perversity that runs throughout the works of David Lynch extends to his repeated and unexpected career turns: coming off the semi-underground Eraserhead to make the semi-respectable The Elephant Man with a distinguished British cast; then bouncing into a Dino de Laurentiis mega-budget science-fiction fiasco, Dune; creeping back with the seductive and elusive small-town mystery of Blue Velvet; capping that by transferring his uncompromising vision of lurking sexual violence to American network television in Twin Peaks; and alienating the viewers of that bizarre soap with the rambling, intermittently stupefying, road movie Wild at Heart. Although there are recognisable Lynchian elements, with both Eraserhead and Blue Velvet—his two most commercially and critically successful movies—leaking images and ideas into the pairs of movies that followed them up, Lynch has proved surprisingly difficult to pin down. Given one Lynch movie, it has been—until the slightly too self-plagiaristic Wild at Heart—almost impossible to predict the next step. A painter and animator—his first films are Svankmajer-style shorts The Grandmother and Alphabet—Lynch came into the film industry through the back door, converting his thesis movie into Eraserhead on a shooting schedule that stretched over some years and required the eternal soliciting of money from friends, like Sissy Spacek, who had gone on to do well.

Eraserhead is one of the rare cult movies that deserves its cult reputation, although it is a hard movie to sit still through for a second time around. Set in a monochrome fantasy world that suggests the slums of Oz, it follows a pompadoured drudge, Henry (John Nance), through his awful life in a decaying apartment building, with occasional bursts of light relief from the fungus-cheeked songstress behind the radiator, and winds up with two extraordinarily bizarre and horrid fantasy sequences, one in which Henry's head falls off and is mined for indiarubber to be used in pencil erasers, and the other in which he cuts apart his skinned fetus of a mutant child and is deluged with a literal tide of excrement. Without really being profound, the film manages to worm its way into the hearts of the college crowd, cannily appealing—in one of Lynch's trademarks—to intellectuals who relish the multiple allusions and evasive "meanings" of the film, and to horror movie fans who just like to go along with the extreme imagery. It was this combination, perhaps, that caught the eye of Mel Brooks' Brooksfilms, which was looking to branch into more serious work and tapped Lynch to bring its first foray, The Elephant Man, to the screen. This true story had been the basis of a successful Broadway play. But Lunch was given free reign to mine the historical record for inspiration instead as the film was not drawn from the play. With The Elephant Man, also in black and white and laden with the steamy industrial imagery of Eraserhead, Lynch, cued perhaps by the poignance of John Hurt's under-the-rubber performance and the presence of the sort of cast (Anthony Hopkins, John Gielgud, Freddie Jones, Michael Elphick) one would expect from some BBC-TV Masterpiece Theatre serial, opts for a more humanist approach, mellowing the sheer nastiness of the first film. In the finale, as the mutant John Merrck attends a lovingly recreated Victorian magic show, Lynch even pays homage to the gentle magician whose TheMan with the Indiarubber Head might be cited as a precursor to Eraserhead, Georges Méliès.

Dune is a folly by anyone's standards, and the re-cut television version—which Lynch opted to sign with the Director's Guild pseudonym Allan Smithee—is no help in sorting out the multiple plot confusions of Frank Herbert's pretentious and unfilmable science-fiction epic. Hoping for a fusion of Star Wars and Lawrence of Arabia, De Laurentiis—who stuck by Lynch throughout the troubled $40 million production—wound up with a turgid mess, overloaded with talented performers in nothing roles, that only spottily seems to have engaged Lynch's interest, mostly when there are monsters on screen or when Kenneth McMillan is campily overdoing his perverse and evil emperor act. Dune landed Lynch in the doldrums, and his comeback movie, also for the forgiving De Laurentiis, was very carefully crafted to evoke the virtues and cult commercial appeal of Eraserhead without seeming a throwback. Drawing on Shadow of a Doubt, Lynch made a small-town mystery that deigns to work on a plot level, and then shot it through with his own cruel insights into the teeming, insectoid nightmare that exists beneath the red, white, and blue prettiness of the setting, coaxing sinister meaning out of resonant pop songs like "Blue Velvet" and "In Dreams," and establishing the core of a repertory company—Kyle MacLachlan of Dune, Isabella Rossellini, Laura Dern—who would recur in his next projects. Blue Velvet, far more than the muddy Dune, established Lynch as a master of colour in addition to his black and white skills, and also, through his handling of human monster Dennis Hopper's abuse of Rossellini, as a chronicler of extreme emotions, often combining sex and violence in one disturbing, yet undeniably appealing package.

Twin Peaks, a television series Lynch devised and for which he directed the pilot film, is a strange offshoot of Blue Velvet, set in a similar town and with MacLachlan again the odd investigator of a crime the nature of which is hard to define. Although it lacks the explicit tone of the earlier film, in which Dennis Hopper is given to basic outbursts like "baby wants to fuck!," Twin Peaks is also insidiously fascinating, using the labyrinthine plot convolutions of the typical soap opera—among other things, the show is a lineal descendant of Peyton Place—in addition to the puzzle-solving twists of the murder mystery to probe under the surface of a folksy America of junk food and picket fences. As a reaction to the eerie restraint of Twin Peaks, Wild at Heart is an undisciplined road film which evokes Elvis in Nicolas Cage's subtly overwrought performance and straggles along towards its Wizard of Oz finale, passing by the high points of Lynch's career (featuring players and jokes from all his earlier movies) as it plays out its couple-on-the-run storyline in a surprisingly straightforward and above-board manner. With Willem Dafoe's dirty-teeth monster replacing Dennis Hopper's gas-sniffing gangster, Wild at Heart echoes the violent and sexual excesses of Blue Velvet, including one exploding head stunt out of The Evil Dead and many heavy-metal-scored, heavy-duty sex scenes, but suffers from its superficiality, predictability, and a cast of characters so unlikable that we don't give a damn about the fates of any of them. Notes critic Hen Hanke: "Wild at Heart is nothing but a con game—a filmic Emperor's New Clothes. At least that's what we hope it is, because of this is truly how Lynch views the world, he must be one of the most unhappy people on the planet."

Both a genuine artist (say his supporters) and a cunning commercial survivor, Lynch appeared—in the minds of many critics—to be one of the best hopes for cinema in the 1990s. As of 1995, however, his promise as a savior had yet to be fulfilled. Unable to get the illfated Twin Peaks out of his system after it went unceremoniously off the air without a resolution, Lynch launched a theatrical version of his TV show, Twin Peaks: Fire Walk with Me. Ironically, it turned out to be a prequel to the events portrayed in the series rather than a sequel, so to date we are still left without a resolution to the labyrinthine mysteries surrounding the puzzle of "who killed Laura Palmer?" Overlong and oddly underheated, it was a commercial bomb, even with hardcore Peaks fans.

Not just inclined to listen to the supporters who extol him as an artist but heed them as well, Lynch made his next film, Lost Highway, expressly for this rabid group, it seems. Based on a dream of Lynch's, the film unfolds with the logic of a dream — which to say, no logic at all. It's about a man who may or may not be an escapee from prison, who may or may not have killed his wife, and who may or may not be being pursued by the authorities, gangsters, and a host of bizarro Lynchian characters. As self-indulgent as many of Lynch's previous works, it's artsy-fartsy pretentiousness is a whole lot more difficult to defend, however.

By contrast, Lynch's next film, The Straight Story, seems almost like a rejection of everything his most rabid supporters hold dear about him. Superficially at least, it is the most un-Lynch-like film in the director's body of work: A gentle, life-affirming, straight-fromthe-heart, family-oriented tribute to the honesty, ideals, and tenacity of Middle America with a G rating and not a baroque or pretentious bone in its warm and fuzzy body.

—Kim Newman, updated by John McCarty

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"Lynch, David." International Dictionary of Films and Filmmakers. . Encyclopedia.com. 23 Oct. 2017 <http://www.encyclopedia.com>.

"Lynch, David." International Dictionary of Films and Filmmakers. . Encyclopedia.com. (October 23, 2017). http://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/lynch-david

"Lynch, David." International Dictionary of Films and Filmmakers. . Retrieved October 23, 2017 from Encyclopedia.com: http://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/lynch-david