The naivety of the audience and the secret corruption of the film industry. Where the idealism stops and the twisted world of reality begins. Actors behind the scenes calling the shots. Crimes covered up, schemes played out. And a culture of silence. "Silencio"
shareDid David Lynch tell you that?
shareNo, but he mysteriously chuckled at my revelations. No getting through to that man.
shareActually in an INTERVIEW LYNCH did say that both MD & IE (INLAND EMPIRE) are films about the FILM INDUSTRY (the same way as ERASERHEAD is also a film about the CORRUPTING INFLUENCE of FACTORY LIFE).
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Well, of course MD is about the film industry. It is about that regardless of the contents of Noir's post.
shareIn what way do you think the FILM's about the FILM INDUSTRY???
Here's a link to a discussion that we had here a couple of years ago where we explored more about the reasons why it's about the CORRUPTING INFLUENCES of the FILM INDUSTRY:
https://moviechat.org/tt0166924/Mulholland-Dr/5fc5453652c57d605b28a88c/So-Naomi-Watts-character-was-meant-to-be-the-villain-then
Perhaps there's something that we've said on that topic that might interest you enough to discuss more about here on this topic???
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Maybe when you act like a grown-up and stop capitalising shit.
sharean hour ago
Maybe when you act like a grown-up and stop capitalising shit.
[–] LoveCatsHateDogs (975) 3 hours ago
This kind of shit is why the show is good.
3 hours ago
Would you eat her shit too?
What can I say? Grown-ups use grown-up words.
Will you be devoting more of your important time to further research?
My you are in a bad mood today
shareLink to interview? Never knew he revealed much about the meaning behind it (nor Eraserhead, one of his best works too)
shareAs I recall the interview took place on a stage, and Laura Dern was also in it, but since it probably also took place about 20 yrs ago it may not be available anymore.
And since the link was also posted to imdb, access to that place is also not available anymore either.
But all he said was "both MD and IE were ABOUT the FILM INDUSTRY," meaning he also didn't reveal anything else other than that.
And here's another interesting article that goes into still more detail regarding the reason why that's the case:
https://www.theringer.com/movies/2021/10/19/22733626/mulholland-drive-20th-anniversary-david-lynch-naomi-watts
a sour allegory of L.A.’s assembly-line creative process, imagining a movie industry haunted by violence and despair and overrun at its highest level by thugs and know-nothings (one of whom is very particular about his coffee).
It’s a Highlight Reel
Great directors are repeat offenders, and their recidivism is unconscious. If Lynch is drawn toward the same types (and archetypes) in movie after movie, it’s not out of laziness or a lack of inspiration but a helpless devotion to his own artistic compulsions.
Mulholland Drive, and Inland Empire form a caustic trilogy about the business of filmmaking
Mulholland’s plot pivots on the premise that the Mob runs La La Land, as Betty’s attempts at making it big are thwarted by a consortium of power brokers pushing a different starlet.
“It is no longer your film.” The crime-movie tropes are playful and absurd—as when Luigi demands and then regurgitates a “perfect” espresso from a studio executive—but serve the overall vision of a dream factory that’s corroded from the inside out.
"Mulholland Drive, and Inland Empire form a caustic trilogy about the business of filmmaking"
Was something cut off here? How could two films form a trilogy?
Yes you're right about something being CUT OFF. Sorry about that. But LYNCH also never mentioned LOST HWY in the interview when he said both MD & IE were ABOUT the FILM INDUSTRY (which is why that part didn't seem to be relevant to the discussion).
Here's the entire paragraph for you with the MISSING PART restored:
''In Lost Highway, Lynch had Robert Loggia’s Mr. Eddy assault a tailgater in full view of the Hollywood sign as a dig at what he perceived as thuggish industry sensibilities. In retrospect, that film, Mulholland Drive, and Inland Empire form a caustic trilogy about the business of filmmaking contextualizing Lynch’s drift away from mainstream modes of production. Mulholland’s plot pivots on the premise that the Mob runs La La Land, as Betty’s attempts at making it big are thwarted by a consortium of power brokers pushing a different starlet.share
Ah . . thank you. I suspected Lost Highway was in the mix there somewhere. Makes complete sense now!
shareFascinating! Kesher's experience of coercion is possibly the most overt clue, forced to make films by mysterious forces. But Selwyn's naivety is another and always seemed to me representative of the unsuspecting audience to the corruption of Hollywood. I'd say the opera singer goes even further, showcasing a blatant criticism of the illusion and fabricated reality of which films exist in, that they can only record life, not truly portray it.
But I would not agree Eraserhead would follow the same message even though it is composed in the same disjointed style. To me it seems more like the horrors of adult responsibility, especially pregnancy and rearing. Lynch was a younger filmmaker then and not the more seasoned creative he was later.
Remember how they ate the MECHANICAL CHICKENS for dinner? That's probably due to the POLLUTION that the factory causes, which most likely also makes it impossible to grow REAL CHICKENS anymore.
So yes it's about the horrors of adult responsibility and child rearing, but it also seems to be about the horrors that FACTORY PRODUCTION itself leaves behind (also illustrated by Henry walking through those yucky pools of oil or whatever it was on his way home).
PLUS the creature that's born also looks more like the MAN in the PLANET than he looks like HENRY. Remember all of those BOILS or whatever they were all over his skin??? So the creature probably also wasn't even HENRY's offspring.
Did you also NOTICE how the guy at the beginning of the film in MD who takes the phone call (all we see is the back of his head) is sitting there at the CLUB of SILENCE???