Lynch is a unique documentary on David Lynch which intimately follows his creative process. Filmed over two years, the film follows David's journey through ideas as he completes his latest film, Inland Empire.
The director immersed himself in David's world, living and working with him over the two years enabling him to capture a more personal side to the artist.
Being the first interview with the director of Lynch, I feel priveleged and grateful that unseen forces have chosen SiouxWIRE to begin their campaign.
There's been a lot of speculation surrounding your identity. What is the intention in removing yourself (at least in name) from the production and do you feel it augments the documentary in any way by doing so?
MY CHOICE TO USE AS PSEUDONYM WAS A PERSONAL ONE AND IT IS SOMETHING THAT I DO WHENEVER I ENTER INTO ANYTHING CREATIVE. I HAVE HAD MANY PSEUDONYMS BEFORE AND COULD QUITE POSSIBLE HAVE MANY MORE. I NEVER EXPECTED THIS TO BECOME SUCH AN ISSUE, BUT I UNDERSTAND THE CURIOSITY IT SEEMS TO BE CREATING. IT IS UNFORTUNATE IF IT TAKES AWAY FROM THE FILM IN ANY WAY AND I HOPE THAT IT DOESN'T.
How did the project develop? And what did/do you hope to achieve with the documentary and what initially attracted you to the it?
I HAD KNOWN DAVID FOR YEARS BEFORE THE IDEA TO MAKE A FILM ON HIM CAME TO US----- THE INITIAL IDEA ACTUALLY BELONGS TO JON NGUYEN----- HE CALLED ME ONE DAY IN NEW YORK AND ASKED IF I THOUGHT DAVID WOULD LET US MAKE A FILM ABOUT HIM. I TOLD HIM I DID NOT KNOW BUT IT COULDN'T HURT TO ASK---- SO I HOPPED ON A FLIGHT AND MET WITH DAVID AT HIS HOME IN LOS ANGELES WHAT I WANTED TO ACHIEVE WITH THE DOCUMENTARY WAS TO BE ABLE TO GIVE PEOPLE A PERSONAL VIEW OF DAVID'S CREATIVITY----- CREATIVITY WHICH IS CONSTANTLY COMING OUT OF HIM. FROM THE TIME HE WAKES UP TO THE TIME HE GOES TO BED HE IS CREATING.
What did you learn during the creation of the film in terms of documentary filmmaking? Is there anything you would do differently if you had the chance and would you approach future documentary projects using the same methods?
TO BE HONEST I AM NOT SURE EXACTLY WHAT I LEARNED ABOUT DOCUMENTARY FILMMAKING--------- MAYBE THAT YOU HAVE TO FIGHT FOR EVERY SHOT AND THAT THERE IS NOT A SECOND WHEN YOU CAN RELAX BECAUSE YOU NEVER KNOW WHAT IS GOING TO HAPPEN. IF I WERE TO DO ANY FUTURE DOCUMENTARIES I WOULD EMPLOY MANY OF THE SAME TECHNIQUES AS WELL AS SOME NEW METHODS----- BUT I AM STILL IRONING OUT THE SPECIFICS OF THAT.
To what did David Lynch's own methods directly or indirectly influence your filmmaking?
I THINK THAT DAVID'S COMMITMENT TO EXPERIMENTATION HAS HAD A BIG INFLUENCE ON ME----- I NEVER FELT AFRAID TO TRY SOMETHING NEW OR DIFFERENT.
Personally, what have you learned while working on this film?
I LEARNED THAT WHENEVER POSSIBLE GET THE BEST SOUND YOU CAN.
Prior to starting the documentary, what were your expectations of David Lynch and how did they change over the course of making the film?
I WASN'T SURE WHAT TO EXPECT FROM DAVID TO TELL YOU THE TRUTH. HE IS A FRIEND BUT HE IS ALSO VERY GUARDED---------- AT A CERTAIN POINT I REALIZED THAT HE WAS GOING TO LET ME FILM EVERYTHING I WANTED AND THAT IT WAS GOING TO BE UP TO ME TO EITHER SUCCEED OR FAIL---------- HE WAS GOING TO GIVE ME THE WOOD TO BUILD THE FIRE.
Would you say this is a film aimed at a general audience, artists, fans of David Lynch or all of the above? And generally speaking, what do you think each of these groups will get from watching the film?
THIS FILM IS AIMED AT ALL AUDIENCES, BUT IS PROBABLY A BIT MORE ACCESSIBLE TO PEOPLE WHO KNOW A BIT ABOUT DAVID. THE POINT OF THE FILM WAS NOT TO ISOLATE ANYONE THOUGH---- I WANTED ANYONE WHO WAS CREATIVE TO BE ABLE TO GET INSPIRED BY WATCHING DAVID CREATE---------- I WOULD HOPE THAT EACH GROUP WOULD WALK AWAY FROM THE FILM AND WANT TO GO HOME AND MAKE SOMETHING.
I WISH THAT I COULD TELL YOU WHAT MAKES DAVID DIFFERENT THAN OTHER DIRECTORS BUT I HAVE NOT EVER FILMED OTHER DIRECTORS SO I CANNOT COMPARE THEM TO HIM. I THINK THAT ALL DIRECTORS HAVE THEIR OWN STYLE AND THAT IS A GREAT THING.
Was there a particular day's filming or event that sticks out in your mind?
EVERY DAY OF FILMING WAS SOMETHING NEW AND DIFFERENT.. THE PROCESS AS A WHOLE WAS INCREDIBLE------------- IMAGINE IT------- SHOOTING DAVID EVERY DAY FOR OVER 7 MONTHS.
How did you approach editing two years of material and did the structure of the film develop organically from the material or did you have a preconceived blueprint from which you worked? (Out of curiosity, how much material was actually shot?)
THE FIRST 7 DAYS I ATTEMPTED TO EDIT THE FILM I WAS CRIPPLED WITH A FEAR----------- THEN 1 DAY I FOUND THE WAY TO BEGIN WEEDING OUT THE STUFF I DID NOT WANT TO USE AND THINGS FELL INTO PLACE FROM THERE I SPENT MANY MANY MANY MONTHS TRIMMING THE HUNDREDS OF HOURS DOWN TO 50 WHICH IS WHAT I MADE THE FILM FROM. I REALLY DIDN'T HAVE TOO MUCH OF A BLUEPRINT EXCEPT FOR A SMALL STORYLINE THAT JON HAD TOLD ME ABOUT---------- HE WOULD COLLECT QUOTES FROM DAVID'S CAREER AND SEND THEM TO ME AND I WOULD PICK THINGS THAT INTERESTED ME ABOUT THEM AND SEE IF I COULD WEAVE THEM INTO SOME SORT OF STORY. OTHER THAN THAT I EDITED ON FEELING. IF I DID NOT FEEL A CLIP IT DID NOT MAKE IT INTO THE FILM.
Was there anything that surprised you either during the course of filming or looking back at the material?
I THINK THAT THE THING THAT SURPRISED ME THE MOST WAS THE CAMERA WORK AS I WATCH THE FOOTAGE I CAN TELL WHICH CLIPS CAME FROM WHICH TIME PERIOD--------- AS THE FILM WENT ALONG THE CAMERA WORK GOT BETTER.
Does the subtitle "one" denote that there will be an additional film from the material you collected?
A TRIPTYCH IS A BEAUTIFUL THING.
On completion, are you left with fewer or more questions than when you began?
I NEVER REALLY HAD MANY QUESTIONS FOR DAVID----- I WAS MORE INTERESTED IN SHOWING HIM RATHER THAN QUESTIONING HIM------ SO I GUESS I HAVE THE SAME AMOUNT OF QUESTIONS AS I HAD HAD WHEN I BEGAN BUT TO BE QUITE HONEST I HOPE THAT I NEVER GET ALL THE ANSWERS------------
David Lynch Wiki