[David Lynch in interview with TIME to Inland Empire] Mr. Lynch, in November last year, you have made with a cow on Hollywood Boulevard, next to a placard with the inscription "For Your Consideration" to draw attention to the Oscar-worthy performance Laura Dern in Inland Empire. What should the cow?
I did not have the money to tread the usual path to the Academy on Laura's performance noted. So I came up with the cow, which cost almost nothing, but made as a message in the world around. Unfortunately, she brought Laura still no Oscar nomination. In this sense, the thing failed.
How did the animal?
This was a Mietkuh which had also performed in commercials. Georgia, that's her name, has already made for milk advertising. She was an incredible professional, they just stood there and was quite herself
What was the beginning of INLAND EMPIRE?
I met Laura Dern in the street. I stood in front of my house, they came of the path, smiling, and told me that she is my new neighbor, what we were both very happy. She said we should do something together again. And I said, yeah, we do, and began to think about them, and suddenly a loud ideas.
When were you a story?
It's all going the same way. My picture of this is that someone in the room next door before a finished puzzle sits and throws me some pieces of it. I do not at first, what does it mean, I just know that I like this little piece of the puzzle. I write it down, and then comes up a notch, and I write it again, and gradually the image is clearer and more developed.
One of the many plot lines in INLAND EMPIRE is a surreal sitcom about people with rabbit heads, you've turned your site davidlynch.com. Where did this piece of the puzzle?
Do you know when it has always an idea that it is in your mind a mental picture, and then you have to translate it into another medium. If it is a film that you have a backdrop build, unless you find a place that corresponds to the exact. The idea leads you. Whatever it takes to find, or it organized.
The rabbit heads with the television dialogues and rehearsed laughter from the band are kinda scary, scary.
Well, all people are different.
you find it not scary?
It does not matter what I think, but what you think. I shot the thing with the rabbit very soon, but first put aside. When an idea comes, you never know, will be their first or second home. You never know what direction to take things.
An essential part of the film arose in the Polish town of Lodz, you have discovered on a trip to the local film festival Camerimage. What would have happened if you had not gone to Lodz, but in any other city? Inland Empire would perhaps not have arisen or as an entirely different movie?
I was at many places in the three years I have worked on the film, but the ideas came to me now times in Lodz and elsewhere. Interesting, no? The ideas are there to Inland Empire emerged and then connected to other ideas that have emerged in Hollywood. These are not my own experience, there are images that spring from the town itself. Resorts create their own thoughts. I must only field. One can compare this with a cook, the fish does not do that, but it starts and then boiled. So there is the fish, and you say "Wow!" And falls in love with him.
What do you want to Lodz?
Great architecture. Great atmosphere in the winter. Low clouds and winter light.
An atmosphere of timelessness?
For me it was brand new.
The question remains, how the pieces come together with you.
you always produce a whole. Sometimes it is frustrating that they do not come in the logical order, but the is just part of the process. That was my whole life so that the films are revealed to me piece by piece and I do not know what the whole is revealed before it is there. Usually I write a script and add the scenic ideas in it. In this case it was at first so that I had no idea what to do scenes together. But the more came, the more clearly I saw how it all fits together.
it happen, on average, or even on the set?
The second half is more developed in the traditional way, because I had this time together my ideas. If one looks at the editing table then the whole, the result is again a different process, eliminated because some things and others added.
it surprise you sometimes think that you are an outsider in Hollywood?
Not a bit. I started as a painter and film interests me for not. I was lucky because I see film as something very different than is usual in Hollywood. I love Hollywood as a place to live. I work but not in the system. I have never made a traditional studio film.
But you can feel your love for old movies.
I love Hollywood, I love the whole thing. The dream to make films that I love. I'm just not there.
Where does the number 47, the Inland Empire in a dark, magical significance has?
She was suddenly there. I see such things as I see a piece of film. Sometimes turns up something and your brain starts to work on to get behind the meaning of the things you meet on your way. For me, this number has a specific meaning, but I do not talk about it. As with the abstract ideas we have: they give each a different meaning.
A recurring theme in your movies, even in Inland Empire is the unfaithful wife. Infidelity is in your universe is a kind of capital crimes. Why is that?
not know. It must have what they have to do with me because I am besotted with the matter.
also houses play an important role in your movies. They are places of fear, weird encounters, the claustrophobia. On your drawings and paintings they cast dark shadows. Do you have a bad experience with houses?
This has nothing to do with me not really. I'm not afraid of my house. But I understand that one can be afraid in a house if you do not know what is at the end of the corridor. In the world there is still the same: We fear the unknown and yet are drawn to it.
The silence around the corner?
the unknown around the corner. The idea that there is something under the surface. Things you feel about it but nothing Accurate white. Just a feeling.
What instructions you give your actors?
Whatever it takes to get to them on the same wavelength as the initial idea to exist. The idea is there, the actors are there, and we rehearse. They have their own ideas, sometimes they are closer, sometimes farther away. If they are just beside it, one must try to communicate with words, what was wrong with their approach. And eventually they catch on something like what I expected, sometimes only for a single scene, sometimes for the whole roll. Then it takes only a few words: Remember thereto, remember.
in your movies There are no phones. Hate cell phones?
Well, I like just timeless furnishings. In "Eraserhead" there were no cars. This is not a conscious decision. It's just that one sees something and says, no, no, it is not. Moreover, technology is changing so fast that mobile phones will look old again soon.
What you want to Lodz?
Great architecture. Great atmosphere in the winter. Low clouds and winter light.
An atmosphere of timelessness?
For me it was brand new.
has changed the digital camera for your money making movies?
Very much. It has given me much more freedom to have more fun on twisting and felt much less pressure. I compare it with two kinds of life: one is a Thursday morning, you have not slept well, the alarm clock did not go off, no time for a proper breakfast, not even for a good cup of coffee, it's raining, you're stuck in traffic and have a super important meeting with a boss who has you on the Kieker. This kind of sinister terror makes a different life course, this is like a Saturday morning, the sun is shining, you wake up totally refreshed to, your favorite breakfast eats, have a whole weekend in front of you with time for everything you wanted to do all along. People say, of course, if you can find it all that great, David, then how can you tell such horrible stories?
And? How can you?
If you from start to finish only tells of the happiness, one would be bored to death. Life stories of contrasts. In the end, but it is also the fact that the artist himself must not suffer to show suffering. You have to understand the suffering and the stories that spring from it. This is called atma, the Self is an ocean of pure consciousness. It is said, know thyself, which is the field that's where everything comes from, including us, this is our home. It is here and enjoys it and understands more and more, and it is crazy and is already in the early morning with a head full of ideas, and anything that has a tortured until then, stands out like a weight from you.
But you must still have that dark side in himself. This woman with a screwdriver in the belly, that's not something you see when you're happy.
These thoughts make me happy, I swear to you. I love this story, I do not know why I love her so much, but it is. I love what makes the movie so, I love the trip that's going on.
Interview by Michael Althen and Andreas Kilb © 2007 THE TIME. At the request of Mr. Lynch that set out in TIME Attribution "Inland Empire" in the Inland Empire has been changed.
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