Like the piscine Guild Navigator who gets wheeled out in a tank at the start of the movie, David Lynch‘s adaptation of the Frank Herbert novel Dune is neither fish nor fowl. Lynch gets to play with some rather dense world-building, but Herbert’s critique of charismatic leaders gets pushed to the side while the demands of ’80s sci-fi fantasy don’t allow the director to create what would later become his signature dream states. As a result, Lynch’s Dune pleased no one, least of all Lynch himself. And while the film has its fans, especially in light of Denis Villeneuve‘s more faithful blockbuster, it remains an outlier in both Lynch’s oeuvre and in the history of Dune adaptations.
Still, the legend goes that if studio meddling and post-production issues not come to bear, Lynch would have been able to put more of his stamp on the sequel Dune II.
Still, the legend goes that if studio meddling and post-production issues not come to bear, Lynch would have been able to put more of his stamp on the sequel Dune II.
- 1/12/2024
- by Joe George
- Den of Geek
It’s no surprise that filmmaker David Lynch’s fanbase has, for four decades, continually renewed itself among each new generation of cineastes. Something about the strange alchemy of the multidisciplinary Eagle Scout’s sensuous images, earnest perspective and intuitive storytelling perspective is intoxicating, buoyed onscreen by the talents of great creative collaborators like Mary Sweeney, Alan Splet and Angelo Badalamenti.
The films themselves are often dark but always honest, their perversions expressive and earned rather than bluntly hammered. As we follow the cosmic tendrils of Lynch’s brain backwards toward their origin, it’s only natural to ask: why does this guy see the world the way he sees it?
One answer may lay in Victor Fleming 1939 MGM classic, whose enchantments reach even further back, to its position as an early television staple for impressional baby boomers developing their imaginations and material predilections in the glow of the family’s suburban RCA console.
The films themselves are often dark but always honest, their perversions expressive and earned rather than bluntly hammered. As we follow the cosmic tendrils of Lynch’s brain backwards toward their origin, it’s only natural to ask: why does this guy see the world the way he sees it?
One answer may lay in Victor Fleming 1939 MGM classic, whose enchantments reach even further back, to its position as an early television staple for impressional baby boomers developing their imaginations and material predilections in the glow of the family’s suburban RCA console.
- 6/13/2023
- by Matt Warren
- Film Independent News & More
"The Fabelmans" tells the tale of Steven Spielberg's childhood, how he found his love of movies, and how he eventually got introduced into the harsh world of the film business. Spielberg's first meeting with world-renowned director John Ford is a huge part of his legend. Ford was an incomparable character, and Spielberg knew that whoever would play him had to be just as unique as Ford was. The filmmaker eventually cast David Lynch, and it's hard to imagine Ford being played by anyone else. But, believe it or not, Lynch wasn't Spielberg's first choice for the part — in fact, it wasn't Spielberg's idea in the first place.
The "Jaws" director has worked with screenwriter Tony Kushner on every film since his 2005 thriller "Munich." Kushner was previously a popular playwright, having penned "Angels in America." He has been collaborating more or less exclusively with Spielberg for decades, with screenwriting credits...
The "Jaws" director has worked with screenwriter Tony Kushner on every film since his 2005 thriller "Munich." Kushner was previously a popular playwright, having penned "Angels in America." He has been collaborating more or less exclusively with Spielberg for decades, with screenwriting credits...
- 3/12/2023
- by Shae Sennett
- Slash Film
"This is the best sushi you will ever have." Join director M. Night Shyamalan as he browses through this Paris video store in the latest offering of the "Vidéo Club" series made by Konbini. We've posted videos of Brad Pitt and Terry Gilliam in this classic video store, now it's Shyamalan's turn. At first he talks extensively about his love for Akira Kurosawa films and stories with a moral dilemma, then he raves about Bergman's Persona and Bresson, specifically the 1956 film A Man Escaped. He also goes on to talk about Lynch's Twin Peaks and Hitchcock's Rebecca (one of his favorites in his collection at home) and Julia Ducournau's Raw - saying how this one blew him away and he ended up hiring her to shoot some eps of his TV show "Servant" because of it. He also mentions that he'd like to work with Robert Pattinson one day,...
- 2/6/2023
- by Alex Billington
- firstshowing.net
Though it’s a harder film festival to regulate and therefore tabulate a comprehensively genuine list reflecting the totality of the fest’s offering per any individual’s perspective, the Toronto Film Festival manages to be a healthy platform for new and developing voices for those willing to sift through the multitude of titles. Of course, many new exciting voices were present that debuted at earlier film festivals, like Berlin, Sundance, and Cannes. From Guy Maddin’s co-director Evan Johnson on The Forbidden Room and Josh Mond’s stunning debut James White out of Sundance, to notable Cannes berths like Laszlo Nemes of Son of Saul, Deniz Gamz Erguven of Mustang, and Thomas Bidegain’s Les Cowboys, 2015 brought a wide variety of new filmmakers to light. In deliberating the Top Ten New Voices out of Tiff, we focused on offerings either unique to the festival or near concurrent premieres with Locarno and Venice.
- 10/12/2015
- by Nicholas Bell
- IONCINEMA.com
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