Post by RNL on Feb 18, 2006 22:54:51 GMT
The Amputee plays twice because it was shot twice, on two different video formats. Lynch explains on his Short Films DVD that an associate of his had talked about someone (maybe the AFI) experimenting with various video formats and looking for stuff to photograph. Lynch asked him if it mattered what was shot, he was told no, so he signed on and came up with The Alphabet.
The whole dinner sequence is fantastic. The tiny chickens miscarrying, or whatever they're doing, is great. But my favourite moment in Eraserhead is when Mary reappears in his bed and he starts pulling giant sperm out of, I assume, her anus while she sleeps, then flinging them in slow motion against the wall. Then those same creatures exploring the surface of the planet. Gotta love the woman in the radiator, too. And, "Oh, you are sick!"
In Blue Velvet, it's right after the scene you mentioned (which is amazing), where Frank continues his joyride with Jeffrey, then drags him out and beats him up - while those dozy fat women hop up on the roof of the car and resume their bored dancing. No other filmmaker would ever do something like that.
Wild at Heart's best scene is the car crash they happen across, and the delirious, dying victim.
Lost Highway: I adore the credits sequence, even though it's carried over from Blue Velvet. All the moody, ominous camerawork before Renee's murder does it for me too, gazing down dark hallways and at nothing in particular. It's more a tone I remember from this film, though.
From the point where Betty goes to her audition, right up to the very end of the film. That's the best part of Mulholland Drive. I know, that's probably about 80 minutes. But good goddamn. Such power. I'd say Betty's face overlaid on the LA skyline in the closing moments might be Lynch's most moving image. And Club SÃlencio must rank among the greatest things ever committed to film.
The whole dinner sequence is fantastic. The tiny chickens miscarrying, or whatever they're doing, is great. But my favourite moment in Eraserhead is when Mary reappears in his bed and he starts pulling giant sperm out of, I assume, her anus while she sleeps, then flinging them in slow motion against the wall. Then those same creatures exploring the surface of the planet. Gotta love the woman in the radiator, too. And, "Oh, you are sick!"
In Blue Velvet, it's right after the scene you mentioned (which is amazing), where Frank continues his joyride with Jeffrey, then drags him out and beats him up - while those dozy fat women hop up on the roof of the car and resume their bored dancing. No other filmmaker would ever do something like that.
Wild at Heart's best scene is the car crash they happen across, and the delirious, dying victim.
Lost Highway: I adore the credits sequence, even though it's carried over from Blue Velvet. All the moody, ominous camerawork before Renee's murder does it for me too, gazing down dark hallways and at nothing in particular. It's more a tone I remember from this film, though.
From the point where Betty goes to her audition, right up to the very end of the film. That's the best part of Mulholland Drive. I know, that's probably about 80 minutes. But good goddamn. Such power. I'd say Betty's face overlaid on the LA skyline in the closing moments might be Lynch's most moving image. And Club SÃlencio must rank among the greatest things ever committed to film.