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she

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W blue

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the art life

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is a life lived around

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working it could be working in any of

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the art

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forms it could be working in cinema

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painting

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lithography

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music every medium is infinitely

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deep and when you get to know them

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they'll let you go

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deeper this is the art life

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in cinema there's many

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filmmakers that make films primarily to

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make money and it's more called

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entertainment I love money like

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everybody else but probably I would do

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the things that I'd like to do for

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free the most valuable thing I could

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impart to new filmmakers is what I

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always say find your own

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voice be true to that voice never give

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up Final Cut and total creative freedom

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never take a bad idea but never turn

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down a good idea and I just like this

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process of catching ideas that I fall in

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love with and then realizing those ideas

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and I like all these different steps of

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creating something I I love being in it

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and I feel that when you're really in it

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uh more ideas flow you get into it

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deeper and deeper and it's a thrilling

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thrilling ride all these different art

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forms are are thrilling thrilling to the

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soul so if you love The

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ideas that come

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along a deep

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love you will find a way to realize

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those hello everybody my name is David

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Lynch and this is my master class

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am

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I always say ideas are

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everything so I go where the ideas

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lead they could be to the painting

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Studio it could be to an office to work

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on a a computer it could be uh sound you

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know room to work on sound you go where

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the ideas are telling you to go where

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you're fired up to do this or that

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and that that leads you you know to

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those

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places we're nothing without an idea we

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don't know what to do without an idea

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and the idea tells us everything so it's

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common sense that ideas are super

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important and I love the the idea of

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catching ideas

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and there're out

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there millions and millions of

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ideas and we don't know

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them until they enter the conscious

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mind and then we know them and we we see

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them and hear them and feel them we know

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the mood of them even if it's just a

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small fragment of what could be a whole

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film or a painting or

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whatever we fall in love with it for

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some reason something inside of us says

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this is a great idea for me and then you

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write that idea down on a piece of paper

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in such a way that when you read what

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you wrote the idea comes back and full

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super important to write down your ideas

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so you don't forget

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them I think I I've forgotten

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three incredible ideas in my life so

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write down your ideas and save them

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because they're it's it's very

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important and then we can talk more

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about catching ideas but I do equate

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catching ideas with the thing of fishing

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you have to have

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patience and I say a desire for an idea

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is like a bait on a hook

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and it's like putting a little piece of

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bait on a hook and lowering it into the

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water and then you don't know when

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they're going to come or what will

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trigger them but lo and

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behold on a lucky day Bingo you'll catch

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a fish you'll catch an

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idea and like I say it you don't see the

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fish down there but when you bring it up

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out of the water that's like the idea

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coming into the the conscious mind you

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see the fish you see the details of it

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you know the fish's eyes the mouth the

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fins all the shiny little

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scales you fall in love with this little

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fish and you write that idea down and

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now you have even more

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bait and you can lower that fish

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in and other fish will swim to it

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that are part of that

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school and you'll catch more and more

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fragments and a script will start

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emerging and it kind of goes like that

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for me another analogy is there's

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someone in the other room with a puzzle

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that's completely together and they flip

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little one piece at a time into me so

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you can imagine the first pieces of pule

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they don't relate to anything you might

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love the colors of them or the shape of

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them or something about them but uh you

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just save those and then more come in

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more come in and then you start seeing

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something emerge and finally the

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puzzle's

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finished when we get an idea that we

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love it feels feels very very good you

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see it and feel it and know it all at

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once but it's all at

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once and it comes with like a I always

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say like a spark of electricity a

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inspiration kind of

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thing but then you kind of calm down and

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and more you know leisurely examine it

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and on examining it it's like you turned

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on your TV and the first thing was like

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uh White

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Flash and then it kind of you know comes

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into it pops on a image and that's the

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image then out comes a sound and a

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feeling and you just see it and then you

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write down what you see and what you

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hear and the

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mood and you feel very very good you've

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got something if it's a cinema idea I

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like them for two reasons one is the

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idea of it

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itself and the other is the way Cinema

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could say that

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idea and then you got something and all

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you have to do then is focus on that and

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that focusing means lowering it back

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into the water on a

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hook and

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[Music]

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waiting I say intuition is the number

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one

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tool really of the human being

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intuition the way I think about it

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is mind and emotion intellect and

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emotion together it's a feel thinking

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it's a

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knowingness a

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knowingness and it is extremely

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important everybody

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has has this but I don't think everybody

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has the same amount it's like

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Consciousness they say every human being

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has Consciousness but not every human

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being has the same amount the potential

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however for every human being is

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infinite

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Consciousness Enlightenment Supreme

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Enlightenment and we could talk about

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that sometime too and it intuition is

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tied tied tightly to cons

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ious you can't uh just wish for more

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intuition you can't just imagine you

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have more

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intuition same way with Consciousness

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you can't just wish for more you can't

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just uh uh imagine more you got to go

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where it is and get more it's like

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fishing you can put your hook on a

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desert and lay it on the desert in the

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sand you wait for a long long time for a

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fish maybe a huge huge ages of time

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before water and fish come anyway um so

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you've got to go where that um the the

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treasure is I guess the analogy is the

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chef doesn't make the the

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fish the chef just Cooks the fish and

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the chef can cook it really really

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high-end Fant fantastic or it can cook

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it very poorly maybe not even cook it

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all the way through and people get sick

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but the the chef doesn't make the fish

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just like these ideas the person

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catching the idea doesn't make the

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idea it's it's crazy we really we really

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rely on these

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gifts uh to do anything

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a lot of ideas come from our world and

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our

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world uh holds a lot of

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violence violence in the

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homes violence on the

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streets violence violence in the city

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violence in the

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country violence in all the

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countries a lot of violence a lot of

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corruption a lot of suffering a lot of

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tension anger hate

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fear a lot of mistakes prisons are full

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hospitals are

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full it's a mess and it doesn't have to

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be this way but it is the way it

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is and ideas come from our world stories

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emerge from our world and stories

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involve things that are in the world you

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know I always

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say have the suffering and the violence

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and all the things of human nature

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negative and positive in this script in

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the film in this book but not in your

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life and that you don't have to suffer

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to show suffering on the screen or in a

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book you can be very happy showing

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suffering and that's the key to things

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stories All Through Time have had

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conflict and all these different things

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but the ideas come from the from the

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world they come from other places it

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seems also but a lot come from just our

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world and the feeling of being in this

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world conjures these stories that

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[Music]

191
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come many things from our childhood

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stick with us from our world our friends

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experiences uh feelings

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dreams all these things go into the

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hopper and they swim

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around and new things come in all these

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new things come in and they swim

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around and if you have time to

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daydream they can conjure some

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things and

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uh it's a very beautiful

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story and everybody has these things

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swimming

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about

205
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and the possibility is there that they

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can trigger

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ideas everyone's Hopper

208
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is pretty full and they say that the

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window to the hopper is wide open when

210
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we're growing up taking in all these

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things

212
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and for safety's sake that window starts

213
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closing at a certain point and you start

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working with what you've got in

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there there's a story um when I lived in

216
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boisey Idaho on Park Circle

217
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Drive uh one

218
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night I think it

219
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was around

220
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9:30 you know in the

221
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50s in small

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towns there were street lights but they

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were dimmer than the lights of today and

224
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it

225
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was it was near a street

226
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light uh near a street called Shoni

227
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Avenue

228
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and across the way I was with my younger

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brother

230
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out of the darkness

231
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came a

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woman completely

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naked and she

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had skin the color of

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milk and she wasn't walking quite

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properly I didn't understand exactly

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what was

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wrong and there might have been some

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blood on her mouth she was pretty much

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oblivious to me and my brother as she

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came out of the darkness and

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walked and sat down on a

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curb and

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I never

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seen of an adult woman

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naked

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and it was quite a powerful experience

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and I knew that she was hurt in trouble

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and I wanted to help her but I didn't

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know what to to

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do it's not every day that you see a

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battered nude woman come out of the

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bushes but um these kind of things

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happen

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and in this story this happened right in

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front of your own stupid house get out

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of here Mike stop it shut up just shut

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up all right nobody's talking to you all

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right come on Mike look I don't want to

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any

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problem who's that huh is that your

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mother that your mother Jeffrey no come

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here you [ __ ] someone Hurt No didn't

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notice Dorothy

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Valance come on

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[Music]

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as far as people thinking well I don't

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have anything to

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say maybe you

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don't but on the other hand that might

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be the wrong way to look at

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it what might be better is

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to just

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[Music]

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Daydream and catch some

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things that start start a flow of

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ideas just to see if a story comes that

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00:15:04,880 --> 00:15:10,399
you

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00:15:06,320 --> 00:15:11,519
like and more ideas can come more ideas

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can

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come and there might be something that

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you find inside that you really

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00:15:18,519 --> 00:15:22,800
love and then you say oh wait a minute I

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do have something to say I could say

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this thing that came to me so it goes

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like

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that having time which is so difficult

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00:15:30,360 --> 00:15:38,399
in this in today's world having time to

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daydream to sit by

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yourself and

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daydream it's really really

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important for catching

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ideas and going over

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things uh just daydreaming from the

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outside it looks like maybe you should

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take this

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person not necessarily to a hospital but

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to maybe a psychiatrist or you tell them

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to get a

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job um but it it's real important it's

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00:16:13,399 --> 00:16:18,399
you're doing it looks like you're doing

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00:16:15,880 --> 00:16:20,560
nothing but what you're doing is so

303
00:16:18,399 --> 00:16:23,920
important for catching ideas have that

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00:16:20,560 --> 00:16:25,600
time to sink into daydreaming because it

305
00:16:23,920 --> 00:16:29,199
can go deeper and

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00:16:25,600 --> 00:16:33,000
deeper and you can catch things

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H that you can't catch in any other

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way as I said I think that in this world

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today people don't have a lot of time to

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daydream but that's where that's where

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one place where it can happen but it

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could also happen at any moment doing

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00:16:53,319 --> 00:16:57,319
anything because in the back of your

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mind you've got that

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00:16:57,319 --> 00:17:04,000
desire you just keep that desire going

316
00:17:00,839 --> 00:17:07,839
you can um catch

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ideas uh these Fish can be flying fish

318
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they don't need water they fly right to

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you what scares fish away or makes it

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more difficult is

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stress depression sorrow anxieties

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tension

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traumatic stress hate

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anger and fear all these things are in

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the family of

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negativity and they

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restrict a lot of things they restrict

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happiness and and they restrict you know

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sleep and you get fatigued fatigue is is

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not good for catching

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ideas and

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they they like I said squeeze the tube

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through which the ideas flow they Cloud

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they Cloud the mind all these

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things so give yourself a

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chance to get those

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ideas and uh at the same time bring all

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these positive things along with them

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things that you're going to need like

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energy

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and like awareness

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understanding and you know it it's it's

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real important

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00:00:05,080 --> 00:00:14,719
if you want to make a featur length

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00:00:08,080 --> 00:00:15,960
film all you need to do is get 70 ideas

3
00:00:14,719 --> 00:00:19,320
70

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scenes and you write these 70 scenes on

5
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3x5 cards and you put them up and when

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you have 70 of them you've got a feature

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film

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I never considered myself a

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writer and um I don't know how to spell

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I don't know how to

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type

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um to me writing is like a way just to

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remember ideas

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schools have

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developed a

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formula this word

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formula in the department of

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writing

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is

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like death penalty

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crime the thing I think should sort of

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come

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naturally and feel feel

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good um and that's just all of these

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ideas talking to you I think revising

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the

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writing

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um is part of the

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process you don't want to be worried

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about how it comes out when it's

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starting to

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flow but then as you go back later

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when more and more has come in you see

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that oh um that one is you know talking

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too much and it's getting weak and let's

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take those things out and this is much

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better like that this is the thing about

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a formula where they say that in the

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first it's a three act formula I think

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or something like that and I don't know

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what the latest formula is but you know

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00:02:30,080 --> 00:02:35,239
something happens and then then it gets

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you know into the nitty-gritty and then

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there's a

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resolution all

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stories

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uh need a

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beginning where the middle

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is uh depends on where the end is I

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guess but in a Continuing Story there

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could be theoretically no end

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when it comes time to

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writing I like to

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write um what I mean is like

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um

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well the last time I was really

57
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writing was with Mark frost on Twin

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Peaks

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but at

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night we would write over Skype Mark

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being in um ohigh California and me

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being in Los

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Angeles and we work during the

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day at

65
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night because I smoke

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cigarettes my wife Emily would put me

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outside and I would face East and I

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would have yellow pads and a ballpoint

69
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pin

70
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black and cigarettes and red wine

71
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Bordeaux and I'd sit in this lawn

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chair and work like that and if you have

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a yellow pad on your

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lap and a ballpoint

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pen pretty soon that pen will start

76
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start moving and words will words will

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come out and you get on a thing and I

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say you know even

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90% can be you know worthless horrible

80
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stuff but maybe as you're writing what

81
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you're seeing or thinking you'll catch a

82
00:04:50,639 --> 00:04:57,039
vein of gold and a thing will start

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pouring out and that's sort of the way I

84
00:04:57,039 --> 00:05:02,240
guess it is you catch a vein

85
00:05:00,360 --> 00:05:04,520
it could be a character it could be a

86
00:05:02,240 --> 00:05:09,000
whole part of a story it could be a

87
00:05:04,520 --> 00:05:12,000
scene and but you've got to be like in

88
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fishing with patience and you got to

89
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have a pole and a line and a hook and

90
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you got to be you know ready for it to

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to come

92
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in character

93
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comes from an

94
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idea

95
00:05:36,199 --> 00:05:42,520
something uh that uh we see can trigger

96
00:05:41,080 --> 00:05:46,600
a

97
00:05:42,520 --> 00:05:48,960
character something can happen in a

98
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daydream where a character will just

99
00:05:48,960 --> 00:05:57,520
walk in when they do come

100
00:05:52,080 --> 00:05:58,440
along it's as if you always knew them

101
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they

102
00:05:58,440 --> 00:06:05,199
appear as as if out of

103
00:06:01,720 --> 00:06:10,440
nowhere and again it's like an idea it's

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a it is an idea and you hear them talk

105
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you know

106
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them a as if you've known them for a

107
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long time you know what they look like

108
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you know what they're wearing you know

109
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the way they are how they speak fast or

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slow um their temper of their voice

111
00:06:25,960 --> 00:06:32,639
their whole thing you know them and uh

112
00:06:30,080 --> 00:06:36,840
you write them down and the and the and

113
00:06:32,639 --> 00:06:39,560
even the words you know they come

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00:06:36,840 --> 00:06:41,720
out they just come out they come out in

115
00:06:39,560 --> 00:06:44,080
a certain way based on that character

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00:06:41,720 --> 00:06:47,360
that you know and who they're

117
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interacting with a character is an idea

118
00:06:47,360 --> 00:06:54,039
just like a a location is an

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00:06:50,280 --> 00:06:56,960
idea um a mood is an idea sound is an

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00:06:54,039 --> 00:07:01,520
idea music is an idea the way it needs

121
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to be based on the ideas that come

122
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mystery and detectives in cinema

123
00:07:11,960 --> 00:07:19,360
relate 100% to

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life most of us we don't

125
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know uh where we were before we were

126
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born we don't know for sure where we're

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going after we don't know why we're here

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00:07:29,919 --> 00:07:36,680
we don't know much about anything we're

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floating on a ball in something they

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00:07:36,680 --> 00:07:44,400
call a Universe on the edge of a galaxy

131
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with about 100 or 200 billion

132
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Suns and we are going to football games

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and watching TV it's like pretty

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crazy it's the way it

135
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is and uh but we're detectives everybody

136
00:07:56,759 --> 00:08:03,120
we're looking around when we have

137
00:08:00,560 --> 00:08:05,560
time sometimes it's just before we go to

138
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sleep we start thinking maybe questions

139
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like why am I here what is going on or

140
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we see things in life and we say whoa or

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we hear things and say does that make

142
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sense is that you think that's true we

143
00:08:18,599 --> 00:08:23,759
use our intuition as detectives to see

144
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what's true and what's

145
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false and try to figure out what's going

146
00:08:27,360 --> 00:08:33,159
on and I think that's one of the great

147
00:08:30,440 --> 00:08:36,800
things about detective stories it

148
00:08:33,159 --> 00:08:41,360
relates to what life is uh H what life

149
00:08:36,800 --> 00:08:43,399
is telling us the ideas you know tell

150
00:08:41,360 --> 00:08:46,760
you

151
00:08:43,399 --> 00:08:51,440
everything and if you think it's

152
00:08:46,760 --> 00:08:54,240
imagination really you say I imagine the

153
00:08:51,440 --> 00:08:57,200
by the time you got the word imagine out

154
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the ideas have already fed it to you

155
00:08:57,200 --> 00:09:01,000
it's not really you imagining it it's

156
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it's the flow of

157
00:09:01,000 --> 00:09:06,800
ideas and that's where daydreaming comes

158
00:09:03,480 --> 00:09:09,160
in let's say there's a scene in a in a

159
00:09:06,800 --> 00:09:10,959
diner and the diner has all these

160
00:09:09,160 --> 00:09:15,240
windows and it's a

161
00:09:10,959 --> 00:09:19,440
daytime um and it's uh got the smell of

162
00:09:15,240 --> 00:09:20,560
of cooking and coffee going the sounds

163
00:09:19,440 --> 00:09:23,519
of the

164
00:09:20,560 --> 00:09:26,160
machines and uh the refrigerator you

165
00:09:23,519 --> 00:09:28,160
know um thing cooling working and the

166
00:09:26,160 --> 00:09:31,440
sounds of the coat machine going

167
00:09:28,160 --> 00:09:34,640
sometimes the the uh cash register you

168
00:09:31,440 --> 00:09:38,000
know different things and um people

169
00:09:34,640 --> 00:09:40,920
going around uh people talking you know

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00:09:38,000 --> 00:09:44,680
knives and forks you know plates for

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00:09:40,920 --> 00:09:47,519
miciah you know footsteps outside some

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00:09:44,680 --> 00:09:50,279
sounds are coming in and a light is a

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certain way it's say it's it's in the

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00:09:50,279 --> 00:09:57,480
Northwest so it's a kind of Northwest

175
00:09:52,519 --> 00:10:01,000
feel and kind of a cooler uh Bluer light

176
00:09:57,480 --> 00:10:02,640
coming in um it could still be you know

177
00:10:01,000 --> 00:10:04,680
sometimes can be warm and friendly but

178
00:10:02,640 --> 00:10:07,519
depending on the what's going on you

179
00:10:04,680 --> 00:10:09,320
might want it to be Bluer and

180
00:10:07,519 --> 00:10:12,480
colder

181
00:10:09,320 --> 00:10:15,360
then uh you might have something on the

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00:10:12,480 --> 00:10:17,200
jukebox that fits in with the

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00:10:15,360 --> 00:10:20,240
mood

184
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and yeah it comes with the idea all

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these different things in the right

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mixture can get the mood to be true to

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the idea

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a script is organized

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ideas so the say future director picks

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up the

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script opens the

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script and starts

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reading and when they're reading the

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script they're

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picturing things and hearing things

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what you're picturing and what you're

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hearing and what you're feeling when

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you've read read that script it's just

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like catching ideas for your from The

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Ether and you

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remember what you saw what you heard and

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the

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feelings and those are your ideas now to

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follow and everything along the way of

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making the film you try to

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remember those feelings that came

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through from the words and what you saw

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and felt and the mood and the way people

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talked and the way they were were what

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they were wearing and and the the things

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in the room all these things now are

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your guide to making the film and stay

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true to every part of that thing that

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came in your mind because you fell in

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love with it that's the thing you want

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to

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do you got the idea you're in love with

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the idea all your ideas are together say

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00:12:03,360 --> 00:12:10,399
in a script now you go and you start um

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putting all the elements together to

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make that idea a reality in the material

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world uh film is made up of many many

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many

224
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elements so you have to be true to every

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single little tiny

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element in order to have a chance that

227
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the whole will be hold

228
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together and even so if you're really

229
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true to every element and not walk away

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until they feel correct based on the

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idea you can get a magical thing that

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they say the whole is greater than the

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sum of the parts a magic thing can

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happen when these elements swim together

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and boom it's it's it's the magic of

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Cinema Anyone who reads the script this

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same thing is happening

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happing but now this this is the one

239
00:13:03,000 --> 00:13:10,000
who's going to make the film so this one

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is picturing this and hearing this and

241
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this like this for him or

242
00:13:13,320 --> 00:13:20,959
herself now the filmmaker's job is to

243
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get all the people that are going to

244
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help to help get this thing out of the

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head onto the screen

246
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and that's going to to involve talking

247
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to different

248
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departments and getting them to get the

249
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right clothes the right light the right

250
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this the right that so now this is was

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alive in here and now it's going to be

252
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alive on the

253
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screen if it's new to you it's new

254
00:14:00,279 --> 00:14:07,240
they say there's nothing new Under the

255
00:14:02,680 --> 00:14:10,240
Sun if it's new to you and you love the

256
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world um then you

257
00:14:10,240 --> 00:14:15,720
go when is it okay to

258
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borrow I guess it

259
00:14:15,720 --> 00:14:22,759
depends

260
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on uh borrowing or

261
00:14:22,759 --> 00:14:33,360
stealing and um so in Wild at Heart

262
00:14:30,320 --> 00:14:35,160
sailor and Lula it just started creeping

263
00:14:33,360 --> 00:14:37,480
in that they just loved the wizard of

264
00:14:35,160 --> 00:14:40,360
odds and would make references to it

265
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because they loved it

266
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and uh like so many other people but

267
00:14:43,079 --> 00:14:49,399
it's kind of was strange that sailor

268
00:14:45,920 --> 00:14:54,320
would like it but it makes sense to me

269
00:14:49,399 --> 00:14:57,000
it was a little bit stealing I guess but

270
00:14:54,320 --> 00:15:00,360
it made sense the characters and it in

271
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my mind it it honors this great film The

272
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Wizard of

273
00:15:01,360 --> 00:15:07,959
Oz which is a film that's caused people

274
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to dream now for

275
00:15:07,959 --> 00:15:13,279
decades and there's something about The

276
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Wizard of Oz that's

277
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Cosmic and it talks to human beings in a

278
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deep

279
00:15:22,000 --> 00:15:28,600
way

280
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sailor sailor

281
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the good witch saor

282
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Ripley Lula loves you but I'm a robber

283
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and a

284
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manslaughterer and I haven't had any

285
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Parental Guidance she's forgiven you all

286
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these

287
00:15:46,560 --> 00:15:53,639
things you love

288
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her don't be afraid

289
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sailor but I'm Wild at Heart if you're

290
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true truly wilded

291
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heart you'll fight for your

292
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dreams don't turn away from love

293
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sailor don't turn away from

294
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love that's

295
00:16:19,199 --> 00:16:24,600
Cherie uh who's also Laura Palmer it's

296
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perfect that she floats down I said are

297
00:16:24,600 --> 00:16:29,560
you afraid of heights you know and she

298
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said no cuz she didn't want to say the

299
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truth she desperately afraid of heights

300
00:16:32,519 --> 00:16:37,199
we had her strung up really high Fred

301
00:16:35,160 --> 00:16:41,360
Elms did a great job lighting that he

302
00:16:37,199 --> 00:16:45,279
had this um pool of water on

303
00:16:41,360 --> 00:16:47,319
plexiglass and was dancing lights and it

304
00:16:45,279 --> 00:16:51,920
was really really

305
00:16:47,319 --> 00:16:55,160
beautiful and um sailor and and the good

306
00:16:51,920 --> 00:16:58,199
witch did a beautiful job you know Barry

307
00:16:55,160 --> 00:17:00,839
gford you know and the book ends not in

308
00:16:58,199 --> 00:17:00,839
a happy way

309
00:17:01,000 --> 00:17:06,319
and nobody wanted it to end in an

310
00:17:05,079 --> 00:17:08,640
unhappy

311
00:17:06,319 --> 00:17:11,919
way and that's when the good witch

312
00:17:08,640 --> 00:17:15,919
really came in and uh saved the day

313
00:17:11,919 --> 00:17:19,480
Barry was really really really great uh

314
00:17:15,919 --> 00:17:20,360
to work with because he didn't care I

315
00:17:19,480 --> 00:17:25,120
always

316
00:17:20,360 --> 00:17:30,160
say Barry's books I love but they're

317
00:17:25,120 --> 00:17:34,000
very minimal the chapters are short and

318
00:17:30,160 --> 00:17:38,120
minimal and um it's a certain way he

319
00:17:34,000 --> 00:17:41,640
writes his writing is just got these

320
00:17:38,120 --> 00:17:43,039
seeds that Sprout and go off you know in

321
00:17:41,640 --> 00:17:47,919
all different

322
00:17:43,039 --> 00:17:50,480
directions and um so he said David you

323
00:17:47,919 --> 00:17:52,240
do whatever you want and and there'll be

324
00:17:50,480 --> 00:17:54,720
David Lynch's right Wild at Heart and

325
00:17:52,240 --> 00:17:59,840
Barry gord's wild atart he was just

326
00:17:54,720 --> 00:18:03,919
really generous in that way and uh

327
00:17:59,840 --> 00:18:08,120
but his book you know I loved and

328
00:18:03,919 --> 00:18:08,120
inspired you know what came

329
00:18:12,760 --> 00:18:18,280
out when you're just starting out it's

330
00:18:16,640 --> 00:18:21,159
very difficult unless you're from a

331
00:18:18,280 --> 00:18:25,799
wealthy family it's very difficult

332
00:18:21,159 --> 00:18:30,159
to have um the time and materials to

333
00:18:25,799 --> 00:18:33,559
live the art life so uh you have to live

334
00:18:30,159 --> 00:18:36,919
the art life

335
00:18:33,559 --> 00:18:39,400
around uh whatever job you have to earn

336
00:18:36,919 --> 00:18:43,440
money to eat and have a place to live

337
00:18:39,400 --> 00:18:44,440
and work and it's tough but all the time

338
00:18:43,440 --> 00:18:48,360
that you're

339
00:18:44,440 --> 00:18:53,559
working uh to earn that money you can be

340
00:18:48,360 --> 00:18:54,799
thinking and you can be um saving up

341
00:18:53,559 --> 00:18:59,120
your

342
00:18:54,799 --> 00:19:01,799
money and getting those materials and

343
00:18:59,120 --> 00:19:03,960
that as much time as you can to uh

344
00:19:01,799 --> 00:19:05,760
dedicate to your work your your work

345
00:19:03,960 --> 00:19:09,880
which is the

346
00:19:05,760 --> 00:19:09,880
artwork when I started

347
00:19:10,039 --> 00:19:14,559
out all I wanted to be was a

348
00:19:14,600 --> 00:19:20,240
painter and you don't need a lot of

349
00:19:17,679 --> 00:19:24,679
money to be a

350
00:19:20,240 --> 00:19:27,159
painter I raised money by delivering

351
00:19:24,679 --> 00:19:29,360
prescriptions uh for Place herder's

352
00:19:27,159 --> 00:19:32,240
drugstore in Alexandria

353
00:19:29,360 --> 00:19:35,400
Virginia and my father made a deal with

354
00:19:32,240 --> 00:19:37,159
me I wanted to get a studio he said he'd

355
00:19:35,400 --> 00:19:40,640
pay for half if I earned the money and

356
00:19:37,159 --> 00:19:44,200
paid for the other half so I delivered

357
00:19:40,640 --> 00:19:46,960
prescriptions in the e at night in a red

358
00:19:44,200 --> 00:19:49,559
and white Jeep and made enough money

359
00:19:46,960 --> 00:19:52,200
just working a couple nights a week to

360
00:19:49,559 --> 00:19:55,799
uh get a studio where I'd go after

361
00:19:52,200 --> 00:19:58,840
school and work until

362
00:19:55,799 --> 00:20:03,720
uh late at night

363
00:19:58,840 --> 00:20:06,880
so I've had to um do things to earn

364
00:20:03,720 --> 00:20:11,400
money but I've gotten what I call a

365
00:20:06,880 --> 00:20:14,679
setup which a setup is a place to work

366
00:20:11,400 --> 00:20:16,400
and materials to do the tools and

367
00:20:14,679 --> 00:20:21,159
materials to do the

368
00:20:16,400 --> 00:20:24,159
work so if you're interested in painting

369
00:20:21,159 --> 00:20:27,000
you need a place to paint and you need

370
00:20:24,159 --> 00:20:29,320
paints and you need to get all this

371
00:20:27,000 --> 00:20:31,880
stuff together and the space and it's

372
00:20:29,320 --> 00:20:34,080
then they call it a painting Studio

373
00:20:31,880 --> 00:20:37,039
every single thing that we do we need a

374
00:20:34,080 --> 00:20:39,039
place and a machines or you know uh

375
00:20:37,039 --> 00:20:42,559
materials or equipment to you know make

376
00:20:39,039 --> 00:20:44,760
it happen you asked about this little

377
00:20:42,559 --> 00:20:47,039
Bungalow I had on

378
00:20:44,760 --> 00:20:50,880
Rosewood

379
00:20:47,039 --> 00:20:57,000
Avenue I was there during a

380
00:20:50,880 --> 00:21:00,039
time when gasoline was 27 cents a

381
00:20:57,000 --> 00:21:01,440
gallon I had a paper R I delivered the

382
00:21:00,039 --> 00:21:04,760
Wall Street

383
00:21:01,440 --> 00:21:11,080
Journal I picked up my papers at

384
00:21:04,760 --> 00:21:14,799
11:30 and I made $200 a

385
00:21:11,080 --> 00:21:19,520
month that was plenty of

386
00:21:14,799 --> 00:21:24,440
money to um to

387
00:21:19,520 --> 00:21:26,919
live and I had uh I built a shed onto

388
00:21:24,440 --> 00:21:29,840
the side of the Bungalow for a little

389
00:21:26,919 --> 00:21:34,039
tiny Work Workshop

390
00:21:29,840 --> 00:21:35,840
I built some sheds in the

391
00:21:34,039 --> 00:21:39,159
yard

392
00:21:35,840 --> 00:21:43,400
and I had

393
00:21:39,159 --> 00:21:46,880
um the ability to make things I still

394
00:21:43,400 --> 00:21:50,600
didn't have enough money to paint the

395
00:21:46,880 --> 00:21:52,240
way I wanted to paint AFI at the time I

396
00:21:50,600 --> 00:21:53,600
went the center for advanced film

397
00:21:52,240 --> 00:21:57,440
studies was

398
00:21:53,600 --> 00:21:59,799
housed and the Greystone Mansion a 55

399
00:21:57,440 --> 00:22:03,640
room mansion

400
00:21:59,799 --> 00:22:08,320
in the best part of Beverly Hills

401
00:22:03,640 --> 00:22:12,039
California at night no one was there and

402
00:22:08,320 --> 00:22:16,400
I got to take over the Stables I had a

403
00:22:12,039 --> 00:22:19,559
mini studio for 4 years I had all the

404
00:22:16,400 --> 00:22:22,600
equipment I could ever dream of I had

405
00:22:19,559 --> 00:22:25,840
rooms for storage of equipment I had

406
00:22:22,600 --> 00:22:30,240
places outside to build sets I had a

407
00:22:25,840 --> 00:22:33,880
setup like you cannot believe for 4

408
00:22:30,240 --> 00:22:37,080
years and I even lived there I lived in

409
00:22:33,880 --> 00:22:41,279
Beverly Hills California on about a

410
00:22:37,080 --> 00:22:44,600
nickel a week it was beautiful and what

411
00:22:41,279 --> 00:22:47,039
we called the food room where we ate

412
00:22:44,600 --> 00:22:51,600
when I finished a pack of

413
00:22:47,039 --> 00:22:55,279
matches I would do drawings on the

414
00:22:51,600 --> 00:22:59,440
inside they're abstract but these are

415
00:22:55,279 --> 00:23:01,919
all Italian Renaissance drawings

416
00:22:59,440 --> 00:23:04,240
these have been found and

417
00:23:01,919 --> 00:23:07,120
collected and now they're all framed

418
00:23:04,240 --> 00:23:09,440
they're really beautiful little things

419
00:23:07,120 --> 00:23:13,720
so these are my matchbook

420
00:23:09,440 --> 00:23:13,720
drawings from the days of eraser

421
00:23:13,840 --> 00:23:19,279
head my friend Bush no keiler who really

422
00:23:16,840 --> 00:23:22,200
was an inspiration in the early days

423
00:23:19,279 --> 00:23:24,799
said an artist needs at least four hours

424
00:23:22,200 --> 00:23:27,440
of uninterrupted guaranteed un

425
00:23:24,799 --> 00:23:32,159
interrupted time to get one good hour of

426
00:23:27,440 --> 00:23:36,520
painting done and this is so true every

427
00:23:32,159 --> 00:23:38,559
Interruption just is like a a knife stab

428
00:23:36,520 --> 00:23:41,120
in the middle of you know thought and

429
00:23:38,559 --> 00:23:44,240
and getting into it and you start again

430
00:23:41,120 --> 00:23:46,400
you start again it's horrible these days

431
00:23:44,240 --> 00:23:48,679
there's interruptions around every

432
00:23:46,400 --> 00:23:52,640
corner almost every

433
00:23:48,679 --> 00:23:54,360
second I've said that you have to be

434
00:23:52,640 --> 00:23:57,440
somewhat

435
00:23:54,360 --> 00:24:00,279
selfish but selfishness like beauty is

436
00:23:57,440 --> 00:24:03,279
in the eye of the behold older

437
00:24:00,279 --> 00:24:08,279
it's if you're with the right

438
00:24:03,279 --> 00:24:10,919
people it's it cannot be seen so much as

439
00:24:08,279 --> 00:24:14,080
selfishness it could be seen as that's

440
00:24:10,919 --> 00:24:18,600
your work in life and you need the time

441
00:24:14,080 --> 00:24:23,400
and the um materials you know to do it

442
00:24:18,600 --> 00:24:28,960
but you have to protect that space and

443
00:24:23,400 --> 00:24:28,960
that time or you won't get anything done

1
00:00:00,500 --> 00:00:02,220
DAVID LYNCH: I
think we should all

2
00:00:02,220 --> 00:00:08,340
have as much technical knowledge
as possible to make films.

3
00:00:08,340 --> 00:00:13,320
The technical knowledge of a
camera, lenses , film stock,

4
00:00:13,320 --> 00:00:17,970
lighting, sound,
editing machines.

5
00:00:17,970 --> 00:00:22,260
But I think the main thing
is to learn by doing.

6
00:00:22,260 --> 00:00:26,130
When you have hands on
and are doing things,

7
00:00:26,130 --> 00:00:28,090
it brings you into the thing.

8
00:00:28,090 --> 00:00:30,420
And you realize what this
does, what that does.

9
00:00:30,420 --> 00:00:33,030
And it opens up possibilities
for the flow of ideas.

10
00:00:33,030 --> 00:00:36,770


11
00:00:36,770 --> 00:00:39,870
You're learning by doing, not
an intellectual understanding,

12
00:00:39,870 --> 00:00:42,690
but an experiential thing.

13
00:00:42,690 --> 00:00:47,100
That is so important,
as far as I'm concerned.

14
00:00:47,100 --> 00:00:50,760
All the different
parts get into it.

15
00:00:50,760 --> 00:00:54,940
And then in film
school, if you're lucky,

16
00:00:54,940 --> 00:00:57,340
you'll be with other students.

17
00:00:57,340 --> 00:01:00,390
And if they're the right ones,
you'll inspire one another

18
00:01:00,390 --> 00:01:03,870
and light a bigger fire.

19
00:01:03,870 --> 00:01:08,250
And you can meet people that
you'll stay with, you know,

20
00:01:08,250 --> 00:01:09,600
and work with.

21
00:01:09,600 --> 00:01:13,740
And it could be
really, really great,

22
00:01:13,740 --> 00:01:16,500
this school learning
environment.

23
00:01:16,500 --> 00:01:19,240
Maybe get a camera.

24
00:01:19,240 --> 00:01:21,730
Save up, figure out
a way to get a camera

25
00:01:21,730 --> 00:01:24,070
and learn how to use it.

26
00:01:24,070 --> 00:01:27,280
Then get-- maybe
get some friends

27
00:01:27,280 --> 00:01:32,290
and write a scene based on
ideas that you might have caught

28
00:01:32,290 --> 00:01:34,220
and shoot that.

29
00:01:34,220 --> 00:01:36,970
And then because
you did that and you

30
00:01:36,970 --> 00:01:41,560
see what the camera did,
you see like, oh, I should

31
00:01:41,560 --> 00:01:43,480
have been closer on that shot.

32
00:01:43,480 --> 00:01:44,850
That-- that would have--

33
00:01:44,850 --> 00:01:47,170
I-- I-- and then I should have--

34
00:01:47,170 --> 00:01:49,520
and you start learning.

35
00:01:49,520 --> 00:01:51,550
And then maybe you
re-shoot the thing,

36
00:01:51,550 --> 00:01:56,410
or maybe new things have come
along and you learn by doing.

37
00:01:56,410 --> 00:01:59,380
And then more ideas will come.

38
00:01:59,380 --> 00:02:04,690
Because now-- once you start
seeing what this particular

39
00:02:04,690 --> 00:02:08,320
camera gives you if you
have this particular light,

40
00:02:08,320 --> 00:02:12,570
and you see this girl saying
this thing in a certain way,

41
00:02:12,570 --> 00:02:14,760
you start getting a--

42
00:02:14,760 --> 00:02:18,420
the medium starts
talking to you.

43
00:02:18,420 --> 00:02:22,050
And it's like it
introduces itself to you.

44
00:02:22,050 --> 00:02:23,970
You get to know it.

45
00:02:23,970 --> 00:02:26,700
And then the more
you get to know it,

46
00:02:26,700 --> 00:02:30,690
the more it helps you get ideas.

47
00:02:30,690 --> 00:02:33,230
Oh, if I did this--
and that's an idea.

48
00:02:33,230 --> 00:02:35,250
Oh, I could-- oh.

49
00:02:35,250 --> 00:02:37,690
And then in they come.

50
00:02:37,690 --> 00:02:44,350
And so you just stay
alert, do your work.

51
00:02:44,350 --> 00:02:47,910
Don't worry about
the world going by.

52
00:02:47,910 --> 00:02:52,360
It doesn't mean that you can
sit around and not do anything.

53
00:02:52,360 --> 00:02:58,050
You've got to get your
butt in gear and do it.

54
00:02:58,050 --> 00:03:00,540
And don't take no for an answer.

55
00:03:00,540 --> 00:03:04,620
Translate those ideas to
cinema, or to a painting,

56
00:03:04,620 --> 00:03:06,480
or to whatever.

57
00:03:06,480 --> 00:03:10,424
And figure out a
way to get it done.

58
00:03:10,424 --> 00:03:13,388


59
00:03:20,320 --> 00:03:24,120
This is a sculptured screen
for "Six Men Getting Sick"

60
00:03:24,120 --> 00:03:28,150
minus the film and the sound.

61
00:03:28,150 --> 00:03:30,285
Two of the faces are
me and one is of Jack.

62
00:03:32,840 --> 00:03:36,920
And they're cast in
resin, all put together

63
00:03:36,920 --> 00:03:42,068
to be this screen upon
which the film fell.

64
00:03:42,068 --> 00:03:45,540
[SIREN SOUNDING]

65
00:04:16,320 --> 00:04:21,149
What you just saw started
everything for me in cinema.

66
00:04:21,149 --> 00:04:26,850
That particular thing
started with an idea or a--

67
00:04:26,850 --> 00:04:32,520
kind of a experience
that happened to me

68
00:04:32,520 --> 00:04:36,620
when I was sitting at night.

69
00:04:36,620 --> 00:04:41,570
I picture it being
around 9:30 or 10:00

70
00:04:41,570 --> 00:04:48,200
at night in a cubicle in a large
studio room at the Pennsylvania

71
00:04:48,200 --> 00:04:50,270
Academy of Fine Arts.

72
00:04:50,270 --> 00:04:55,040
I'm in there painting a picture
about three or four foot

73
00:04:55,040 --> 00:04:58,700
square, mostly
black, with these--

74
00:04:58,700 --> 00:05:01,100
this green-- sort of a garden--

75
00:05:01,100 --> 00:05:03,740
green coming out of the back.

76
00:05:03,740 --> 00:05:07,220
I'm sitting back
looking at this thing.

77
00:05:07,220 --> 00:05:11,270
And as I'm looking
at the painting,

78
00:05:11,270 --> 00:05:14,910
the green began to move.

79
00:05:14,910 --> 00:05:19,690
And from the green
and black came a wind.

80
00:05:19,690 --> 00:05:24,740
And I thought, oh,
a moving painting.

81
00:05:24,740 --> 00:05:29,800
And then I started thinking
about a moving painting.

82
00:05:29,800 --> 00:05:32,500
And at the end of
every school year

83
00:05:32,500 --> 00:05:35,080
there, they had a an
experimental painting

84
00:05:35,080 --> 00:05:37,150
and sculpture contest.

85
00:05:37,150 --> 00:05:40,690
And I thought, oh, I'm
going to build a moving

86
00:05:40,690 --> 00:05:48,400
painting for that experimental
painting and sculpture contest.

87
00:05:48,400 --> 00:05:51,340
I didn't know
anything about film.

88
00:05:51,340 --> 00:05:53,410
Zero.

89
00:05:53,410 --> 00:05:55,630
And I went down to this--

90
00:05:55,630 --> 00:06:00,850
I thought 16 millimeter
cameras were all the same.

91
00:06:00,850 --> 00:06:04,720
So I called around and I
got these varying prices,

92
00:06:04,720 --> 00:06:07,000
some super expensive, some--

93
00:06:07,000 --> 00:06:09,970
I ended up at this
place called Foto-Rama,

94
00:06:09,970 --> 00:06:13,300
downtown Philadelphia, because
they are the cheapest 16

95
00:06:13,300 --> 00:06:14,080
millimeter camera.

96
00:06:14,080 --> 00:06:18,640
And I rented a little
windup Kodak camera

97
00:06:18,640 --> 00:06:23,470
that took single frames and
had these little bitty cooked

98
00:06:23,470 --> 00:06:26,260
lenses on it, a turret of three.

99
00:06:26,260 --> 00:06:29,350
And I loved this little camera.

100
00:06:29,350 --> 00:06:36,410
I mounted it on top of a
dresser in an old hotel room

101
00:06:36,410 --> 00:06:39,940
that the Academy had
purchased this hotel.

102
00:06:39,940 --> 00:06:42,500
And the rooms were all
empty, but in the hallways

103
00:06:42,500 --> 00:06:48,370
there were beautiful brass beds,
and oriental carpets rolled up,

104
00:06:48,370 --> 00:06:52,060
and all kinds of different
pieces of furniture.

105
00:06:52,060 --> 00:06:55,930
But the rooms were
open for work.

106
00:06:55,930 --> 00:06:58,270
And I built a sculpture
screen in there.

107
00:06:58,270 --> 00:07:06,490
And then I think came in faces,
and the sound of a siren,

108
00:07:06,490 --> 00:07:08,360
and them getting sick.

109
00:07:08,360 --> 00:07:11,920
So it kind of started--

110
00:07:11,920 --> 00:07:14,760
those ideas came.

111
00:07:14,760 --> 00:07:21,400
And this siren was on a
loop of quarter inch tape.

112
00:07:21,400 --> 00:07:26,930
And the film was
not from a negative.

113
00:07:26,930 --> 00:07:28,610
It was a-- what do you call it?

114
00:07:28,610 --> 00:07:29,300
Reversal.

115
00:07:29,300 --> 00:07:33,240
It was-- what you
develop is what you show.

116
00:07:33,240 --> 00:07:37,460
And-- so it was really trashed
by going through the projector

117
00:07:37,460 --> 00:07:39,020
so much.

118
00:07:39,020 --> 00:07:41,930
That whole thing cost $200.

119
00:07:41,930 --> 00:07:45,780
And I said, this is
absolutely ridiculous,

120
00:07:45,780 --> 00:07:47,550
and I can't do this anymore.

121
00:07:47,550 --> 00:07:49,580
It was going to be the end.

122
00:07:49,580 --> 00:07:54,140
But a wealthy former
student saw it

123
00:07:54,140 --> 00:08:00,060
and commissioned me to build a
moving painting for his home.

124
00:08:00,060 --> 00:08:06,890
And that led further
into the world of cinema.

125
00:08:06,890 --> 00:08:16,390
And for me, I just started
getting green lights

126
00:08:16,390 --> 00:08:18,250
in that world.

127
00:08:18,250 --> 00:08:22,300
The beautiful thing
about making that was I

128
00:08:22,300 --> 00:08:26,254
started to fall in
love with cinema.

129
00:08:26,254 --> 00:08:29,116


130
00:08:32,940 --> 00:08:39,020
I think you should go into
film history a little bit.

131
00:08:39,020 --> 00:08:41,870
At the American Film Institute
Center for Advanced Film

132
00:08:41,870 --> 00:08:48,440
Studies, Frank Danielle had
what he called a film analysis

133
00:08:48,440 --> 00:08:50,030
class.

134
00:08:50,030 --> 00:08:54,720
And I think this is
a great, great thing.

135
00:08:54,720 --> 00:08:59,340
There were maybe 10 students
that would come to the class.

136
00:08:59,340 --> 00:09:07,230
And we'd meet for a few
minutes in Frank's office.

137
00:09:07,230 --> 00:09:08,440
And he would say, OK.

138
00:09:08,440 --> 00:09:09,657
You're in charge of editing.

139
00:09:09,657 --> 00:09:10,740
You're in charge of music.

140
00:09:10,740 --> 00:09:11,823
You're in charge of sound.

141
00:09:11,823 --> 00:09:13,898
You're in charge of,
you know, costumes.

142
00:09:13,898 --> 00:09:14,940
You're in charge of this.

143
00:09:14,940 --> 00:09:17,100
Give everybody something.

144
00:09:17,100 --> 00:09:19,920
And then we go see a film.

145
00:09:19,920 --> 00:09:22,050
And then we go back
into Frank's office.

146
00:09:22,050 --> 00:09:27,240
And each person would talk
about a particular, you know,

147
00:09:27,240 --> 00:09:32,460
element, like the editing,
or the sound, or the music.

148
00:09:32,460 --> 00:09:36,900
And it helps to
realize that there

149
00:09:36,900 --> 00:09:40,510
are these different sections.

150
00:09:40,510 --> 00:09:46,530
And each one has so many
possibilities to, you know,

151
00:09:46,530 --> 00:09:51,960
realize those ideas
in fantastic ways.

152
00:09:54,760 --> 00:09:58,218


153
00:10:06,640 --> 00:10:13,420
I love Billy Wilder for
his timing, characters,

154
00:10:13,420 --> 00:10:14,545
and sense of place.

155
00:10:18,218 --> 00:10:19,510
I can't go on with the scene.

156
00:10:19,510 --> 00:10:21,880
I'm too happy.

157
00:10:21,880 --> 00:10:24,190
You see, this is my life.

158
00:10:24,190 --> 00:10:26,150
It always will be.

159
00:10:26,150 --> 00:10:30,790
There's nothing else, just
us and those wonderful people

160
00:10:30,790 --> 00:10:32,230
out there in the dark.

161
00:10:35,110 --> 00:10:38,074
All right Mr. De Mille,
I'm ready for my close up.

162
00:10:38,074 --> 00:10:42,010


163
00:10:55,300 --> 00:10:58,420
Doesn't get much
better than that.

164
00:10:58,420 --> 00:11:02,590
I love "Sunset Boulevard"
with all my being,

165
00:11:02,590 --> 00:11:05,440
and I love his film,
"The Apartment."

166
00:11:05,440 --> 00:11:08,830
And one thing I've noticed
about both those films

167
00:11:08,830 --> 00:11:15,640
is that places, they
feel so good, so correct.

168
00:11:15,640 --> 00:11:22,390
And it's just beautiful sense of
place, time, mood, characters,

169
00:11:22,390 --> 00:11:26,260
timing, humor,
sadness, you know?

170
00:11:26,260 --> 00:11:31,450
All this human condition just
flows in a Billy Wilder film.

171
00:11:31,450 --> 00:11:34,870
He's a great,
great, great artist.

172
00:11:34,870 --> 00:11:39,680
You know, "Sunset Boulevard" is
one of my all-time favorites.

173
00:11:39,680 --> 00:11:44,500
It captures the golden age
of Hollywood, you know,

174
00:11:44,500 --> 00:11:48,490
all the different things,
the stages, the backstreets,

175
00:11:48,490 --> 00:11:52,930
the mansions, this thing
that Hollywood does.

176
00:11:52,930 --> 00:11:58,440
It's just a magical,
beautiful, incredible film.

177
00:11:58,440 --> 00:12:04,440
This "Chinatown," I say
is a great, great film

178
00:12:04,440 --> 00:12:07,200
and will live on.

179
00:12:07,200 --> 00:12:11,630
And one of the great
things about it

180
00:12:11,630 --> 00:12:16,120
is, I say, you know, like
this thing, room to dream.

181
00:12:16,120 --> 00:12:21,650
A film, even though it ends--

182
00:12:21,650 --> 00:12:28,840
the thing I like about
some, you know, endings--

183
00:12:28,840 --> 00:12:33,260
and "Chinatown" is
a perfect example--

184
00:12:33,260 --> 00:12:39,070
the film ends, but there's
still room to dream.

185
00:12:39,070 --> 00:12:45,970
And in "Chinatown," the thing
that makes it so much room

186
00:12:45,970 --> 00:12:48,730
to dream is that last line.

187
00:12:48,730 --> 00:12:50,420
"Forget it, Jake.

188
00:12:50,420 --> 00:12:53,460
It's Chinatown."

189
00:12:53,460 --> 00:12:54,570
Boom.

190
00:12:54,570 --> 00:13:02,280
It just opens up this
mystery of this place.

191
00:13:02,280 --> 00:13:07,420
And the film continues,
and continues,

192
00:13:07,420 --> 00:13:09,717
even though it's over.

193
00:13:09,717 --> 00:13:12,711


194
00:13:38,180 --> 00:13:41,030
I love everything about Fellini.

195
00:13:41,030 --> 00:13:44,840
One of the greatest
filmmakers ever.

196
00:13:44,840 --> 00:13:49,070
My favorite film of Fellini's
is probably "8 1/2,"

197
00:13:49,070 --> 00:13:50,630
but I love "La Strada."

198
00:13:50,630 --> 00:13:52,250
I loved "I Vitelloni."

199
00:13:52,250 --> 00:13:55,370
I've loved all of his
work that I've seen.

200
00:13:55,370 --> 00:14:00,860
Every single thing has just got
Fellini's mark on every frame.

201
00:14:00,860 --> 00:14:03,560
That's the thing.

202
00:14:03,560 --> 00:14:05,300
You know it when you see it.

203
00:14:05,300 --> 00:14:16,356
And his work is
unique and fantastic.

204
00:14:21,200 --> 00:14:22,720
GEORGE BAILEY: Have
you see my wife?

205
00:14:22,720 --> 00:14:25,740
Merry Christmas, Daddy.

206
00:14:25,740 --> 00:14:26,910
Kids.

207
00:14:26,910 --> 00:14:28,830
Pete.

208
00:14:28,830 --> 00:14:29,681
Oh, oh.

209
00:14:32,400 --> 00:14:32,900
Kids.

210
00:14:32,900 --> 00:14:34,720
Janie, Janie, Tommy.

211
00:14:37,430 --> 00:14:38,900
Oh, look at you.

212
00:14:38,900 --> 00:14:41,320
Oh, I could eat you up.

213
00:14:41,320 --> 00:14:42,200
Where's your mother?

214
00:14:42,200 --> 00:14:43,325
She went looking for you.

215
00:14:43,325 --> 00:14:44,413
With Uncle Billy.

216
00:14:44,413 --> 00:14:45,140
Daddy.

217
00:14:45,140 --> 00:14:46,260
Zuzu.

218
00:14:46,260 --> 00:14:47,810
Zuzu, my little ginger snap.

219
00:14:47,810 --> 00:14:48,540
How do you feel?

220
00:14:48,540 --> 00:14:49,223
Fine.

221
00:14:49,223 --> 00:14:50,390
Not a smidge of temperature.

222
00:14:50,390 --> 00:14:52,152
Not a smidge of temperature.

223
00:14:52,152 --> 00:14:52,652
[LAUGHTER]

224
00:14:52,652 --> 00:14:53,520
Hallelujah.

225
00:14:53,520 --> 00:14:55,090
Hello.

226
00:14:55,090 --> 00:14:55,950
George!

227
00:14:55,950 --> 00:14:56,450
Mary.

228
00:14:56,450 --> 00:14:57,367
MARY: George, darling.

229
00:14:57,367 --> 00:14:58,488
Where have you--

230
00:14:58,488 --> 00:15:00,870
George, darling, where are you--

231
00:15:00,870 --> 00:15:02,820
George.

232
00:15:02,820 --> 00:15:04,350
George George.

233
00:15:04,350 --> 00:15:05,590
Oh, George.

234
00:15:05,590 --> 00:15:06,570
Let me touch you.

235
00:15:06,570 --> 00:15:08,290
Are you real?

236
00:15:08,290 --> 00:15:10,070
Oh.

237
00:15:10,070 --> 00:15:11,210
George.

238
00:15:11,210 --> 00:15:13,150
You have no idea
what's happened to me.

239
00:15:13,150 --> 00:15:15,587
You have no idea
what happened.

240
00:15:15,587 --> 00:15:16,254
Come on, George.

241
00:15:16,254 --> 00:15:17,246
Come on.

242
00:15:20,730 --> 00:15:23,790
Incredible.

243
00:15:23,790 --> 00:15:28,650
Frank Capra was another
one all-time greats.

244
00:15:28,650 --> 00:15:37,440
And this-- this film,
"It's a Wonderful Life,"

245
00:15:37,440 --> 00:15:42,600
was made, I think,
in '46 after the war.

246
00:15:42,600 --> 00:15:48,750
And Jimmy Stewart had been
in the war and for years.

247
00:15:48,750 --> 00:15:52,530
And when he came out, he didn't
know if he had the stuff.

248
00:15:52,530 --> 00:15:55,720
And this thing came along.

249
00:15:55,720 --> 00:15:59,382
He does some things in
this film that are like--

250
00:15:59,382 --> 00:16:03,110
[VOCALIZES]

251
00:16:03,110 --> 00:16:12,710
There's one place in the film
where he says the word, Mary.

252
00:16:12,710 --> 00:16:18,470
It's unbelievable what comes
out of his voice, his soul.

253
00:16:18,470 --> 00:16:20,900
He is so great in that film.

254
00:16:20,900 --> 00:16:26,240
Frank Capra is one of the
all-time greats for sure

255
00:16:26,240 --> 00:16:33,080
Frank Capra had a thing for
this side of human beings

256
00:16:33,080 --> 00:16:35,600
that was so beautiful.

257
00:16:35,600 --> 00:16:36,882
MAN (ON PHONE): Mary, Mary?

258
00:16:40,610 --> 00:16:41,840
I'm here.

259
00:16:41,840 --> 00:16:44,090
MAN (ON PHONE): Would you
tell that guy I'm giving him

260
00:16:44,090 --> 00:16:45,132
the chance of a lifetime?

261
00:16:45,132 --> 00:16:45,900
Do you hear?

262
00:16:45,900 --> 00:16:47,230
The chance of a lifetime.

263
00:16:51,570 --> 00:16:53,758
He says it's the
chance of a lifetime.

264
00:16:57,430 --> 00:16:59,150
Now you listen to me.

265
00:16:59,150 --> 00:17:02,141
I don't want any plastics, and
I don't want any ground floors.

266
00:17:02,141 --> 00:17:04,099
And I don't want to get
married ever to anyone.

267
00:17:04,099 --> 00:17:05,780
You understand that?

268
00:17:05,780 --> 00:17:07,990
I want to do what I want to do.

269
00:17:07,990 --> 00:17:10,092
And you're-- and you're--

270
00:17:10,092 --> 00:17:12,250
oh, Mary.

271
00:17:12,250 --> 00:17:13,729
George, George, George.

272
00:17:17,369 --> 00:17:18,539
Mary.

273
00:17:18,539 --> 00:17:22,630
[CRYING]

1
00:00:00,921 --> 00:00:04,071


2
00:00:04,071 --> 00:00:06,481
DAVID LYNCH: I've
had experiences

3
00:00:06,481 --> 00:00:10,261
where people come in and they
get the role for one thing,

4
00:00:10,261 --> 00:00:13,171
but in talking to
them, I see that they

5
00:00:13,171 --> 00:00:16,459
could do this other thing.

6
00:00:16,459 --> 00:00:18,251
When you get to know
somebody a little bit,

7
00:00:18,251 --> 00:00:21,161
you see other possibilities.

8
00:00:21,161 --> 00:00:23,381
And then when
something comes up,

9
00:00:23,381 --> 00:00:26,021
you know they could do that
too, which is quite a bit

10
00:00:26,021 --> 00:00:27,891
different than the other thing.

11
00:00:27,891 --> 00:00:28,961
Are they that character?

12
00:00:28,961 --> 00:00:33,131
Can they be that character
from a deep place within?

13
00:00:33,131 --> 00:00:36,127
And that's the one you want.

14
00:00:36,127 --> 00:00:39,025


15
00:00:47,721 --> 00:00:49,971
Because it's all common sense.

16
00:00:49,971 --> 00:00:56,451
You say, I want to get the
right person for the part.

17
00:00:56,451 --> 00:00:59,921
That makes sense, doesn't it?

18
00:00:59,921 --> 00:01:05,841
So you can't just pick anybody.

19
00:01:05,841 --> 00:01:08,711
You want the right person.

20
00:01:08,711 --> 00:01:16,451
So you need to look
at pictures, explain

21
00:01:16,451 --> 00:01:20,951
what you saw in your mind, the
look of the actor you want.

22
00:01:20,951 --> 00:01:24,461
And then you explain the way
the actor is in some things.

23
00:01:24,461 --> 00:01:29,291
And then people will help
you find pictures of actors.

24
00:01:29,291 --> 00:01:33,071
And then I go by
their face and then

25
00:01:33,071 --> 00:01:35,681
watching them talk
about anything.

26
00:01:35,681 --> 00:01:38,289
And watching them and
listening to them,

27
00:01:38,289 --> 00:01:40,331
I can tell if they will
make it through the film,

28
00:01:40,331 --> 00:01:42,191
if they're the right one.

29
00:01:42,191 --> 00:01:44,996
And sometimes someone
comes in for one part,

30
00:01:44,996 --> 00:01:48,581
but I hear them talk, and
walk, and you know, look,

31
00:01:48,581 --> 00:01:51,231
and they're right
for another thing.

32
00:01:51,231 --> 00:01:57,191
So you-- you watch their
face, listen to them.

33
00:01:57,191 --> 00:02:01,211
And you can tell if they-- if
that person is the one that

34
00:02:01,211 --> 00:02:03,341
can make it through the film.

35
00:02:03,341 --> 00:02:06,851
And you find that one that does
make it through all the scenes

36
00:02:06,851 --> 00:02:08,951
that you're playing
in your mind,

37
00:02:08,951 --> 00:02:10,641
then that's the right one.

38
00:02:10,641 --> 00:02:13,751
You're watching them and
listening to them talk,

39
00:02:13,751 --> 00:02:16,301
and you're seeing
their face, and you're

40
00:02:16,301 --> 00:02:17,291
running them through.

41
00:02:17,291 --> 00:02:19,551
Scene one, they have to play.

42
00:02:19,551 --> 00:02:20,051
Oh, yeah.

43
00:02:20,051 --> 00:02:21,161
He could do that scene.

44
00:02:21,161 --> 00:02:23,951
Then he could do that-- oh,
he could do that scene too.

45
00:02:23,951 --> 00:02:26,621
Yeah, he would be great
for that scene too.

46
00:02:26,621 --> 00:02:28,391
And you're running
them through the film.

47
00:02:28,391 --> 00:02:29,311
This is your guy.

48
00:02:38,081 --> 00:02:40,471
 Oh god, Sailor.

49
00:02:40,471 --> 00:02:43,801
That's the night my
sweet Daddy died.

50
00:02:43,801 --> 00:02:44,751
 I know, sugar.

51
00:02:50,691 --> 00:02:52,176
[DISTANT LAUGHTER]

52
00:02:52,176 --> 00:02:53,166
 Daddy?

53
00:02:53,166 --> 00:02:54,156
[SHRIEKING]

54
00:02:54,156 --> 00:02:55,146
[COUGHING]

55
00:02:55,146 --> 00:02:56,631
Mom?

56
00:02:56,631 --> 00:02:57,621
[COUGHING]

57
00:02:57,621 --> 00:03:05,261
 That's some big secret
you've been carrying, Sail.

58
00:03:05,261 --> 00:03:07,819
 We've all got a
secret side, baby.

59
00:03:07,819 --> 00:03:09,611
Hope you don't think
I've been lying to you

60
00:03:09,611 --> 00:03:10,541
about other things.

61
00:03:25,121 --> 00:03:28,901
DAVID LYNCH: Laura Dern
is like family to me,

62
00:03:28,901 --> 00:03:34,481
and she's a great actress
with all kinds of talent

63
00:03:34,481 --> 00:03:38,771
to do many, many, many
different characters.

64
00:03:38,771 --> 00:03:42,651
She understands the
human condition.

65
00:03:42,651 --> 00:03:52,161
She's pretty much 100% fearless,
and she's a great soul.

66
00:03:52,161 --> 00:03:56,691
When you get to know someone,
in the case of Laura Dern,

67
00:03:56,691 --> 00:04:00,171
working with her on
"Blue Velvet" as Sandy,

68
00:04:00,171 --> 00:04:05,361
Sandy gave a certain feeling.

69
00:04:05,361 --> 00:04:07,941
But then getting
to know Laura Dern,

70
00:04:07,941 --> 00:04:12,411
I see that Lula can
be there as well.

71
00:04:12,411 --> 00:04:15,241
Lula is there in her.

72
00:04:15,241 --> 00:04:21,241
And going even further in
"Twin Peaks: The Return,"

73
00:04:21,241 --> 00:04:26,401
I see that Diane is in
her, which is really almost

74
00:04:26,401 --> 00:04:28,471
like a grown-up Sandy.

75
00:04:28,471 --> 00:04:35,431
So you get to know someone, you
see all these different things,

76
00:04:35,431 --> 00:04:40,647
possibilities, and the
talent to realize them.

77
00:04:40,647 --> 00:04:43,037


78
00:04:45,414 --> 00:04:47,081
KYLE MACLACHLAN (AS
JEFFREY): All right,

79
00:04:47,081 --> 00:04:49,371
the first thing I need is
to get into her apartment

80
00:04:49,371 --> 00:04:51,753
and open a window that
I can crawl into later.

81
00:04:51,753 --> 00:04:53,211
 And how are you
going to do that?

82
00:04:53,211 --> 00:04:56,451
 Right out in the car I happen
to have some old overalls

83
00:04:56,451 --> 00:04:58,971
and a bug-spraying rig.

84
00:04:58,971 --> 00:05:00,361
I will go to her apartment.

85
00:05:00,361 --> 00:05:01,761
I'll be the pest control man.

86
00:05:01,761 --> 00:05:04,041
I will spray her apartment.

87
00:05:04,041 --> 00:05:05,841
After a few minutes,
you knock on the door,

88
00:05:05,841 --> 00:05:07,911
drawing her attention away
from me, at which time

89
00:05:07,911 --> 00:05:09,598
I will then jimmy a window.

90
00:05:09,598 --> 00:05:11,931
And what am I supposed to
say when she comes the door?

91
00:05:11,931 --> 00:05:14,141
 You will be a
Jehovah's Witness.

92
00:05:14,141 --> 00:05:15,021
[LAUGHING]

93
00:05:15,021 --> 00:05:18,661
I have some "Awake"
magazines for you.

94
00:05:18,661 --> 00:05:22,071
I don't need very much
time, just a few seconds.

95
00:05:22,071 --> 00:05:23,493
What do you think?

96
00:05:23,493 --> 00:05:26,196
 I don't know.

97
00:05:26,196 --> 00:05:27,821
I mean, it sounds
like a good daydream,

98
00:05:27,821 --> 00:05:32,477
but actually doing
it's too weird.

99
00:05:32,477 --> 00:05:34,621
It's too dangerous.

100
00:05:34,621 --> 00:05:37,301
 Sandy, let's just
try the first part.

101
00:05:37,301 --> 00:05:39,611
DAVID LYNCH: I feel
as if Kyle's family.

102
00:05:39,611 --> 00:05:45,101
And we have a-- developed a kind
of a way, not a lot of talking,

103
00:05:45,101 --> 00:05:47,981
based on looks,
and hand signals,

104
00:05:47,981 --> 00:05:59,321
and just quiet moments
standing together,

105
00:05:59,321 --> 00:06:01,243
then he knows what to do.

106
00:06:01,243 --> 00:06:04,219
[LAUGHTER]

107
00:06:21,579 --> 00:06:23,067
[WHIMPERING]

108
00:06:23,067 --> 00:06:26,841
 Are you trying to kill me?

109
00:06:26,841 --> 00:06:29,183
 Yes, Darya.

110
00:06:29,183 --> 00:06:30,641
DAVID LYNCH: He
didn't surprise me.

111
00:06:30,641 --> 00:06:33,161
He surprised a lot of
people, but I knew--

112
00:06:33,161 --> 00:06:35,081
Kyle's a great actor.

113
00:06:35,081 --> 00:06:36,461
He's a born actor.

114
00:06:36,461 --> 00:06:41,171
And he's got all those
different things in him.

115
00:06:41,171 --> 00:06:43,871
I always say, you
know, a great actor,

116
00:06:43,871 --> 00:06:47,471
they've got a bad
person in them.

117
00:06:47,471 --> 00:06:51,761
And for like, I say, Kyle
found his bad person.

118
00:06:51,761 --> 00:06:57,221
And-- but it's a different
than Frank Booth, you know,

119
00:06:57,221 --> 00:06:59,111
Dennis Hopper's bad person.

120
00:06:59,111 --> 00:07:01,721
But it's his bad person,
just like Frank Booth

121
00:07:01,721 --> 00:07:03,221
is Dennis' one.

122
00:07:03,221 --> 00:07:05,471
And you find that thing.

123
00:07:05,471 --> 00:07:12,251
You find Dougie Jones in Kyle,
and you find Cooper in Kyle.

124
00:07:12,251 --> 00:07:14,741
So you know, it's just--

125
00:07:14,741 --> 00:07:17,291
they're all in there.

126
00:07:17,291 --> 00:07:20,861
And the only thing you
really do is just help them--

127
00:07:20,861 --> 00:07:24,169
help them bring it
out to the fullest.

128
00:07:24,169 --> 00:07:27,097


129
00:07:32,471 --> 00:07:38,501
Sheryl Lee was cast first
from a still photo and then

130
00:07:38,501 --> 00:07:40,091
an interview.

131
00:07:40,091 --> 00:07:46,511
And she was only going
to play a dead girl.

132
00:07:46,511 --> 00:07:51,101
I told her I wanted to
dip her in gray dye,

133
00:07:51,101 --> 00:07:54,551
and she said that would be OK.

134
00:07:54,551 --> 00:08:04,971
And that she'd be dead by the
shore, wrapped in plastic.

135
00:08:04,971 --> 00:08:08,751
And then there is this picnic
scene that had to be shot.

136
00:08:08,751 --> 00:08:13,901
And she's with Laura Flynn
Boyle, who's-- you know, was,

137
00:08:13,901 --> 00:08:17,411
you know a bona
fide great actress.

138
00:08:17,411 --> 00:08:23,921
And she just held her
own as natural as can be,

139
00:08:23,921 --> 00:08:30,731
absolutely perfect, absolutely
perfect Laura Palmer alive.

140
00:08:30,731 --> 00:08:37,391
And it just was a shame that
she was-- had to be dead.

141
00:08:37,391 --> 00:08:42,721
And one thing led to
another, and she's lived on.

1
00:00:01,101 --> 00:00:06,351
NARRATOR: I think sometimes,
actors are very sensitive.

2
00:00:06,351 --> 00:00:09,471
And they're all wondering.

3
00:00:09,471 --> 00:00:12,951
And, like detectives in
life, they wonder about life,

4
00:00:12,951 --> 00:00:15,095
and they wonder about
the film they're in.

5
00:00:15,095 --> 00:00:18,553


6
00:00:21,031 --> 00:00:23,701
The actor has to
understand enough to make

7
00:00:23,701 --> 00:00:25,921
it real from a deep
place, so you've

8
00:00:25,921 --> 00:00:31,741
got to introduce the thing
that needs to get across

9
00:00:31,741 --> 00:00:33,691
in this particular scene.

10
00:00:33,691 --> 00:00:35,956
When you're looking
at a scene, you're

11
00:00:35,956 --> 00:00:39,821
either in a rehearsal or
just getting going, you know.

12
00:00:39,821 --> 00:00:43,201
And if it doesn't
feel correct, this

13
00:00:43,201 --> 00:00:45,781
is where this thing
of intuition comes in.

14
00:00:48,911 --> 00:00:52,261
It seems sort of
obvious, but how

15
00:00:52,261 --> 00:00:56,671
do you know if it isn't correct?

16
00:00:56,671 --> 00:01:00,331
And then, on top
of that, how do you

17
00:01:00,331 --> 00:01:05,081
know what to say
to make it correct?

18
00:01:05,081 --> 00:01:07,791
It's a tricky question.

19
00:01:07,791 --> 00:01:13,151
Something has to be
judging and watching.

20
00:01:13,151 --> 00:01:18,381
And there has to be some
kind of thing that tells you,

21
00:01:18,381 --> 00:01:19,881
this isn't working.

22
00:01:19,881 --> 00:01:21,951
It could be the way
they're standing.

23
00:01:21,951 --> 00:01:25,791
It could be the loudness
or softness of the voice.

24
00:01:25,791 --> 00:01:28,341
It could be the speed,
you know, like they're not

25
00:01:28,341 --> 00:01:31,041
spending enough time
thinking about something.

26
00:01:31,041 --> 00:01:33,111
There are billions of things.

27
00:01:33,111 --> 00:01:36,381
And then, you sort
of analyze it.

28
00:01:36,381 --> 00:01:40,901
And then, the solution comes,
and you go talk to them.

29
00:01:40,901 --> 00:01:45,881
Sometimes, it just
comes out flawless.

30
00:01:45,881 --> 00:01:48,681
They have understood the
thing from the get go.

31
00:01:48,681 --> 00:01:51,311
Sometimes, the first
things are far away

32
00:01:51,311 --> 00:01:53,801
from where it needs to be.

33
00:01:53,801 --> 00:01:59,441
A lot of talking and
looking them in the eye

34
00:01:59,441 --> 00:02:03,581
and seeing if there's
some understanding based

35
00:02:03,581 --> 00:02:06,101
on these words you're saying.

36
00:02:06,101 --> 00:02:08,201
The proof of the pudding
is in the tasting.

37
00:02:08,201 --> 00:02:11,021
So the next rehearsal,
the next time you try it,

38
00:02:11,021 --> 00:02:14,531
it will be closer if you've
said the right things.

39
00:02:14,531 --> 00:02:17,741
And then, you know, I always say
the same thing over and over,

40
00:02:17,741 --> 00:02:23,281
but at a certain point
after saying these things

41
00:02:23,281 --> 00:02:27,761
and it goes into them, a
light bulb goes off in them.

42
00:02:27,761 --> 00:02:29,441
And they say, I got it.

43
00:02:29,441 --> 00:02:32,261
And then, there it is.

44
00:02:32,261 --> 00:02:35,986
And they kind of then, from
then on, own that character.

45
00:02:35,986 --> 00:02:38,896


46
00:02:42,291 --> 00:02:45,381
If the person is
cast correctly, there

47
00:02:45,381 --> 00:02:47,751
might be some talk up front.

48
00:02:47,751 --> 00:02:50,451
There might be a half a
rehearsal or something.

49
00:02:50,451 --> 00:02:55,521
And then, the first
take tells everything.

50
00:02:55,521 --> 00:02:57,051
You have that first rehearsal.

51
00:02:57,051 --> 00:03:01,291
It's either spot
on or very close,

52
00:03:01,291 --> 00:03:02,841
or we've got a
lot of work to do.

53
00:03:02,841 --> 00:03:04,271
It's one of those.

54
00:03:04,271 --> 00:03:07,061
The idea is telling
them what to do.

55
00:03:07,061 --> 00:03:10,781
The idea came along to define
this particular character,

56
00:03:10,781 --> 00:03:12,551
the way this character is.

57
00:03:12,551 --> 00:03:16,181
They've been cast because
they feel they're the best

58
00:03:16,181 --> 00:03:19,541
one to realize that character.

59
00:03:19,541 --> 00:03:22,361
Then, you talk to them
so that that character,

60
00:03:22,361 --> 00:03:25,971
they catch the same
way you caught it.

61
00:03:25,971 --> 00:03:27,821
And they say, ah, OK.

62
00:03:27,821 --> 00:03:30,611
And the way you do that
is you have rehearsals.

63
00:03:30,611 --> 00:03:35,581
The first rehearsal, I always
say, could be very far away.

64
00:03:35,581 --> 00:03:36,854
And then, you go talk.

65
00:03:36,854 --> 00:03:38,521
And you say, when you
say this and this,

66
00:03:38,521 --> 00:03:39,631
it could mean this
and this and this.

67
00:03:39,631 --> 00:03:40,923
That could be that, that, that.

68
00:03:40,923 --> 00:03:41,521
No, no, no.

69
00:03:41,521 --> 00:03:43,041
It's this, this,
this, this, this.

70
00:03:43,041 --> 00:03:44,671
Oh, OK.

71
00:03:44,671 --> 00:03:45,901
I got it.

72
00:03:45,901 --> 00:03:47,791
And then, you have
another rehearsal.

73
00:03:47,791 --> 00:03:51,121
Now, instead of being out
here, it's now come into here.

74
00:03:51,121 --> 00:03:53,041
Still, these things.

75
00:03:53,041 --> 00:03:53,853
Oh.

76
00:03:53,853 --> 00:03:54,561
Yeah, yeah, yeah.

77
00:03:54,561 --> 00:03:55,321
OK.

78
00:03:55,321 --> 00:03:56,261
Another rehearsal.

79
00:03:56,261 --> 00:03:58,091
It's almost there.

80
00:03:58,091 --> 00:04:01,261
And then, the fine
tuning, this and this.

81
00:04:01,261 --> 00:04:03,541
The light bulb goes off.

82
00:04:03,541 --> 00:04:04,801
They've got it.

83
00:04:04,801 --> 00:04:07,951
They've got it for this scene
and probably for other scenes,

84
00:04:07,951 --> 00:04:09,001
maybe the whole thing.

85
00:04:09,001 --> 00:04:10,171
They own it.

86
00:04:10,171 --> 00:04:15,001
Now, they bring all their
talent down the correct road.

87
00:04:15,001 --> 00:04:16,920
They've got that character.

88
00:04:16,920 --> 00:04:19,489
And you've done your job.

89
00:04:19,489 --> 00:04:22,405


90
00:04:25,821 --> 00:04:30,491
We're all human beings, so
it would be wrong to say,

91
00:04:30,491 --> 00:04:32,141
you fuckhead.

92
00:04:32,141 --> 00:04:35,271
That's the stupidest thing
you interpreted there.

93
00:04:35,271 --> 00:04:37,091
This is not the right way.

94
00:04:37,091 --> 00:04:42,041
So you would be, you know,
kind and not embarrass them.

95
00:04:42,041 --> 00:04:44,651
And you wouldn't want
to do that, anyway.

96
00:04:44,651 --> 00:04:47,471
You want to go in and
explain something.

97
00:04:47,471 --> 00:04:53,021
And in so doing, you use
words, and you use your eyes.

98
00:04:53,021 --> 00:04:57,971
And you send something
from you to them.

99
00:04:57,971 --> 00:05:00,221
And you use your hands.

100
00:05:00,221 --> 00:05:03,061
And they get it.

101
00:05:03,061 --> 00:05:05,551
A lot of times, it
doesn't work, maybe out

102
00:05:05,551 --> 00:05:09,841
of nervousness or some
kind of fear or some kind

103
00:05:09,841 --> 00:05:11,821
of just not letting
go and letting

104
00:05:11,821 --> 00:05:15,841
that character take over
for different things

105
00:05:15,841 --> 00:05:17,531
or not understanding.

106
00:05:17,531 --> 00:05:21,571
So you make them feel
comfortable so they

107
00:05:21,571 --> 00:05:23,521
can say goodbye to
their personality

108
00:05:23,521 --> 00:05:25,231
and take on a new one.

109
00:05:25,231 --> 00:05:28,591
You make them feel
that it's no problem

110
00:05:28,591 --> 00:05:30,691
failing and trying this thing.

111
00:05:30,691 --> 00:05:33,061
You know, no problem.

112
00:05:33,061 --> 00:05:34,381
It's not embarrassing.

113
00:05:34,381 --> 00:05:38,161
It's a sign of courage,
really, and great work

114
00:05:38,161 --> 00:05:40,501
to try things to make it real.

115
00:05:40,501 --> 00:05:42,621
And no problem if it
comes out embarrassing.

116
00:05:42,621 --> 00:05:44,491
You know, fix it next time.

117
00:05:44,491 --> 00:05:45,691
Whatever.

118
00:05:45,691 --> 00:05:48,481
And then, you explain
certain things.

119
00:05:48,481 --> 00:05:52,081
And eventually, they feel
more and more comfortable,

120
00:05:52,081 --> 00:05:54,691
and they have more and
more understanding,

121
00:05:54,691 --> 00:05:56,471
enough understanding to do it.

122
00:05:56,471 --> 00:05:57,551
And there you go.

123
00:05:57,551 --> 00:05:58,501
You've got it.

124
00:05:58,501 --> 00:06:00,042
It's recorded.

125
00:06:00,042 --> 00:06:03,970


126
00:06:21,606 --> 00:06:23,981
 Did you ride that thing all
the way out here to see me?

127
00:06:28,391 --> 00:06:29,061
 I did, Lyle.

128
00:06:38,491 --> 00:06:42,621
NARRATOR: Great, great actors.

129
00:06:42,621 --> 00:06:44,851
Great good luck.

130
00:06:44,851 --> 00:06:48,011
Both Richard Farnsworth
and Harry Dean,

131
00:06:48,011 --> 00:06:51,901
they're two of the most
natural actors on the planet.

132
00:06:51,901 --> 00:06:53,431
Richard does this inhale.

133
00:06:56,621 --> 00:07:02,121
It's got all this feeling in it.

134
00:07:02,121 --> 00:07:04,631
It's just incredible--
just before the camera

135
00:07:04,631 --> 00:07:09,161
lifts up and goes into the sky
and Angelo's music comes in.

136
00:07:14,561 --> 00:07:16,091
It's so beautiful.

137
00:07:16,091 --> 00:07:20,981
And Harry Dean has this thing--

138
00:07:20,981 --> 00:07:23,741
I don't know if it was Chief
Sitting Bull-- some letter

139
00:07:23,741 --> 00:07:28,901
that an Indian chief wrote to
the president of the United

140
00:07:28,901 --> 00:07:31,251
States, I think.

141
00:07:31,251 --> 00:07:33,831
And it would make anyone cry.

142
00:07:33,831 --> 00:07:38,511
But Harry Dean, when he
would read this, you know,

143
00:07:38,511 --> 00:07:40,281
he would start crying.

144
00:07:40,281 --> 00:07:42,531
And I had that available.

145
00:07:42,531 --> 00:07:44,781
And then, Richard--

146
00:07:44,781 --> 00:07:47,451
I had them talking a little bit.

147
00:07:47,451 --> 00:07:52,301
I think Richard said, I love
you, Lyle, something like this.

148
00:07:52,301 --> 00:07:57,131
It wasn't part of the
script, but it opened up

149
00:07:57,131 --> 00:08:00,701
a thing in Richard.

150
00:08:00,701 --> 00:08:05,171
And that's where that little
gasp, that little catch, came.

151
00:08:05,171 --> 00:08:08,261
And that was so beautiful.

152
00:08:08,261 --> 00:08:18,691
These things, they come
along just at the right time.

153
00:08:18,691 --> 00:08:23,001
And that's got to be
just great good fortune.

154
00:08:23,001 --> 00:08:26,031
There's nothing
you can do to plan

155
00:08:26,031 --> 00:08:30,621
that like that and at the
same time have it be so real.

156
00:08:34,058 --> 00:08:35,531
[CAR DOORS SLAMMING]

157
00:08:37,236 --> 00:08:37,986
[GLASS SHATTERING]

158
00:08:37,986 --> 00:08:40,384
[SCREAMING]

159
00:08:40,884 --> 00:08:42,700
MAN: Oh, god.

160
00:08:42,700 --> 00:08:44,381
[POUNDING]

161
00:08:44,381 --> 00:08:46,587
[SCREAMING]

162
00:08:46,587 --> 00:08:47,991
MAN: Don't shoot.

163
00:08:47,991 --> 00:08:48,591
Dont!

164
00:08:48,591 --> 00:08:50,575
I can't take it!

165
00:08:50,575 --> 00:08:51,131
Come on!

166
00:08:51,131 --> 00:08:52,381
 Tell him you won't tailgate.

167
00:08:52,381 --> 00:08:54,353
 Come on.

168
00:08:54,353 --> 00:08:57,191
Do you know how many
fucking car lengths it

169
00:08:57,191 --> 00:09:00,367
takes to stop a car
at 35 miles an hour?

170
00:09:00,367 --> 00:09:01,811
10 fucking car lengths.

171
00:09:01,811 --> 00:09:04,551
That's 106 fucking feet, mister.

172
00:09:04,551 --> 00:09:07,366
If I hadn't stopped suddenly,
you would have hit me.

173
00:09:07,366 --> 00:09:09,521
I want you to get a
fucking driver's manual.

174
00:09:09,521 --> 00:09:11,751
I want you to study
that motherfucker.

175
00:09:11,751 --> 00:09:14,251
And I want you to obey
the goddamn rules.

176
00:09:14,251 --> 00:09:18,581
50 fucking thousand people were
killed in a highway last year.

177
00:09:18,581 --> 00:09:20,951
NARRATOR: At first,
Robert Loggia

178
00:09:20,951 --> 00:09:27,151
was doing the same
lines on the guy.

179
00:09:27,151 --> 00:09:31,971
And I said, Robert, you
know, I can't hear you.

180
00:09:31,971 --> 00:09:33,241
You're whispering.

181
00:09:33,241 --> 00:09:34,381
He said, what?

182
00:09:34,381 --> 00:09:36,541
I said, no, I can't hear you.

183
00:09:36,541 --> 00:09:39,091
And so he went louder.

184
00:09:39,091 --> 00:09:41,671
I say, Robert,
you're whispering.

185
00:09:41,671 --> 00:09:43,351
I can't hear you.

186
00:09:43,351 --> 00:09:47,671
And that went about five or
six times until this one.

187
00:09:47,671 --> 00:09:49,801
They can get themselves there.

188
00:09:49,801 --> 00:09:54,221
They just need to know that
that's what's necessary.

189
00:09:54,221 --> 00:09:55,301
And it's in them.

190
00:09:55,301 --> 00:09:57,101
It's in them.

191
00:09:57,101 --> 00:09:58,661
It's in them.

192
00:09:58,661 --> 00:10:00,971
And you just have
to bring it out.

193
00:10:00,971 --> 00:10:06,211
There's definitely a connection
to violence and humor.

194
00:10:06,211 --> 00:10:10,531
And it is a compulsion.

195
00:10:10,531 --> 00:10:13,681
It's uncontrollable.

196
00:10:13,681 --> 00:10:17,161
And it can reach, you
know, into the theater

197
00:10:17,161 --> 00:10:25,961
of the absurd, this extreme
anger, beyond the beyond anger.

198
00:10:25,961 --> 00:10:36,951
When someone is so driven
and into the stratosphere,

199
00:10:36,951 --> 00:10:40,009
there's some chance
for humor there.

200
00:10:40,009 --> 00:10:41,985


201
00:11:04,215 --> 00:11:06,685
[UTENSILS SCRAPING]

202
00:11:12,119 --> 00:11:14,095
[SIGH]

203
00:11:19,578 --> 00:11:20,911
Well, Henry, what do you know?

204
00:11:29,718 --> 00:11:31,051
 I don't know much of anything.

205
00:11:38,621 --> 00:11:43,541
 It's the idea and the
way the idea wants to be.

206
00:11:43,541 --> 00:11:47,141
And when you're there
on the day shooting,

207
00:11:47,141 --> 00:11:52,721
you work it so that it
feels like the idea.

208
00:11:52,721 --> 00:12:01,101
And so these awkward pauses
are holding on something.

209
00:12:01,101 --> 00:12:09,221
Another thing I think is say
someone walks out of the room

210
00:12:09,221 --> 00:12:10,951
and closes the door.

211
00:12:14,071 --> 00:12:17,241
A lot of times, people cut with
the sound of the door click,

212
00:12:17,241 --> 00:12:20,021
you know, and go
to the next scene.

213
00:12:20,021 --> 00:12:30,531
But if you close the
door and keep filming,

214
00:12:30,531 --> 00:12:35,721
you suddenly start
seeing the room.

215
00:12:35,721 --> 00:12:40,011
Something starts
happening in the mind.

216
00:12:40,011 --> 00:12:41,061
It's interesting.

217
00:12:41,061 --> 00:12:42,543
[BEEPING]

218
00:12:43,531 --> 00:12:45,013
[DOORS OPENING]

219
00:13:05,761 --> 00:13:07,737
[DOORS CLOSING]

220
00:13:10,207 --> 00:13:13,171
[MECHANICAL WHIRRING]

221
00:13:21,581 --> 00:13:26,011
The idea that got Henry
was I'd grab Jack.

222
00:13:26,011 --> 00:13:29,741
In the very beginning, I'd
grab him by the shoulders,

223
00:13:29,741 --> 00:13:32,891
and I'd make him
show me his face.

224
00:13:32,891 --> 00:13:36,851
And I'd say things to him
like thinking or, you know,

225
00:13:36,851 --> 00:13:38,101
sadness or whatever.

226
00:13:38,101 --> 00:13:40,151
And nothing was working.

227
00:13:40,151 --> 00:13:41,531
Nothing.

228
00:13:41,531 --> 00:13:44,771
And then, I said, OK,
you're a total blank.

229
00:13:44,771 --> 00:13:46,841
Total blank.

230
00:13:46,841 --> 00:13:48,671
And he did a total blank.

231
00:13:48,671 --> 00:13:50,891
I said, that's Henry.

232
00:13:50,891 --> 00:13:54,541
[EERIE MUSIC]

1
00:00:00,021 --> 00:00:02,937


2
00:00:06,341 --> 00:00:11,321
 I feel that a set should
be like a happy family

3
00:00:11,321 --> 00:00:16,871
almost like
Thanksgiving every day,

4
00:00:16,871 --> 00:00:21,011
happily going down the road
together, getting along

5
00:00:21,011 --> 00:00:25,421
and congratulating people all
the time of their good work.

6
00:00:25,421 --> 00:00:32,390
And you know, getting
a really great feeling,

7
00:00:32,390 --> 00:00:35,041
a safe feeling too,
for the actors,

8
00:00:35,041 --> 00:00:39,481
so they can, like I say, let
go and go to a new character

9
00:00:39,481 --> 00:00:44,291
with as little fear as possible
and really get in there deep.

10
00:00:44,291 --> 00:00:48,941
People who run a set on fear,
or a business on fear, I say

11
00:00:48,941 --> 00:00:51,691
are really stupid.

12
00:00:51,691 --> 00:00:55,351
If you run your
business on fear,

13
00:00:55,351 --> 00:00:59,381
you're going to
stress the people.

14
00:00:59,381 --> 00:01:06,701
You're going to cause all kinds
of conflicts and jealousies

15
00:01:06,701 --> 00:01:12,251
and backstabbing to get
ahead in the business.

16
00:01:12,251 --> 00:01:16,301
When the father or mother
come home from work,

17
00:01:16,301 --> 00:01:20,371
they're going to be coming
home tired and stressed.

18
00:01:20,371 --> 00:01:24,031
And the little
kids can feel this.

19
00:01:24,031 --> 00:01:29,451
And there can be arguments in
the home based on this stress

20
00:01:29,451 --> 00:01:32,691
and anxieties and tension.

21
00:01:32,691 --> 00:01:36,261
And the little kids
are just like wondering

22
00:01:36,261 --> 00:01:38,691
what is this kind of world?

23
00:01:38,691 --> 00:01:41,711
And when you have a base--

24
00:01:41,711 --> 00:01:44,391
a fear-based thing,
people don't want

25
00:01:44,391 --> 00:01:48,081
to go the extra mile if
necessary to help the company.

26
00:01:48,081 --> 00:01:50,241
They want to say fuck you, man.

27
00:01:50,241 --> 00:01:53,731
And they don't-- are
not happy campers.

28
00:01:53,731 --> 00:01:54,981
And it doesn't serve the work.

29
00:01:54,981 --> 00:01:55,941
Ideas don't flow.

30
00:01:55,941 --> 00:01:58,551
Creativity doesn't flow so much.

31
00:01:58,551 --> 00:02:01,131
Like I say, negativity cramps
that tube through which

32
00:02:01,131 --> 00:02:02,601
these ideas flow.

33
00:02:02,601 --> 00:02:04,761
It squeezes it down.

34
00:02:04,761 --> 00:02:08,511
And you don't-- you're
not happy, you know,

35
00:02:08,511 --> 00:02:09,701
to help the company.

36
00:02:09,701 --> 00:02:11,361
You're almost hate.

37
00:02:11,361 --> 00:02:13,731
A hate grows for the company.

38
00:02:13,731 --> 00:02:19,971
And that is really bad, and it
doesn't serve anybody any good

39
00:02:19,971 --> 00:02:21,001
at all.

40
00:02:21,001 --> 00:02:25,071
So the happier the company, the
more creative it's going to be.

41
00:02:25,071 --> 00:02:29,331
The more the people will happily
want to help if it's necessary

42
00:02:29,331 --> 00:02:30,951
one day to stay late.

43
00:02:30,951 --> 00:02:31,901
Are you kidding?

44
00:02:31,901 --> 00:02:33,501
I wouldn't have
a problem at all.

45
00:02:33,501 --> 00:02:36,321
The next day, you have a
special lunches for them.

46
00:02:36,321 --> 00:02:38,601
And you know, it's beautiful.

47
00:02:38,601 --> 00:02:42,441
You're all together on this
planet trying to live a life,

48
00:02:42,441 --> 00:02:44,061
you know, a good life.

49
00:02:44,061 --> 00:02:46,691
Why would you torture people?

50
00:02:46,691 --> 00:02:48,651
It's crazy.

51
00:02:48,651 --> 00:02:50,481
We're in this thing together.

52
00:02:50,481 --> 00:02:52,971
We've got to start
enjoying this trip.

53
00:02:59,611 --> 00:03:05,581
I arrive on a set wanting
to get today's work done

54
00:03:05,581 --> 00:03:10,241
and have it be absolutely true,
every element to the idea.

55
00:03:10,241 --> 00:03:18,681
So it's a precarious,
uneasy thing in the mornings

56
00:03:18,681 --> 00:03:22,231
or the beginning
of the shoot time.

57
00:03:22,231 --> 00:03:29,761
And a lot of times, things
are like molasses in January

58
00:03:29,761 --> 00:03:32,741
in early starting of a day.

59
00:03:32,741 --> 00:03:34,421
And sometimes, it
looks like maybe we

60
00:03:34,421 --> 00:03:36,281
might not make our day.

61
00:03:36,281 --> 00:03:40,691
So it's very important that
you get everything going

62
00:03:40,691 --> 00:03:43,781
and get into it so
you can make the day.

63
00:03:43,781 --> 00:03:47,471
And what's even better
is to make the day

64
00:03:47,471 --> 00:03:51,161
and maybe even get some extra
things if they come along.

65
00:03:51,161 --> 00:03:54,941
And I always say that in the
morning, or the beginning

66
00:03:54,941 --> 00:04:02,041
of the shooting day, to me,
it's like there's this deepest

67
00:04:02,041 --> 00:04:03,751
canyon.

68
00:04:03,751 --> 00:04:07,171
And you're building
a glass bridge.

69
00:04:07,171 --> 00:04:10,961
It's so delicate, it could
go wrong at any moment.

70
00:04:10,961 --> 00:04:14,771
This glass bridge is
going to carry you across.

71
00:04:14,771 --> 00:04:17,011
And you don't know if it's
going to hold together.

72
00:04:17,011 --> 00:04:19,540
You're just trying to
get everything right.

73
00:04:19,540 --> 00:04:25,108
And then at the end of the
day, the glass turns to steel.

74
00:04:25,108 --> 00:04:26,191
And you've got everything.

75
00:04:26,191 --> 00:04:28,426
And you feel good that you
got it true to the idea.

76
00:04:35,391 --> 00:04:39,501
The day has come where
that you're on the set

77
00:04:39,501 --> 00:04:41,631
or on the location.

78
00:04:41,631 --> 00:04:43,701
They're all kind of like sets.

79
00:04:43,701 --> 00:04:47,271
And they've been
dressed a certain way.

80
00:04:47,271 --> 00:04:51,841
And the actors come in
wearing a certain things,

81
00:04:51,841 --> 00:04:54,771
and now you're going
to have a rehearsal.

82
00:04:54,771 --> 00:04:59,201
So I clear everybody away
and start rehearsing.

83
00:04:59,201 --> 00:05:00,701
And before we start
rehearsing even,

84
00:05:00,701 --> 00:05:02,241
you say, you're going to be
here, you're going to be here,

85
00:05:02,241 --> 00:05:03,451
you're going to be here.

86
00:05:03,451 --> 00:05:05,661
And then, OK, then
we start the thing.

87
00:05:05,661 --> 00:05:07,551
And we have a rehearsal.

88
00:05:07,551 --> 00:05:09,831
And we talk a little bit
about something if it's--

89
00:05:09,831 --> 00:05:12,801
something's needs
to be talked about.

90
00:05:12,801 --> 00:05:18,441
And then get it so it's pretty
much really ready to go.

91
00:05:18,441 --> 00:05:21,361
Then bring in the crew
and show it to them.

92
00:05:21,361 --> 00:05:26,131
So they know what to do, you
know, to get ready to shoot it.

93
00:05:26,131 --> 00:05:28,881
And it mainly involves lighting.

94
00:05:28,881 --> 00:05:33,441
So then, you know, some time
later, you know, it's lit.

95
00:05:33,441 --> 00:05:35,871
Everybody has done their job.

96
00:05:35,871 --> 00:05:37,821
And in the actors come.

97
00:05:37,821 --> 00:05:39,031
And we start shooting.

98
00:05:39,031 --> 00:05:43,251
And in the rehearsal, you
know, you're going around.

99
00:05:43,251 --> 00:05:46,401
And you see where,
you know, you want

100
00:05:46,401 --> 00:05:49,011
to be where the
camera wants to be.

101
00:05:49,011 --> 00:05:52,941
If making the day puts so much
stress on you that you weren't

102
00:05:52,941 --> 00:05:56,361
open to things, happy
accidents or seeing something,

103
00:05:56,361 --> 00:05:58,501
it's never that bad.

104
00:05:58,501 --> 00:06:01,671
It's just in the
beginning, you want

105
00:06:01,671 --> 00:06:03,891
to get as good a
start as you can

106
00:06:03,891 --> 00:06:09,651
so that you will finish the day
on time and get those things.

107
00:06:09,651 --> 00:06:11,811
So I say it's important
at the beginning

108
00:06:11,811 --> 00:06:16,371
to get the train rolling as
soon as possible, in a nice way,

109
00:06:16,371 --> 00:06:17,811
but as soon as possible.

110
00:06:17,811 --> 00:06:20,131
Because it could slip away.

111
00:06:20,131 --> 00:06:23,151
And then if something
else comes along,

112
00:06:23,151 --> 00:06:27,281
you know, there's many ways
to skin a cat, they say.

113
00:06:27,281 --> 00:06:28,611
You'll get that thing.

114
00:06:28,611 --> 00:06:30,591
That just will be added in.

115
00:06:30,591 --> 00:06:32,481
And people will boogie
and make it happen.

116
00:06:32,481 --> 00:06:34,611
It just is that way.

117
00:06:34,611 --> 00:06:37,671
People who have
worked with me kind of

118
00:06:37,671 --> 00:06:42,891
know wherever I'm sitting,
that's the main camera angle.

119
00:06:42,891 --> 00:06:46,821
And I-- so it's
mostly common sense.

120
00:06:46,821 --> 00:06:51,351
And a lot of times, it's
just like, you know,

121
00:06:51,351 --> 00:06:54,771
a wide shot, medium
shot, close up.

122
00:06:54,771 --> 00:06:57,111
There's some kind of
trick things sometimes.

123
00:06:57,111 --> 00:07:01,161
But it's what happens
in those shots

124
00:07:01,161 --> 00:07:05,421
and the size of those shots
and the mood in the light.

125
00:07:08,261 --> 00:07:15,841
It doesn't need a lot
of trick camera things,

126
00:07:15,841 --> 00:07:19,401
at least for what I
want to do mostly.

127
00:07:19,401 --> 00:07:27,681
Getting the coverage
that is true to the idea,

128
00:07:27,681 --> 00:07:34,961
if 47% happened
perfect in this take,

129
00:07:34,961 --> 00:07:39,341
then you try to get the
53% in the next takes.

130
00:07:39,341 --> 00:07:43,541
Maybe 27 of the next
53 happens in take two.

131
00:07:43,541 --> 00:07:44,821
Then the rest, you got.

132
00:07:44,821 --> 00:07:48,681
And that fact, the third was
good all the way through.

133
00:07:48,681 --> 00:07:51,881
Then you, you know, you got
plenty of things to pick from.

134
00:07:51,881 --> 00:07:55,001
Always a good feeling when
you've finished a scene.

135
00:07:55,001 --> 00:07:58,551
And a lot of times, that
means you've finished the day.

136
00:07:58,551 --> 00:08:02,061
Now, if you have
more time, which

137
00:08:02,061 --> 00:08:04,841
would be really
nice to have, you

138
00:08:04,841 --> 00:08:07,151
might get in and get
some different kind

139
00:08:07,151 --> 00:08:09,071
of coverage of that scene.

140
00:08:09,071 --> 00:08:12,131
Or you might shoot a clock
on the wall or a painting

141
00:08:12,131 --> 00:08:16,691
on the wall or dust
bunnies under a chair

142
00:08:16,691 --> 00:08:19,631
and-- or drift across
the floor if it plays

143
00:08:19,631 --> 00:08:25,331
into the scene
some way and maybe

144
00:08:25,331 --> 00:08:33,351
some extreme close-ups with
a, you know, certain looks.

145
00:08:33,351 --> 00:08:39,501
And just give yourself some
more things to work with.

146
00:08:46,331 --> 00:08:49,871
I came into filmmaking
through painting.

147
00:08:49,871 --> 00:08:52,151
And painting, well,
nowadays, people

148
00:08:52,151 --> 00:08:53,831
have assistance
even in painting.

149
00:08:53,831 --> 00:08:55,241
It's crazy.

150
00:08:55,241 --> 00:09:00,101
But in a painter, you
know, you do everything.

151
00:09:00,101 --> 00:09:02,801
You don't have
somebody paint the blue

152
00:09:02,801 --> 00:09:05,081
and then another
person paint the red.

153
00:09:05,081 --> 00:09:06,881
You do everything.

154
00:09:06,881 --> 00:09:10,601
It was common sense to me that
if you're going to build a set,

155
00:09:10,601 --> 00:09:13,391
you want to-- you got to
build it yourself or be

156
00:09:13,391 --> 00:09:15,941
involved with it yourself.

157
00:09:15,941 --> 00:09:19,031
Then you make it the
way that you want it.

158
00:09:19,031 --> 00:09:21,881
You become one with it.

159
00:09:21,881 --> 00:09:26,741
And all these things
are now almost

160
00:09:26,741 --> 00:09:29,441
like they were in your head.

161
00:09:29,441 --> 00:09:33,251
And then once you're
in that, on Eraserhead,

162
00:09:33,251 --> 00:09:35,951
I'd say I was in the set.

163
00:09:35,951 --> 00:09:40,211
I could almost hear
distant factories.

164
00:09:40,211 --> 00:09:44,321
And I would imagine it
raining and the little diners

165
00:09:44,321 --> 00:09:49,511
and all these row factory
houses, row houses,

166
00:09:49,511 --> 00:09:56,591
little narrow streets, stoops,
and factory people, you know,

167
00:09:56,591 --> 00:10:01,871
and smoke, and fire, and
all this world around.

168
00:10:09,111 --> 00:10:11,991
And all those
things outside, that

169
00:10:11,991 --> 00:10:14,331
could all be said with sound.

170
00:10:14,331 --> 00:10:18,771
And it's just a
beautiful thing to get

171
00:10:18,771 --> 00:10:23,641
into it deeper by, you know,
getting your hands in there.

172
00:10:23,641 --> 00:10:30,881
You're feeling and knowing
the world by being in it.

173
00:10:30,881 --> 00:10:38,971
If you're not with the crew,
then that won't happen.

174
00:10:38,971 --> 00:10:41,739
We're all in the trenches.

175
00:10:41,739 --> 00:10:42,906
And that's where it happens.

176
00:10:50,261 --> 00:10:58,681
I was on-- in Laura Palmer's
house at the top of the stairs

177
00:10:58,681 --> 00:11:04,091
in between the parents' bedroom,
Leland and Sarah's room,

178
00:11:04,091 --> 00:11:05,981
and Laura Palmer's room.

179
00:11:05,981 --> 00:11:10,751
I was on my hands
and my knees working

180
00:11:10,751 --> 00:11:12,361
on something on the rug.

181
00:11:12,361 --> 00:11:15,021
And I don't know what it was.

182
00:11:15,021 --> 00:11:19,601
And I was pointed toward
Sarah and Leland's room.

183
00:11:19,601 --> 00:11:23,231
And behind me, the set
dresser, Frank Silva,

184
00:11:23,231 --> 00:11:27,611
was arranging Laura Palmer's
room putting in the furniture

185
00:11:27,611 --> 00:11:30,151
and arranging things.

186
00:11:30,151 --> 00:11:36,661
And I heard a girl say,
Frank, don't lock yourself

187
00:11:36,661 --> 00:11:40,711
in that room, because he had
just moved a dresser apparently

188
00:11:40,711 --> 00:11:45,841
in front of the doorway in
his process of arranging.

189
00:11:45,841 --> 00:11:53,201
But when I heard that, I
pictured Frank in the room,

190
00:11:53,201 --> 00:11:56,071
and something happened.

191
00:11:56,071 --> 00:11:57,091
And I went running in.

192
00:11:57,091 --> 00:11:59,671
And I said, Frank,
are you an actor?

193
00:11:59,671 --> 00:12:02,371
And he said, why,
yes, I am actually.

194
00:12:02,371 --> 00:12:04,629
I said, OK, you're going
to be in this scene.

195
00:12:04,629 --> 00:12:05,921
He said, what am I going to do?

196
00:12:05,921 --> 00:12:07,411
I said, I don't know.

197
00:12:07,411 --> 00:12:09,931
But you're going to be in here.

198
00:12:09,931 --> 00:12:15,466
And so the next thing
up was a slow panning

199
00:12:15,466 --> 00:12:20,151
across Laura Palmer's
room, just a slow pan.

200
00:12:20,151 --> 00:12:22,851
I forget what for.

201
00:12:22,851 --> 00:12:27,051
And we did two very
beautiful slow pans.

202
00:12:27,051 --> 00:12:28,851
And then I said,
OK, now Frank, you

203
00:12:28,851 --> 00:12:34,341
go down to the foot of the bed
and grab onto these railings

204
00:12:34,341 --> 00:12:35,841
and look right at the camera.

205
00:12:35,841 --> 00:12:38,421
Freeze and look
right at the camera.

206
00:12:38,421 --> 00:12:39,711
So he got down there.

207
00:12:39,711 --> 00:12:41,931
And then we panned down.

208
00:12:41,931 --> 00:12:43,161
And we stop.

209
00:12:43,161 --> 00:12:45,687
And there's Frank.

210
00:12:45,687 --> 00:12:48,121
[SCREAMING]

211
00:12:48,121 --> 00:12:51,881
I didn't have a clue
what that meant.

212
00:12:51,881 --> 00:12:56,911
So then that evening, we were
downstairs in the living room.

213
00:12:56,911 --> 00:13:00,991
And Sarah Palmer,
totally distraught,

214
00:13:00,991 --> 00:13:03,871
she's lost her daughter.

215
00:13:03,871 --> 00:13:09,581
She's laying down on the
couch totally distraught.

216
00:13:09,581 --> 00:13:11,771
And she's tormented.

217
00:13:11,771 --> 00:13:16,841
And in her mind's eye, she sees
something, which causes her

218
00:13:16,841 --> 00:13:21,041
to bolt upright and scream.

219
00:13:21,041 --> 00:13:25,951
And Sean, the camera
operator on the wheels, goes.

220
00:13:25,951 --> 00:13:27,601
And I say, perfect.

221
00:13:27,601 --> 00:13:28,771
We got it.

222
00:13:28,771 --> 00:13:30,151
Sean said, no.

223
00:13:30,151 --> 00:13:31,231
I said, what's wrong?

224
00:13:31,231 --> 00:13:34,861
He said, there was someone
reflected in the mirror.

225
00:13:34,861 --> 00:13:37,321
And I said, who was
reflected in the mirror?

226
00:13:37,321 --> 00:13:41,551
He said Frank was
reflected in the mirror.

227
00:13:41,551 --> 00:13:44,641
So something started growing.

228
00:13:44,641 --> 00:13:46,861
And then there it was.

229
00:13:46,861 --> 00:13:49,441
BOB was born then.

230
00:13:49,441 --> 00:13:52,501
BOB was born then.

231
00:13:52,501 --> 00:13:53,641
He was born.

232
00:13:53,641 --> 00:13:59,641
Just like when someone's
born, there they are.

233
00:13:59,641 --> 00:14:03,161
Like the thing exists
somewhere already,

234
00:14:03,161 --> 00:14:05,401
and then we get it
little by little.

235
00:14:05,401 --> 00:14:08,421
They come in, what's necessary.

236
00:14:16,651 --> 00:14:19,471
It's many times tough
to get the day in.

237
00:14:19,471 --> 00:14:22,621
There's a lot of things
that just take time to do.

238
00:14:22,621 --> 00:14:25,121
And it's the reality.

239
00:14:25,121 --> 00:14:31,491
So your time with the actors
in the scene, the part that

240
00:14:31,491 --> 00:14:39,311
goes on the frames,
you really focus

241
00:14:39,311 --> 00:14:43,421
on getting those things that
go on the frame to be correct.

242
00:14:45,951 --> 00:14:50,031
And the rest is unimportant.

243
00:14:50,031 --> 00:14:52,701
Just make sure you
get what you need

244
00:14:52,701 --> 00:14:58,431
on those frames
captured on that card

245
00:14:58,431 --> 00:15:01,591
and captured on the sound card.

246
00:15:01,591 --> 00:15:03,961
That's what you need.

247
00:15:03,961 --> 00:15:08,201
You never compromise
those things.

248
00:15:08,201 --> 00:15:13,511
It would be pretty
crazy to say, oh,

249
00:15:13,511 --> 00:15:16,421
I made it on time, on budget.

250
00:15:16,421 --> 00:15:18,161
I compromised like crazy.

251
00:15:18,161 --> 00:15:20,651
And this film sucks.

252
00:15:20,651 --> 00:15:25,331
So you want to get the
gold no matter what.

253
00:15:25,331 --> 00:15:28,621
Don't ever take no
for an answer on that.

1
00:00:00,021 --> 00:00:02,817


2
00:00:06,551 --> 00:00:10,631
 When you want somebody to
understand the things that

3
00:00:10,631 --> 00:00:15,311
have come with the ideas, you
do it by talking or like a show

4
00:00:15,311 --> 00:00:17,621
and tell.

5
00:00:17,621 --> 00:00:22,601
You want them to get on the
same road that you're on.

6
00:00:22,601 --> 00:00:25,871
And that road is
based on the ideas.

7
00:00:25,871 --> 00:00:31,481
So every department, you
need to get with them

8
00:00:31,481 --> 00:00:36,641
and describe to
them with words what

9
00:00:36,641 --> 00:00:41,061
it is that you're after to
make those ideas come true.

10
00:00:41,061 --> 00:00:44,081
So if that's a
production design,

11
00:00:44,081 --> 00:00:48,251
you talk about furniture.

12
00:00:48,251 --> 00:00:55,541
And you talk about
rooms, windows, light.

13
00:00:55,541 --> 00:01:02,681
You talk about what
things go in the place

14
00:01:02,681 --> 00:01:07,591
and how it goes and the
feeling it is that-- the time.

15
00:01:07,591 --> 00:01:11,711
Is it the 1940s, the
'50s, is it, you know,

16
00:01:11,711 --> 00:01:14,591
completely outside of any
of that like science fiction

17
00:01:14,591 --> 00:01:16,901
or some kind of strange place?

18
00:01:16,901 --> 00:01:18,861
And you describe it to them.

19
00:01:18,861 --> 00:01:20,751
And then they understand it.

20
00:01:20,751 --> 00:01:22,301
And they might bring drawings.

21
00:01:22,301 --> 00:01:24,761
And then you say, well,
that's just about right.

22
00:01:24,761 --> 00:01:26,921
But this thing is not
quite right and this

23
00:01:26,921 --> 00:01:27,941
and this and this.

24
00:01:27,941 --> 00:01:30,551
And then they finally get
going down the same road.

25
00:01:30,551 --> 00:01:32,261
Same way with every department.

26
00:01:32,261 --> 00:01:34,301
Same way with every actor.

27
00:01:34,301 --> 00:01:37,901
You just keep going till we're
all going down the same road.

28
00:01:37,901 --> 00:01:42,851
It's not because I want them
to be, you know, I want it.

29
00:01:42,851 --> 00:01:45,071
It's because the ideas
want to be that way.

30
00:01:51,841 --> 00:01:53,981
When you get an
idea, you see it.

31
00:01:53,981 --> 00:01:57,571
So you know what it looks like.

32
00:01:57,571 --> 00:02:00,571
And so if you could
start building and keep

33
00:02:00,571 --> 00:02:03,211
checking the idea,
theoretically you

34
00:02:03,211 --> 00:02:06,241
could build exactly
what's in your head what

35
00:02:06,241 --> 00:02:08,391
the idea looks like.

36
00:02:08,391 --> 00:02:12,861
In this world, you
can build some sets.

37
00:02:12,861 --> 00:02:15,921
But you could also
find locations.

38
00:02:15,921 --> 00:02:20,181
And locations could be very
close to what's in your head

39
00:02:20,181 --> 00:02:24,621
and fill the bill, but not
only that, sometimes, locations

40
00:02:24,621 --> 00:02:27,371
will give you more
gifts, more ideas,

41
00:02:27,371 --> 00:02:31,521
because, oh, look at that,
and oh, that could work then.

42
00:02:31,521 --> 00:02:34,461
And ideas flow from those.

43
00:02:34,461 --> 00:02:36,711
It's really strange.

44
00:02:36,711 --> 00:02:38,871
A set would just
be exactly what's

45
00:02:38,871 --> 00:02:41,721
in their mind based on the idea.

46
00:02:41,721 --> 00:02:45,411
But locations can sometimes
be even more than that.

47
00:03:03,631 --> 00:03:12,101
These are oil tanks that once
existed underneath the Beverly

48
00:03:12,101 --> 00:03:14,121
Center.

49
00:03:14,121 --> 00:03:19,611
And this set of oil tanks
had a donut of earth

50
00:03:19,611 --> 00:03:21,241
that went around it.

51
00:03:21,241 --> 00:03:23,691
So you couldn't really
see it from the street.

52
00:03:23,691 --> 00:03:29,391
The donut of earth was there
in case one of the tanks burst,

53
00:03:29,391 --> 00:03:34,051
this wall of earth around
would hold the oil from going,

54
00:03:34,051 --> 00:03:36,361
you know, too far away.

55
00:03:36,361 --> 00:03:40,481
And so you go up and
down into this world.

56
00:03:40,481 --> 00:03:42,871
It's absolutely magical.

57
00:03:42,871 --> 00:03:46,051
This here is high art.

58
00:03:46,051 --> 00:03:49,261
This is one of the most
beautiful places on earth,

59
00:03:49,261 --> 00:03:51,271
and it's now gone.

60
00:03:51,271 --> 00:03:52,781
I don't know how I found it.

61
00:03:52,781 --> 00:03:54,301
But it was a lucky day.

62
00:04:01,421 --> 00:04:04,361
I do drawings.

63
00:04:04,361 --> 00:04:09,371
But they're very
poor little drawings.

64
00:04:09,371 --> 00:04:13,181
I do drawings to show
where the furniture is

65
00:04:13,181 --> 00:04:15,821
and where the people
will be moving.

66
00:04:15,821 --> 00:04:17,290
But while I'm
doing the drawings,

67
00:04:17,290 --> 00:04:19,521
I'm also talking to them
about different things.

68
00:04:19,521 --> 00:04:21,730
So they could look
at the drawing.

69
00:04:21,730 --> 00:04:22,671
And not much is there.

70
00:04:22,671 --> 00:04:26,381
But if they remember the words,
then they can go and, you know,

71
00:04:26,381 --> 00:04:28,271
do the thing.

72
00:04:28,271 --> 00:04:30,941
Well, I'll show you
a pathetic thing.

73
00:04:30,941 --> 00:04:35,461
OK, so here's the couch.

74
00:04:35,461 --> 00:04:41,806
And here's the-- and then
she'd be sitting right here.

75
00:04:49,621 --> 00:04:54,141
And then she's going to get
up and go to the window.

76
00:04:54,141 --> 00:04:56,451
You've got to have
that window here.

77
00:04:56,451 --> 00:05:00,461
And then she's going to
pull the curtain back.

78
00:05:00,461 --> 00:05:02,741
You've got to have
curtains there.

79
00:05:02,741 --> 00:05:05,771
And this is like an old,
old, you know, rundown place.

80
00:05:05,771 --> 00:05:08,561
So it's going to have mopboard.

81
00:05:08,561 --> 00:05:13,161
It's going to be, you know,
like so, a standing lamp here.

82
00:05:13,161 --> 00:05:16,061
And then, you know,
it's going to look out.

83
00:05:16,061 --> 00:05:19,661
And then Pete will come in here.

84
00:05:19,661 --> 00:05:26,041
And so behind Pete, we
got this side, this door.

85
00:05:26,041 --> 00:05:28,711
It's an oval top thing.

86
00:05:28,711 --> 00:05:33,531
And this is old
wallpaper along in here.

87
00:05:33,531 --> 00:05:34,321
You come in.

88
00:05:34,321 --> 00:05:35,851
And she turns.

89
00:05:35,851 --> 00:05:38,611
And she sees that
he's got a gun.

90
00:05:38,611 --> 00:05:43,671
And so he's here like this
and points his gun at her.

91
00:05:43,671 --> 00:05:45,081
She didn't see him come in.

92
00:05:50,001 --> 00:05:52,641
If you can remember the words,
if you'd looked at it later,

93
00:05:52,641 --> 00:05:53,661
you'd say what the hell?

94
00:06:00,431 --> 00:06:04,361
On Dune, Tony Masters was
the production designer,

95
00:06:04,361 --> 00:06:08,921
great, great, great, great
British production designer.

96
00:06:08,921 --> 00:06:15,581
I went for a boat ride one
night in Venice, Italy.

97
00:06:15,581 --> 00:06:22,151
And these strange mansions were
coming out of the black water.

98
00:06:22,151 --> 00:06:26,591
And it just was
like another world.

99
00:06:26,591 --> 00:06:31,781
And some of this, not all of
it, but some Italian design,

100
00:06:31,781 --> 00:06:35,241
I started talking to
Tony about these things.

101
00:06:35,241 --> 00:06:42,161
And that was the angle on a lot
of the sets that he designed

102
00:06:42,161 --> 00:06:47,141
and some of the costumes
and some of the props.

103
00:06:47,141 --> 00:06:50,061
When it's not of this
world, it could be anything.

104
00:06:50,061 --> 00:06:52,251
But it needs to be something.

105
00:06:52,251 --> 00:06:55,571
So you get an idea of
what that something is.

106
00:06:55,571 --> 00:06:57,611
And then you build that.

107
00:06:57,611 --> 00:07:01,911
In this case, it was a fleshy
grasshopper that was the idea.

108
00:07:01,911 --> 00:07:05,261
You look at a grasshopper
and make it flesh.

109
00:07:05,261 --> 00:07:08,061
And then you get pretty close.

110
00:07:08,061 --> 00:07:10,391
Carlo Rambaldi build it.

111
00:07:10,391 --> 00:07:12,071
He built ET.

112
00:07:12,071 --> 00:07:15,911
And the thing, a lot of
artists, they build themselves.

113
00:07:15,911 --> 00:07:19,661
To me, the Guild navigator
and ET, both of them

114
00:07:19,661 --> 00:07:20,736
look like Carlo Rambaldi.

115
00:07:36,991 --> 00:07:39,626
 We have just
folded space from Ix.

116
00:07:46,561 --> 00:07:49,811
Jack Fisk is my best friend.

117
00:07:49,811 --> 00:07:52,271
I met Jack when we were
in the ninth grade.

118
00:07:52,271 --> 00:07:54,921
First thing I ever
told Jack was a lie.

119
00:07:54,921 --> 00:07:56,171
He said what grade are you in?

120
00:07:56,171 --> 00:07:57,431
I said I'm in the 10th grade.

121
00:07:57,431 --> 00:08:02,533
[LAUGHTER] We became great
friends because out of--

122
00:08:02,533 --> 00:08:03,491
I don't know how many--

123
00:08:03,491 --> 00:08:09,901
4,000 people in our high school,
we were, you know, two of a few

124
00:08:09,901 --> 00:08:12,661
that wanted to become painters.

125
00:08:12,661 --> 00:08:17,581
And so we had four
different studios

126
00:08:17,581 --> 00:08:20,851
that we worked in
during high school

127
00:08:20,851 --> 00:08:25,471
and then ended up
together in Philadelphia

128
00:08:25,471 --> 00:08:28,471
going to the Pennsylvania
Academy of Fine Arts.

129
00:08:28,471 --> 00:08:35,680
And one of my four wives
was Jack's sister Mary.

130
00:08:35,680 --> 00:08:39,791
So Jack is family
and my best friend.

131
00:08:39,791 --> 00:08:47,491
And we share this, you know,
living the art life thing,

132
00:08:47,491 --> 00:08:50,171
which is super important.

133
00:08:50,171 --> 00:08:52,591
We worked together
on Mulholland Drive.

134
00:08:52,591 --> 00:08:55,841
And Jack became a great
production designer.

135
00:08:55,841 --> 00:08:58,991
And so he was production
designer on Mulholland Drive

136
00:08:58,991 --> 00:09:02,211
and on The Straight Story.

137
00:09:02,211 --> 00:09:05,761
And his wife Sissy was
in The Straight Story.

138
00:09:05,761 --> 00:09:12,461
There is very little
room to move in a way

139
00:09:12,461 --> 00:09:16,721
unless they get an-- give
you an idea that you say,

140
00:09:16,721 --> 00:09:19,941
oh, that would be incredible.

141
00:09:19,941 --> 00:09:23,981
And, you know, that can happen.

142
00:09:23,981 --> 00:09:28,481
Or they fulfill the idea
so beautifully, you just

143
00:09:28,481 --> 00:09:31,551
can't imagine it
being any better.

144
00:09:31,551 --> 00:09:35,681
That was the case
with Jack for sure.

145
00:09:35,681 --> 00:09:41,531
And so-- but it would
be wrong to say, Jack,

146
00:09:41,531 --> 00:09:44,231
you do whatever you want.

147
00:09:44,231 --> 00:09:45,731
And this department,
you guys, bring

148
00:09:45,731 --> 00:09:47,561
me any kind of props you want.

149
00:09:47,561 --> 00:09:49,751
And you guys, bring
me those clothes.

150
00:09:49,751 --> 00:09:52,301
Anything goes with me.

151
00:09:52,301 --> 00:09:54,531
This thing's not going
to hold together.

152
00:09:54,531 --> 00:09:58,301
It's not a compromise.

153
00:09:58,301 --> 00:10:05,351
And it's not exactly a
mutual collaboration.

154
00:10:05,351 --> 00:10:08,891
And it's not an ego
trip for the director.

155
00:10:08,891 --> 00:10:12,641
It's to stay true to the ideas.

156
00:10:12,641 --> 00:10:15,681
Why wouldn't you want
that to be the thing?

157
00:10:15,681 --> 00:10:19,369
Why would you want a whole
bunch of unrelated things to?

158
00:10:19,369 --> 00:10:21,161
And the thing isn't
going to hold together.

159
00:10:28,101 --> 00:10:32,451
When you're location
scouting, absolutely you're

160
00:10:32,451 --> 00:10:37,101
looking for locations
that fit the idea that you

161
00:10:37,101 --> 00:10:40,371
saw in your mind.

162
00:10:40,371 --> 00:10:45,621
And before you go out looking,
you see many photographs.

163
00:10:45,621 --> 00:10:50,061
So the photographs
that hold promise,

164
00:10:50,061 --> 00:10:53,431
then you have to go
see the actual location

165
00:10:53,431 --> 00:10:58,481
and see if it fits the idea.

166
00:10:58,481 --> 00:11:01,901
I can tell you know,
pretty quick, you know,

167
00:11:01,901 --> 00:11:03,521
if it's going to work or not.

168
00:11:03,521 --> 00:11:06,701
If the idea says
it's this way, you

169
00:11:06,701 --> 00:11:10,301
try to find the thing
that fits the idea.

170
00:11:10,301 --> 00:11:14,201
And you know, you see a
thing like in the case

171
00:11:14,201 --> 00:11:19,241
of Pete Dayton's
house in Lost Highway,

172
00:11:19,241 --> 00:11:20,981
their driveway was on the left.

173
00:11:20,981 --> 00:11:21,911
The door was there.

174
00:11:21,911 --> 00:11:23,841
The living room, you enter into.

175
00:11:23,841 --> 00:11:27,401
On the right is a hallway that
goes down to the bedrooms.

176
00:11:27,401 --> 00:11:30,581
And the kitchen is over here.

177
00:11:30,581 --> 00:11:33,581
Because the idea
when you see it,

178
00:11:33,581 --> 00:11:37,181
movements are all
there in the idea.

179
00:11:37,181 --> 00:11:41,141
And so you're trying to get
the location so it, you know,

180
00:11:41,141 --> 00:11:43,541
it flow like it
does in the idea.

181
00:12:15,111 --> 00:12:18,771
Cori is the script supervisor.

182
00:12:18,771 --> 00:12:24,391
Studying her face, her face
is very, very beautiful.

183
00:12:24,391 --> 00:12:25,641
So we get to this location.

184
00:12:28,411 --> 00:12:33,751
And I guess, maybe I saw
that balcony up there.

185
00:12:33,751 --> 00:12:36,151
I don't know what triggered it.

186
00:12:36,151 --> 00:12:41,141
But I said, Cori,
come over here.

187
00:12:41,141 --> 00:12:44,591
And I just started
looking at her face.

188
00:12:44,591 --> 00:12:46,091
And she said, what is it?

189
00:12:46,091 --> 00:12:47,921
I said, I want
you to be in this.

190
00:12:47,921 --> 00:12:49,901
And she said, no, no,
I don't want to do it.

191
00:12:49,901 --> 00:12:51,851
And I said, Cori, you know.

192
00:12:51,851 --> 00:12:53,951
And then I got the
costume designer

193
00:12:53,951 --> 00:12:58,781
and tried to talk about this
dress and all this stuff.

194
00:12:58,781 --> 00:13:00,311
Pretty soon, Cori came out.

195
00:13:00,311 --> 00:13:03,021
And she was just beautiful.

196
00:13:03,021 --> 00:13:06,571
And there she was as the
last line in the film.

197
00:13:10,071 --> 00:13:12,001
No, it's just the
idea popped in.

198
00:13:12,001 --> 00:13:15,241
How can you take credit
for these things?

199
00:13:15,241 --> 00:13:16,911
It just happens.

200
00:13:16,911 --> 00:13:17,411
 Silencio.

201
00:13:31,961 --> 00:13:34,841
 Patty Norris was
production designer.

202
00:13:34,841 --> 00:13:38,261
And she came to me and
she said, David, they

203
00:13:38,261 --> 00:13:42,501
want to tear this
cabin set down.

204
00:13:42,501 --> 00:13:48,911
I'm coming to you to make
sure you're finished with it

205
00:13:48,911 --> 00:13:51,371
and would take it down.

206
00:13:51,371 --> 00:13:56,371
And I said, well, let
me think about that.

207
00:13:56,371 --> 00:13:59,251
Don't take it down.

208
00:13:59,251 --> 00:14:02,981
And but she started
this thing going.

209
00:14:02,981 --> 00:14:07,661
And I went over to
Gary D'Amico's trailer.

210
00:14:07,661 --> 00:14:10,561
And Gary is special effects.

211
00:14:10,561 --> 00:14:18,781
And I say, Gary, could
you blow up that cabin?

212
00:14:18,781 --> 00:14:21,901
So Gary went to work.

213
00:14:21,901 --> 00:14:24,651
I told Patty, we're
going to blow it up.

214
00:14:24,651 --> 00:14:27,621
And so not only are we
going to blow it up,

215
00:14:27,621 --> 00:14:30,171
but we're going to
shoot it in reverse.

216
00:14:30,171 --> 00:14:32,661
And what was even
more beautiful,

217
00:14:32,661 --> 00:14:38,631
since Gary didn't have the
things he would have used,

218
00:14:38,631 --> 00:14:42,981
he came up with these balloons
of gasoline and other things

219
00:14:42,981 --> 00:14:45,371
that he had.

220
00:14:45,371 --> 00:14:47,561
And it was a soft explosion.

221
00:14:47,561 --> 00:14:52,711
It was soft and different
than it would have been.

222
00:14:52,711 --> 00:15:00,161
The wind and dust and the soft
explosion, it was so beautiful.

223
00:15:00,161 --> 00:15:02,491
I think we had
three cameras on it.

224
00:15:02,491 --> 00:15:08,231
And it was just a
magical, magical thing.

225
00:15:08,231 --> 00:15:11,896
And it came out of, do you
want it torn down or not?

226
00:15:19,371 --> 00:15:22,521
It's like along the
way, ideas can come.

227
00:15:22,521 --> 00:15:28,611
And you say, oh,
that is so necessary.

228
00:15:28,611 --> 00:15:30,023
It changed the thing.

229
00:15:30,023 --> 00:15:31,731
You know, when you
have that thing going,

230
00:15:31,731 --> 00:15:33,871
it's a magical place.

231
00:15:33,871 --> 00:15:36,831
It feeds into the
mystery of everything.

232
00:15:36,831 --> 00:15:40,401
And it gives a feeling.

233
00:15:40,401 --> 00:15:45,111
It gives a feeling
and gives a thinking.

234
00:15:45,111 --> 00:15:50,121
And it's just-- was just
incredible thing that

235
00:15:50,121 --> 00:15:50,781
came along.

236
00:16:13,735 --> 00:16:15,731
 James.

237
00:16:15,731 --> 00:16:17,228
They're looking for you.

238
00:16:17,228 --> 00:16:20,741
 I'm gonna talk to them.

239
00:16:20,741 --> 00:16:24,491
 There's many stories connected
to that particular scene

240
00:16:24,491 --> 00:16:25,991
right there.

241
00:16:25,991 --> 00:16:30,971
It was so cold, I went to
this outdoor sporting store

242
00:16:30,971 --> 00:16:32,141
and got clothes.

243
00:16:32,141 --> 00:16:34,211
And the guy said,
these clothes, you

244
00:16:34,211 --> 00:16:37,691
could be warm at the North Pole.

245
00:16:37,691 --> 00:16:40,241
I was freezing in those
same clothes that night.

246
00:16:40,241 --> 00:16:43,601
It worked-- the cold
worked into the bones.

247
00:16:43,601 --> 00:16:47,111
We were shooting this scene.

248
00:16:47,111 --> 00:16:54,991
And it came time to
move in to the closeups.

249
00:16:54,991 --> 00:16:59,861
And we got in there.

250
00:16:59,861 --> 00:17:04,691
Both James and Donna were
shaking, they were so cold.

251
00:17:04,691 --> 00:17:06,581
And snot was coming
under their nose.

252
00:17:06,581 --> 00:17:09,011
Their noses were bright red.

253
00:17:09,011 --> 00:17:15,041
And it would have been a joke
to try to make this thing there

254
00:17:15,041 --> 00:17:17,771
at night with that weather.

255
00:17:17,771 --> 00:17:23,100
So we pulled the
plug and went home.

256
00:17:23,100 --> 00:17:26,911
The next day, we woke up.

257
00:17:26,911 --> 00:17:30,011
There was two feet of
snow on the ground.

258
00:17:30,011 --> 00:17:34,121
So all the things were supposed
to do that day were out of,

259
00:17:34,121 --> 00:17:36,491
you know, we couldn't do them.

260
00:17:36,491 --> 00:17:41,561
And then I think it was probably
Patty had the idea, come

261
00:17:41,561 --> 00:17:44,481
to my workplace.

262
00:17:44,481 --> 00:17:49,341
And on the second floor up the
ramp is this concrete area.

263
00:17:49,341 --> 00:17:51,351
We open up all the windows.

264
00:17:51,351 --> 00:17:53,161
Bring in some trees.

265
00:17:53,161 --> 00:17:56,361
And we can shoot those
close-ups right there.

266
00:17:56,361 --> 00:17:58,761
It'll be cold enough
to see their breath.

267
00:17:58,761 --> 00:18:00,171
And it will be beautiful.

268
00:18:00,171 --> 00:18:05,181
And that's exactly what we did,
indoors, daytime, against two

269
00:18:05,181 --> 00:18:07,271
cut down trees.

1
00:00:12,101 --> 00:00:14,831
 I've used these
shots from time

2
00:00:14,831 --> 00:00:21,281
to time where people come out
of darkness, and I love that.

3
00:00:21,281 --> 00:00:27,311
I love seeing just black,
miles and miles of black.

4
00:00:27,311 --> 00:00:30,491
And then from it
comes something,

5
00:00:30,491 --> 00:00:35,301
and it keeps coming
forward and reveals itself.

6
00:00:35,301 --> 00:00:37,341
It's very beautiful.

7
00:00:37,341 --> 00:00:41,651
So people coming out of
darkness visually is beautiful,

8
00:00:41,651 --> 00:00:46,511
but the idea of
coming out of darkness

9
00:00:46,511 --> 00:00:50,751
is really what life is about.

10
00:00:50,751 --> 00:00:53,591
So it's something
to think about.

11
00:00:53,591 --> 00:00:57,541
I have this thing
about darkness.

12
00:00:57,541 --> 00:01:01,711
You know, if there's part of
the frame that's really dark,

13
00:01:01,711 --> 00:01:03,331
again, it's like room to dream.

14
00:01:03,331 --> 00:01:06,121
You don't know
what is back there.

15
00:01:06,121 --> 00:01:10,381
If you see everything,
it's more safe.

16
00:01:10,381 --> 00:01:13,831
It is the unknown, this
darkness, things coming out

17
00:01:13,831 --> 00:01:15,661
of the darkness.

18
00:01:15,661 --> 00:01:19,141
Herb Cardwell
started the lighting.

19
00:01:19,141 --> 00:01:25,861
This world of "Eraserhead" had
to have a certain feel, sort

20
00:01:25,861 --> 00:01:31,351
of back in time, other
world, and Herb lit mostly

21
00:01:31,351 --> 00:01:35,971
with these little inkies,
many little, little lights,

22
00:01:35,971 --> 00:01:39,601
little pools of
light, so beautiful.

23
00:01:39,601 --> 00:01:43,601
Took forever, but
it was so worth it.

24
00:01:43,601 --> 00:01:48,721
In the lovemaking scene, we
first lit it with the inkies,

25
00:01:48,721 --> 00:01:51,551
and then the mood
was totally wrong.

26
00:01:51,551 --> 00:01:55,161
So we reshot that
with soft light,

27
00:01:55,161 --> 00:01:57,641
but still really
dark, but soft light

28
00:01:57,641 --> 00:02:00,171
where they just sort of
glowed in the darkness.

29
00:02:00,171 --> 00:02:02,451
It was so beautiful.

30
00:02:02,451 --> 00:02:03,841
It was magical.

31
00:02:03,841 --> 00:02:07,271
And black and white they say is
much harder to light than color

32
00:02:07,271 --> 00:02:09,041
because you have
to separate things.

33
00:02:09,041 --> 00:02:11,681
Colors separate
automatically, but you

34
00:02:11,681 --> 00:02:14,411
get a pair of black pants
against a black dresser

35
00:02:14,411 --> 00:02:18,071
like we saw many
times in "Eraserhead",

36
00:02:18,071 --> 00:02:20,231
you've got to rim
light those pants

37
00:02:20,231 --> 00:02:21,731
or they just blend
right-- it looks

38
00:02:21,731 --> 00:02:23,981
like doesn't have any legs.

39
00:02:23,981 --> 00:02:25,661
It's tricky business.

40
00:02:25,661 --> 00:02:27,521
Every move is plotted out.

41
00:02:27,521 --> 00:02:30,011
All the lights are set.

42
00:02:30,011 --> 00:02:35,431
And with Jack Nance playing
Henry, it was, like,

43
00:02:35,431 --> 00:02:38,141
choreographed, you
know, down to the n-th--

44
00:02:38,141 --> 00:02:40,081
Jack loved doing
this, you know, just

45
00:02:40,081 --> 00:02:42,931
to know every
single little move.

46
00:02:42,931 --> 00:02:43,801
And it was so good.

47
00:02:43,801 --> 00:02:45,721
Herb could just, you
know, dial in the lights

48
00:02:45,721 --> 00:02:47,701
to catch this and let
this go into darkness

49
00:02:47,701 --> 00:02:49,411
and come out and get this.

50
00:02:49,411 --> 00:02:51,991
It was very beautiful,
very, very beautiful.

51
00:03:03,511 --> 00:03:05,711
Freddie Francis shot
"Sons and Lovers."

52
00:03:05,711 --> 00:03:07,711
Freddie knew black and white.

53
00:03:07,711 --> 00:03:14,101
And Freddie also is British
and knew those times

54
00:03:14,101 --> 00:03:17,641
with gas lights and
early electricity,

55
00:03:17,641 --> 00:03:23,461
these kind of hospitals and the
mood of them, the whole thing,

56
00:03:23,461 --> 00:03:24,391
Victorian England.

57
00:03:34,461 --> 00:03:37,481
So this was the beginning of
the Industrial Revolution.

58
00:03:37,481 --> 00:03:43,331
And smoke, smokestacks,
machines, all these things

59
00:03:43,331 --> 00:03:47,111
were coming into
being, and so they

60
00:03:47,111 --> 00:03:51,521
had to be in the world
of the "Elephant Man."

61
00:03:51,521 --> 00:03:55,151
Philadelphia is my
greatest influence,

62
00:03:55,151 --> 00:03:58,841
and all the architecture
I fell in love with.

63
00:03:58,841 --> 00:04:02,381
I fell in love the
smokestack industry.

64
00:04:02,381 --> 00:04:08,341
Smoke and fire, all the noise,
the machinery, the steel,

65
00:04:08,341 --> 00:04:14,391
the houses they lived
in, the imagined life,

66
00:04:14,391 --> 00:04:16,701
it just was thrilling to me.

67
00:04:16,701 --> 00:04:20,850
That all came out
of Philadelphia.

68
00:04:20,850 --> 00:04:22,921
The only problem
I ever had-- you

69
00:04:22,921 --> 00:04:25,891
know, a lot of times
Freddie didn't want to make

70
00:04:25,891 --> 00:04:28,021
it as dark as I wanted it.

71
00:04:28,021 --> 00:04:29,651
And he would always
say Lynch wants

72
00:04:29,651 --> 00:04:34,201
it so dark you can't see
it, but that's not true.

73
00:04:34,201 --> 00:04:35,921
There's a mood.

74
00:04:35,921 --> 00:04:42,811
And also, London, you know
in those days, you know,

75
00:04:42,811 --> 00:04:47,881
they say the fog and smog,
you know, was so thick.

76
00:04:47,881 --> 00:04:51,421
You know, you want that
kind of feel everywhere,

77
00:04:51,421 --> 00:04:56,041
and a lot of times
really, really dark

78
00:04:56,041 --> 00:05:00,361
and a mood, especially at night.

79
00:05:00,361 --> 00:05:02,231
Freddie was
absolutely fantastic,

80
00:05:02,231 --> 00:05:04,921
became a great,
great friend of mine.

81
00:05:04,921 --> 00:05:10,741
And after the "Elephant Man",
he shot "Dune," and after "Dune"

82
00:05:10,741 --> 00:05:13,111
he shot "Straight Story."

83
00:05:20,201 --> 00:05:23,661
The play on the stage was
shot many different angles.

84
00:05:23,661 --> 00:05:26,321
So all the pieces were
there, but, you know,

85
00:05:26,321 --> 00:05:30,641
the play, if it had just shot
straight, was, you know--

86
00:05:30,641 --> 00:05:34,601
even though it was a nice
play, it was quite boring.

87
00:05:34,601 --> 00:05:37,751
And this is seen through
the eyes of, you know,

88
00:05:37,751 --> 00:05:40,841
John Merrick, and
it's magical to him.

89
00:05:40,841 --> 00:05:44,221
So it had to feel much more
magical than just a live thing.

90
00:05:44,221 --> 00:05:48,197


91
00:06:37,451 --> 00:06:42,081
It would be so easy to do that
today in digital, so easy.

92
00:06:42,081 --> 00:06:46,271
But then it was so
difficult. All these things

93
00:06:46,271 --> 00:06:49,121
have to go in an optical
printer and get, you know,

94
00:06:49,121 --> 00:06:51,041
all the little
dissolves and fades

95
00:06:51,041 --> 00:06:53,111
and all these different things.

96
00:06:53,111 --> 00:06:56,051
Putting it all together
had to be planned out

97
00:06:56,051 --> 00:07:02,021
to the frame and sort of really
kind of guessed and talked out.

98
00:07:02,021 --> 00:07:03,941
And it was getting near
the end of the mix.

99
00:07:03,941 --> 00:07:07,991
That thing still wasn't
cut into the film.

100
00:07:07,991 --> 00:07:09,138
It took weeks.

101
00:07:09,138 --> 00:07:10,721
And if something
goes wrong, you would

102
00:07:10,721 --> 00:07:13,071
have to start all over again.

103
00:07:13,071 --> 00:07:19,821
It was a thing that was
built and took a long time

104
00:07:19,821 --> 00:07:20,891
on the optical printer.

105
00:07:27,271 --> 00:07:31,921
In "Eraserhead," I would
do these little storyboards

106
00:07:31,921 --> 00:07:34,291
and kind of work
things out for myself

107
00:07:34,291 --> 00:07:40,001
and show them to Herb or Fred,
but mainly I just drawing them.

108
00:07:40,001 --> 00:07:42,981
And I would change
them sometimes too.

109
00:07:42,981 --> 00:07:47,051
But I always say, you
know, like, again,

110
00:07:47,051 --> 00:07:49,421
common sense for special
effects shots or things

111
00:07:49,421 --> 00:07:52,001
involving lots of things
that need to come together,

112
00:07:52,001 --> 00:07:54,611
everybody needs to
know, those things

113
00:07:54,611 --> 00:07:58,211
are talked about and
drawn out and organized

114
00:07:58,211 --> 00:08:01,211
so that lots of different
people know exactly what needs

115
00:08:01,211 --> 00:08:04,991
to be done and when and how.

116
00:08:04,991 --> 00:08:19,621
I had printed up like
these little 1.85 squares.

117
00:08:19,621 --> 00:08:24,871
They're all up
and down the page.

118
00:08:24,871 --> 00:08:32,501
And then I would, say,
have the dresser here,

119
00:08:32,501 --> 00:08:40,281
and then I would have
Henry, his suit here.

120
00:08:40,281 --> 00:08:46,361
And I'd have the box on the
wall here and a plant here.

121
00:08:50,941 --> 00:08:54,652
And maybe he would be
reaching out to get something.

122
00:08:58,801 --> 00:09:00,774
So it would be like that.

123
00:09:00,774 --> 00:09:02,691
Yeah, they were a little
bit bigger than that,

124
00:09:02,691 --> 00:09:06,861
and I was using a pen
rather than a marker,

125
00:09:06,861 --> 00:09:10,451
so they were a little
bit better detail.

126
00:09:10,451 --> 00:09:14,341
But then Henry-- the thing
about the widescreen,

127
00:09:14,341 --> 00:09:17,761
pretty widescreen, is
Henry's hair is tall.

128
00:09:17,761 --> 00:09:21,511
So I would, you know,
have to, you know--

129
00:09:24,159 --> 00:09:25,826
his hair probably
would go out of frame.

130
00:09:30,861 --> 00:09:34,451
And I'd go along, you
know, do the sequence.

1
00:00:00,021 --> 00:00:09,981
[MUSIC - JULEE CRUISE,
 "MYSTERIES OF LOVE"]

2
00:00:09,981 --> 00:00:12,967
Yes?

3
00:00:12,967 --> 00:00:13,467
 Yeah.

4
00:00:23,676 --> 00:00:33,885
(SINGING) Sometimes a
wind blows and you and I--

5
00:00:37,931 --> 00:00:42,891
 Music, as everybody
knows, is magical.

6
00:00:42,891 --> 00:00:51,221
And what you try to do in a
film is get the correct music.

7
00:00:51,221 --> 00:00:56,471
Music, to my mind, has to
marry with the picture.

8
00:00:56,471 --> 00:01:00,191
It has to form a union.

9
00:01:00,191 --> 00:01:03,701
And it can't just be
any piece of music.

10
00:01:03,701 --> 00:01:06,341
It has to be the
correct piece of music.

11
00:01:06,341 --> 00:01:09,111
There might be, out
of 10 trillion pieces,

12
00:01:09,111 --> 00:01:11,251
10 that will work.

13
00:01:11,251 --> 00:01:15,021
But when you pick the one, you
pick it because it marries.

14
00:01:15,021 --> 00:01:18,824
And then the way
the music enters--

15
00:01:18,824 --> 00:01:21,931
I love you, Jeffrey.

16
00:01:21,931 --> 00:01:25,332
--and how it rises and falls--

17
00:01:25,332 --> 00:01:28,101
 I love you, too.

18
00:01:28,101 --> 00:01:32,301
 --and how it goes
out is also critical.

19
00:01:32,301 --> 00:01:35,991
So it feels correct
as it's moving.

20
00:01:35,991 --> 00:01:41,551
And a hope is, when all
these elements get together,

21
00:01:41,551 --> 00:01:44,909
that the thing can jump and
be that thing-- the whole is

22
00:01:44,909 --> 00:01:46,326
greater than the
sum of the parts.

23
00:01:56,631 --> 00:02:00,221
This-- oh, it's a long story,
this-- this-- this thing.

24
00:02:04,201 --> 00:02:08,611
It's a story of me meeting
Angelo Badalamenti.

25
00:02:08,611 --> 00:02:14,771
I wanted the "Song to the
Siren" by This Mortal Coil

26
00:02:14,771 --> 00:02:17,351
to be in "Blue Velvet."

27
00:02:17,351 --> 00:02:22,341
And Fred Caruso, bless
his heart, looked into it.

28
00:02:22,341 --> 00:02:25,211
And they wanted a
whole lot of money.

29
00:02:25,211 --> 00:02:26,921
And Fred said,
David, you're always

30
00:02:26,921 --> 00:02:32,541
writing these little things on
pieces of paper, these things.

31
00:02:32,541 --> 00:02:38,921
Why don't you write something
and send it to Angelo?

32
00:02:38,921 --> 00:02:42,971
And he'll write a song for this.

33
00:02:42,971 --> 00:02:48,101
I said, Fred, there are 25
trillion songs in the world.

34
00:02:48,101 --> 00:02:54,001
I want "Song to the Siren"
by This Mortal Coil.

35
00:02:54,001 --> 00:02:56,773
What makes you think I can
write these little things

36
00:02:56,773 --> 00:02:58,481
on a piece of paper,
send them to Angelo,

37
00:02:58,481 --> 00:03:01,651
he's going to do
something to top that?

38
00:03:01,651 --> 00:03:04,971
There's no other
song that I want.

39
00:03:04,971 --> 00:03:07,581
So one thing led to another.

40
00:03:07,581 --> 00:03:11,601
And eventually, I sent
these little shrivels up

41
00:03:11,601 --> 00:03:15,311
to Angelo, these lyrics.

42
00:03:15,311 --> 00:03:16,971
Angelo laughed at them.

43
00:03:16,971 --> 00:03:18,741
He said, they don't rhyme.

44
00:03:18,741 --> 00:03:21,701
They're not like
traditional lyrics.

45
00:03:21,701 --> 00:03:25,618
He tried one thing
that didn't work.

46
00:03:25,618 --> 00:03:26,951
And he said, well, what's wrong?

47
00:03:26,951 --> 00:03:29,141
I said, it's gotta
sound-- sound angelic.

48
00:03:29,141 --> 00:03:30,041
It's gotta float.

49
00:03:30,041 --> 00:03:33,701
It's gotta, you know, have
this angelic floating.

50
00:03:33,701 --> 00:03:36,791
So he got Julie Cruz.

51
00:03:36,791 --> 00:03:40,271
And Julee Cruise and
Angelo worked on it.

52
00:03:40,271 --> 00:03:43,766
And then it had this
very, very beautiful feel.

53
00:03:49,461 --> 00:03:53,721
I still loved, and
always will love,

54
00:03:53,721 --> 00:03:57,681
This Mortal Coil's version
of "Song of the Siren."

55
00:03:57,681 --> 00:04:01,101
But I got to use it in "Lost
Highway", you know, after this.

56
00:04:01,101 --> 00:04:07,521
So-- but "Mysteries of Love"
does have a good feel for this.

57
00:04:07,521 --> 00:04:15,101
And it's turned out to be,
in my book, a good song.

58
00:04:15,101 --> 00:04:19,201
When we started
working together,

59
00:04:19,201 --> 00:04:23,671
I would sit next to
Angelo on the piano bench.

60
00:04:23,671 --> 00:04:26,011
It was a Rhodes piano.

61
00:04:26,011 --> 00:04:30,831
I would talk to
Angelo with words.

62
00:04:30,831 --> 00:04:34,661
And Angelo would play my words.

63
00:04:34,661 --> 00:04:36,921
And if I didn't like
what he was playing,

64
00:04:36,921 --> 00:04:39,801
I would change my words.

65
00:04:39,801 --> 00:04:46,101
And then, little by
little, my words changing

66
00:04:46,101 --> 00:04:51,891
caused Angelo to play
something that was just right.

67
00:04:51,891 --> 00:04:55,551
And once Angelo caught
that thing that I liked,

68
00:04:55,551 --> 00:04:58,871
he would take off.

69
00:04:58,871 --> 00:05:01,511
And it was a magical--

70
00:05:01,511 --> 00:05:05,381
a magical thing
that was going on.

71
00:05:05,381 --> 00:05:10,211
Once he caught a thing, this
great talent of Angelo that

72
00:05:10,211 --> 00:05:15,071
pulls your heart strings, this
most beautiful stuff comes out.

73
00:05:15,071 --> 00:05:18,981
And many times I'd start
crying, it was so beautiful.

74
00:05:18,981 --> 00:05:20,591
It was incredible.

75
00:05:20,591 --> 00:05:26,291
I work that way with Angelo
still to this day, talking,

76
00:05:26,291 --> 00:05:27,221
and him playing.

77
00:05:34,061 --> 00:05:41,361
Alan Splet was legally blind.

78
00:05:41,361 --> 00:05:43,191
He wore contacts.

79
00:05:43,191 --> 00:05:46,581
But if he did have
glasses on, they

80
00:05:46,581 --> 00:05:50,311
were the classic
Coke bottle glasses.

81
00:05:50,311 --> 00:05:53,131
And so he couldn't get
a driver's license.

82
00:05:53,131 --> 00:05:57,261
So I always thought that
this sense of hearing

83
00:05:57,261 --> 00:06:04,671
went way up in Al to compensate
for his, you know, blindness.

84
00:06:04,671 --> 00:06:19,301
And also, Al loved, um, high
quality sounds, clean, full

85
00:06:19,301 --> 00:06:20,101
sounds.

86
00:06:20,101 --> 00:06:26,911
So miking things and getting--
and he'd love to experiment.

87
00:06:26,911 --> 00:06:35,761
So he loved to you know collect
sounds and, at least with me,

88
00:06:35,761 --> 00:06:38,391
make sounds.

89
00:06:38,391 --> 00:06:45,241
But he just had a great
ear and authentic--

90
00:06:45,241 --> 00:06:50,191
authentic, natural
things recorded

91
00:06:50,191 --> 00:06:53,821
in the most perfect way.

92
00:06:53,821 --> 00:06:57,691
And technical, you
know, genius, too.

93
00:06:57,691 --> 00:07:00,991
He was really a perfectionist.

94
00:07:00,991 --> 00:07:04,261
That's what Al-- he knew
that that's what I wanted.

95
00:07:04,261 --> 00:07:07,511
And so Al, when he
worked with anybody,

96
00:07:07,511 --> 00:07:10,711
he would try to find the
sounds, the best quality

97
00:07:10,711 --> 00:07:14,611
sounds, or best--

98
00:07:14,611 --> 00:07:16,981
you know, create
the best quality,

99
00:07:16,981 --> 00:07:19,681
particular sound for that film.

100
00:07:19,681 --> 00:07:23,026
I can tell you an
example of a sound Al

101
00:07:23,026 --> 00:07:27,541
and I built for "Eraserhead."

102
00:07:27,541 --> 00:07:35,861
We filled the bathtub with water
and floated a Sparkletts water

103
00:07:35,861 --> 00:07:43,251
bottle just barely, barely
touching the water bottle,

104
00:07:43,251 --> 00:07:45,451
and a microphone down inside--

105
00:07:45,451 --> 00:07:49,701
you know, halfway down inside
the Sparkletts water bottle,

106
00:07:49,701 --> 00:07:55,891
and just gently moved
it around the tub.

107
00:07:55,891 --> 00:08:01,531
And it had this
fantastic ethereal--

108
00:08:01,531 --> 00:08:03,421
it was a unique sound.

109
00:08:03,421 --> 00:08:09,601
It had a ethereal quality that
sort of danced and it moved.

110
00:08:09,601 --> 00:08:14,161
And it's in "Eraserhead" in the
scene with the beautiful girl

111
00:08:14,161 --> 00:08:19,831
across the hall and Henry in
the bed-- you know, love scene.

112
00:08:32,805 --> 00:08:36,550
[BABY CRYING]

1
00:00:14,151 --> 00:00:16,236
 When is it appropriate
to break the rules?

2
00:00:20,311 --> 00:00:27,131
Honestly, except for
traffic, I believe Mr. Eddie.

3
00:00:27,131 --> 00:00:28,781
And I believe in Mr. Eddie.

4
00:00:28,781 --> 00:00:30,798
 Do you know how many
fucking car lengths it

5
00:00:30,798 --> 00:00:33,811
takes to stop a car
at 35 miles an hour?

6
00:00:33,811 --> 00:00:38,391
 That tailgating is really
bad and that people should stop

7
00:00:38,391 --> 00:00:42,891
for stop signs and red lights.

8
00:00:42,891 --> 00:00:47,371
But in cinema, I
don't like rules.

9
00:01:20,611 --> 00:01:23,791
We shot downtown LA.

10
00:01:23,791 --> 00:01:28,351
I don't know that I even
knew that you needed permits.

11
00:01:28,351 --> 00:01:33,571
So we just went down there
in a innocent way shooting

12
00:01:33,571 --> 00:01:38,161
and found some fantastic
beautiful places.

13
00:01:38,161 --> 00:01:44,021
And this was in the early '70s.

14
00:01:44,021 --> 00:01:46,381
And there was no graffiti.

15
00:01:46,381 --> 00:01:51,181
Would I advise people to
go out and steal the shots

16
00:01:51,181 --> 00:01:53,261
without a permit?

17
00:01:53,261 --> 00:02:00,261
You know, I know that Werner
Herzog would want to do that.

18
00:02:00,261 --> 00:02:03,591
I would want to do that.

19
00:02:03,591 --> 00:02:14,741
But I think we live in a
world now where it's better

20
00:02:14,741 --> 00:02:22,556
to go and get those permits.

21
00:02:25,231 --> 00:02:30,421
And a lot of times, they'll work
with you if you're low budget

22
00:02:30,421 --> 00:02:35,851
and, you know, a student
film or whatever but.

23
00:02:35,851 --> 00:02:42,151
And also it's very important
to go, when you go out,

24
00:02:42,151 --> 00:02:46,701
in a safe way so
no one gets hurt.

25
00:02:46,701 --> 00:02:50,437
It's better to be safe all
the way around, I think.

26
00:02:50,437 --> 00:02:53,413


27
00:03:51,971 --> 00:03:54,851
That was part of
this Lumiere project

28
00:03:54,851 --> 00:03:56,741
where they asked 40
different directors

29
00:03:56,741 --> 00:04:02,021
to make a film using the
original Lumiere brothers

30
00:04:02,021 --> 00:04:06,191
camera, which is made of
wood, beautiful wood, brass,

31
00:04:06,191 --> 00:04:08,331
and glass.

32
00:04:08,331 --> 00:04:15,921
And the deal was
you had three takes.

33
00:04:15,921 --> 00:04:20,230
And each take was
about 55 seconds

34
00:04:20,230 --> 00:04:26,621
in a beautiful, little, wooden
magazine hand-cranked camera.

35
00:04:26,621 --> 00:04:30,311
And you got three takes.

36
00:04:30,311 --> 00:04:31,991
You had to use natural light.

37
00:04:31,991 --> 00:04:34,121
You could not edit.

38
00:04:34,121 --> 00:04:37,801
But you could put
in sound or music.

39
00:04:37,801 --> 00:04:42,171
And so it's one continuous take.

40
00:04:42,171 --> 00:04:43,401
The camera was the same.

41
00:04:43,401 --> 00:04:44,781
The lenses were the same.

42
00:04:44,781 --> 00:04:46,821
The motion was the same.

43
00:04:46,821 --> 00:04:48,831
And those were the rules.

44
00:04:48,831 --> 00:04:51,111
I was in my wood shop.

45
00:04:51,111 --> 00:05:00,211
And I got this idea of different
sets and to move from one place

46
00:05:00,211 --> 00:05:03,031
to another.

47
00:05:03,031 --> 00:05:07,093
And then Gary D'Amico
and Phil built this box.

48
00:05:07,093 --> 00:05:08,551
You just pulled
this little string.

49
00:05:08,551 --> 00:05:10,681
And the doors just slammed shut.

50
00:05:10,681 --> 00:05:11,791
And it's absolutely black.

51
00:05:11,791 --> 00:05:13,681
And then we'd go to another set.

52
00:05:13,681 --> 00:05:15,571
And they'd fly open.

53
00:05:15,571 --> 00:05:17,546
And then they'd,
you know, slam shut.

54
00:05:17,546 --> 00:05:19,171
Then we move to
another place or this--

55
00:05:19,171 --> 00:05:22,831
we'd open up on smoke
and go to four--

56
00:05:22,831 --> 00:05:25,771
The mother in the
beginning on the couch,

57
00:05:25,771 --> 00:05:28,171
they find the little
boy, the police.

58
00:05:28,171 --> 00:05:30,821
Then it goes to the
mother on the couch.

59
00:05:30,821 --> 00:05:34,171
Then it goes to the women
and the deer and, you know,

60
00:05:34,171 --> 00:05:35,071
in this place.

61
00:05:35,071 --> 00:05:39,721
And then they had to move
the couch and the mother

62
00:05:39,721 --> 00:05:43,051
out around into another
part of the set.

63
00:05:43,051 --> 00:05:46,141
We built these sets out
of Gary D'Amico house.

64
00:05:46,141 --> 00:05:47,881
It was so much fun.

65
00:05:47,881 --> 00:05:54,781
Restrictions, sometimes, can
conjure really great ideas

66
00:05:54,781 --> 00:05:56,941
that provide solutions.

67
00:05:56,941 --> 00:06:02,231
It's really true, necessity
is the mother of invention.

68
00:06:02,231 --> 00:06:07,391
These things flow out
sometimes with restrictions.

69
00:06:07,391 --> 00:06:09,541
And if you have tons
of money, you just

70
00:06:09,541 --> 00:06:10,981
don't think about those things.

71
00:06:10,981 --> 00:06:13,571
You just know, you know, what
the normal way to do it is,

72
00:06:13,571 --> 00:06:14,971
and you do that.

73
00:06:14,971 --> 00:06:17,341
But if you have
restrictions, you

74
00:06:17,341 --> 00:06:20,251
could come up with
ideas to make it work.

75
00:06:20,251 --> 00:06:23,161
And it could even
be more interesting,

76
00:06:23,161 --> 00:06:28,364
you know, than the
solution with the money.

1
00:00:00,021 --> 00:00:02,766


2
00:00:12,351 --> 00:00:17,381
 When you make a decision, you
think it's a correct decision.

3
00:00:17,381 --> 00:00:23,041
And sometimes, it's slow
motion realizing that it isn't.

4
00:00:23,041 --> 00:00:25,571
Sometimes, it's fast.

5
00:00:25,571 --> 00:00:29,291
But you think it's
the correct thing.

6
00:00:29,291 --> 00:00:33,231
All along the way, every single
day, every single moment,

7
00:00:33,231 --> 00:00:35,561
we're making decisions.

8
00:00:35,561 --> 00:00:44,251
And you just do
the best you can.

9
00:00:44,251 --> 00:00:49,791
If things turn out to be a
failure like what happened

10
00:00:49,791 --> 00:00:55,986
to me on '"Dune," I say
that's a blessing in a way.

11
00:00:58,801 --> 00:01:01,361
There's nowhere to
go down further.

12
00:01:01,361 --> 00:01:03,121
You can only go up.

13
00:01:03,121 --> 00:01:07,491
So there's a sense of freedom
that comes out of a failure.

14
00:01:07,491 --> 00:01:10,611
If you have a
success, there's kind

15
00:01:10,611 --> 00:01:13,701
of like a extended drum roll.

16
00:01:13,701 --> 00:01:16,921
This best-- next thing
better be as good as that.

17
00:01:16,921 --> 00:01:18,761
It better be good.

18
00:01:18,761 --> 00:01:21,141
Or you're going
to take the fall.

19
00:01:21,141 --> 00:01:25,961
So you could start
second guessing yourself.

20
00:01:25,961 --> 00:01:30,441
And so there's
danger in a success.

21
00:01:30,441 --> 00:01:34,331
I just keep going back
to "Dune" as being

22
00:01:34,331 --> 00:01:37,181
a major failure for my self.

23
00:01:37,181 --> 00:01:41,901
And making "Blue Velvet"
came out of that.

24
00:01:41,901 --> 00:01:44,381
So it was euphoria--

25
00:01:44,381 --> 00:01:50,631
nowhere to go but up and a
sense of freedom and euphoria

26
00:01:50,631 --> 00:01:51,506
making "Blue Velvet."

27
00:01:59,241 --> 00:02:02,731
You don't have to suffer
to show suffering.

28
00:02:02,731 --> 00:02:04,431
You don't have to be
filled with turmoil

29
00:02:04,431 --> 00:02:07,341
to show turmoil,
have it in the story.

30
00:02:07,341 --> 00:02:10,071
I don't know what goes on
in artists heads, you know.

31
00:02:10,071 --> 00:02:15,801
But I think all the great
artists loved, you know,

32
00:02:15,801 --> 00:02:17,241
working.

33
00:02:17,241 --> 00:02:20,931
And a lot of people say,
well, you know, suffering

34
00:02:20,931 --> 00:02:22,611
is good for art.

35
00:02:22,611 --> 00:02:25,131
Look at van Gogh, they say.

36
00:02:25,131 --> 00:02:28,941
And I say, let's take
a look at van Gogh.

37
00:02:28,941 --> 00:02:34,671
Van Gogh didn't go out painting
because he hated it or he was--

38
00:02:34,671 --> 00:02:36,741
the only time he
was happy probably

39
00:02:36,741 --> 00:02:38,421
was when he was painting.

40
00:02:38,421 --> 00:02:41,281
He painted because
he loved to paint.

41
00:02:41,281 --> 00:02:43,751
And the rest of his life
was pretty miserable.

42
00:02:43,751 --> 00:02:44,881
He didn't sell anything.

43
00:02:44,881 --> 00:02:45,721
He was broke.

44
00:02:45,721 --> 00:02:47,701
A lot of times, he
probably really hungry.

45
00:02:47,701 --> 00:02:50,041
But it's just common sense.

46
00:02:50,041 --> 00:02:54,061
Suffering reduces
and it's the enemy.

47
00:02:54,061 --> 00:02:57,011
Negativity is the
enemy of creativity.

48
00:02:57,011 --> 00:02:58,771
It's common sense.

49
00:02:58,771 --> 00:03:00,889
If someone is
depressed, they say

50
00:03:00,889 --> 00:03:02,431
they don't even feel
like getting out

51
00:03:02,431 --> 00:03:04,261
of bed, let alone working.

52
00:03:04,261 --> 00:03:07,561
If you're sad or if you're
filled with bitter anger,

53
00:03:07,561 --> 00:03:09,451
that occupies the mind.

54
00:03:09,451 --> 00:03:10,771
Maybe you do angry paintings.

55
00:03:10,771 --> 00:03:11,821
So what?

56
00:03:11,821 --> 00:03:14,731
You could do angry paintings
but be happy in the doing.

57
00:03:14,731 --> 00:03:19,801
This romantic idea-- it's
a French idea, I say--

58
00:03:19,801 --> 00:03:23,371
this guy is starving
in the garret.

59
00:03:23,371 --> 00:03:26,801
It's so romantic.

60
00:03:26,801 --> 00:03:28,331
He's cold.

61
00:03:28,331 --> 00:03:30,911
He's starving.

62
00:03:30,911 --> 00:03:32,711
And it's romantic.

63
00:03:32,711 --> 00:03:38,921
It's romantic really
for everyone but him.

64
00:03:38,921 --> 00:03:41,141
If he was honest,
he'd say, I don't want

65
00:03:41,141 --> 00:03:42,881
to be cold and freezing here.

66
00:03:42,881 --> 00:03:45,701
I don't want to live this
charade that, you know,

67
00:03:45,701 --> 00:03:47,021
this is cool.

68
00:03:47,021 --> 00:03:48,881
I don't want to be starving.

69
00:03:48,881 --> 00:03:51,491
I want to feel good and paint.

70
00:03:51,491 --> 00:03:53,861
If they're really honest,
it would be a lot better

71
00:03:53,861 --> 00:03:56,741
to do the work and not
suffer and especially

72
00:03:56,741 --> 00:03:59,261
if they knew that more ideas
would flow and the work could,

73
00:03:59,261 --> 00:04:01,871
you know, blossom, you
know, who knows where.

74
00:04:08,231 --> 00:04:12,251
The feature film is the thing
that's in trouble right now.

75
00:04:12,251 --> 00:04:17,081
Except for the so-called
summer blockbusters,

76
00:04:17,081 --> 00:04:21,031
people don't go to the theater.

77
00:04:21,031 --> 00:04:24,341
They watch cable television
is the new art house

78
00:04:24,341 --> 00:04:27,041
and where you're
going to see something

79
00:04:27,041 --> 00:04:31,721
that is not in the summer
blockbuster category.

80
00:04:31,721 --> 00:04:34,043
And there will be directors
that will come out

81
00:04:34,043 --> 00:04:36,001
of that, filmmakers that
will come out of that.

82
00:04:36,001 --> 00:04:37,391
It will shine.

83
00:04:37,391 --> 00:04:42,721
And it's just going to happen
in that world for a while.

84
00:04:42,721 --> 00:04:47,761
Those things, 2000 people in
a big giant beautiful Palace

85
00:04:47,761 --> 00:04:51,541
Theater with a giant
screen and great sound

86
00:04:51,541 --> 00:04:57,581
all watching the same film,
that thing, I don't see.

87
00:05:00,311 --> 00:05:04,421
The old way, filling up
theaters night after night,

88
00:05:04,421 --> 00:05:07,091
I think is gone.

89
00:05:07,091 --> 00:05:09,521
We're losing quite a lot.

90
00:05:09,521 --> 00:05:16,181
Because the thing
I've found out is

91
00:05:16,181 --> 00:05:22,141
when you have a theater
filled with people,

92
00:05:22,141 --> 00:05:27,111
the film runs slower.

93
00:05:27,111 --> 00:05:30,891
And in a feature film,
there's no commercial breaks.

94
00:05:30,891 --> 00:05:33,321
There's no breaks at all.

95
00:05:33,321 --> 00:05:37,461
And you have to pull the
audience for 2 plus or three

96
00:05:37,461 --> 00:05:41,551
hours and hold them.

97
00:05:41,551 --> 00:05:45,841
And with that many
people, it seems

98
00:05:45,841 --> 00:05:51,331
to be a kind of an intelligence
that rises up in the group.

99
00:05:51,331 --> 00:05:53,791
They can think ahead of you.

100
00:05:53,791 --> 00:05:55,591
And they can drop out.

101
00:05:55,591 --> 00:05:59,371
And they can-- you have
to be able to hold them.

102
00:05:59,371 --> 00:06:01,711
And that's a tricky business.

103
00:06:01,711 --> 00:06:07,591
With cable television, it's
just one or two or three or four

104
00:06:07,591 --> 00:06:11,191
people in the room,
it's a different thing.

105
00:06:11,191 --> 00:06:14,851
They're more forgiving,
one or two people.

106
00:06:14,851 --> 00:06:18,011
One person is
incredibly forgiving.

107
00:06:18,011 --> 00:06:22,531
They'll-- they won't be
like 2000 people in a room.

108
00:06:22,531 --> 00:06:27,731
And it's-- they'll
forgive many things.

109
00:06:27,731 --> 00:06:30,961
And it's just the way it is.

110
00:06:30,961 --> 00:06:35,641
In television, I say it gives
an opportunity for a continuing

111
00:06:35,641 --> 00:06:37,051
story.

112
00:06:37,051 --> 00:06:39,961
And this to me is beautiful--

113
00:06:39,961 --> 00:06:44,101
a story that goes, and
it gets a world going

114
00:06:44,101 --> 00:06:45,841
and characters going.

115
00:06:45,841 --> 00:06:48,361
And it can go and go and go.

116
00:06:48,361 --> 00:06:50,821
And it can, you
know, branch out.

117
00:06:50,821 --> 00:06:52,951
And you can go here and there.

118
00:06:52,951 --> 00:06:57,091
And great things can happen
as you go deeper into it.

119
00:06:57,091 --> 00:07:01,801
If you build a film
for the audience,

120
00:07:01,801 --> 00:07:07,231
because it takes a year
or more to make a film,

121
00:07:07,231 --> 00:07:10,321
the audience is going
to be a year different

122
00:07:10,321 --> 00:07:11,851
when the thing is done.

123
00:07:11,851 --> 00:07:15,991
And you could, you know,
have missed that time.

124
00:07:15,991 --> 00:07:18,721
If you stay true to
the idea and make

125
00:07:18,721 --> 00:07:23,491
it as good as you
can, and you love it,

126
00:07:23,491 --> 00:07:26,531
maybe others will love it too.

127
00:07:26,531 --> 00:07:28,261
But you don't know.

128
00:07:28,261 --> 00:07:32,641
If you think about the
audience and build it for them,

129
00:07:32,641 --> 00:07:35,221
it might-- you've got
just as good a chance,

130
00:07:35,221 --> 00:07:37,411
they might hate it, you know.

131
00:07:37,411 --> 00:07:40,411
But you didn't build
it for yourself.

132
00:07:40,411 --> 00:07:45,991
And it's like, to me,
the wrong way to go.

133
00:07:45,991 --> 00:07:49,021
Build it and make it
true to the ideas.

134
00:07:49,021 --> 00:07:53,911
And you are the final
say and have control.

135
00:07:53,911 --> 00:07:59,251
And then when you release
it, you've lost your control.

136
00:07:59,251 --> 00:08:01,411
You just take what you get.

137
00:08:01,411 --> 00:08:04,651
It can be a great,
big, beautiful world.

138
00:08:04,651 --> 00:08:06,961
We're all, like I said,
different on the surface.

139
00:08:06,961 --> 00:08:09,331
So find your own way.

140
00:08:09,331 --> 00:08:11,641
Find your own voice.

141
00:08:11,641 --> 00:08:20,646
And, you know, compromise
is not an option.

142
00:08:23,701 --> 00:08:29,221
Well, thank you all very much
for listening and watching.

143
00:08:29,221 --> 00:08:34,531
I hope this MasterClass
has been beneficial to you.

144
00:08:34,531 --> 00:08:39,781
And I want to wish all of you
all the very best of luck.

145
00:08:39,781 --> 00:08:40,291
Take care.

146
00:08:40,291 --> 00:08:43,341

1
00:00:00,021 --> 00:00:02,865


2
00:00:06,191 --> 00:00:09,291
I'm going to do a drawing.

3
00:00:09,291 --> 00:00:14,501
And this drawing is what I call
my "poor man's unified field

4
00:00:14,501 --> 00:00:21,431
chart" to describe what
happens, and how Transcendental

5
00:00:21,431 --> 00:00:23,631
Meditation works.

6
00:00:23,631 --> 00:00:28,891
So I'm going to draw
this one line here.

7
00:00:28,891 --> 00:00:33,411
This line represents
the surface of life--

8
00:00:33,411 --> 00:00:34,881
surface.

9
00:00:34,881 --> 00:00:38,736
We see surfaces, metal and wood.

10
00:00:46,131 --> 00:00:51,651
This side of this
line, we call "matter."

11
00:00:51,651 --> 00:00:57,281
And this side, we'll call
"mind," mind and matter.

12
00:00:57,281 --> 00:01:00,311
They say about 300
or 400 years ago,

13
00:01:00,311 --> 00:01:02,161
these people called
"scientists,"

14
00:01:02,161 --> 00:01:05,911
they wanted to know
what this "matter" was.

15
00:01:05,911 --> 00:01:06,841
What is metal?

16
00:01:06,841 --> 00:01:07,611
What is stone?

17
00:01:07,611 --> 00:01:08,411
What is water?

18
00:01:08,411 --> 00:01:09,491
What is flesh?

19
00:01:09,491 --> 00:01:11,341
What is it really?

20
00:01:11,341 --> 00:01:14,931
So they started
looking into matter.

21
00:01:14,931 --> 00:01:19,071
And they found cells.

22
00:01:19,071 --> 00:01:21,111
And they went a
little bit deeper,

23
00:01:21,111 --> 00:01:23,201
and they found molecules.

24
00:01:23,201 --> 00:01:27,341
Imagined what it was like
for them to find a molecule.

25
00:01:27,341 --> 00:01:31,028
Then they went deeper,
and they found atoms.

26
00:01:31,028 --> 00:01:32,611
For a long time,
they thought the atom

27
00:01:32,611 --> 00:01:33,694
was the smallest particle.

28
00:01:36,221 --> 00:01:40,901
They went deeper and
deeper until they

29
00:01:40,901 --> 00:01:46,241
found what they call the
"elementary particles,"

30
00:01:46,241 --> 00:01:50,711
the smallest particles
in manifestation,

31
00:01:50,711 --> 00:01:54,041
all these subatomic particles
in here-- bosons, hadrons,

32
00:01:54,041 --> 00:01:56,441
whatever all, the quarks.

33
00:01:56,441 --> 00:02:03,691
They found four forces that
act upon these particles, four

34
00:02:03,691 --> 00:02:05,611
forces.

35
00:02:05,611 --> 00:02:10,621
And on a deeper level, they
found that these four forces

36
00:02:10,621 --> 00:02:12,931
became three.

37
00:02:12,931 --> 00:02:18,331
These two, electromagnetism
and the weak force, united.

38
00:02:18,331 --> 00:02:23,021
And on a deeper level, they
found the three became two.

39
00:02:23,021 --> 00:02:24,701
Gravity and the unity
of these things,

40
00:02:24,701 --> 00:02:26,951
rather, grand unification.

41
00:02:26,951 --> 00:02:31,661
In the 1970s, modern
science, quantum physics,

42
00:02:31,661 --> 00:02:39,731
discovered the unified field,
the unity of all the particles

43
00:02:39,731 --> 00:02:43,151
and all the forces
in manifestation.

44
00:02:43,151 --> 00:02:47,691
Unified field, oneness.

45
00:02:47,691 --> 00:02:51,471
And this field is unmanifest--

46
00:02:51,471 --> 00:02:52,521
unmanifest.

47
00:02:52,521 --> 00:02:56,941
There is no manifestation
in this field.

48
00:02:56,941 --> 00:03:02,011
It is a field of no things.

49
00:03:02,011 --> 00:03:06,001
Yet even our scientists say
that everything that is a thing

50
00:03:06,001 --> 00:03:10,051
has emerged from this
field in a process

51
00:03:10,051 --> 00:03:14,071
they say is spontaneous
sequential symmetry-breaking,

52
00:03:14,071 --> 00:03:18,651
implying that this field
is perfect symmetry.

53
00:03:18,651 --> 00:03:22,761
Ancient Vedic science
has always and forever

54
00:03:22,761 --> 00:03:25,241
known about this field.

55
00:03:25,241 --> 00:03:34,301
And they say it is a field
of pure consciousness, self

56
00:03:34,301 --> 00:03:38,741
referral pure consciousness.

57
00:03:38,741 --> 00:03:43,361
Transcendental Meditation
is a mental technique,

58
00:03:43,361 --> 00:03:47,081
an ancient form of meditation
brought back for this time

59
00:03:47,081 --> 00:03:49,781
by Maharishi Mahesh Yogi.

60
00:03:49,781 --> 00:03:51,411
He didn't make it up.

61
00:03:51,411 --> 00:03:54,011
It's an ancient technique.

62
00:03:54,011 --> 00:03:58,361
And it involves a mantra.

63
00:03:58,361 --> 00:04:02,381
And the mantra is a very
specific sound, vibration,

64
00:04:02,381 --> 00:04:04,911
thought.

65
00:04:04,911 --> 00:04:08,661
And this mantra you're given
in Transcendental Meditation

66
00:04:08,661 --> 00:04:12,811
is like a law of nature
designed for a specific purpose.

67
00:04:12,811 --> 00:04:19,071
And that purpose is to turn the
awareness from out, out, out,

68
00:04:19,071 --> 00:04:23,781
180 degrees to within,
within, within.

69
00:04:23,781 --> 00:04:29,421
Once you're pointed within,
you will naturally and easily

70
00:04:29,421 --> 00:04:36,101
dive through subtler
levels of mind,

71
00:04:36,101 --> 00:04:41,321
and then deeper and subtler
levels of intellect.

72
00:04:41,321 --> 00:04:44,391
And they correspond
to levels of matter.

73
00:04:44,391 --> 00:04:48,101
And at the border of
intellect, you will transcend.

74
00:04:53,461 --> 00:04:56,671
"Transcend" is the keyword.

75
00:04:56,671 --> 00:05:00,211
This represents the whole
field of relativity.

76
00:05:00,211 --> 00:05:03,861
You'll go beyond the
field of relativity,

77
00:05:03,861 --> 00:05:10,641
and experience
non-relative absolute.

78
00:05:14,831 --> 00:05:19,381
This field is eternal.

79
00:05:19,381 --> 00:05:21,001
It is unbounded.

80
00:05:21,001 --> 00:05:22,231
It is infinite.

81
00:05:22,231 --> 00:05:25,051
It is immutable,
and it is immortal.

82
00:05:25,051 --> 00:05:27,991
It's for always and
forever been there.

83
00:05:27,991 --> 00:05:30,181
It never had a beginning.

84
00:05:30,181 --> 00:05:33,931
It's there now, and it
will be there forever.

85
00:05:33,931 --> 00:05:35,791
Everything in the
field of relativity

86
00:05:35,791 --> 00:05:39,901
has a lifespan, some super
short, some not so long,

87
00:05:39,901 --> 00:05:42,241
some long, some extremely long.

88
00:05:42,241 --> 00:05:45,511
But everything within the field
of relativity has a lifespan.

89
00:05:45,511 --> 00:05:50,401
When you transcend and
experience this field,

90
00:05:50,401 --> 00:05:53,221
because this pure
consciousness has qualities--

91
00:05:53,221 --> 00:05:55,441
all positive qualities--

92
00:05:55,441 --> 00:06:06,131
you will experience
unbounded intelligence,

93
00:06:06,131 --> 00:06:20,401
unbounded creativity, unbounded
happiness, unbounded love,

94
00:06:20,401 --> 00:06:26,211
unbounded energy,
unbounded peace.

95
00:06:28,981 --> 00:06:32,401
Unbounded intelligence,
creativity, happiness, love,

96
00:06:32,401 --> 00:06:35,771
energy, and peace
are waiting for us

97
00:06:35,771 --> 00:06:39,881
in the big treasury within
each one of us human beings.

98
00:06:39,881 --> 00:06:42,581
All we need is a
technique to get us there.

99
00:06:42,581 --> 00:06:46,931
In the world out there, there's
many, many forms of meditation.

100
00:06:46,931 --> 00:06:51,301
And all these now have been
tested on the EEG machine

101
00:06:51,301 --> 00:06:54,401
in different forms
of brain research.

102
00:06:54,401 --> 00:06:58,271
And Transcendental
Meditation is the only one

103
00:06:58,271 --> 00:07:00,341
that brings transcending.

104
00:07:00,341 --> 00:07:03,071
You want to
experience this field.

105
00:07:03,071 --> 00:07:07,271
Every time you transcend,
you infuse some of this.

106
00:07:07,271 --> 00:07:11,021
And if you had a ball of
consciousness this big,

107
00:07:11,021 --> 00:07:13,841
you infused some of this,
that ball of consciousness

108
00:07:13,841 --> 00:07:16,711
is going to expand.

109
00:07:16,711 --> 00:07:18,931
In the '70s or '80s, there
were other things called

110
00:07:18,931 --> 00:07:21,001
"consciousness raising groups."

111
00:07:21,001 --> 00:07:22,591
They weren't raising
consciousness.

112
00:07:22,591 --> 00:07:24,691
They were raising information.

113
00:07:24,691 --> 00:07:27,181
This is a way to get
more consciousness.

114
00:07:27,181 --> 00:07:29,551
Every human being has
consciousness, but not

115
00:07:29,551 --> 00:07:32,521
every human being
has the same amount.

116
00:07:32,521 --> 00:07:36,331
The potential for each one
of us glorious human beings

117
00:07:36,331 --> 00:07:39,791
is infinite consciousness,
enlightenment.

118
00:07:39,791 --> 00:07:42,451
It just needs unfolding.

119
00:07:42,451 --> 00:07:44,701
You unfold it by transcending.

120
00:07:44,701 --> 00:07:47,671
You go where it is,
and bring it out.

121
00:07:47,671 --> 00:07:49,651
It makes perfect sense.

122
00:07:49,651 --> 00:07:51,781
And in expanding
this consciousness,

123
00:07:51,781 --> 00:07:54,421
you're making the
subconscious conscious.

124
00:07:54,421 --> 00:07:56,281
In enlightenment,
there is no sub.

125
00:07:56,281 --> 00:07:58,081
It's all consciousness.

126
00:07:58,081 --> 00:08:00,991
And you're dealing
with a full deck.

127
00:08:00,991 --> 00:08:04,681
Right now, everybody enjoys
waking, sleeping, and dreaming.

128
00:08:04,681 --> 00:08:07,081
But there's four states of
consciousness above that,

129
00:08:07,081 --> 00:08:09,601
culminating in what they call
"unity consciousness," which

130
00:08:09,601 --> 00:08:11,501
is supreme enlightenment.

131
00:08:11,501 --> 00:08:14,191
It just needs unfolding.

132
00:08:14,191 --> 00:08:16,841
And this is the way to do it.

133
00:08:16,841 --> 00:08:19,801
This is an area of
all-knowingness.

134
00:08:19,801 --> 00:08:22,711
This is where you know
all that intuition comes

135
00:08:22,711 --> 00:08:25,761
more and more and more,
the more you transcend.

136
00:08:25,761 --> 00:08:28,579
In Transcendental Meditation,
you practice this technique

137
00:08:28,579 --> 00:08:30,871
20 minutes in the morning,
20 minutes in the afternoon.

138
00:08:30,871 --> 00:08:33,361
And then the rest of the time,
you go about your business,

139
00:08:33,361 --> 00:08:36,481
and watch things get better,
and better, and better.

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The side effect--
there is a side effect

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to expanding consciousness.

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And the side effect
is negativity begins

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to recede, evaporate, go away.

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They say negativity
is just like darkness.

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And you say, what is darkness?

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00:08:56,971 --> 00:08:58,621
And you look at it,
and it's nothing.

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It's just the
absence of something.

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You can't go down to the
store and buy a dark bulb,

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turn it on, and
the room gets dark.

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Darkness is the
absence of light.

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You wrap up this all-positive,
and automatically, negativity

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will go, just like
darkness goes in sunlight

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or with an incandescent light,
automatically, without trying.

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Things like stress-- this
world is stressed like crazy

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these days.

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Post-traumatic stress--
so traumatic stress,

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it saves the vets suffering
from traumatic stress.

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Anxieties, tension, depression,
sorrow, hate, bitter, selfish,

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anger, and fear all
start to lift away.

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00:09:54,601 --> 00:09:56,491
I call it the
"suffocating rubber clown

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00:09:56,491 --> 00:09:59,461
suit of negativity"
starts to dissolve.

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And this rubber clown
suit is so heavy for us.

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It kills creativity.

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00:10:04,381 --> 00:10:05,821
It kills joy of work.

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It kills energy.

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It makes you sick.

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00:10:09,721 --> 00:10:12,811
Stress-related illnesses--
stress can kill us.

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This stuff starts disappearing,
it dissolves the rubber clown

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suit.

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00:10:16,951 --> 00:10:19,561
No one wants to be
a clown suffering.

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Here is a thing
that gets rid of it.

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00:10:22,201 --> 00:10:25,261
Here is a thing that
brings more intelligence,

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00:10:25,261 --> 00:10:27,781
see more awareness,
more understanding.

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00:10:27,781 --> 00:10:29,191
It brings more creativity.

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00:10:29,191 --> 00:10:30,841
Ideas start flowing more.

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00:10:30,841 --> 00:10:32,881
It brings happiness
in the doing.

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It brings peace,
inner contentment,

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and a joy of living.

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And it serves the work--

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money in the bank, common sense.

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This is the way to get
more intuition, more

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happiness in your work,
flow of ideas more and more,

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a way to solve the problems.

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00:10:52,451 --> 00:10:56,431
The answers will come the
more consciousness you have.

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And that heavy weight
of negativity going away

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is such a blessing.

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So as part of film
school, you should learn

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00:11:06,511 --> 00:11:08,701
Transcendental Meditation.

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Transcendental Meditation
is a unique form.

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00:11:10,981 --> 00:11:15,151
If you practice a concentration
form of meditation,

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00:11:15,151 --> 00:11:18,001
because the mind is
engaged in concentration,

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00:11:18,001 --> 00:11:23,311
it will keep you near the
surface, near the surface.

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00:11:23,311 --> 00:11:26,311
Maybe there's some benefit,
but you're not transcending.

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00:11:26,311 --> 00:11:28,351
Contemplation form
of meditation,

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00:11:28,351 --> 00:11:32,381
like watching your breathing,
or smelling the roses--

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00:11:32,381 --> 00:11:33,431
that's a nice thing.

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00:11:33,431 --> 00:11:36,151
But you're not
going to transcend.

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00:11:36,151 --> 00:11:38,521
So you want a
thing that gets you

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to the treasury,
to this real thing,

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00:11:42,871 --> 00:11:45,331
and infuse that,
and grow in that.

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00:11:45,331 --> 00:11:47,611
And you'll never,
ever, ever be sorry.

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00:11:57,391 --> 00:12:01,741
To start Transcendental
Meditation,

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00:12:01,741 --> 00:12:06,311
it takes four days, about
an hour and a half each day.

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00:12:06,311 --> 00:12:10,091
And then you have the technique
for your rest of your life.

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You understand how it works.

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00:12:12,971 --> 00:12:14,921
You know you're
meditating correctly.

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00:12:14,921 --> 00:12:17,051
Your questions
have been answered.

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00:12:17,051 --> 00:12:18,407
And you have it.

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00:12:18,407 --> 00:12:23,141
You need a legitimate teacher
of Transcendental Meditation

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as taught by
Maharishi Mahesh Yogi.

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There's other people out
in the world say, oh, I'll

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teach you that.

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00:12:28,901 --> 00:12:30,581
I'll do this and that.

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00:12:30,581 --> 00:12:32,021
It's not the real thing.

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00:12:32,021 --> 00:12:34,761
You want a legitimate teacher.

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00:12:34,761 --> 00:12:40,311
And you can call the TM
centers, and they will confirm

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00:12:40,311 --> 00:12:42,851
the teacher being legitimate.

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00:12:42,851 --> 00:12:45,881
And like I said, four days,
about an hour and a half a day,

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and then you're rocking.

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I wasn't so self-assured.

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I was creative, but I
wasn't self-assured.

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And in this business
you get steamrolled.

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00:13:02,891 --> 00:13:07,251
You'll get killed, and
probably in any business.

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There's self-assuredness,
and then there's

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00:13:11,651 --> 00:13:16,751
many of us that work for
the goal of the work, money.

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But we don't enjoy the
day to day so much.

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00:13:20,381 --> 00:13:24,131
And wouldn't it be
great if you could

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be happy inside, and enjoy
the doing of almost anything?

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You enjoy the doing of things.

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You enjoy more and
more being alive.

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00:13:32,971 --> 00:13:34,691
You see a bigger picture.

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I say life becomes more
like a game than a torment.

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Energy-- people have
trouble sleeping.

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People are tired.

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00:13:43,211 --> 00:13:45,051
And when you're
tired and stressed,

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you do strange things.

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00:13:46,991 --> 00:13:52,001
Many people in prison are
there because of stress.

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00:13:52,001 --> 00:13:55,031
And what it does to
the brain, causing

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00:13:55,031 --> 00:14:02,001
us to do these strange, violent
things that most people regret

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00:14:02,001 --> 00:14:04,651
almost as soon as
they've done them.

241
00:14:04,651 --> 00:14:06,651
But nonetheless,
they're in prison.

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00:14:06,651 --> 00:14:10,971
Many, many illnesses are avoided
because of stress leaving.

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00:14:10,971 --> 00:14:19,071
So then there's
this thing of love.

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00:14:19,071 --> 00:14:20,791
People start looking better.

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00:14:20,791 --> 00:14:22,611
They start looking friendlier.

246
00:14:22,611 --> 00:14:31,911
And you see more of
loving all diversity.

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00:14:31,911 --> 00:14:37,531
It's like start
loving all people.

248
00:14:37,531 --> 00:14:40,221
And it's really,
really beautiful.

249
00:14:40,221 --> 00:14:44,761
And understanding
people more and more,

250
00:14:44,761 --> 00:14:49,086
it causes much less conflict.

251
00:14:56,221 --> 00:14:59,171
Negativity is the
enemy of creativity.

252
00:14:59,171 --> 00:15:00,931
It's common sense.

253
00:15:00,931 --> 00:15:03,079
If someone is
depressed, they say

254
00:15:03,079 --> 00:15:04,621
they don't even feel
like getting out

255
00:15:04,621 --> 00:15:06,421
of bed, let alone working.

256
00:15:06,421 --> 00:15:09,751
If you're sad, or if you're
filled with bitter anger,

257
00:15:09,751 --> 00:15:11,611
that occupies the mind.

258
00:15:11,611 --> 00:15:12,961
Maybe you do angry paintings.

259
00:15:12,961 --> 00:15:14,401
So what?

260
00:15:14,401 --> 00:15:17,221
It's like you'd be doing--

261
00:15:17,221 --> 00:15:20,011
you could do angry paintings
but be happy in the doing.

262
00:15:20,011 --> 00:15:22,024
But they take it out on
everybody around them.

263
00:15:22,024 --> 00:15:23,191
They poison the environment.

264
00:15:23,191 --> 00:15:24,661
They poison themselves.

265
00:15:24,661 --> 00:15:26,131
This anger will kill you.

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00:15:26,131 --> 00:15:27,571
It's a poison.

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00:15:27,571 --> 00:15:30,821
They say anger is a
real sign of weakness.

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00:15:30,821 --> 00:15:31,981
It's a sign of weakness.

269
00:15:31,981 --> 00:15:35,761
They can't even
control themselves.

270
00:15:35,761 --> 00:15:37,441
You start meditating, poof.

271
00:15:37,441 --> 00:15:39,931
I was filled with
anger when I started.

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00:15:39,931 --> 00:15:43,061
Two weeks later, my
first wife comes to me.

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00:15:43,061 --> 00:15:44,141
I took it out on her.

274
00:15:44,141 --> 00:15:46,231
I took it out on
her every morning,

275
00:15:46,231 --> 00:15:48,421
and I made her life hell.

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00:15:48,421 --> 00:15:50,728
Two weeks after I started
meditating, she comes to me,

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00:15:50,728 --> 00:15:51,811
and says, what's going on?

278
00:15:51,811 --> 00:15:53,228
I say, what are
you talking about?

279
00:15:53,228 --> 00:15:55,391
I say it could've been
any number of things.

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00:15:55,391 --> 00:15:59,431
And so then she said, this
anger, where did it go?

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00:15:59,431 --> 00:16:02,821
I didn't even realize
it, but it was true.

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00:16:02,821 --> 00:16:06,421
She realized it, because I
wasn't giving her trouble.

283
00:16:06,421 --> 00:16:07,921
And it was so beautiful.

284
00:16:07,921 --> 00:16:10,141
I started feeling
better in my body.

285
00:16:10,141 --> 00:16:12,331
I started feeling
more self-assured.

286
00:16:12,331 --> 00:16:14,911
I started getting
happier in the doing.

287
00:16:14,911 --> 00:16:17,941
And I see that ideas flow more.

288
00:16:17,941 --> 00:16:30,081
And it's like the joy of
living increases all the time.

289
00:16:30,081 --> 00:16:33,171
And you're getting more in
tune with Mother Nature,

290
00:16:33,171 --> 00:16:34,821
the laws of Nature.

291
00:16:34,821 --> 00:16:38,901
And these laws of Nature,
sweet Mother Divine

292
00:16:38,901 --> 00:16:41,901
starts actually helping you.

293
00:16:41,901 --> 00:16:46,921
When you get in tune, it's
so beautiful what goes on.

294
00:16:46,921 --> 00:16:48,681
It's a cosmic thing.

295
00:16:48,681 --> 00:16:50,061
And for some
reason, human beings

296
00:16:50,061 --> 00:16:52,611
have lost contact
with this field.

297
00:16:52,611 --> 00:16:57,261
But now, there is a way
to re-establish contact,

298
00:16:57,261 --> 00:17:00,081
and unfold our full
potential, and start

299
00:17:00,081 --> 00:17:04,880
enjoying life, walk away from
suffering and negativity,

300
00:17:04,880 --> 00:17:08,261
and party time.