Last night watched the documentary LYNCH, supposedly about Lynch's process particularly during the creation of Inland Empire. It was okay, kind of disappointing, as the directors seemed bent on coming off 'artsy' as opposed to just portraying Lynch in his habitats. There was a lot of random decay over the shots, cuts to bugs and weird noise, all just masking the subject and more annoying than illuminating, but overall, you can't hide Lynch's humor and talent for moving into nothing: he could talk about most anything and make it great. Plus there was a decent amount of him building, conjecturing, figuring out architecture, making up, painting, etc. A rental, for Lynch diehards, but not a must.
One of the things Lynch talked about was making a point to say that, in essence, that there used to be a big stigma that to make art you had to suffer, and that in creation there must be some pain invoked etc., but how this was completely untrue he thought, and that the more centered, the more happy and clear-headed you are, the more you can aim and get into the 'pool of creativity' (I love how he talks in such new age ways sometimes and makes it something to smile about rather than cringe), and that really the most ideas and most innovation often comes out of a pure state, and of happiness. That seemed right on to me, and a point people often dodge.
He also talked a lot about the particular process of Inland Empire, and how he had pretty much no idea what he was doing on any given day of shooting until he got into the room and faced the moment and began to souse out what was there. There's a moment in the film where Jeremy Irons calls with interest about the film, and Lynch kind of explains how he really doesn't even know what Irons will be doing, but that he'll be there, and you can imagine Irons's head as all these Lynch-words are coming in. At one point he says something about being simultaneously ecstatic and depressed as hell about not knowing what the film was going to turn into, and that he had never worked this way before.
I think I've been working in this mode a lot in the past year, with the same kind of weird ecstatic about it. Hearing him discuss things ideas helped me realize why it is I like Inland Empire so much, maybe even as my favorite of his films: the pure sense of unknowing and exploration seems right there on the screen, even for the characters, even for the actors, who are in the face of this kind of moving mutation, never really knowing what they are rubbing against.
Day before, we watched Abel Ferrara's BAD LIEUTENANT, which features Harvey Keitel as a crooked cop addicted to heroin and sportsbook: I really liked it a lot. I don't know how I hadn't seen this, but if you like very bleak, seedy movies with Harvey Keitel acting as pretty much the ultimate dirtbag, you should check it out. It's free on Comcast On Demand right now, at least in my area.
I have no idea why they put Keitel naked on the movie poster looking like he's ready to get his anus ate. I swear it's not dude porn.
Last night with visiting friend in car we were coming out of Decatur and at a stoplight this guy motioned for me to roll down the window, he looked like a young businessman on his off day, it was wet a little, we were both behind cars at a stoplight, when I got the window down he laughed and shouted, "Don't these people know it's Monday and not Sunday?!?" It was not clear in any way what he was referring to, he looked at us some more, he said, "Hey look what I'm listening to!!!" and turned up the music in his car to ear-splitting, it was Weird Al's EAT IT, he looked at us with his teeth, we drove off.
Anyone else who wants to try to win Justin Taylor's book I am closing it at the end of tonight. Give a go.