Lynch on Lynch

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So no guidance on Twin Peaks: The Return’s finale, which fleetingly resolved some storylines only to fracture them and create new puzzles? Even diehard fans yearned for clarity.

Wagley, Catherine. “5 Artsy Things to Do in L.A. This Week, Including Funny Paintings by David Lynch.” LA Weekly, 26 November 2013. Web. He also believes in reincarnation, which keeps him Zen about growing old and losing friends and colleagues, including Twin Peaks: The Return collaborators Harry Dean Stanton, Miguel Ferrer and Catherine Coulson (the Log Lady), all of whom have died since filming. “Life is a short trip but always continuing,” he says, tapping ash. “We’ll all meet again. In enlightenment you realise what you truly are and go into immortality. You don’t ever have to die after that.”

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Olson, Greg (29 September 2008). David Lynch: Beautiful Dark. Scarecrow Press. ISBN 978-0-8108-6371-2. Sun, Feifei. “David Lynch’s Monumental Paintings Debut at Griffin.” Vanity Fair, 6 October 2009: 1. Hundley, Jessica. “New David Lynch Exhibit Explores Filmmaker’s Multidisciplinary Career.” The Hollywood Reporter, 3 December 2013. Brown, Mark. “Damn fine coffee and an individual slice of visual art – two sides of David Lynch.” The Guardian, 11 December 2014. Web. Adelson, Fred B. “David Lynch: ‘Philadelphia is Percolating in Me’.” Courier Post, 23 October 2014. Web.

Appleford, Steve. “David Lynch, the director as painter, festival impresario and ant collaborator.” Los Angeles Times, 28 September 2018. Web.

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Lynch describes the experience of "diving within" and "catching" ideas like fish - and then preparing them for television or movie screens, and other mediums in which he works, such as painting, music, and design. Lynch writes for the first time about his more than three-decade commitment to Transcendental Meditation and the difference it has made in his creative process. Edquist, Grace. “The Expanded Consciousness of David Lynch’s ‘Squeaky Flies in the Mud’.” Vogue, 8 November 2019. Web. Sheen, Erica; Davison, Annette (2004). The Cinema of David Lynch: American Dreams, Nightmare Visions. Wallflower Press. ISBN 978-1-903364-85-7. Greenberger, Alex. “David Lynch Gets New York Gallery Representation for the First Time Ever with Pace.” ARTnews, 6 October 2022. https://www.artnews.com/art-news/news/david-lynch-filmmaker-pace-gallery-1234641978/ What Lynch sees, and then puts on screen for us to see, is one of the great enigmas of cinema, one that has launched a thousand film studies PhDs. When the director looks at a manicured lawn, his mind’s eye tunnels beneath it to hidden mystery, mysticism and depravity – visions he has turned into mind-bending television and film. It’s an oeuvre people tend to love or detest, and even devotees don’t claim to fully understand. With the exception of The Elephant Man (1980) and The Straight Story (1999), his films are oblique and non-linear. Who is the chipmunk-cheeked Lady in the Radiator who crushes sperm-like worms while singing to the father of the mutant baby in Eraserhead? How much of Mulholland Drive is real, or dreamed by Naomi Watts’ aspiring actor? And is the ending really the beginning? He also believes in reincarnation, which keeps him Zen about growing old. 'Life is a short trip. We’ll all meet again'

Do you ever watch INLAND EMPIRE two or three times in a row and feel like you don’t understand the world anymore? Yeah, me neither… Then, reading this book, you’ll come across Noriko Miyakawa’s words - “The parts of the film you don’t understand point to places in yourself that need examining” - and feel you need to do some more soul searching, because nowhere in here is this bad boy explained. Simply that “it’s deep in interesting ways, and it goes into different places and has different textures that hook together. You enter the film in one place and you come out in another,” which is what I always loved about David Lynch when asked to talk about his films: abstract AF… Scardi, Gabi. “Acolloquio con David Lynch: Sono inamorato delle idee.” Il Sole-24 ORE, 25 February 2007: 30. David Lynch and William Eggleston: Photographs, Galerie Karl Pfefferle, Munich, Germany, March 20–May 9, 2009.The book is a brief memoir of Lynch's work on various film projects, the ideas for which he attributes to his practice of transcendental meditation. The details on the film projects are too brief to be of interest to anyone but a Lynch scrapbooker. And the information about meditation is too scant to be of use to anyone with an interest in starting. Painting Pavilion, Open Air Museum, Hakone, Japan, 1996. Traveled to: Park Tower Hall, Tokyo, 1996; Namba City Hall, Osaka, Japan, 1996; Artium, Fukuoka, Japan, 1996.