Nye interview: Sweeney, Frost, Deming, Fisk, Keeler og Rollins

david-lynch_toby-keeler_mary-sweeney Fig. 1: Mary Sweeney, Toby Keeler og David Lynch i 1997, i forbindelse med arbejdet på Lost Highway og portrætdokumentaren Pretty as a Picture. Foto stillet til rådighed af Toby Keeler.


I øjeblikket arbejder jeg på en revideret, udvidet og oversat version af Paradoksets kunst. Ideen med den nye The Art of Paradox er, at den – foruden at være en renset og forbedret version af den danske bog – skal indeholde længere analyser, også af de mindre (kendte) produktioner, at den skal være mere fyldestgørende ved at have flere produktioner – kortfilm, reklamer og musikvideoer såvel som koncertfilm, spillefilm og tv-serier – med i behandlingen. Undervejs vil bogen også få en helt ny illustrationsside, som blander private fotos fra flere af David Lynchs faste samarbejdspartnere med original kunst af Rinaldo Zoontjes.

Til bogen har jeg de seneste dage interviewet en række nye folk, heriblandt:

Mary Sweeney (David Lynchs tidligere hustru og tilbagevendende klipper, på bl.a. Twin Peaks [ABC, 1990-1991], Lost Highway [1997], The Straight Story [1999], Mulholland Dr. [2001] og Inland Empire [2006] , som også skrev manuskript til The Straight Story).

Mark Frost (medskaberen af Twin Peaks [ABC, 1990-1991/Showtime, 2017-] og medskaberen af On the Air [ABC, 1992]).

Peter Deming (filmfotografen på bl.a. Lost Highway [1997], Mulholland Dr. [2001] og den ‘nye’ Twin Peaks [Showtime, 2017-]).

Jack Fisk (David Lynchs barndomsven, som spillede med i Eraserhead [1977], drog på dannelsesrejse med David Lynch til Europa, og som har lavet setdesign på flere af hans produktioner, bl.a. The Straight Story [1999] og Mulholland Dr. [2001])

Toby Keeler (David Lynchs barndomsven, som blev klippet ud af Eraserhead, og som senere lavede dokumentarfilmen Pretty as a Picture [1997] om instruktørens arbejde).

Henry Rollins (musikeren, komikeren og radioværten, som også spiller en mindre rolle som fængselsvagt i Lost Highway [1997]).


Udvalgte citater:

“I always cut everything together, following the script and script notes. He’s shooting or making art while I’m editing, so he won’t see it, until I’ve done the rough cut. That’s the beginning of the process. Then, he gives me a lot of notes, and I give him some notes, and I make changes. We go through that process five or six times. He trusts me, without having to explain to me what he wants, and I can see from the script and the way he has shot it, what he’s been thinking. And he’ll say things about the mood – he’ll say things like “More emotional here” – and I can sort of hone in on a certain mood or current from the way he’s shot it. Maybe we’re just in sync.” – Mary Sweeney (om Twin Peaks, afsnit 2:7)

“For me it’s a combination of a realistic lighting look and a more surrealistic or non-realistic lighting look, or painterly look, if you will. And, you’re right, that shot had a painterly quality to it, and it was meant to look almost like a painting. There’s a feeling of something coming through the window, but a lot of the light is overhead, and it gives it an uncanny and slightly unnatural feel, because light would not be able to come in from above. It was meant to seem both real and dreamy or unreal at the same time, without being too artificial.” – Peter Deming (om Mulholland Dr., 2001)

“I think that David Lynch likes working with the same people because they have an intuitive understanding of his style. Also, he doesn’t like conflict on set, so he prefers to work with the people he knows – people who are ready to do what he needs without any argument or hesitation, and without being lazy. And he is very specific. He knows exactly what he wants, and, in a way, he has designed the movie in his head before he has even written it. In that sense, the people who work with him help him create his vision. They all become his paintbrushes, the tools of his vision.” – Jack Fisk

“With someone as original as David Lynch, it is of course, an honor to work with him, even in the small capacity that I did on ‘Lost Highway.’ I think in their own way, all of his films are quite visceral and really put the viewer through an experience that can be everything from exhilarating to exhausting. I think he wants the audience to be as invested as he is. David Lynch is a true visionary and extremely intense. As small as my part was, there wasn’t one moment during the takes that wasn’t full on. Not in a bad way, you just have to go all in, which is great. It was a unique space that he creates on set. It seemed to me that everyone was swept up by his enthusiasm and energy. I have never worked with anyone like him, not even close. I think you could compare him to Werner Herzog, as far as taking emotion and physicality to extremes in order to get the desired effect. I think ‘Lost Highway’ is cool but one of his more oblique efforts. Perhaps that’s just how I see it.” – Henry Rollins