David Lynch: surreal purveyor of the evil that lurks within

by Peter D. Marshall

by Andrew Anthony.

David Lynch

Last year, the celebrated American film maker David Lynch expressed the view that “television is way more interesting than cinema now… it seems art house has gone to cable”. Just last week it was announced that Lynch, the one-time prince of the art house, is heading the same way.

He and Mark Frost are to reprise their hit 1990 TV series Twin Peaks for the cable company Showtime. Almost a quarter of a century ago, Lynch effectively told television viewers to wake up and smell the “damn fine coffee”.

When Twin Peaks first aired, American TV was a creative wasteland where only the most unbending formats thrived. No one was quite sure what to make of this new series about the killing of a teenage girl in a small northwestern community. Was it a soap opera, a whodunnit or a supernatural thriller?

In fact, it was a surreal mixture of them all, at once as familiar as cherry pie and as unsettling as a bad dream. More than that, it was appointment television that, out of nowhere, radically expanded the possibilities of the small screen.

In the intervening years, American television has grown much bolder and more ambitious, creating such powerful and complex series as The Sopranos and The Wire, while Lynch has slipped back into the experimental margins from which he emerged.

Read the rest of this article from The Guardian.

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