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April 19, 2010


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Ryland Walker Knight

San Franciscans can see Barry Gifford introduce the X-rated directors cut April 28th at 7pm at the Balboa Theatre, coinciding with the publication of a collection of the Sailor and Lulu novels.


Ryland Walker Knight

Lula, derr.

Online Consultation

Cool, I like all the movies of Nicolas Cage, Most of his films have great stories and lessons to be learned from.


I finally started watching TWIN PEAKS for the first time, and the WEST SIDE STORY references jumped out at me from the very first episodes (from the opening credits, actually). On the one hand, I thought that Lynch probably cares that people recognize the actors who played Riff and Tony, and could use that knowledge while viewing the over-the-top teen delinquency of Bobby's character. On the other hand, it makes just as much sense if you don't get the references. The eternal 1950s of Lynch's dream world would probably work on the viewer, whether or not that viewer gets the specific cultural references.

Jason M.

Hmm. I think "Online Consultation" might have post of the day material there.

Anyone think of great lessons to be learned from all the movies of Nicholas Cage?

Tom Russell Is Kidding, Obviously

One lesson I learned from THE WICKER MAN was to always punch women in the face.

... What?

Jason M.

Well, personally, I recently learned that it's important to shoot people a couple of extra times for good measure, just in case their soul is still dancing.

Of course, if Nicolas Cage had learned some of the important lessons from his films, Ghost Rider 2 wouldn't be in development. Oh well.


What I've learned is to never give up, and to always make room in your heart for love.


I've learned to put the bunny back in the basket, and a surprising amount of factoids about American history.


"The Fugitive Kind" is full of unintentional giggles. Looking forward to it.

One Lumet stage to screen adaptation I'd be curious to see is his "A View from the Bridge." If plans for a new movie adaptation are carried through maybe they'll re-release it on DVD.


Funny to see that reference, which I had forgotten was part of that wonderful essay...gosh, to have been a fly on the wall in that conversation. On the one hand, I think you're right, and Wallace, if I remember correctly, comes around to sort of a similar position re. the postmodern intentionality of Lynch. One could look at the Wizard of Oz material as merely another source of inspiration for Lynch - it is, objectively speaking, classifiable as Po-mo, but I think Lynch finally isn't interested in such a quality beyond the ineffable, dreamlike experience it produces. He's always been a tremendously intuitive artist; I wouldn't be terribly surprised if he wasn't even aware of the resonance involving the elder Derns. This is, after all, the man who once professed not to know what Baywatch was. There's always the possibility that his pop-cultural naivete is a put-on, but I doubt it.

One of the signal joys and fascinations of that essay is seeing an intensely cerebral, analytical and self-aware artist attempt to come to terms with the work of an artist who is intuitive, surrealistic, almost mystical in his methods. I always thought I picked up more than a smidgen of envy on Wallace's part in the way Lynch seems able to let it all hang out and not give a damn. I know it's made me envious.


Not sure if anyone's seen this, but it's pretty cool for us diehard Wallace fans, though nearly impossible to decipher the handwriting:


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