Some typically less-than-illuminating interviews with David Lynch on "Inland Empire": at Salon, Andrew O’Hehir meets up with the director in a "donated, and apparently unheated, arts space on 11th Avenue."
OK, let’s try to talk about your movie. I know you have your reasons for not discussing things like intention or meaning. But you’re asking people to go see a three-hour film by David Lynch. So what can you tell them? What’s it about?
A woman in trouble.
Right. Well, that’s short and pithy. What else can we say about it? That woman is played by Laura Dern, who’s playing, I don’t know, either three different characters or one character split up three ways. It takes place in a lot of different settings, in California, in Poland, maybe other places. It’s partly set in the film industry, and it feels partly like a commentary on the film industry.
[Lynch smiles but doesn’t respond.]
Salon has a podcast of the conversation up here for your morning commute listening pleasure.
At the Boston Globe, Janice Page writes "I’d been warned about interviewing David Lynch."
He loves to talk in circles and riddles, the critics and critiques all said. He won’t explain or illuminate anything, so your best bet is to throw a bunch of stuff at the wall and just hope something sticks. Think of him as Bob Dylan with poofier hair. Oh, and don’t ask him about Transcendental Meditation unless you have a couple of hours to listen to him gush about the David Lynch Foundation for Consciousness-Based Education and World Peace.
She doesn’t seem to get much to stick either, other than that he came up with his dairy-assisted "For Your Consideration" campaign again a while ago: "I pictured myself going into the center of small French cities with a cow. And then when distribution [of ‘Inland Empire’] came up, and awards, and Laura Dern, I thought, ‘This is the place for it.’ . . . People love cows."
At the New York Press, Armond White is lukewarm on the film:
Compared to third-rate attempts at â€œartâ€â€”like Fur, Birth, Babel, The Fountainâ€”Lynch displays provocative assurance and originality. His somber ironies about Hollywood expose the superstitions and biases of different classes and assorted competing egos. Nikkiâ€™s freakouts on street corners seem symptomatic of some social malaise that Lynch sketches with great command and confidence. But Dern represented sexual Americana more memorably in Rambling Rose. Here, an overworked Dern walks in and out of corridors, drawing rooms, soundstages, continents and time as if she and the maestro know exactly what theyâ€™re doing without divulging their intentions to the audience. Itâ€™s moviegoers who must compromise their entertainment standards.
Dave Kehr reviews the film too, but we were most excited about the possible solution someone in the comments offers to "Inland Empire"’s greatest mystery â€” where the hell Nastassja Kinski appears in the film.
Keith Uhlich has a lengthy piece on the film at The House Next Door. The reading he offers: "If INLAND EMPIRE has a central theme, it is this: the recesses we visit in order to play the parts that we play."
And at The Reeler, Christopher Campbell offers a report from Monday’s IFC Center event, in which Lynch introduced "Vertigo" and took questions from the crowd: "So Eric — he’s not here; he’s in an airplane — but anyway, a guy who works with me said, ‘You should have your own line of coffee.’ And one thing led to another. So this is David Lynch Signature Cup coffee. Very, very good. I take about 20 cups a day. It is a very good thing for theaters. Film houses should have good coffee."
+ Beyond the Multiplex (Salon)
+ Conversations: David Lynch (Salon)
+ David Lynch. His name alone makes one squirm. (Boston Globe)
+ LOST LANGUAGE OF LYNCH (NY Press)
+ Inland Empire (David Lynch, 2006) (DaveKehr.com)
+ Strange What Love Does: David Lynch’s INLAND EMPIRE (The House Next Door)
+ Coffee, Cheese and Vertigo: Lynch Slays ‘Em Downtown (The Reeler)