≠CONCEPT: TO REJOICE IN THE ABSURDITY OF REALITY: INSTINCT

Lynch in interview on the birth of stories:

The idea tells you everything. Lots of times I get ideas, I fall in love with them. Those ones you fall in love with are really special ideas. And, in some ways, I always say, when something's abstract, the abstractions are hard to put into words unless you're a poet. These ideas you somehow know. And cinema is a language that can say abstractions. I love stories, but I love stories that hold abstractions--that can hold abstractions. And cinema can say these difficult-to-say-in-words things. A lot of times, I don't know the meaning of the idea, and it drives me crazy. I think we should know the meaning of the idea. I think about them, and I tell this story about my first feature Eraserhead. I did not know what these things meant to me--really meant. And on that particular film, I started reading the Bible. And I'm reading the Bible, going along, and suddenly--there was a sentence. And I said, forget it! That's it. That's this thing. And so, I should know the meaning for me, but when things get abstract, it does me no good to say what it is. All viewers on the surface are all different. And we see something, and that's another place where intuition kicks in: an inner-knowingness. And so, you see a thing, you think about it, and you feel it, and you go and you sort of know something inside. And you can rely on that. Another thing I say is, if you go--after a film, withholding abstractions--to a coffee place--having coffee with your friends, someone will say something, and immediately you'll say “No, no, no, no, that's not what that was about.” You know? “This is what it was about.” And so many things come out, it's surprising. So you do know. For yourself. And what you know is valid.

REFERENCE: THE POLARIZED WORLDS OF DAVID LYNCH [THE DARKNESS BELOW THE MUNDANE]

dystopia in utopia. a darkness below the surface in a regular suburban niche. not all is as it seems. the beauty/normality of a small town in contrast to all its internal absurdities.: the contrast of image/soundscape to unleash the mysticism of the unknown.

REFERENCE: MAYA DEREN'S AVANT GARDE 'MINDSCAPE'

the eye comes to a close as the mind OPENS: delves into the subconscious and into 'the mindscape' of absurdities

MESHES OF THE AFTERNOON. MAYA DEREN. 1943

REFERENCE: THE SURREAL HUES OF DAVID LYNCH [BLUE VELVET.1986]

'the day you catch an idea you fall in love with, even a small

one, is a beautiful day' david lynch

© MARCELLA LEONE

BLUE VELVET. DAVID LYNCH

BLUE VELVET. DAVID LYNCH