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David Lynch will be doing a chat on MSN on Monday, October 15, 6PM (PST). Make sure to go early to http://chat.msn.com and have your questions ready.
Mulholland Drive opens on multiple screens in Los Angeles and New York on October 12. The film will also debut the same day in Seattle, Boston, Washington, D.C., San Diego, San Francisco, Denver, Philadelphia and Chicago. more
Universal Pictures has acquired U.S. distribution rights from StudioCanal. Mulholland Drive is being targeted for a fall release through Universal's specialty distribution unit Universal Focus.
David Lynch: "I work off of enthusiasm, and Universal has shown tremendous enthusiasm for Mulholland Drive. I am confident they will do a great job."
Mark Kristol (Universal Executive VP, who negotiated the deal on behalf of the studio): "David Lynch could've gone to just about any studio with 'Mulholland Drive.' We are thrilled he chose to entrust us with this remarkable film."
About the Film
"Mulholland Drive" was originally developed as a two-hour, $8 million pilot for a TV series in 1999, but was rejected by ABC and was reconceived by Lynch as a feature film with $7 million in French funding from CanalPlus. The extra money allowed for additional shooting and a new round of post-production.
- David Lynch (Director/Writer)
- The spark for Mulholland Drive was the name. And the name on a sign post in the night and partially for a moment illuminated by the headlights of a car. Mulholland Drive is a road in Los Angeles that goes along the crest of the Santa Monica mountains and it's a beautiful road in the daytime but also a beautiful road at night giving vistas out to the valley on one side and Hollywood on the other. And at night it's a road that is mysterious. It's kind of dark, the road has remained the same through the years. It's a mysterious road.
I'm hoping that people enjoy the ride on Mulholland Drive. And I'm hoping that the thing that was spoken about earlier, intuition, kicks in. This machine that we have for sensing something that we're not necessarily being able to articulate it. Abstractions can exist in cinema and that's one of the powers of cinema to me. And I love the abstract feel of it and I hope the others will as well. I know people understand it.
A pilot as you just said is open-ended. And so you set many things in motion but you don't have to close the door. And so we did this pilot and at the same time we were working on the straight story and the pilot had an arbitrary sort of time limit as we found out at the last minute. I was not happy with what we did in terms of finishing the pilot for ABC. But anyway, they hated it and that opened the door for other possibilities and as I said before something wants to be a certain way and this wasn't a total let-down, there was a little pair of euphoria. And we pay attention when we get a little pair of euphoria. So along came Pierre Edelman and Pierre asked me if he could see this pilot and I had a heartache because I didn't like the pilot and I said no at first but he asked me again and I said okay Pierre. And he saw something in the pilot that he really liked. And one thing let to another and the opportunity arose for it to become a feature. And then I had a couple of weeks a feel of panic because I didn't have ideas to close it. And one night sitting down in my chair the ideas unraveled like a string and it came to me a way to do it. And that was a beautiful evening.
Ideas come with many threads. You don't know what's going to happen; the ideas string themselves into a whole.
A story dictates how it should be told. Each story is different so each story talks to you in different ways.
About the pilot