IN WHICH NOVELIST David Foster Wallace VISITS THE SET OF DAVID LYNCH'S NEW
MOVIE AND FINDS THE DIRECTOR BOTH grandly admirable AND sort of nuts.
Keeps His Head
David Foster Wallace
US Premiere magazine, September 1996.
An extended version of the essay can be found in David Foster Wallace' book "A Supposedly Fun Thing I'll Never Do Again"
David Foster Wallace is the author of Broom of the System, Girl With Curious Hair, and Infinite Jest.
- What movie this article is about
- What David Lynch is really like
- Entertainments David Lynch has created and/or directed that are mentioned in this article
- Other Renaissance man-ish things he's done
- This article's special focus or "angle" w/r/t 'Lost Highway.' Suggested (Not all that subtly) by certain editorial presences at 'Premiere' magazine
- A quick sketch of Lynch's genesis as a heroic auteur
- What 'Lost Highway' is apparently about
- What 'Lynchian' means and why it's important
- Lynchianism's ambit in contemporary movies
- Re: The issue whether and in what way David Lynch's movies are 'sick'
- One of the relatively picayune 'Lost Highway' scenes I got to be on the set of
- What several different members of the crew and production staff, some of whom have been to film school, have to say about 'Lost Highway'
- A section that's a mix of extrapolations from other sections and is impossible to come up with a unified heading for
- The only part of this article that's really in any way behindthe 'scenes'
- What exactly David Lynch seems to want from you
- Why the nature and extent of what Lynch wants from you might be a good thing
1. WHAT MOVIE THIS ARTICLE IS ABOUT
DAVID LYNCH's Lost Highway, written by Lynch and Barry Gifford, featuring Bill Pullman, Patricia Arquette, and Balthazar Getty. Financed by CIBY 2000, France. An October Films release. Copyright 1996, Asymmetrical Productions, Lynch's company, whose offices are near Lynch's house in the Hollywood Hills and whose logo, designed by Lynch, is a very cool graphic that looks like this:
Lost Highway is set in Los Angeles and the desertish terrain immediately inland from it. Principal shooting goes from December '95 through February '96. Lynch normally runs a closed set, with redundant security arrangements and an almost Masonic air of secrecy around his movies' productions, but I am allowed onto the Lost Highway set on 8-10 January 1996.1
1 This is not because of anything having to do with me or with the fact that I'm a fanatical Lynch fan from way back, though I did make my proLynch fanaticism known when the Asymmetrical people were trying to decide whether to let a writer onto the set. The fact is I was let onto Lost Highways set mostly because there's rather a lot at stake for Lynch and Asymmetrical on this movie and they probably feel like they can't afford to indulge their allergy to PR and the Media Machine quite the way they have in the past.