Gabriel wrote:nick1218 wrote:Eraserhead was the first feature of a promising "different" type of director. You can love Eraserhead yet not want to follow the career of one who does nothing but Eraserhead type films. It is not hypocrtical to like eraserhead and even The Grandmother yet have disdain for IE or TR. It is about timing for one thing, plus Eraserhead, which I watched again during TR is simply far better.
I found it interesting how much of TPTR seemed to be about referencing past glories. So many times, I found myself thinking things like: 'That's an Eraserhead moment,' or 'That's a Wild At Heart moment.'
It was, for me, the equivalent of a televisual greatest hits album, tied together with a sketchy 'plot.' Like Inland Empire, it felt more like watching a doodle pad: lots of interesting ideas for scenes randomly thrown together with little connection to one another.
Lynch has proven he can expertly handle the craft of filmmaking. Films such as The Straight Story and The Elephant Man prove he can create a narrative, draw tremendous performances from actors and can – daring to say it – touch the viewer's soul with warmth and humanity in his images. In IE and TPTR, he seems to have ditched the craft and gone purely into artistic experimentation and self-indulgence. Sadly, It's what happens when you get thrown a load of money and are given complete control without anyone to whom you have to answer.
Very well said. We now have Lynch the painter/sculptor "putting things on film" again. In Lynch The Artists Life we get a part where he talks about an old epiphany he had years ago where he looked at one of his paintings and thought "movement, this painting needs movement" and that is how he got his start in filmmaking by animating a painting. But he makes it sound like he discovered such a thing on his own in a bubble. It's called animation David and had been around for 80 years before you.