 |
Having had such fun reading Paul Cronin's Herzog on Herzog, I've picked up another in the series. Chris Rodley's Lynch on Lynch
follows the format pretty closely, being more or less a book-length
interview with the titular David carved up chronologically and
thematically. Though I'm less familiar with Lynch's oeuvre than
I am with Herzog's (intimately), I'm just as interested in the two men
as individuals, as creators, as human beings, as surfers of the
zeitgeist.
So far, I've found that Lynch has just as much incisive stuff to say as Herzog did. Early on, in a discussion of painting — Lynch's first craft, and what probably still considers his primary one — he says the following about allowing external forces to enter your work:
It's sort of like, if you could take bits of writing that you did sometime, or even somebody else did sometime, and just chop them up and arrange them at random, and just throw them, you know, like people have done, and then read that, it could be fantastic. It could spark a whole other thing. And you always have to leave an opening for other forces, you know, to do their thing. When you're on your own, just writing these things down, it's so limited, and you wanna somehow open it up and throw it out and let other things intervene. More ideas some out of that, and it becomes really unbelievable. By trying to remove yourself you can see some fantastic things sometimes.
Lynch being Lynch, I look forward to the no doubt fascinating claims he'll have to make about controlled ambiguity and creative improvisation.
Comments