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Weird - I never knew that he and Mary Sweeney had married however briefly. I'd just assumed it'd stayed a long-term partnership. Whatever his own intentions for writing now, I'd look forward to the book just for his take on being in the industry for so long.

The Film Society at Lincoln Center is putting on a very interesting Lynch/Rivette dual retrospective, all on 35mm. Tickets go on sale 11/24.

sir_luke wrote:The Film Society at Lincoln Center is putting on a very interesting Lynch/Rivette dual retrospective, all on 35mm. Tickets go on sale 11/24.

Very intriguing and the synopsis/comparisons support the idea. However, calling Wild at Heart "a 'road movie' before the term existed" is way off; the term had been in use long before 1990.

Roger Ryan wrote: However, calling Wild at Heart "a 'road movie' before the term existed" is way off; the term had been in use long before 1990.

particularly humorous because the concurrent Wenders retro's capsule for his 1974 film, Alice in the Cities also uses "road movie" as if it was some sort of mark of quality.

Wenders refers to this as his first film, because it was here that he discovered the genre of the road movie.

flyonthewall2983 wrote:Blue Velvet restored for it's 30th anniversary.

I'd be willing to wager a hefty sum that Criterion was responsible for the restoration (does MGM even restore films anymore?) - and that a blu is forthcoming.

If that's the case I wonder if the Fox disc will go OOP, and the potential Criterion will retain most of if not all the extras. I guess since The Graduate has just come out and with Strangelove forthcoming, Criterion might have gone back on the earlier stance of not wanting to release films with already existing decent special editions out.

Furthermore, I'm wondering how far the relationship will go with Lynch, and that if possibly we'll get most of his other work (I highly doubt he'd want anything to do with a Dune Criterion, and Fire Walk With Me is already part of the Twin Peaks box set). We live in interesting times.

They must 100% have at least one other Lynch film planned as they didn't include the Dumbland (and other) shorts to their Mulholland Drive release. Elephant Man (WB's Paramount deal ended recently), Blue Velvet (unreleased laserdisc title), Inland Empire, and Wild at Heart (TT's license expires(d)) are all highly likely at this point.

Lost Highway has got to be one too because it's a Universal title and I don't think it's something they'd want to hang on to. I wonder if The Straight Story is any possibility at all because I'd have to imagine it's about just as much a priority for Disney, though Criterion has a more direct relationship with Universal at this point.

I just noticed this thread is the listed in the directors index. Would a kind mod be interested in adding it for ease of access?

jindianajonz wrote:I just noticed this thread is the listed in the directors index. Would a kind mod be interested in adding it for ease of access?

Done.

Tangentially related to the topic, perhaps, but this is a real trading card put out by Topps in 1992. Hard to imagine this idea was okayed only 25 years ago

Hopefully Dreamworks can bring the Trash Can Trolls into the inevitable sequel...

He also said that he'd never shoot on film again too. And with the recent ascension of independent distributors abound, I'm sure it wouldn't be as hard for him to get financed for something again. Especially if the show generates the kind of positive reaction that would warrant proper financing for him again.

He also edited Lost Highway on film, and said at the time that he'd never edit a movie digitally, so he's certainly changed his mind before. The article seems to suggest that the poor performance of Inland Empire is the reason, which is odd, because it's by far his most cryptic and least accessible movie. And didn't he handle the US distribution himself? If you want your movie to find it's audience, there are probably more effective means of achieving that than sitting on a lawn somewhere in LA with a cow. I'm pretty sure there are distributers in the US that could have done more for the film.

I was hoping he'd come full circle after the new TP season, and finally make Ronnie Rocket. Pretty sure he talked about doing that as recently as a few years ago.

On the other hand, it's not difficult to see why the idea of approaching his ideas in the longer format television provides (especially compared to the environment now against the way it was in the early 90's) is obviously much more appealing to him.

RobertAltman wrote:He also edited Lost Highway on film, and said at the time that he'd never edit a movie digitally, so he's certainly changed his mind before. The article seems to suggest that the poor performance of Inland Empire is the reason, which is odd, because it's by far his most cryptic and least accessible movie. And didn't he handle the US distribution himself? If you want your movie to find it's audience, there are probably more effective means of achieving that than sitting on a lawn somewhere in LA with a cow. I'm pretty sure there are distributers in the US that could have done more for the film.

I was hoping he'd come full circle after the new TP season, and finally make Ronnie Rocket. Pretty sure he talked about doing that as recently as a few years ago.

INLAND EMPIRE was dropped by its US distributor which is why Lynch did it himself and also the more likely reason he decided not to make movies anymore.

This is also old news. Lynch has been saying he won't make movies again for most of this decade.

Watched The Straight Story last week. Farnsworth in it reminds me a little of my grandpa, but looks almost like my mother's husband right now. Contemplating whether or not showing this to her would be a good idea. Just on a pure visceral level, it reminds me of the Midwest I'd see outside the car window on long road trips as a kid. The people Alvin run into on his journey feel like they could have been people I'd known of growing up too.

Which is why it's so great. I always feel weird ranking it among his greatest films, but it's such a beautiful, humane and touching but not saccharine and melodramatic film. That bar conversation with the other veteran always makes me cry.