lorelai hernandez

rest in peace laura palmer

[Miilato @miiilato]

i may be ugly but i used to be uglier

[lorelai hernandez @loreeelaii]

@vumahs no

[͏b͏l͏a͏n͏c @dqveed]

this is exactly how it feels walking out of the theater after watching a movie that genuinely changes your life and it’s already dark outside

[DepressedBergman @DannyDrinksWine]

"To hear what people were saying about me after 'Dune' (1984) could have completely destroyed my confidence and happiness, and you need to be happy to make stuff. I was almost dead. Almost dead!"

--- David Lynch

Full Excerpt:

"Interviewer: In what sounds like a developing chaos, how hard was it to keep a fresh eye on the film — despite the daily disappointments?

Lynch: That’s the hardest thing there is. The closer I get to finishing a movie, the more I start projecting my fears onto it. Not only have I seen it over and over, I start seeing where I’ve made mistakes. I see my fears double-exposed with the images on the screen. And it just keeps getting worse until I can’t stand being in the editing room. I can’t see it. I just see fear and horror. And I’m, like, insane now, at the end of the film, and I’m not even acknowledging my predicament.

I’m doing a mental thing to be free from it. And so I really don’t even remember finishing the film. To hear what people were saying about me after 'Dune' could have completely destroyed my confidence and happiness, and you need to be happy to make stuff. I was almost dead. Almost dead! But because of 'The Elephant Man' (1980) they couldn’t discount me completely. If I’d just made 'Eraserhead' (1977) and 'Dune' (1984) I'd have been cooked! Dune took me off at the knees. Maybe a little higher.

Interviewer: Did the necessity to compress the film give birth to the device of constantly hearing what people were thinking?

Lynch: Well, a lot of it was meant to be in the film but, like, 40 per cent of it was added on to nail things that they thought people would not understand. It can be a beautiful thing — to hear thinking. It’s a nifty thing, but when it’s just for information, you smell a rat.

Interviewer: There was so much material and room for development that it could have made a great TV series — like 'Twin Peaks'.

Lynch: That would’ve been a great thing. You could’ve done it justice. There was a poetry to a lot of the stuff: the atmospheres, the rituals — sand. The water being saved down below in these places. And the thrill of the little water- drops, with certain sounds and a certain light. Those things are mesmerizing, but I got maybe one drop in before Dino was, you know, on me!"

('Lynch on Lynch', Edited by Chris Rodley, 1997)

[RadiantFilm @RadiantFilm]

David Lynch on using Roy Orbison's "In Dreams" in Blue Velvet (1986), and Roy Orbison's reaction to the film:

Chris Rodley: "I’ve always assumed that ‘In Dreams’ was conceived as an integral part of the movie from the beginning. It seems conceptually essential to the story’s intentions and mood. Is that true?"

Lynch: "‘In Dreams’ came about while we were in production for Blue Velvet. Kyle MacLachlan and I were on our way down to Wilmington, North Carolina, from New York City. We were going through Central Park on our way to the airport when over the cab’s radio came ‘Crying’ by Roy Orbison, and I’m listening to this song and I said, ‘That! I’ve got to get that for Blue Velvet. When I got to Wilmington I sent somebody out to get Roy Orbison’s greatest hits. I played ‘Crying’ and then I played ‘In Dreams’, and as soon as I did, I forgot ‘Crying’. ‘In Dreams’ explained to me so much of what the film was all about. I immediately called Dennis Hopper and told him about the scene I had in mind and that he had to memorize this song. Dennis and Dean Stockwell are old friends. Dean got together with Dennis to help him work out the song and memorize the lyrics. I wonder why! [Laughs.] So we finally got to the day we were going to shoot the scene in Ben’s apartment where Dennis was going to sing the song. We were rehearsing and Dean said, ‘I’ll stand here and kind of help Dennis if he needs it.’ So we started playing the music and both Dennis and Dean began to sing ‘In Dreams’. All of a sudden Dennis stops singing and looks at Dean — who’s continuing to sing. Dennis is solidly in character and he is moved by Dean’s (Ben’s) singing. There was the scene in front of me. It was so perfect.
    Once it was decided Dean would be singing ‘In Dreams’, another strange thing happened. I was going to use a small candle-style table lamp as the microphone. Dean knew the microphone was going to be a lamp of some sort and when he went over to the area of Ben’s apartment where we were going to set the song, thinking he saw the prop light, he picked up a work light that was hanging on a nail on the wall. He turned it on and flipped the long cord like a microphone cord and obviously it couldn’t have been more perfect. The strange thing is no one on the crew put that work light there. No one knew where it came from. Who can say how it happens?"

Rodley: "The use of ‘In Dreams’ in that scene revived Roy Orbison’s career, but what did he think of the movie and the use of his music in it?"

Lynch: "When Roy first saw the movie he didn’t like it. His song ‘In Dreams’ meant another whole thing to him, and it was, like, a precious thing. I think some people he respected must have gotten him to see the movie again and reconsider his feelings. Roy told me that when he saw the movie the second time, he got past what the song was for him and then could appreciate the fact that it was working in another way."

— "Lynch on Lynch" (1997), edited by Chris Rodley

[cinesthetic. @TheCinesthetic]

‘Well, it’s Groundhog Day, again…’

[skimpy 🚬 @skimpyshits]

She’s so goofy in Beavis & Butthead #Daria

[Yunie ૮ ․ ․ ྀིა @Hyeyunie]

How it feels to be out of the loop

[Nostalgia @nostalgiaa]

Iconic opening

[ֶָ֢ @lumonheiress]

me remembering i knew everything at 18 but nothing at 22

[NeonFlesh @NeonFlesh_]

“eep!”

[Meg @megannn_lynne]

Fiona Apple was right. I know none of this will matter in the long run

[cinesthetic. @TheCinesthetic]

Freaks and Geeks (1999-2000)
https://t.co/XzQJRM7dis

[AuxGod @TheOXGodOR]

Daria 📺 (1997)