XIXAX Film Forum

The Director's Chair => David Lynch => Topic started by: MacGuffin on February 22, 2006, 01:37:58 PM

Title: Room to Dream: David Lynch and the Independent Filmmaker
Post by: MacGuffin on February 22, 2006, 01:37:58 PM
Room to Dream DVD Available for Free - Get Your Copy Today!!!
Source: Dugpa

Now here's something big worth talking about. I just received a copy of the DVD Room to Dream. Digidesign has put this FREE DVD out as a promotional piece by Digidesign which showcases Lynch's work with DV and Avid. They take a scene that David has filmed on DV and basically go step by step on how he used the Avid to design and complete the scene. The scene features appearances by John Neff, Mary Sweeney, Chrysta Bell, as well as some of the actors that have been attached with INLAND EMPIRE. While there is no confirmation to whether or not the scene on the DVD is from INLAND EMPIRE, I would be willing to bet that it is. The DVD is so good that I would have actually paid to own a copy, but best of all, the DVD is available for FREE. That's right my friends. Click here (http://www.digidesign.com/news/details.cfm?story_id=3822) for more details on how you can get yourself a copy and see some really cool stuff. After watching the DVD, I sure as hell want to upgrade to an Avid.

(http://dugpa.com/pics/lynchdvd.jpg)
(http://dugpa.com/pics/lynchdvd2.jpg)
(http://dugpa.com/pics/lynchbellneffdvd.jpg)
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: modage on February 22, 2006, 02:04:06 PM
sweet!

YOU HAVE COMPLETED THE FOLLOWING REQUEST     
     
STEP 3 - YOU ARE DONE.

Thank you for your order.

Room to Dream DVD Featuring David Lynch will be shipped to: [modage]
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: godardian on February 22, 2006, 02:07:30 PM
Thanks, MacG!!! I just ordered mine.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Ghostboy on February 22, 2006, 02:13:18 PM
Me too.

But I'll never switch to Avid, no matter how persuasive Lynch may be.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: The Red Vine on February 22, 2006, 06:11:29 PM
Ordered mine too. Many thanks!
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Pubrick on February 22, 2006, 09:52:11 PM
ordered mine, and they weren't racialist about being outside US/Canada!

now to find out what scam i just fell for..
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: killafilm on February 22, 2006, 10:03:50 PM
Done and done.

And I'd switch to Avid in a heartbeat.  If I had money and or a career.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: colbent on February 23, 2006, 03:57:18 AM
Thanks!!
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Pubrick on February 23, 2006, 07:11:17 AM
Thanks!!
hahah, be sure to drop by next time you want something for nothing.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: bonanzataz on February 23, 2006, 09:53:20 PM
god i've been waiting for somebody to post in the david lynch forum since forever. thanks mac, this was certainly worth the wait!
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: JG on February 23, 2006, 10:18:36 PM
no shipipng charge either? 
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: cron on February 23, 2006, 11:44:41 PM
i ordered one as well, but i'm afraid that i'll explode on the way or something. a free dvd about (prolly) the best living director DOES NOT COMPUTE.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Ravi on February 24, 2006, 12:02:55 PM
Ordered mine too.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: colbent on February 24, 2006, 07:09:55 PM
Thanks!!
hahah, be sure to drop by next time you want something for nothing.

This place is a goldmine!!
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Pubrick on March 13, 2006, 06:41:25 AM
it came.

it didn't explode when i opened it.

my god.

"i may be the sole pirate here with the use of only one hand."
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: The Red Vine on March 13, 2006, 10:07:43 AM
mine hasn't come in yet. I'm getting impatient and sad.  :(

but it's free so it should take as long as it wants.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Pubrick on March 13, 2006, 11:43:02 AM
(http://i5.photobucket.com/albums/y154/pubrick/rtd1.jpg)

non-spoilerful caps (not from the actual scene) that i'd like to talk about when everyone gets theirs..

(http://i5.photobucket.com/albums/y154/pubrick/rtdyog1.jpg)
picture on the desk, not a wife or loved one.. well, a special loved one.

(http://i5.photobucket.com/albums/y154/pubrick/rtdang1.jpg)
"GEEZ MAN!" you have got to see this bit, hilarious. keep up the TM, dave, temper.

(http://i5.photobucket.com/albums/y154/pubrick/rtdang2.jpg)
but in a second all is fine again. don't forget the cig in one hand, camera in other.. clearly a freedom of modern technology he can appreciate.

(http://i5.photobucket.com/albums/y154/pubrick/rtdkid1.jpg)
(http://i5.photobucket.com/albums/y154/pubrick/rtdkid2.jpg)
(http://i5.photobucket.com/albums/y154/pubrick/rtdkid3.jpg)
mysterious second assistant camera(boy?)
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: mogwai on March 13, 2006, 02:02:23 PM
i like:

(http://img.photobucket.com/albums/v720/ithica45/dl01.jpg)

(http://img.photobucket.com/albums/v720/ithica45/dl02.jpg)
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: killafilm on March 15, 2006, 02:25:26 AM
I'm assuming you mean her Hotness. 

Other than that the scene was kinda to very Meh... I know it's only a scene and all, but I don't think it does any favors to DV and creative freedom.  Lynch is a trip, I could listen to the man speak for hours.  I'm trying to figure out who this disc is geared towards.  It gives little to zero insights for people who know anything about filmmaking, and i feel like it might be too advanced (or you know geared towards people who haven't seen a Lynch movie).  I also find it funny that the set-up Lynch is on is a Mac.  Considering at least 75% of Avid systems are Windows based (fact pulled out of my ass, but i'm pretty sure).
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Ghostboy on March 15, 2006, 02:36:28 AM
I think the scene was pretty awful, actually. Poorly shot and poorly edited. I really hope that's not reflective of Inland Empire's quality.

I like the idea of them all breaking out into song, however.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Pubrick on March 15, 2006, 02:46:51 AM
about the scene. i don't get the feeling it's from INLAND EMPIRE. though it certainly contains lynchian elements, such as:

-in general, what the fuck?
-solid female casting based on looks alone.
-the intense weird man.
-maybe it's only my love for the script, but even in this little scene i see elements of Ronnie Rocket, particularly in the role of darkness toward the end. haven't paid attention to the lyrics of the song, anyone wanna transcribe?

regarding the worth of the dvd and it's target audience. from the long-ass tutorial by that degenerate indie director dude, i'd say it's geared to ppl of his ilk. what i don't understand is how and why they got Lynch involved.. there's plenty of other filmmakers currently enamored with DV, he might be the most enthusiastic but was it necessary to go into 30mins of interview and seeing the process of shooting this scene?

haha, it seemed awkward when they went to a soundbyte praising Avid. it's like 25mins of Lynch and then he mentions avid favourably a couple of times a la "we have a love eight relationship / we're on cloud nine", and then goes back to relevant stuff. not to mention the fat dude doing sound wearing the Digidesign sweatshirt (or was it just a normal shirt), anyway, it was bad. and whats up with the little kid as clapper? i wanna be clapper on WHATEVER THIS IS. :yabbse-angry:
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: JG on March 15, 2006, 06:01:14 AM
was there shipping and handling?  i'm scared to fill it out. 
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Pubrick on March 15, 2006, 06:12:51 AM
was there shipping and handling?  i'm scared to fill it out. 
it's all free, how many different ways can this be written.

i hope they've discontinued it by now.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: brockly on March 15, 2006, 07:26:54 AM
I think the scene was pretty awful, actually. Poorly shot and poorly edited.

i don't know. i wouldn't say that. lynch's stuff always has an indescribable effect on me. this was no exception. i can't argue with you about the technical criticism, but every second of the scene had me mesmerised. anyway, things i liked (spoils):

-the old guy who's not really there :shock: .... but he's close by
-the rabbits-like (except coherent) dialogue
-the hot girl's face transforming when it "goes dark"
-the dancer in the dark style singing (and the lyrics)

Quote from: Pubrick
i don't get the feeling it's from INLAND EMPIRE.

i don't think so either. i doubt the same guy who doesn't even want chapter stops in his movies would release some random scene from his new film before it even has a release date. though the circus talk ties in with the pics we've seen :ponder:

most likely just a way for lynch to release his latest short(?) to the public
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Ravi on March 15, 2006, 03:44:34 PM
Nothing too informative digital filmmaking since anyone who knows about this DVD probably already knows about digital shooting, editing, etc.  I didn't expect it to be a great DVD, since it was clearly going to be an Avid promo piece.

Its hard to judge some out-of-context scene from a movie, but technically it was weak.  I hope this is a rough version of the scene.

What is this scene from?  Kristin Kerr from IE is in it.  I doubt Lynch would release a scene from IE like this.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: JG on March 15, 2006, 07:03:23 PM
was there shipping and handling?  i'm scared to fill it out. 
it's all free, how many different ways can this be written.

i hope they've discontinued it by now.

haha, it just seems to good to be true.  anyways, i finally ordered mine. 
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Brazoliange on March 16, 2006, 05:47:20 PM
I got this in the mail today, thanks Xixax  :yabbse-thumbup:
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: meatwad on March 21, 2006, 11:01:32 AM
(http://i5.photobucket.com/albums/y154/pubrick/rtdang1.jpg)

this was my favorite part. the way lynch tells the guy to "finesse it" had me laughing.

the 'indie director' seemed more like a bad actor to me. for anybody who has ever used avid, it is a worthless part of the disc
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: colbent on March 22, 2006, 03:20:12 PM
In case anyone's interested, I found a short film online with that one girl in it. It's kind of okay.

http://honor-student.com/eltonlarge2.html
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: matt35mm on March 31, 2006, 05:39:07 AM
Well, over one month later, I finally got mine.

I did not like it at all.  None of it.  And I love most of David Lynch's work.  I've seen way better Lynch interviews (without shitty music playing behind him or crooked "cool" camerawork), and the short was bad bad bad bad bad.  I think maybe 10% of the people who see it will like it, and 90% will want to stay the fuck away from Avid.  If Avid was sending this disc out for free anyway, I think maybe they should have just not.  I can't see it doing anything to help their business.

Since Lynch acknowledges the abilities of a DP in his interview, I certainly hope he's working with one on IE.

Even the transcendental meditation disc was WAY better than this.  That was better edited and produced, too, which is sad for this disc that's advertising a fucking editing program!  And two minutes of seeing that porn star of an "independent filmmaker" was enough of the Avid Tools segment for me.  As somebody asked before, who are they gearing this towards?  Somebody who just decided a month ago that making movies seems like it would be fun, who is also going through a mid-life crisis and might decide to blow a bunch of money on an Avid?

A total failure.  I'm not complaining, since it was free, but I am critiquing, since it was awful.

P.S. I don't think it was from IE, since it seems self-contained.  But why'd they show pre-production for THIS??  This seems like something Lynch wrote one morning, grabbed some people during a lunch break from shooting IE, shot in an hour, and edited that night.  And if it wasn't, it certainly could have been.  I didn't see any evidence of pre-planning, except to coordinate schedules and work out payroll.

I still love David Lynch, though, and eagerly anticipate Inland Empire, which we know he worked on for far longer than only one weekend.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: Pozer on May 06, 2006, 01:58:21 PM
Despite you seeing way better Lynch interviews, it was in fact free, so maybe you should just judge it on that.  Cause there was some inspiration - solely from the Lynch point, but still.  Loved the bits pointed out by P.  "Paint with a fine brush, Eric."  God awful scene though.  Stuff I've shot with my Sony Mini DV Handycam looks a lazillion times better than that.  All in all, a nice Saturday morning watch.

p.s. I think I'm the last one here to get this, but if anyone happened to be wonderin' - they're still givin' 'em.  Ordered mine two weeks ago and got it Thursday.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: matt35mm on May 06, 2006, 03:14:45 PM
Despite you seeing way better Lynch interviews, it was in fact free, so maybe you should just judge it on that.
Okay then.  I've seen way better free Lynch interviews.

The inspirational bits were things that I've heard him say before--actually, I think I recall him saying in this interview, "As I always say..." before his points.  I always like to listen to Lynch talk, but this was a pretty insignificant interview that only felt like a set up to tell me how awesome Avid is.

Advertisements are always free.  That doesn't mean that I don't have the right to judge when I feel that I'm being poorly advertised to.  Yes, it was obvious to me before I even popped it in that Lynch was just there to lure me into watching a long advertisement for Avid.  I wasn't expecting significance.  But I was a little surprised by the almost condescending nature of the whole thing.  It seems to be geared towards people who aren't aware of any element of digital filmmaking, or at least aren't aware of non-linear editing software.  I thought it was going to be a bit beyond the whole, "Hey you!  Do you have interesting ideas for movies?  WELL THEN, we've got good news for you..."

I'm not that angry about it.  Just disappointed.  Advertisements can and ought to be better than this, even if they are free.
Title: Re: Room to Dream: David Lynch and the Independent Filmmaker
Post by: jenkins on June 12, 2018, 07:50:49 PM
ON SALE 2018-06-19
Hardcover: 592 pages

(http://images.randomhouse.com/cover/700jpg/9780399589195) (http://www.randomhousebooks.com/books/545016/)

Quote
An unprecedented look into the personal and creative life of the visionary auteur David Lynch, through his own words and those of his closest colleagues, friends, and family
 
In this unique hybrid of biography and memoir, David Lynch opens up for the first time about a life lived in pursuit of his singular vision, and the many heartaches and struggles he’s faced to bring his unorthodox projects to fruition. Lynch’s lyrical, intimate, and unfiltered personal reflections riff off biographical sections written by close collaborator Kristine McKenna and based on more than one hundred new interviews with surprisingly candid ex-wives, family members, actors, agents, musicians, and colleagues in various fields who all have their own takes on what happened.

Room to Dream is a landmark book that offers a onetime all-access pass into the life and mind of one of our most enigmatic and utterly original living artists.

Under the Cover
AN EXCERPT FROM ROOM TO DREAM

Quote
Chapter 1

David Lynch’s mother was a city person and his father was from the country. That’s a good place to begin this story, because this is a story of dualities. “It’s all in such a tender state, all this flesh, and it’s an imperfect world,” Lynch has observed, and that understanding is central to everything he’s made.1 We live in a realm of opposites, a place where good and evil, spirit and matter, faith and reason, innocent love and carnal lust, exist side by side in an uneasy truce; Lynch’s work resides in the complicated zone where the beautiful and the damned collide.

Lynch’s mother, Edwina Sundholm, was the descendant of Finnish immigrants and grew up in Brooklyn. She was bred on the smoke and soot of cities, the smell of oil and gasoline, artifice and the eradication of nature; these things are an integral part of Lynch and his worldview. His paternal great-grandfather homesteaded land in the wheat country near Colfax, Washington, where his son, Austin Lynch, was born in 1884. Lumber mills and soaring trees, the scent of freshly mowed lawns, starry nighttime skies that only exist far from the cities—these things are part of Lynch, too.

David Lynch’s grandfather became a homesteading wheat farmer like his father, and after meeting at a funeral, Austin and Maude Sullivan, a girl from St. Maries, Idaho, were married. “Maude was educated and raised our father to be really motivated,” said Lynch’s sister, Martha Levacy, of her grandmother, who was the teacher in the one-room schoolhouse on the land she and her husband owned near Highwood, Montana.2

Austin and Maude Lynch had three children: David Lynch’s father, Donald, was the second, and he was born on December 4th, 1915, in a house without running water or electricity. “He lived in a desolate place and he loved trees because there were no trees on the prairie,” said David’s brother, John. “He was determined not to be a farmer and live on the prairie, so he went into forestry.”3

Donald Lynch was doing graduate work in entomology at Duke University, in Durham, North Carolina, when he met Edwina Sundholm in 1939. She was there doing undergraduate work with a double major in German and English, and they crossed paths during a walk in the woods; she was impressed by his courtesy when he held back a low-hanging branch to allow her to pass. On January 16th, 1945, they married in a navy chapel on Mare Island, California, twenty-three miles northeast of San Francisco, and a short time later Donald landed a job as a research scientist for the U.S. Department of Agriculture in Missoula, Montana. It was there that he and his wife began building a family.

David Keith Lynch was their first child. Born in Missoula on January 20th, 1946, he was two months old when the family moved to Sandpoint, Idaho, where they spent two years while Donald worked for the Department of Agriculture there. They were living in Sandpoint in 1948 when David’s younger brother, John, was born, but he, too, came into the world in Missoula: Edwina Lynch—known as Sunny—returned to Missoula to deliver her second child. Later that year the family moved to Spokane, Washington, where Martha was born in 1949. The family spent 1954 in Durham while Donald completed his studies at Duke, returned to Spokane briefly, then settled in Boise, Idaho, in 1955, where they remained until 1960. It was there that David Lynch spent the most significant years of his childhood.

The period following World War II was the perfect time to be a child in the United States. The Korean War ended in 1953, blandly reassuring two-term President Dwight Eisenhower was in the White House from 1953 through 1961, the natural world was still flourishing, and it seemed as if there just wasn’t a lot to worry about. Although Boise is Idaho’s state capital, it had the character of a small town at the time, and middle-class children there grew up with a degree of freedom that’s unimaginable today. Playdates had yet to be invented, and kids simply roamed their neighborhood streets with their friends, figuring things out for themselves; this was the childhood Lynch experienced.

“Childhood was really magical for us, especially in the summertime, and my best memories of David took place in the summer,” recalled Mark Smith, who was one of Lynch’s closest friends in Boise. “My back door and David’s back door were maybe thirty feet apart, and our parents would give us breakfast, then we’d run out the door and play the whole day long. There were vacant lots in our neighborhood and we’d take our dads’ shovels and build big subterranean forts and just kind of lay in there. We were at the age when boys really get into playing army.”4

Lynch’s mother and father each had two siblings, all but one of whom married and had children, so theirs was a big family with lots of aunts, uncles, and cousins, and everybody occasionally gathered at the home of Lynch’s maternal grandparents in Brooklyn. “Aunt Lily and Uncle Ed were warm, welcoming people, and their house on Fourteenth Street was like a haven—Lily had a huge table that took up most of the kitchen and everyone would get together there,” recalled Lynch’s cousin Elena Zegarelli. “When Edwina and Don and their children came it was a big deal, and Lily would make a big dinner and everyone would come.”5

By all accounts, Lynch’s parents were exceptional people. “Our parents let us do things that were kind of crazy and you wouldn’t do today,” said John Lynch. “They were very open and never tried to force us to go one way or another.” David Lynch’s first wife, Peggy Reavey, said, “Something David told me about his parents that was extraordinary was that if any of their kids had an idea for something they wanted to make or learn about, it was taken absolutely seriously. They had a workshop where they did all kinds of things, and the question immediately became: How do we make this work? It moved from being something in your head to something out in the world real fast, and that was a powerful thing.

“David’s parents supported their kids in being who they were,” Reavey continued, “but David’s father had definite standards of behavior. You didn’t treat people crappy, and when you did something you did it well—he was strict about that. David has impeccable standards when it comes to craft, and I’m sure his father had something to do with that.”6

Lynch’s childhood friend Gordon Templeton remembered Lynch’s mother as “a great homemaker. She made clothes for her kids and was quite a seamstress.”7 Lynch’s parents were romantic with each other, too—“they’d hold hands and kiss each other goodbye,” said Martha Levacy—and in signing correspondence Lynch’s mother sometimes wrote “Sunny,” and drew a sun next to her name, and “Don,” with a drawing of a tree next to his. They were devout Presbyterians. “That was an important part of our upbringing,” said John Lynch, “and we went to Sunday school. The Smiths next door were a real contrast to our family. On Sundays the Smiths would get in their Thunderbird convertible and head up to ski, and Mr. Smith would be smoking a cigarette. Our family got in the Pontiac and went to church. David thought the Smiths were cool and that our family was stodgy.”

David’s daughter Jennifer Lynch remembers her grandmother as “prim and proper and very active in her church. Sunny had a great sense of humor, too, and she loved her children. I never got the sense that David was favored, but he was definitely the one she worried about the most. My father deeply loved both of his parents, but he also despised all that goodness, the white picket fence and all that. He has a romantic idea of that stuff, but he also hated it because he wanted to smoke cigarettes and live the art life, and they went to church and everything was perfect and quiet and good. It made him a little nutty.”8

The Lynches lived on a cul-de-sac with several boys of approximately the same age within a few houses of one another, and they all became friends. “There were around eight of us,” said Templeton. “There was Willard ‘Winks’ Burns, Gary Gans, Riley ‘Riles’ Cutler, myself, Mark and Randy Smith, and David and John Lynch, and we were like brothers. We were all into Mad magazine, we rode bikes a lot, hung out at the swimming pool in the summer, and went to our gal friends’ houses and listened to music. We had a lot of freedom—we’d be out riding our bikes until ten at night, take the bus downtown by ourselves, and we all looked out for each other. And everybody liked David. He was friendly, gregarious, unpretentious, loyal, and helpful.”

Lynch seems to have been a savvy kid who hungered for a kind of sophistication that was hard to come by in Boise in the 1950s, and he’s spoken of “longing for something out of the ordinary to happen” when he was a child. Television was bringing alternate realities into American homes for the first time and beginning to chip away at the unique regional character of towns and cities throughout the country. One imagines that an intuitive child like Lynch might’ve sensed the profound change that was beginning to transform the country. At the same time, he was very much of his time and place and was a committed member of the Boy Scouts; as an adult he’s occasionally touted his status as an Eagle Scout, the highest rank a Scout can achieve.

“We were in Troop 99 together,” said Mark Smith. “We had all these activities—swimming, knot tying—and one of them was a one-night survival camp where some guy taught us what you could eat in the forest to survive, how to catch a squirrel and cook it, and so forth. We had a few sessions learning this stuff, then we went into the mountains to survive. Before we left we bought all the candy we could, and after the first hour we’d eaten it all. So we get to this lake and we’re told to catch a fish—which none of us could do—and by nightfall we thought we were going to die of starvation. Then we noticed a plane circling overhead, and out came a box on a parachute. It was really dramatic. The box was full of things like powdered eggs and we all survived.”

Lynch was one of those children with a natural ability to draw, and his artistic talent became evident at an early age. His mother refused to give him coloring books—she felt they constricted the imagination—and his father brought loads of graph paper home from work; Lynch had all the materials he needed and was encouraged to go where his mind took him when he sat down to draw. “It was right after the war and there was a lot of army surplus stuff around, and I’d draw guns and knives,” Lynch has recalled. “I got into airplanes, bombers and fighter planes, Flying Tigers, and Browning automatic water-cooled submachine guns.”9

Martha Levacy remembered, “Most kids wore plain T-shirts then, and David started making customized shirts for all the neighborhood kids with Magic Markers, and everybody in the neighborhood bought one. I remember Mr. Smith next door buying one for a friend who was turning forty. David made a kind of ‘Life Begins at 40’ drawing of a man staring at a nice-looking woman.”

A gifted, charismatic child, Lynch was “definitely somebody people were attracted to,” said Smith. “He was popular and I can easily see him running a movie set—he always had lots of energy and lots of friends because he could make people laugh. I have a memory of sitting on the curb in fifth grade and reading stuff in Mad magazine out loud to each other and just howling, and when I saw the first episode of Twin Peaks I recognized that same sense of humor.” Lynch’s sister concurred that “a lot of the humor from that period in our lives is in David’s work.”

Lynch was president of his seventh-grade class and played trumpet in the school band. Like most able-bodied citizens of Boise, he skied and swam—he was good at both, said his sister—and he played first base in Little League baseball. He also liked movies. “If he went to a movie I hadn’t seen, he’d come home and tell me about it in detail,” said John Lynch. “I remember one he particularly loved called The Man Who Shot Liberty Valance that he went on and on about.” The first movie Lynch recalls seeing was Wait Till the Sun Shines, Nellie, a downbeat drama directed by Henry King in 1952, which culminates with the lead character being gunned down in a barbershop. “I saw it at a drive-in with my parents, and I remember a scene where a guy is machine-gunned in a barber’s chair and another scene of a little girl playing with a button,” Lynch has recalled. “Suddenly her parents realize she’s gotten it caught in her throat, and I remember feeling a real sense of horror.”

In light of the work Lynch went on to produce, it’s not surprising to learn that his childhood memories are a mixture of darkness and light. Perhaps his father’s work dealing with diseased trees imbued him with a heightened awareness of what he has described as “the wild pain and decay” that lurk beneath the surface of things. Whatever the reason, Lynch was unusually sensitive to the entropy that instantly begins eating away at every new thing, and he found it unsettling. Family trips to visit his grandparents in New York made Lynch anxious, too, and he has recalled being highly disturbed by things he encountered there. “The things I’d be upset by were mild compared with the feelings they’d give me,” he’s said. “I think people feel fear even when they don’t understand the reason for it. Sometimes you walk into a room and you can sense that something’s wrong, and when I’d go to New York that feeling covered me like a blanket. Being out in nature there’s a different kind of fear, but there’s fear there, too. Some very bad things can happen in the country.”

A painting Lynch made in 1988, titled Boise, Idaho, speaks to these sorts of memories. Positioned in the lower right quadrant of a black field is an outline of the shape of the state, surrounded by tiny collaged letters that spell out the title of the painting. Four jagged vertical lines disrupt the black field, and a menacing tornado shape in the left of the image plane seems to be advancing on the state. It’s a disturbing image.

Apparently the more turbulent currents of Lynch’s mind weren’t evident to his Boise playmates. Smith said, “When that black car is winding up the hill in Mulholland Drive you just know something creepy is going to happen, and that’s not the person David was as a kid. The darkness in his work surprises me and I don’t know where it came from.”