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DAVID LYNCHINTERVIEW BY JESSE PEARSON PHOTO FROM AP, MANIPULATED BY TARA SINN ![]() I am a big-time David Lynch nut. I remember having to steal a copy of Blue Velvet and watch it at a friend’s house because my parents thought it was too sketchy for me to see at 12. I watched each episode of Twin Peaks the night that it originally aired. I saw Wild at Heart and Fire Walk With Me on their opening days. For my money, this guy has made some of the most original, thrilling, deep, and beautiful cinema ever, ever, ever. So just because you care, here are my favorite David Lynch things in descending order from the best on down to the simply very great: • The episodes of Twin Peaks that he directed • Blue Velvet • Inland Empire • Mulholland Drive • Wild at Heart (this was at the top of the list when I was 15) • Fire Walk With Me • The Elephant Man • Eraserhead • Dune • His early shorts • Catching the Big Fish I didn’t like Lost Highway, but let’s not bother getting into that. Now here’s the tricky part. David Lynch and I both practice this thing called Transcendental Meditation, which was invented by a guy named Maharishi Mahesh Yogi back in the 1950s. The Beatles did it; Howard Stern and Jerry Seinfeld do it too. Weird collection of people right there. I interviewed Lynch for Vice a few years ago, and we talked only about TM at that time. I figured that this time around we would talk about TM and more stuff, broader stuff, life and movie stuff. And we did, sort of. But you also have to realize that for Lynch, the tenets of TM are of the utmost importance. His whole life is inextricably linked to it. No matter what you ask him, he is likely to link it back to meditation. So, after we were done talking this time around and I listened to the tape, I thought, hmm, we really did talk about TM a lot here. Maybe it’s weird to put all this TM talk into the magazine. Maybe it feels like a commercial for my and his brand of spirituality. Maybe I shouldn’t do this. But then I realized: I’m the editor of this magazine and the rest of you aren’t. So fuck y’all if you don’t want to hear about it. Here’s me and Lynch talking about meditation, the unified field, total enlightenment, and cheese. Vice: Hello, Mr. Lynch. I don’t know if you remember, but I interviewed you a few years ago. We spoke mainly about Transcendental Meditation that time. David Lynch: I’ll be darned. I’m a practitioner as well, since I was a little kid. Fantastic, Jesse! I want to touch on TM this time as well but also go a little broader later on. I know that meditation is very important to you in terms of your creative process. I often find myself wanting to interrupt meditations to jot down ideas. Does this happen to you too? Well, you know, the Beatles asked Maharishi the same question when they were with him in Rishikesh in ’68. They’d get ideas in meditation too. He said, “Come out, write it down, and then go back to meditating.” Wow. I’ll do that from now on. See, the idea is very clear down there, and so it’s really thrilling when it comes. But if you wait till after you finish to jot it down, chances are that you’ll forget it. That’s happened to me a lot. Is it the same for you? If I’ve really got a hot one, I come out and write it down, and then I go right back in. Now that I think about it, if I’m interrupted I sometimes find it easier to go right back into a deep meditation as opposed to a shallower one. I know what you mean, but a lot of times “shallow” and “deep” are sort of subjective things. If you saw yourself on an EEG machine, you might be surprised at how many times you were transcending during a meditation. I guess it goes in peaks and valleys. You dip in and dip out. Maybe you go in there and you didn’t really get zapped, but you’ve still touched it many times, meaning the transcendent, which is the deepest level. You experience that many times in each meditation. Just for different lengths of time. Yeah. That makes sense. It sounds familiar to me. I think I was around seven years old when I first started having experiences in meditation that felt transcendent to me. [laughs] That’s fantastic. It was pretty funny. My grandparents and my friends thought I was in a cult. Now, just for your readers, Transcendental Meditation is not a religion, not a cult, not a sect… It’s a mental techniquean ancient form of meditationthat unlocks the human being’s full potential. And the full potential of a human being is called enlightenment. It’s really pretty foolish not to meditate. Our readers might start to tune us out now if they aren’t open to hearing about this stuff, but oh well. So yes, it’s true for me toonot meditating is sort of a waste of one’s own capabilities. Yeah! You’ve got this potential, but you’re not going to get it unless you experience transcendencethat deepest level. Pure consciousness. And every time you experience the transcendent, you infuse some of it and you grow in that consciousness. You grow in intelligence, creativity, happiness, love, energy, and peace. All good stuff, basically. And the side effect is that negativity starts to lift away. It’s a win-win-win situation. You don’t have to tell me. I know, but we have to tell your readers. [laughs] People get it at different times, and you’ve got to want it to do it. And hearing these things might make some people out there say, “Man, I gotta have that!” That happensmore and more these days. If the reader comments on our website from the last time I talked to you about this stuff are any indication, we’re going to get slammed. Anyway, based on what I’ve read about your working process, ideas might come to you and then not get used for years and years. Sometimes, yeah. What’s your method for keeping track of ideas? I write them on little pieces of paper and then I drop those in a box. So I have, like, an idea box. And then I sometimes go through there, and one idea is suddenly like a little jewel. And so I’ll start to think about it, and you know what they say: “Where the attention is, that becomes lively.” Right. Focused attention has a magic quality. The idea does become lively, and it can make other ideas swim in, like little fish, and join it. And then a whole thing starts to emerge. Is there also an element of the idea having a different context just because, say, five yearswith all the changes that can happen in that amount of timehave gone by? Something that was mysterious to you when it popped into your head could be clear as day five years later. Yeah! It’s like all ideas have a time for being. And for some reason, at some specific time, you’ll read an old idea and it just makes you crazy because you love it so much. Do you ever go back and watch your old films? Sometimes. My son Riley hadn’t seen them before, so I saw them all with him recently. It’s the same way with my older paintingsit’s sometimes good to go back and look at your old stuff. It’s just like the idea box. You might see something that you did way back when, and some part of that can feed into the work you’re doing right now and jump-start it. What do you call the place where ideas originate? The subconscious? No. Everythingeverythingoriginates in the unified field. It’s an ocean of pure consciousness. It’s the transcendent. And that’s what quantum physics says now: Everything that is a thing has emerged from that field. New things are always emerging and bubbling up from it. So an idea will come, but you will not know the idea until it enters your conscious mind. Now, if you expand your consciousness you can catch ideas at deeper and deeper levels, and they’ll have more information and more energy. It’s pretty intense. Plus, as you understand things more, there’s more to understand! That’s true. It’s almost kind of scary. Everybody relies on ideas. Your more recent work, specifically Mulholland Drive and Inland Empire, sort of has the rhythm of meditation to me. We drift, find focus, drift, and find focus. Is there anything to that, or am I reaching? Well, I always say that those two films, like any other film, are based on ideas. I’m not trying to duplicate a meditation experience. I’m trying to translate ideas that came to me, to make them feel, in cinema, the way they did when they came to my mind. It’s all based on the ideas that come. Sure, without the idea there’s nothing. Exactly right. Why do you think so many people have such a desire to know the meaning of your films? I always say the same thingwe’re like detectives. Films are another world, with new characters and new situations. When things are concrete in films, you don’t have a problem understanding them. When they get abstract, then the understanding varies and people come up with different interpretations based on what’s inside of themselves. When you look at life, we’re always looking at stuff and wondering and thinking about this and thattrying to suss out what’s going on, just like we’re watching a film. Just walking down any street could lead to a thousand different mysteries. Ex-actly. But even with all of that said, don’t you get tired of people asking you what things in your work mean? But I don’t ever say what they mean. I say, “You know, for yourself, what it means. And that’s valid.” Your films can be very scary. I know people who can’t even watch the first Winkie’s scene in Mulholland Drive. What do you think an audience might get out of being so freaked out by a movie? I know that there is something valuable for me in it, but I can’t put my finger on what it is. Well, I know that the images can be fearful, but those are just the ideas that came. Or they came with that fear. But there’s nothing really scary there. It’s just the way the scene goes, and the words that are said, and the way the expressions look, and the way the camera moves, and the way the sound is designed. It all conjures up a thing that makes people say “Whoa”just like I said “Whoa” when I got the idea. And of course ideas can come up and conjure beautiful images too. Of course. Thank goodness for the ideas, because they tell you how to go. Intuition tells you how to go. Intuition is the number-one tool for the artist. Without that intuition, you can’t make art. You can’t just read a book and become a painter or a filmmaker. There’s some other abstract quality that has to be there too. And that’s called intuition. Number-one tool! See all articles by this contributor
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