david linch by fosca salvi

From: Ailadi Cortelletti ailadi.c@gmail.com To: sm fs centoxcentoxcento@ymail.com Subject: cento rifermenti x cento libri x cento mondi possibili

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Risultati di ricerca David Lynch - David Lynch’s World - Italian fans forum - INLAND ... David Lynch - David Lynch’s World - Italian fans forum - INLAND EMPIRE - Twin peaks - Mulholland Drive have 3.168 posts, 1.304 topics, 58 members, davidlynchsworld.forumcommunity.net/ - 168k - Copia cache - Pagine simili [XviD - Ita Mp3] Inland Empire (David Lynch) [TNTVILLAGE] : Movies ... Titolo originale: Inland Empire Paese: USA/Polonia/Francia Anno: 2006. Durata: 172’ Genere: drammatico. Regia: David Lynch Soggetto: David Lynch ... www.mininova.org/tor/1676828 - 18k - Copia cache - Pagine simili INLAND EMPIRE 1 min 50 sec - 5 gen 2007 Classificato con 4,8 su 5,0 French trailer english subtitled french ... inland empire david lynch trailer ... www.youtube.com/watch?v=X0ynOGSYQY4

come riferimento inland empire di lynch? non sono convinta, ma tanto al prossimo che mi convince di pi첫, dopo 2 secondi, cambio etc.

Fw: cento rifermenti x cento libri x cento mondi possibili ailadi cortelletti <a.cortelletti@interactiondesign-lab.com> A:centoxcentoxcento@ymail.com

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6 min - 1 mag 2008 Classificato con 4,7 su 5,0 the soundtrck of “Inland Empire”.. Please rate and comment! ...enjoy! ... David Lynch tribute inland empire soundtrack bso ost ghost ... www.youtube.com/watch?v=5SH4fBCkhzs Inland Empire (2006) - [ Traduci questa pagina ] In an interview with Joe Huang at the AFI Dallas Film Festival, David Lynch stated that “Inland Empire” wasn’t originally intended to be a feature film. ... www.imdb.com/title/tt0460829/ - 57k - Copia cache - Pagine simili Inland Empire - L’impero della mente Trailer del film Inland Empire - L’impero della mente (2006) un film di David Lynch con Laura Dern, Jeremy Irons, Justin Theroux, Harry ... www.mymovies.it/trailer/?id=36002 David Lynch - Inland Empire 1 min 30 sec - 1 feb 2007 Classificato con 4,8 su 5,0 Trailer del film di David Lynch - Inland Empire. video.google.com/videoplay?docid=749874309685 6589317 David Lynch’s Inland Empire teaser 1 min 7 sec ... david lynch inland empire teaser. www.dailymotion.com/video/xuv7r_david-lynchs-

inland-empire-teaser_blog Inland Empire David Lynch interview 5 min Inland Empire David Lynch interview ... Inland Empire David Lynch interview. www.dailymotion.com/video/x16gzt_inland-empire-david-lynch-interview_events INLAND EMPIRE - Official Italian Trailer 1 min 32 sec Official italian trailer of INLAND EMPIRE, the new film by David Lynch.Il trailer italiano di INLAND EMPIRE, il nuovo film di David Lynch. www.clipser.com/watch_video/120981 V/A - Inland Empire Soundtrack V/A - Inland Empire Soundtrack. Label: David Lynch MC. Genre: Other (Soundtrack). Format: CD. Only: $15.99. Free shipping domestic option. www.theomegaorder.com/s.nl/it.A/id.17796/.f - 70k - Copia cache - Pagine simili Inland Empire (film) - Wikipedia, the free encyclopedia “INLAND EMPIRE—The San Rafael Film Center Q&A With David Lynch”, Twitch. ... “Inland Empire: The Trippy Dream Factory of David Lynch”, New York Times. ... en.wikipedia.org/wiki/Inland_Empire_(film) - 85k - Copia cache - Pagine simili

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Inland Empire (film) From Wikipedia, the free encyclopedia

Inland Empire (2006) is a surrealistic, psychological thriller film, written and directed by David Lynch. It was his first feature-length film since 2001’s Mulholland Drive, and shares many similarities with that film. It premiered in Italy at the Venice Film Festival on September 6, 2006. The feature took two and a half years to complete, and was shot entirely in standard definition digital video. The cast includes Lynch regulars such as Laura Dern, Justin Theroux, Harry Dean Stanton, Grace Zabriskie, as well as Jeremy Irons and Diane Ladd. There are special appearances by Nastassja Kinski, William H. Macy, Laura Harring, Jordan Ladd and Ben Harper. Naomi Watts, Laura Harring and Scott Coffey provide their voices, from their performances in Lynch’s Rabbits project. Overview When asked about Inland Empire, Lynch responded that it is “about a woman in trouble, and it’s a mystery, and that’s all I want to say about it.” When presenting screenings of the digital work, Lynch sometimes offers a clue in the form of

a quotation from a translation of the Aitareya Upanishad: “We are like the spider. We weave our life and then move along in it. We are like the dreamer who dreams and then lives in the dream. This is true for the entire universe.” Richard Peña, an official at the New York Film Festival and one of the first people to see Inland Empire, has summarized the film as “a plotless collection of snippets that explore themes Lynch has been working on for years,” including “a Hollywood story about a young actress who gets a part in a film that might be cursed; a story about the smuggling of women from Eastern Europe; and an abstract story about a family of people with rabbit heads sitting around in a living room,” which is taken straight from Lynch’s web-only video series, Rabbits. Peña’s perception of a plot involving “the smuggling of women from Eastern Europe” is his own, as the film does not describe such a situation, although there is a scene in which a man asks another, in Polish, if he is selling the woman (in the room). Synopsis The film opens with a burst of light from a film projector. The light illuminates the words “INLAND EMPIRE” on the screen. We then cut to a gramophone record playing a voice announcement that introduces Axxon N., “the longest radio play in history, continuing in the Baltic Region, a gray winter day in an old hotel...” (Axxon N. is the name of a projected 9 episode mystery-drama se-

ries that Lynch planned to release online in 2002.) A man and a woman converse in a hallway and a hotel room in Poland, but we cannot see their faces. Later, in the same hotel room, a crying woman (Karolina Gruszka, credited as the “Lost Girl”) watches a sitcom about three rabbit-people (the sitcom is Lynch’s own film Rabbits, which he had released on his website in 2002). The male rabbit moves into an exquisitely decorated drawing room, where he fades in a dissolve. A bald man (Jan Hencz) tells another man (Krzysztof Majchrzak, whom we later learn is “the Phantom”) that he understands he seeks an “opening”. The Phantom becomes very agitated. “Good! Good that you understand!” In Los Angeles, a female visitor (Grace Zabriskie) calls on the home of Nikki Grace (Laura Dern). The woman claims to be her neighbor, and speaks in an indeterminate Eastern European accent. She relates two “old tales”, one about a boy who caused evil to be born when he passed through a door, and a variation about a girl who got lost in an alley behind the marketplace. She knows several things about an upcoming role that Nikki does not: firstly, that Nikki definitely has the role, secondly that it is about marriage and murder, and thirdly that her husband (played by Peter J. Lucas) is somehow involved. She speaks of time’s indeterminacy - “If it was 9:45, I’d think it was after midnight!” - and points to a couch across the room and says, “If today was tomorrow, you would be sitting over there.” When Nikki turns

to look, we see Nikki sitting on the couch with two friends. The phone rings, her butler hands her the phone, and Nikki begins jumping up and down with excitement as she is told she has the role. Nikki’s husband watches intensely from the staircase. Nikki and the movie’s male lead, Devon Berk (Justin Theroux) appear on The Marilyn Levens Show, a weekly gossip talk show. Devon has a reputation as a Lothario, and both he and Nikki assure Marilyn (Diane Ladd, Laura Dern’s real-life mother) and the audience that there will be no gossip arising from the film. Later, Devon’s associates warn him off seducing Nikki, because her husband is “the most powerful guy around”. The film is entitled On High in Blue Tomorrows. The director, Kingsley Stewart (Jeremy Irons), and his assistant Freddy (Harry Dean Stanton) read through a scene in the script; Nikki’s character is called Sue Blue; Devon’s, Billy Side. The rehearsal is interrupted when Freddy spots someone poking around in the soundstage. Devon goes to investigate, footsteps are heard running away, and he returns to say, “They disappeared where it’s real hard to disappear.” This incident spooks Kingsley into revealing a secret about their film: it is actually a remake of a German film based on a Polish folk tale entitled 47 that was never finished because the leads were murdered. Apparently, the folk tale that the screenplay was based on had a Gypsy curse on it, because of something “inside the story”. Meanwhile, in a police station, a woman (Julia

Ormond) says she was hypnotized into wanting to kill someone with a screwdriver. She then lifts her shirt to reveal a screwdriver protruding from her side. During the course of making the film, Nikki sinks into her role so deeply that she begins to lose her identity and actually becomes Sue. At first Nikki is the one who is confused, forgetting that she is really speaking lines from her script (to the dismay of Kingsley), but in a love scene with Billy in “Smithy’s house” she confuses Billy by telling him she’s really Nikki, while her husband (Smithy) listens from a darkened nearby hallway. She also tells Billy of her inability to tell the future from the past, and describes the scene that follows in the film. The next day she is in an alley behind a store, and she sees “Axxon N.” written on a wall, with an arrow pointing to a door. When she enters the door, she is on the set where she and Devon were rehearsing previously, and she sees herself there: she herself is the soundstage intruder. When Devon comes looking for her she flees into the set for Smithy’s house. All Devon can see is a blank wall, and he leaves. Standing in the set for Smithy’s house, Nikki finds to her astonishment that the view out of the window is not the studio backlot, but a real garden. At this point, for the whole middle third of the film, Inland Empire becomes a disjointed series of dreamlike scenes, intercutting between California and Poland. Nine young prostitutes lounge around

in Smithy’s house, and sometimes teleport Sue to Poland (possibly via the flickering of a red lamp). A plotline of murder in Poland in winter develops, involving the “Lost Girl” from the hotel room and the Phantom (Krzysztof Majchrzak). Sometimes we are back in the Rabbit Room, or in an office at the top of a flight of stairs in an old theater, where Sue pours out her violent life story to a man with crooked glasses (Erik Crary, credited as “Mr. K”). This monologue includes a discussion of the Phantom, a man with powers of hypnosis. The nine women in Smithy’s house break out into a choreographed dance to the music of The LocoMotion, and then disappear. Sue tells Smithy she is pregnant. She tries to call Billy but only reaches the rabbits. In their backyard Smithy makes a barbecue for some local carnival people - with whom he is on the verge of departing for Eastern Europe - but gets ketchup all over the front of his shirt, a stain that looks like blood. When Sue looks into the ketchup, the crying woman, veiled, is seen praying, “Cast out this wicked dream...” (a homage to Lynch’s favorite film Sunset Boulevard, which he would show as a double feature with his first full-length film Eraserhead). The plot becomes more linear during a scene in which Sue goes to Billy’s house, and repeatedly tells him she loves him, causing his wife (Julia Ormond) to slap her. A second visitor (Mary Steenburgen) comes to tell Sue that Sue “owes on an unpaid bill that needs payin’.” In a nearby backyard, Sue spots the Phantom (who is carrying

an orange light bulb in his mouth) and defensively grabs a screwdriver. The Bald Man takes Smithy to a seance with three men who can see the crying girl from the hotel, while Smithy can only hear her. The men give Smithy a pistol. After he leaves, they turn into the Rabbits. On a street in Hollywood, Sue is suddenly a prostitute; she mockingly imitates the “Lost Girl” from the hotel room. She sees Billy’s wife and escapes to a club with a stairwell. She climbs the stairs and launches into her autobiographical monologue once again. The phone rings, and the man with the glasses informs the caller, “Yeah, she’s still here...the horse has gone to the well.” Sue goes back out to the street, where she emphatically snaps her fingers: “Hey - watch this move.” Billy’s wife appears, grabs the screwdriver from her, and stabs her with it. Sue crosses the corner of Hollywood and Vine, collapsing on a sidewalk to die alongside some homeless people. The homeless people largely ignore her, and one of them, a Japanese girl, begins a long monologue about her friend Niko from Pomona, who wears a blonde wig and owns a pet monkey, but who “is on hard drugs and turning tricks now.” Sue abruptly rolls over, vomits blood on the sidewalk, and collapses again. One of the homeless women lights her passage with a cigarette lighter, and says, “I’ll show you light now. It burns bright forever. No more blue tomorrows. You on high now, love.” Sue dies. At this point, it is revealed that we are on a film set; Kingsley yells, “Cut!” and a camera retracts.

The “homeless” people are revealed to be actors, who get up and depart. Kingsley hugs Nikki, tells her she was wonderful, but Nikki pushes him away and walks off the set in a daze. Nikki wanders into a movie theater, and on the screen sees the “Lost Girl” for the first time, who also sees Nikki on her television in the hotel room. Nikki sees herself as Sue on the big screen, recounting her monologue, and another scene of the future shows her where the gun is located in the set for Smithy’s house. Nikki goes through the “Axxon N.” door again, and wanders around in the set until she finds the pistol. She sees the Rabbit Room door with the numbers 47 on them in gold letters. Then she sees the Phantom himself and shoots him four times. Instead of damaging the Phantom, it merely causes him to smile as his face becomes brighter and brighter. On the third shot, however, Nikki’s own anguished face is superimposed on his, filling the screen. After the fourth shot, which damages the Phantom, his face is distorted beyond recognition, with a black goo oozing from his mouth as strobe lights flicker. He disappears. Nikki enters the Rabbit Room, which is empty, and sits on the couch. As she stares into the film projector light, her spirit finds the “Lost Girl”, kisses her, and disappears. The “Lost Girl” is free to leave her prison; in Smithy’s house, she is happily reunited with her husband (Smithy) and her son. Nikki is met by bright light and applause, Nikki’s first visitor smiles and disappears, and we see Nikki sitting on the couch in her Hollywood

home, smiling calmly (and wearing the same dress that Laura Dern wore during her first scene in Blue Velvet). The concluding scene of the film takes place in Nikki’s house, where she sits with many other people, among them Laura Elena Harring, Nastassja Kinski and Ben Harper. A one-legged woman who was mentioned in Sue’s monologue looks around and says, “Sweet!”. Niko, the Japanese girl with a blonde wig and a monkey, is also present. The end credits roll over a group of women dancing and lip-synching to Nina Simone’s Sinnerman while a lumberjack saws a log to the beat. Production Lynch shot the film without a complete screenplay. Instead, he handed each actor several pages of freshly-written dialogue each day. In a 2005 interview, he described his feelings about the shooting process: “I’ve never worked on a project in this way before. I don’t know exactly how this thing will finally unfold... This film is very different because I don’t have a script. I write the thing scene by scene and much of it is shot and I don’t have much of a clue where it will end. It’s a risk, but I have this feeling that because all things are unified, this idea over here in that room will somehow relate to that idea over there in the pink room.” Interviewed at the Venice Film Festival, Laura

Dern admitted that she didn’t know what Inland Empire was about or the role she was playing, but hoped that seeing the film’s premiere at the festival would help her “learn more.” Justin Theroux has also stated that he “couldn’t possibly tell you what the film’s about, and at this point I don’t know that David Lynch could. It’s become sort of a pastime - Laura [Dern] and I sit around on set trying to figure out what’s going on.” Much of the project was shot in Łódź, Poland, with local actors, such as Karolina Gruszka, Krzysztof Majchrzak, Leon Niemczyk, Piotr Andrzejewski and artists of the local circus Cyrk Zalewski. Some videography was also done in Los Angeles, and in 2006 Lynch returned from Poland to complete filming. Inland Empire is the first Lynch feature to be completely shot in digital video; it was shot with a Sony DSR-PD150. Lynch has stated that he will no longer use film to make motion pictures. In an NPR “Weekend Edition” interview, Laura Dern recounted a conversation she had with one of the movie’s new producers. He asked if Lynch was joking when he requested a one-legged woman, a monkey and a lumberjack by 3:15. “Yeah, you’re on a David Lynch movie, dude,” Dern replied. “Sit back and enjoy the ride.” Dern reported that by 4 p.m. they were shooting with the requested individuals. Film critic Roger Moore has noted that Inland

Empire follows Mulholland Dr. and Twin Peaks in being inspired by the names of cities or the places in which they’re set, “But often they don’t have anything to do with the location at all,” he adds. Lynch “doesn’t let the actual geography of the place interfere with his vision.”

http://www.dreadcentral.com/interviews/lynchdavid-dern-laura-inland-empire Lynch, David & Dern, Laura (Inland Empire) Interview by: Sean Clark Q: How long were you guys in production on Indland Empire? DL: Well, production is a weird thing; how long over from the beginning to the end was about three years, but we weren’t always shooting every day, you know what I mean? Q: So he’d just call you up every once in a while and say “I’ve got a camera, I’ve got an idea?” LD: Pretty much, right? DL: Yeah. (pause, followed by laughter) SC: It seemed like there were a lot of different styles in this picture in comparison to some of your other work, handheld type of stuff, did you take a different approach to this project? DL: Yes, because I was shooting DV with a small, lightweight camera. It was so beautiful to me, to be able to hold the camera and float around and you know, let it move according to what I was feeling or seeing. Whereas before you’re behind a massive camera, in front of you is an operator and a focus puller, and you’ve got a kind of barrier, and if you wanted to move, if you felt a thing, it wasn’t possible. Like I say, on the next take you might say “can you drift in on this line a little bit like this,” but it may not happen the same way on the next take, so it gives you this ability to really be in there and stay in there, because it 40 minute takes, it’s very beautiful.

SC: (To Laura) How different was it for you, having worked with David on previous projects? LD: I’ll almost repeat the same idea. The liberty that comes with working with DV, you’re liberated as an actor, in the same way David describes you never miss anything because you’re right there. You never miss an opportunity of being in the moment, because suddenly now - not just the performance - but the camera is offering that in the moment opportunity, you can catch anything and he can hear what the actor - seemingly off camera - is doing and want to capture that and just flip around and because of the luxury of a 40 minute take if you need it - I mean 40 minutes in the camera - that you can shoot an entire scene without ever stopping. He can get all the coverage he wants and we are staying within the moment of acting out this scene and not cutting and resetting but in fact even while filming talking to me, because of the luxury of the lack of expense as well, to say “let’s do it again, okay, go back to this line, let’s keep going.” As an actor, it’s an incredible feeling to stay true to the mood, the feeling that’s going at that given time. Q: David, could you talk about how this film relates to your other work? Because there seem to be similarities with Mulholland Dr, and we actually saw clips from “Rabbits” in this film. Is this film an extension or how do you view it? DL: It’s different but there are similarities, because it deals with - as Mulholland Dr. did - the movie industry and it has, you know, a female lead, um (laughs)...

LD: Thank you (more laughs) DL: You know, and then it kind of takes off and becomes different. Q: It felt a bit like a collage of some of your previous works, was that intentional? DL: No. Ideas come along and you pick an idea. Sometimes you catch an idea that you fall in love with and you see the way cinema could do that. It’s a beautiful day when that happens, when the idea tells you everything. Now you - because we had our kind of mechanism, we kind of fall in love with certain kinds of things, but every film is different, and it’s based on the ideas that come. And they are the things you try and stay completely true to, all the elements you try to get to be feeling correct before you walk away. Q: So, Laura, with this role, there’s so many different levels, so many different performances, various different versions of the same person, how was that working for you? LD: You know, more than ever, the day’s work was at hand and what I had. Given that we shot in such a way that we would, David would write a scene and we would film that, then he’d write another scene and we’d film that and so on, it forced me - very luxuriously - into the moment. I didn’t necessarily know what was coming before or what was coming after, whether one perceives it that I am different people or that I am aspects of one person; either way you can really only act one way, which is being the person you are in that moment. So in a way, not knowing everything and trying to somehow get to what would be logically

minded as an actor and try and help the audience understand how this relates to that, etc. I was freed from any of that, by David keeping me in the moment with whatever character I was playing, or whichever aspect of the story I was involved in. That was extremely freeing, in a way I think it allows for more imagination as an actor, because as much as an actor wants to believe this is just for my own experience, that they are not informing the audience. There can be a pitfall of feeling like because my character is going to do this five scenes from now, maybe I should give them a little taste of that, so they know that it’s coming, but as we see, human nature doesn’t work that way. We’re deeply surprised in the news when we hear “so and so, who seemed like such a nice guy, did this atrocious thing.” So being forced by the director, if you will, to just be this aspect of what I suppose this is for, I think made me get to be braver by default, not intentionally. Q: Would you only want to approach a movie with this scene-by-scene approach with David? Is he the only one you’d feel comfortable with? LD: Well, I’d rather only work with David, period. (laughs) DL: You’re working with me now, but watch what happens next time “Oh, I don’t even want to work with Robert.” (more laughing) LD: They know, we’ve met many times before when you weren’t here. (again, this entire exchange is peppered with laughter) DL: Exactly. It’s all baloney! (more laughing, as per last sentence)

LD: Going back from their lunch. “Can you believe it? Poor David Lynch, he doesn’t realize that Laura has said that so many times today.” But I think, for myself, I’ve watched David do this with many other actors on this movie, but I don’t know if I could have done this with many other directors. We’ve been asked if we have a shorthand, in fact we have a remarkable one. I’m sure he has it with the other actors he works with, but for me, I have the ability from knowing him since I was seventeen, separate from who he is as a director to me, to intuit what he means, and he can intuit what I’m going to express before it happens. So it’s not just what the movie’s about, or the character I’m playing, but even as an operator, a cinematographer, I felt like David moved his body and camera just into place just as I was thinking of moving that way. You know there’s that thing that happens… DL: Laura actually directed this picture. (laughs) LD: I did and he was wonderful. We actually cut his part out. (laughs) Q: With that scene by scene approach to filming, did you ever consider releasing it as a series of short films? DL: No. (laughs) LD: A set of long films. DL: No. After a while, the scene by scene revealed more. Then I wrote a lot of stuff, and then we went and shot more traditionally. We could shoot for several weeks, and have stuff to shoot, and organized like a regular shooting schedule. But it was just in the beginning that it was scene

by scene. And those, were, could have ended up just being that, a scene, separate, by itself, for the internet or whatever. But I didn’t know what it was going to be, so I’d shoot a scene, and then I’d get an idea for another scene and shoot that scene, and lo and behold, after a bunch of them, a thing came out. Q: Your working process on this was a little different... DL: A little different, yeah... Q: So, with the freedom of digital video, do you see yourself making movies more in line with this, or this kind of process? DL: Not this process, but with digital video. I think maybe I would, it would be nice to have a script written up front, but it just didn’t happen this time. LD: But, as he said, there were chunks of the film that surfaced, that you wrote. Towards the end, I mean, we shot for a month. DL: It all starts coming more and more and more. LD: But we shot for like, four or five weeks solid at one point, almost like a traditional movie.