Lynch’s work balances at the porous divide between the body and the world it inhabits.
His five-decade career includes an extensive range of art-making—painting,
drawing, photography, printmaking, sculpture, music and film.
“The ultimate would be to never have to go to Chinatown,
Chinatown is not a place that you could actually go to
because it’s a state of mind.”
There’s a deep appreciation for beauty in its many forms, from the costumes to the attention
Weir pays to the school’s ornate architecture, to paintings, to poetry.
“Why do I watch Wrestlemania? My answer is the poet must not avert his eyes from what’s
going on in the world. In order to understand what’s going on, you have to face it.”
They are everything that the films of Paul Thomas Anderson or Claire Denis or Spike Lee or
Ari Aster or Kathryn Bigelow or Wes Anderson are not. When I watch a movie by any
of those filmmakers, I know I’m going to see something absolutely new and
be taken to unexpected and maybe even unnameable areas of experience.
Catch Alfred Hitchcock’s DIAL M FOR MURDER at The Metrograph, presented in 3D.
10pm, Friday November 1st
“Being an only child does make you more imaginative, you have to create your own games by yourself with whatever props come to hand. You don’t have anybody else to bounce off of, so you’re creating everything in your own head, all the time.”
“During a break in shooting, the actor playing the role of the doomed beggar raised her tired face to me and said: The devil is real. I have seen him sitting by my bedside.” – Benjamin Christensen
“In this movie I deliberately cut in an unusual rhythm. I would hold shot when there was no reason to do so,
or I would cut off them too quickly… I just wanted to throw people a little bit off balance. “
On the centenary of one of the great cinematographers,
we celebrate the man who shot for Lynch and Scorsese –
and directed his own irresistible horror movies.