It would be great if the entire film came all at once. But it comes, for me, in fragments. That first fragment is like the Rosetta Stone. It’s the piece of the puzzle that indicates the rest. It’s a hopeful puzzle piece. In Blue Velvet, it was red lips, green lawns, and the song – Bobby Vinton’s version of “Blue Velvet.” The next thing was an ear lying in a field. And that was it.

— David Lynch, Catching the Big Fish

It’s so magical – I don’t know why – to go into a theater and have the lights go down. It’s very quiet, and then the curtains start to open. Maybe they’re red. And you go into a world. It’s beautiful when it’s a shared experience. It’s still beautiful when you’re at home and your theater is in front of you, though it’s not quite as good. It’s best on a big screen. That’s the way to go into a world.

— David Lynch, Catching the Big Fish

In my next life I want to live backwards. You start out dead and get that out of the way. Then you wake up in an old people’s home feeling better every day. You get kicked out for being too healthy, go collect your pension, and then when you start work, you get a gold watch and a party on your first day. You work for 40 years until you’re young enough to enjoy your retirement. You party, drink alcohol, and are generally promiscuous, then you are ready for high school. You then go to primary school, you become a kid, you play. You have no responsibilities, you become a baby until you are born. And then you spend your last 9 months floating in luxurious spa like conditions with central heating and room service on tap, larger quarters every day and then, Voila! You finish off as an orgasm! I rest my case.

— Woody Allen (via rosebudburned)

He was given to fits of rage, Jewish, liberal paranoia, male chauvinism, self-righteous misanthropy, and nihilistic moods of despair. He had complaints about life, but never solutions. He longed to be an artist, but balked at the necessary sacrifices. In his most private moments, he spoke of his fear of death which he elevated to tragic heights when, in fact, it was mere narcissism.

— Manhattan (1979)

Twin Peaks / Pilot

“I’m big on people crying. Girls crying, men crying, women crying: crying in general. It’s powerful if they really are feeling it. It’s like a yawn: it transfers over. Like Andy. He’s a man and he’s crying. It’s a rare thing to see a policeman crying. With Sarah and Leland, it’s watching two people realise something horrible. And it happens in time, in a sequence. And the audience knows much more than they do. The mind, being a detective, pieces the fragments together and comes to a conclusion. And when that conclusion hits you, you know it’s over. Like Laura’s empty chair in the classroom. James and Donna just know.” – David Lynch

Font: Times New Yorker

Blowtorch, excavator, truthsayer, and brain specialist, like a reverend waving a gun around. He will correct your vision.

— 

Tom Waits on Bill Hicks.

Watch the trailer for American: The Bill Hicks Story on Wired.