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American filmmaker David Lynch died today, just a few days short of his 79th birthday. Lynch smoked cigarettes on and off since he was eight years old. In August of 2024, he revealed that he had serious emphysema which forced him to use oxygen simply to walk across a room. His family announced his death on Facebook but did not disclose its cause. David Lynch was married four times and had a long-term relationship with actress Isabella Rossellini. He fathered four children and many works of art.
David Lynch was born in Missoula, Montana. Lynch’s father was a research scientist with the US Department of Agriculture, which moved him around a good deal, thus Lynch grew up in the Pacific Northwest, North Carolina, and Northern Virginia. Lynch studied art and design at several schools. In addition to writing and directing films, he was a painter, sculptor, photographer, writer, and music composer/producer, as well as an inveterate tinkerer. I’ll deal only with his film and television work.
In 1970, Lynch moved to Los Angeles where he studied at the American Film Institute Conservatory. In 1972, he began working part-time on his first feature-length film, Eraserhead, funding it with an American Film Institute grant, a loan from his father, and even part-time work delivering newspapers. Eraserhead was finished in 1976, released in 1977, and became famous on the “midnight movie” circuit. Eraserhead is one of the weirdest films ever made, but it was the beginning, not the end of an illustrious career.
Mel Brooks, in particular, loved Eraserhead and agreed to produce Lynch’s next film, The Elephant Man, based on the true story of Joseph Merrick, a severely deformed man who worked as a sideshow freak in Victorian England. Merrick was given refuge in a London hospital by Doctor Frederick Treves and became a cause célèbre of Victorian high society. Like Eraserhead, The Elephant Man was filmed in black in white, but with a much larger budget. Filming was done in London, with a largely English cast, including John Hurt as Merrick (his first name was changed from Joseph to John) and Anthony Hopkins as Doctor Treves. Although The Elephant Man has many of Lynch’s signature surrealistic touches, it is highly accessible and deeply moving. The Elephant Man was a critical and commercial success, receiving eight Academy Award nominations, including Best Director and Best Adapted Screenplay.
The success of The Elephant Man brought Lynch a flood of opportunities. George Lucas even offered Lynch The Return on the Jedi, which Lynch declined. It is just as well. Lynch could have killed the whole Star Wars franchise if his Return bombed as badly as his next project, his adaptation of Frank Herbert’s 1965 science fiction classic, Dune. Filmed in Mexico with an international cast and released in 1984, Dune was a critical and commercial disaster. Lynch did not have control of the final cut, and many good scenes were discarded. Lynch remained bitter about the experience for the rest of his life and refused all offers to do a director’s cut. Two more versions Dune have been made since, one by the Sci Fi Channel, the other by Denis Villeneuve (Part I, Part 2). But, for all its flaws, Lynch’s vision remains my favorite.
The flop of Dune led to the cancellation of any Dune sequels, so producer Dino De Laurentiis allowed Lynch to make Blue Velvet (1986). In some ways, Blue Velvet is the first true David Lynch film. Of course, Eraserhead is entirely Lynch’s vision, but its realization was hampered by extreme technical and financial constraints. The Elephant Man and Dune were other peoples’ stories. But Blue Velvet was entirely David Lynch’s vision, he had the budget and technical means to realize it fully, and he had control over the final cut. Blue Velvet was a huge critical success, did moderately well at the box office, and earned Lynch his second Academy Award nomination for Best Director. It remains his masterpiece.
Lynch was most famous for Twin Peaks, his ABC television series with Mark Frost that ran in 1990 and 1991. Although Twin Peaks rapidly lost direction, Lynch’s pilot, as well as the first few episodes, are some of the best television ever made.
Lynch’s next film, 1990’s Wild at Heart won the Palme d’Or at the 1990 Cannes Film Festival. I think it is superb, but the responses from American critics and audiences were tepid. After that, Lynch returned to Twin Peaks with a prequel film, Twin Peaks: Fire Walk with Me (1992), which was also a critical and financial failure, although I think very highly of it.
Then Lynch worked on two unsuccessful television projects, both of which lasted only three episodes: On the Air (1992), produced with Mark Frost for ABC, and Hotel Room (1993), which was done for HBO.
In 1997, Lynch returned to movie theatres with Lost Highway, starring Bill Pullman and Patricia Arquette. Lost Highway is one of Lynch’s darkest and most surreal films. I think it is brilliant, but most critics didn’t get it, and the film was a commercial dud.
In 1999, Lynch surprised everyone by releasing a G-rated movie with Walt Disney, The Straight Story, based on the true story of Alvin Straight, an elderly and independent Iowan who traveled 300 miles on a lawn mower to visit his stricken brother. The film has many “Lynchian” touches but remains warm-hearted and sentimental throughout. I would argue that all of Lynch’s films are life-affirming. But in The Straight Story, the obstacles the protagonist overcomes are nothing more horrifying than old age and mechanical breakdowns. Both hell and heaven are far away, although there are hints of both throughout. The Straight Story was a critical and commercial hit. It remains the only David Lynch movie you can show to your old mum.
The success of The Straight Story revived Lynch’s fortunes in Hollywood. ABC had Lynch shoot a new television pilot called Mulholland Drive. When ABC dropped the project, Lynch reworked it into a feature film, released by Studio Canal. Starring Naomi Watts, Laura Elena Harring, and Justin Theroux, it returns to the non-linear storytelling and Stygian darkness of Lost Highway. But this time, the critics and audiences loved it. Mulholland Drive garnered Lynch the Best Director award at the 2001 Cannes Film Festival (an honor he shared with Joel Coen) and Best Director from the New York Film Critics Association. He was also nominated for the third time for the Academy Award for Best Director. In 2016, Mulholland Drive was named the best film of the 21st century in a BBC poll of film critics. In 2022, it was number 8 in the Sight and Sound poll of the greatest films of all time. I think Mulholland Drive is a great film, but these accolades are, frankly, a bit silly.
Lynch’s last two major projects were Inland Empire (2006), a three-hour feature film, and Twin Peaks: The Return (2016), 18 one-hour episodes on Showtime. I wanted to like them and should give them both another chance, but I fear I will still think they are terrible. Many people dismiss films like Eraserhead, Lost Highway, and Mulholland Drive as “meaningless.” I disagree. They have meanings. But Lynch likes to hide them. However, Inland Empire and Return have resisted my best attempts at interpretation. I don’t think they are engagingly hermetic, just boringly unintelligible. That wouldn’t be so terrible if they still managed to be entertaining. But I found them stultifyingly ill-paced and often sickeningly distasteful. I can only see them as a sad waste of nearly a quarter-century of a great artists’ life.
As a man and an artist, David Lynch is probably closest to one of my favorite writers and human beings of the 20th century: Flannery O’Connor. Both Lynch and O’Connor are essentially mystics: Lynch a follower of Transcendental Meditation, O’Connor a Roman Catholic. Both believe that good and evil are metaphysical forces. Both had a strong sense of finitude, which manifests in a sense of place: O’Connor’s South, Lynch’s logging towns and Los Angeles. This sense of finitude also issues in a deeply conservative skepticism about fundamental moral progress. Both reject the idea that we’ll simply progress our way out of evil. Both are lovers of mystery, and deploy the grotesque as a signature of both the secular ineradicability of evil and their hope for an ultimate triumph of the good.
I never met David Lynch. But in 2000, I wanted to pitch an O’Connor film idea to him. Some of her short stories in Everything That Rises Must Converge deal with essentially the same character under different names. I thought they could be worked into episodes of a single life. But Lynch’s secretary replied that Mr. Lynch was at work on something else, which turned out to be Mulholland Drive.
Ever since the 1990s, I have wanted to write a book on Lynch. There’s a reason why I took the pen name Trevor Lynch, for David Lynch resonates with me more than any other filmmaker. Some of my essays on Lynch, listed below, sketch out the sort of things I would say. But I hesitated to start work, first because Inland Empire then Twin Peaks: The Return stood like Argonath in my path. Second, Lynch’s work was not yet complete.
But when I heard of his emphysema, I felt that the final curtain was descending, and I began gathering my thoughts, as well as recent literature on Lynch, in preparation for writing. I don’t know when I can slot this project in, but I hope to begin writing before the end of the year.
For more about David Lynch’s major works, please read these essays on Counter-Currents:
- Greg Johnson and John Morgan, “The Films of David Lynch,” Part 1 and Part 2
- Trevor Lynch, “Blue Velvet: The Lost Footage.”
- Trevor Lynch, “David Lynch’s Dune.“
- Trevor Lynch, “Death My Bride: David Lynch’s Lost Highway.“
- Trevor Lynch, “The Elephant Man.”
- Trevor Lynch, “Eraserhead: A Gnostic Anti-Sex Film.”
- Trevor Lynch, “Hotter than Georgia Asphalt: David Lynch’s Wild at Heart.”
- Trevor Lynch, “Mulholland Drive.“
- Trevor Lynch, “Now It’s Dark: David Lynch’s Blue Velvet.”
- Trevor Lynch, “The Straight Story.”
- Trevor Lynch, “Twin Peaks,” Russian translation here.
- Trevor Lynch, “Twin Peaks: Fire Walk with Me.”
33 comments
I have not seen all of David Lynch’s films, but Blue Velvet was the first one for me. It was both compelling and disturbing. I had never seen anything quite like it. Dennis Hopper’s portrayal of Frank Booth was terrifying and hilarious. And, who could forget Ben’s rendition of “In Dreams?”
Dennis Hoppers greatest performance
This is a shock to me. David Lynch, a great director, has died. Early in my intellectual career, I read Slavoj Zizek’s psychoanalytic interpretation of his films. I found it very interesting at the time. Today, I’d love to read a detailed review by Trevor Lynch.
This afternoon I received a text from my friend who shares my tastes in music and film saying he had bad news. Somehow I knew exactly what it was going to be and was heartbroken to see that one of my favorite directors was gone. I have many favorites including Werner Herzog, Paul Verhoeven, John Waters, Paul Bartel, Alejandro Jodorowsky, Billy Wilder, Harmony Korine, Ken Russell, Brian De Palma, Alfred Hitchcock, Powell & Pressberger, The Coen Brothers, Stanley Kubrick and David Cronenberg but none of them come close to the impact David Lynch’s films have had on me over the years. I first got interested in Twin Peaks around 25 years ago( I was too young to care when it aired originally) and was completely enthralled with the characters and settings of the town. I set out to collect as much memorabilia as I could find on eBay and elsewhere before the show reached a new height of popularity(thankfully, with the demand and prices shyrocketing) and I have quite the collection. All of the books, soundtracks on cassette, vinyl and cd, VHS tapes, framed pieces of film from Fire Walk With Me, trading cards, the audiobook of Cooper’s tapes to Diane, etc.
I love all of his films with Blue Velvet, Fire Walk With Me and Wild At Heart particular favorites. He will be terribly missed but luckily he left such an amazing collection of thought provoking and mind bending works that I will spend the rest of my years cherishing and trying to wrap my head around.
“Now it’s dark.”
I’ve long wondered if there’s any relation between the fictional Trevor Lynch and the real one, David.
Terrible news. Another great auteur of yesteryear perishes…and who will replace him? Thanks for making this known to me.
I met Giffords, the novelist who cowrote wild at heart at a lecture. I asked him about the scene where they find the girl at the scene of a car wreck and her friends are killed, and she’s searching for her wallet, clearly delirious from head injury, and then she dies. It was a very eerie scene, of course. I asked him was this scene intended to symbolize the pointlessness of material concerns and petty concerns in life when death looms? He said “no, you sound like you went to college or something!” Lol.
I think I like Wild at Heart best too, not sure why, but perhaps it has more of a plot. I also like Lost Highway, not sure why either, something about the scenery.
That’s a great story about Barry Gifford. I’ve never read any of them, but apparently there’s an entire series of books detailing the adventures of Sailor and Lula.
I’ve seen all of Lynch’s films, of course, and Wild at Heart is probably my favorite one, as well. It might have something to do with the fact that it was the first Lynch creation I ever saw. Fire Walk With Me is beautiful, as well. It served as a huge, inaccessible “fuck you” from DL to the folks at the ABC who reined him in during the series.
RIP to one of the last great artists of the silver screen.
Hard to suppress tears after reading Kyle Maclachlan’s tribute.
I received the gut-punching news from glancing at Morgoth’s X feed.
Thank you so much for posting this. Your coverage of his output is the best.
So sad to see him join the roster of the commemorated at C-C so prematurely. Just a week ago I was idly wondering if Trevor was ever going to eventually post a review of the 3rd Twin Peaks season…
Given how culture has curdled since 2017, it’s some consolation in that David quit while he ahead rather than compromise and blemish his filmography in the current environment.
Such a paradoxical man – a meditation practitioner (check out ‘Catching The Big Fish’) capable of the most indelible nightmare imagery.
Here is a wonderful doc about him: The Art Life
https://www.youtube.com/watch?v=a6slh83RhfA
RIP
Few modern filmmakers have their name become an adjective in the way we can describe a movie as Lynch-ian in atmosphere. Many make the mistake of trying to over analyze his work, which has probably always been more informed by the mood and only tenuous logic of dreams. There are plenty of avant-garde filmmakers lurking below the mainstream, but Lynch but few (any?) have had substantial mainstream success with it since Jean Cocteau.
It’s a cliché to joke that many actors say “I really want to direct” and impose their own auteur vision on an audience. Many would be artists have likely financially failed trying to emulate Lynch, hoping for some degree of success. To do this out of Hollywood required him to play it relatively straight from time to time, but Lynch had a great intuition for balancing his surreal aspects with relatively approachable genres such as mysteries and detective stories.
Blue Velvet seamlessly sunk below the polite suburbs to reveal a frightening and bizarre underbelly lurking in the midst. Mulholland Drive will likely be his best realized “Lynchian” epitaph, a dreamy fractal where individual identity is lost and blends into Hollywood culture. Perhaps it’s best not to read too much more into it than its lineage to Ingmar Bergman. His most outre film, Eraserhead, likely channels some of the angst of becoming a parent, but channels the atmosphere of his onetime home, Philadelphia, America’s “poorest big city”. With his name and degree of success, he would still have fun with absurdist material like the Netflix (?!) short What Did Jack Do?, in which Lynch himself plays a homicide detective interrogating the “person of interest”, a capuchin monkey. While he explored many dark aspects to the psyche he could have fun and an sense of optimism, after all he married 4 times. As per Oscar Wilde, “Marriage is the triumph of imagination over intelligence. Second marriage is the triumph of hope over experience.”
The above tribute to David Lynch is beautifully written, and the author clearly has the intellectual and emotional inspiration already. The book must be written!
The only two David Lynch works I have seen are “Elephant Man”, and “Lost Highway”. I’m not quite sure I even understood “Lost Highway”, but I found it absolutely bewitching; most especially, the soundtrack. I find the big-screen media viewing experience jarring and disturbing, no matter the subject. Even so, I sat through “Lost Highway” twice, experiencing it like a series of disjointed dreams. I’ve played the soundtrack countless times over the years, and the Lou Reed version of “This Magic Moment” always conjures up like a dark fairytale that scene with Patricia Arquette walking in slow-motion across the floor of the car-repair garage, while the obsessed car mechanic watches her.
I was somewhat younger when I watched “The Elephant Man”, and found the uncomfortably tragic story of David Merrick emotionally painful to watch. It crawled inside of my heart against my will, like a helpless, starving kitten that I know is doomed and wish I had never seen.
I first saw The Elephant Man on late night tv when I was probably twelve or so and I couldn’t look away. It left a lasting memory for a long time but I didn’t see again until about ten years ago. I bought a used copy of it and my wife and I sat down to watch it, her for the first time. When it came to the scene where he meets the doctor’s wife for the first time and he begins crying, saying “I’m not used to being treating this nicely by such a beautiful lady” absolutely gutted me. I cannot make it through the movie without crying at least once.
Yes. An equally moving moment as Lichtmesz noted is the Straight Story’s conclusion.
To borrow Woes’ own words, I’ve ‘run out of superlatives’. Every syllable of Frodi’s eulogy stream was fantastic. A perfect antidote to the trite BS I’d read in the Guardian obit. Predictable cookie cutter garbage “…burrow into the unsavory depths of his country’s psyche”. Blah blah blah, GFY. Need some Cheetos to purge the bad taste!
I wonder how amused Woes would be to know that the Elephant Man’s interiors were shot in his beloved London Borough of Brent?
The only omission in the Lynch stream was a hat tip to Freddie Francis. With his input, imagine how much more digestable Inland Empire could have been!
It would be interesting to know what Greg thought was most distasteful about Twin Peaks season 3. Guess I got to wait a while for the Lynch on Lynch tome to arrive. Looking forward to that and Frodi’s TP marathon.
Does anyone have any love for the The Final Dossier and Secret History that Mark Frost wrote solo to tie in/up with the 3rd season? In spite of the fact that another demon aside from Bob/Judy makes an appearance, namely The Evil Orange Man, (no surprise, its author has exiled himself to bluesky), they are both pretty great IMHO.
(Unrelated but for the record, there is a good BBC ‘Omnibus’ documentary broadcast when Hannibal was in theaters in which Dino expressed regret for butchering Dune and not letting Lynch have his way.)
I like the books, but I pretty much like everything related to Twin Peaks. The Secret Diary Of Laura Palmer and Cooper’s Diane book are worth seeking out as well if you can find them at a reasonable price.
I like to think that Lynch is alive and well and in another dimension, happily at work adapting “The Call of Cthulhu.”
That is some seriously wrong geometry I would like to see some day.
It’s hard to overstate how much Twin Peaks and, especially, Lynch’s musical collaborations with Angelo Badalamente and Julee Cruise meant to me in the 90s. I had never seen emotion dealt with in that particular way before, so “distilled.” To this day listening to The Voice of Love can be too much to bear. But I think I’ll go do it anyway.
It may or may not be your thing, but the experimental band Xiu Xiu put out an album of Twin Peaks covers a few years ago. If you love the Badalamenti stuff, you should at least give it a shot. I remember liking their version of Pink Room, the song being played in FWWM when Laura and Donna are dancing with Jacques with the strobe lights going.
I met David Lynch about 20 years ago. He gave a talk about film at a local bookstore, followed by a Q&A session. He was very gracious and gave well-considered answers to all of the questions posed to him. What stands out in my mind is the question some obviously deranged person asked him about “hungry ghosts feeding parasitically on people’s psyches.” I laughed out loud and assumed Lynch would simply dismiss the question, but he answered it in a metaphorical way, and ended with a genuine smile that disarmed the questioner. I will never forget that, both for the absurdity of the question and the graceful way Lynch handled it.
Any worthy directors today to carry the visionary torch onward, Lynchesque or otherwise? Bong joon ho?
Not sure anyone can be easily compared to Lynch. I once thought E. Elias Merhige was on a parallel. His first film, Begotten (1989), is a non-narrative B/W silent film that touches on paganism, creation myths and cosmic horror. It’s often mentioned in the same breath as Eraserhead, though even more forbidding. Susan Sontag gave it one of the most over the top appraisals ever heard of, helping it see the light of day (but barely).
He then directed Shadow of a Vampire (2000), which speculates on the filmmaking process for the original Nosferatu. It waswell received and seen by many more people, getting him further work. Suspect Zero (2004) came via a Tom Cruise production company but was a major flop and he hasn’t been much heard of since, aside from music videos and theater. He has begun filming a live action animal film, Howl, following the survival odyssey of an abandoned dog and wolf from their perspectives.
Blue Velvet was being filmed in Wilmington when I was just starting college there. It is a beautiful, spooky old town with a very deep river rolling by. Perfect, really.
DeLaurentis had a large movie studio there and they would come on campus to recruit students to be extras. The $35 for a day of work was great, but it was the free food that sealed the deal. I was in a movie no one ever saw called Weeds. (I got to see Nick Nolte up close in that deal and he was gorgeous.) It all seemed pretty cool at the time because celebrities were always being spotted around town. Looking back now I had no idea just how amazing it really was.
I didn’t know it was a Lynch movie at the time, but I saw The Elephant Man on cable TV multiple times in 1982. Later, I saw Blue Velvet. Frank Booth was about the most sadistic movie villain ever, that I’ve seen. Hopper and Dean Stockwell have a good rapport in Blue Velvet, as they did in Neil Young’s movie Human Highway, if anyone has ever seen it.
Worth mentioning–
I just happened to discover, via a Kevin Barrett article, that David Lynch was a 9/11 Truth-Seeker as well.
John Coulthart wrote that Lynch made dog films. Not sure about that but I prefer dog films to cat films.
https://www.johncoulthart.com/feuilleton/2018/01/12/lynch-dogs/
I feel like The Straight Story had the best cast that Lynch ever worked with. As a director (rather than a ‘film artist’), I don’t think Lynch ever got better performances out of a single cast. Stripping away the bombast allows the viewer to see what Lynch could do with the medium of camera and actor because the story was a ‘simple epic’ of a many returning to his family to make peace prompted by one of life’s pivotal moments: death.
I feel like The Straight Story had the best cast that Lynch ever worked with.
Richard Farnsworth and Sissy Spacek were given roles worthy of their great talents.
I wasn’t much into David Lynch. One preview of Eraserhead was enough to keep me away. But I did see Elephant Man, and I admired his unique style as well as taking thoroughly weird subject matter and making it very thoughtful. I also saw Blue Velvet and, again, I was impressed at his vision. The opening scene of happy grass mowing switching to bugs at war at its roots won me over.
A director friend of mine didn’t like it; he thought Isabella Rossilini was a drag queen at first. I did have a good time at the film, and the scene of a revelatory moment as a church choir sung in the background was great. Not to mention Dennis Hopper. “Mommee!”
I never watched Twin Peaks because I just don’t do TV, but I admire Lynch. he was his own man and if we had to choose Trump’s wingman being Musk or Lynch, we’d feel happier with Lynch. He had a good act.
To respect Lynch’s passing, I’m binging Twin Peaks, which I never got into back in the day. But now I think it’s really good. The acting and dialogue are superb for television. It was very seminal. Xfiles and 13 Reasons Why both come from twin peaks, as well as, er, I guess the chicken wings place. Fox Mulder is based on the Kyle mclachlan character. He’s clever and makes brilliant observations, plus he’s kookie and has magical thinking. Only in x files, it’s actually true, whereas it’s beneath the surface in twin peaks. Also, 13 reasons, the notion that “we all killed” Laura, as if to say her demise was a failure of the community, more than any one’s individual doing. In Lynch’s original conception, the show was to be left open ended, with the actual killer never having been identified. Also, the animated show Aeon flux seems to have influence from Twin Peaks, although it’s hard to put into words specifically. You can tell it’s like real art, all these things come from Twin Peaks, or show the influence of Twin Peaks, but it’s hard to say where Twin Peaks came from. Lynch is also very clever about, or has a very good understanding of personality disorders and psychological types. For example, when the mother begins to hallucinate that she sees Laura, that is a known psychotic symptom of major depression. It’s a great time. Glad I got into it.
No kidding. I missed the X Files/Mulder connection until you pointed it out. I always took X Files in part to inspired by Art Bell. Sort of.
Well, it could have other influences of course. The aliens dimension may start there. But also the general aesthetic of feds and forensic pathologists descending on a backwards small town with “secrets” may come from tp.
In 2009, David Lynch signed a petition supporting Roman Polanski, a Jew who sodomized a White 13-year-old girl. Later in 2020, he supported the BLM riots. He also voted for Obama and Bernie Sanders. Not pro-White at all.
White American: I agree, and this is typical of all “artistic” people. They are never on our side (except me, and I’m pretty damned artistic), so we have to separate the man from his art. So many people are “brilliant” on stage or on the page, but are pretty creepy away from their art. Such is my experience with life in ars vita.
I had the pleasure of introducing David Lynch films to some friends recently. They had heard of Twin Peaks TV shows but not seen any Lynch feature films. We began the DL Tribute with Mulholland Drive. The film is famous for not explaining itself, so I gave the group a few tips about the dream-driven story. Names of the main characters are the big tell: Rita and Betty in the dream world and Diane and Camilla in the real world. They loved the movie so we took a break and started Wild at Heart. We paused for the night before getting to Big Tuna, but vowed to watch Sailor and Lula make it to OZ.
Mel Brooks, in particular, loved Eraserhead...
JWebb says: Begotten (1989)… is often mentioned in the same breath as Eraserhead, though even more forbidding. Susan Sontag gave it one of the most over the top appraisals ever heard…
Wow. Mel Brooks and Susan Sontag were both big fans of early Lynch films. I stay as far away from the Hollywood film industry as I can so that is probably why I’ve never heard of Mr. Lynch.
However, with a lifelong interest in visual art (drawing and painting), I am occasionally sent news of the art world from MutualArt.com, from its POV. When I received the following article about David Lynch, “the visionary filmmaker and artist,” I recalled seeing his obituary here on C-C. https://www.mutualart.com/Article/David-Lynch–An-Obituary/
To see a couple of his paintings featured in that linked article, I probably would not appreciate his genius as a filmmaker. There’s little accounting for people’s different tastes in art. I prefer representational art, recognizable to the viewer, which Lynch’s paintings are not.
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