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BLUE VELVET (1986) | David Lynch: Absurd Encounters

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Manage episode 440896708 series 2883662
Contenuto fornito da Cinema Shock. Tutti i contenuti dei podcast, inclusi episodi, grafica e descrizioni dei podcast, vengono caricati e forniti direttamente da Cinema Shock o dal partner della piattaforma podcast. Se ritieni che qualcuno stia utilizzando la tua opera protetta da copyright senza la tua autorizzazione, puoi seguire la procedura descritta qui https://it.player.fm/legal.

"I'm seeing something that was always hidden. I'm in the middle of a mystery and it's all secret."

DUNE, David Lynch's first (and only) foray into big budget studio filmmaking was an unmitigated disaster, both critically and commercially, and in the wake of its failure, his career as a film director was in question.

But thanks to his own inability to stop creating, and incredible support from his DUNE producer Dino De Laurentiis, Lynch was not only able to continue working in film, but his next film would be the the most personal, idiosyncratic film that he'd created since his debut ERASERHEAD.

And although he didn't know it at the time, it was also the film that not only reinvigorated his career, but defined him as an artist, one with an uncompromising artistic vision.

That film is BLUE VELVET. And on this episdoe, we'll discuss how the film was created, from its inception as a "fragment" of an idea to it being filmed on the streets of Wilmington, North Carolina, and its legacy as one of the greatest films of the 1980s and one of the most important films of Lynch's career.

Please Note: This is Part 1 of a 2 part discussion on BLUE VELVET. The 2nd part of this conversation — including the Extended Episode with our "Somebody Needs A Nap" and "Further Viewing" segments — will be released next week.

Up Next: David Lynch: Episode 6: TWIN PEAKS (Pilot).

ASSOCIATE PRODUCERS:

Andy Lancaster | Benjamin Yates | curtcake5k | Elton Novara | Jvance325 | MagicBloat | Nate Izod | Robert Stinson

Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy.

This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis.

For episode archives, merch, show notes, and more, visit cinemashock.net

  continue reading

164 episodi

Artwork
iconCondividi
 
Manage episode 440896708 series 2883662
Contenuto fornito da Cinema Shock. Tutti i contenuti dei podcast, inclusi episodi, grafica e descrizioni dei podcast, vengono caricati e forniti direttamente da Cinema Shock o dal partner della piattaforma podcast. Se ritieni che qualcuno stia utilizzando la tua opera protetta da copyright senza la tua autorizzazione, puoi seguire la procedura descritta qui https://it.player.fm/legal.

"I'm seeing something that was always hidden. I'm in the middle of a mystery and it's all secret."

DUNE, David Lynch's first (and only) foray into big budget studio filmmaking was an unmitigated disaster, both critically and commercially, and in the wake of its failure, his career as a film director was in question.

But thanks to his own inability to stop creating, and incredible support from his DUNE producer Dino De Laurentiis, Lynch was not only able to continue working in film, but his next film would be the the most personal, idiosyncratic film that he'd created since his debut ERASERHEAD.

And although he didn't know it at the time, it was also the film that not only reinvigorated his career, but defined him as an artist, one with an uncompromising artistic vision.

That film is BLUE VELVET. And on this episdoe, we'll discuss how the film was created, from its inception as a "fragment" of an idea to it being filmed on the streets of Wilmington, North Carolina, and its legacy as one of the greatest films of the 1980s and one of the most important films of Lynch's career.

Please Note: This is Part 1 of a 2 part discussion on BLUE VELVET. The 2nd part of this conversation — including the Extended Episode with our "Somebody Needs A Nap" and "Further Viewing" segments — will be released next week.

Up Next: David Lynch: Episode 6: TWIN PEAKS (Pilot).

ASSOCIATE PRODUCERS:

Andy Lancaster | Benjamin Yates | curtcake5k | Elton Novara | Jvance325 | MagicBloat | Nate Izod | Robert Stinson

Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy.

This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis.

For episode archives, merch, show notes, and more, visit cinemashock.net

  continue reading

164 episodi

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