![]() ![]() The series and ensuing film, Twin Peaks: Fire Walk With Me, are Lynch's second and third collaboration with composer Angelo Badalamenti and singer Julee Cruise, who appears as a character. He worked with a large cast and crew and all the opportunities, and restrictions, of a major TV network. Making the TV series Twin Peaks saw Lynch at his most collaborative. “It's better to have no music than music that doesn't work.” ![]() “Collaboration…has to marry to the picture, it has to marry to the whole thing, or it will kill it.” Lynch told Sarah Kanowski. The audience is encouraged to look for meaning in Lynch's choices of song, and further examination is always rewarded. Insects, birds, ears, orifices, colours and numbers are all invested with layers of meaning. It drives narrative and is re-appropriated and charged with far more than the songwriter ever intended.īlue Velvet is especially unusual compared to other films of the mid-'80s in that it features a huge amount of symbolism. Music, in Lynch's hands, becomes far more than simply a soundtrack. I find it hard to verbalise why, but Blue Velvet really succeeded in making my music contemporary again." But later, I really got to appreciate not only what David Lynch gave to the song, and what the song in turn gave to the film, but how innovative the movie was, how it really achieved this otherworldly quality that added a whole new dimension to 'In Dreams'. When asked about Lynch's use of 'In Dreams', Roy Orbison told The Face's Nick Kent: "Oh, I was shocked! I was mortified. Lynch adds power to the brutal violence and aggressive sex scenes by juxtaposing them with iconic songs and an idyllic, Reagensque setting. Booth uses the lyrics from 'In Dreams' in a seduction/intimidation scene in which Jeffrey Beaumont (Kyle MacLachlan) is smeared with blood, violently kissed and beaten. In this case smooth '50s pop matches shots of picket fences and mowed lawns, before literally moving beneath their surface. In Blue Velvet Lynch uses pop culture to evoke a time and place. In a central scene, vicious psychopath Frank Booth (Dennis Hopper) commands a dandyish Dean Stockwell to mime to Roy Orbison's 'In Dreams' before weeping. Lynch did the same thing nine years later in Blue Velvet, another film about a young man approaching sex with a combination of fear and fascination. Written and sung by Peter Ivers and performed by "The Lady in the Radiator" Laurel Near, 'In Heaven' exists in Eraserhead as both dream and ‘reality'. And the now-familiar mix of the surreal, funny, menacing, mysterious and comforting. A man (in this case, Jack Nance) entering a realm between life and death. An angelic woman dressed in white signifying moral purity. Not only is 'In Heaven' an early example of Lynch incorporating ‘live' performance into his films, but it gives us our first glimpse at some of his common themes. The Pixies opened virtually every show with it and acts from Jay Reatard to Modest Mouse and Bauhaus have covered or adapted it. The entire dream pop genre arguably started with this effulgent 90-second torch song. In one key scene the claustrophobic, brutal score briefly gives way to 'In Heaven', a sliver of low-fi dream pop. It is a legendary soundtrack that took four years to complete. For Eraserhead, where his feature-filmmaking journey began, Lynch and sound designer Alan Splet created a combination of mechanical hums and inhuman screams. ![]()
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