Thus his filmmaking work begins and (for now) ends in the service of other arts - painting and music - but along the way he emerged as one of the greatest filmmakers of the twentieth century, his work appearing in cinemas, on television, and eventually streaming over the internet. I will examine each of his works in turn, starting with Six Figures Getting Sick, a painting-in-motion installation he created as an art student in the late sixties, and concluding with Came Back Haunted, a Nine Inch Nails video so rapid-fire it contains a health disclaimer. ![]() Today I'm going to focus more on the nitty-gritty, the "trees" that make up the Lynchian "forest" (if you want to avoid spoilers, just read about the films you've seen - the only entry that contains a spoiler for a separate film is Inland Empire, which discusses the end of Eraserhead in its last paragraph). Next week I will examine the overall evolution of his career, in theme, storytelling, and visual style. Since 1967, and as "film" I include not just features or shorts, butĬommercials, music videos, TV pilots, even the occasional promo tag. Over three days, I watched almost every single film Lynch has created This week's "Question in a World of Blue" is: Do you see particularly important turning points in David Lynch's career? You can respond in the comments below or on your own blog (please tag this entry in your response). It is a chronological overview of his career, including full reviews of every single feature and capsules on every available short. ![]() This is my fourth entry in David Lynch Month.
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