Like, overturned mattresses, upside-down chairs, and glitter, glitter everywhere. After the last car-filming run and return to base, as people are dismantling cameras and bounces and Chesney is putting the unused film under a reflective NASA blanket, Lynch, three times in five minutes, says "Golly!
There are still lots of people in the lobby. Grocery carts and plastic chairs indicate the remnants of old camps. This is one of the unsettling things about a Lynch movie: They tell you about the guilt, but the truth is that sinning feels good.
People get fucked up on that shit, man. This attitude-like Lynch himself, like his work-seems to me to be both grandly admirable and sort of nuts. His eyes are good eyes: Eddy, played by Robert Loggia, is a menacing crime boss-type figure with a thuggish entourage and a black Mercedes 6.
The thing is, hustling is still illegal in Clark County so I have to be cautious. Lynch not only wrote and directed Blue Velvet, he had a huge hand in almost every aspect of the film, even coauthoring songs on the soundtrack with Badalamenti.
People dance and clap, with the city glowing through the floor-to-ceiling windows behind them. He tells me about the fragrances pumped through the air conditioning systems to cover the smoke odor.
The air smells of sage and pine and dust and distant creosote. He relaxed in his sauna for an hour before putting on a grey Armani suit from the Winter collection, purchased directly from Giorgio Armani himself in Milan.
While the car filming is going on, the other 60 or so members of the location crew and staff all perform small maintenance and preparatory tasks and lounge around and shoot the shit and basically kill enormous amounts of time. Angelo does the speed limit all the way to the stash house, his car growling in the desert night.
If you quote me, say I quipped it. The possibilities of the night unrolled in front of me and I intended to savor them. The Effects trailer flies a Jolly Roger.
I switched my gaze to the top of his nose to put a boundary between us. A giant billboard illuminates the nearby highway overpass. Despite his robust sales, Angelo still lives in a standard-size house near the Air Force base, and drives a shitty Pontiac to deliver his produce to his dealers and wholesale purchasers.
The paintings, in which the color black predominates, are by David Lynch, and with all due respect are not very interesting, somehow both derivative-seeming and amateurish, like stuff you could imagine Francis Bacon doing in junior high. But I still had so much to learn.
The manager looked at my petite frame and nervous smile, pointed her manicured hand to the dressing room and listed the rules: Sewer stench has replaced the scent of cold tobacco.
A shameful issue we cannot wait to replace with artificial cleanliness and pretend optimism. Scrolling through were women like me: We grumbled about how slow business was until I spotted a paunchy man at the bar. He sold almost everything he had in the last three hours.
I notice the man who spoke to Paul in the lobby, holding a CVS plastic bag and talking to a busty blonde in a black dress. The gang belongs to the Mexican cartel Nuestra Familia and specializes in drug distribution, prostitution and car theft, supplying a wide range of small-time dealers like Paul.
That is, if we know on some level what a movie wants from us, we can erect certain internal defenses that let us choose how much of ourselves we give away to it. Work was a temporary balm, but the interactions there were fleeting, not enough to sustain my longing for people.
The management is happy to oblige, regularly comping him free services like a private airport hangar for his Gulfstream G, or a Bentley Mulsanne every time he needs to go out. It seems-once again-either ingenuous or psychopathic.
From carefully selected flower bouquets to timeless Haviland Limoges porcelain tableware, everything in a luxury suite suggests instant fulfillment and blindness to the common struggles happening fifty stories below.
There is a gun on a counter.IN WHICH NOVELIST David Foster Wallace VISITS THE SET OF DAVID LYNCH'S NEW MOVIE AND FINDS THE DIRECTOR BOTH grandly admirable AND sort of nuts. We humans are far more complex than the news headlines and clickbait would have you believe.
Let the Narratively newsletter be your guide. I spent the summer I turned ten in Vermont, at a camp made up of over acres of pine trees, large meadows, and lightly-graveled dirt roads on the shore of a large lake.
I have no memory of more than about four or five of those acres – those consisting of the cabin where I slept, the dining hall.Download