LOST HIGHWAY and THE NEW CENTURIONS. Two videos that kind of resonate with each other. In fact, maybe if you play them both at once you can get some kind of interesting conversation going.
The lynch film is, I hope, sufficiently well-known to most Shadowplayers as to require no elucidation from me, although I can report my conversation with its director during an Edinburgh Film Festival satellite hook-up interview conducted by Mark Cousins. The interview had been arranged with many warnings from Lynch’s people — “David doesn’t like to explain his work,” etc. So Mark was faced with the challenge of interviewing an acclaimed maker of enigmatic and surreal mysteries, without asking him to clear up any of the mysteries. Lynch appeared on the big screen, sometimes fading in and out myseriously as his voice continued twanging on, rather like Virginia Madsen at the start of DUNE. Mark, anxious about publicly quizzing the Great Man, had steadied his nerves with a drink or two. The first clip was played, showing Bill Pullman in the death cell mutating into Balthazar Getty, all mixed in with an image of a shack exploding in reverse. Mark’s first question: “So, what’s going on there?”
Lynch, despite the dire warnings, was affability itself and was quite happy to talk about the scene, without, of course, explaining anything. I remember he did say that he’d chosen to avoid digital morphing “Because it seems like everyone and his uncle is doing that.” And he talked about how the exploding shack was the result of a sudden inspiration which came to him while filming a later scene at that location. “I just got this image, so I called the special effects guy and asked what kind of really powerful explosives he had. And he said that he had a lot, but that he could get more.”
As the audience were invited to ask questions, I knew it was no good to ask for explanations, but I did ask, since we saw the Mystery Man with a video camera, whether it was reasonable to assume he was the one who was sending Pullman VHS tapes at the start of the film. I also sneakily asked where he got the idea of casting Robert Blake. Of course, if you ask someone two questions, they get to choose which one to answer. He told me he cast Blake based on his Johnny Carson appearances. But he also said of the Mystery Man, “I don’t want to tell you who he is. He’s someone we’ve all met.”
THE NEW CENTURIONS is Richard Fleischer’s Joseph Wambaugh adaptation, dealing with the travails of LAPD patrolmen George C Scott, Stacy Keach and Scott Wilson. Sterling Silliphant scripted, eschewing any overarching plot and avoiding traditional structural forms — it’s episodic yet oddly of a piece, and quite a superb piece of filmmaking. The above scene (with its gorgeous LA light) occurs after George C has retired and is at a loss to what to do with himself. I’ve cut it off before the end to avoid a gross spoiler. I always like to watch a violent crime movie set in a place I’m going to visit — I prepared Fiona for our New York trip by screening THE TAKING OF PELHAM 123 (version originale).
This post is somewhat inspired by the weirdness of talking to Fiona via Skype from LA, looking back into my flat from the other side of the looking glass.
The other day upon the stair
I met a man who wasn’t there
He wasn’t there again today
Oh how I wish he’d go away!
Robert Louis Stevenson