Among them Friedrich Elmis and Peter Diming Five lens David Lynch Difficulties. At the Italian World Series Festival, which is currently being held in Remini and Rexion, cinematographers talk about their work with Lynch while they are presenting the original pilot of “Twin Peaks”, the third season called DeMing. diverse He sat with them to conduct an in -depth interview about their cooperation with the late director.
We have heard something about an incomplete project “unrecognized Genius” Lynch was working on Netflix at the time of his death. Is there anything you can say about it?
Peter Diming: I read it. The way was invented by the last “Twin Peaks”, as it was a long feature film, about 600 pages. It took three sessions to read it, and we had some discussions on this topic. We went on one scout site, and David rented a production designer, and we were talking to Laura [Dern] Naomi [Watts] About parts in it, then Kovid happened. This is the last thing we saw from that. Now, recently, I know Jennifer [Lynch] Children talk about publishing it as a book, because I think it was a discussion that started when David began facing health problems and whether he would be able to do this.
How will the David Lynch scenario look like?
Friedrich Elmis: Early working with David, it was an advanced process. We went to the American Film Institute together, and learned about writing texts. “EraserHead” certainly did not match this template and took a long time to obtain the approval of the AFI text program. There was a short text version and then expanded while we were filming and we became his own movie. But with “Blue Velvet” and “Wild at Heart”, official texts were technically approved, and we stayed with the story. David added things that were interesting, but I came across the first marital pages of the “velvety blue” text program recently, and surprised me that what we photographed was actually on the page.
Peter Diming: In my experience, text programs have been completed. What surprised me about the text program, there was little information provided to you. I remember the scenes in “Lost Highway”, where he said: “The day of the inner suburbs home,” then went directly to the dialogue. There is no description of letters. Because David wrote, there was already. It was not until I saw the scene you knew how to light up or shoot it. Whenever you reach the shooting, you know these characters and their problems and where the darkness is, so you closed it. By the way, David knew what music would be.
What is the level of technical influence that David had on a group? I know that his need for darkness may be a problem.
Friedrich Elmis: David was very familiar with what he saw and how he would translate into the movie. He can look through the camera and say, “Yes, this is 35 mm. I seem to imagine. I love light in the room.” It can be judged by the camera. We used this little glass to deceive your attention to see the contrast rate in the movie. He told me to extinguish the lights from time to time, but there was no light to use it, or how to do something. He left it completely for me, but he said that darkness should be darker. In “Blue Velvet”, the first time we go to Dorothy’s apartment is a day scene. In the night scene, David did not want to see anything when Jeffrey sneaks. I sat in the theater in the directors of the directors of the film’s premiere, and said, “David, I cannot see it. It is very dark.” “Yes, it’s great,” said David. But certainly, when the lights emerge, you get the effect he was looking for.
How does David Lynch look?
Peter Diming: Every day it was an adventure. You know the place of shooting and the viewer. Beyond that anything could happen, and you had to be ready for that. Initially, it was horrific, but once it was accepted, it becomes pleasant. He knows when to come with things that will do your best to fulfill it. If you cannot, there is no place to blame. As long as you are on board, it’s fun.
Friedrich Elmis: I agree with Peter. It is this confidence. I am ready as much as possible, and I know that something will change, something strange will happen that no one can imagine yet, but the scene will go here and I will do my best to deal with it, because David makes this part as it goes in full swing.
Do you compare, comrades of notes?
Peter Diming: No, we did not until recently. We have learned about each other in the past five years and realize how similar these experiences are. If I went to Farid and asked his advice, he would have said: “I don’t know what to tell you. Just be ready for anything.”
Friedrich Elmis: But this is part of the joy of working with David. There was something creative to happen on that day, it was not sure of what it was, but it could have been a challenge, and perhaps very fun.
His reputation now feels reassuring, but he had rugged spots with how to receive his films. Does this affect him ever?
Friedrich Elmis: This happened for 40 years, but those summits were very high and even in the moments when it was a valley, I feel that these initial valleys are now peaks.
Peter Diming: When “Mulholland Drive” came out, it was accepted by a certain percentage of Cinephiles, and then after five years, suddenly, like everyone, “Oh, this is really something.” Farid and I both tried it. David makes the best movie that knows how for himself. Of course, he wants people to like this and go to see it, but he never expects the audience’s reaction when he makes a movie.
Friedrich Elmis: On “EraserHehad”, throughout the years it took, there was no doubt that there would be an audience for this movie. Some of us were not sure, but we believed in it, and we wanted to see it.
How was David’s relationship with studios? For “Twin Peaks: The Return”, there was a moment that it seemed not to happen.
Peter Diming: Once they get out the budget – David is one of the only people who get this – he had full control. They did not see the daily newspapers. They did not see discounts. They saw the scenario. They gave him money, and then when the show was completed, he said: “Here is the show.” While I knew it, there was half of the projects that were almost deviated from the ground, and I had never discovered why they did not do so, but I know that it was retreating. If he does not get a final discount, he will not do it.
Do you think this is partly because of its burning on “sand dunes”?
Friedrich Elmis: This was a bad experience for him. The studio took away and edited the movie. It is not his movie, but I think he returns to the beginning, where as a painter, you control the fabric: the period. And when this is done, this is done.
This interview has been edited and intensified for clarity.
