“One of the first video recordÂings of a David Lynch interÂview dates from 1979,” writes The New YorkÂer’s DenÂnis Lim. “The twenÂty-minute black-and-white segÂment was proÂduced for a teleÂviÂsion course at the UniÂverÂsiÂty of CalÂiÂforÂnia, Los AngeÂles, and conÂductÂed in the oil fields of the Los AngeÂles Basin, one of the locaÂtions that conÂstiÂtutÂed the barÂren wasteÂland of his first feaÂture, EraserÂhead (1977).” And it is EraserÂhead these UCLA stuÂdents, in what Lim calls “the moment of Lynch’s first brush with cult fame,” want to know about, putting a variÂety of quesÂtions to the young filmÂmakÂer, and putting his abilÂiÂty to answer them conÂcreteÂly to the test.
You may well learn more about EraserÂhead in the theÂater-lobÂby audiÂence responsÂes colÂlectÂed for the video, whereÂin the viewÂers — viewÂers, rememÂber, from a now hard-to-imagÂine time when the name David Lynch carÂried no meanÂing at all — exitÂing a screenÂing express reacÂtions rangÂing from great pleaÂsure (some of them boast of havÂing seen it as many as eight times already) to preÂdictable bewilÂderÂment (“I’ve gotÂta think about it for a while”) and even more preÂdictable disÂtaste: “The weirdÂest thing I’ve ever seen.” “It’s terÂriÂble. I didÂn’t like it.” “Some inane, bizarre perÂson with a disÂturbed mind wrote that film.” But does the man standÂing there subÂmitÂting to a stuÂdent interÂview in the midÂdle of an oil field seem so bizarre, so disÂturbed?
Some of Lynch’s answers, as when he describes EraserÂhead as “not like thrown-togethÂer abstract” but “meant-to-be-that-way abstract,” may strike you as inane at first, but cerÂtainÂly nothÂing he says crossÂes the line from inaniÂty to insanÂiÂty. In the almost 40 years since the film’s first showÂing, EraserÂhead has grown more artisÂtiÂcalÂly diviÂsive even as its fan base spans a wider and wider range of genÂerÂaÂtions and nationÂalÂiÂties. Both its proÂmotÂers and its detracÂtors may someÂtimes wonÂder if even Lynch himÂself underÂstands it, but to my mind, this earÂly interÂview hints that he does. He made what he calls “an open-feelÂing film,” a fount of an infiniÂtude of interÂpreÂtaÂtions, and for that reaÂson an endurÂing work of art. And he meant it to be that way.
RelatÂed ConÂtent:
The PaintÂings of Filmmaker/Visual Artist David Lynch
David Lynch’s UnlikeÂly ComÂmerÂcial for a Home PregÂnanÂcy Test (1997)
David Lynch TeachÂes You to Cook His Quinoa Recipe in a Weird, SurÂreÂalÂist Video
What David Lynch Can Do With a 100-Year-Old CamÂera and 52 SecÂonds of Film
ColÂin MarÂshall writes elseÂwhere on cities, lanÂguage, Asia, and men’s style. He’s at work on a book about Los AngeÂles, A Los AngeÂles Primer, the video series The City in CinÂeÂma, and the crowdÂfundÂed jourÂnalÂism project Where Is the City of the Future? FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.