This story was originally published on DocHouse.
Tuned into the American psyche like no other creator of his time, painter, producer and director David Lynch’s mystique has long intrigued avid fans and newcomers alike.
David Lynch: The Art Life explores the characters and events of Lynch’s formative years in Montana, his rebellious ones in Virginia and his art school days in Philadelphia to determine what shaped his art and his process. Lynch’s art is a mirage of encounters with strangers and acquaintances that have stemmed from some of the grittiest elements of life. As he freely paints and talks candidly throughout The Art Life we see a complicated figure unmask the steps to his iconic career.
This fascinating film will screen daily at the Bertha DocHouse from Friday 14th July (tickets here), and on Saturday 15th July don’t miss our companion screening of the hypnotic Blue Velvet Revisited (tickets here).
AHEAD OF THESE LYNCHIAN DELIGHTS, WE HAVE COMPILED 10 THINGS YOU DIDN’T KNOW ABOUT DAVID LYNCH FROM THE ART LIFE THAT WILL FASCINATE YOU AS MUCH AS THE MAN HIMSELF.
As a child, Lynch’s mother did not give him colouring books in a bid to encourage his natural creativity and foster artistic freedom.
Artist Bushnell Keeler was Lynch’s first inspiration to become a painter. His encounter with Bushnell “changed his life”.
During Lynch’s childhood he would draw and paint a lot: mostly submachine guns.
Lynch believed that Philadelphia was a great place to start his art life.
To Lynch the idea of being an artist was to “drink coffee, smoke and paint all day”.
Even a creative genius like David Lynch was unsure of his style at the beginning of his career. He admits to not knowing what he was doing so he “painted and painted until he found his way”.
David Lynch’s first 100ft film roll came out as a blur; this was a light bulb moment for The Alphabet.
He didn’t make it onto the newly-founded American Film Institute’s first film grant list (though days later they did offer him a grant to make The Grandmother.)
Lynch’s dad and brother told him to give up filmmaking and get a job; they felt he was “wasting his time”.
Eraserhead was Lynch’s “greatest and happiest experience in cinema”.