![]() ![]() Mulholland Drive, however, is Lynch's triumph. Lynch tried to evoke similar sympathy for Laura Palmer in Fire Walk With Me and while he came real close, the TV series put too many constraints (about Laura) in his way. The audience comes to understand and pity Diane despite the horrible things she does. For me, Mulholland Drive represents a major step forward in Lynch's handling of character. Valin concludes that Mulholland Drive is a "breakthrough" for Lynch who "finally manages to evoke a pity to match the terror he has always excelled at creating." I share the same thoughts. I say surprising because the piece appears in a high-end audio/video magazine but reads like it could come from any top film journal. ![]() This is a surprisingly good review of the film as a whole. "Silencio! David Lynch's Mulholland Drive" by Jonathan Valin Perfect Vision, May/June 2002, pp. (As he told Chris Rodley in the revised edition of Lynch on Lynch, "The pilot was just a stage this thing went through.") Friend was in the right place at the right time and his essay is not only important for what it tells us about Mulholland Drive, but it is also essential reading for anyone who interested in how David Lynch makes movies. Since these early days, Lynch has talked little about the Mulholland Drive pilot preferring to think of the project exclusively in terms of the film. In addition to detailed descriptions of the early stages of making Mulholland Drive, Friend also recounts lengthy and unprecedented conversations with Lynch about the pilot. Lynch promised that when Rita's identity was finally revealed it would only open up other mysteries" (p.62). (In fact, Friend is in the room when Lynch gets an early call with the news that ABC may not be interested in the pilot.) Friend describes both the uncut and edited versions of the Mulholland Drive pilot and he reveals some of the proposed plot lines for the series: "n the course of the first year Betty and Rita would 'cross': Betty would sink into the city's underbelly and Rita would be redeemed. Tad Friend has access to Lynch immediately after ABC decided to pass on making Mulholland Drive a weekly TV series. This article is absolutely essential reading for anyone who wants to study Mulholland Drive. " Creative Differences" by Tad Friend The New Yorker, 9/6/99, pp. ![]()
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