"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

... not that i don't relish in over analyzing his films but i find them most gratifying 

when i view them as if i was looking at an abstract/expressive painting; as subjectively as possible...  

with this in mind i reflect on a scene/quote in "pollock" : 

'Well, if people would just...
                leave most of their stuff at home and just look at the paintings...
                I don't think they'd have any trouble enjoying them.
                It's like looking at a bed of flowers.
                You don't tear your hair out over what it means.'

... 

Well, still, Lynch DOES want you/us to understand stuff. He makes Madison say flat out : "I remember things my own way, not necessarily how they happened", which is a really weird dialogue, and Lost Highway starts with "I'm deranged" played in the opening credits, a song made for the movie.

Mulholland drive is very careful to explain pretty much everything you saw in the first part has a bleaker, more real version in the second part. They explain "Betty" is the name of a waitress, etc. - it's very, very explicative.

Eraserhead starts with a long phase presenting Henry as a loner and a weird individual... Harold says in Fire Walk with Me : "but BOB, he doesn't really exist ?.. you made him up ?"... etc.

So I agree some overanalyzing kind of miss the point, but still, Lynch really hammers some points to make sure his intention is understood. His cinema is quite explicative, in fact. He himself gave clues to make sure everybody got Mulholland Drive.

Well, I bet that Universal distribution asked him to write those 10 clues.

I don't agree very much with your analysis. I mean, in Lynch's movies characters desperately try to understand what is happening to them, but most of the times the mystery wins, so they're explicative, but those explanations are somewhat useless.

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

Well, he can't be totally unconscious about his own ideas. Maybe he won't try to explain them to himself, but they are his ideas, so when they come to his mind and they end up in a movie, deep inside they must mean something to him.

He just doesn't find constructive to speak out for people those concepts that are hard for him to enunciate as well. People should do that kind of job by themselves, that's one of his major purposes in making non-linear movies, after making movies look like art as much as possible and achieve great acting from his players.

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)