i can agree on that point. but, id like to add, if you watch the docs Lynch and Lynch 2, having yes men and women around doesnt seem to make the job any easier.

and thank you booth for the excellent discussion.

At the beginning of Lynch’s Inland Empire the two main stars of a film-within-the-film On High in Blue Tomorrows learn a secret. As the director played by Jeremy Irons reveals, the movie they are about to shoot is a remake of an old Polish film based on an old Gypsy tale. The second part of Saragossa is a long tale made up of stories-within-stories told by an old Gypsy, played by Leon Niemczyk. Leon Niemczyk’s last film before he died was Lynch’s Inland Empire. Coincidence perhaps, but it seems that there is more Has to Lynch than meets the eye.

i have only watched it once, so i cant say much more than i loved it. very easy to see the IE analogies, and i guess my first thought is that the saragossa manuscript is to stories(in the verbal and print sense) as IE is to cinema.

EDIT: i fucked that up. i should have said TSM is to cinema as IE is to film.

i dont know, using "home video" is too much. maybe just video? yet that still has problems, because most people associate video with VHS, and really, IE is in the digital realm anyway, so video sounds like a misnomer. which is why i used the word film to contrast with cinema as two different types of expiriences and aesthetics. i think we're veering off on a tangent going nowhere here. so fuck it. i loved the movie. greatly appreciate you recommend it to me, and im going to search for more Has films. im hoping to finish the second half a second time soon, and then id like to talk more about it in particular. what we're doing right now is just semantics, and doubly difficult because we're doing it in text and not vocally, where inflection can be a better indicator of meaning. more to come.

JFK, your posts, like IE, could do with some editing. I just can't read uncapitalised blocks of texts without paragraphs.

(This comment isn't meant to be snarky.)