CHILDREN OF LYNCH:
David Lynch is one of those artists that are retroactively associated with their own genre. The surreal nature of Lynch’s films has brought further interest into the genre. It’s not strange to hear that William S. Burroughs is similar to David Lynch, Franz Kafka is similar to Lynch, etc.
Television through the years since Twin Peaks such as The Sopranos, Lost, and Fargo take their cues from Lynch’s work. As stated before, the dream sequences of The Sopranos are Twin Peaks through and through. The mystery and lack of full explanation felt in Lost is Lynch’s very own work spreading its roots. Fargo season two, while still it’s own show, hinges on the same small town’s dark secrets and mysticism with no explanation to its natural evolution.
For such an unapproachable director, David Lynch, his subsequent work, his mannerisms in film, and his love of cinema have sent ripples through film, tv, and artistry for the last fifty years. Some big name creators with twice the infrastructure and budget can’t get even close to what Lynch does.
Wrapping up, it’s plain to see that without David Lynch there wouldn’t be any of the movies and tv shows we love today. Groundbreaking television such as True Detective would’ve never made it to production, riskier directors such as Darren Aronofsky would have never got their break in Hollywood, and even smaller pictures like Kevin Smith’s Clerks would have been unimaginable without the existence of Eraserhead.
It is even stranger to think that for what we now have we not only have to thank David Lynch, but director Mel Brooks (Blazing Saddles, Spaceballs). Mel Brooks would never be the guy you would think of to approve of the young artist. However, he gave David Lynch permission to film The Elephant Man the way that Lynch wanted and was even quoted to say to Lynch after viewing Eraserhead, “You’re a madman, I love you! You’re in.” This gave Lynch his first push into mainstream cinema. But like anything that Lynch is involved in, it is stranger than fiction.
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