| Photos (See all 21 | slideshow) |
Directed by | |||
| David Lynch | |||
Writing credits(WGA) | ||
| David Lynch | (written by) | |
Produced by | |||
| Jay Aaseng | .... | associate producer | |
| Jeremy Alter | .... | co-producer | |
| Erik Crary | .... | associate producer | |
| Laura Dern | .... | co-producer | |
| Lukasz Dzieciol | .... | assistant line producer: Poland | |
| Piotr Dzieciol | .... | line producer: Poland | |
| Janusz Hetman | .... | co-producer: Poland | |
| Lucja Kedzior | .... | assistant line producer: Poland | |
| Keith Kjarval | .... | executive producer | |
| David Lynch | .... | producer | |
| Ewa Puszczynska | .... | executive line producer: Poland | |
| Michal Stopowski | .... | co-producer: Poland | |
| Sabrina S. Sutherland | .... | associate producer | |
| Kazimierz Suwala | .... | co-producer: Poland | |
| Mary Sweeney | .... | producer | |
| Marek Zydowicz | .... | executive producer: Poland | |
Cinematography by | |||
| David Lynch | |||
Film Editing by | |||
| David Lynch | |||
Casting by | |||
| Johanna Ray | |||
Art Direction by | |||
| Christina Ann Wilson | (as Christina Wilson) | ||
Set Decoration by | |||
| Melanie Rein | |||
Costume Design by | |||
| Karen Baird | |||
| Heidi Bivens | |||
Makeup Department | |||
| Colleen Campbell-Olwell | .... | additional makeup artist (as Coleen Campbell-Olwell) | |
| Michelle Clark | .... | key makeup artist | |
| Duke Cullen | .... | special makeup effects artist | |
| Anna Kieszczynska | .... | key makeup artist: Poland | |
| Marsha Lewis | .... | hairdresser: Diane Ladd | |
| Tomasz Sielecki | .... | key hairdresser: Poland | |
| Edward St. George | .... | key hairdresser | |
Production Management | |||
| Erik Crary | .... | production supervisor | |
| Greg Spence | .... | post-production supervisor | |
Art Department | |||
| Jay Aaseng | .... | construction team | |
| Jeremy Alter | .... | construction team | |
| Dianne Chadwick | .... | art department assistant (as Diane Chadwick) | |
| Erik Crary | .... | construction team | |
| Phil DeSanti | .... | construction team | |
| John Evans | .... | construction team | |
| Grzegorz Gulazdowski | .... | property master: Poland | |
| Gretchen Houk | .... | assistant set decorator | |
| Dean Hurley | .... | construction team | |
| David Kern | .... | construction team | |
| Austin Jack Lynch | .... | construction team (as Austin Lynch) | |
| David Lynch | .... | construction team | |
| Riley Lynch | .... | construction team | |
| Josh Mann | .... | construction crew | |
| Noriko Miyakawa | .... | construction crew | |
| Sara Philpott | .... | art department assistant | |
| Alfredo Ponce | .... | construction coordinator | |
| Jon Reynolds | .... | assistant art director (as Jon Sheppard-Reynolds) | |
| Jon Reynolds | .... | construction team (as Jon Sheppard-Reynolds) | |
| Ole Johan Roska | .... | construction crew | |
| Bob Schaefer | .... | scenic painter | |
| Anna Skarbek | .... | assistant art director | |
| Anna Skarbek | .... | construction team | |
| Swietlana Slawska | .... | set decorator: Poland (as Svietlana Slawska) | |
| Emily Stofle | .... | construction team | |
| Kory C. Victor | .... | assistant art director | |
| Kory C. Victor | .... | construction team (as Kory Victor) | |
| Jonathan Wenstrup | .... | construction team | |
| Christina Ann Wilson | .... | construction team (as Christina Wilson) | |
| Wojciech Wolniak | .... | art director: Poland | |
Sound Department | |||
| Zane D. Bruce | .... | foley walker (as Zane Bruce) | |
| David A. Cohen | .... | dialogue editor (as David Cohen) | |
| Ronald Eng | .... | sound re-recording mixer | |
| Ronald Eng | .... | sound supervisor | |
| John Evans | .... | boom operator | |
| Sara Glaser | .... | utility sound | |
| Dean Hurley | .... | sound mixer | |
| Dean Hurley | .... | sound re-recording mixer | |
| Dean Hurley | .... | sound supervisor | |
| Damian Jankowski | .... | boom operator: Poland | |
| David Lynch | .... | sound designer | |
| David Lynch | .... | sound re-recording mixer | |
| Ryan Maguire | .... | foley mixer | |
| John Neff | .... | additional location sound recordist | |
| Willard Overstreet | .... | foley editor | |
| Sean Rowe | .... | foley walker | |
| Daniel Sikorski | .... | additional sound: Poland | |
| Robert Troy | .... | dialogue editor | |
| Steve Tushar | .... | sound editor | |
| Sara Glaser | .... | sound mixer: second unit (uncredited) | |
Special Effects by | |||
| Gary D'Amico | .... | special physical effects | |
| Ken Rudell | .... | special physical effects technician | |
Visual Effects by | |||
| George Koran | .... | digital intermediate colorist | |
| Stephen Lawes | .... | main title designer & animator | |
Stunts | |||
| Thomas Dewier | .... | stunt rigger (as Thomas DeWeir) | |
| Dominiquie Vandenberg | .... | stunt rigger | |
| Garrett Warren | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Jay Aaseng | .... | additional camera operator | |
| Jeremy Alter | .... | additional camera operator | |
| Erik Crary | .... | camera operator | |
| Eric Curtis | .... | electrician | |
| Peter Deming | .... | additional lighting technician | |
| Phil DeSanti | .... | camera assistant | |
| Josh Fritts | .... | electrician | |
| Maciej Jedrzejek | .... | grip: Poland | |
| David Lynch | .... | camera operator | |
| Mariusz Matuszewski | .... | grip: Poland | |
| Paul Postal | .... | electrician | |
| Bradley Reed | .... | electrician | |
| Tom Richmond | .... | additional camera operator | |
| Michael Roberts | .... | still photographer | |
| Ole Johan Roska | .... | camera operator | |
| Jozef Strycharz | .... | grip: Poland | |
| Odd-Geir Sæther | .... | additional lighting technician (as Odd Geir Saether) | |
| Odd-Geir Sæther | .... | camera operator (as Odd Geir Saether) | |
| Deverill Weekes | .... | additional still photographer | |
| Jonathan Wenstrup | .... | gaffer | |
| Maciej Zwierzchowski | .... | gaffer: Poland | |
Casting Department | |||
| Monika Wendorff | .... | casting: Poland | |
| Wanda Wilgucka | .... | casting: Poland | |
Costume and Wardrobe Department | |||
| Agnès B. | .... | additional wardrobe (as Agnes B.) | |
| Karen Baird | .... | wardrobe | |
| Heidi Bivens | .... | wardrobe | |
| Paulina Polom | .... | costume supervisor: Poland | |
| Rita Rago | .... | wardrobe shopper: Laura Dern | |
Editorial Department | |||
| Bill Admans | .... | digital assembly editor | |
| Eric Bassett | .... | post-production technical advisor | |
| George Koran | .... | mastering colorist | |
| Mato | .... | film color timer | |
| Noriko Miyakawa | .... | assistant editor | |
| Noriko Miyakawa | .... | post-production coordinator | |
| Michael Riolo | .... | digital assembly editor | |
Music Department | |||
| Marek Zebrowski | .... | composer: additional music | |
| Marek Zebrowski | .... | music consultant | |
Transportation Department | |||
| Lukasz Ciolek | .... | driver: Poland | |
| Marian Koper | .... | driver: Poland | |
| Witold Kowalewski | .... | driver: Poland | |
Other crew | |||
| Jay Aaseng | .... | production coordinator | |
| Michael Brodersen | .... | post-production project manager: FotoKem | |
| Chandra Cohn | .... | trainer | |
| Phil DeSanti | .... | key production team | |
| Chad Dunn | .... | trainer | |
| Pierre Edelman | .... | special consultant | |
| Melissa Elliott | .... | title designer: end titles | |
| Marina Girard | .... | financial consultant | |
| Craig Glenn | .... | additional production assistant | |
| Matt Hosseinzadeh | .... | additional production assistant | |
| Ewa Jurkowska-Brzoska | .... | assistant: Laura Dern, Poland | |
| Kris Kane | .... | assistant: Jeremy Irons | |
| Norman A. Kellems | .... | coordinator: LAPD (as Norm Kellems) | |
| David Kern | .... | key production team | |
| Eric Ladd | .... | main title designer | |
| Jayme Lemons | .... | assistant: Laura Dern (as Jamie Lemons) | |
| Gillbert M. Loust | .... | coordinator: LAPD (as Gil Loust) | |
| Josh Mann | .... | key production team | |
| Malgorzata Marchinkowska | .... | accountant: Poland | |
| Mike Mitchell | .... | additional production assistant | |
| James Notari | .... | additional production assistant | |
| Joanna Prewysz-Kwinto | .... | accountant: Poland | |
| Michal Prewysz-Kwinto | .... | key production team: Poland | |
| Mark Sawyer | .... | additional production assistant | |
| Tomasz Sliwinski | .... | public relations: Poland | |
| Agnieszka Swoinska | .... | caterer: Poland | |
| Agnieszka Swoinska | .... | hotel accommodations: Poland | |
| Frances Tamaariki | .... | assistant: Laura Dern | |
| Yolanta Tensor | .... | talking production assistant | |
| Adam Zdunek | .... | key production team: Poland | |
| Marek Zebrowski | .... | translation services: Poland | |
| Pawel Zydowicz | .... | key production team: Poland | |
| Peter Deming | .... | photographic consultant (uncredited) | |
| Haylee R. Twombly | .... | production assistant (uncredited) | |
Thanks | |||
| Debbie Allen | .... | special thanks | |
| Patricia Norris | .... | special thanks | |
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| Profondo rosso | L'uccello dalle piume di cristallo | Il gatto a nove code | La tarantola dal ventre nero | La coda dello scorpione |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Mystery section | IMDb France section |
I saw this during a period of extreme emotional stress, probably the best possible mode. It was also surrounded by my listening to "Big Fish," Lynch's book, read by himself. The contrast is astonishing: Lynch's banal aphorisms in the book with rich, multilayered cinematic literacy in the film. Yet another lesson in relative articulation and the notion that an artist often is the worst authority on himself.
Let's have no mistake: this film is important. I place it on my list as one of the two films of 2006 that you must see.
There's a lot to say about this. I think I'll let others comment on Dern's attunements, and the general notion of the story having to do with guilt and sexual desire.
I'll comment only on two aspects which struck me. The first was how Polish this movie is. Its Polish within the story of course: a good half of the action involves Poles. The plot device is a Polish curse that somehow bends time and causality. And there are some Polish locations as well.
But the thing is shot using Kieslowski's mannerisms. Its a peculiar style that to my knowledge no one else has used. It focuses on two motions: that of the environment as space which governs and changes. And that of the characters in motion, but situated in the spaces. With Kieslowski, he literally splits these in the writer's mind by having his writing partner handle the noir bits, the controlling fate, and he handling the independently sprouting human seeds within. Lynch handles both sides by imposing schizophrenia.
But its Polish in other ways too. The actor as Golem. The environment as interleaved worlds, each creating the others by being. Its a Kabbalistic concept. Both are characteristically Polish, usually associated with Polish Jews, but more deeply Polish. You can see how Lynch understands this because he quotes "The Saragossa Manuscript," a Polish film about interweaving of kabbalistic worlds and the causal confusion that it brings.
The second thing is how he exploits this merger of folded narrative -- where actors write new worlds; layered emanations where worlds spawn others -- not parallel but linked in generative fate; geometric cosmology in which each act creates symmetries we encounter elsewhere.
He does all this by elaborating on the symmetries of cause. Ordinarily something causes something else, never backwards. Here it IS backwards, forwards, sideways -- all the eight dimensions that an advanced student of the Maharishi knows... causal symmetries that have a geometry that doesn't quite merge with the geometry of causality. Oddly, the story does make sense if you simply relax the causality a bit -- its much more accessible than the "Twin Peaks" meander.
I guess I should say that this is after the manner of the structure of "Finnegans Wake." Its not as elaborate of course. It didn't take 17 years and the deliberate intent of conflating all metaphors. But it is placed in a dream logic, a softening of the walls and hinges of what we make up as the logic of real life. Its Joycean through and through and not -- as some would say -- "surreal" as if anything not real is bent reality.
I know of a few filmmakers who can work with these notions: Medem, Greenaway, Madden, Ruiz. This is the most delicate and focused I've seen in a long, long while. You really must spend time with it. You must.
Here's a serious piece of advice though. See Lynch's "Rabbits" episodes first, separately, ideally a week or so ahead. Take them in as a standalone piece, a remarkable piece of film. Some of it is in this film, excerpted, extended, reshot and literally entered by all the Dern characters. But you'd be better having that anchor before starting this tempestvoyage.
Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.