Lost Highway

seriously confusing. tense and exciting but seriously, seriously confusing.

iīd like to hear a believable theory about this film because to me it seems you can pretty much interpret however you want.

And that's exactly how Lynch wants it....

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The novelist does not long to see the lion eat grass. He realizes that one and the same God created the wolf and the lamb, then smiled, "seeing that his work was good".

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They had temporarily escaped the factories, the warehouses, the slaughterhouses, the car washes - they'd be back in captivity the next day but now they were out - they were wild with freedom. They weren't thinking about the slavery of poverty. Or the slavery of welfare and food stamps. The rest of us would be all right until the poor learned how to make atom bombs in their basements.

exactly

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instrumental rock band that I am in.

and whatīs the point of that?

he just makes you want to use your head for a while? i doubt that makes a difference.

He's trying to make you part of the film. You can undertand it anyway you want.

but how does one make a film that you can interpret how you liek?

isnīt it mor like he makes some stuff that you can interpret in different ways and thus you can interpret it in a given numbers of ways.

íf you are to make a movie that can be interpreted in a indefinite number of ways how do you do? just throw in a lot of random stuff? is that art?
could you make a movie thatīs could be interpreted in any way you want and still make every way meaningful?
that sounds pretty divine to me.

so you donīt think he has a point he wants to make with his movies but rather just want to make you apart of it...?

a lot of people claim that they understood it though. so you mean they canīt say they did since there isnīt really a way to unerstnad it but just to interpret it?

He has his own meanings for the films but since he doesn't outwardly tell you or make it easy to figure out that meaning, you take your own. That's what I feel about it anyway, if someone hides something, you want to find out what it is. This requires thought and imagination and therefore brings you into the 'lynch world' even if you get a meaning which is not the same as his.

we could compare that to artificiell intelligence ina computer game.

tiīs called ai but isnīt . the computer doesnīt think it merely reacts to different situations according to scripts.

we canīt yet make real AI, an AI that does think for iself and if you are to make a movie that can be interpreted anyhow you like, donīt you have to make that real AI then?
an endless number of ways to interpret it, how do you make that up?

ok. posted that post then read your last.

yeah i guess thatīs it.

anyway, it would be nice to hear him say what theyīre about.

and well what i wanted to hear was theories about what those hidden messages might be.

But I wouldn't want to watch it as much then. When you watch for example E.T, it has a simple plot in which you undestand - you're happy with that, everyone's happy with that. You expect films to have an easy plot 'cause you're used to it. When you watch a lynch film you try to figure out the plot all the way through, as every bit is different. If he told you what it all meant and then you watched the movie you'd come out taking nothing with you. What I expect from his films is to take something away.

theory..............they are both the same person!! wahay.

i didnīt mean i want to hear it first.

itīd just be cool to make up your theory and then here him speak about it and see if you were right or not!

well I don't want to know........so there !

I think I read some interview with Lynch where he said that "Lost Highway" isn't about "getting it". It's an experiment with narrative. Instead of the common cause-and-effect narrative that we see in most films, mainstream AND indies, he used a narrative where one scene did not necessarily motivate the next one. Or any other scene at all for that matter. Every single event does not fullfill a purpose in the story to drive it forward towards a specific goal. He just put the first thing that came to mind in there and then it's up to the spectator to figure out what it means to that peticular spectator. There is no given meaning or message of the film. I think if you told Lynch what the film meant to you he would say: "How fascinating! I have never thought about it! Of course, you're absolutely right!". Or then again, maybe he would say something completely different.

But it's like with "Cries and Whispers" by Bergman. A lot of people have argued about what's the reason for his wide use of the color red so much in that film. There's been a lot of theories of course, but when Bergman finally spoke about it he said: "I don't know. It's just a feeling I had" (or something similar). Then of course everybody started to debate on why Bergman got that feeling and what "red" had meant to him growing up etc etc. But that is a completely different story....

I'm watching this now and will put up my interpretation in my review thread.

5 years late, but better late than never.

Big fan of this film, but only after I had watched it multiple times. Lacking the tonal elegance of Mulholland Drive, it is still a great piece about identity and psychogenic fugue concepts.

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I hope you don't get lost...

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It's what you learn after you know it all that counts. - John Wooden
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I loved it, it really blew my mind like most Lynch films do. I read an interview with Lynch and he said the film has nothing to do with psychogenic fugue but his co-writer, Barry Gifford, says it does. Go figure. My interpretation is that it can't be really anything else unless the story isn't the point. Blake creeped me out like i haven't been creeped out in a long time

I LOVE the Blake stuff.

"We've met before, haven't we.

I don't think so. Where was it you think we met?

At your house. Don't you remember?

No. No, I don't. Are you sure?

Of course. As a matter of fact, I'm there right now.

What do you mean? You're where right now?

At your house.

That's ****ing crazy, man.

Call me. Dial your number. Go ahead."