Frequent David Lynch Collaborators
David Lynch plucked me from obscurity. He cast me as the lead in Dune and Blue Velvet, and people have seen me as this boy-next-door-cooking-up-something-weird-in-the-basement ever since.
—Kyle MacLachlan on working with LynchDavid Keith Lynch (born January 20, 1946) is an American filmmaker, television director, visual artist, musician, and occasional actor. Known for his surrealist films, he has developed his own unique cinematic style, known as "Lynchian"; this style is characterized by its dream imagery and meticulous sound design. The surreal and, in many cases, violent elements to his films have been said to "disturb, offend or mystify" their audiences.
Over the course of Lynch's career, he has collaborated with several individuals on multiple occasions; his films frequently feature recurring cast members and principal production roles are often filled by a small pool of collaborators. The most prolific of Lynch's frequently used actors was Jack Nance, who first worked with Lynch on 1977's Eraserhead, and would appear in many more of Lynch's productions until Nance's death in 1996. Several individuals with whom Lynch would work on multiple occasions are fellow alumni of the AFI Conservatory, including sound designer Alan Splet, cinematographer Frederick Elmes and actor Catherine E. Coulson.
Lynch has been known to allow his collaborative partners a large degree of control over their roles when working with him; Kyle MacLachlan has several times persuaded Lynch to rewrite scenes, including in 1986's Blue Velvet and the television series Twin Peaks, as he felt they were not right for his characters. The following lists include all of the cast and crew members with whom Lynch has worked on three or more separate projects.
Read more about Frequent David Lynch Collaborators: Key, Cast, Crew
Famous quotes containing the words frequent, david and/or lynch:
“Much more frequent in Hollywood than the emergence of Cinderella is her sudden vanishing. At our party, even in those glowing days, the clock was always striking twelve for someone at the height of greatness; and there was never a prince to fetch her back to the happy scene.”
—Ben Hecht (1893–1964)
“Here was a little of everything in a small compass to satisfy the wants and the ambition of the woods,... but there seemed to me, as usual, a preponderance of children’s toys,—dogs to bark, and cats to mew, and trumpets to blow, where natives there hardly are yet. As if a child born into the Maine woods, among the pine cones and cedar berries, could not do without such a sugar-man or skipping-jack as the young Rothschild has.”
—Henry David Thoreau (1817–1862)
“Johnson’s conversation was by much too strong for a person accustomed to obsequiousness and flattery; it was mustard in a young child’s mouth.”
—Hester Lynch Thrale (1739–1821)