Monday, January 15, 2007

David Lynch's Inland Empire

I had the good fortune to catch Lynch's Inland Empire. The director himself was present to introduce the movie (with a very interesting short improv piece with himself and pianist who's name I cannot recall) and he stayed afterwards to generously answer questions from the audience (most of which were a waste of time, although some were enlightening - not the questions, but at least the answers).

If Mulholland Drive was a Mobius strip of a movie, then Inland Empire is a hypercube, it's infinite facets reflecting both inwardly and outwardly.

Much has been made of Lynch switching completely to digital video on this production (NYT, Wikipedia). During the Q&A after the film, Lynch said that the experience was completely liberating and that 'he was done with film'. He went on to say that the freedom you get with DV is such that you can let a shot go and go until you attain something that you never would have had with film, which is so expensive to shoot that the constraints completely limit the artist.

Is machinima, then, the playground of the mind? There are literally no constraints except for time and imagination. Is that too liberating for some who much be constrained to produce great works? Are the infinite possibilities too much to contend with?

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