Interspersed at various points throughout the documentary are gems wherein Lynch provides his theory of film and art and the most advantageous process whereby successful artists communicate with the world. Among these pearls is a monologue that kept me thinking about it for days afterward. Contrary to popular wisdom, Lynch does not believe that one needs to be unhappy or morose or even brooding in order to create art dealing with the dark and nightmarish side of human nature. To the contrary, says Lynch, great art, whether it be a celebration of light or darkness, is more likely to occur when the artist is at his happiest and most alert.
Watching Lynch be interviewed belies his point quite nicely. Quirky and conversational, David Lynch never comes across as some brooding asshole who's too good for his interviewer. His little broadcasts on his website regarding the weather in L.A., along with his formidable story-telling abilities relating to his days in Philadelphia, reveal a somewhat social man whose extroverted qualities cross over to his films.
Knowing that this man is the creative force behind some of the most twisted and bizarre films in history illustrates his point quite clearly. Maybe a happy life is the key to understanding the dark underbelly of the human animal. Perhaps it allows the artist a certain objectivity and distance that is necessary for an honest portrayal of existential reality. On the contrary, a genuinely miserable person is more likely to get bogged down in his own lack of joy and his bitterness at the world. Even taking something as relatively minor as this blog, I know I am much more likely to blog if I am having a good day. Methinks Lynch is onto something here.
Now, as to how to ensure that you are happy so all this great art can be brought to life? Sorry, folks, that is just not my fucking department.
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