I think that’s an instinct.
Originally asked
The Creative Independent, to working artists, its interview series
A repeated process question in The Creative Independent, asked across visual art, music, writing, performance, and mixed media.
You answer as yourself. Nobody on FLAPSS answers as anybody else.
Sean O'Hagan, The Guardian, 25 February 2007 source ↗
Others on this question
View all 69 →I don’t know if they ever really are. I mean, there are often works that you make for a particular moment and then maybe the next time you show them, you show them in a slightly different way so that they become more precise or more communicative. So they’re constantly evolving. Also, when you stick one work next to another work, suddenly it has a new resonance. You could almost argue that, in that new context, it’s a new work again. So I don’t know if you ever really finish anything.
For me, nothing’s ever really done. I have to be cut off because I could record infinitely, so usually a record is done when it has to be, with some kind of created deadline. Or if somebody I’m working with says it’s done, that helps, because I’m just so unhinged that I need limitation. You can make a really great record with limitations. Limitations help incubate a specific thing. If you got to do whatever you want for as long as you want, you might not have that kind of magic.
I think I’m more attuned to a popular… I grew up watching MTV and listening to three-minute songs, and I also don’t like concerts that are too long. A concert can be seven hours and not be too long, but sometimes a concert is forty-five minutes and it’s too long, and you’re uncomfortable, like, “It ended fifteen minutes ago, why do you keep making sound?” Or those situations where someone is playing and they’re fading out and you have this feeling of, “Yeah, it’s ending, yes, now, definitely,” and then they start again and you say, “No!” [ Laughs ] For me, moving over an hour or so, it goes into a different territory where I lose my sense of form. And then it becomes more like the chord in space. Installation format is where I would go after an hour.
More from David Lynch
View profile →Transcendental Meditation, it’s obviously the most important thing to do day in and day out. Transcending is the key to a better and better life, and this idea is catching on more and more in the world.
Well, my family moved to Alexandria, Virginia from Boise, Idaho when I was in the eighth grade. Pretty soon after that, one night, on the front lawn of my girlfriend’s house, I met a boy named Toby Keeler, who went to a private school. He told me his father was a painter. At first I thought he meant a house painter, but then he said, “No, fine art painter” and a bomb went off in my head. In that millisecond, I only wanted to be a painter.
On October 13, 2020, David Lynch rose and did what he had typically been doing each morning when he awoke during a long-term Covid isolation in his house and work studio just off Mulholland Drive in the Hollywood Hills. First, while filming himself for his YouTube channel, he swirled ten numbered balls in a large glass jar, his eyes averted, then picked one. “Today’s number is ten,” he declared.
Be true to yourself. Find your own voice and be true to that voice. Never take a bad idea, but never turn down a good idea. And, of course, have final cut. And be true to the ideas.
I noticed I did have an anger. Many people have anger and I was one of them.
And yet I can’t tell you, for no one can prove what happens on the other side. It’s like anybody’s guess until it happens. You can say, I believe this would happen, but you can’t prove it.
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