Julie Delpy photographed by Stephane Coutelle, 1990.
A recent performance of my choral setting of the “Agnus Dei”. Check it out!
Behind the scenes of Dune with David Lynch and his crew of dedicated maniacs.
Original promotional film (Destination Dune) with never before seen period on-set film by Paul M. Sammon featuring David Lynch, Frank Herbert and many more:
David Lynch on Dune:
Sean Young’s mini-documentary on the set of Lynch’s Dune:
When George Lucas was reaching out to David Lynch, legendary film producer Dino De Laurentiis also helmed a massive science fiction epic of his own. At first Dino acquired the amazing Ridley Scott attached to direct. At that time, Ridley Scott was another successful up-and-coming director with his surprise high-grossing sleeper hit Alien (1979). However, these two men’s collaboration on Dune aimed at a story significantly more ambitious than Return of the Jedi.
Frank Herbert and David Lynch are interviewed and discuss the novel and film adaptation of Dune. Fascinating material worth listening to.
For further reading:
- 35 Years of David Lynch: Dune (1984)
- David Lynch and Frank Herbert
- Shooting Dune
- Dune: After the Battle
A very Twin Peaks Halloween. @sp0oky_mulder makes a gorgeous Audrey
Today is the day! Go pick up #LineInTheSand! Tell us what you think! What’s your favorite track?
Filmmakers have understood the value of an unforgettable last shot since at least 1903, when Edwin S. Porter ended “The Great Train Robbery” with a scene divorced from the main narrative in which one of the outlaws comes back from the grave, stares down the lens of the camera, and fires a couple of rounds directly at the audience. In many prints, that footage opened the film, but the fact that it’s since settled into its place at the end speaks volumes as to its profound effect as a coda. Like the final sentence of a novel, the closing image of a film has the power to color the entire narrative, echoing just a little bit louder than everything that has come before it.
There’s a unique weight to the last shot – a burden, but also a sense of infinite possibility, as though the cinema inherently realizes that its greatest potential doesn’t live on screen but rather in those who stare at them, the moment at which a movie hands its narrative off to a viewer one of the great cruxes of the medium’s power.