Lost Highway

“So I’m starting here with Lost Highway by David Lynch. Lynch, a very influential filmmaker. I love him.”

“Lost Highway. Now it’s getting fun. I mean, all kind of strange, absurd movies, but David Lynch’s Lost Highway. Patricia Arquette, who, when I saw True Romance for the first time, I was so blown away by what she did and how raw she was. Lost Highway’s another movie that turned me on to David Lynch and where I ultimately saw The Elephant Man, which I think is close to, at least for me, the perfect film.”

“This is a really underrated movie, Lost Highway. It's got a lot of sort of 40s Noir femme fatale mythology in it, but it also has this crazy metal soundtrack. I really like the way David Lynch captures the world of Dreams, the complete disorientation of suddenly you're in one place and then the other. People minded the way it jumped around and people changed identity, but you know, that's the life that you have every night in Dreams.”

“J'ai eu Le Plaisir aussi de voir que quelqu'un était en train de rénover l'image ou le son ou nettoyer l'image de Lost Highway de mon cher ami David Lynch donc ça m'a fait très plaisir en arrivant de voir ça de voir cette personne sur l'écran...”

“Lost Highway. Something that’s really beautiful about cinema, in my opinion, is it can change the way that you view the world. For instance, David Lynch changed the way I see roses. And I’m a proud Los Angeleno, I’m born and raised in Los Angeles, third generation, and I feel like David Lynch loves LA in a way that I think is so cool. Lost Highway’s scary. My brother Spike showed it to me.”

“Lost Highway. That’s one of my favorite David Lynch movies. When I first saw it, I cannot say that I enjoyed the film. I found it quite laborious to sit through. I thought it was quite heavy going, quite hard, but I found myself thinking about it weeks afterwards and remembering it like I was remembering one of my own Dreams, which just speaks to the way that Lynch figured out how to take dream logic and the experience of dreaming and make a sort of cinematic proxy for that.”