![]() But the way that he can have people sort of moving in and out of the shadows, which I think is very much a tribute to Wedlock House by Stan Brakhage, with the couple moving in and out of the shadows in the spirit of domestic tension, I really think that Lost Highway pays direct homage to that, which continues in Inland Empire.Īnd when you think of the Brakhage film, you’re not worrying so much about the narrative or anything, it’s really about the mood. Of course that’s very specific taste on my part. Whereas that’s not going on so much in Mulholland Drive. RJ: Aesthetically, my favourite aspect of Lost Highway is the first 40 minutes when Bill Pullman is getting lost in his own house, and there’s a lot of that same thing going on in Inland Empire. So yeah, in that same scene where they’re hearing the noise back stage and go looking for the person, you really get this sense of darkness in the background, the back of the set is very dark. ![]() That isn’t to say that light is good, but the light is sort of blinding you and then darkness you can’t see properly. And again we tend to think it’s a bad thing, “oh well that’s terrible, the image is bad,” but he’s kind of using that to build this opposition between darkness and light. ![]() PR: Also with non-HD video, with what he was using, when you’re in dark areas, they are really indistinct, you can’t pick out details in there, whereas if he was shooting that on film you would see things in the darkness. Although here it doesn’t seem to lead into another space as it does in some of his other films, I find, but he still did do that quite a few times, that kind of idea about the void that is engulfing you visually but also aurally, the sound begins to change as well that way. This is another thing that relates to other Lynch films is that there are all these interjections into the void, into spaces that lead to other spaces.
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