![]() ![]() First, there is the use of extradiagetic sound, a tone (again) that is barely perceptible (courtesy of Angelo Baladamenti, Lynch's frequent musical collaborator later, he has a small cameo.)įor the first forty seconds of the scene, the cutting rhythm is straightforward enough, with 8 cuts (including from the sign to inside the diner), but for the next forty-odd seconds, there are no cuts at all. The abrupt cut to Winkie's and the conversation seem to indicate that we have entered the "real world." But the lighting, and the camera movement as well as what Lynch does here with the cutting, calls that into question. ![]() It also helps establish the balance of power: notice how the floating shifts in relation to Dan's reaction to Herb's story. Directly before the shot of the Winkie's sign, we have seen a woman fall asleep, and t his floating camera maintains the dreamy quality of the opening minutes without calling too much attention to itself. The context of their meeting, and their relationship to each other, is, and remains, a mystery a full breakfast sits in front of them, but none of the food is touched.īy convention, the camera is usually static in dialogue scenes, but here it floats (almost imperceptibly), as Dan tells his story. The first thing to note is that the lighting is "naturalistic", a total shift from the film's opening minutes. The scene consists almost exclusively of a traditional dialogue scene, a shot/reverse shot sequence (more on that below.) But something is off. In the first, two men, Herb and Dan, have met to discuss Dan's dream. In Mulholland Drive, three scenes take place at Winkie's ( in the script, the diner is referred to as Denny's). (Spoiler alert: If you haven't seen the film, there might be some spoilers (and also, you should see the film.)) Check it out, and see how Lynch uses camera work, editing, and sound to set a tone that sets up the rest of the movie. Several of these lines intersect at the fictional Winkie's Diner, and it is here that Anna Catley's video essay (below) locates one evocative path towards the center of the film's void, a path whose coordinates can be broken down into three cinematic techniques that Lynch uses to convey meaning in his film.Ĭatley shows how Winkie's Diner, a location that makes multiple appearances, is key to at least one understanding of the film. Though in many ways the premise is conventional, the film is made of multiple plot-lines that overlap, twist back on themselves, and sometimes come to dead ends. The first two thirds of the film tell the story of a Hollywood hopeful helping a glamorous stranger with amnesia find her identity. But there is another nightmare in the script: the one is inside the mind of Naomi Watts' character(s). In 2001's Mulholland Drive, the director tackled, for the first time, the "dream world" of Hollywood. David Lynch 's films are almost always about dreams (or really, nightmares). ![]()
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