Часть 2

(1) Журналист: Критики часто по-разному отзываются о Ваших фильмах. А были ли Вы удивлены тем, что «Твин Пикс» не пришёлся по вкусу фанатам?

(2) David Lynch: Not really. There was a shift going on, and who knows all the reasons, but it was just in the air. It was unfortunate, but... And also, it was a dark film, and it was too much in people’s faces and didn’t have the humour of Twin Peaks. It was what it was supposed to be, but it wasn’t what people wanted. It was supposed to be stand-alone, but also the last week of Laura Palmer’s life. All those things had been established, but they could be pleasant on one level to experience, but on another level, not.

(3) Ж.: Что ж, давайте поговорим о «Малхолланд драйв». Когда Вы предложили Эй-Би-Си сценарий, они, видимо, даже не поняли, что Вы собираетесь снимать.

(4) D.L.: They hated it. They hated the story, the acting. They thought it was too slow, that’s for sure. Basically they hated everything about it.

(5) Ж.: Вы начали писать сценарий совместно с Джойсом Элиасоном, написавшим сценарий для «Последнего дона»…

(6) D.L.: Right. I started, though, way before that, when it was gonna be kind of a spin-off of Twin Peaks, but it didn’t go anywhere. And just the words 'Mulholland Drive' always got something going, but I never knew what, so all the times it started to go, it never really went, until this last thing. And then it was nothing but trouble with ABC, and it was just more fuel for the theory that a thing is not finished until it’s finished. It wants to be a certain way, and you don’t know all the twists and turns in a road that are coming up – you just drive dow the road and, you know, pay attention.

(7) Ж.: А Вы могли тогда предвидеть, что первоначальное фиаско фильма в конце концов превратится в награду в Каннах и сильные отзывы критиков?

(8) D.L.: When you’re in the middle of something, it’s not impossible to let go of it, but it’s an injury if you don’t finish something, and part of your mind is always going back to it if it`s not finished. So I don’t know whether it was being hopeful, or I had a feeling, but many people involved in the project had feelings that it wasn’t gonna die. Then it got revived and almost died, and revived and died many, many times. Because of the nature of it, I don`t know how to say it, but it would be like there’s a key to something – your brain kind of kicks in to finish something, and you don’t know how it’s going to end. It’s pretty interesting how the mind can go to work, and ideas come in. It’s a real interesting experience.

(9) Ж.: Единственное объяснение, которое Вы дали к «Шоссе в никуда», – что это «психоделическая фуга». Не могли бы Вы сказать об этом подробнее?

(10) D.L.: No. I think it’s a beautiful phrase, even if it didn’t mean anything. It has music and it has a certain force and dreamlike quality. I think they call it a "psychogenic fugue" because it goes from one thing, segues to another, and then I think it comes back again. And so it is in Lost Highway.

(11) Ж.: Необходимо ли для Вас иметь полное представление о чём-то, когда Вы снимаете фильм про это?

(12) D.L.: No, not one bit. The reverse is true. My understanding of Wild at Heart, the book... Again, it was a lot like The Elephant Man – the essence was Sailor and Lula, and many things were one line, or one paragraph, or one thing that shot a bunch of studio stuff into me that got expanded. Some things were dropped, but it`s like they triggered other things. But then at a certain point you have to go and make it your own.