Lynch loves to film roads at night as characters transition from one place to the next and one point in their life to the next. This is one of the surest signs that you’re watching a David Lynch movie it’s almost the entirety of LOST HIGHWAY and a major factor in MULHOLLAND DRIVE, among other films. While none of them have a truly central role, they’re all important and prominent enough in the film to be recognized.Ĥ. There are FIVE actors from Twin Peaks that make their way into Wild at Heart. As Wild at Heart was filmed right around the same time as Twin Peaks, Lynch had this stable of awesome actors he loved that he could pull from for this film. All directors love to bring back actors they’ve had a great time working with Lynch is no exception. This isn’t necessarily a sign of an auteur, but it’s in the ballpark so you can indulge me for a second. Music is a major part of his life and his movies aside from Angelo Badalamenti’s wonderful score, Wild at Heart features a lot of memorable music, but nothing more memorable than Cage grabbing the microphone in a club and singing “Treat Me Like a Fool” or singing “Love Me Tender” to Lula over the end credits. Suddenly, we were in the dark, listening with David Lynch to Kanye West’s song “Blood on the Leaves,” one of Lynch’s favorite songs. The interviewer asked him about his films, and the conversation ultimately (and inevitably) transitioned into music. A year or two ago, I attended a one-on-one interview with him at the Brooklyn Academy of Music. Tying directly into the first point on this list, David Lynch loves music. It’s perfect, and it’s right at home in Wild at Heart.Ģ. There’s an inherent dreamlike quality to Badalamenti’s music, and it’s as central a piece in this movie as any of the other directorial flairs Lynch airs. The composer for many of Lynch’s early projects (Blue Velvet, Wild at Heart, Twin Peaks, and more), Badalamenti adds an aura of eeriness and spookiness and overall creepiness to the already creepy visuals and tone in Lynch’s movies. There are a few things synonymous with Lynch that can be found in this movie.ġ. A lot of that has to do with the terrific performances from Cage and Laura Dern, but just as much - if not more - can be attributed to David Lynch’s directorial style and touches. It turns out that my favorite Cage movie is Wild at Heart, and it honestly isn’t even close. In 1990, as he was making the delightfully quirky Twin Peaks, David Lynch wrote and directed a movie: WILD AT HEART.įorget what I said about RAISING ARIZONA. It’s that last one who’s the reason we’re all here today. There aren’t altogether too many auteurs in Hollywood today, but they’re all names you know: Quentin Tarantino. According to Google (you’re welcome for doing the work for you), an auteur is “a filmmaker whose personal influence and artistic control over a movie are so great that the filmmaker is regarded as the author of the movie.”īeing regarded as an auteur is a high compliment - with very few exceptions, maybe - because it means you absolutely own your style. Have you ever been watching a movie you’ve never seen before when you know, with certainty, who the director is? That’s not altogether uncommon, and it has to do with what’s known “in the biz” as auteurs.
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