For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. Its not just words or music—it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film.
Mysteries of Love is a documentary on David Lynch’s modern classic Blue Velvet. Directed by Jeffrey Schwarz, we find clips from the film immersed with intriguing footage and photographs from the production and exciting interviews with David Lynch, Kyle MacLachlan, Isabella Rossellini, Dennis Hopper, Laura Dern, and others. Certainly, Mysteries of Love leaves one wanting more documentaries of its kind.
It is often surprising to learn that many of our most loved films today were almost not made. David Lynch had been coming out of a failed experience with his work Dune, when Dino De Laurentiis approached him about Blue Velvet, a script that Lynch had been working on for years. Thankfully and surprisingly, De Laurentiis gave Lynch full artistic control, and despite not being in the contract, he promised the filmmaker final cut. All of this provided as long as the director agreed to cut his salary and the film’s budget in half. The sacrifices that are made in the name of art!
Enjoy this personal window into a masterful film with some of cinema’s most fascinating figures.
“I love Fellini. And we’ve got the same birthday, so if you believe in astrology…He is a totally different time, and an Italian take on life. But there’s something about his films. There’s a mood. They make you dream. They’re so magical and lyrical and surprising and inventive. The guy was unique. If you took his films away, there would be a giant chunk of cinema missing. There’s nothing else around like that.”
In Hollywood, more often than not, they’re making more kind of traditional films, stories that are understood by people. And the entire story is understood. And they become worried if even for one small moment something happens that is not understood by everyone. But what’s so fantastic is to get down into areas where things are abstract and where things are felt, or understood in an intuitive way that, you can’t, you know, put a microphone to somebody at the theatre and say ‘Did you understand that?’ but they come out with a strange, fantastic feeling and they can carry that, and it opens some little door or something that’s magical and that’s the power that film has.