David Lynch Quotes

I used to go to Bob's Big Boy restaurant just about every day from the mid-seventies until the early eighties. I'd have a milk shake and sit and think.
There's a safety in thinking in a diner. You can have your coffee or your milk shake, and you can go off into strange dark areas, and always come back to the safety of the diner.

სევდიან ხვალინდლებზე მაღლა

It doesn't do any good to say, 'This is what it means.' When you are spoon fed a film, people instantly know what it is. I like films that leave room to dream.

Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper.

The thing about meditation is: You become more and more you.

I like the saying "The world is as you are." And I think films are as you are. That's why, although the frames of a film are always the same — the same number, in the same sequence, with the same sounds — every screening is different. The difference is sometimes subtle but it's there. It depends on the audience. There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things. And it's probably different from what I fell in love with. So you don’t know how it's going to hit people. But if you thought about how it's going to hit people, or if it's going to hurt someone, or if it's going to do this or do that, then you would have to stop making films. You just do these things that you fall in love with, and you never know what's going to happen.

I don't know how I got to that thing of not caring what other people think, but it's a good thing. The thing is, you fall in love with ideas and it's like falling in love with a girl. It could be a girl you wouldn't want to take home to your parents, but you don't care what anybody else thinks. You're in love and it's beautiful and you stay true to those things.

Black has depth.. you can go into it.. And you start seeing what you're afraid of. You start seeing what you love, and it becomes like a dream.

You can tell all the stories you want, but you still haven’t gotten across what the experience was like. It’s like telling somebody a dream. It doesn’t give them the dream.

"პატარა ბიჭს ქუჩაში მოუნდა თამაში. გააღო კარი და დაინახა სამყარო. კარებს გასცდა თუ არა შეიქმნა მისი ანარეკლი. დაიბადა ბოროტება. ბოროტება დაიბადა, და გაჰყვა კვალად ბიჭს". დევიდ ლინჩი

When I started meditating, I was filled with anxieties and fears. I felt a sense of depression and anger. I often took out this anger on my first wife. After I had been meditating for about two weeks, she came to me and said, "What's going on?" I was quiet for a moment. But finally I said, "What do you mean?" And she said, "This anger, where did it go?" And I hadn't even realized that it had lifted. I call that depression and anger the Suffocating Rubber Clown Suit of Negativity. It's suffocating, and that rubber stinks. But once you start meditating and diving within, the clown suit starts to dissolve. You finally realize how putrid was the stink when it starts to go. Then, when it dissolves, you have freedom. Anger and depression and sorrow are beautiful things in a story, but they are like poison to the filmmaker or artist. They are like a vise grip on creativity. If you're in that grip, you can hardly get out of bed, much less experience the flow of creativity and ideas. You must have clarity to create. You have to be able to catch ideas.

I don't think it was pain that made [Vincent Van Gogh] great - I think his painting brought him whatever happiness he had.

Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful.

People have asked me why — if meditation is so great and gives you so much bliss — are my films so dark, and there's so much violence? There are many, many dark things flowing around in this world right now, and most films reflect the world in which we live. They're stories. Stories are always going to have conflict. They're going to have highs and lows, and good and bad. I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I'm just a guy from Missoula, Montana, doing my thing, going down the road like everybody else. We all reflect the world we live in. Even if you make a period film, it will reflect your times. You can see the way period films differ, depending on when they were made. It's a sensibility — how they talk, certain themes — and those things change as the world changes. And so, even though I'm from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things.

Stay true to yourself. Let your voice ring out, and don’t let anybody fiddle with it.