It was the kind of professional nightmare that sports documentary filmmakers can only dream about: Graham Rahal, the veteran IndyCar driver and six-time race winner, was slowest in qualifying for the Indy 500 on Sunday – a day that ended in tears and baffled defeat for the 34-year-old still seeking his first win at Indianapolis.
With 34 cars trying to qualify for 33 spots, the son of open-wheel legend Bobby Rahal suddenly found himself out of the world’s biggest race, holding his head in his hands and sobbing. For an extra storytelling flourish, Rahal’s dad and team co-owner Bobby Rahal – whose team partners include David Letterman – had the exact same thing happen to him exactly 30 years ago.
Then, one day later, all the melodrama that went down on the track would be turned completely upside-down. And it was all on camera for the documentary crew shooting the CW’s “100 Days to Indy” series,...
With 34 cars trying to qualify for 33 spots, the son of open-wheel legend Bobby Rahal suddenly found himself out of the world’s biggest race, holding his head in his hands and sobbing. For an extra storytelling flourish, Rahal’s dad and team co-owner Bobby Rahal – whose team partners include David Letterman – had the exact same thing happen to him exactly 30 years ago.
Then, one day later, all the melodrama that went down on the track would be turned completely upside-down. And it was all on camera for the documentary crew shooting the CW’s “100 Days to Indy” series,...
- 5/23/2023
- by Josh Dickey
- The Wrap
David Lynch proved himself as a master of film music in his 1986 feature.
“Every note of music has enough breath to carry you away, and as a director, all you have to do is let the right wind blow at the right time” — David Lynch
Sound and music are incredibly important in David Lynch’s films. From Eraserhead (1977) on, Lynch has shown his talent for creating creepy and dreamy soundscapes, which include music and dialogue as well as diegetic and non-diegetic sound effects. Perhaps Lynch’s most popular film, Blue Velvet (1986) perfectly blends together pop music, original score, and Lynchian sound effects. Blue Velvet is especially rich with beautiful music that both comments on and runs counter to the images onscreen. This was the first film in which Lynch focused on both original score/sound effects and pre-existing pop music.
David Lynch is never completely serious or completely joking — he is always both at the same time...
“Every note of music has enough breath to carry you away, and as a director, all you have to do is let the right wind blow at the right time” — David Lynch
Sound and music are incredibly important in David Lynch’s films. From Eraserhead (1977) on, Lynch has shown his talent for creating creepy and dreamy soundscapes, which include music and dialogue as well as diegetic and non-diegetic sound effects. Perhaps Lynch’s most popular film, Blue Velvet (1986) perfectly blends together pop music, original score, and Lynchian sound effects. Blue Velvet is especially rich with beautiful music that both comments on and runs counter to the images onscreen. This was the first film in which Lynch focused on both original score/sound effects and pre-existing pop music.
David Lynch is never completely serious or completely joking — he is always both at the same time...
- 3/28/2017
- by Angela Morrison
- FilmSchoolRejects.com
Second #6909, 115:09
(Note: there are six posts remaining in the project, which will conclude with #154 on August 24.)
1. The seconds preceding this frame show Sandy and Jeffrey in the hallway outside Dorothy’s apartment, embracing, kissing, the shot slowly blowing out to blinding white before fading back into this shot, a close-up of Jeffrey’s ear as he lays dozing (dreaming?) on a lounge chair in his parents’ back yard.
2. The black frame, from earlier, as balance.
3. Is Jeffrey emerging from the dream that has been the film? When Jeffrey awakes in his lawn chair in his back yard, for instance, his recovered father seems to be played no longer by Jack Harvey, but Jack Nance instead (Paul, from Frank’s gang) who even wears a hat that resembles Paul’s. It’s difficult to tell, from the distance of Jeffrey’s perspective, although in addition to the hat the voice sounds like Nance’s.
(Note: there are six posts remaining in the project, which will conclude with #154 on August 24.)
1. The seconds preceding this frame show Sandy and Jeffrey in the hallway outside Dorothy’s apartment, embracing, kissing, the shot slowly blowing out to blinding white before fading back into this shot, a close-up of Jeffrey’s ear as he lays dozing (dreaming?) on a lounge chair in his parents’ back yard.
2. The black frame, from earlier, as balance.
3. Is Jeffrey emerging from the dream that has been the film? When Jeffrey awakes in his lawn chair in his back yard, for instance, his recovered father seems to be played no longer by Jack Harvey, but Jack Nance instead (Paul, from Frank’s gang) who even wears a hat that resembles Paul’s. It’s difficult to tell, from the distance of Jeffrey’s perspective, although in addition to the hat the voice sounds like Nance’s.
- 8/8/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Twenty-five years ago, David Lynch held a crystal clear mirror up to the face of America. Blue Velvet, which had played festivals in Montreal and Toronto, opened in the Us on September 19, 1986. It was mainstream America’s real introduction to the private world of David Lynch. Eraserhead was still a cult film. While many people had seen The Elephant Man and some (not many) had seen Dune, few were prepared for the deeply idiosyncratic dreamscape Americana seen in Blue Velvet. Attacked for depicting a savage sexuality rarely seen on screen, the movie attracted no shortage of negative attention, but it quickly became regarded as a classic. After twenty-five years Blue Velvet’s mysterious and musical vision of middle-American life remains seductive and powerful. Its gallows humor still earns laughs, and a peculiar clash of of classical Hollywood and noirish styles draws viewers in to Lynch’s unique world. The classic...
- 9/20/2011
- by Russ Fischer
- Slash Film
When I originally put together the list of the neo-noirs I was planning on including in this retrospective, I had put down two David Lynch titles: Lost Highway (1997) and Mulholland Dr. (2001). Unfortunately, Mulholland Dr., one of my favorite films of the aughts, had already been covered by the site when we attempted the film club, so I didn't want to whip a dead horse by covering it again. Having promised I'd watch Lost Highway with a friend, I was at a loss as to what to watch. I scanned my DVD shelf, my eyes momentarily meeting with Blue Velvet (1986), and I began to mentally scratch my head. I hadn't watched the film in nearly a decade, not since being forced onto a David Lynch kick brought on by the theatrical release of Mulholland Dr. in high school. For some reason, I never had the urge to return to it, not...
- 7/20/2010
- by Drew Morton
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