October 28, 2004
I went ahead and bought the new Nick Cave abum(s) and thank Christ I did. It (they) are absolutely outstanding...some of the best work he's done in years. He expands on the gospel hues of No More Shall We Part, and it's glorious (especially when the London Gospel Choir provides backup). His lyrical interests are not rooted in anger anymore, and I've grown to accept that...but unlike the simple romanticism of Nocturama, he seems revitalized with a bloody, lusty sense of passion -- and so, for that matter, do the Bad Seeds themselves, who perhaps have never sounded so prominent on one of their records (a shame Blixa Bargeld departed). Their instrumentation is amazing and a thrill to listen to.
And I just made a Cave mix CD for someone the other day; now I think I might have to provide an addendum, because there's some pretty indispensable material here. Cannibal Hymn, Baby You Turn Me On and Abattoir Blues are my immediate favorites, but it's getting harder to choose the more I listen to it (them).
I rewatched Lynch's The Straight Story for the first time since it was in theaters (I have a bad habit of buying DVDs and never watching them). I was in tears at the end (no one else in the room this time). Knowing what happened to Richard Farnsworth shortly after its release made it far sadder than it was the first time, but the cosmic beauty of the final shot is comforting. I think at this moment that it might be his best film -- while Wild At Heart is still the ultimate culimination of everything that makes Lynch a genius, The Straight Story is certainly his most beautiful film, and undoubtedly his most genuinely moving. And while I'd never want to compare one of Lynch's films to anyone else's, I would venture to say that, particularly in the long, langorous drifting shots of the fields of grain at golden hour, there's a bit of a Terrence Malick feel at work here. Perhaps it's partially because the production designer on the film is Jack Fisk, who also does production design for Malick (and worked on Eraserhead back in the day and is married to Sissy Spacek, who plays Farnsworth's daughter here).
Still, if you know Lynch's work, you'll recognize him through and through. I'd say this is a more immediate representation of his style than Lost Highway. Especially if you close your eyes and listen to it -- the sound design is unmistakable.
James gave me some more good advice the other day as we were discussing the merits of flashbacks in my latest screenplay. I'm paraphasing here when I quote: "If you want to put in some Graham Green quotes, then just fucking do it."
Thanks also to Matt and Yen for the incredibly valuable feedback. It's helped me come to a decision:Drift will be the movie I make next. It'll be all the better for your suggestions.
And when that's done I'll be one step closer to Henry Lee...
Posted by David Lowery at October 28, 2004 2:19 AM
Comments
Needless to say, I'd be muchos interested in hearing what you've decided to keep as is and what you've decided to change in "Drift".
Posted by: Matt at October 28, 2004 6:31 PM