As a young artist working with minimal resources, aided by a dedicated cast and crew, David Lynch spent four-and-a-half years making his first feature. The result was a completely unique, darkly comic nightmare called Eraserhead. Carefully nurtured by distributor Libra Films, Eraserhead gradually developed a passionate audience despite a very mixed response from critics. That essay led to a commission to write an article about the film for Cinefantastique. Gathered together in this volume are the original essay, the complete production history, and full transcripts of all the interviews Godwin conducted with Lynch himself and members of the cast and crew of Eraserhead. Order here: Hardcover or Paperback.
Sound Design in Eraserhead
Eraserhead: the true story behind David Lynch's surreal shocker | Film | The Guardian
Video essayist Lewis Bond surely has some idea. Bond mentions that he considered excluding Dune from The David Lynch Retrospective , seeing as the director himself has disowned the picture. Still, no Lynch enthusiast can deny that it brought him to the artistically uncompromising positions that have made the rest of his body of work what it is. But what, exactly, is it?
Eraserhead: the true story behind David Lynch's surreal shocker
Eraserhead is a dreadful comedy set in hellish industrial wasteland. This is the world of fear and filth, of deformed sperms and premature fetuses. Through his films, Lynch exposes the ugliness inherent in nature and unearths our darkest emotions. He uses abstractions and distorted reality only to present the more heightened reality.
When I turned 16, I did not receive a new car or an ostentatious party or the revelation of heretofore unknown powers that would allow me to overthrow the confusingly designed dystopian society to which I belonged. Instead, I got something better—I got my mind permanently blown through the gift, courtesy of my Uncle Edward, of a VHS tape of "Eraserhead," David Lynch 's one-of-a-kind debut feature that had become a notorious cult classic ever since its debut. At this time, I had certainly heard about the film—I had read the tantalizing pieces on them in such invaluable books as Danny Peary's "Cult Movies" and J. My only worry when I settled in to watch it—with my entire family, for reasons lost in the mists of time and a decision that would quickly prove to be spectacularly ill-advised—was that I had built it up so highly in my mind by that point that I feared that it would be almost impossible for it to match my expectations.