I grew up in Colorado - went back there, tried to heal myself and grow and learn, then got a call that David Lynch wanted me to fly back to Seattle so he could meet me for Twin Peaks.— Sheryl Lee
Most Powerful David Lynch quotations
But my mother loved The Elephant Man, and my father gave David Lynch a scholarship to study in Rome.
I wanted to go to Jupiter. That was my plan from day one, and David Lynch gave me the ticket.
As soon as someone like me or David Lynch pops up everyone says hallelujah, how weird.
Quentin Tarantino is interested in watching somebody's ear getting cut off;
David Lynch is interested in the ear.
The place looks like where David Lynch would meet Beaver Cleaver's mom for secret afternoons of bondage and milkshakes.
I'll do anything to keep everyone laughing.
Things get too intense on film sets. I remember on The Elephant Man, I used to imitate a cat without moving my lips. David Lynch would say, "Cut! Sorry, we've got a noise somewhere on set." Everyone would be looking around for this cat.
David Lynch came out of it a genius, and I came out of it a fat girl.
I'm sorry that the only comment I get about the part is the way I look. Commenting on the critics' response to her performance in Blue Velvet
I admire David Lynch so much, and I think he made some bad decisions with Lost Highway.
My first introduction to television, and really just the business in general, was working with David Lynch, with his incredibly open, creative mind that was not following any rules.
I really wanted to work with David Lynch. I was a big fan of The Elephant Man and Eraserhead.
David Lynch was very good, very patient with us, and the reaction in the United States seems pretty good.
I'm inspired heavily by film influences - David Lynch's Blue Velvet, Federico Fellini, Alfred Hitchcock, Pedro Almodóvar, and what I see in the cinema - so there is a linking, an interweaving between memory, cinema and contemporary life, which the women in my pictures encapsulate.
I'd like to work with David Lynch again.
No I didn't audition, I didn't even know David Lynch till the week before I started the film.
You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.
It's a strange world, as David Lynch would say.
It's amazing how quickly human beings adapt, isn't it? It was such a great crew, and David [Lynch] was wonderful to work with [on 'The Elephant Man']. It was a very thrilling time, actually.
I'm in full support of that technique [meditation] , and what David Lynch is doing. It's very important.
I like "Talk to Her" by [Pedro] Almodovar and "Happiness" by Todd Solondz, "Mullholland Drive" by David Lynch .
Fellini was [David] Lynch's master and his biggest idol, and he believed in Fellini's view that film is a dream, it's not reality. It's all about delving into the unconscious.
David Lynch was actually the one who first inspired me to become a filmmaker when I was in high school. His films just took me to that dream place that lifts you out of the norm, out of the everyday life, and that is kind of what allured me.
Quiet time is the key. We have hundreds of thousands of kids around the country meditating through the David Lynch Foundation.
I remember being really grateful that David Lynch had actually even thought of casting me, because I was a huge fan of his.
I grew up interested in the underside of Hollywood, which I think David Lynch does really well.
I saw Elvis live in '54. It was at the Big D Jamboree in Dallas and the first thing, he came out and spit on the stage...it affected me exactly the same way as when I first saw that David Lynch film. There was just no reference point in the culture to compare it to.
David Lynch is démodé now, if you look at his films. I looked at them the other weekend.
They were made up names in Dune that I didn't know how to pronounce, but I knew how I should sound because I was a sci-fi fan myself. I hadn't read the book, but I knew that I was the princess of the universe. I went in and sort of made her up, and David Lynch thought it matched and cast me.
I feel like each time I do something I want it to be more and more recognizable that it's me so, by the time I do a film, my films will be as recognizable as someone like David Lynch or someone who's got their own thing going on.
David Lynch is very important to me, and he does dreamlike movies, but my dreams are not like David Lynch's dreams. I have no interest in copying anybody's work. It would never occur to me to want this to look like someone else's thing.
I just tend to admire people who go for what they believe in, like David Lynch for example, and just say what goes through their heads, and are not afraid of people not accepting them. I have no respect for people who deliberately try to be weird to attract attention, but if that's who you honestly are, you shouldn't try to "normalize yourself". It's a fine line.
I really like dating stories, like in Betty and Veronica comics;
I like David Lynch and H.P. Lovecraft for the dark gut-wrenching stuff, and I'm inspired by Miyazaki's films for the subtle heart-warming moments, as well as the moments that blew up my imagination.
When you work with David Lynch, you never know where he's going next and that's exciting. He's like a magician pulling out new tricks.
I love the song 'Into the Night.' It's Roy Orbison meets David Lynch meets Iggy Pop on amphetamines. It has a punk edge that is not HIM, per se. It is super melodic and super '60s, and that is very new to me and it is a sense of achievement to me.
My favourite film-maker west of the English Channel is not English - but to me doesn't seem American either - David Lynch - a curious American-European film-maker. He has - against odds - achieved what we want to achieve here. He takes great risks with a strong personal voice and adequate funds and space to exercise it. I thought Blue Velvet was a masterpiece.