DREAM WEAVER
As the morning sun rises over Los Angeles, David Lynch gets ready for his day. He slips on a white collar shirt, along with battered beige chinos and scuffed black shoes, then buttons it flush-tight against his neck. He meditates, drinks coffees – plural – and sits at his multi-complex home studio waiting for his staff. Personal assistants arrive, as does a picture assistant, a runner, Alfredo the maintenance guy, as well as Dean Hurley, who runs his music studio. Then work can begin.
Routine vs. Disruption
David Lynch’s daily life is as paradoxical as his art. In his work, he plucks the abstract from the ordinary and creates chaos from order; he zooms in on the mundane yet illuminates the underbelly. This approach came early for him. Lynch remembers his childhood as one of picket fences, blue skies, red flowers and cherry trees – yet he’d find himself focusing on the millions of little ants swarming beneath that surface. From the twisted exploration of domesticity depicted in his cult 1977 film Eraserhead to the genre-busting TV show Twin Peaks, the director’s work has confounded expectation and flipped worlds upside down, inside-out, back-to-front and back again.
Once Lynch’s day is under way, it remains grounded in routine. He meditates twice a day. He wears the same clothes.
