Dir: David Lynch
DoP: David Lynch
Things To Consider
- Lynch’s decision to shoot Inland Empire on digital video may have been an economic or an artistic one, regardless it’s evident that Lynch takes to this new technology, this new texture with great aplomb. There is a tendency in digital features to attempt to soften the image, to make it appear more film like, Lynch bucks this trend and leans into the qualities of shooting digitally.
- There are some scenes that are gorgeously lit, and beautifully atmospheric, it can take a lot of work and skill to give flat digital video some depth and texture. Then with other scenes there is monstrous blow outs and over exposures, typical of digital photography (especially of that time)
- Inland Empire is a film of layers, Lynch stacks layer upon layer until they aren’t distinguishable from one another, reality, fantasy, film, delusion, dream, nightmare they all blur into one another. Early in the film Lynch sets the rules, what the world looks like, what the film within the film looks like and then joyfully spends the next two hours pulling these rules apart.
- There’s a real dark humour to how Lynch uses close ups, getting closer and closer to his actors, using wide angle lenses to distort their features, slowly we see faces become less and less human, which culminates in that final, cartoonishly digitally altered close up of Laura Dern.
- Dancer In The Dark
- Shot on What – Tech Specs
- Cinema, Disappearance and Scale in David Lynch’s Inland Empire