I am so proud to share my interview with the legendary director and Renaissance man, David Lynch, in the current issue of SCENE. Photo: Ben Cope.


“I started off only wanting to be a painter—since the 9th grade,” says David Lynch, sitting in an open air art studio perched atop his Hollywood home on a steep canyon hillside. The view is commandingly pastoral, and there are several paintings out on easels, which I am not supposed to look at because they aren’t done yet. Lynch is preparing for a September show of new paintings, and possibly sculptures, at his longtime gallery, Kayne Griffin Corcoran in Los Angeles. It’s the house from Lost Highway, the concrete one with the rectangular windows. And there’s a fully equipped recording den called Asymmetrical Studios on the ground floor, where he recently completed production on his second album of original music, The Big Dream, slated for a mid-July release. Claiming to have abandoned cinema in favor of more satisfying pursuits, these days the Oscar-nominated director of The Elephant Man and Blue Velvet splits his time between the studio above and the studio below. That’s in between running an internet-based music and art archive and pursuing the Transcendental Meditation practice and advocacy that has changed his life…