Cadash: “Make sure you save at least one dance for me.” Blackwall: “All of them.“ – Blackwall: “There’s still some time left … Lady Cadash, may I have this dance?” Cadash: “I’d like that.” – Cadash: “I didn’t know you danced.” Blackwall: “I did once, in another life.”
Inside the Making of Mulholland Drive, David Lynch’s Dark, Freudian Masterpiece
Hailed by some critics as the century’s best film so far, Lynch’s Mulholland Drive began life as a failed TV spin-off of his cult series, Twin Peaks. Lili Anolik remembers the film that blew viewers’ minds.
These days it’s Twin Peaks this, Twin Peaks that. A new season is coming, courtesy of Showtime, after the last ended 26 years ago, and everybody is once again talking about rooms that are red and lodges that are black, ladies who log and dwarfs who dance. Well, I don’t want to talk about any of these things, don’t want to talk about Twin Peaks at all, in fact. I want to talk about David Lynch’s other TV show, his 2001 movie, Mulholland Drive. Only Mulholland Drive is Twin Peaks, or started out that way.
This ‘Concrete Flat’ in Paris by Rodolphe Parente was inspired by David Lynch’s Twin Peaks. The client requested “a home where he could feel like the dancing dwarf in his red room”.
The glossy marquetry floor made from mahogany stained bright red is a reference to the velvet curtains in the Red Room from The cult TV show.
My body no longer belonged to me. My arms, my legs, my head, all moved wildly over the dance floor unconnected to my thoughts. I gave myself to the dance, and all the while I could hear distinctly the transit of the stars, the shifting of the tides, the racing of the wind. This was truly what it meant to dance.
Haruki Murakami, The Dancing Dwarf, The Elephant Vanishes (261)
A dwarf came into my dream and asked me to dance. I knew this was a dream, but I was just as tired in my dream as in real life at the time. So, very politely, I declined. The dwarf was not offended but danced alone instead.