I recently had to make a tough decision about a very dear item. My Twin Peaks VHS box-set had to go. There is no way I could just throw it out; this is the series that started my high school obsession. It blew my mind and made me realize I wanted to make movies. It also introduced me to worlds I never knew existed.
Fortunately I’ve found the box-set a good home, and I hope the recipient will get from it even a fraction of what I did. I have a lot of history with those tapes. They were my first introduction to the work of David Lynch, who quickly ousted Stanley Kubrick as my favorite director. I think Kubrick is probably the greatest that ever lived, but there’s something mysterious about Lynch that I can’t resist.
I think it was in the biography Lynch on Lynch where he mentioned that Federico Fellini was one of his major influences. The first Fellini movie I watched was 8½. I find it hard to talk about 8½ because it hit me on such a personal level, but suffice it to say that I think it’s one of the most beautiful films ever made. So I lost myself in the Italian auteur’s catalog. This was a breakthrough for me because I don’t believe I had ever seen a foreign film before 8½, or if I had, it wasn’t memorable.
Now I had a taste for it. I was interested to see movies from other cultures, movies from filmmakers who had a different way of life. I quickly realized that the Hollywood system seemed content within a certain set of values, a homogenous morality and thin, nearly meaningless output. So I unconsciously decided to become a film snob. Fortunately, my brother Jay had a copy of Agurre: The Wrath of God.
That stunning, visceral, hallucinatory take on Joseph Conrad’s Heart of Darkness (the same source material as Apocalypse Now) made me giddy, and Aguirre is still one of my favorites. German master Werner Herzog became my next guru. He is one of the most exciting and prolific filmmakers I know of, even to this day, and the book Herzog on Herzog made me laugh my ass off. His genius is unique.
From Germany my tastes headed north, to Denmark, when Lars von Trier hypnotized me with The Element of Crime. I really did not connect with all of von Trier’s movies, but he is a magician when he hits, and his recent return to form has me considering, maybe masochistically, of going to see his new film Nymphomaniac.
Near that time my brother showed me Alphaville by Jean Luc Godard. It was funny, it was noir, it was smart, and it was beautiful. Plus, it had Anna Karina. I balanced Godard’s panache with the solemnity of Ingmar Bergman in Sweden. While Masculin Feminin had me giggling, Scenes From A Marriage left me gutted.
But when I caught wind of Andrei Tarkovsky, I started a pilgrimage to Russia starting with the sci-fi classic Solaris. It could easily be argued that Tarkovsky films are boring. He even joked about it himself. But the word boring tends to lose all meaning for me when I get wrapped up in a journey of Tarkovsky’s. Even the bizarre, didactic Stalker—a 2 hour, 40 minute sci-fi allegory about transcendence–ranks as one of my favorite films.
Just like that, I had made it from a small logging town in Washington state all the way across Europe. It’s rare that we can trace the cause of our decisions in such clear ways, but I have no doubt that if it wasn’t for that Twin Peaks VHS box-set, I wouldn’t have seen so much of Europe so fast. And now it’s time to move on. After all, the Twin Peaks Blu-ray box-set comes out this year.