And Lula, the long-torsoed beauty also known as Peanut, arrives at the gate in her T-Bird convertible, bearing his precious snakeskin jacket. Two years after this first two-minute scene, Sailor is released from Pee Dee Correctional Institution, where he’s served time for manslaughter. Vital, complicated, gorgeous, and ferocious, it won that Palme d’Or winner. And bold so as to ignite visceral responses: my own first experience with Wild at Heart was at the 1990 Cannes Film Festival, when it inspired a loud mix of cheers and a few walk-outs at its premiere screening. It’s an incredible, ugly, unforgettable scene.

Accompanied by a metal-ish guitar riff and his girlfriend Lula Fortune’s (Laura Dern) shrieks, Sailor doesn’t even hesitate, but pays pack her blood-red-finger-nailed mother Marietta (Diane Ladd), the ultimate source of the goading, by pointing his bloody finger over the corpse at her. Sailor Ripley (Nicolas Cage), caught offguard on a stairway in Cape Fear, “Somewhere near the border between North and South Carolina,” is goaded into a horrific act of violence, literally slamming a black man’s head into pulp against a marble floor. And we’re just there to make that happen for him.” Speaking for “Specific Spontaneity: Focus on Lynch,” one of several chatty documentaries assembled for the new Special Edition DVD of David Lynch’s magnificent Wild at Heart, Elmes expresses a sentiment apparently held by anyone who’s worked with the man - they’re moved to help make work that is peculiar, ingenious, and entirely thrilling.Ĭonsider the blazing first scene in Wild at Heart. You know it’s going to be unusual and it’s gonna rise above the other films, because David’s films have a particular point of view and it’s going to lift off the page in kind of a magical way.

“The most rewarding thing about working with David,” says the brilliant cinematographer Frederick Elmes, “is helping him see the vision through. David Lynch, “Love, Death, Elvis, and Oz: The Making of Wild at Heart“ Sheryl Lee, “Specific Spontaneity: Focus on Lynch”īubble gum was a key element to Lula, for some reason. I always felt incredibly safe with him as a director.

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