A Quote by Laura Dern

For me, the key is years of the blessed filmmakers I've worked with giving me permission to be bold and jump off cliffs and to be boundaryless. I would put David Lynch at the top of that list.
David Lynch is very important to me, and he does dreamlike movies, but my dreams are not like David Lynch's dreams. I have no interest in copying anybody's work. It would never occur to me to want this to look like someone else's thing.
I was very scared when I saw it, because Dune was for me very important in my life. I was very sad I could not do it. When I saw that David Lynch would do it, I was very scared, because I admire him as a movie-maker, and I thought he would do well. But when I see the picture, I realize he never understood this picture. It's not a David Lynch picture. It's the producer who made that picture, no? Who made this horror. For David Lynch, it was a job. A commercial job. It never was that for me.
The thing that interested me, there are so many filmmakers I admire - like David Lynch and Quentin Tarantino - they have these themes where there's not much going on, but they were suspenseful.
Whereas my producer literally worked on this thing for 10 years and because I gave that presenter credit to David Lynch, she to this day never gets credit. It really kills me.
All my life I've worked and I was so lucky to go from a radio station in Washington to the Dodgers and of course, it never stopped. For me to suddenly put the key in the ignition and turn the engine off, it's kind of a frightening thought. I put the key in and left it there, God willing, for another year.
A lot of the surreal filmmakers, like David Lynch, Alejandro Jodorowsky, or countless other underground filmmakers... Their sense of explosive images have always dominated their films. It's a way to shock the senses, to make them open themselves.
David Ayer was put on my map, at that point, and I always kept note and clocked his career. When he started directing, I saw Harsh Times, I saw Street Kings and I saw End of Watch. I gave my agents a list of directors that I wanted to work with, and at the top of that list was David. I wanted to have that experience.
It's a real message. Snapchat has put an antenna [on me] and the whole world has got to see me. You either like it or you don't. I've been blessed with people that like it. Again, I'm just being me. The key is to always be you. That's the key.
I want to be amongst the top 10, if not top five filmmakers. Though I don't think I'd stand even in the list of top 30 actors.
We do need knowledge. And perhaps in a thousand years we might pick smaller cliffs to jump off. The books are to remind us what asses and fools we are.
When people say God blessed me with a beautiful jump shot, it really pisses me off. I tell those people, 'Don't undermine the work I've put in every day.' Not some days. Every day.
The first time I lay actual eyes on the real David Lynch on the set of his movie, he's peeing on a tree...Mr. David Lynch, a prodigious coffee drinker, apparently pees hard and often.
I was living in Seattle. I was 21 years old, just going to do theater. And I got a call that David Lynch was in town and wanted to meet with me.
[David Lean's] images stay with me forever. But what makes them memorable isn't necessarily their beauty. That's just good photography. It's the emotion behind those images that's meant the most to me over the years. It's the way David Lean can put feeling on film. The way he shows a whole landscape of the spirit. For me, that's the real geography of David Lean country. And that's why, in a David Lean movie, there's no such thing as an empty landscape.
I love comedy. David's Lynch the only person I've worked with more than once who sees me as a specific thing - he sees me as the sexy bimbo, in ways, and he also sees me as Lucille Ball. Actually, Nick Cage and I did Lucy and Ricky in two scenes in Wild at heart that were cut because the movie was four hours long.
We love David Lynch. We're big David Lynch fans.
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