Mister Jones 2011-12-05 19:54:26
David Lynch’s Club Silencio

Part 1: The Iconic Auteur Photographs the Inner Sanctum For His Carte Blanche Series


Legendary filmmaker David Lynch captures the opulent interior he designed for Club Silencio in these photographs taken exclusively for NOWNESS. Hidden six flights below ground level at 142 rue Montmartre in Paris, the filmmaker, artist and musician christened the club after the eerie cabaret in his noir-infused Mulholland Drive. Responsible for pitch-black and surreal celluloid visions such as Blue Velvet and cult TV series Twin Peaks, Lynch has conjured a bewitching atmosphere inside the curved network of basement rooms. Accessed through a glittering tunnel leading off the cocktail bar, Silencio has an art deco cinema, reflective dance floor, a Fire Walk With Me-style stage, and a 50s art library featuring a selection of the director’s most treasured books from Kafka to Dostoevsky––not to mention the smoking room disguised as a mini indoor forest. During the week-long Carte Blanche festival, Lynch will be programming events at the club, with live shows from the likes of The Kills and Lykke Li, and screenings of his favorite films, from Billy Wilder’s Sunset Boulevard to Stanley Kubrick’s Lolita. Ahead of hosting Silencio Fragments, an exhibition of the Lynch photographs premiered here, NOWNESS met the director over coffee at Foundation Cartier in Paris to talk dreams, memories and why you won’t find him on the dancefloor.

       传奇导演大卫•林奇为NOWNESS网站独家拍摄了一组照片,纪录下他为Silencio夜总会设计的华丽装修。夜总会位于巴黎蒙马特大街142号的地下六层,身兼导演、画家和音乐人的大卫林奇以他那部充满黑暗意味的电影《穆赫兰道》中的一场怪诞神秘的歌舞表演来命名这座夜总会。如同他一如既往的黑暗色调与充满超现实意味的胶片影像一样(比如电影《蓝丝绒》和Cult剧集《双峰镇》),林奇用他的魔法在迂回曲折的众多地下房间里营造了一种迷醉销魂的奇特氛围,穿过灯光闪耀的入口隧道后是鸡尾酒吧台,Sliencio夜总会的内部有一座装饰风格的艺术放映厅、一个镜面反光的舞池地板、一座《与火同行》风格的舞台,甚至还有一个50年代风格的艺术图书馆,当中收藏了从卡夫卡到若思妥耶夫斯基等林奇导演视为珍宝的书籍,当然,夜总会还有一间装饰成室内迷你森林的吸烟室。在一星期的活动周中,大卫•林奇会在俱乐部里面安排各种活动,比如The kills和Lykke Li等乐队、艺人的现场演出,以及从比利•怀德的《日落大道》到库布里克《洛丽塔》等林奇挚爱影片的放映。NOWNESS网站在巴黎的Foundation Cartier艺术中心约到了大卫林奇, 在他的“寂静碎片”(Slinecio Fragments)活动开始之前,一个林奇摄影展在此首展,在喝咖啡时对林奇导演做了一些提问,包括梦境、记忆以及为什么在舞池中总是找不到大卫林奇的影子。

What appealed to you about creating a real club?
The idea of designing something and making a mood that was warm and safe, where a person could feel good just sitting and being in the space.


Are you a nighttime person?
No. Well, I am, but I don't like to go out. I like to stay home. I like to work. I’m not a dancer. But I like the mood at night. Time gets funny at night.


When do you do your best thinking?
There's daytime thinking and nighttime thinking, and both can be good. But mostly I do like nighttime thinking. When the sun goes down, it just pushes us all more inward. It makes kind of a dream come over you. There are certain things that you start thinking about, that you don't think about in the daytime.


What's your earliest memory?
The B36 bombers or B52 bombers flying over in the sky of Spokane, Washington, when I was little; they’re giant propeller planes and they make a low, droning sound that thrills the soul. And they move slowly across the sky but they're giant, they cast a huge shadow, giant shapes in the sky making this droning sound––it puts you in a dream. If it were any stronger, it would put you to sleep.


Do you remember what propelled you to move from the canvas to film?
Yes, I remember exactly. I was in a studio, painting a picture of a garden at night, so mostly black, but coming out of the black was some green. And I was sitting back, probably taking a smoke, looking at it, and from the painting came a wind and the green started moving. And so I said, “Oh! A moving painting!” And that's what got me going.


How does it feel when you catch an idea like that?
Many times it's just a little minnow, and everybody has lots of minnows for sure. We all have ideas. But if you get a little minnow that's got gold flecks and a violet tail, and when you look at it, it shoots light into you and when you hold it, it makes you vibrate with happiness, that's a special little idea and you start falling in love with it.


Part 2: The Surrealist Director On Growing Up in the Woods and His First Cigarette



In trademark shirt buttoned to the neck and requisite coffee in hand, cinematic auteur David Lynch reminisces to NOWNESS —in his distinctive, offbeat monotone—about his childhood love affair with the woods and smoking cigarettes. Born in Missoula, Montana, the polymath spent an itinerant childhood in the small-town, white picket fence America depicted in the opening to his disturbing psychosexual horror Blue Velvet. With a father who worked for the Department of Agriculture, Lynch’s fascination with nature was crystallized young and emerges in the rustling, ominous trees that surround the cherry-pie world of Twin Peaks. At Silencio, the club he conceived and designed, Lynch has neatly managed to marry his aforementioned twin passions with an ingenious smoking room disguised as an indoor forest. “The mood and feel that exists in the club comes from great lighting,” he explains. “You think of colors and shapes and the way the light plays off those things. The club has no windows, so once you’re inside, you could be anywhere, or nowhere.”

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