## Quotes > People think anger is an edge, but anger is a weakness that poisons you and the [[Habitus|environment]] around you. - [ ] Why psychedelics are bad for creativity #Learn https://youtu.be/5zR3em4SJFY?si=WnNH-eWEeORCtTcS > I don't know how I got to that thing of not caring what other people think, but it's a [[Value|good]] thing. The thing is, you fall in [[Knowledge/Love]] with ideas and it's like falling in love with a girl. It could be a girl you wouldn't want to take home to your parents, but you don't care what anybody else thinks. You're in love and it's beautiful and you stay true to those things. > We all have at least two sides. The world we live in is a world of opposites. And the trick is to reconcile those opposing things. I've always liked both sides. In order to appreciate one, you have to know the other. The more darkness you can gather up, the more light you can see too. > Many of the things I see in the world seem very beautiful, but it’s still hard for me to figure out how things can be the way they are, and I guess that’s one of the reasons why my movies tend to be open to many different interpretations. > Cinema is a [[Language]]. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. It's a magical [[Medium]]. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music—it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a [[storytelling|story]] that holds abstractions, and that’s what cinema can do. > Stay true to yourself. Let your voice ring out, and don’t let anybody fiddle with it. David Lynch populates his worlds with characters whose outward simplicity often masks a deep, sometimes terrifying, complexity. With Lynch, 'clever is as clever does,' and characters reveal their depth not through exposition, but through their actions within the strange, dreamlike worlds they navigate. ## Post Modernism Lynch’s work often embodies characteristics associated with postmodernism, such as: 1. Blurring of Reality and Fiction: Films like Mulholland Drive and Lost Highway disrupt linear storytelling and challenge the nature of reality, key postmodern concerns. 2. Subversion of Genre: Lynch deconstructs genres such as noir and melodrama, often mixing them with surrealism, as seen in Blue Velvet and Twin Peaks. 3. Hyperreality: His fascination with the artificiality of small-town Americana (e.g., Twin Peaks) reflects postmodern critiques of constructed realities. Lynch’s Perspective While Lynch avoids labels, he has expressed influences from other artistic movements and figures often associated with postmodernism. For example: • Lynch has cited Surrealism (e.g., Salvador Dalí and René Magritte) as a significant influence, which overlaps with postmodern tendencies toward disorientation and fragmented reality. • He has also spoken about his love for the work of Franz Kafka, another figure frequently associated with existential and postmodern themes. David Lynch, [Room to Dream](https://www.goodreads.com/book/show/35386199-room-to-dream) `Concepts:` `Knowledge Base:`