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David Lynch (born January 20, 1946, in Missoula, MontanaDavid Lynch is an American filmmaker.

Lynch's films are known for their elements of surrealism, their nightmarish and dreamlike sequences, their stark and strange images, and their meticulously crafted audio. Most of his work explores the seedy underside of small-town U.S.A. (e.g. and focus on the American psyche, producer Mel Brooks once called Lynch, "Jimmy Stewart from Mars."

Lynch is one of the few modern directors whose visual and verbal s are instantly recognizable. Although never a box office giant or a consistent favorite of film critics, he has maintained a cult following.

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Lynch grew up an archetypal all-American boy. His father was a U.S. Department of Agriculture research scientist. He was raised throughout the Pacific Northwest. He attained the rank of Eagle Scout, and on his fifteenth birthday served as an usher at John F. Kennedy's Presidential inauguration.

With the intention of becoming a painter, Lynch attended classes at Corcoran School of Art in Washington, D.C. while finishing high school. He enrolled in the School of the Museum of Fine Arts in Boston for one year before leaving for Europe with the plan to study with expressionist painter Oskar Kokoschka. Though he had planned to stay for three years, Lynch returned to the US after 15 days.

In 1966, Lynch relocated to Philadelphia, attended the Pennsylvania Academy of Fine Arts (PAFA) and made a series of complex mosaics in geometric shapes which he called (1966), which he described as "57 seconds of growth and fire, and three seconds of vomit," was played on a loop at an art exhibit. It won the Academy’s annual film contest. This led to a commission from H. Barton Wasserman to do a film installation in his home. After a disastrous first attempt that resulted in a completely blurred, frameless print, Lynch created .

In 1970, Lynch turned his attention away from visual art and focused primarily on film. He won a $5,000 grant from the American Film Institute to produce , about a neglected boy who “grows” a grandmother from a seed. The 30-minute film exhibited many elements that would become Lynch trademarks, including unsettling sound and imagery and a focus on subconscious desires instead of traditional narration.

In 1971, Lynch moved to Los Angeles to attend the M.F.A. studies at the AFI Conservatory. At the Conservatory, Lynch began working on his first feature-length film, using a $10,000 grant from the AFI. The grant did not provide enough money to complete the film and, due to lack of a sufficient budget, was filmed intermittently until 1977. Lynch used money from friends and family, including boyhood friend Jack Fisk, a production designer and the husband of actress Sissy Spacek, and even took a paper route to finish it.

A stark and enigmatic film, tells the story of a quiet young man (Jack Nance) living in an industrial wasteland, whose wife gives birth to a constantly hissing mutant freak of a baby. Lynch has referred to as "my Philadelphia story", meaning it reflects all of the dangerous and fearful elements he encountered while studying and living in Philadelphia ([1]). He said "this feeling left its traces deep down inside me. And when it came out again, it became ".

The film also reflects the director's own fears and anxieties about fatherhood, personified in the form of the bizarre baby, which has become one of the most notorious props in film history. Lynch refuses to discuss how the baby was made, and a long-standing urban legend claims that it was created using an embalmed cow fetus [2].

The final film was initially judged to be almost unreleasable, but thanks to the efforts of distributor Ben Barenholtz, it became an instant cult classic and was a staple of midnight movie showings for the next decade. It was also a critical success, launching Lynch to the forefront of avant-garde filmmaking. Stanley Kubrick expressed that it was one of his all-time favorite films. It cemented the team of actors and technicians who would continue to define the texture of his work for years to come, including cinematographer Frederick Elmes, sound designer Alan Splet, and actor Jack Nance.

a biopic of deformed Victorian era socialite Joseph Merrick. The film was a huge financial and commercial success and earned eight Academy Award nominations, including a Best Director nod for Lynch. It also established his place as a commercially viable, if somewhat dark and unconventional, Hollywood director.

Afterwards, Lynch agreed to direct a big budget adaptation of Frank Herbert’s science fiction novel for Italian producer Dino De Laurentiis’s De Laurentiis Entertainment Group on the condition that the company release a second Lynch project, over which the director would have complete creative control. Although De Laurentiis hoped it would be the next (1984) was a critical and commercial dud, costing $45 million to make and grossing a mere $15 million domestically. The film may have been hampered by cuts--the 137-minute film was cut down from Lynch’s three and a half hour director's cut in a way that made the plot incomprehensible. The studio released an "extended cut" of the film for syndicated television in which some legitimate footage originally cut from the film was reinstated; however the main caveat was that certain shots from elsewhere in the film were repeated throughout the story to give the impression that other footage had been added. Whatever the case, this was not representative of Lynch’s intended cut, but rather a cut that the studios felt was more comprehensible than the original theatrical cut. Lynch objected to these changes and disowned the extended cut, which has Allen Smithee credited as the director. This version has since been released on video worldwide.

the story of a college student (Kyle MacLachlan) who discovers the dark side of his small hometown after investigating a severed ear he finds in a field. The film featured memorable performances from Isabella Rossellini as a tormented lounge singer and Dennis Hopper as a crude, sociopathic criminal and leader of a small gang of backwater hoodlums.

was a huge critical success and earned Lynch his second Academy Award nomination. The film introduced several common elements of his work, including abused women, the dark underbelly of small towns, and unconventional uses of vintage songs. Bobby Vinton’s "Blue Velvet" and Roy Orbison’s "In Dreams" are both featured in disturbing ways. It was also the first time Lynch worked with composer Angelo Badalamenti, who would contribute to all of his future full-length films.

, about a small Washington town that is the site of several bizarre happenings. The show centered around the investigation by FBI Special Agent Dale Cooper (Kyle MacLachlan) into the death of popular high school student Laura Palmer, an investigation that unearthed the secrets of many town residents. Lynch directed six episodes of the series, including the pilot, and wrote or co-wrote several more.

The show debuted on the ABC Network on April 8, 1990 and slowly rose from cult hit to cultural phenomenon. No other Lynch-related project has gained such mainstream acceptance. Catch phrases from the show entered the cultural dialect and parodies of it were seen on . Lynch appeared on the cover of Time magazine largely because of the success of the series. Lynch, who has seldom acted in his career, also appeared on the show as the partially-deaf, continually-shouting FBI Regional Bureau Chief Gordon Cole.

However, Lynch clashed with the ABC Network on several matters, particularly whether or not to reveal Laura Palmer’s killer. The network insisted that the revelation be made during the second season but Lynch wanted the mystery to last as long as the series. Lynch soon became disenchanted with the series (many cast members would complain of feeling abandoned) and, after shooting the Twin Peaks pilot episode, set off to work on the film road movie starring Nicholas Cage and Laura Dern. It won the coveted Palme d'Or at the 1990 Cannes Film Festival but met with a muted response from American critics and viewers. Reportedly, several people walked out of test screenings.

The missing link between Twin Peaks and Wild at Heart, however, is . It was originally presented on-stage at the Brooklyn Academy of Music in New York City on November 10, 1989 as a part of the New Music America Festival. is another collaboration between composer Angelo Badalamenti and David Lynch. It features ten songs by Julee Cruise and stars several members of the Twin Peaks cast as well as Nick Cage, Laura Dern and Julee Cruise. Lynch described this musical spectacle as the "sound effects and music and ... happening on the stage. And, it has something to do with, uh, a relationship ending." David Lynch produced a 50 minute video of the performance in 1990.

Meanwhile, ed a prequel to the series, about the last seven days in the life of Laura Palmer. The resulting film, (1992), flopped at the box office and garnered the most negative reviews of Lynch’s career.

As a quick blip during this time period, he and Mark Frost wrote and directed several episodes of the short lived comedy series for ABC, which followed the zany antics at a 1940's TV studio. Only two episodes were aired, although seven were filmed.

His next project was much more low-key; he directed two episodes of a three-episode HBO mini-series called , co-written by Barry Gifford and starring Bill Pullman and Patricia Arquette. The film failed commercially and received a mixed response from critics. However, thanks in part to a soundtrack featuring Marilyn Manson, Nine Inch Nails and Smashing Pumpkins, it helped gain Lynch a new audience of Generation X viewers.

In 1999, Lynch surprised fans and critics with the G-rated, Disney-produced , which was, on the surface, a simple and humble movie telling the true story of an Iowa man (Richard Farnsworth) who rides a lawnmower to Wisconsin to make peace with his ailing brother. The film garnered positive reviews.

The same year, Lynch approached ABC once again with an idea for a television drama. The network gave Lynch the go-ahead to shoot a two-hour pilot for the series , but disputes over content and running time led to the project being shelved indefinitely.

With seven million dollars from the French distributor Canal Plus, Lynch completed the pilot as a film. is an enigmatic tale of the dark side of Hollywood and stars Naomi Watts, Laura Harring and Justin Theroux. The film performed relatively well at the box office worldwide and was a critical success earning Lynch a Best Director prize at the 2001 Cannes Film Festival (shared with Joel Coen for ) and a Best Director award from the New York Film Critics Association.

In 2002, Lynch treated his fans to his own version of a sitcom via his website - , eight episodes of surrealism in a rabbit suit. Later, he showed his experiments with Digital Video (DV) in the form of the Japanese .

At the 2005 Cannes Film Festival, Lynch announced that he had spent over a year shooting his new film digitally. The film, titled (in capitals), included Lynch regulars such as Laura Dern, Harry Dean Stanton, and Justin Theroux, as well as Jeremy Irons. Lynch described the film as "a mystery about a woman in trouble". It is scheduled to be released in 2006 and will be Lynch's first feature shot entirely on DV.

Lynch has twice won France's César Award for Best Foreign Film and served as President of the jury at the 2002 Cannes Film Festival, where he had previously won the Palme d'Or in 1990. He was also honored in 2002 by the French government with the Legion of Honor.

He has been nominated for the Academy Award for Directing three times (for

Many of Lynch's films have bit parts played by musicians who have various degrees of acting experience: Sting in Despite his almost exclusive focus on America, Lynch, like Woody Allen, has found a large audience in France; Lynch is notoriously evasive and cagey in interviews, and refuses to discuss the plot details and "true meanings" of his films, preferring viewers to come away with their own interpretations. None of his films released on DVD have director commentary tracks, and some (rather unusually) don't even have chapter selections. This is due, at least in part, to his belief that a film should be viewed from beginning to end without interruption or distraction.Certain images or types of images are common trademarks in Lynch's films. These include smoke, fire, electricity and electric lights (especially flickering or damaged), highways at night, dogs, diners, red curtains, the binding or crippling of hands or arms, various uses of the color blue, and angelic or heavenly female figures. Though interpretations do vary, those who study Lynch's work generally do find such images to represent consistent or semi-consistent themes throughout his Film critic Roger Ebert has been notoriously unfavorable towards Lynch, even accusing him of misogyny in his reviews of In the 1980s Lynch was an admirer of Ronald Reagan and had dinner with the Reagans at the White House. Years later when someone made a disparaging comment about Nancy Reagan he spoke up and defended her.Despite his professional accomplishments, Lynch once characterized himself simply as, "Eagle Scout, Missoula, Montana."[6]

In December 2005, Lynch told the Washington Post that he had practiced transcendental meditation twice a day, for 20 minutes each time, for 32 years. [7]. He advocates its use in bringing peace to the world. He has launched the David Lynch Foundation For Conciousness-Based Education and Peace to fund research about TM's positive effects, and he promotes the technique and his vision by an ongoing tour of college campuses that began in September 2005. [8] (A streaming video of one of Lynch's public performances is available at his foundation's website.) His presentation on September 28, 2005, at New York University [9] was called "misleading" in an editorial in the school newspaper because TM had not been mentioned in advertisements. [10].

Lynch is working for the establishment of seven "peace factories," each with 8000 salaried people practicing advanced techniques of TM, "pumping peace for the world". He estimates the cost at $7 billion; as of December 2005 he had spent $400,000 of his own money and raised $1 million in from a handful of wealthy individuals and organizations. [11]

Lynch has cited the Austrian expressionist painter Oskar Kokoschka as an inspiration for his works. He described the twentieth century artist Francis Bacon as "to me, the main guy, the number one kinda hero painter". He continues to present art installations and stage designs. In his spare time, he also designs and builds furniture. Lynch was also responsible for the comic strip .

Lynch is a big fan of Bob's Big Boy restaurants, an Americana restaurant chain whose chief icon is a cartoon male with a tray of dinner plates. Lynch has said he got a chocolate milkshake at one restaurant near his house for almost every day for seven years in a row. The director credits this restaurant for helping provide the inspiration for many of his films, as his big lunches there helped him come up with ideas.

Lynch also designed davidlynch.com, a site exclusive to paying members, where he posts short films, interviews and other items. The site also features a daily weather report, where Lynch gives a brief de, a book of interviews with Lynch, conducted, edited, and introduced by filmmaker Chris Rodley (Faber