"Harry, I'm going to let you in on a little secret. Every day, once a day, give yourself a present. Don't plan it, don't wait for it, just let it happen. Could be a new shirt at the men's store, a catnap in your office chair, or two cups of good, hot, black coffee. Like this."  -Dale Cooper

Yeh, me too. I want another movie in collaboration with Badalamenti soon!

But knowing the time Lynch takes to make a good movie, I guess we'll have to wait quite a lot. And it was only last year that Inland Empire made it globally, so...

By the way, I remember that in the interview with Dusty Wright he mentioned some similar question ("Are you working on a new movie project?") and Lynch said something like ("I will keep experimenting and wait till the best idea comes to me"). He is all about ideas, Mr. Lynch...

By the way, I will link you again to that video. http://www.culturecatch.com/vidcast/david_lynch

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

"Harry, I'm going to let you in on a little secret. Every day, once a day, give yourself a present. Don't plan it, don't wait for it, just let it happen. Could be a new shirt at the men's store, a catnap in your office chair, or two cups of good, hot, black coffee. Like this."  -Dale Cooper

That god damn trailer's more popular than Uncle's Day in a whorehouse!

Kubrick had the same problem. He used to feel depressed that he'd made relatively few films.

I waited thirteen years for a new Kate Bush album, which makes DL seem prolific by comparison.

I think you are a bit misinformed about Kubrick. I read a lot of his rare interviews and the only real depression that seems to have happened to him was the one he was obliged to suffer from when people started to threat him and his family when Clockwork Orange was released in the U.K., which is the point where he decided to retire every single copy in the U.K. and not talk about it ever again!

The fact that it took him several time (often years) to produce his movies doesn't mean that it was a suffering for him. I remember reading somewhere that shooting Eyes wide shut was so long not because he was having difficulties, but because he had total freedom and used to shoot many scenes several times until he reached maximum pleasure and perfection in the process of its making. Plus, I heard he developed a really close relationship with the Cruise/Kidman family, so maybe he just liked being around with them and his own family.

The point is some directors are meant to make a movie per year and some others are less prolific. Being prolific is a really dangerous thing, though. You can have everything you want: talent, money, genious... But if you make a movie per year, you're not gonna ace it every time.

Now, I know Lynch has had problems financially, but I don't think he regrets having stayed more on his ten single projects. If he's one of the best directors it's because he took time to make such wonderful things that are unforgettable.

Do the Coens make an unforgettable film each year? I highly doubt that. And I love the Coens.

Note: I still have to see Burn after reading, but my guess is it's not gonna be the best, like IMO O Brother, Where Art Thou? , Intolerable Cruelty and Ladykillers weren't their best. The reasons? Probably there are many, but one of them is they didn't take enough time.

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

 Don't tell me, tell his wife. She mentioned it in a documentary on one of the new UK special editions. His wife and daughters also talk about his withdrawal of A Clockwork Orange because people were threatening his family.

I agree with Laura Dern, in that I would love to see Lynch do something a bit more realistic (like Wild at Heart or Twin Peaks) but with a touch of the surreal.

I still HOPE that we one day see a Twin Peaks follow up movie.

"Harry, I'm going to let you in on a little secret. Every day, once a day, give yourself a present. Don't plan it, don't wait for it, just let it happen. Could be a new shirt at the men's store, a catnap in your office chair, or two cups of good, hot, black coffee. Like this."  -Dale Cooper

 i have to back up faceintheleaves, on this point. i think they included the same doc on one of the double discs in the kubrick box set that came out last year in the states. a clockwork orange was out for over a year before it was pulled, and then that was because of the threats. and he personally asked warner brothers to yank, so it is said, hence the re-release after he died. she also does say that he had wished he could have made more films, and that the problem WAS his attention to detail, but thats why the films were so striking. and he did end up with quite a few unfinished projects, so i dont think he was bereft during eyes wide shut. and if youre talking number of takes, i believe all of his films(especially the shining(emphasized in the docs from the same set)) were done in the same way, which to some may seem over done, but to those involved, doing 75 takes of the same scene brought out things that they admit would never have been accomplished in 5 takes.

and as for lynch ever making another film? huh? i believe as long as he is inhabiting the earth, he will be making films. and as an avowed lover of IE, i have no fear of future films, and no wish that he returns to TP or even celluloid. last time lynch has not had control over his work was dune, so personally i am excited about the prospect of his feature legnth follow up to IE.

With his film narratives, he seems to me to have two distinct (though often overlapping) modes.  One, he gets captured by a story idea, and then shoots to fit.  The other is that he gets ideas for scenes or settings or bits of dialog, then shoots it without a definite idea of why, and builds himself puzzle pieces to distill a story flow out of later in the editing.

IE strikes me as maximizing the second one to an unusual degree, even for him.  But now that he has a film in the new format behind him, he'll probably just mess around until a story hits him again.  Just my hunch.

I definitely don't think he thinks beforehand about how accessible or abstract of a work he wants to produce; if a strong idea arrives for him that happens to be on the more-grounded end of the scale, that's what we'll get...