David Lynch is one of a rare (especially for American cinema) breed of directors - pure visionaries. He creates alternative worlds that turn out to be more real than reality itself. Many perceive his films as mystical mysteries. But when Lynch is asked what meaning he put into this or that episode, in this or that picture, the director answers: film images cannot be retold in words, cinema itself is the most adequate language for dreams and phantasms. His feature-length debut, Eraserhead, which took five years to make out of pure enthusiasm and overnight changed the rules of the game in American independent cinema, already fully demonstrates Lynch's unique style. This was followed by the Victorian drama “The Elephant Man,” which served as a harbinger of the steampunk genre and was nominated for eight Oscars, a big-budget adaptation of Frank Herbert’s fantasy epic “Dune,” and the surreal thrillers “Blue Velvet” and “Wild at Heart” (Cannes Palme d’Or). film festival), the cult television series Twin Peaks, the deceptively straightforward The Straight Story, the puzzling Lost Highway, Mulholland Drive (Cannes Best Director Award) and Inland Empire. In the series of conversations offered to your attention, Lynch talks not only about all his film projects, but also about painting, photography and music, about filming commercials for Michael Jackson and Giorgio Armani, about his comic book “The Angriest Dog in the World.”< /p>