Some internets for your weekend

1. David Lynch Keeps His Head - David Foster Wallace on David Lynch (during the “anti-hollywood” heyday of 90’s filmmaking) for Premier…

In Carl Franklin’s powerful One False Move, his crucial decision to focus only on the faces of witnesses during violent scenes seems resoundingly Lynchian. So does the relentless, noir-parodic use of chiaroscuro lighting used in the Coens’ Blood Simple and in all Jim Jarmusch’s films … especially Jarmusch’s 1984 Stranger Than Paradise, which, in terms of cinematography, blighted setting, wet-fuse pace, heavy dissolves between scenes, and a Bressonian style of acting that is at once manic and wooden, all but echoes Lynch’s early work. One homage you’ve probably seen is Gus Van Sant’s use of surreal dream scenes to develop River Phoenix’s character in My Own Private Idaho. In the movie, the German john’s creepy, expressionistic lip-sync number, using a handheld lamp as a microphone, comes off as a more or less explicit reference to Dean Stockwell’s unforgettable lamp-sync scene in Blue Velvet. Or consider the granddaddy of inyour-ribs Blue Velvet references: the scene in Reservoir Dogs in which Michael Madsen, dancing to a cheesy ’70s Top 40 tune, cuts off a hostage’s ear-I mean, think about it.

2. Ghostly Tales In Amsterdam: 13&God - Interview by Kiran Acharya for The Quietus…

Is it too early in the afternoon to talk about death?

Adam Drucker: Never too early. This record is about the appreciation of life through the acceptance of death. That sounds tacky, but that’s the reality. The album is not meant to be a ride on the dark side.

3. Anything Tony Pierce has written on the busblog since the LA Times went mad and let him go.

4. A single stranger sleeping in the sun.

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