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Ray Pride

By Ray Pride Pride@moviecitynews.com

David Lynch gets a German blitzkrieg: I don't want to have anything to do with Hitler.


There’s something fascinating about David Lynch at a podium marked “Urania” with a red curtain behind him, recorded in sloppy-cam, but there’s more to this public event than first sight, reports TIME. “David Lynch is no stranger to weird confluences,” they write, but he “failed to anticipate the reception his latest project got in Germany this week.” Lynch is touring Europe “to help establish a network of so-called “invincible universities” to teach the philosophy of transcendental meditation. The idea is to engender world peace. But at a meeting this week at a culture center in Berlin, Lynch triggered a less than peaceful exchange with German onlookers when Emanuel Schiffgens, his partner for establishing such a “university” in the German capital, suddenly veered into dangerous waters. “We want an invincible Germany!” intoned Schiffgens, the self-styled Raja of Germany… “What do you mean by this concept of invincibility,” asked an onlooker from the audience, made up mainly of film students with a smattering of meditation devotees. “An invincible Germany is a Germany that’s invincible,” replied a Delphic Schiffgens, who was dressed in a long white robe and gold crown. “Adolf Hitler wanted that too!,” shouted out one man. “Yes,” countered Schiffgens. “But unfortunately he didn’t succeed.” At that the crowd began shouting epithets at the speaker: “You are a charlatan! This is bad theater!” Lynch, who does not speak German, looked on in incomprehension.” More at the link, plus the entire conflagration, in two parts, from YouTube. Lynch’s reply in the comments of the video follows as well.




David Lynch here. I don’t want to have anything to do with Hitler. We all know he was not a good person who did terrible things. I want to support Invincible Universities to develop the full potential of the student—enlightenment—and to have students meditating together in a group to enliven and radiate the unified field—the field of peace—into the atmosphere, into the collective consciousness of every nation. Invincibility in this case means dynamic peace—a situation where no harm can come from within the country and nothing destructive can come from the outside to harm the country. Sometimes misunderstandings are troublesome. So I want to make perfectly clear that the university for enlightenment and peace will make this a peaceful world — a peaceful world family — where anyone can travel anywhere in the world and meet a friend, not an enemy. Dynamic peace is not just the absence of war—it is the absence of negativity, which is the seeds of war. These universities, established on a permanent basis, will put an end to thousands of years of war and oppression, and prevent a man like Hitler from ever arising again.

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

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“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
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