"I'm seeing something that was always hidden. I'm in the middle of a mystery and it's all secret."

DUNE, David Lynch's first (and only) foray into big budget studio filmmaking was an unmitigated disaster, both critically and commercially, and in the wake of its failure, his career as a film director was in question.

But thanks to his own inability to stop creating, and incredible support from his DUNE producer Dino De Laurentiis, Lynch was not only able to continue working in film, but his next film would be the the most personal, idiosyncratic film that he'd created since his debut ERASERHEAD.

And although he didn't know it at the time, it was also the film that not only reinvigorated his career, but defined him as an artist, one with an uncompromising artistic vision.

That film is BLUE VELVET. And on this episdoe, we'll discuss how the film was created, from its inception as a "fragment" of an idea to it being filmed on the streets of Wilmington, North Carolina, and its legacy as one of the greatest films of the 1980s and one of the most important films of Lynch's career.

Please Note: This is Part 1 of a 2 part discussion on BLUE VELVET. The 2nd part of this conversation — including the Extended Episode with our "Somebody Needs A Nap" and "Further Viewing" segments — will be released next week.

Up Next: David Lynch: Episode 6: TWIN PEAKS (Pilot).

ASSOCIATE PRODUCERS:

Andy Lancaster | Benjamin Yates | curtcake5k | Elton Novara | Jvance325 | MagicBloat | Nate Izod | Robert Stinson

Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy.

This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis.

For episode archives, merch, show notes, and more, visit cinemashock.net

"I'm seeing something that was always hidden. I'm in the middle of a mystery and it's all secret."

DUNE, David Lynch's first (and only) foray into big budget studio filmmaking was an unmitigated disaster, both critically and commercially, and in the wake of its failure, his career as a film director was in question.

But thanks to his own inability to stop creating, and incredible support from his DUNE producer Dino De Laurentiis, Lynch was not only able to continue working in film, but his next film would be the the most personal, idiosyncratic film that he'd created since his debut ERASERHEAD.

And although he didn't know it at the time, it was also the film that not only reinvigorated his career, but defined him as an artist, one with an uncompromising artistic vision.

That film is BLUE VELVET. And on this episdoe, we'll discuss how the film was created, from its inception as a "fragment" of an idea to it being filmed on the streets of Wilmington, North Carolina, and its legacy as one of the greatest films of the 1980s and one of the most important films of Lynch's career.

Please Note: This is Part 1 of a 2 part discussion on BLUE VELVET. The 2nd part of this conversation — including the Extended Episode with our "Somebody Needs A Nap" and "Further Viewing" segments — will be released next week.

Up Next: David Lynch: Episode 6: TWIN PEAKS (Pilot).

ASSOCIATE PRODUCERS:

Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod | Elton Novara

Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy.

This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis.

For episode archives, merch, show notes, and more, visit cinemashock.net

For this special BONUS episode, we sat down for a chat with Max Evry, author of A Masterpiece in Disarray: David Lynch's Dune - An Oral History, one of the most comprehensive behind-the-scenes books that we've come across, and one that was a major resource for our episode covering the making of DUNE.

In this interview, we chat with Max about all things DUNE, David Lynch, Hollywood book-to-film adapatations, and somehow, the 1993 movie SUPER MARIO BROS.

Max interviewed a lot of the folks involved in the making of DUNE (including Lynch himself!), making his insights into the film's creation wholly unique. We can't thank him enough for taking the time to sit down with us!

Follow Max Evry on X at @maxevry and Instagram at @maxevry1 and visit his website at maxevry.com.

Purchase your copy of Masterpiece in Disarray on Amazon, your local independent bookstore, or wherever else books are sold.

Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy.

This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis.

For episode archives, merch, show notes, and more, visit cinemashock.net

After the critical and commercial success of THE ELEPHANT MAN, David Lynch was suddenly a hot commodity in Hollywood, although it soon became clear that, although many studios were seeking out the idiosyncratic director, what they wanted was another ELEPHANT MAN, and not another ERASERHEAD.

While Lynch would pass on many of the projects offered to him (which we document in this episode), he eventually signed on to direct Frank Herbert's sprawling science fiction epic DUNE for famed Italian producer Dino De Laurentiis.

The resulting film was, for Lynch, "a great sadness," a betrayal of his own artistic sensibilities and a film that was reviled by critics and ignored by audiences. Although it's gained a modest cult following in the 40 years since its release, it's generally considered a failure by most, even die hard fans of David Lynch.

In this episode, we'll tell you everything you want to know about how DUNE came to be, from previous directors who'd attempted to adapt it, to how Lynch became involved, and the myriad of troubles that the cast and crew had while making the film in Mexico. We'll also discuss the film's eventual release, its legacy, and the incredible impact that it had on Lynch's career going forward.

An Extended Episode — exclusive to CinemaShock+ subscribers — contains bonus content including our fan favorite "Somebody Needs A Nap" segment (where we read and react to reviews of DUNE that we've found on the far reaches of the internet), our "Further Viewing" recommendations and more!

Join now at cinemashock.net/plus.

Up Next: David Lynch: Episode 5: BLUE VELVET.

ASSOCIATE PRODUCERS:

Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod | Elton Novara

Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy.

This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis.

For episode archives, merch, show notes, and more, visit cinemashock.net

ERASERHEAD’s success on the Midnight Movie circuit didn’t suddently thrust David Lynch onto Hollywood’s A-list but it did turn some heads. Some of those who were impressed by his debut feature included producer Stuart Cornfeld (THE FLY) and legendary filmmaker Mel Brooks (BLAZING SADDLES), who recruited Lynch to direct a biopic of a disfigured man in Victorian England titled THE ELEPHANT MAN.

In this episode, we’ll reveal the full story behind Lynch’s sophomore film; how (and why) he was pursued to direct a film that, on the surface, seems like a far cry from his surreal debut; and how an unknown American director traveled to England, where he’d direct some of Britain’s most well-respected actors in a film that would ultimately become his breakthrough, earning the director awards and accolades, and altering the course of his career.

Getting there wasn’t easy. In this, the third part of our series exploring the career of David Lymch, we’ll tell you everything you ever wanted to know about how David Lynch’s THE ELEPHANT MAN came to be.

Bonus content available for Cinema Shock suppporters:

An extended episode with over 30 minutes of additional content which includes bonus segments and further insights into THE ELEPHANT MAN and David Lynch is available exclusively to members of CinemaShock+.

Up Next: David Lynch: Episode 3: THE ELEPHANT MAN.

ASSOCIATE PRODUCERS:

Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod

Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy.

This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis.

For episode archives, merch, show notes, and more, visit cinemashock.net

After spending his youth pursuing "the art life," David Lynch dipped his toe into the medium of film with his shorts THE ALPHABET and THE GRANDMOTHER. 

With THE GRANDMOTHER, he received attention from the American Film Institute, who invited him to move to the West Coast, where he'd spend a whopping five years working on what would become his feature film debut, ERASERHEAD.

In this episode, we'll discuss the creation of ERASERHEAD, through all of its ups-and-(many)downs, its mysteries, its near abandonment, and how it nearly didn't receive a release at all before being "discovered" by Ben Barenholtz, who turned it into a bonafide hit on the Midnight Movie circuit, forever altering the trajectory of Lynch's career.

Bonus content available for Cinema Shock suppporters: An extended episode with over 30 minutes of additional content, that includes, among other things, a Further Viewing segment — where we suggest other films to pair with ERASERHEAD — and the fan favorite Somebody Needs a Nap segment — where we read and react to some of the more ridiculous reviews of the film that we've found on the internet — and is available exclusively to our supporters in our $5 and up tiers. Join now on Fourthwall.

Up Next: David Lynch: Episode 3: THE ELEPHANT MAN.

ASSOCIATE PRODUCERS:

Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod

Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy.

This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis.

For episode archives, merch, show notes, and more, visit cinemashock.net

In our new series, David Lynch: Absurd Encounters, we'll be taking a deep dive into the first chapter of David Lynch's career, covering everything from his early short films through his success on the midnight circuit, his disastrous attempt to film Frank Herbert's Dune, his controversial Palm d'Or win, and everything in-between.

(And not to worry, Twin Peaks fans. While we won't be covering that television show during this series, plans are in place to bring you complete coverage of all seasons of that fan favorite in the coming months, along with the rest of Lynch's career.)

In this introductory episode, we'll cover Lynch's beginnings, from his birth in Missoula, Montana, through his upbringing in Idaho and Virginia, through his time as an art student in Philadelphia and his subsequent time spent at the American Film Institute in Los Angeles, where he'd begin his career in film. Along the way, we'll be exploring his influences, his family, his career as a visual artist, his commitment to "the art life," and how all of these things helped to create the singular visionary that we're all familiar with today. In this episode, we'll also be discussing the creation of three of his ealry short films: SIX MEN GETTING SICK, THE ALPHABET, and THE GRANDMOTHER.

Join us as we begin our journey through the life and filmography of David Lynch.

Up Next: ERASERHEAD 

Bonus content for Cinema Shock suppporters: An extended episode that includes a Further Viewing segment (plus a few other bonus goodies) and is available exclusively to our supporters in our $5 and up tiers. Join now on Fourthwall.

Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy.

This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis.

For episode archives, merch, show notes, and more, visit cinemashock.net

Join us for a live screening of Frank Henenlotter’s cult classic BASKET CASE with an introduction by the Cinema Shock team!

DATE: Tuesday, July 16, 2024

The feature debut of director Frank Henenlotter (BRAIN DAMAGE, FRANKENHOOKER), 1982’s BASKET CASE is a riotous and blood-spattered “midnight movie” experience!

Synopsis: Duane Bradley seems like a pretty ordinary guy. His fomerly conjoined twin Belial, on the other hand, is a deformed creature who lives in a wicker basket. Arriving in the Big Apple and taking up a room at a seedy hotel, the pair set about hunting down and butchering the surgeons responsible for their separation.

Filmed on a shoestring budget against the backdrop of 1980s New York (where it played on the midnight movie circuit for over two-and-a-half years), BASKET CASE has clawed its way from its humble origins to become one of the most celebrated cult movies of all time.

TICKETS: $10 ADV | $12 DOOR

DOORS: 6:30 | MOVIE 7:00

Location: Coffee Underground | Greenville, SC

Purchase tickets at https://gutpunchevents.square.site/

CULT CLASS is a monthly cult classic movie screening series produced by GutPunch Cinema and curated by Cinema Shock! Join us every third Tuesday of the month at Coffee Underground in Greenville, SC!

Before we close out our exploration of Midnight Movies with David Lynch’s ERASERHEAD, we’re taking a detour into the glitter-soaked, fishnet-wrapped world of what may be the most iconic midnight movie of them all: THE ROCKY HORROR PICTURE SHOW.

It all started as a quirky stage production in a small experimental theater in London—but what followed was a pop culture explosion. ROCKY HORROR defied its disastrous box office debut and transformed into the longest continuously running theatrical release of all time.

In this episode, we trace the film’s journey from the original stage musical to the cult sensation it became. We’ll explore its critical reception, its disastrous early screenings, its resurrection on the midnight circuit, and how it became a global rite of passage for weirdos and outsiders everywhere.

Whether you’re a longtime fan or a curious first-timer, we’ll give you the full story behind THE ROCKY HORROR PICTURE SHOW.

Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy.

This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis.

For episode archives, merch, show notes, and more, visit cinemashock.net

In this standalone episode, we're discussing Richard Kelly's modern cult classic DONNIE DARKO!

DONNIE DARKO's journey to the screen was one fraught with difficulties from the very beginning: Few studios were willing to take a chance on a young, unproven director, and once the film did finally get made, getting it released at all was nearly impossible, with most distributors intimidated by the unconventional film. Once it was finally released, it was a huge flop.

So how did DONNIE DARKO go on to become one of the most significant cult films of the last 25 years? In this episode, we tell the full story behind the film, from its inception, through production and release, and ultimately, how the film found new life to become the classic that we know it as today.

Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy.

This episode was written, produced and edited by Gary Horne, & Justin Bishop.

For episode archives, merch, show notes, and more, visit cinemashock.net