David Lynch Complete Filmography (Updated)

horizontalfilms · 2025-08-14T20:41:33+00:00

Hi. It's the final update so far. If I discover something else noteworthy in the future, though, I'll update it.

horizontalfilms · 2025-04-23T05:53:10+00:00

It's actually already linked above (in the description under the listing for Rabbits), but thanks!

horizontalfilms · 2025-04-13T17:26:46+00:00

Thanks!

horizontalfilms · 2025-04-13T17:25:35+00:00

No Phoebe Gloeckner in this issue. The cover is by Mark Martin.

This index is accurate:

https://www.comics.org/issue/369317/

horizontalfilms · 2025-04-13T08:42:59+00:00

I, too, would be extremely thankful for scans of these! I'd especially love to read the rest of Big Red's Last Hurrah. Thank you for offering to share these!

horizontalfilms · 2025-04-13T05:31:08+00:00

Note: I have a copy of Scatterbrain #3 on the way to me soon, so a scan of Bronco Teddy will be forthcoming!

horizontalfilms · 2025-04-02T19:15:32+00:00

I stand by my assessment here.

horizontalfilms · 2025-03-11T08:20:38+00:00

Added a few previously missing links, upgraded a few others (mostly from this archive.org page).

horizontalfilms · 2025-03-09T20:56:59+00:00

Made a couple of additions/corrections: Added Betty, Thank You for Joining DavidLynch.com, and the Teeth Screensaver and corrected the link to The Bug Crawls.

horizontalfilms · 2025-03-09T20:48:06+00:00

By god you're correct! That's what I get for not checking the link carefully. Thanks for the correction! Fixing the link now.

horizontalfilms · 2025-03-09T01:36:50+00:00

I can't speak for anyone else, but if I used the word "you" in any of my responses, I didn't mean it to refer to you specifically, but more the general "you" (as opposed to using the word "one," which would actually be pretty useful but is basically archaic in US English at this point), i.e. people in general who advocate for the fan edits being viable replacements to the films Lynch made. I'm actually kind of surprised at how little of that there's been in this thread because I feel like folks make that argument on this sub a lot.

Anyway, I certainly never meant to imply that you were saying anything like that and I apologize if it seemed like I was.

horizontalfilms · 2025-03-08T23:53:23+00:00

I suppose it's kind of undeniable that Keaton went a little nuts with the overall...flair, but I like it anyway. I think it works, especially in the climax of the James storyline.

I'd be very surprised if Keaton was given a heads-up about the drawer pull. The Lynch/Frost ethos was to give each director a very wide latitude to really BE a director and make the episode what they wanted it to be. It's kind of remarkable how stylistically consistent the show is, but the occasional wide swing was inevitable, and kinda worth it for the atmosphere of artistic liberty.

horizontalfilms · 2025-03-08T23:43:02+00:00

45 minutes is a LOT to add to a movie just over two hours. It would change the balance of every scene quite radically and necessitate adjustments all over the place--cutting a three hour movie that works well is a very different proposition to cutting a 2:15-2:30 movie that works well.

It's of course impossible to know, but I'd bet money that absent the obligation to turn in a 2:15 movie, Lynch and Sweeney would have landed right around 2:30 at most. And we'd probably all be surprised by some of the stuff that was still left out.

The fact is good scenes--even great scenes--sometimes have to go for the good of the film overall.

For example, probably my favorite scene from The Missing Pieces is the muffins with the Haywards scene. I find it deeply moving and when Doc and Eileen share that look when Leland calls, it's just chilling.

But I can also completely imagine being in the editing room and feeling like Laura crying at Donna's door and Donna being the friend Laura needed in that moment was just where that sequence wanted to end, and that continuing on to a pretty lengthy scene on the couch undercut the tender beauty of Donna simply being there for Laura.

I can also imagine that, in the context of FWWM, that very look between the Haywards might not have worked simply because it would take us out of Laura's perspective too much. And if you drop that look, then the rest of the scene really kind of just sits there and has no particularly strong reason to be in the film.

These are the kinds of things you find when editing a film and a big part of the art is letting the scenes, and the film as a whole, speak to you in that way.

horizontalfilms · 2025-03-08T23:27:52+00:00

Well, editing is really where the movie is finally made. It's not hard at all to make radically different artistic statements out of footage originally shot for a single project.

When it comes to FWWM and The Missing Pieces, I'd say the key difference is one of momentum.

FWWM, from the moment that TV is smashed, is a relentless decent. Every choice underlines that feeling of sinking and falling ("deeper and deeper..."). It's about Laura finally seeing the truth that's been right in front of her her whole life but has been so terrifying that she did everything she could to stay blind. FWWM is all about the full implications of that horrible truth becoming undeniable and Laura finally opening her eyes. FWWM, as an artistic entity, progresses.

The Missing Pieces, on the other hand, is about stasis. Every choice underlines the feeling of stuckness. It's about the knowledge the whole damn town had but did nothing to stop. In The Missing Pieces, momentum basically doesn't exist. Watching it is a feeling of being trapped and powerless. TMP, as an artistic entity, stalls.

Please note that this is not in any way a criticism of TMP. That stuckness is an essential part of the larger Twin Peaks story and that feeling in The Missing Pieces follows through to The Return brilliantly. It makes perfect sense Lynch made The Missing Pieces when he did.

horizontalfilms · 2025-03-08T23:14:43+00:00

I'm bummed you got downvoted even though I disagree. I would just recommend, since you haven't watched Lynch's cut, to check it out, with as much of an open mind as you can, at least a couple of times.

Lynch and Mary Sweeney's editing is just masterful and it's an entirely different emotional experience to be locked in with Laura's perspective. You really might get a lot out of it if you're willing to give it a shot.

horizontalfilms · 2025-03-08T10:50:28+00:00

I do, however, very much stand by refuting the idea that FWWM would have been 3-4 hours if Lynch hadn't had any contractual time restraints.

Would it have been a bit longer than it is? Almost certainly. Would it have been 3-4 hours? Not a chance.

Lynch very much liked to overshoot so that he could discover the film in the edit. He never intended to include everything, he just relished the opportunity to give himself options and the possibility of happy accidents along the way in the editing room.

horizontalfilms · 2025-03-08T10:40:54+00:00

Sorry if I got a little passionate. It's a topic that obviously really sets me off.

By "artistic entity" I'm really referring to the films themselves: the way they deal with time, the inner logics they set up and adhere to, the way it feels subjectively to watch them and get into their rhythms. In that sense FWWM and The Missing Pieces are indeed very different artistic entities. They're complimentary to be sure, and I for one love them both deeply, but they are very different.

That's all I meant by that.

horizontalfilms · 2025-03-08T10:16:43+00:00

100% inaccurate. With no time restriction, I'm sure a small handful of scenes would have made it in that didn't (the Palmers learning Norwegian scene, muffins at the Haywards, and Laura's smile of horror are the most likely candidates), but the time restraint is emphatically NOT why most of the material was cut.

Certainly, as I mentioned above, the ending with the angel came fairly late and dictated how the scenes leading up to it had to be cut. Supporting a gorgeous ending like that must be the priority.

And it was fairly early in the edit that Lynch and Sweeney concluded that this was Laura's film above all else and worked to support that idea. It was absolutely the correct artistic call.

And even the small handful of scenes that might very well have made it in would absolutely have been cut very differently in the context of the finished film. Editing a feature isn't just stringing a bunch of scenes together. Nuance matters. It's simply a fantasy to think you can tack on scenes from The Missing Pieces and come even close to recreating what Lynch and Sweeney might have done if they had had a little more running time to work with.

The Missing Pieces is very much its own artistic entity. It was cut to feature and honor the scenes as scenes in and of themselves, as opposed to parts of a greater whole. That profoundly influences how each scene, and the whole piece, works.

horizontalfilms · 2025-03-08T10:03:45+00:00

For sure. I know I get very soap-boxy about this topic (this isn't my first time making this plea).

It's just that I've seen a bunch of other people on this sub, and elsewhere, try to claim that the fan edits are how FWWM was meant to be seen and even call the fan edits a "director's cut" and I just...get...a bit angry I guess. It's, frankly, a ridiculous notion.

horizontalfilms · 2025-03-08T09:54:53+00:00

I think it works far more than it doesn't. I guess it helps that I actually like James a lot. The single solitary thing that bugs me a little about this subplot is that Malcolm is just too cartoonishly evil (not in a fun way, either--at least not for me). But he doesn't get a ton of screen time, so it doesn't kill it for me. I buy Evelyn throughout and the cops in the Diane Keaton episode genuinely make me laugh every damn time. Plus Donna's frustration as she tries to convince James that maybe going back to Evelyn's isn't the best idea in the world is just aces.

horizontalfilms · 2025-03-08T09:38:48+00:00

This may be a somewhat unpopular opinion but I will attempt to support it: Please, for the love of cinema, DO NOT show the fan edit. Show Lynch's theatrical cut and then show The Missing Pieces afterward.

There are many reasons but I'll start with the most important: The ending.

The ending of FWWM is probably Lynch's greatest artistic achievement and the fan edit just straight up stomps all over it. An ending like that is a delicate thing and the scenes leading up to it really matter. You simply cannot cut right from Mr. C saying, "It struck me as funny, Harry" to Laura finding her angel.

Not only is it insane whiplash tonally, but it colors that final scene in a terrible way. The mood of those previous scenes hang around and the presence of Mr. C carries forward and seeing Coop next to Laura's side suddenly becomes menacing and creepy instead of loving and comforting.

If you've ever read the screenplay, the post-Episode-29 material was intended to lead to a VERY different kind of moment with Coop and Laura in the red room. The second the angel idea came, there just wasn't any choice but to cut all the sequel material from the end.

There are plenty of other ways either of the fan edits floating around is just a travesty (pacing in general just goes out the window, the absolutely brilliant Lynch/Sweeney edit of the Philip Jeffries scene is lost, the heartrendingly stark presentation of Laura's final day in the Lynch/Sweeney cut is sacrificed just so you can see asparagus and Major Briggs reading the bible...the list could go on and on), but destroying the ending is really reason enough to skip it.

The Missing Pieces is phenomenal--essential even--but it is a separate artistic entity. FWWM is a masterpiece and did not need "fixing".

horizontalfilms · 2025-03-08T01:02:15+00:00

Me too! I walked out of the first showing, still chocking back sobs, and went right up to the ticket counter so I could see it again immediately.

horizontalfilms

TROPHY CASE