David Keith Lynch, was born the 20 in January of 1946 in a small mountain village called Missoula, United States. His childhood was spent in natural environments, almost always magnificent for its beauty, but in the absence of friends of their age. Only in the company of her two younger brothers. His father, scientist, working for the forest service (Ministry of agriculture) and his teacher mother's home, and it should be continuously transferred by national parks and forest reserves. In 1961, Lynch and her family moved northwest to Alexandria, Virginia. According to the director, “In a large city, I realized that there was a lot of fear. Coming from the Northwest, that you hit with the force of a train.”
“I think it was a completely normal guy,” Remember. “Of course, We all like to think that one is different and unique… According to my memories, I had a happy childhood, without too many problems. But the boys have the senses in particular alerts, the eyes wide open, very attentive ears, and the world sends them a cataract of information and sensations… Boys perceive things in a very strong way, but they also have an imagination that can amplify the most insignificant events, the finest details. Enlarged by a child's imagination, a small event can become the most beautiful or the most horrible stories. When I was young this perception of things could be formidable, but, at the same time, disturbing and unsettling. For example, to enter a House and, without seeking anything in particular, No imagine anything, feel that there is something weird in that House. Like an evil cloud that floats in the air and tells you so confused in that House, something is wrong. There are adult people, everything seems normal, but feel that you something is hidden, prevailing in the House by some underground discomfort that those who live there do not want others to see… Everything was very quiet in my house, very normal. My parents were never fought, to such an extent that sometimes I would have even liked that they fight a little, that had been in the House a little movement. But nothing ever happened. Our House was a solid place, stable, reassuring. Perhaps when from the beginning has a big stability, a good solid foundation, one is more inclined to leave itself. While if one grows in insecurity, After desperately seeking security, without risking both. From this point of view, I think I was lucky.”
“When I was a teenager, trying to have fun 24 hours a day. I started not thinking until I had 20 o 21. It was stupid and common things. […] Not much happened in the upstairs to the 19. My mother refused to give me books coloring when you were a child. Has probably saved me, because if you think about it, What makes a book coloring is completely destroy creativity.”
So until he was 19 years. Or is, age in which began its going up and down different art schools, which left. In the year 1965, However, He joined the Pennsylvania Acadamy of Fine Arts (PAFA), Philadelphia. “It was a great time to be in the Academy,” ensures. “Schools have waves, and it came to pass that I hit a giant and growing wave. There were so many good people in the school. And that was the beginning of everything. In terms of painting things were clarified to me, and my style found its way.”
“The House which I moved was against the morgue, next Pop ’ s Diner. The area had a great atmosphere - factories, smoke, motorways, Diners, the strangest characters, the darkest nights. People had stories carved on their faces, and I saw pictures vivid - plastic curtains held with band-AIDS, rags by filling out broken windows- While crossing the morgue road to a hamburger business.”
“I lived in the street 13 and Wood. It is a very industrial place. To the 5:00 There is no longer anyone in the neighborhood. No one lives there. And that I like very much. It's beautiful, If you see it properly.”
“We lived cheap, but the city was full of fear. A baby was shot on our Street and chalk marks that surrounded the place where he had lain were left on the sidewalk for five days. We stole two times, We fired at the windows and stole from us the car.”
Among his works of the era had a complex and entertaining electric pool table and a series of “mechanical women”, This is, Of course, women becoming typewriters.
It is there where he found his true vocation. He enjoyed a lot the stage alongside others with artistic concerns. His penchant for painting was made manifest.
After passing through art schools, in 1965 Lynch and a friend, Jack Fisk, they traveled to Europe to study with the expressionist painter Oskar Kokoschka in Salzburg, Austria. They traveled to Paris, and finally to Athens, Greece, but returned to the United States to the 15 days. “I didn't like Europe,” ensures. “I thought all the time, Here is where I'm going to paint. And there was no kind of inspiration there for the kind of work I wanted to do. […] I had the intention of staying for three years. On the other hand, I was 15 days! I remember lying in a basement in Athens with lizards who climbed the walls, and I thought that it was to 7.000 miles of McDonalds!”
Back in Alexandria, got (and systematically lost) a series of works: in a tobacco store, in an art store, Office of engineering and an indorsement, whose owner was called, properly, Michelangelo.
“When he was fired, that took me elsewhere, to new experiences. Whenever I cast, I was happy of life!”, Remember. “But after cleaning a clogged bathroom (a job that nobody else wanted) for five dollars, I would have gone anywhere just to get out of there.”
He was married four times and had a daughter with his first wife (Peggy Lentz, 1967-1974), a son with his second wife (Mary Fisk, 1977-1987). His third wife was the producer and editor of his films, Mary Sweeney (2006), with whom he had a son in 1992. His last marriage was celebrated 26 February 2009 with Emily Stofle, actress who appeared briefly in the INLAND EMPIRE and who gave birth in 2012 a girl, the fourth son of Lynch, whose name is Lula Boginia Lynch.