Catching the Big Fish

There is a strange paradox happening on the storytelling/filmmaking dimension. Something which escapes the eyes of so many but, which at the same time, it is totally incompressible for so many minds. No, this is not something new. It has already happened before. You only need to know: “There’s nothing wrong with your television. Do not attempt to adjust the picture. We’re now controlling the transmission…”

However, it is more than certain that some people have not got what all of this is about. No problem. In the case of to fail the first option, there is always a second one like: “You unlock this door with the key of imagination. Beyond there is another dimension…”

But here, maybe it resides the problem: in the lack of imagination. Just in case people wonder what all these strange dimensional things with dimensions and weird things are about… Just click on this last video for to read what is the fifth dimension.

Starting at that point, it is clear that if imagination is a dimension, not everybody has access to it. Not because people limit them to enter. If not because they limit themselves and somehow, or today we really live in Dumbland or in an over excess of people with total lack of wits and creativity who want to justify every artistic work with metaphors, psychology analysis… And Freudian complicated stuff which leads to the ambiguity in which some of this individuals start to ask themselves if storytelling is equal to fortune telling. Why? Because someone has applied the following process of thinking: some dreams show the future, ergo if some people bases their stories on their dreams they are predicting the future. It would work if those people could have the creativity enough to understand that some of those dreams are changed following the whims of the storyteller/filmmaker or creator.

The Mystery Man, Robert Blake. Lost Highway. Picture courtesy October films

The Mystery Man, Robert Blake. Lost Highway. Picture courtesy October Films

Yes, WE are GODS. We have the possibility of to change realities to our own visions and to share them with the world in a filmmaking format, a writing one, maybe just a painting or just Instagram/Youtube. In our days, the pure creative people with access to the fifth dimension is in extinction and also weird to find but we can do whatever we want and to share it with the world only using our brains.

If we want, we can even create something totally unexpected or fantastic and to make think the whole world about if that is real or not. Because of our species, in moments like this, are the real aliens or weird people on this world, and not the ones who proclaim themselves their “art is not understood at all because the world is not understanding the metaphor”. We are bullied for that, for to do not think in Freudian metaphors… In a way like you cannot imagine. So, following the teachings of my old monk order and what Bradbury inculcated me: we need to fight for to protect our dimension and, also, for to protect the people who have natural access to it. Because some people have Born this Way and it is what it is.

Personally, I am going to be a bit radical in this text. In special, against one of the places where I received my “storytelling” instruction. I use quotes because that is not how storytelling works at all. Trust me, I started a long quest long ago finding answers to those doubts. Somehow, I have noticed I was right from the beginning and not all those “teachings”. That has made me feel like some sort of scoundrel who has stolen the blueprints of the terrible weapon which pretended to destroy our whole species for to get access to the dimensional portals. Strange indeed.

Now, to all the audience who reads this but who have not studied storytelling, narrative or filmmaking. Still, they could be interested in all of this. Forget about the classic way of narrating which Aristotle proposed some centuries ago. In a moment between him and now, after Shakespeare for to specify, someone decided that a story was not a lesson for others if not it was a prediction. And after, it arrived Freud and those sort of people who thought in those ways found on Freud the perfect justification for their belief and with that everything changed. So, in short version and for to make you understand. There are two types of people who create stories/art, talking in general, the ones who make it because they simply need to express that way. And the ones which I call Lost Highway, and with Mr Lynch permission, those are the ones who use art or stories to “send messages” or to “interpret them”. Of course, like this last type does it with their own work they cannot conceive that others do not do it with theirs. It is really so simple like that. For this reason, they tend to “look for” all sort of Freudian arguments and explanations to our work to psychoanalyse all the people who have access to the 5th dimension and to make us believe we are insane. Indeed we are. But our insanity likes to so many people and makes sales fact that some of those sort of “metaphorical work” do not.

Here, I am going to talk more about Mr Lynch than any other filmmaker because, being brutally honest, he has been in those “classes” the one to which I have really seen how the Freudian tendency destroyed his work. Until the point that I am afraid there is some sort of “wave” which says his work or the work of Herzog must be read that way: with metaphors. And of course, if you start to read something like that… Well, it makes you Lost Highway. Why? Because it is addictive. People do not limit themselves to read Lynch like that if not everything: advertisements, books, television series, tweets… It arrives a moment that the world is not reading words if not suppositions, fantasies or, how a painter which I admire says, hallucinating. Yes, they have hallucinations. We are not sure if they put something special on their coffees or which is the problem because this obsession with to try to look for seven feet to a cat when we all know a cat has four feet and seven lives… It is exhausting. Really, it is… Until the point, we only want to lock ourselves in our own dimension and kick away the rest of the Lost Highways with all sort of Expelliarmus spells or even harder stuff. Do not worry, it is a magical thing. Still, it is allowed to use lightsabers instead of wands if anyone prefers it too. On the fifth dimension, there is not discrimination between races, protective weapons or spells.

For to start, I will recommend you to watch the film Lost Highway BUT, in case some of you could not or you do not feel like to do it. I must recognise it is not the PG-rated sort of film. Just take a look at this trailer to have in mind of what it is going to be talked in advance.

Now, is people aware there is something called “surrealism” and that, together “cubism”, “expressionism”, “vanguardism”, “abstract art”… Are different types of art? So, if you know that exists on pictorial art which is the problem? That anyone cannot apply those concepts or techniques to storytelling or to the motion picture? No, it seems when Mr Lynch decided to stop to tell films on a classic narrative he made something which people could not understand. Instead of to give for granted Mr Lynch was exploring different artistic paths, in special, on the surrealism field. Some people decided they needed to put logic to all that disorganised story and to give to it a sense. However, if they did that, they found they had to made it with some older films from other filmmakers to justify their own Freudian bases too. In short, they tried to make a psychoanalyse of the work of an artist without to have in consideration so many aspects of the life of those artists which they unknown. And they gave for granted that with that analysis of that piece they did not only knew better the artist, or their idol, if not they could know the technique for to make the same sort of work. Later, they use to say the hedonist is the artists… Take a look to the artist’s fans and you will see a different world on it.

All of this comes for something I have been noticing lately. Why will someone make a whole complicated super-analysis of the whole methods of filmmaking? Until the point of to arrive at the moment of to create a new category for to classify all those sorts of different narratives. A. Or he had this idea and he felt he had to share it with the world. B. He had heard these theories before but no one else dared to write them or to express them publicly. C. He had tried to enter the fifth dimension and he could not so he made all the best he knew to try to explain something which did not really can be measured by logic or the basic rules. No, I am not talking about Mr Lynch, if not about the sort of people who wrote those books telling what they believe Mr Lynch films are about when they do not know it at all. However, they do not only make this with Lynch, they tend to make it with so many people. Somehow, those folks finish on schools and things like that and they make people believe real filmmakers creation process it is like they have written on their metaphor instructions book when it is not.

Maybe, for this reason, Mr Lynch was a bit tired of his super fans and he wrote on 2006 a book called Catching The Big Fish. A book which basically serves to explain to those fans that pure creative process does not have a logical explanation. He, for example, started to develop Blue Velvet only with this basic ideas: red lips, green lawns and the song by Bobby Vinton. That is all, do not look for more logic and sense because there is not. He did not choose the red lips because the lips meant the sexual secret metaphor of the feminine parts and lust, or the green lawns because, in some circles, green means lust too… Well, in those Lost Highway circles everything is about sex if one wonders. Even innocent things are perverted.

Probably, because all those sorts of calls from crazy super fans for to call the attention of creators and to make us doubt of our work. Lynch, eloquently, explains in that book that the real path of the creation is not other than what is known as TM -Transcendental Meditation-. Something which it seems he does not explains in the book but let’s be honest: “Does anyone need to tell to other how to meditate too? Get a book!”

Patricia Arquette. Lost Highway. Picture courtesy October Films.

Patricia Arquette. Lost Highway. Picture courtesy October Films.

The case of Mr Lynch analysis to most of his more surrealist theme like films was the result of my agony but also curiosity on my college years. I was more fascinated in how those group of fellows were going to interpret and to read all of that, than on the interpretation by itself. Then, for strange things which happen in life. I made something quite weird and… Well, weird or not, I have seen I have been analysed in the same Lynch way. Fact, which I cannot understand. Because anyone could give for granted that certain surrealist films could be read on that Freudian way but not the normal ones with classic narrative, isn’t it? However, those folks tend to make it with everything. Even with the Straight Story and, on there, there are not so many weird things that Freudian analysis needs to explain.

I do not know what is going on. Really, I do not. It is like if those sort of people were taking The X-Files and trying to give an explanation to an episode which does not have any explanation and, like they cannot, they create all sort of “theories”, “conspiracies”, “alternative plots”, “Easter Eggs”, or they shield themselves on the “Freudian psychoanalyst”… Hold on. Isn’t this what fans and super fans do? They do it, isn’t it? So, the conclusion is clear: “those folks are just a version of upset superfans who cannot have access to the knowledge they wanted to know but when they had it they did not want to recognise they were wrong so they have just created their own spin-off.” I have told you I was going to be brutally honest.

A conclusion of the conclusion: I am no one but I have been suffering for soooooo loooong this sort of non-logic logic explanations that those people who do not want to call themselves fans give. The problem is those sort of fans are even worse than those sort of super fans who are not ashamed to confess they are and for some reason, they scream. Has anybody figured out why do they scream?

Arrived this point, you cannot be sure which sort of fan type is scarier. Yes, scary… The last time I was at the theatre I had the German super fan of Gandalf at my side. Because she was a fan of Gandalf, no Magneto. Let’s set this perfectly clear. We all know they are not the same person… What a night… Furthermore, I do not know which is the obsession people have. Seriously, there is a problem here. What happens? That each time I go to the theatre there is the “coincidence” or the “rumour” someone “famous” is the audience? Always? And even if I waited on my seat watching people going out they came towards where I was there…  with an excuse for to check…? “Oh I was two rows sat behind you but WE have lost our phone…” And they looked at me, not at the ground… What could I say? At least, Gandalf could have invited to champagne because he and his fellow were already drinking too much all the play… Just share… Whatever, I was kidding but not on the scary issue. It was quite frightened to share the row with that superfan. Is the way they look at you? Not sure but it is scary all those peeping and gazes. Yeah, a similar thing happened days before. Somehow I found myself in the middle of a square when Bayona had organised his premiere the same day I decided to go shopping in the area… Totally unexpected. More even, the sort of fellows which I crossed with… What a strange world we live in…

Whatever. If you want to create stories: writing, filmmaking… Even via social media or pictures, the format does not matter. Do not let all this noise from non-creative people mess with you. It does not matter if you dream with to make the new Star Wars film or some sort of story told more Lynch style. If you want, you can tell the things in both ways or to experiment with several formats of art. That, does not give reason to no one to psychoanalyse them. Even less to try to find politic meanings on the work. It is neither accepted the easy trick of to say: “it is a metaphor” when it is not for to let them justify themselves selling what they want to sell you and not what your story was really saying. All of them, screamers or Lost Highways are all super fans too. And the only objective is to call your attention for to use you and to use your work. Get rid off of them, or just… You know… Fill your pockets of good disappearing tricks. That is always useful.

To all the really creative people and creators.