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Directed by | |||
| David Lynch | |||
Writing credits(WGA) | ||
| David Lynch | (written by) | |
Produced by | |||
| Pierre Edelman | .... | executive producer | |
| Neal Edelstein | .... | producer | |
| Joyce Eliason | .... | co-producer | |
| Tony Krantz | .... | producer | |
| Michael Polaire | .... | producer | |
| Alain Sarde | .... | producer | |
| Mary Sweeney | .... | producer | |
| John Wentworth | .... | co-producer | |
Original Music by | |||
| Angelo Badalamenti | |||
Cinematography by | |||
| Peter Deming | |||
Film Editing by | |||
| Mary Sweeney | |||
Casting by | |||
| Johanna Ray | |||
Production Design by | |||
| Jack Fisk | |||
Art Direction by | |||
| Peter Jamison | |||
Set Decoration by | |||
| Barbara Haberecht | |||
Costume Design by | |||
| Amy Stofsky | |||
Makeup Department | |||
| Howard Berger | .... | special makeup effects artist | |
| Martin Christopher | .... | additional makeup artist | |
| Selina Jayne | .... | key makeup artist | |
| Patricia Miller | .... | key hair stylist (as Patty Miller) | |
| Gregory Nicotero | .... | special makeup effects artist (as Greg Nicotero) | |
| Emjay Olson | .... | hair department head: additional photography shoot | |
| Julie Pearce | .... | makeup department head | |
| Katherine Rees | .... | hair stylist | |
| Malanie J. Romero | .... | assistant makeup artist (as Malanie Romero) | |
| Randy Westgate | .... | makeup artist | |
Production Management | |||
| Julie M. Anderson | .... | production supervisor | |
| Spike Allison Hooper | .... | post-production supervisor | |
| Michael Polaire | .... | unit production manager | |
Art Department | |||
| Wade Bailey | .... | painter | |
| Alan Baptiste | .... | set dresser | |
| Earl Benton | .... | paint foreman | |
| Paul Blizzard | .... | propmaker | |
| Ken Booker | .... | set dresser | |
| Kinney Booker | .... | set dresser | |
| Tony Bridgers | .... | propmaker | |
| Patrick Butcher | .... | propmaker | |
| David T. Cannon | .... | propmaker foreman (as Dave Cannon) | |
| Johnny D. Culley | .... | assistant property master | |
| James N. Delaplane | .... | head paint foreman (as James Delaplane) | |
| Laura J. DeRosa | .... | construction buyer | |
| Joe Elvington | .... | labor foreman | |
| William Ermi | .... | painter | |
| Sean Everett | .... | property master (as Sean E. Markland) | |
| Mariano Fernández | .... | propmaker | |
| Chris Fielding | .... | set dresser | |
| Josh Fifarek | .... | set designer | |
| Jake Funk | .... | painter (as Jon Jacob Funk) | |
| Steve A. Hagberg | .... | construction coordinator (as Steve Hagberg) | |
| Hugh Hanna | .... | foreman | |
| Scott Herbertson | .... | set designer | |
| Peter Jehle | .... | propmaker | |
| Mauricio Jimenez | .... | propmaker | |
| Gene Kelly | .... | propmaker | |
| Steven Kerlagon | .... | head paint foreman (as Steve Kerlagon) | |
| Thomas D. Krausz | .... | construction foreman | |
| David Lawrence | .... | labor foreman | |
| Randlett King Lawrence | .... | general foreman (as Randy Lawrence) | |
| Kimberly Leonard | .... | set dresser | |
| David B. Long | .... | propmaker gang boss (as David Long) | |
| Jonathan Melvoin | .... | propmaker (as Jon Melvoin) | |
| Troy Parker | .... | propmaker | |
| Steve Powell | .... | propmaker | |
| Ric Rawlins | .... | painter (as Rick Rawlins) | |
| Michael Robinson | .... | propmaker | |
| Keith Sale | .... | set dresser | |
| Jerry Schultz | .... | propmaker/gangboss | |
| Chad Simpson | .... | paint foreman | |
| Donald Spencer | .... | propmaker | |
| Samuel J. Tell | .... | set dresser (as Sammy Tell) | |
| Thomas Traugott | .... | lead man | |
| Bobby L. Vaughn | .... | toolman (as Bobby Vaughn) | |
| Josh Webb | .... | set dresser | |
| Robert N. Williams | .... | propmaker (as Robert Williams) | |
| Rebecca Young | .... | art department coordinator | |
| Todd Young | .... | construction coordinator | |
| Shane Buckallew | .... | lead plaster foreman (uncredited) | |
| Jon Neill | .... | props: Prop & Custom Inc. (uncredited) | |
| Jim Wallis | .... | set designer (uncredited) | |
Sound Department | |||
| Bryan Arenas | .... | second re-recording engineer | |
| Susan Cahill | .... | adr recordist (as Susan Gamsaragan) | |
| Paul Timothy Carden | .... | adr supervisor (as Paul Carden) | |
| Paul Timothy Carden | .... | foley editor (as Paul Carden) | |
| Ronald Eng | .... | sound re-recording mixer (as Ron Eng) | |
| Ronald Eng | .... | supervising sound editor (as Ron Eng) | |
| Alan Freedman | .... | adr mixer | |
| Patrick Giraudi | .... | dialogue predub mixer | |
| Patrick Giraudi | .... | sound re-recording mixer | |
| Mark Gordon | .... | dialogue editor | |
| Randall Guth | .... | assistant sound editor (as Randy Guth) | |
| Daniel S. Irwin | .... | dialogue editor (as Daniel Irwin) | |
| Kevin Kubota | .... | boom operator | |
| David Lynch | .... | sound designer | |
| David Lynch | .... | sound re-recording mixer | |
| William Munroe | .... | additional boom operator | |
| John Neff | .... | sound re-recording mixer | |
| Ed Novick | .... | production sound mixer (as Edward Novick) | |
| Rocky Quiroz | .... | utility sound person | |
| Susumu Tokunow | .... | production sound mixer | |
| James Wright | .... | stereo sound consultant: Dolby (as James E. Wright) | |
| Jirí Zobac | .... | sound engineer | |
| James Bailey | .... | foley artist (uncredited) | |
Special Effects by | |||
| Philip Bartko | .... | special effects foreman | |
| Jason Collins | .... | set supervisor: KNB Effects Group | |
| Gary D'Amico | .... | special effects coordinator | |
| David Domeyer | .... | special effects foreman | |
| Chiz Hasegawa | .... | coordinator: KNB EFX Group | |
Visual Effects by | |||
| Minky Billups | .... | visual effects compositor | |
| Scott Billups | .... | visual effects supervisor | |
| David M. Blum | .... | digital artist | |
| Rice Casenas | .... | digital artist | |
| Tim Cutt | .... | digital artist | |
| Adam Hawkey | .... | digital artist (as Adam S. Hawkey) | |
| Jeff McLean | .... | digital artist | |
| Jon Merrifield | .... | digital artist | |
| Christopher Grandel | .... | trailer digital effects, Howard Anderson Company (uncredited) | |
Stunts | |||
| Brian Avery | .... | stunts | |
| Joni Avery | .... | stunts | |
| Jack Carpenter | .... | stunts | |
| Laura Lee Connery | .... | stunt double: Lorraine | |
| Charles Croughwell | .... | stunt coordinator (as Charlie Croughwell) | |
| Corey Michael Eubanks | .... | stunts (as Corey Eubanks) | |
| Jeremy Fitzgerald | .... | stunts | |
| Samuel Le | .... | stunts | |
| Janie Liszewski | .... | stunts (as Jamie Liszewski) | |
| Billy Morts | .... | stunts | |
| Gail Luane Munian | .... | stunts | |
| Denney Pierce | .... | stunt double: Adam | |
| Dana Reed | .... | stunts | |
| Scott Sproule | .... | stunts | |
| Sonny Tipton | .... | stunts | |
| Ryan Wilder | .... | stunts | |
Casting Department | |||
| Mary Jane Fendler | .... | casting associate | |
| Chris Gray | .... | extras casting | |
| Jessica Vogl | .... | casting assistant | |
| Vivienne Williamson | .... | extras casting assistant (as Vivienne MacLeod-Williamson) | |
Costume and Wardrobe Department | |||
| Lucinda Campbell | .... | costume supervisor | |
| Daniel Dirks | .... | costumer (as Dan Dirks) | |
| Courtney Fowles | .... | costumer | |
| Bethany Gauthier | .... | costumer | |
| Cheri Reed | .... | costume supervisor | |
| Durinda Wood | .... | additional costume designer | |
Editorial Department | |||
| Arash Ayrom | .... | first assistant editor | |
| Mo Henry | .... | negative cutter | |
| Chris Jacobson | .... | colorist | |
| Brian Johnson | .... | associate editor | |
| Christine Kim | .... | second assistant editor | |
| Mato | .... | color timer | |
| Hilary Schroeder | .... | first assistant editor | |
| Richard Schwartz | .... | assistant editor | |
Music Department | |||
| Angelo Badalamenti | .... | conductor | |
| The City of Prague Philharmonic Orchestra | .... | orchestra | |
| Tanja Crouch | .... | music licensing | |
| Stepán Konícek | .... | conductor: Prague (as Stepan Konicek) | |
| David Lynch | .... | composer: additional music | |
| John Neff | .... | composer: additional music | |
| John Neff | .... | music editor | |
| Bill Post | .... | composer: additional music | |
| Doree Post | .... | composer: additional music | |
Transportation Department | |||
| Steven Birds | .... | driver (as Steve Birds) | |
| Stephan Brooks | .... | driver | |
| Lonnie Craig | .... | driver | |
| Edith Ewing | .... | driver | |
| Mickey Guinn | .... | driver | |
| Christian Hagele | .... | driver | |
| Larry Hardman | .... | driver | |
| Marlo Hellerstein | .... | transportation captain | |
| John Jarvis | .... | driver | |
| Peter Mandel | .... | driver (as Pete Mandel) | |
| Lawrence Markham | .... | driver | |
| Vern McKinney | .... | driver | |
| James A. Murphy | .... | driver (as Jim Murphy) | |
| Russel Overstreet | .... | driver (as Russell Overstreet) | |
| Michael Ralph Price | .... | driver (as Mike Price) | |
| Richard Reedy | .... | driver | |
| Mike Riportella | .... | transportation captain | |
| Lowell D. Smith | .... | driver (as Lowell Smith) | |
| Paul Stanbrough | .... | driver | |
| Mike Stevens | .... | driver | |
| Danny L. Swanson | .... | driver (as Dan Swanson) | |
| David Teasley | .... | driver (as Dave Teasley) | |
| Allan Yamauchi | .... | transportation coordinator | |
Thanks | |||
| Barbara Orbison | .... | special thanks | |
| Jennifer Syme | .... | dedicatee | |
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| The Departed | Hollywoodland | Inland Empire | Lost Highway | The Black Dahlia |
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| Full cast and crew | Company credits | External reviews |
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Lynch loves to realistically portray logical sequences interspersed by fantasy diversions, which entrances but confuses the viewer. Blue Velvet is his best film, and works well because of its overall logical coherency spiced up by fantastic deviations from the norm (the fantasy element of the film). This technique reminds me of Fellini's 8 1/2, where fantasy was often interspersed with a logical and coherent plot.
Mulholland Drive starts off logically but then gradually abandons logical coherence as dream-like (but realistically presented) sequences are brought into the plot. Then there is a shift in the plot, from the fantasy of the first part, to the reality of the second part where roles and identities are reversed and reality reigns.
Lynch's genius is in his artistic slight of hand where he presents a fantasy scene realistically, sucking the viewer in to expecting a meaningful depiction, then upending these expectations in shocking the viewer with the fantastic elements of the scene. I can imagine Lynch laughing in the background as he plays his joke on the viewer.
The film Holy Motors presents pure fantasy in nonsensical and unrelated sequences, and is bad art. Mulholland Drive has enough organization and structure, with more skillfully accomplished fantasy, to qualify it as good art.
Naomi Watts gives us an outstanding performance - better than the typical "Best Actress" Oscar award winner's performance in the last 20 years. Watts usually gets roles that don't allow her to display her considerable acting skills, but this role does, and she more than meets the challenge.
The plot is secondary for Lynch since cinematic art is his focus. However, the movie is totally baffling unless you have some guidelines. Basically Mulholland drive is the story of a young girl who comes to Hollywood with high hopes of becoming an actress. The film is told in two parts. My interpretation is that the first (Watts as Betty) part is psychotic delusions of the young girl as she reconstructs her past leading up to the promise of a brilliant acting career. This is presented as reality and the viewer has no idea it is false. The shift to the second (Watts as Diane) part shows some shifting of roles, and depicts the true story whereby the young girl fails to become an major actress. Her identity is valid, as Diane, in the second part showing her dismal failure, while Rita of the first delusional part becomes Camilla in the second reality part.
Naomi Watts thus plays two roles with different identities, in part one and in part two. The two parts are cued by the change in her name from the delusional Betty (part I) to the real Diane (part II). In a clever signal of this personality change, the waitress at Winkie's is named Diane when Betty and Rita go to eat there in the first fantasy part, while this same waitress becomes Betty when Watts as Diane goes to Winkie's in the real second part.
The plot shift from fantasy to reality mirrors the high hopes and aspirations as fantasy (Part I as Betty) and dismal failure as reality (Part II as Diane), that happens so often as young would-be performers seek fame in Hollywood but end up as failures.