Inland Empire (2006)

Director:

David Lynch

Writer (WGA):

David Lynch (written by)

Release Date:

7 February 2007 (Belgium)

Genre:

Drama | Mystery | Thriller

Tagline:

A Woman In Trouble

Plot:

As an actress starts to adopt the persona of her character in a film, her world starts to become nightmarish and surreal.

Plot Keywords:

Actress | Polish | Shooting | Blonde | Confusion

Awards:

3 wins & 6 nominations

Cast

Laura Dern	...	Nikki Grace / Susan Blue
Jeremy Irons	...	Kingsley Stewart
Justin Theroux	...	Devon Berk / Billy Side
Karolina Gruszka	...	Lost Girl
Jan Hencz	...	Janek (as Jan Hench)
Krzysztof Majchrzak	...	Phantom
Grace Zabriskie	...	Visitor #1
Ian Abercrombie	...	Henry the Butler
Karen Baird	...	Servant
Bellina Logan	...	Linda
Amanda Foreman	...	Tracy
Peter J. Lucas	...	Piotrek Król
Harry Dean Stanton	...	Freddie Howard
Cameron Daddo	...	Devon Berk's Manager
Jerry Stahl	...	Devon Berk's Agent
John T. Churchill	...	1st A.D. Chuck Ross (as John Churchill)
Phil DeSanti	...	2nd A.D. Tim Hurst
Chamonix Bosch	...	3rd A.D. Sally Irwin
Sara Glaser	...	Script Supervisor Ellen Thomas
Neil Dickson	...	Producer
Edward St. George	...	Hair Stylist
Diane Ladd	...	Marilyn Levens
Melissa Lowndes	...	Marilyn Levens' Assistant
Marsha Lewis	...	Marilyn Levens' Hair Stylist
Jeremy Alter	...	Stage Manager
William H. Macy	...	Announcer
Austin Jack Lynch	...	Devon Berk's Driver (as Austin Lynch)
Jason Weinberg	...	Nikki Grace's Manager
Heidi Bivens	...	Devon Berk's Wardrobe Assistant
Randy Johnson	...	Studio Security Guard #1
Duncan K. Fraser	...	Studio Security Guard #2
Stanislaw Kazimierz Cybulski	...	Mr. Zydowicz
Henryka Cybulski	...	Mrs. Zydowicz
Julia Ormond	...	Doris Side
Robert Charles Hunter	...	Detective Hutchinson
Ewa Jerzykowski	...	Head Manservant
Scott Andrew Ressler	...	Camera Operator (as Scott Ressler)
Emily Stofle	...	Lanni
Jordan Ladd	...	Terri
Kristen Kerr	...	Lori
Terryn Westbrook	...	Chelsi
Jamie Eifert	...	Sandi
Kat Turner	...	Dori (as Kathryn Turner)
Michelle Renea	...	Kari
Adam Zdunek	...	Man on Street
Erik Crary	...	Mr. K
Wendy Rhodes	...	Salli
Mikhaila Aaseng	...	Tammi
Stanley Kamel	...	Koz Kakawski
Marek Zydowicz	...	Gordy
Michal Korolko	...	Circus Man #1
Kazimierz Suwala	...	Circus Man #2
Alfredo Ponce	...	Circus Man #3
Bryson Lang	...	Circus Man #4
Janusz Hetman	...	Circus Man #5
Michal Stopowski	...	Circus Man #6
Dominiya Grudzka	...	Woman #1
Pawel Kubisiak	...	Man #1
Dominika Biernat	...	Woman #1 (voice) (as Dominika Bievnet)
Marcin Brzozowski	...	Man #1 (voice) (as Brzozowski Marcin)
Scout Alter	...	Billy Side's Son
Alexi Yulish	...	Doctor
Lou Buchignani	...	Billy Side's Butler
Marek Szmigiel	...	Janek's Driver
Mary Steenburgen	...	Visitor #2
Leon Niemczyk	...	Marek
Józef Zbiróg	...	Darek
Marian Stanislawski	...	Franciszek
Charlene Harding	...	Roxi
Suzete Belouin	...	Mandi (as Suzette Belouin)
Lisa Dengler-Eaton	...	Club Dancer
Gail Greaves	...	Bartender
Joseph L. Altruda	...	Bassist (as Joseph Altruda)
Jay P. Work	...	Saxophonist
William K. McNeil	...	Drummer (as William McNeil)
Carolina Cerisola	...	Club Backstage Girl
Leah Morelli	...	Carolina
Helena Chase	...	Street Person #1
Nae	...	Street Person #2
Terry Crews	...	Street Person #3
Kris Kane	...	Nikki Grace's Wardrobe Assistant
Michelle Clark	...	Make-Up Artist
Brandon Reinhardt	...	Smithy's Son
Tracy Ashton	...	The Marine's Sister
Masuimi Max	...	Niko
Dominiquie Vandenberg	...	Trainyard Worker
Penny Hintz	...	Teacher
Nick 13	...	Archaeologist
Keith Kjarval	...	Lumberjack
Monique Cash	...	Lead Dancer
Latrina Bolger	...	Dancing Girl #1
Fulani Bahati	...	Dancing Girl #2
Ashley Calloway	...	Dancing Girl #3
Erynn Dickerson	...	Dancing Girl #4
Jovonie Leonard	...	Dancing Girl #5
Jennifer Locke	...	Dancing Girl #6
Nastassja Kinski	...	The Lady
Laura Harring	...	Jane Rabbit
Scott Coffey	...	Jack Rabbit (voice)
Naomi Watts	...	Suzie Rabbit (voice)
rest of cast listed alphabetically:
Lauran Doverspike	...	The Other Woman (uncredited)
Ben Harper	...	Piano Player (uncredited) (unconfirmed)
David Lynch	...	Bucky J (voice) (uncredited)
William Maier	...	Karolina's Friend (uncredited)
Greg Marcks	...	TV Cameraman (uncredited)
Weronika Rosati	...	Courtesan (uncredited)
Ole Johan Roska	...	Norwegian crew member (uncredited)
Heidi Schooler	...	Lilli (uncredited)
Odd-Geir Sæther	...	Norwegian crew member (uncredited)
Tarek Zohdy	...	Bar Bouncer (uncredited)

Directed by
David Lynch

Writing credits (WGA)
David Lynch		(written by)

Produced by
Jay Aaseng	....	associate producer
Jeremy Alter	....	co-producer
Erik Crary	....	associate producer
Laura Dern	....	co-producer
Lukasz Dzieciol	....	assistant line producer: Poland
Piotr Dzieciol	....	line producer: Poland
Janusz Hetman	....	co-producer: Poland
Lucja Kedzior	....	assistant line producer: Poland
Keith Kjarval	....	executive producer
David Lynch	....	producer
Ewa Puszczynska	....	executive line producer: Poland
Michal Stopowski	....	co-producer: Poland
Sabrina S. Sutherland	....	associate producer
Kazimierz Suwala	....	co-producer: Poland
Mary Sweeney	....	producer
Marek Zydowicz	....	executive producer: Poland

Cinematography by
David Lynch

Film Editing by
David Lynch

Casting by
Johanna Ray

Art Direction by
Christina Ann Wilson		(as Christina Wilson)

Set Decoration by
Melanie Rein

Costume Design by
Karen Baird
Heidi Bivens

Makeup Department
Colleen Campbell-Olwell	....	additional makeup artist (as Coleen Campbell-Olwell)
Michelle Clark	....	key makeup artist
Duke Cullen	....	special makeup effects artist
Anna Kieszczynska	....	key makeup artist: Poland
Marsha Lewis	....	hairdresser: Diane Ladd
Tomasz Sielecki	....	key hairdresser: Poland
Edward St. George	....	key hairdresser

Production Management
Erik Crary	....	production supervisor
Greg Spence	....	post-production supervisor

Art Department
Jay Aaseng	....	construction team
Jeremy Alter	....	construction team
Dianne Chadwick	....	art department assistant (as Diane Chadwick)
Erik Crary	....	construction team
Phil DeSanti	....	construction team
John Evans	....	construction team
Grzegorz Gulazdowski	....	property master: Poland
Gretchen Houk	....	assistant set decorator
Dean Hurley	....	construction team
David Kern	....	construction team
Austin Jack Lynch	....	construction team (as Austin Lynch)
David Lynch	....	construction team
Riley Lynch	....	construction team
Josh Mann	....	construction crew
Noriko Miyakawa	....	construction crew
Sara Philpott	....	art department assistant
Alfredo Ponce	....	construction coordinator
Jon Reynolds	....	assistant art director (as Jon Sheppard-Reynolds)
Jon Reynolds	....	construction team (as Jon Sheppard-Reynolds)
Ole Johan Roska	....	construction crew
Bob Schaefer	....	scenic painter
Anna Skarbek	....	assistant art director
Anna Skarbek	....	construction team
Swietlana Slawska	....	set decorator: Poland (as Svietlana Slawska)
Emily Stofle	....	construction team
Kory C. Victor	....	assistant art director
Kory C. Victor	....	construction team (as Kory Victor)
Jonathan Wenstrup	....	construction team
Christina Ann Wilson	....	construction team (as Christina Wilson)
Wojciech Wolniak	....	art director: Poland

Sound Department
Zane D. Bruce	....	foley walker (as Zane Bruce)
David A. Cohen	....	dialogue editor (as David Cohen)
Ronald Eng	....	sound re-recording mixer
Ronald Eng	....	sound supervisor
John Evans	....	boom operator
Sara Glaser	....	utility sound
Dean Hurley	....	sound mixer
Dean Hurley	....	sound re-recording mixer
Dean Hurley	....	sound supervisor
Damian Jankowski	....	boom operator: Poland
David Lynch	....	sound designer
David Lynch	....	sound re-recording mixer
Ryan Maguire	....	foley mixer
John Neff	....	additional location sound recordist
Willard Overstreet	....	foley editor
Sean Rowe	....	foley walker
Daniel Sikorski	....	additional sound: Poland
Robert Troy	....	dialogue editor
Steve Tushar	....	sound editor
Sara Glaser	....	sound mixer: second unit (uncredited)

Special Effects by
Gary D'Amico	....	special physical effects
Ken Rudell	....	special physical effects technician

Visual Effects by
George Koran	....	digital intermediate colorist
Stephen Lawes	....	main title designer & animator

Stunts
Thomas Dewier	....	stunt rigger (as Thomas DeWeir)
Dominiquie Vandenberg	....	stunt rigger
Garrett Warren	....	stunt coordinator

Camera and Electrical Department
Jay Aaseng	....	additional camera operator
Jeremy Alter	....	additional camera operator
Erik Crary	....	camera operator
Eric Curtis	....	electrician
Peter Deming	....	additional lighting technician
Phil DeSanti	....	camera assistant
Josh Fritts	....	electrician
Maciej Jedrzejek	....	grip: Poland
David Lynch	....	camera operator
Mariusz Matuszewski	....	grip: Poland
Paul Postal	....	electrician
Bradley Reed	....	electrician
Tom Richmond	....	additional camera operator
Michael Roberts	....	still photographer
Ole Johan Roska	....	camera operator
Jozef Strycharz	....	grip: Poland
Odd-Geir Sæther	....	additional lighting technician (as Odd Geir Saether)
Odd-Geir Sæther	....	camera operator (as Odd Geir Saether)
Deverill Weekes	....	additional still photographer
Jonathan Wenstrup	....	gaffer
Maciej Zwierzchowski	....	gaffer: Poland

Casting Department
Monika Wendorff	....	casting: Poland
Wanda Wilgucka	....	casting: Poland

Costume and Wardrobe Department
Agnès B.	....	additional wardrobe (as Agnes B.)
Karen Baird	....	wardrobe
Heidi Bivens	....	wardrobe
Paulina Polom	....	costume supervisor: Poland
Rita Rago	....	wardrobe shopper: Laura Dern

Editorial Department
Bill Admans	....	digital assembly editor
Eric Bassett	....	post-production technical advisor
George Koran	....	mastering colorist
Mato	....	film color timer
Noriko Miyakawa	....	assistant editor
Noriko Miyakawa	....	post-production coordinator
Michael Riolo	....	digital assembly editor

Music Department
Marek Zebrowski	....	composer: additional music
Marek Zebrowski	....	music consultant

Transportation Department
Lukasz Ciolek	....	driver: Poland
Marian Koper	....	driver: Poland
Witold Kowalewski	....	driver: Poland

Other crew
Jay Aaseng	....	production coordinator
Michael Brodersen	....	post-production project manager: FotoKem
Chandra Cohn	....	trainer
Phil DeSanti	....	key production team
Chad Dunn	....	trainer
Pierre Edelman	....	special consultant
Melissa Elliott	....	title designer: end titles
Marina Girard	....	financial consultant
Craig Glenn	....	additional production assistant
Matt Hosseinzadeh	....	additional production assistant
Ewa Jurkowska-Brzoska	....	assistant: Laura Dern, Poland
Kris Kane	....	assistant: Jeremy Irons
Norman A. Kellems	....	coordinator: LAPD (as Norm Kellems)
David Kern	....	key production team
Eric Ladd	....	main title designer
Jayme Lemons	....	assistant: Laura Dern (as Jamie Lemons)
Gillbert M. Loust	....	coordinator: LAPD (as Gil Loust)
Josh Mann	....	key production team
Malgorzata Marchinkowska	....	accountant: Poland
Mike Mitchell	....	additional production assistant
James Notari	....	additional production assistant
Joanna Prewysz-Kwinto	....	accountant: Poland
Michal Prewysz-Kwinto	....	key production team: Poland
Mark Sawyer	....	additional production assistant
Tomasz Sliwinski	....	public relations: Poland
Tennyson E. Stead	....	production assistant
Agnieszka Swoinska	....	caterer: Poland
Agnieszka Swoinska	....	hotel accommodations: Poland
Frances Tamaariki	....	assistant: Laura Dern
Yolanta Tensor	....	talking production assistant
Adam Zdunek	....	key production team: Poland
Marek Zebrowski	....	translation services: Poland
Pawel Zydowicz	....	key production team: Poland
Nathan Atkins	....	stand-in (uncredited)
Peter Deming	....	photographic consultant (uncredited)
Haylee Homs	....	production assistant (uncredited)

Thanks
Debbie Allen	....	special thanks
Patricia Norris	....	special thanks

Production Companies

• StudioCanal
• Fundacja Kultury
• Camerimage Festival
• Absurda
• Asymmetrical Productions
• Inland Empire Productions

Distributors

• 518 Media (2006) (USA) (theatrical)
• A-Film Distribution (2007) (Netherlands) (theatrical)
• Absurda (2006) (USA) (theatrical)
• BIM Distribuzione (2006) (Italy) (theatrical)
• Bazuca Films (2007) (Chile) (theatrical)
• Cinema Mondo (2006) (Finland) (theatrical)
• Concorde Filmverleih (2007) (Germany) (theatrical) (dubbed)
• Distribution Company (2007) (Argentina) (theatrical)
• Films We Like (2007) (Canada) (theatrical)
• Kadokawa Herald Pictures (2007) (Japan) (theatrical)
• Optimum Releasing (2007) (UK) (theatrical)
• Sonet Film (2007) (Sweden) (theatrical)
• StudioCanal (2007) (France) (theatrical)
• A-Film Home Entertainment (2007) (Netherlands) (DVD)
• BIM Distribuzione (2007) (Italy) (DVD)
• Concorde Home Entertainment (2007) (Germany) (DVD)
• Europa Filmes (2008) (Brazil) (DVD)
• Kadokawa Entertainment (2008) (Japan) (DVD)
• Madman Entertainment (2007) (Australia) (DVD)
• Optimum Home Entertainment (2010) (UK) (DVD) (Blu-ray)
• Pan Vision (2007) (Sweden) (DVD)
• Rhino Entertainment Company (2007) (USA) (DVD)

Other Companies

• Dolby Laboratories  sound post-production
• Film Emporium Insurance Services  insurance by
• FotoKem Digital Film Services  digital intermediate (as FotoKem)
• FotoKem Film and Video  digital intermediate
• MPRM Public Relations  publicity
• Opus Film Studio  unit production services: Poland
• The Music Bridge  music clearances
• Unified Pictures  special thanks
• Working Wildlife  animal handling
• Wyman & Isaacs  production legal

Also Known As:

"Inland Empire: A Woman in Trouble" - USA (long title)

MPAA:

Rated R for language, some violence and sexuality/nudity

Runtime:

180 min | Poland:197 min (Camerimage Film Fest)

Country:

France | Poland | USA

Language:

English | Polish

Color:

Black and White | Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Iran:18+ | UK:15 | Belgium:KNT | France:U | Poland:18 | Italy:T | Ireland:16 | Netherlands:16 | Spain:13 | Finland:K-15 | Germany:12 | Portugal:M/16 | South Korea:15 | Argentina:16 | Singapore:M18 | Sweden:15 | Australia:MA | Spain:18 (DVD rating) | Brazil:14 | USA:R (certificate #42975) | New Zealand:R16 | Iceland:14 | Chile:TE

Filming Locations:

California, USA

Company:

StudioCanal

Trivia:

The instrumental music played during the love scenes is "The Colors of My Life" from the Broadway musical "Barnum". There are two different sets of lyrics to this song (sung by different characters who have different points of view). The lyrics concern colors and emotions and were intentionally omitted from "Inland Empire" in line with its themes of absence and loss.

Quotes:

Devon Berk:Kingsley, get to the point.
Kingsley Stewart:On High and Blue Tomorrows is in fact a remake.
Devon Berk:It's a remake?
Kingsley Stewart:Yeah.
Devon Berk:I wouldn't do a remake.
Kingsley Stewart:No, no, no, no. I know. Of course... but you didn't know. The original was under a different name. It was started, but never finished. Now, Freddy's found out that our producers know the history of this film and they have taken it upon themselves not to pass that information along to us. Purposefully. Of course, not me. I assume not to the two of you. True?
Nikki:No... absolutely. Nobody told me anything.
Devon Berk:No, me neither. I thought this was an original script.
Kingsley Stewart:Yeah... well... anyway, the film was never finished.
Nikki:I don't understand. Why wasn't it finished?
[...]

Movie Connections:

References "Twin Peaks" (1990)

Soundtrack:

Sinner Man

The film Lynch has been working towards all his career

I just saw this film at the New York Film Festival followed by a Q & A session with David Lynch, Laura Dern, and Justin Theroux. I will try my best to recount my thoughts while they are fresh, and incorporate what the film maker and actors had to say.

"I can't tell if it's yesterday or tomorrow and it's a real mind f---"

This single quote from Laura Dern sums the movie up fairly well. It is also one of the self- referential moments of the film that explores the audiences very thoughts while providing some comic relief.

Lynch's new film, INLAND EMPIRE, is similar to his other work, but unlike anything he's ever done, or I've ever seen before. As one reviewer aptly put it, it is a double reference to Hollywood and the inner workings of the human brain. Before I discuss the substance of the film I will briefly review the technical aspects.

First of all, the movie is not unwatchable (because of clarity purposes) as some critics had said, although I did see it at the Lincoln Center which has a beautiful theater and top quality facilities. The digital camera works well for this film. It lose some of the cinematic flourish of film, but also brings a more realistic, gritty feel to it that is appropriate for the theme. The lighting and production were top quality as usual for a Lynch film and the score sets every scene brilliantly. Often times we can't tell if the sound is diegetic or non-diegetic, but it makes no difference.

Lynch said that he used the digital camera to give him freedom. You can see much more movement in this film than his others, giving an almost voyeuristic feel. He also uses many close shots, and as always, obscure framing allowing ambiguity and confusion. Lynch really explores the freedom of movement and editing that is available with digital, and you can feel his energy and zest in the new medium. The moments of suspense and terror are so well done - there are several scenes that will literally make you jump - that I found a Hitcockian brilliance of using subtlety, indirectness, and sound to convey emotion rather than expensive special effects. Of course, there are other scenes that would qualify as downright freaky.

The movie is completely carried by Laura Dern, and not because she is in 90-95% of the scenes. Her character(s) morph and change so often in identity and time that it is hard to believe it is her in every role. Her range and ability to work consistently over so many years and under the conditions of this film is mind blowing. It is one of the finest performances I've seen by an actress or actor.

The film itself is hard to summarize. Most of you know the basic plot, but this really means nothing about the film. It has no type of linear story line and the converging and diverging plot lines are connected by only the most simple threads, time, location, memory ("Do I look familiar? Have you seen me before?") identity, and people who are good with animals. It would be a disservice to this film to try to find meaning or symbolism as I see some people already are. It is not a mystery to be solved, as Mulholland Dr. was (though that film never will be solved either). It is a movie that plays off of ideas, color, mood, it presents intangible emotions that we feel and internalize rather than think about and solve. Film doesn't need a solution to make sense, but it is typical for us to want solve things, to have closure. This film is better if you just let it wash over you and surrender the urge to find meaning.

The three hour running time makes no difference because the movie moves in and out of itself with no regard for time. Using so many scenes allows time to effect the viewer much as the characters themselves. As the characters question time and reality, the audience does too. As the scenes slowly build up, giving us reference, we start to wonder where we saw that character, who said that line before, what location fits into what part of the sequence and how, leading up to the Laura Dern quote I used before. It doesn't ask us to think, but to feel, and it does this better than any film I've seen. It plays on our emotions with intense sound and cinematography, grasping fragments from dreams, sliding in and out of reality, exploring nightmares, and asking us what time and reality really are. The film is also very self-conscious as I said before, and also makes many subtle (and not so) pokes at the audience. It also has some truly surreal moments of Lynch humor.

Explaining all this doesn't really matter because you will have to see it and take your own idea from it. I would recommend that you see it in a theater though, as it could never have the same impact anywhere else. I was skeptical going into this movie after what I had read, thinking Lynch had gone off the deep end. However, I realized nothing you read about it will make a difference once you see it, and that Lynch is in better form than ever. Ebert said that Mulholland Dr. was the one experiment where Lynch didn't break the test-tube. With INLAND EMPIRE he throws the lab equipment out the window. His freedom in making this movie, both with medium and artistic control, is unparalleled in anything he's done. He finally made a movie for himself and his vision, without any kind of apology or pretense.