WEBVTT

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But this weird thing--

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I'm going to go ahead and start
my clock because I'm going

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to blame you if we go over.

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I'm going to try to do,
like I said, 30 minutes.

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But "Lynch / Bacon."

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So if we're talking about
just once I start reading,

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I'm not going to talk that much.

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I intended just to read so we
could get our solid 30 minutes.

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But the new stuff always
makes me a little nervous.

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And I gave you a little
setup, but I really don't even

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want to talk about it.

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I hadn't even really
read it out before.

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I haven't, it's called Lynch
/ Bacon, like the Lynch / Oz.

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And here's David Lynch.

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I think that he said.

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So I got to read it because
I was channeling him

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and then I found
out he was dead.

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Does that make sense?

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So the whole other
thing is not here.

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This is just came out after
finding out he was dead

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and deciding that he was
sending me some other signals.

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So here's Lynch.

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I had an idea for a show.

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I wanted to call
it I Test my Log

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with Every Branch of Knowledge.

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And it takes log-- this
woman, she's married to a log,

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and she takes the log to experts
in various fields of science

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or whatever.

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So that's what he said.

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OK.

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Lynch / Bacon.

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And this is just writing,
I guess, who knows?

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I said this to the
students today too.

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Sometimes you get midway
through a thing and be like,

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oh, this needs work.

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Lynch / Bacon.

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I'm tilting in a wobbly seat
near the exit of a dark,

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near empty theater, screaming
a sort of theoretical kind

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of fantasy documentary about an
exhibition of Francis Bacon's

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groundbreaking sequence of
paintings about filmmaker David

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Lynch.

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In the center of a
canvas, on an easel

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in the middle of a
woodshed as the film opens,

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is Bacon's half finished
portrait of Lynch.

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We don't know whether the
depictions resemble Lynch,

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since he is portrayed as a log.

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We know Lynch's father
was a research scientist

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for the forest industry,
but every branch of his past

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has been cut from him.

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In the first panel, Bacon
paints Lynch piled in a backyard

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with other logs.

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In early scenes, he seems to
be born of a deciduous, leaf

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shredding tree.

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In others, he is a law cut
from a tree with needles.

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A certain challenging
period is suggested

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in a depiction of the log
on its back in a river.

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The masterwork evokes
the experience of life

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with the constitution of wood.

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A woman sets a small log gently
on a table in one painting.

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Her daughter pours
cereal for herself,

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then sets a mug of hot
water before the log.

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In another scene, the woman and
her daughter eat pie in a diner,

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and the log leans
beside them like a cane.

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Bacon paints Lynch
without a mouth.

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The woman and her daughter
eat sandwiches in a park

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as a bolt of lightning
strikes the log.

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Home seeps from a hole the
lightning leaves in the bark.

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Bacon paints home
directly on the painting.

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At the hospital,
X-ray results show

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near critical breaks in the
logs network of knots and rings.

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Burn marks suggest exposures
to various kinds of fire.

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The log may have been a beam of
communication, part of a totem

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or a telephone pole
in a former life.

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In one of Bacon's most
heartbreaking persona paintings,

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the log rests in a den
beside a phonograph.

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A muddy sock dries
on a radiator.

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Puppies tilt at
the tit of a dog.

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The pattern of the matriarch's
chair matches the curtains.

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She kisses the neck of the log.

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Many believe everything
in a version of reality.

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Some believe nothing
that does not happen

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in at least three dimensions.

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The frame of all the
paintings in the masterpiece

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are made of long, varnished,
and unvarnished timber.

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The symbolic reasoning
driving the kinds

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of wood encountered throughout
the show are a mystery.

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The painter claims the
final wood was taken

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from the tree of knowledge.

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There is no mention of
the filmmaker's movies.

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But Francis Bacon's hair
resembles David Lynch's hair.

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A pompadour of honky-tonk
music and bodacious waves

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above puddle soaking
high water slacks.

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I'm seated in a wobbly
chair near the exit.

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Some nights, he has
the room to himself.

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He is partly the room.

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The wooden floors of the tiny
theater are filled with cracks.

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[APPLAUSE]

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