Latest news with #TurnerClassicMovies
Hypebeast
4 days ago
- Entertainment
- Hypebeast
Hundreds of David Lynch's Personal Items Are Up for Auction — Including His Director's Chair
Following the late filmmaker's passing in January, hundreds ofDavid Lynch's items have been posted for auction byJulien'sand Turner Classic Movies, offering a rare and intimate look at the eccentric auteur's inner world. Comprising props used in productions likeTwin Peaks, various filmmaking equipment, designer home furnishings, and miscellaneous personal objects, more than an auction, the 450-item collection is a portal into Hollywood history. Perhaps some of the most impressive pieces is Lynch's personal director's chair emblazoned with his name in yellow typeface, estimated at $5,000 – $7,000 USD, and film artifacts like Lynch's personal 35mm print of his fans will also be delighted to find recognizable pieces like his personally owned red curtain and zig-zag rug, in the style of the Black Lodge fromTwin Peaks(ABC, 1990 – 1991), and a framed photograph of a nuclear explosion, screen-matched to the seventh episode ofTwin Peaks: The Return(Showtime, 2017), entitled 'There's a Body All Right.' Additionally, personal scripts from his works includeMuholland Drive, Twin Peaks, and Lost Highway. Archives of merchandise, including 'David Lynch' baseball caps, t-shirts for various movies, and rare film posters from Lynch's estate, are also available. More personal objects like self-designed homewares, well-loved mid-century furnishings, signed artworks, and even appliances come directly from Lynch's home. Cinema fans may not be as familiar with Lynch's furniture creations, including a bean-shaped side table with a red accent panel and a one-of-a-kind conference table designed and built by Lynch. Other furniture pieces come from modern furniture purveyors such as chairs designed byGeorge Nelson,Eero Saarinen,Milo Baughman,the Eameses, andIsamu Noguchi. In appliances, the collection features multipleLa Marzoccoespresso machines, drip coffee makers, and numerous mugs and kitchenware. See the gallery above for a look at some of the highlights, and see the full David Lynch Collection at theJulien's website.
The Guardian
4 days ago
- Business
- The Guardian
More than 400 personal effects owned by David Lynch put up for auction
If you are in the market for a custom-built five-necked guitar, a pair of personalised walkie-talkies, or a set of 10 (nine unopened) VHS tapes of Eraserhead, then now is your chance. More than 400 lots of personal effects from the collection of the late David Lynch, the idiosyncratic and hugely influential film-maker who died in January, are going up for auction. Bidding has already opened on a wide variety of items for the sale organised by Los Angeles-based memorabilia specialists Julien*s, in conjunction with Turner Classic Movies. Lynch's highly individual style is very evident in many of the artefacts on offer, which include home furnishings, cameras and recording equipment, as well as relics of his film-making career. For example, fans of Twin Peaks, Lynch's groundbreaking TV series, may be interested in a number of coffee machines, a 'Log Lady' ceramic mug decorated with a faux log handle, walkie-talkies emblazoned with Lynch's name and that of Twin Peaks co-creator Mark Frost, a pair of stuffed deer heads, and a red curtain and patterned rug set evoking the famous 'Red Room' dream sequence. The sale also includes items from Lynch's films, including prop menus from Winkie's diner ('There's always hot coffee!!') that featured in a key scene in the 2001 movie Mulholland Drive, prop matchbooks from the 2006 film Inland Empire, Lynch's own 35mm print of Eraserhead (along with the aforementioned set of 10 VHS tapes of the movie), and a vintage microphone and Bakelite telephone installed in Lynch's office while making the 1984 space fantasy Dune. Perhaps of more interest to film researchers and academics are scripts and production materials for two of Lynch's celebrated uncompleted projects: Ronnie Rocket and The Dream of the Bovine. The former, a surreal detective story, was planned by Lynch in the late 1970s as a follow-up to Eraserhead, but despite returning to it a number of times he was unable to get it off the ground. The Dream of the Bovine was a project Lynch wrote in the mid-90s with Twin Peaks: Fire Walk With Me co-writer Robert Engels, about 'three guys, who used to be cows', in which Lynch hoped to cast Harry Dean Stanton and Marlon Brando. (The latter reportedly told Lynch it was 'pretentious bullshit'.) There is also evidence of Lynch's interests away from film-making, with several electric guitars for sale, including a spectacular custom-built five-necked console guitar, built by Danny Ferrington to Lynch's own design. Lynch was a committed musician, completing two studio albums, Crazy Clown Time in 2011 and The Big Dream in 2013, as well as collaborating on recordings with Angelo Badalamenti, Dean Hurley and Lee 'Scratch' Perry. The sale bears witness to the fact that Lynch was also a furniture designer of distinction, with a substantial amount of power tools available, including jet sanders, drill presses and table saws. His domestic tastes are also apparent, with numerous pieces of designer furniture by Eames, Knoll and other luminaries, as well as examples of his own work listed. Lynch was also an avid practitioner of transcendental meditation, having discovered it in the early 1970s, and the sale includes an incense burner he made in 1974, and a gold-coloured statuette of Buddha. Lynch revealed in 2024 that he had been diagnosed with emphysema as a result of smoking, and was unable to leave his house during the Covid pandemic, prompting him to give up the habit. In a macabre touch, the sale is offering a selection of ashtrays and cigarette lighters, some presumably used by Lynch at least once. The sale finishes on 18 June.
Hindustan Times
4 days ago
- Entertainment
- Hindustan Times
David Lynch's 450+ belongings to be sold at auction as fans express disappointment: ‘This is straight-up depressing'
The death of David Lynch, the enigmatic auteur behind some of cinema's most beloved works, has left a strange and quiet void in the hearts of longtime fans. Known for bending the boundaries of narrative, sound, and even the subconscious, Lynch always seemed a little untouchable — so when news of his passing broke, it felt, to many, almost unreal. And now, in a twist Lynch himself might've found uncanny, more than 450 pieces of his personal and professional life are being offered to the public. Julien's Auctions and Turner Classic Movies have announced a live auction titled The David Lynch Collection, set to take place on June 18, both online and at Julien's Auction House in Gardena, California. The items on offer span the length and depth of Lynch's creativity. From fine art and handcrafted furniture to well-loved tools from his home woodshop, and even the espresso machine he favoured, every piece is steeped in the essence of a man whose work blurred the line between dreams and waking life. There's also no shortage of memorabilia tied to Lynch's most iconic work. Props and pieces from Twin Peaks, Mulholland Drive, Eraserhead, The Elephant Man, and Blue Velvet will be available, including rare finds like a steel guitar from his home studio and a vintage chenille sofa reminiscent of one seen in Lost Highway. Additional Lynch memorabilia will appear in the Hollywood Legends auction on June 19 and 20, alongside items from O Brother, Where Art Thou, Once Upon a Time in Hollywood, and other cinematic landmarks. Some highlights will also be displayed at the sold-out Cinespia screening of Blue Velvet on May 31. As news of the auction spread online, reactions from fans were as emotionally complex as a Lynchian dream sequence. 'That belongs in a museum, is my only thought,' read the top comment on a Reddit thread discussing the auction. Another user wrote, 'I've never really wished I was rich until now… I'd love to be able to set up a David Lynch Museum. I really hope these lots go to some kind people who want to allow some of these things to go on show for fans to see.' Several commenters expressed sadness that such intimate pieces of Lynch's life — like his Christmas stocking and personal copies of scripts — were being offered to the highest bidder. 'Right, this doesn't feel ok? Some of this stuff seems really personal. Did he really want his stuff auctioned off like this?' asked one concerned fan. Others wondered whether the items should be preserved for public education and research: 'His cameras, all his gear, scripts etc should have been donated to a university or museum to view/study. This is straight-up depressing.' Stepping into the swirling discourse was Lynch's daughter, Jen Lynch, who offered some much-needed clarity on Reddit. 'The archives, of unspeakable value, will be given/sold to a school or museum,' she shared. 'This auction is for things from his homes. Personal furniture. Things he built. Things he loved. As his first-born daughter, I can tell you that we would not be having an auction for his archival material. That collection is beyond magical. Wherever it ends up, I recommend seeing it. Dad was prolific. Filled with the joy of doing and creating. All aspects of his work featured there. Auction is equally special but vastly different.' For fans, this is more than an auction. It's a rare and tangible opportunity to step closer to the dreamscape Lynch spent his life crafting.
Indian Express
05-05-2025
- General
- Indian Express
Opinion My father-in-law raised two sons after a tragedy. This is what he taught us
Before I begin, I must tell you two things: First, this essay is about my father-in-law and how he raised his boys. Second, my father-in-law, the subject of this essay, passed away last monsoon. And so, before the story has commenced, you have been served the caveat: It is technically not my story to tell. Yet, everyone knows, we take from the wreckage what is most dear to us, we don't care who's looking. In any case, even more than the stories themselves, it is the fact that my father-in-law had bequeathed them to me that gives me the tacit permission I claim I do not need. When I first met him, perhaps I had been interested in his stories because I was interested in his son. But then it became the very thing that catalysed our independent bond, turned it into something that was able to live and breathe – at least for the most part – without reference to his son. Now, the story. My father-in-law raised two boys. When the younger – my husband – was two-and-a-half or three, and the elder was nine or nine-and-a-half, their mother was diagnosed with cancer. When she passed away after a decade, my father-in-law, always a hands-on parent, did what was almost unthinkable at the time: He took voluntary retirement. This was Calcutta in the Nineties; liberalisation had not yet set people's salaries on previously unimagined tracks, people did not yet know the phrase S-A-H-D, 'Stay-At-Home-Dad'. Why an engineer trained in England would decide to stay at home to cook for his sons and chat with their friends was a question that merited rich discussion. But the one perk of living in their three-people collective was that, as they conquered grief – and a great deal of other trouble that descended upon them in the wake of her passing – they were free to drown out the noise in their own ways: My father-in-law listened to Bengali music; my brother-in-law to a contemporary sound that emerged from his new Philips HiFi music-system; meanwhile, S, my husband, watched old films on Turner Classic Movies (TCM), for hours on end after school. My father-in-law bought a second-hand Premier 118NE. When they weren't drowning out the world, they were absorbing the dusty Calcutta light that bounced off the cracked concrete as they drove around aimlessly on Sundays. Or they were inhaling the scent of the river at dusk, since they ended their journeys invariably by the Hooghly river, where they ate ice cream. This phase of long car-rides and America-flavoured ice-cream ('cookie dough' and 'raspberry') was when, I reckoned, they would have started talking endlessly about world affairs. Till the end, the three of them couldn't be in the same room without turning it into a noisy news studio. The truth, though, is that I never saw any of these as parenting stories until, of course, I became a parent, after which all stories became parenting stories. As a strange and stormy child myself, I had grown in opposition to my mother – a visceral reaction that shaped both of us, and continues to shape us even today, through her fading eyesight and my (toddler-occasioned) fraying nerves. It was as though we were one block and I needed to separate myself to become my version of me, and then memorise the formula so that I couldn't relapse into being the single block again overnight. (There is, of course, no formula. I love my mother with a fierce love; I pull away with equal fierceness.) And so, as I began to know my husband, I developed a great – almost academic – curiosity about the alternate father-son model that seemed to have shaped him: It was as though his growing up was in the opposite direction, it was towards the breach, the violent gap, that had opened in his father's life, and he grew, with the impossible tenacity of greenery, to first encircle and then cover it. It was the love of a 13-year-old who believed it was his duty – his mission, in fact – to protect his father from the world, when, in reality, it was, of course, the other way round. But my husband's conviction in this position, maintained till the end, was ultimately the very thing that moved me the most; its tenderness cutting me in half when grief arrived. * On the last day of my father-in-law's life, S woke up in our bed in Delhi. He had returned from Jamshedpur – where my brother-in-law lived and where my father-in-law was in hospital – the night before, with a detailed medical summary from the doctors there that he wanted to discuss with our dear friend, Ambarish, also our family doctor, and who was also closely acquainted with my father-in-law's case. My father-in-law had spent the last 55 days in hospital, and S had been with him through most of it. When my sister-in-law called in the morning and asked us to come immediately, we didn't yet know that worldwide all airline booking sites had crashed. Before we left for the airport, my father-in-law spoke to us on a video call. 'Stay well,' he told me, smiling calmly, and suddenly I knew this was it. I had been in denial all through. As far as I knew, our party line did not allow for last words; we had a mission, and I hadn't been given a sitrep that called for final goodbyes yet. 'We're coming,' I told him, on a loop. 'We're coming, we're coming, we're coming.' My father-in-law asked for my husband. As though completely restored to his old self, Daddy told him it was time. 'The show must go on,' he smiled. *** The problem of a narrative like this is that in its attempt to distil the complex anarchy of human circumstance into a sharp angle, a full insight, a potent brew in a tiny shot glass, one necessarily oversimplifies. I had always admired his decision to become a full-time parent, the dazzling clarity of it, all along. When he confronted Death, my father-in-law learnt the value of what was truly important to him. Any decision in favour of love and against the dictates of reason appeals to me instantly. And yet, my father-in-law was a very reasonable man, who had made his parenting choices in an entirely natural and calmly-reasoned fashion. As his boys grew up, they took different strands of his life and did not choose others; they amplified the ones they'd chosen, and while they connected these loyally to their father, they also spent many years not consciously linking any of their choices to their childhood. My brother-in-law became a corporate star – he was able to bequeath upon my father-in-law the fruits of his success, and my father-in-law was very proud of him. My husband was an unremitting idealist – and my father-in-law was equally proud of the writer and thinker he became. Does this mean this was the only angle? Of course not. To me and my sister-in-law, he complained regularly and robustly about his sons. (Never his grandchildren; they were perfect.) The complaints were at least 50 per cent of the time because the brothers refused to indulge his sweet tooth; another 25 per cent because they'd disagreed with him on geopolitics. But beyond this layer too, there were others. You open a door and enter a room. But the room has another door, and you go deeper into an unmapped house of many corridors and secret chambers. Must Read | How to raise a boy: I told my son that he should nurture the woman within him To my brother-in-law, he always emphasised the importance of being a hands-on parent; to my husband, he always said, 'Remember to keep the kitchen fires burning.' But he did not just tell my brother- and sister-in-law to spend more time with the children, he stepped in and gave a great deal of time to the grandchildren himself. He did not just tell us to be practical, he bought us our first car. The truth is that my father-in-law raised his boys the way he knew best; the truth is also that they took from his raising what they needed. As I have since come to realise, parenting does not end with the children growing up; it ends only with the parent's passing. And so, it was perhaps the culmination of a life of successful parenting that even in death, my father-in-law was mindful of what his sons would be able to survive. My brother-in-law needed to be present by his bed when breath left his body; my husband needed to be 1500+ km away. These days, the brothers call each other and discuss economics and international trade as they always did. But now that they are raising themselves – in addition to raising their children – they even allow themselves to ask each other one or two personal questions.
Epoch Times
02-05-2025
- Entertainment
- Epoch Times
Cora Sue Collins, Former Child Actress of Hollywood's Golden Age, Dies at 98
Cora Sue Collins, a former child actress known for her contributions to Hollywood's 'Golden Age' of cinema in the 1930s and 1940s, has died at the age of 98. According to her online Born on April 19, 1927, in Beckley, West Virginia, Collins appeared in nearly 50 films over the course of her 13-year acting career. The actress made her onscreen debut at the age of 5 with a role in the 1932 comedy 'The Unexpected Father.' She went on to star in four other films that year: 'The Strange Case of Clara Deane,' 'Smilin' Through,' 'Silver Dollar,' and 'They Just Had to Get Married.' Collins landed parts in nearly a dozen films the following year, famously portraying the younger version of actress Greta Garbo's title character in the romance drama 'Queen Christina.' After landing a contract with MGM in 1934, Collins and Garbo appeared together in the 1935 film Anna Karenina, which was based on Leo Tolstoy's 1878 novel of the same name. Related Stories 4/29/2025 4/22/2025 The child star is also known for working alongside other cinema luminaries. They include Claudette Colbert, Irene Dunne, Merle Oberon, and Bette Davis via the films 'Torch Singer' (1933), 'Magnificent Obsession' (1935), 'The Dark Angel' (1935), and 'All This, and Heaven Too' (1940), respectively. Some of Collins's other standout film credits include 'Keep 'Em Rolling' (1934), 'Treasure Island' (1934), 'The Scarlet Letter' (1934), 'Little Men' (1934), and 'The Adventures of Tom Sawyer' (1938). The actress's death triggered an outpouring of touching tributes online. 'RIP to another special friend, one of the last major movie stars of the 1930s,' pianist Adam G. Swanson 'It's terribly sad when our last remaining links to classical Hollywood leave us,' author Olympia Kiriakou 'We say goodbye to celebrated child star Cora Sue Collins,' the official X account for Turner Classic Movies Cora Sue Collins poses in 1935. FPG/Getty Images
