Catching the Big Fish by David Lynch Read Free Book Online

But we’re all going to the same beautiful goal; that’s the way I see it.
    All religions flow ultimately to the one ocean.Transcendental Meditation is a technique to experience that ocean, and it’s a technique practiced by people from all religions. Transcendental Meditation itself is not a religion—it’s not against any religion; it’s not against anything.

DRUGS
     
     
     
    We all want expanded consciousness and bliss. It’s a natural, human desire. And a lot of people look for it in drugs. But the problem is that the body, the physiology, takes a hard hit on drugs. Drugs injure the nervous system, so they just make it harder to get those experiences on your own.
     
    I have smoked marijuana, but I no longer do. I went to art school in the 1960s, so you can imagine what was going on. Yet my friends were the ones who said, “No, no, no, David, don’t you take those drugs.” I was pretty lucky.
     
    Besides, far more profound experiences are available naturally.When your consciousness starts expanding, those experiences are there. All those things can be seen. It’s just a matter of expanding that ball of consciousness. And the ball of consciousness can expand to be infinite and unbounded. It’s totality. You can have totality. So all those experiences are there for you, without the side effects of drugs.

TURN ON THE LIGHT
     
     
     
In the vicinity of Yoga—unity—hostile tendencies are eliminated.
    YOGA SUTRAS
     
     
     
    We’re like lightbulbs. If bliss starts growing inside you, it’s like a light; it affects the environment.
     
    If you go into a room where someone’s been having a big argument, it’s not so pleasant. You can feel it. Even if the argument’s over, you can feel it. But if you go into a room where someone has just finished meditating, you can feel that bliss. It’s very nice to feel that.
     
    We all affect our environments. You enjoy that light inside, and if you ramp it up brighter and brighter, you enjoy more and more of it. And that light will extend out farther and farther.

INDUSTRIAL SYMPHONY NO. 1
     
     
     
    Industrial Symphony No. 1 was the first and only time I’ve done a stage production. It was at the Brooklyn Academy of Music.We had two weeks to set it up, but only one day in the actual theater to put it all together and do two performances.
    I was working on the music with Angelo Badalamenti, and we were attempting some abstract musical things to tie different elements together. I had some people building sets. But from the time the sets went up, the whole thing had to be rehearsed and lit in one day .
     
    So the day came, and we had the late morning and afternoon to rehearse and then put on two shows. I wanted to start rehearsing—from the beginning, to rehearse all the way through. We started, and about an hour and a half later, I’d hardly even gotten into the thing, even though it wasn’t very long. And I realized that I was facing a gigantic, definite disaster. I thought, I’m never going to make it unless I get some kind of an idea. And, bingo—it happened.
    Maybe it’s not reinventing the wheel—perhaps it’s just common sense—but what I did was, I went one by one. I would grab this person and say, “Do you see that, over there? When that man there goes there, and then leaves, then you go there.” And he’d say, “Okay.” “And when you get there, you do this, this, and this.” “Okay.” Then I’d go to the next person, and I’d say, “Do you see that man there? When he does this, this, and this, then it’s your cue to go over here, and you do that, that, and that.” We never had a rehearsal, but fortunately it all worked out.

LOST HIGHWAY
     
     
     
    At the time that Barry Gifford and I were writing the script for Lost Highway , I was sort of obsessed with the O. J. Simpson trial. Barry and I never talked about it this way, but I think the film is somehow related to that.
    What struck me about O. J. Simpson was that he was able