10 things you didn’t know about lost highway

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In an interview, director David Lynch confessed that Lost Highway and Twin Peaks (1990) take place in the same fictional universe.


The Lost Highway soundtrack eventually reached No. 7 on the Billboard 200 chart and achieving certified gold status in the U.S.


spread from Rolling Stone Magazine


At first, Reznor, who had been a massive Twin Peaks fan, was intimidated by Lynch. Here’s how he described the experience to Rolling Stone:

[H]e’d describe a scene and say, “Here’s what I want. Now, there’s a police car chasing Fred down the highway, and I want you to picture this: There’s a box, OK? And in this box there’s snakes coming out; snakes whizzing past your face. So, what I want is the sound of that—the snakes whizzing out of the box—but it’s got to be like impending doom.” And he hadn’t brought any footage with him.


After Gene Siskel and Roger Ebert gave the film a negative review on their show, David Lynch issued a new poster calling the thumbs-down verdict “two more reasons to see Lost Highway.” Asked for his opinion, Siskel said, “I found it petty.”


This was Richard Pryor’s final film before his death on December 10, 2005 at the age of 65.


Entertainment Weekly ranked this as the 23rd scariest movie of all time.



David Lynch used one of his trademarks throughout Lost Highway– the highway at night. In his visual storytelling, highways at night usually signify a plot transition.


Another trademark used in Lost Highway: Clueless Detectives for comic relief.

O.J. Simpson during Celebrity Sports Invitational – May 13, 1993 at Ritz Carlton Hotel in Muana Lani, Hawaii, United States. (Photo by Jim Smeal/WireImage)

Lynch doesn’t like to analyze his own work, but even he admits the Simpson story was flowing through the public consciousness. Lynch was intrigued by how Simpson went from (allegedly) murdering two people in cold blood one day, to going out to play a round of golf the next, like nothing happened.
“For me,” says Lynch, “a film exists somewhere before you do it. It’s sitting in some abstract world, complete, and you’re just listening to it talk to you, telling you the way it’s supposed to be. But not until all the sound and music and editing has been done do you truly know what it is. Then it’s finished. It feels right, the way it’s supposed to be, or as right as it can. And when it’s finished, you’re back in a world where you don’t control anything. You just do the best you can, then say farewell.”
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