Cannes Director Thierry Fremaux Remembers David Lynch, Who Said, ‘When Cinema Dies, France Will Be the Last Country Where It Will Breathe’

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Thierry Fremaux, head of Cannes Film Festival, held a unique connection with filmmaker David Lynch. In his inaugural year as artistic director in 2001, Fremaux included “Mulholland Drive” in the festival lineup. This selection earned Lynch the best director award and led to an Academy Award nomination for the movie.

After that point, Fremaux and Lynch formed a friendship. The next year, he invited Lynch to return as the head of the jury. A year later, when Lynch unveiled his sequel to the groundbreaking TV series “Twin Peaks”, Cannes made an exception by including the first two episodes of “Twin Peaks: The Return” in their official selection, a category usually reserved for films only. Prior to Fremaux’s time, Lynch had won Cannes’ Palme d’Or with “Wild at Heart,” and both “Twin Peaks: Fire Walk With Me” and “The Straight Story” were part of the festival’s official selection as well.

In simpler terms, after becoming friends with Fremaux, Lynch was asked to come back as president of the jury the following year. A couple of years later, when Lynch introduced his continuation of the popular TV series “Twin Peaks,” Cannes decided to break tradition and show the first two episodes in their official selection (which is usually only for movies). Before Fremaux’s time at Cannes, Lynch had already won the prestigious Palme d’Or award with one of his works and had other pieces featured in the festival as well.

Beyond their long-standing allegiance to Cannes, Fremaux found a deep bond with Lynch due to several factors. They both held a profound affection for timeless cinema, with Lynch demonstrating the same passion for film as Fremaux, and they both cherished French culture deeply.

Thierry Fremaux talked to EbMaster about his relationship with David Lynch:

As a cinephile, I can’t help but reminisce about my profound connection with David Lynch. In my inaugural year as an artistic director back in 2001, I had the privilege of programming “Mulholland Drive” for our audience. That screening has left an indelible mark on me. It was shown at 10:30 p.m., and the response it received was nothing short of extraordinary. Although some viewers may not have grasped every nuance, they sensed its uniqueness – a film that transcends conventional understanding. The two leading actresses added an extra layer of magic to this instant classic.

The following year, he assumed the role of president of the jury, and we convened in Los Angeles during autumn to prepare for this event. I recall him asking me, “Who appoints the jury members?” To which I replied, “We do, it’s the Cannes Film Festival, but if there are individuals you prefer not to have on the jury, please let us know.” He responded, “I don’t have any adversaries, but even if I did, I wouldn’t exclude them from serving on the jury.” It was then that I realized he possessed a generous nature. We meticulously planned everything, and during the peaceful moments, we rarely parted ways. His jury ultimately awarded the Palme d’Or to “The Pianist.

I recall that “The Pianist” was the final film at the festival, and I was eager to watch it. Additionally, Aki Kaurismäki’s “A Man Without a Past” had been a triumph, and when he stepped onto the stage, he approached David not with a thank you, but rather asked, “Who are you?” David Lynch chuckled. He realized he was interacting with an exceptionally sensitive and unique individual. From then on, we never parted ways.

Regarding “Inland Empire,” his final film, I recall saying, “David, why on earth didn’t you attend Cannes?” He responded, “I wasn’t prepared for Cannes. Instead, I went to Venice, but as you noticed, I didn’t participate in the competition; I only go to Cannes.”

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For “Inland Empire,” his last movie, I recall asking, “David, why didn’t you make it to Cannes?” He explained, “I wasn’t ready for Cannes. However, unlike other years, I went to Venice but didn’t participate in the competition; I only attend Cannes.”

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Concerning “Inland Empire,” his last feature, I recall questioning, “David, why did you miss out on Cannes?” He clarified, “I wasn’t prepared for Cannes. Unlike other times, I went to Venice, but unlike the competition, I didn’t attend Cannes.

In the past, we often crossed paths in Los Angeles, and each visit he made to Paris was marked by his extensive work in lithography. He maintained a lithography studio in Paris, which received significant backing from the Fondation Cartier. We’d run into each other occasionally, sharing meals with his wife Emily, as well as Melita Toscan du Plantier, who was one of his close friends. Our encounters never ceased, until he embarked on shooting “Twin Peaks.” I recount this tale in my book — the journey to bring him back to Cannes for “Twin Peaks: The Return.” It was truly awe-inspiring. During our final conversation, I remarked: “This is an excellent series,” to which he replied: “It’s not a series; it’s a film.

On a particular day, we found ourselves at the Café de Flore in Paris discussing films and film enthusiasts, since he had also visited Lyon, specifically the Institute. It was the final one. His appreciation for film enthusiasts was immense because of his background in art history. Originally from the world of art, he opted for cinema instead. Undeniably, he cherished cinema. He possessed a wealth of knowledge about cinema, yet found the devotion of film enthusiasts intriguing.

One evening over dinner at Café de Flore, he remarked to me, “Cinema will continue to live in France even after it has faded elsewhere.” He held France in high regard for its unwavering support and protection of artists and artistic freedom. Notably, his close associate was Alain Sarde, who was instrumental in producing his films.

Through numerous email exchanges, it was noticeable that all his messages were written in capital letters. Despite being a lifelong artist and an admirer of beauty in its various manifestations, he remained remarkably uncomplicated in his personal life. One might expect someone who creates such intense films to be troubled, but this wasn’t the case. Instead, he was straightforward, kind-hearted, and open to friendship.

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2025-01-17 23:17