David Lynch’s belongings fetch $4.25m at auction, including scripts for unfinished film

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Items ranged from video cameras and guitars to taxidermy deer heads, props from Twin Peaks and Mulholland Drive – and the director’s personal coffee machine Personal effects belonging to the film-maker David Lynch, who died in January , have fetched more than $4m at auction in Los Angeles , with the highest bid of $195,000 going to scripts for his unrealised film project Ronnie Rocket. Wednesday’s auction of almost 450 items included props from Lynch’s films, personal items such as video cameras and music equipment, his director’s chair, two taxidermy deer heads , his 35mm print of his debut feature Eraserhead – and his beloved La Marzocco GS/3 home espresso machine , which fetched $45,500 and presumably produces a damn fine cup of coffee . Continue reading... from Film | The Guardian https://ift.tt/dMEBNhp via IFTTT
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‘You’d never make Slumdog today’: Danny Boyle on risks, regrets and returning to the undead

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In 28 Years Later, zombies maraud over a Britain broken by more than Brexit. Its director discusses cultural baggage, catastrophising – and why his kids’ generation is an ‘upgrade’

The UK is a wasteland in Danny Boyle’s new film. Towns lie in ruins, trains rot on the rails and the EU has severed all ties with the place. Some residents are stuck in the past and congregate under the tattered flag of St George. The others flail shirtless through the open countryside, raging about nothing, occasionally stopping to eat worms. You wouldn’t want to live in the land that Boyle and the writer Alex Garland show us. Teasingly, on some level, the film suggests that we do.

Boyle and Garland first prowled zombie Britain with their 2002 hit 28 Days Later. It was an electrifying piece of speculative fiction, a guerilla-style thriller about an unimaginable world. Since then we’ve had Brexit and Covid, and the looming threat of martial law in the US … The story’s extravagant flights of fancy don’t feel so far-fetched any more. “Yes, of course real world events were a big influence this time around,” Boyle says, sipping tea in the calm of a central London hotel. “Brexit is a transparency that passes over this film, without a doubt. But the big resonance of the original film was the way it showed how British cities could suddenly empty out overnight. And after Covid, those scenes now feel like a proving ground.” Where Cillian Murphy first walked, the rest of us would soon follow.

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