Age, Biography, and Wiki
David Lynch was born on January 20, 1946, in Missoula, Montana. He passed away on January 16, 2025, at the age of 78. Lynch is renowned for his contributions to film and television, including iconic works like "Eraserhead," "Blue Velvet," "Mulholland Drive," and the television series "Twin Peaks." His unique style, often described as "Lynchian," has influenced numerous artists across various mediums.
| Occupation | Film Producer |
|---|---|
| Date of Birth | 20 January 1946 |
| Age | 79 Years |
| Birth Place | Missoula, Montana, U.S. |
| Horoscope | Capricorn |
| Country | U.S |
| Date of death | 16 January, 2025 |
| Died Place | Los Angeles, California, U.S. |
Height, Weight & Measurements
While specific measurements for Lynch are not widely documented, his physical presence was often noted for his tall stature and distinctive hairstyle.
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Dating & Relationship Status
David Lynch was married four times and had four children. His marriages were to Peggy Lentz (1967–1974), Mary Fisk (1977–1987), Isabella Rossellini (1986–1991), and Emily Stofle (2009–2025).
The first film he saw was Henry King's Wait till the Sun Shines, Nellie (1952). His father, Donald Walton Lynch (1915–2007), was a research scientist working for the U.S. Department of Agriculture (USDA), and his mother, Edwina "Sunny" Lynch (née Sundholm; 1919–2004), was an English-language tutor. Two of Lynch's maternal great-grandparents were Finnish-Swedish immigrants who arrived in the U.S. during the 19th century. He recalled that his father "would drive me through the woods in his green Forest Service truck, over dirt roads, through the most beautiful forests where the trees are very tall and shafts of sunlight come down and in the mountain streams the rainbow trout leap out and their little trout sides catch glimpses of light. Then my father would drop me in the woods and go off. It was a weird, comforting feeling being in the woods." He was raised as a Presbyterian. The family then moved to Durham, North Carolina, Boise, Idaho, and Alexandria, Virginia. Lynch adjusted to this transitory early life with relative ease, noting that he usually had no difficulty making new friends when he attended a new school. Of his early life, he remarked:
Alongside his schooling, Lynch joined the Boy Scouts. Later, he said he "became [a Scout] so I could quit and put it behind me", and rose to the highest rank of Eagle Scout. Lynch befriended Toby Keeler, whose father, Bushnell, was a painter. Bushnell gave Lynch The Art Spirit by Robert Henri. It was a revelation, and Lynch decided to dedicate himself to "the art life".
Back in the United States, Lynch returned to Virginia. Because his parents had moved to Walnut Creek, California, he stayed with his friend Toby Keeler for a while. He decided to move to Philadelphia and enroll at the Pennsylvania Academy of the Fine Arts, after advice from Fisk, who was already enrolled there. He preferred this college to his previous school in Boston, saying, "In Philadelphia there were great and serious painters, and everybody was inspiring one another and it was a beautiful time there." He recalled that Philadelphia had "a great mood—factories, smoke, railroads, diners, the strangest characters and the darkest night. I saw vivid images—plastic curtains held together with Band-Aids, rags stuffed in broken windows." He was influenced by the Irish painter Francis Bacon. In Philadelphia, Lynch began a relationship with a fellow student, Peggy Reavey, whom he married in 1967. Peggy later said Lynch "definitely was a reluctant father, but a very loving one. Hey, I was pregnant when we got married. We were both reluctant." As a family, they moved to Philadelphia's Fairmount neighborhood, where they bought a 12-room house for the relatively low price of $3,500 due to the area's high crime and poverty rates. Lynch later said:
With his leftover money, Lynch decided to experiment with a mix of animation and live action, producing the four-minute short The Alphabet (1968). The film starred Lynch's wife Peggy as a character known as The Girl, who chants the alphabet to a series of images of horses before dying at the end by hemorrhaging blood all over her bed sheets. Adding a sound effect, Lynch used a broken Uher tape recorder to record the sound of Jennifer crying, creating a distorted sound that Lynch found particularly effective. Later describing what had inspired him, Lynch said, "Peggy's niece was having a bad dream one night and was saying the alphabet in her sleep in a tormented way. So that's sort of what started 'The Alphabet' going. The rest of it was just subconscious."
Lynch left the Pennsylvania Academy of the Fine Arts after three semesters and in 1970 moved with his wife and daughter to Los Angeles, where he began studying filmmaking at the AFI Conservatory, a place he later called "completely chaotic and disorganized, which was great ... you quickly learned that if you were going to get something done, you would have to do it yourself. They wanted to let people do their thing." He began writing a script for a proposed work, Gardenback, that had "unfolded from this painting I'd done". In this venture he was supported by a number of figures at the Conservatory, who encouraged him to lengthen the script and add more dialogue, which he reluctantly agreed to do. All the interference on his Gardenback project made him fed up with the Conservatory and led him to quit after returning to start his second year and being put in first-year classes. AFI dean Frank Daniel asked Lynch to reconsider, believing that he was one of the school's best students. Lynch agreed on the condition that he could create a project that would not be interfered with. Feeling that Gardenback was "wrecked", he set out on a new film, Eraserhead.
Eraserhead was planned to be about 42 minutes long (it ended up being 89 minutes), its script was only 21 pages, and Lynch was able to create the film without interference. He recalled its origin: "My original image was of a man's head bouncing on the ground, being picked up by a boy and taken to a pencil factory. I don’t know where it came from." Filming began on May 29, 1972, at night in some abandoned stables, allowing the production team (which was largely Lynch and some of his friends, including Sissy Spacek, Jack Fisk, cinematographer Frederick Elmes, and sound designer Alan Splet) to set up a camera room, green room, editing room, sets, as well as a food room and a bathroom. The AFI gave Lynch a $10,000 grant, but it was not enough to complete the film, and under pressure from studios after the success of the relatively cheap feature film Easy Rider, it was unable to give him more. Lynch was then supported by a loan from his father and money that he earned from a paper route that he took up, delivering The Wall Street Journal. Not long into Eraserhead's production, Lynch and Peggy amicably separated and divorced, and he began living full-time on set. In 1977, Lynch married Jack Fisk's sister Mary Fisk. In 1973, Lynch's sister suggested he try Transcendental Meditation. It proved a revelation, and Lynch claimed "to never have missed a session since: twenty minutes, twice a day."
Eraserhead was finally finished in 1976. Lynch said that not a single reviewer of the film understood it as he intended. Filmed in black and white, Eraserhead tells the story of Henry (Jack Nance), a quiet young man, living in a dystopian industrial wasteland, whose girlfriend gives birth to a deformed baby whom she leaves in his care. It was heavily influenced by the fearful mood of Philadelphia, and Lynch has called it "my Philadelphia Story". Lynch tried to get it entered into the Cannes Film Festival, but while some reviewers liked it, others felt it was awful, and it was not selected for screening. Reviewers from the New York Film Festival also rejected it, but it screened at the Los Angeles Film Festival, where Ben Barenholtz, the distributor of the Elgin Theater, heard about it. Barenholtz was very supportive of the movie, helping to distribute it around the United States in 1977. Eraserhead subsequently became popular on the midnight movie underground circuit, and was later called one of the most important midnight movies of the 1970s, along with Night of the Living Dead, El Topo, Pink Flamingos, The Rocky Horror Picture Show, and The Harder They Come. Stanley Kubrick said it was one of his all-time favorite films.
Lynch was still contractually obligated to produce two other projects for De Laurentiis, the first a planned sequel to Dune, which due to the film's failure never went beyond the script stage. The other was a more personal work, based on a script Lynch had been working on for some time. Developing from ideas that Lynch had had since 1973, Blue Velvet was set in Lumberton, North Carolina, and revolves around a college student, Jeffrey Beaumont (MacLachlan), who finds a severed ear in a field. Investigating with the help of his friend Sandy (Laura Dern), Jeffrey discovers a criminal gang led by psychopath Frank Booth (Dennis Hopper), who has kidnapped the husband and child of singer Dorothy Vallens (Isabella Rossellini) and repeatedly rapes her. Lynch called the story "a dream of strange desires wrapped inside a mystery story". Lynch included 1960s pop songs, including Roy Orbison's "In Dreams" and Bobby Vinton's "Blue Velvet", the latter of which largely inspired the film. Lynch said, "It was the song that sparked the movie ... There was something mysterious about it. It made me think about things. And the first things I thought about were lawns—lawns and the neighborhood." Other music for the film is by Angelo Badalamenti, who scored most of Lynch's subsequent work.
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| Husband | Peggy Lentz (m. 1968-1974) Mary Fisk (m. 1977-1987) Mary Sweeney (m. 2006-2007) Emily Stofle (m. 2009-2023) |
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Net Worth and Salary
At the time of his passing, Lynch's net worth was estimated to be around $50 million according to several sources. However, some reports suggest it could have been as high as $70 million. His wealth came from a successful career in filmmaking, acting, music, and visual art.
Career, Business, and Investments
Early Career and Notable Works:
- Eraserhead (1977): Lynch's debut feature film, known for its experimental style and unsettling imagery.
- The Elephant Man (1980): Earned eight Academy Award nominations, showcasing his ability to adapt unique visions to traditional narratives.
- Blue Velvet (1986): A dark exploration of small-town America, marking a significant turn in his career.
- Twin Peaks (1990-1991, 2017): Revolutionized television storytelling with its blend of surrealism and mainstream appeal.
David Keith Lynch (January 20, 1946 – January 16, 2025) was an American filmmaker, visual artist, musician, and actor. Widely considered one of the greatest filmmakers of all time, Lynch was often called a "visionary" and received acclaim for films distinguished by their surrealist and experimental qualities. In a career spanning more than five decades, he received numerous accolades, including the Golden Lion for Lifetime Achievement at the Venice Film Festival in 2006 and an Academy Honorary Award in 2019.
Lynch and Mark Frost created the ABC surrealist horror-mystery series Twin Peaks (1990–1991), for which he received five Primetime Emmy Award nominations, including Outstanding Directing for a Drama Series and Outstanding Writing for a Drama Series. Lynch co-wrote and directed its film prequel, Twin Peaks: Fire Walk with Me (1992) and a third season in 2017. His acting career included roles on Twin Peaks, The Cleveland Show (2010–2013), and Louie (2012), and in the films Lucky (2017) and The Fabelmans (2022). He directed music videos for Chris Isaak, X Japan, Moby, Interpol, Nine Inch Nails and Donovan, and commercials for Dior, YSL, Gucci and the New York City Department of Sanitation.
Due to financial problems, the filming of Eraserhead was haphazard, regularly stopping and starting again. During one such break in 1974, Lynch made The Amputee, a one-shot film about two minutes long. He proposed that he make The Amputee to present to AFI to test two different types of film stock.
After The Elephant Man's success, George Lucas, a fan of Eraserhead, offered Lynch the opportunity to direct the third film in his original Star Wars trilogy, Return of the Jedi. Lynch declined, saying that he had "next door to zero interest" and arguing that Lucas should direct the film himself as the movie should reflect his own vision, not Lynch's. Soon, the opportunity to direct another big-budget science fiction epic arose when Dino de Laurentiis of the De Laurentiis Entertainment Group asked Lynch to create a film adaptation of Frank Herbert's science fiction novel Dune (1965). Lynch agreed, and in doing so was also contractually obliged to produce two other works for the company. He began writing a script based on the novel, initially with both de Vore and Bergren, and then alone when De Laurentiis was unhappy with their ideas. Lynch also helped build some of the sets, attempting to create "a certain look", and particularly enjoyed building the set for the oil planet Giedi Prime, for which he used "steel, bolts, and porcelain".
Social Network
Lynch maintained a strong presence in the artistic community but was not as active on traditional social media platforms. However, his influence is widely discussed and celebrated across various online forums and platforms.
Lynch studied painting and made short films before making his first feature, the independent body horror film Eraserhead (1977), which found success as a midnight movie. He earned critical acclaim and nominations for the Academy Award for Best Director for the biographical drama The Elephant Man (1980) and the neo-noir mystery art films Blue Velvet (1986) and Mulholland Drive (2001). For his romantic crime drama Wild at Heart (1990), he received the Palme d'Or at the Cannes Film Festival. He also directed the space opera Dune (1984), the neo-noir Lost Highway (1997), the road movie The Straight Story (1999), and the experimental psychological thriller Inland Empire (2006).
"I found the world completely and totally fantastic as a child. Of course, I had the usual fears, like going to school ... for me, back then, school was a crime against young people. It destroyed the seeds of liberty. The teachers didn't encourage knowledge or a positive attitude."
Meanwhile, to help support his family, Lynch took a job printing engravings. At the Pennsylvania Academy, Lynch made his first short film, Six Men Getting Sick (Six Times) (1967). He had first come up with the idea when he developed a wish to see his paintings move, and he began discussing creating animation with an artist named Bruce Samuelson. When this project never came about, Lynch decided to work on a film alone and purchased the cheapest 16mm camera he could find. Taking one of the academy's abandoned upper rooms as a workspace, he spent $150, which at the time he felt was a lot of money, to produce Six Men Getting Sick. Calling the film "57 seconds of growth and fire, and three seconds of vomit", Lynch played it on a loop at the academy's annual end-of-year exhibit, where it shared joint-first prize with a painting by Noel Mahaffey. This led to a commission from one of his fellow students, the wealthy H. Barton Wasserman, who offered him $1,000 to create a film installation in his home. Spending $478 of that on the second-hand Bolex camera "of [his] dreams", Lynch produced a new animated short but, upon getting the film developed, realized that the result was a blurred, frameless print. He later said, "So I called up [Wasserman] and said, 'Bart, the film is a disaster. The camera was broken and what I've done hasn't turned out.' And he said, 'Don't worry, David, take the rest of the money and make something else for me. Just give me a print.' End of story."
Cornfeld agreed to help Lynch with his next film, Ronnie Rocket, for which Lynch had already written a script. But Lynch soon realized that Ronnie Rocket, a film that he said is about "electricity and a three-foot guy with red hair", was not going to be picked up by any financiers, and so he asked Cornfeld to find him a script by someone else that he could direct. Cornfeld found four. On hearing the title of the first, The Elephant Man, Lynch chose it. The Elephant Man's script, by Chris de Vore and Eric Bergren, is based on the true story of Joseph Merrick, a severely deformed man in Victorian London, who was held in a sideshow but later taken under the care of a London surgeon, Frederick Treves. Lynch wanted to make some alterations that would deviate from real events but in his view make a better plot, but he needed the permission of Brooks, whose company, Brooksfilms, was responsible for production. The film stars John Hurt as John Merrick (the name changed from Joseph) and Anthony Hopkins as Treves. Filming took place in London. Though surrealistic and in black and white, it has been called "one of the most conventional" of Lynch's films. It was a critical and commercial success, earning eight Academy Award nominations, including Best Director and Best Adapted Screenplay.
Education
David Lynch attended the Pennsylvania Academy of Fine Arts and later the American Film Institute. His early education in art and film laid the groundwork for his future career as a director and artist.
At Francis C. Hammond High School in Alexandria, Lynch did not excel academically, having little interest in schoolwork, but he was popular with other students, and after leaving he decided that he wanted to study painting at college. He began his studies at the Corcoran School of the Arts and Design in Washington, D.C., before transferring in 1964 to the School of the Museum of Fine Arts, Boston with roommate musician Peter Wolf. He left after only a year, saying, "I was not inspired at all in that place." He instead decided that he wanted to travel around Europe for three years with his friend Jack Fisk, who was similarly unhappy with his studies at Cooper Union. They had some hopes that they could train in Europe with Austrian expressionist painter Oskar Kokoschka at his school. Upon reaching Salzburg, however, they found that Kokoschka was not available. Disillusioned, they returned to the United States after spending only two weeks in Europe.
Learning about the newly founded American Film Institute, which gave grants to filmmakers who could support their application with a prior work and a script for a new project, Lynch decided to submit a copy of The Alphabet along with a script he had written for a new short film, The Grandmother, that would be almost entirely live action. The institute agreed to help finance the work, initially offering him $5,000 out of his requested budget of $7,200, but later granting him the additional $2,200. Starring people he knew from both work and college and filmed in his own house, The Grandmother featured a neglected boy who "grows" a grandmother from a seed to care for him. The film critics Michelle Le Blanc and Colin Odell wrote, "this film is a true oddity but contains many of the themes and ideas that would filter into his later work, and shows a remarkable grasp of the medium".
