Mulholland Drive is a 2001 American neo-noir psychological thriller written and directed by David Lynch, starring Justin Theroux, Naomi Watts, and Laura Harring. The surrealist film was highly acclaimed by many critics and earned Lynch the Prix de la mise en scène (Best Director Award) at the 2001 Cannes Film Festival as well as an Oscar nomination for Best Director. Mulholland Drive launched the careers of Watts and Harring and was the last feature film to star veteran Hollywood actress Ann Miller. The film is widely regarded as one of Lynch's finest works, alongside Eraserhead (1977) and Blue Velvet (1986), and has been chosen by many critics as representing a significant perspective of the 2000s.
Originally conceived as a television pilot, a large portion of the film was shot with Lynch's plan to keep it open-ended for a potential series. After viewing Lynch's version, however, television executives decided to reject it; Lynch then provided an ending to the project, making it a feature film. The half-pilot, half-feature result, along with Lynch's characteristic style, has left the general meaning of the movie's events open to interpretation. Lynch has declined to offer an explanation of his intentions for the narrative, leaving audiences, critics, and cast members to speculate on what transpires.
Mulholland Drive is a street and road in the eastern Santa Monica Mountains of Southern California. It is named after Los Angeles pioneer civil engineer William Mulholland. The western rural portion in Los Angeles and Ventura Counties is named Mulholland Highway.
The main portion of the road, from the Cahuenga Pass in Hollywood westward past the Sepulveda Pass was originally called 'Mulholland Highway' and was opened in 1924. It was built by a consortium of Hollywood Hills landowners investing to make money by bringing development to the Hollywood Hills.
The mostly two-lane, minor arterial road loosely follows the ridgeline of the eastern Santa Monica Mountains and the Hollywood Hills, connecting two sections of U.S. Route 101, and crossing Sepulveda Boulevard, Beverly Glen Boulevard, Coldwater Canyon, Laurel Canyon Boulevard, Nichols Canyon Road and Outpost Drive. The road offers spectacular views of the Los Angeles Basin, the San Fernando Valley and the Hollywood Sign.
Mulholland Drive is home to some of the most exclusive and most expensive homes in the world. Many of these homes are set back from the road and offer outstanding views of Downtown Los Angeles. Celebrities such as Jack Nicholson, Paris Hilton, Reese Witherspoon and Vinnie Jones all live nearby.
David Keith Lynch (born January 20, 1946) is an American filmmaker, television director, visual artist, comic book artist, musician and occasional actor. Known for his surrealist films, he has developed his own unique cinematic style, which has been dubbed "Lynchian", and which is characterized by its dream imagery, and meticulous sound design. The surreal, and in many cases violent, elements to his films have earned them the reputation that they "disturb, offend or mystify" their audiences.
Born to a middle class family in Missoula, Montana, Lynch spent his childhood traveling around the United States, before going on to study painting at the Pennsylvania Academy of Fine Arts in Philadelphia, where he first made the transition to producing short films. Deciding to devote himself more fully to this medium, he moved to Los Angeles, where he produced his first motion picture, the surrealist horror Eraserhead (1977). After Eraserhead became a cult classic on the midnight movie circuit, Lynch was employed to direct The Elephant Man (1980), from which he gained mainstream success. Then being employed by the De Laurentiis Entertainment Group, he proceeded to make two films: the science-fiction epic Dune (1984), which proved to be a critical and commercial failure, and then a neo-noir crime film, Blue Velvet (1986), which was highly critically acclaimed.
Angelo Badalamenti (born March 22, 1937) is an American composer, known for his movie soundtrack work for director David Lynch, notably Blue Velvet, the Twin Peaks saga (1990–1992) and Mulholland Drive. He received the Lifetime Achievement Award at the World Soundtrack Awards in 2008.
Badalamenti was born in Brooklyn, New York to an Italian family; his mother was from Sicily and his father was a fish market owner. Badalamenti spent much of his childhood listening to opera and classical music. He studied at the Eastman School of Music and at Manhattan School of Music where he earned a master's degree in music.
Badalamenti scored films such as Gordon's War, and Law and Disorder, but his big break came when he was brought in to be Isabella Rossellini's singing coach for the song "Blue Velvet" in David Lynch's classic film Blue Velvet. Rossellini was supposed to sing "Song to the Siren," a song by Tim Buckley, but Lynch was unable to secure the rights to use it. Badalamenti and Lynch collaborated to write "Mysteries of Love", using lyrics Lynch wrote and Badalamenti's music. Lynch asked Badalamenti to appear in the film as the piano player in the club where Rossellini's character performs. This film would be the first of many projects they would work on together.
You swing your hips and then you wave me over
Your eyes are so blue
I stroke your lips, you call me casanova
Oh honey you
Star in this film every single night and every single matinee
You should be here to bring it all to life
Oh I'm just a phone call away
We lie and listen to the raindrops falling
That's all we do
But the phone rings, and you laugh because it's your husband calling
Oh darling you
Star in this film every single night and every single matinee
You should be here to bring it all to life
Oh I'm just a phone call away
And then you could be who you want to be
As long as you are near
What are you waiting for?
Everything you need is here
Just come and sleep with me
You must know what I mean
You've seen this film before
This is the final scene
Star in this film every single night and every single matinee
You should be here to bring it all to life
You gonna keep this up
Keep on falling, keep on falling
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Stop position, opposition ain't no competition
Stop position, opposition ain't no competition
Stop position, opposition ain't no competition
Stop pretending propositions full of contradictions
Ain't no love for you haters from the other side
Call the blind when you see in you're easing up my time
For the way that I do it, all wise no, no mind blowing
Your mind taking a stool
Fine showing that God loaded
You to a highway to new force
Dumb nigger why hate? Cause you say no to learning something
Loaded locks I can't, what you say no to learning something
Loaded locks I can't, what you say no to learning something
Putting you to the back I put a point yellow all through this back
You the killer baby know my case
No feeling put the money in the seif
Came a man honest when we posing
Bitch can't tell my I-Ge
Bullshit on the map like you won't eat
Whatever you do nigger keep rowing
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Whatever you do you know you gotta keep on film me
Keep on film me, keep on film me
Them cameras beaned up, babe keep on film me
What and listen how I'm living in my compositions
Honest missions of beloved straight above the mission
In fact you give it to the bricks that needs a touch
Wait let me get it, put you with my man Lux
Shit they prolly saying in the musty faces
Say shoot that hoe don't trust
And the club hatin we love makin with the shit you prolly won
Fuck nigger why hate? Cause you ain't known to getting money
Caught up in the gang feeling like I joined a gang and did it all for the name
Loyalty's a game but the industry's full of niggers and they all got game
Only for the cameras, only for the cameras
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Whatever you do you know you gotta keep on film me
Keep on film me, keep on film me
Them cameras beaned up, babe keep on film me
Money talk when I walk in
Broke niggers be crying
I don't drink but yeah 100 pink of that ride
Rose is for cry I'm just swinging low with my sway
Hooligans they flexing
Bad ones on my girls bad and my instagram
No taxi, and yea I'm single like a dollar bill
Curved it all and I'm trying to chill
Count a mill, hide the bill and got time to'
Niggers film me cause your girl is real
Bitches film me say your girl is thrill
Cause I'm bout that, I bounce that
This be money that mouse trap
Yeah we in there, riding round in that gatti
No murder ink when I'm killing shit
And I'm finna capture that body
So back back if I bang the boy
Cause I'm in straight for yo Benjamin
This came up with some new money
That shit ain't no coincidence
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Whatever you do you know you gotta keep on film me
Keep on film me, keep on film me
Them cameras beaned up, babe keep on film me
You know how I show you respect? By showing you nothin
Get ready, count these millions