Though surreal and sometimes impenetrable, Lynch's films lead us down dark roads to curious, new possibilities

I started with 2001’s Mulholland Dr. – a movie I would compare to Shutter Island in some ways – and expected it to be more like Blue Velvet. Instead, the story of an aspiring actor ( Naomi Watts) helping an amnesiac (Laura Harring) uncover her identity almost drove me more insane than Lynch’s 1977 debut, Eraserhead, did.

With the announcement that the great David Lynch died on January 16, the world hasn’t just lost one of its greatest filmmakers: It’s lost one of its greatest artists, period. The work of a filmmaker whose sensibility was certainly not for the masses,

Our columnist remembers his time with the late filmmaker, who famously loathed dissecting his work — but hung on to a Boy Scout ethos one couldn't help but love.

The loss of singular talent and visionary filmmaker David Lynch is not only felt in the world of cinema, but music, where he had inextricable influence on multiple generations of artists.

TRIBUTE: The singular American filmmaker died this week at the age of 78, leaving behind a legacy like no other. Louis Chilton looks at the life and work of a man who redefined what cinema itself coul

A visionary, his films included “Eraserhead,” “Blue Velvet” and “Mulholland Drive.” He also brought his skewed view to the small screen with “Twin Peaks.”

We listen back to a 1994 interview with Lynch, who died Jan. 14. His credits include Eraserhead, Blue Velvet and Twin Peaks. Plus, Isabella Rossellini and Nicolas Cage remember the director.