But can he be thought of as one of them now? No indeed and that's how much he has evolved. At this point Lynch could still be thought of as one among the quirky bunch that included the Coens, Stone and soon Tarantino. It's the same audience that was going to receive Pulp Fiction with plaudits in a few years. I would have to guess that the French saw some of this as archetypally tweaked America, quintessential in the fracture. It was awarded the top prize that year at Cannes. It has enough going for it either way a road movie given to us with a gonzo eye, crime and anguish as kitchen- sink ritual, archetypally American male and female avatars of sexual youth, a sense of wanting to just love but the world is a wicked place, and if that's not enough something else will come along in the next scene.
It speaks just as well about every other film he made of course where a certain amount of fear makes the things to dream about stand out from the night as all the more urgent. This is how Lynch described his attraction to Gifford's book.
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