2. The Road Ahead...
The past 2 years have taught me a lot, not only from my experience on this course but the cinema I have been
watching which has influenced me to create something that will challenge me as a filmmaker, be entertaining for an
audience and to allow me to create a film that I will be truly happy with while exploring very personal things to me.
It will tap into all the themes and techniques, as a filmmaker, I love. Surrealism, suspense, certain types of lighting,
cinematography, genre types. I find these things so fun and fascinating. Ever since I first watched 8½ months before
I began this course, I knew I wanted to make something surreal, the films of Federico Fellini were truly brilliant to
watch for me. The suspense of Brian de Palma and Alfred Hitchcock, feeling the rush of adrenaline go through me,
their films are an experience I will never forget. And Hitchcock's use of masterful visual storytelling and being used
through a new lens in Bong Joon-ho's Parasite, feeding through into my desire to make the film being edited
perfectly, hitting every beat, every cut crisp smooth and meaningful (Don't Look Now). This project will allow me to
create a film that has been brewing in my mind for years, even if I had no story, I know I want to make something
with all these elements in. More small influences; the use of ambient sound turning into soundtrack to hypnotise
the audience as seen in Stalker from Tarkovsky or the ambient sound of being in car while a long conversation takes
place from Drive My Car by Hamaguchi. Employing techniques from masters such as Orson Welles, Luis Bunuel,
Jules Dassin taking from their use of surrealism (Buñuel) and noir genre, and making a location a character within
itself.
More influences and inspirations go back to Fantastic Planet, the film I was watching when the idea for this film,
came to me. Probably the weirdest film I've ever watched, from its bizarre imagery (looking like Salvador Dali
paintings).
While conducting research in my previous project, I briefly looked at the birth of surrealism the 1920s. Names such
as Sigmund Freud, Andre Breton, René Magritte and Salvador Dali. I found Freud's book 'The Interpretation of
Dreams' and I was hugely taken by Magritte's painting 'The Lovers'.
What I've learned from these 2 years, leading up to this point, I know I have the organisational skills to make
something with scale and ambition, working with external actors, finding the right people. That will be the real
challenge – from last year I learned just getting an "actor" isn't enough, I need to find out if they're competent
enough and able to dedicate themselves to this project. Although I am aware that organisation could cause be
a headache, getting actors, locations, getting actors in those locations, time restrictions.
Another limitation and something I will have to overcome will be operating and learning to operate advanced
equipment, this will help level up my production on a technical level but will also add another complication, it could
cause potential problems, of course I will have to train up to a decent level to make sure I can take care of the
equipment while shooting.
3. Strengths and Limitations
At this stage I feel confident enough to be able to make a film at this proposed level of ambition including the
scale of the film and the elements the film will have to juggle such as crafting a dream-like suspense ride
tapping into who you are as a lover. I have an idea of casting, learning from before I know I need to be precise
about who and how I cast. I know how to juggle a crew, I really want to have a collaborative spirit, my
ethusiasm for this project should hopefully rub off on other peopole involed. I want to invole hair and make-up
people, camera oparators, actors, costume designers all in a collaborative manner. Filmmaking is collaboration
across all different arts. I know I have the passion and drive for this project, been thinking about it for too long.
I've seen and familiar with the style I want to evoke while being ready to learn new things in my research, I'm
ready to develop my ideas further. The main goal of the project is to make something great. To make
something that will have an effect on the audience. They will feel the suspence and the themes portayed and
explored in the film, it will trancend the screen, connect to the viewer and make them reflect upon
themsleves. I have a clear and precise vision, working in professional manner at all times. I know how to work
with actors, having taken Drama myself I know how to collaborate with them well. I possess the technical skills
to make the film technically competent and moving, again being ready to learn more when it comes to
research.
The things that I'm limitated towards would be having the motivation and willingness to care about filling out
organisational sheets such as a shot list. All I need with me is my storyboard book and the script, I feel a shot
list is a waste of time and a tedious task although it something that must be completed to a good standard. On
set, many thinggs go wrong. I need to be able to keep my cool, uphold professionalism at all times. Locations
are always tricky; I have some secure but that doesn't mean they're garunteed. With learning new skills during
the research period, one of the biggest ones would be learning how to operate a new camera, Black Magic. It's
a new, expensive piece of equipment that I've never used before. I need to be confident enough to be able to
use it at a good standard before I start shooting. I purpose of using this new equipment will level up the film,
the quality (visually) will be excellent, hopefully then getting people to treat the film more seriously.
Communication is key, it's how the whole thing works and soemtimes I find I might not be the best at it,
especially replying to messages in good time. That is something I need to be on it during this production and
moving forward.
4. Initial Ideas...
This comes from something I
sometimes feel when I'm in a
tired state – I feel as if I'm in
dream, which then lead me
onto question the nature of
how we feel in dreams
(something that has always
interested me) I understand
how basic this sounds- while
you're dreaming it feels real,
the emotions you feel are
real, or arethey your actual
conscious emotions or are
they just what the dream is
also conjuring up ala with the
imagery/story/atmosphere
etc. Although while we're
dreaming, we're not aware
of that, it's our unconscious
mind at play. This leads me
onto wanting to make the
main character sleep
deprived (an insomniac),
while I've never had
insomnia, I have had sleeping
problems in the past. Sleep is
inherently connected to
dreams and dreams the
surreal, the character having
insomnia is a gateway to
making the film surreal and
have meaning, exploring the
subconscious mind and the
relationship between
dreams, memory and sleep.
Rather, the story won't focus
on his insomnia and what the
story does focus on, also
won't be the focus. The core
of the film is talking about
memory, dreams and a
coming to terms with who
5.
6.
7.
8.
9. Working Synopsis
This is the firm base of the film. It will follow this synopsisas I adapt it and all my ideas into a screenplay. Of
course, I am open to developingit more but for now this is what I'm going with. The film follows a characterin
a world that I am excited to write and explore. Thismaybe what the film is "about"but it's much more. The
story is lifted from a genre I enjoy, crime/thriller/noir, and since I want to create suspense, a story that is dark
and gritty with risks and stakes is one which lends itself to that. Crime is genre that will alwayshave suspense
since the characters will alwaysbe something dangerous, most of Hitchcock's films were crime.
14. Federico Fellini
If I had neverseenaFellini film,thenthisfilmwouldneverbe gettingmade.IdiscoveredFelliniinJanuary2020, onlya couple of
monthsbefore the pandemicbegan.IwascasuallybrowsingthroughCurzonhome cinema,andIcame across their'FeastonFelli ni'
season,celebratingwhatwould've beenhis100thbirthday.Iwas intrigued,soIclickedontoit.Iwasvaguelyfamiliarwith hisfilm8½,I
wasn'treallysure whatitwas,all I knewwasit's meanttobe good,but'foreign'.
At thisstage inmycinemajourney,worldcinemawassomethingIhadonlyhada dropof,onlyhavingwatchedthe oddfilm Roma,
Climax,Parasite,ILost My Body. Iwas still inmyScorsese phase althoughlate 2019 wasthe build-uptohishotlyanticipatedlatest
picture, TheIrishman, soI wasworkingmywaythroughhisfilmographymore regularly.
HavingbeeninterestedinFelliniandhisfilmsshowingonCurzon,onthe 21st January2020 I watched 8½, one day late tohisbirthday!(I
have nowmade it traditiontowatcha Fellinifilmonhisbirthday,20thJan).My viewingexperince withthe filmwasunforunately
disjointed-watchingitonamazonprime toavoidhavingtorentthe film,thatwasa mistake.The subtitlesweren'tsyncedtothe
dialogue properly,Igotanhour inand had toturn it off.Reluctantly,Ienededuppayingtorentitas the filmwasthat hard to
concentrate andunderstand.
My firstreactionto the filmwasconfusionbutdelight.Itwasunlike anythingI'dseenbefore.IhadnoideawhatI justwatched;all I
knewis,Ilikedit.Ilikedita lot.Atthat stage I wasn'tsure why.If youwere toask me what the filmwasabout,Iwouldn'thave been
able totell you.I knewIneededtowatchitagain.
Exactly24 dayslater,I rewatchedthe film.Watchingitforthe secondtime waslike wacthinganormal film,forthe firsttime.Itclicked.I
got it.I understood.Isawwhathe wasdoing,andI fell inlove withit.Notonlywasthe portrayal of a filmdirectorstrugglingwithhis
artisticexpressiondealingwithmanymovingpartsof hislife,butthe wayFellini craftedafilmof greatbeautyfromNino Rota's
masterful musictoFellini'scamerawork,Mastroianni'sperformance,the direction,cinematographystyle.Itwasinstantlyrelatable,and
itonlycontinuedtogoup inthe enjoymentandqualityasIrewatcheditmore often.
Soonafter8½ I watchedLa Dolce Vita anothermasterpiecefromFellini thatblew me away,expandingmyhorizonsforworldcinema.
AlthoughLaDolce Vita lackedin8½'s whackysurrealism,itstill resonatedwithme.Ididmissthe surrealismin LaDolceVita,I knewI
had toexplore more of Fellini'swork,butIdidn’thave time.
Cut to:earlyMarch, 2020. I findmyself inapandemic,inalockdown,withlotsof time onmyhands.Sohave a Fellini marathongoing
throughThe White Shiek,I Vitelloni, La Strada,TheSwindlers,Nightsof Cabiria, La Strada (again), LaDolceVita,8½, Juliet of the Spirits,
The Clowns,Orchestra RehearsalandTheVoice of the Moon.
To watch Fellini'sfilmsinamore accessiblewayIsubscribedtoBFIPlayerwhere Iwasexposedtomore filmsandfilmmakers of cinema
renowned.IngmarBergman,WimWenders,ParkChan-wook,Georges Franju,Jean-LucGodard,AkiraKurosawa.Fellini wastruly
my entrance toa newworldof cinema,withthe helpof fantasticinsitusionssuchasCurzonand the BFI.
My letterboxd review for the film, after
my first viewing.
15. Fantastic Fellini!
Hisstyle!It'sinfectious.It'swhatmade me fall inlove withhim.Fromhispoetic
realismtohisbizarre surrealism.Strongimagery.Bigideas.Sopoetic!Hisimagery
beingsostrongand bizarre,you're lefttowonderwhatitall means,it'sjustso
mesmerising. Hisstyle isone of the mostindulgentyetengrossingthings Ihave
experienced.He introducedme toneorealism, soIdiscoveredVittorioDe Sica,
RobertoRossellini,LuchinoVisconti andotherItalianfilmmakersof histime suchas
MichelangeloAntonioni,ElioPetri andDarioArgento.Andsince he'sasurrealist,he
introducedme it!Iwantedtosee more of it,soI discoveredLuisBuñuel and
AlejandroJodorowsky.A yearbefore IwatchedFellini,Isaw EyesWide Shut– a filmI
didn'tknowwhatto thinkof at the first,butitsoondawnedonme howmuchof
dreamthat filmwas.Iwoke upthe followingmorningquestioningif Ihadjusthada
dreamor watcheda film,itwasthe closestthingtosurrealismIhadencountered.It
had a profoundeffectonme,clearlyasignof thingstocome withmylove and
explorationof surrealisminthe nearfuture.
Hisstyle hasinfluencedthose of MartinScorsese andDavidLynch.Hiscombination
and evolutionof poeticrealismtosurrealismandhow hisimageryspeaksathousand
words.Bizarre imagerywithapurpose.One thingthatinherentlymakesFellini,Fellini
ishowhisfilmsfeel (incertainsequences) like acircus,a performance,ashow.His
filmscanhave subtle momentsbutsometimesexplodeintoafrenzy.
For researchI will be lookingathisstyle,breakingdownwhathe does,how he doesit
and whatitmeans.Attemptingtoarticulate whoFellini isandwhathe'saboutis
difficult,evenforme (someonewhoadoreshisworkandhasseenalmostall of his
films) tolumpFellini intoacategory,genre ormovementwouldbe doingadisservice
to himas an auteur.Yousimplymustwatchthe film,hearNinoRota'sscore andfeel
the dialogue.
My favouritequotesfrom Felliniand his films...
"All art is autobiographical; the
pearl in the oyster's
autobiography"
- Federico Fellini
"I thought my ideas were so clear. I wanted to
make an honest film. No lies whatsoever. I
thought I had something so simple to say.
Something useful to everybody. A film that
could help bury forever all those dead things
we carry within ourselves. Instead, I'm the one
without the courage to bury anything at all.
When did I go wrong? I really have nothing to
say, but I want to say it all the same."
- Guido (8½)
16. Alfred Hitchcock
Hitchcockian--
Alfred Hitchcock. A man famous for his suspenseful "scary" movies. His blonde leading
ladies. His dramatic openings "good afternoon... here we have a quiet little motel." And
his use and development of crafting suspense sequences. One of the most famous and
useful pieces of wisdom Hitchcock gave was 'the bomb under the table' analogy. Brian De
Palma says, "Hitchcock pioneered a whole type of film grammar, he taught us how to
express things as clearly visually as they can be expressed" - "he's a genius." Not only can
you learn how to craft a grand suspense sequence (what he's most famous for i.e the
Psycho shower scene or North by Northwest dust crop scene) but his films will also teach
you film grammar and how to develop your cinematic skills into a cinematic language.
He's a master visual storyteller. The best. He knows exactly where to put the camera and
how to edit to make the film so engaging that you could watch with the sound off.
Hitchcock started off in the silent era, of course the way he made films in the 20s would
inform his refinement in his own filmgrammar years later. His career spanned over 50
years, making over 60 films. He worked with huge actors at the time such as Carey Grant,
James Stewart, Ingrid Bergman, Grace Kelly, Martin Balsam, Claude Rains, Henry Fonda.
17. David Lynch
David Lynch is probably one of the most 'mainstream' surrealist filmmakers, some of his films have dipped into pop culture and
have a reputation such as Eraserhead, Mulholland Drive and The Elephant Man. The most popular word people use to describe his
films is "weird" you hear it in every conversation people have about him. While they're correct, I personally refrain from using that
word to describe his style, because it's more than just weird (and the word people are looking for is surreal, that would be more
appropriate than weird, he's a surrealist artist not a 'weirdist' one) making something weird just freaks people out, making
something surreal is creating something dreamlike, therefore casting out odd or 'weird' sensibilities while also commenting on
something. The real root and ethos of surrealism is something I will find out more of in my research. Lynch himself is just as
entertaining and 'weird' as his films, people (myself included) enjoy his antics from his YouTube channel where he posts daily
videos of weather reports, to his incredibly American accent, to his crazy hair and all the wonderful stuff he comes out with.
He is very good at combining a noir structure and tone with his surreal elements (something I would like to do, love noir!), a film
that does this particularly well is Blue Velvet – a film I will be exploring in my research. Another under-appreiated thing about his
work is his use of horror, some of his films are able to create some of the most terrorfying atmospheres and scenes. The jump
scare moment from Mulholland Drive, Dennis Hopper's performance in Blue Velvet, the whole film of Eraserhead, John Hurt in The
Elephant Man. I haven't yet seen Inland Empire, but that film is meant to be his scariest.
He has been able to create his own brand of surrealism, exposing the strange within the familiar set in an Americana setting,
mundane images explode into the macabre. The reality withinn the dream. His films are dictated by dream logic – something I
will explore deeper in my research.
Lynch originally studied painting, at Pensalvaynia Academy of Fine Arts. He started to experiment with film, he wanted to make a
painting move. His first feature was Eraserhead (1977) he garnered a cult following, with his film becoming a midnight movie.
is about getting to a point in your mind where you can experience pure bliss and it will take away all anger and negative emotions.
Deep wiithin every person, within the mind there is a place that is already calm, settled, awake. It's where we can access our
unbounded creativity, intelligence, happiness. It's a simple, natural, effortless technique anyone can do although you can only get
there by being taught by a teacher apparently. For Lynch, it seems to work. He's a great advocate for it. And for me, perhaps in the
future I will seek out a teacher so I can unlock it, it seem very interesting and useful.
An interesting difference I've noticed between Lynch and Fellini is Lynch approaches dreams directly while Fellini plays with them
with a surreal style but he doesn't discuss them in the ways Lynch does. Perhaps I need to find a way at blending Fellini's style
with Lynch's openness of dreams.
"We know when we're walking around, we see
the surface of things, but sometimes we sense
something more, sometimes what we sense
approaches a kind of dream-like state. Those
feelings take on life of their own, they are just as
real as anything else."
18. Sigmund Freud and his book The
Interpretation of Dreams
During the previousproject on the course, I did some light research into surrealism,
on the birth of the movement. I soon came across Sigmund Freud an
Austrian neurologist who founded psychoanalysis,a clinicalmethod for evaluating
and treating pathologiesin the psyche through dialogue between a patient and a
psychoanalyst.
What I'm more interested in, is his work on the subconsciousmind and the book he
publishedThe Interpretation of Dreams. Without this man and his findings, André
Breton would never have been inspired to write his surrealist manifesto and thus
surrealism would've taken a different path in art.
As a psychoanalyst,Freud found dreams interestingand importantin the study of
the mind. After all, dreams are what our mind conjures up while we sleep, while we
have no control.Dreams can tell a lot about ourselves we'd rather not admit.
His research mainly focused on different types of principlesand practices that
would help give him a better understandingof how our mind works, why we feel
certain feelings. What I'm more interested in, is what he discoveredwhen looking at
dreams. I will research more into the book during my research. I feel this help my
understandingof dreams and the surrealist movement, it will further my project
making it more authenticand grounded. I can employ some of these elements into
the film, if appropriate.
19. Cinema as a Language
With every film I make, I strivefor it to be the best it can possiblybe.Better than the previous
one, constantlyimprovingupon mywork. And as I continue to watch more films they only
inspire and teach me. There is an unspoken grammarof film. Somethingthe average viewer
doesn't acknowledge or notice, with each film you watch (from birth)you soon learn to
understand this grammarofcinema. This grammarwas professionallyknown and developed in
the 1920s soviet union,professorKuleshovconducteda simple experiment which was known as
the 'Kuleshoveffect'. Simplyshowingus a man with an expressionless face, then cuttingto a
dead woman,cut back to the man and we understandhe is grieving. This can be done with
various other shots to make him hungry,lustful,sad etc.
This language has been developed since.People call it 'visual storytelling'which is what film is. If
I thinkof all the different types ofshots I can compose and howthey're edited together,I can
create somethingwith a visual awareness (which I alreadyhavebeen doing)and visual meaning.
For example,when we see the camera pointingup at character from low down, we know the
character is powerful.It's an unspoken thing,preciselywhat cinema should be. A man who is
integral to the development ofcinema as a language is Alfred Hitchcock. He believed in 'pure
cinematics'where the visuals would tell the story,he always strived to make his films
understandable and enjoyable ifthe sound went off. Of course, Hitchcock's films weren't all
silent.He had to havedialogue in there and often the dialogue was very wittyand important
too.He wanted to make a clear fact that cinema has its own identity,different from theatre,
literature,radio.
"Whatit made me realise that there was an intelligence,
another kind of intelligence, that was trying to tell a story
wherethe director, writer, cinematographer - wherethey
werefocusing your eyes."
- Martin Scorsese
"Onehas to begin to reach younger people at an earlier age, to shapetheir
minds in a critical way, of looking at these images and whatthey mean and
how to interpret imagery. I think you really need to know how ideas and
emotions are expressed through a visual form."
- Martin Scorsese
21. Research Goals Going Forward... Topic 1
Surrealism
• The birth of surrealism- Sigmund Freud BOOK 'The Interpretation of Dreams'. (general context of
movement and exploration of key points in book)
• Andre Breton's MANIFESTO of surrealism in response to Freud's book.
• The PAINTINGS of Salvador Dalí ('The Persistence of Memory') and René Magritte ('The Lovers')
analysed and any other artists or paintings I come across.
• Early works of Luis Bunuel, his FILM 'Un Chien Andalou'and any other of his films I come across,
will watch a variety of his filmography and will highlight the most relevant.
• FILMS of Federico Fellini '81/2', 'Amarcord'and 'City of Women'. Again, other films shall be watched
and documented if relevant for an influence, technique or theme explored.
• Other FILMS such as 'Orpheus'by Jean Cocteau, 'Vampyr' by Carl Theodor Dryer, 'The Holy
Mountain'by Alejandro Jodorowsky, 'Mirror' by Andre Tarkovsky, 'Blue Velvet' by DavidLynch may
also prove useful for their use of surrealism and how they blend that with reality.
22. Research Goals Going Forward... Topic 2
Suspense
• The basics of constructing a suspense sequence BOOK / YOUTUBE
• The SHORT FILM 'Suspense'from 1913 by Phillips Smalley and Lois Weber.
• The FILMS of Alfred Hitchcock, how he crafts suspense 'Strangers on a Train', 'Dial M For Murder',
'Rope', 'The Man Who KnewToo Much (1956)', 'Spellbound', and 'Notorious'and any other relevant
films from his filmography will be highlighted (most likely not all these films will be highlighted).
• FILMS of Brian De Palma 'The Untouchables'and 'Carlito's Way' his style is influenced by Hitchcock,
has made some impressive suspense sequences.
23. Research Goals Going Forward... Topic 3
Insomnia and Dreams
• General research into the condition
• INTERVIEW someone who is suffering with insomnia, will voice record interview, transcribe the
responses and link to the film.
• Research into parasomnia, maybe more relevant to what I want to show and create rather than having
someone with insomnia.
• Research dreams, how it feels. Analyse my own dreams.
• Dream logic
• Transcendental meditation
• The FILM by Kurosawa 'Dreams'
24. Research Goals Going Forward... Topic 4
Cinematography – Lighting, Colour
• A FILM, how lighting is used in 'Key Largo' by John Huston, how the light enters and leaves the
frame.
• The use of colour to tell a story in the FILMS 'Vertigo' by Alfred Hitchcock and 'The Red Shoes'by
Michael Powell and Emeric Pressburger.
• YOUTUBE tutorials and analysis on lighting – shadows, neon grittiness.
25. Research Goal Going Forward... Topic 5
Editing and Visual Storytelling
• The way Alfred Hitchcock uses objects to represent something (ie. Someone or a theme, a feeling)
how to tell a story as visually as possible. This was seen in his FILM 'Blackmail'.
• Bong Joon-ho's FILM 'Parasite' taking from Hitchcock, conveying information as fast and effectively
as possible.
• Editing – Nicolas Roeg FILMS 'Don'tLook Now' and 'Performance'.
• F. W. Murnau's FILM 'Nosferatu'-- telling a story that is completely visual, the power of imagery
creating mood and atmosphere through sound and image.
26. Research Goal Going Forward... Topic 6
Experiments & Testing
• Colour – the combination of colours on screen, what they mean? COLOUR THEORY. Why that
colour?
• Learning how to operate black magic camera, training up on C100.
• Shooting on flat mode, to enhance colour grading skills.
• Shooting in the dark/night time.
• Casting process – holding auditions.
27. Bibliography
1. Fellini, F. (1963) 8½. Last accessed9th February2022
2. Joon-ho, B. (2019) Parasite . Last accessed9th February2022
3. Roeg, N. (1973) Don’t Look Now . Last accessed 9th February2022
4. Tarkovsky, A. (1979) Stalker . Last accessed 9th February2022
5. Hamaguchi, R. (2021) Drive My Car . Last accessed9th February2022
6. Scorsese, M. (2019) The Irishman . Last accessed9th February2022
7. Laloux, R. (1973) Fantastic Planet . Last accessed9th February2022
8. Fellini, F. (1960) LaDolce Vita . Last accessed 17th February2022
9. Fellini, F. (1952) The White Shiek . Last accessed17th February2022
10. Fellini, F. (1953) IVitelloni . Last accessed17th February2022
11. Fellini, F. (1954) LaStrada . Last accessed 17th February2022
12. Fellini, F. (1955) The Swindlers . Last accessed17th February2022
13. Fellini, F. (1957) Nights of Cabiria . Last accessed 17th February2022
14. Fellini, F. (1965) Juliet of the Spirits . Last accessed17th February2022
15. Fellini, F. (1970) The Clowns . Last accessed17th February2022
16. Fellini, F. (1978) OrchestraRehearsal . Last accessed17th February2022
17. Fellini, F. (1990) The Voice of the Moon . Last accessed 17th February2022
18. Fellini, F. (Anon). Federico Fellini Quotes. Available: https://bukrate.com/author/federico-fellini-quotes . Last accessed18th Feb 2022.
19. The DickCavett Show. (1976). De Palma and Scorsese on Welles and Hitchcock | The Dick Cavett Show. Available: https://www.youtube.com/watch?v=8aZlDDf2BlQ . Last accessed18 Feb 2022.
20. Anon. (Anon). Hitchcockian. Available: https://en.wikipedia.org/wiki/Hitchcockian . Last accessed18th Feb 2022.
21. Hitchcock, H. (1960) Psycho. Last accessed18th Feb 2022
22. Hitchcock, H. (1959) Northby Northwest . Last accessed 18th Feb2022
23. Anon. (Anon). Alfred Hitchcock. Available: https://letterboxd.com/director/alfred-hitchcock/by/release-earliest/ . Last accessed 18th Feb2022.
24. Lynch, D. (1977) Eraserhead . Last accessed18th Feb 2022
25. Lynch, D. (1986) Blue Velvet . Last accessed 18th Feb2022
26. Lynch, D (2001) Mulholland Drive . Last accessed 18th Feb2022
28. Bibliography
1. The Take . (2017). David Lynch: Surrealist of Americana. Available: https://www.youtube.com/watch?v=VoBRukamf2s .
Last accessed 18th Feb 2022.
2. Transcendental Meditation . (2014). Transcendental Meditation Technique - A Complete Introduction. Available:
https://www.youtube.com/watch?v=fO3AnD2QbIg . Last accessed 18th Feb 2022.
3. Rodrigo Notari. (2015). David Lynch explains Transcendental Meditation. Available:
https://www.youtube.com/watch?v=Em3XplqnoF4 . Last accessed 18th Feb 2022.
4. Lynch, D. (1980) The Elephant Man . Last accessed 18th Feb 2022
5. The School of Life. (2014). PSYCHOTHERAPY - Sigmund Freud. Available:
https://www.youtube.com/watch?v=mQaqXK7z9LM . Last accessed 20th Feb 2022.
