REQUIRED: EYES AND EARS, AN INTRODUCTION TO MULHOLLAND DRIVE

EYES
Diffusion is the net movement of units from a region of higher concentration to a region of lower concentration. Derived from the Latin word diffundere, which means "to spread out", the central idea of diffusion, however, is mainly a substance or collection undergoing diffusion spreads out from a point or location at which there is a higher concentration of that substance or collection. In photography and film, light diffusion refers to the process of scattering and softening light in order to reduce harshness and contrast. Instead of allowing a light source to shine directly upon the subject—resulting in sharp shadows and intense highlights—diffusion spreads the light more evenly across a scene and its actors, creating a gentler, more flattering illumination while producing a smoother transition between light and shadow. In order to achieve this effect, photographers and filmmakers must break up or scatter light rays, which is done by covering a light source with a transparent material or lens filter. In doing so, the technique of light diffusion enlarges the apparent size of the light source relative to the subject, softening shadows, reducing contrast, minimizing glare, and creating a more natural look.

Light diffusion was first introduced to cinema in the early 20th century as filmmakers and photographers began experimenting with layering materials such as cheesecloth, gauze, or silk over light sources in order to fabricate a softened lighting environment. During the ‘Golden Age of Hollywood’, cinematographers refined diffusion techniques by using soft focus lenses combined with fabrics to create the now-iconic glamour look, especially apparent in portraits of iconic movie stars (see Joan Crawford in HUMORESQUE (1946), or Marilyn Monroe in GENTLEMEN PREFER BLONDES (1953)). The cinematic results of light diffusion are dreamy, ethereally lit subjects often utilised in romance films or surrealist scenes.

In David Lynch’s MULLHOLLAND DRIVE (2001), cinematographer Peter Deming applies light diffusion in order to establish the film’s signature dreamlike, mysterious atmosphere, a Lynchian hallmark. Deming’s approach to lighting is critical to the visual language of the film; the soft diffusion blurs the boundaries between reality and fantasy contributing to the surreal and psychologically layered tone, while intimate interiors, such as Betty’s (Naomi Watts) apartment and Club Silencio, highlight a contrast of subject and setting where faces often glow with a distinct weightlessness. Lynch and Deming’s use of light amplifies the film’s thematic shift of dualities from innocent and dreamy to nightmarish corruption inherent to the plot. For example, Betty’s initial illumination evokes her sense of hopeful idealism, countered in later sequences, becoming darker, while maintaining a softened, foggy edge, keeping the viewer within a space of tension, uncertainty, and ambiguity to reinforce the film’s exploration of identity, illusion, and the unconscious. The diffusion filters feel like smudged glasses in the morning, or sheer curtains on a sunny window, wrapping the narrative in a tactile dreamscape where everything is a bit hazy, echoing Lynch’s surreal vision.

EARS
The decibel (dB) is a relative unit of measurement equal to one-tenth of a bel (B). The term originates from the measurement of transmission loss and power in the telephony of the early 20th century. The bel, named after Alexander Graham Bell, credited with patenting the first practical telephone, is hardly used; rather, the decibel is used for a variety of measurements in science and engineering, most prominently for sound power in acoustics, in electronics, and control theory. The average decibel level in a movie theater typically ranges from 74 to 104 dB and can peak upwards of 130 dB in high-action scenes.

In 2001, during the premieres of MULHOLLAND DRIVE, director David Lynch attached a note requesting projectionists “please raise the volume 3 dB hotter than normal.” For Lynch, known for his meticulous attention to sound design, sound plays a crucially important role for properly experiencing his films; not just to complement the visuals as mood-setting but for storytelling itself, often unsettling the viewer with a deep psychological complexity before returning to ethereal dreaminess or everyday banality. Raised 3 dB hotter than normal, the sound begins to manipulate time, space, and emotion, drawing viewers deeper into the hypnotic, disorienting world of a fuzzy Los Angeles, more specifically, the ghostly bends of Mulholland Drive.

“I love the light in Los Angeles. It’s just so beautiful—the way the light hits the buildings, the way the shadows fall. It’s kind of magical.”
David Lynch

In Super Coming Attractions Vol. I Spring 2025.