♫♫

>> ANNOUNCER: PRODUCTION OF

"BROAD & HIGH" IS FUNDED IN PART

BY THE GREATER COLUMBUS ARTS

COUNCIL, SUPPORTING ARTS,

ADVANCING CULTURE AND CONNECTING

THE COMMUNITY TO CULTURAL

EVENTS, ARTISTS AND CLASSES AT

COLUMBUSMAKESART.COM.

AND BY THE OHIO ARTS COUNCIL, A

STATE AGENCY THAT FUNDS AND

SUPPORTS QUALITY ARTS

EXPERIENCES.

>>> THIS TIME ON "BROAD &

HIGH" --

WE'LL CHECK OUT THE SCENE IN

DOWNTOWN MANSFIELD.

>> WHEN WE GET TOURISTS IN HERE,

THEY'RE LIKE "WOW, WE NEVER

WOULD HAVE KNOWN THAT YOU GUYS

GOT STUFF REALLY GOING DOWN

HERE."

>> A CHOREOGRAPHER WHO USES

WATER TO TELL STORIES.

AND FILMMAKER DAVID LYNCH.

THIS AND MORE, RIGHT NOW, ON

"BROAD & HIGH."

♫♫

>>> WELCOME BACK TO "BROAD &

HIGH."

I'M YOUR HOST KATE MANECKE.

FOR OUR FIRST SEGMENT WE TRAVEL

UP TO MANSFIELD, OHIO FOR A

STORY ABOUT REVITALIZATION OF

THE ARTS COMMUNITY THERE.

MANSFIELD WAS A TYPICAL

MANUFACTURING CITY THAT GREW

WITH THE RAILROAD AND BURST AT

THE SEAMS TRYING TO SUPPLY THE

DEMAND FOR THINGS LIKE

SUSPENDERS, PAPER BOXES AND

BELIEVE IT OR NOT, CIGARS.

IT'S A FAMILIAR STORY OF BLIGHT

AS WELL WHEN THE FACTORIES

CLOSED AND PEOPLE LOST THEIR

JOBS.

BUT THINGS ARE CHANGING, THANKS

TO A COMMUNITY OF DEDICATED

INDIVIDUALS WHO ARE DETERMINED

TO BRING CULTURAL VIBRANCY BACK

TO DOWNTOWN MANSFIELD.

♫♫

>> I LEFT AFTER HIGH SCHOOL FOR

COLLEGE AT OU.

AND THEN I WENT OUT EAST, AND I

SPENT A COUPLE OF YEARS IN D.C.

FIVE IN BOSTON.

AND I GUESS YOU WOULD SAY A NEW

YORK MINUTE IN NEW YORK.

SO, OUR GENERATION GOT HIT

PRETTY HARD WITH THE ECONOMIC

SLUMP.

I DID AND MOVED HOME.

AND AT THE TIME IT SEEMED LIKE A

HORRIBLE FAILURE.

I DIDN'T EXPECT THERE TO BE

ANYTHING MUCH FOR ME HERE.

I WAS CERTAIN THERE WOULDN'T BE

MUCH FOR ME HERE.

WHEN I MOVED HOME THERE WAS THIS

FAMILY WAITING FOR ME.

I MEAN, THERE WAS MY ACTUAL

FAMILY, BUT THEN THERE WAS A

COMMUNITY THAT I WAS APART OF.

AND WHEN I STARTED WORKING AT

THE BOOKSTORE, I WAS REALLY A

PART OF IT.

♫♫

THIS IS MAIN STREET BOOKS.

I AM THE MANAGER, PUBLICIST AND

MARKETER AND JANITOR.

EVERYTHING ELSE.

MY HUSBAND AND I RUN THE STORE.

IT'S A SMALL INDEPENDENT

BOOKSTORE.

OUR PHILOSOPHY IS BASICALLY THAT

WE CAN'T COMPETE WITH THE BIG

GUYS, SO WE DON'T TRY.

WE GET THE SMALL PRESSES, THE

NEW AUTHORS, WE CURATE OUR

SELECTION VERY CAREFULLY.

♫♫

SO THERE'S A WHOLE BUNCH OF US

THAT MOVED HOME FROM FAR AWAY.

AND WE ALL KIND OF BROUGHT WHAT

WE WANTED, WHAT WE EXPECTED IN A

COMMUNITY AND WE BROUGHT THAT

HOME.

AND WHAT I WANTED WAS READINGS

AND WRITING GROUPS AND AUTHOR

VISITS AND POETRY READINGS AND

OPEN MIKES.

SO I JUST SCHEDULED IT AND TOLD

PEOPLE TO COME.

AND THEY DID.

[ LAUGHTER ]

IT WAS GREAT.

♫♫

>> I MOVED FROM WASHINGTON,

HERE, TO MANSFIELD BECAUSE OF

CHEEP HOUSES.

I LIKE SMALLER TOWNS.

AND I FELT THAT THIS WAS, ONCE I

CAME HERE, THERE WAS A LOT OF

OPPORTUNITIES.

AND THEN, OF COURSE BY ACCIDENT,

THEN FOUND THE MUSEUM 18 YEARS

AGO.

AND THAT CHANGED EVERYTHING.

MANSFIELD, IN MY CHILDHOOD, HAD

SO MANY COOL STILL DOWNTOWN.

THEN AS I GOT INTO COLLEGE IT

REALLY GOT RAN DOWN, AND IT WAS

PRETTY DEPRESSING DOWN HERE.

SO I MOVED AWAY FOR AWHILE, BUT

YEAH, THIS IS HOME.

♫♫

>> YOU CAN HEAR THE MUSIC

EVERYWHERE.

YOU JUST FOLLOW IT.

THAT CAROUSEL OPENED UP IN '92,

I BELIEVE.

AND EVERYONE THOUGHT THEY WERE

CRAZY.

>> THAT WHOLE AREA WHERE THE

CAROUSEL IS REALLY WENT IN TO A

BAD DOWNTURN.

AND SO THE CITY STARTED ACTUALLY

TEARING DOWN LARGE SECTIONS.

AND THEY WANTED SOMETHING TO

ACTUALLY BRING IN PEOPLE INTO

MANSFIELD.

ALL THOSE THINGS WERE CARVED

HERE.

>> THE DOWNTOWN CAROUSEL

DISTRICT, ONCE EVERYBODY

REALIZED THE EXCITEMENT FOR IT,

THERE'S A LOT OF OTHER

BUSINESSES AROUND US.

AND THERE'S MORE, HOPEFULLY,

COMING IN.

THINGS ARE STARTING TO HAPPEN

DOWNTOWN FOR US, SO WE'RE

EXCITED ABOUT THAT.

WE'RE HAPPY TO BE A PART OF

THAT.

♫♫

>> WHEN WE GET TOURISTS IN HERE,

THEY'RE LIKE "WOW, WE NEVER

WOULD HAVE KNOWN THAT YOU GUYS

GOT STUFF REALLY GOING DOWN

HERE."

♫♫

A LOT OF PEOPLE THAT LIVE HERE,

THOUGH, DON'T KNOW YET THAT

THERE'S THIS MUCH FUN STUFF

GOING ON.

>> THIS IS NOTHING AGAINST

MANSFIELD, BUT I ALWAYS SAY AT

8:00 THEY ROLL UP THE SIDEWALKS

SO --

>> WELL I WOULD HAVE AGREED WITH

THAT STATEMENT A COUPLE OF YEARS

AGO, BUT THERE ARE CROWDS THAT

HANG OUT DOWN HERE UNTIL PRETTY

LATE AT NIGHT.

>> THE FIRST FRIDAY SHOP HOP,

ALL OF THE SHOPS STAY OPEN LATE,

AND A LOT OF US HAVE SOME KIND

OF ENTERTAINMENT.

I OFTEN HAVE AUTHORS COME VISIT.

NEXT DOOR, AT THE ART GALLERY,

SHE HAS ARTISTS COME IN.

IT'S VERY COOL.

EVERYBODY'S GOT A LITTLE

SOMETHING.

>> THIS PLACE BECAME A MORTUARY

IN 1914.

THE REASON THAT THE MORTUARY

SHUTDOWN IN THE '30S WAS BECAUSE

THE SON OF THE OWNER COMMITTED

SUICIDE IN THE PLACE.

I KNEW THERE WAS SOMETHING IN

MYTHOLOGY THAT ROSE UP OUT OF

THE ASHES.

SO IT WAS THE PHOENIX, AND WE

WERE LIKE "OH, THAT'S GOT TO BE

IT."

♫♫

BREWING IN MANSFIELD HAD GONE

FOR AWHILE.

WE HAD REALLY TWO BIG BREWERIES

IN TOWN BEFORE PROHIBITION, AND

THEY WERE RIGHT ACROSS THE

STREET FROM HERE.

KIND OF THE RESURRECTION OF

BREWING AND MANSFIELD.

IN FACT, OUR TAG LINE IS

"RESURRECTING TRADITION ONE

BATCH AT TIME."

WE HAVE, BASICALLY, WHAT WE CALL

SIX FLAGSHIP BEERS.

AND I THINK EACH ONE OF THOSE IS

SOLID FOR ITS STYLE.

SOMETIMES IT'S A LITTLE

OVERWHELMING THAT WE WERE ABLE

TO DO THIS.

IT'S HOME.

I DON'T KNOW WHAT ELSE TO SAY.

♫♫

>> COME TO THE MANSFIELD

MEMORIAM MUSEUM.

♫♫

THE CORNERSTONE WAS LAID

IN 1887.

WE ARE THE FIRST AND LAST

STANDING THAT ACTUALLY STILL HAS

VETERANS THAT MEET IN HERE.

WE'RE THE OLDEST CONTINUOUSLY

USED VETERAN'S HALL.

AND OF COURSE THE MUSEUM ITSELF

IS ONE OF THE OLDEST MUSEUMS IN

OHIO.

MANSFIELD, FOR THE -- IT'S

INCREDIBLE, FOR THE SIZE OF ITS,

FOR THE CITY ITSELF, WHAT IT

CONTRIBUTED AND WHAT IT PRODUCED

IS ABSOLUTELY INCREDIBLE.

WHEN YOU LOOK AT THE SMALLER

MUSEUMS AROUND THE COUNTRY, THEY

ARE THE ONES THAT ARE ACTUALLY

PRESERVING THE BULK OF THE

COMMUNITY'S HISTORY.

AND UNFORTUNATELY MORE AND MORE

ARE GOING TO THE DUST.

WE HAVE ONE GENTLEMEN WHO

ACTUALLY GIVES ME, AND I CANNOT

EXPRESS HOW GRATEFUL I AM, SOME

FUNDS THAT I GET TO KEEP THE GAS

ON.

IN THE LAST EIGHT YEARS OF MY

18, I HAVE NOT HAD A SALARY, BUT

I'M HERE 40 HOURS A WEEK AND I

DO OTHER JOBS TO MAKE SURE THIS

IS MY LIFE.

>> WE'RE KIND OF REDEFINING

SUCCESS.

AND TO US, SUCCESS IS HAVING

THIS WEALTH OF FRIENDS AND ARTS

AND CULTURE AND JUST HAVING A

PLACE THAT MAKES YOU HAPPY AND

THAT YOU CAN AFFORD TO LIVE IN.

♫♫

♫♫

>> ON FRIDAY NOVEMBER 6TH,

TOM BATIUK, THE CREATOR OF

"FUNKY WINKERBEAN" AND

"CRANKSHAFT", WILL BE AT MAIN

STREET BOOKS IN DOWNTOWN

MANSFIELD AS PART OF THE CITY'S

FIRST FRIDAY SHOP HOP.

AND VISIT MANSFIELDTOURISM.COM

TO FIND OTHER COOL HAPPENINGS IN

THE AREA.

♫♫

CHOREOGRAPHERS ARE STORYTELLERS.

THEY INSTRUCT DANCERS TO CONVEY

MEANING THROUGH MOVEMENT.

CRYSTAL MICHELLE OF DAYTON

RECENTLY EXPLORED THE POWER AND

SIGNIFICANCE OF WATER IN A

SITE-SPECIFIC PERFORMANCE SHE

DEVELOPED ALONG THE SCIOTO RIVER

IN DUBLIN EARLIER THIS YEAR.

[ FAINT SINGING ]

♫♫

>> THE DECENT OF THIS WATER RAIN

IS ACTUALLY THE DEFINITION OF

RAIN.

SO IF YOU LOOK AT RAIN, THE

DECENT OF WATER, I JUST MADE

SOME CONNECTIONS ABOUT

DESCENDING ON A PLACE.

ABOUT RAIN BEING PURE.

OR BEING A PURIFYING ELEMENT,

RATHER A CLEANSER.

AND THINKING ABOUT EACH

INDIVIDUAL PARTICIPANT, DANCER,

VIEWER, AS DROPLETS OF RAIN.

SO GATHERING INTO ONE BODY OF

WATER.

THE RIVER IN THIS INSTANCE.

♫♫

THE RIVER IS THIS THING, RIGHT,

THAT PROVIDES RESOURCE AND

CONNECTION NATURALLY.

RIGHT?

IF YOU LOOK AT OUR WATERSHEDS OR

OUR RIVER, OUR OCEANS EVEN,

LAKES -- THEY WAY THAT THEY

CONNECT.

SORT OF CONNECTING DOTS.

SO BEING INTERESTED IN THE WAY

WE CONNECT AND HOW WE USE IT.

♫♫

OHIO IS AN AMAZINGLY DIVERSE

PLACE.

SO NOT JUST FOR AFRICAN-AMERICAN

PEOPLE, OR FOR NATIVE-AMERICAN

POPULATIONS, BUT EVEN FOR WHITE

POPULATIONS ARE NOT WHITE

POPULATIONS, RIGHT.

THEY'RE JUST -- GERMAN

POPULATIONS AND ITALIAN

POPULATIONS.

AND ALL OF US WHO SORT OF FOUND

THIS PLACE, THIS RIVER AREA.

THE SCIOTO RIVER HAS AN

INTERESTING HISTORY WITH THE

UNDERGROUND RAILROAD POPULATION.

SO I THOUGHT, IF I HAD THIS

CONNECTION TO THE WATER AND TO

THE EARTH, HERE IN THIS PLACE,

IF I COULD DRAW THOSE LINES --

HOW COULD THE DANCERS DRAW THOS

LINES AS WELL.

AND WHAT WOULD IT MEAN TO START

CONNECTING TO A PLACE AS GROUP

OF PEOPLE.

THE MUSIC ABSOLUTELY HELPS TELL

THAT STORY.

SO TO NOT JUST USE THINGS THAT I

CONNECTED WITH, BUT TO USE MUSIC

THAT COMES FROM THIS PLACE.

TO USE BLUEGRASS MUSIC.

TO USE RING-SHOUT MUSIC.

TO USE THE HUMAN VOICE.

OLD SPIRITUALS.

SO THERE'S A PIECE OF MUSIC

CALLED "BIG SCIOTY."

IT'S A BLUEGRASS SONG THAT I USE

TO KIND OF DO LIKE A PADDLE BOAT

THING.

A GROUP OF PEOPLE COMING ACROSS

A SPACE.

AND THEN I ALSO USED A VERY OLD

RING-SHOUT KIND OF THING THAT

FOLLOWS THAT, AND OVERLAID OVER

IT ARE THE DANCERS VOICES

TALKING ABOUT HOW THEY GO TO

THIS PLACE ON THE POWER OF

WATER.

AND CREATED MOVEMENT TO GO IN

THOSE THINGS.

>> I KNOW MY ROOTS.

>> IN ORDER TO DO THE

CHOREOGRAPHY, YOU ALMOST HAVE TO

LEAN BACK INTO THE HILL.

IT'S SO -- I MEAN JUST WALKING

UP AND DOWN IT IS PHYSICAL,

RIGHT?

AND SO WE WOULD HAVE THESE DAILY

CONVERSATIONS DURING THE

REHEARSAL THE WEEK LEADING UP TO

IT -- THAT THAT'S WHAT MIGRATION

FELT LIKE.

YOU KNOW THEY LOVED THEIR THINGS

ON THEIR BACK.

THEY CLIMBED THESE HILLS.

THEY WENT THROUGH THIS TERRAIN.

AND I THINK THROUGH THE DANCE WE

REALLY DID EXPERIENCE THAT.

THERE WAS NO IGNORING THAT IT

WAS A NATURAL SPACE.

THE CHOREOGRAPHY STARTED TO

ADJUST A LITTLE DAY BY DAY.

THAT RUNNING UP THE HILL BECAME

CRAWLING UP THE HILL.

OR WALKING DOWN A HILL STRAIGHT

BECAME SORT OF A SIDEWAYS JOG.

EVERYTHING JUST GOT EXTREMELY

PHYSICAL IN REACTION TO THE

SPACE.

BUT WHEN YOU'RE DOING

SITE-SPECIFIC WORK YOU ALLOW

THAT.

♫♫

♫ SEEMED TO VANISH LIKE THE

GAMBLER'S LUCKY STREAK ♫

♫ WHEN WE'RE OUT TOGETHER

DANCING CHEEK TO CHEEK ♫

♫♫

>> STEVEN WALKER, A VIRGINIA

NATIVE WHO NOW LIVES IN OHIO,

SAYS THE BEST TIMES OF HIS LIFE

WERE THE CHILDHOOD ROAD TRIPS HE

TOOK WITH HIS FAMILY THROUGH THE

COUNTRYSIDE, AND HIS LANDSCAPE

PAINTINGS ARE REMINISCENT OF

THESE TIMES.

♫♫

>> I DON'T KNOW HOW MANY YEARS

AGO, BUT A FRIEND ASKED ME THIS

WEIRD QUESTION.

HE JUST SAID WHAT MAKES YOU

HAPPY?

AND IT THREW ME OFF BECAUSE I

HADN'T GIVEN IT A SECOND

THOUGHT.

WHAT -- WHAT MAKES ME -- HUH?

OH.

AND SO I STARTED THINKING ABOUT

IT, REALLY GAVE IT A LOT OF

THOUGHT, AND I STARTED THINKING

ABOUT THE BEST TIMES OF MY LIFE

WERE ROAD TRIPS WHERE I'M JUST

STARING OUT OF THE BACK SEAT AT

RURAL COUNTRY.

SEEING COWS PASS BY, FARMHOUSES.

CAMPING IN BOY SCOUTS, TRAILS,

JUST GETTING LOST SOMETIMES.

THOSE REALLY TOOK ME TO A GOOD

PLACE, AND IT ALWAYS HELPS TO

KNOW YOUR SUBJECT.

SO, I LOOK FOR A LOT OF CONTRAST

AND A LOT OF TIMES I WON'T GO

OUT SAY IN THE MIDDLE OF THE DAY

BECAUSE EVERYTHING'S JUST WASHED

OUT.

TOWARDS THE END OF THE DAY,

SUNSET, YOU GET THAT REALLY

STRONG LIGHT.

THAT GIVES US AT TIMES ORANGE

GLOW ACROSS THE WHOLE LANDSCAPE

AND THAT REALLY SPEAKS TO ME.

AND TRYING TO KEEP IT NATURAL

EVEN IF IT'S NOT YOUR TYPICAL

BEAUTY.

YOU KNOW, I'VE PAINTED THINGS

WHERE THE TREES THAT ARE IN AN

ALLEY WAY.

AND YOU KNOW, WHO WOULD THINK TO

EVEN DO THAT?

BUT, IF THE LIGHTING'S HITTING

EVERYTHING RIGHT, ANYTHING CAN

BE BEAUTIFUL.

♫♫

YOU CAN'T WAIT FOR INSPIRATION

TO COME, YOU GOT TO GO OUT AND

GET IT.

IF I WAITED FOR INSPIRATION, I

COULDN'T -- I WOULDN'T HAVE MANY

SHOWS.

SO, THAT'S BEEN ONE KEY THING OR

FEW KEY THINGS THAT REALLY

HELPED ME WHEN STUDYING

ILLUSTRATION.

THEN THE KICKER WAS JUST FINDING

MY OWN VOICE FOR FINE ART.

♫♫

SO MANY PEOPLE WANT TO JUST GET

IT RIGHT FROM THE JUMP AND THEY

DON'T WANT TO -- THEY DON'T WANT

TO FAIL.

THEY DON'T WANT TO SHOW ANYTHING

THAT'S NOT MUSEUM WORTHY.

YOU HAVE TO HAVE PATIENCE "WELL,

OKAY I'M GOING TO DO THIS, IT'S

NOT GONNA BE GREAT, BUT I'M

GONNA LEARN FROM IT AND APPLY IT

TO THE NEXT PIECE."

AND, YOU KNOW, AS LONG AS YOU'RE

STILL WORKING THE CRAFT AND

HAVING THE PATIENCE TO KNOW THAT

IT'S GONNA GET BETTER, YOU'LL BE

JUST FINE.

AND SOMETIMES, DOING A LITTLE

BIT OF PAINTING SAYING "OKAY, I

GOT TO WAIT.

I GOT TO LOOK AT THIS FOR AWHILE

TO SEE IF IT'S REALLY WORKING

THE WAY I WANT IT TO."

AS OPPOSED AS GIVING YOURSELF,

"OKAY, WELL I GOT TO GET THIS

FINISHED IN THIS AMOUNT OF

TIME."

IF IT DOESN'T, THEN IT DOESN'T.

♫♫

>> IF YOU'RE A "TWIN PEAKS" FAN,

YOU'LL LOVE THIS SEGMENT.

THE CRITICALLY ACCLAIMED

1990S TV SERIES WILL RETURN TO

SHOWTIME NEXT YEAR WITH ORIGINAL

CREATOR AND DIRECTOR DAVID LYNCH

AT THE HELM.

BUT LONG BEFORE LYNCH BROUGHT US

"TWIN PEAKS", "BLUE VELVET" AND

"ERASERHEAD", HE WAS A STUDENT

AT THE PENNSYLVANIA ACADEMY OF

FINE ARTS WHERE HE DREAMED OF

BECOMING A PAINTER.

THE PAFA MUSEUM RECENTLY

PRESENTED THE FIRST MAJOR U.S.

EXHIBITION OF LYNCH'S WORK THAT

UNITES ALL ASPECTS OF HIS

CREATIVE LIFE, INCLUDING ONE OF

THE FIRST FILMS HE EVER MADE.

>> THE TRACES OF PHILADELPHIA IN

HIS WORK ARE, YOU CAN'T UNWIND

OR PULL ANYTHING APART WITHOUT

PHILADELPHIA POKING UP.

>> I HAVEN'T SEEN SOME OF THESE

PAINTINGS THAT ARE IN THE SHOW

SINCE THE 60S.

WHEN I WENT AROUND LOOKING AT

THE SHOW, I GOT MORE, I GOT

IDEAS.

SO, I THINK THAT IT'S GOOD TO

LOOK BACK SOMETIMES.

♫♫

I ALWAYS SAY THAT PHILADELPHIA,

PENNSYLVANIA IS MY BIGGEST

INFLUENCE. THERE'S SOMETHING

ABOUT THE MOOD HERE.

THERE WAS DARK CARVED WOOD

BANISTERS AND STAIRWAYS.

THERE WAS A CERTAIN TYPE OF

GREEN THAT THEY'D PAINT THE

ROOMS, EITHER WHITE OR THIS

STRANGE GREEN.

THE ROOMS HAD NICE PROPORTIONS,

SO THERE WAS A CERTAIN KIND OF

PURITY.

IT HADN'T BEEN DISTURBED EXCEPT

BY THE SOOT.

IT WASN'T ANY ONE PARTICULAR

THING OR SCENE THAT YOU WITNESS

HERE.

IT'S THE MOOD AND WHAT SOME OF

THE IMAGES DID ONCE THEY GOT

DOWN INSIDE OF YOU.

YEAH, PHILADELPHIA IS A

PERCOLATING IN ME.

>> THE UNIFIED FIELD IS THE

FIRST MUSEUM EXHIBITION OF

DAVID LYNCH'S PAINTINGS AND

DRAWINGS EVER.

IT IS THE LARGEST SURVEY THAT

EVER BEEN ON VIEW IN AN AMERICAN

MUSEUM AND IT'S THE FIRST.

>> BACK IN 1965 AND I --

>> HE IS ALSO AN INTERNATIONALLY

KNOWN FILM DIRECTOR AND WRITER.

HE HAS BEEN NOMINATED FOR

ACADEMY AWARDS.

PRETTY MUCH A CELEBRITY.

HE'S KNOWN THROUGHOUT THE ENTIRE

WORLD AS A FILM DIRECTOR, BUT

DAVID LYNCH IS AT HEART A

PAINTER.

>> I ONLY WANTED TO BE A

PAINTER.

I GOT INTO FILM BY ACCIDENT IN

THIS VERY BUILDING IN ONE OF THE

STUDIOS RIGHT OVER HERE.

THE FIRST FILM I EVER MADE IS

NOW BEING SHOWN HERE AS IT WAS

WHEN I MADE IT.

AND IT WAS PROJECTED IN THIS

ROOM JUST TO THE RIGHT OF WHERE

YOU ARE SITTING ON A 16 MM

PROJECTOR AND I HAD A TAPE

RECORDER WITH A LOOP OF SIRENS

AND IT WAS PLAYED RIGHT HERE.

[ SIREN ]

>> ONE OF THE THINGS I'M MOST

PROUD OF ABOUT THIS EXHIBITION

IS THAT WE ARE PRESENTING "SIX

MEN GETTING SICK" WHICH LYNCH

DID IN 1967 FOR THE FIRST TIME

SINCE 1967.

WHERE DAVID LYNCH BEGINS TO ME

AS SOMEBODY WHO IS MAKING WORK

THAT IS UNIQUELY HIS OWN IS WITH

"SIX MEN GETTING SICK."

IT'S THAT PIECE THAT HE MADE AS

HIS ENTRY INTO THE SECOND ANNUAL

EXPERIMENTAL PAINTING AND

SCULPTURE COMPETITION THAT WAS

HELD AT PAFA.

LYNCH WHO IS AN ADVANCED

PAINTING STUDENT AT PAFA DIDN'T

PRODUCE A PAINTING, BUT BASED ON

AN EXPERIENCE HE HAD IN THE

STUDIO ONE NIGHT HE'S PAINTING

AN IMAGE OF GREEN GARDEN PLANTS

AT NIGHT.

IT WAS A NOCTURNAL SCENE.

HE PAUSED AND THEN FROM THE

PAINTING CAME A WIND THAT HE

HEARD AND HE FELT.

AND THEN HE SAW THE PLANTS START

TO MOVE ON THE CANVAS, AND THEN

HE THOUGHT, "OH!

A MOVING PAINTING."

AND HE STRESSES HE WASN'T ON

DRUGS.

YOU KNOW, THIS WAS THE 60S AND

EVERYONE WANTS TO KNOW WAS

DAVID LYNCH TAKING DRUGS, BUT

ALL OF HIS FRIENDS AND HE SORT

OF ASSERTS THAT HE WAS PRETTY

MUCH STRAIGHT AS AN ARROW.

NOT HAVING HAD ANY FILM TRAINING

WHATSOEVER.

THERE WAS NO FILM PROGRAM AT

PAFA.

THERE WASN'T EVEN A PHOTOGRAPHY

CURRICULUM AT PAFA.

HE AND HIS FRIEND

BRUCE SAMUELSON -- WHO TEACHES

HERE NOW, HAS BEEN TEACHING HERE

SINCE THE EARLY 70S -- WAS A

CLASSMATE OF LYNCH'S, TALKED

ABOUT GETTING CAMERAS TOGETHER

AND STARTING SOME KIND OF FILM

EXPERIMENTS.

WELL, LYNCH WENT AND BOUGHT A

CAMERA.

A WIND UP CAMERA.

AND HE STARTED TO DO BASICALLY

STOP MOTION ANIMATION OF A

PAINTING HE WAS MAKING.

"SIX MEN GETTING SICK" ISN'T THE

MOMENT WHERE THERE IS A

CROSSROADS AND DAVID LYNCH PICKS

FILM OVER PAINTING OR DRAWING.

IT IS THE FIRST MANIFESTATION OF

WHAT WINDS UP BEING TOTAL, TOTAL

SENSORY IMMERSION.

WHEN YOU LOOK AT THE RESULT IS

OF "SIX MEN GETTING SICK," IT IS

A FILMED ANIMATION THAT GOES ON

FOR 60 SECONDS, AND IT IS LOOPED

AIMED AT A SCULPTED SCREEN THAT

IS SIX BY EIGHT FEET.

AND THE ANIMATION IS BASICALLY A

PAINTING THAT HE IS MAKING, THAT

HE GRADUALLY ADDS TO, SHOOTS TWO

FRAMES, ADDS TO IT, SHOOTS TWO

FRAMES, AND CONTINUES TO DO

THAT.

AND SO, HE IS NOT MAKING A

LITTLE ANIMATED CELLS OR

APPROACHING FILM IN THE WAY A

FILMMAKER WOULD.

LYNCH IS APPROACHING FILM IN THE

WAY HE KNOWS HOW TO DO ANY KIND

OF STUDIO WORK AND COME UP WITH

A SOLUTION.

HE IS ACTUALLY MAKING A PAINTING

AND FILMING IT AS IT IS

TRANSFORMING THROUGH HIS GRADUAL

ADDITIVE PROCESS.

>> I'VE BEEN PAINTING EVER

SINCE.

AND I GET SOMETHING FROM

PAINTING THAT I DON'T GET FROM

ANY OTHER MEDIUM FOR SURE.

♫♫

>> IF YOU DON'T KNOW WHAT IT IS,

A SORE CAN BE VERY BEAUTIFUL.

A SORE IN THE SKIN, AN

INFECTION, A DEEP CUT WITH PUSS.

BUT IF YOU TOOK A PICTURE OF IT,

A CLOSE UP AND YOU DIDN'T KNOW

EXACTLY WHAT IT WAS, IT COULD BE

A GREAT BEAUTY OF ORGANIC

PHENOMENON.

>> HE'S CONSTANTLY TRYING TO

THINK UP NEW WAYS OF REALIZING

THAT IDEA, AND IT IS A VISION OF

TOTAL SENSORY IMMERSION RATHER

THAN, "I'M CHOOSING FILM OVER

PAINTING."

IT'S ALTOGETHER.

>> I ONLY WANTED TO BE A

PAINTER.

PAINTING LED TO WANTING TO DO A

MOVING PAINTING WITH SOUND.

SO, CINEMA TO ME IS SOUND AND

PICTURE MOVING TOGETHER IN TIME.

AND FOR ME, IT WAS BORN OUT OF

PAINTING.

>> ERASERHEAD IS ALSO THIS

INTUITIVE PROCESS --

THAT HE IS MAKING A FILM IN A

MANNER THAT TAKES FOUR YEARS

PARTLY BECAUSE OF FUNDING, BUT

ALSO THE NATURE OF THE WAY HE IS

CONSTRUCTING THE WORLD.

CONSTRUCTED AND ADDED TO IN THE

WAY THAT SOMEBODY WORKING IN A

STUDIO DOING SOMETHING, PUTTING

SOMETHING IN JUXTAPOSITION,

ADDING SOMETHING TO IT, WOULD DO

A FILM RATHER THAN SOMEBODY WHO

IS SHOOTING A NARRATIVE THAT HAS

A LINEAR SORT OF TRAJECTORY.

♫♫

HE WANTS TO CONSTANTLY REMIND

PEOPLE THAT IT'S A MUSE.

PHILADELPHIA HAS BEEN HIS MUSE,

BASICALLY.

♫♫

>> THAT'S OUR SHOW.

TO SEE ALL OF TODAY'S STORIES,

VISIT WOSU.ORG.

WE CAN ALSO FIND US ON FACEBOOK

AND TWITTER.

AND TRY OUT THE WOSU PUBLIC

MEDIA MOBILE APP, WHERE YOU CAN

WATCH OUR SEGMENTS ON YOUR

SMARTPHONE OR TABLET.

TODAY WE'RE TAKING YOU OUT WITH

THE SOUNDS OF COMRADE QUESTION,

A PSYCHEDELIC GARAGE BAND OUT OF

COLUMBUS AND A TRACK OFF THEIR

2014 ALBUM "PEPE POLO."

THANKS FOR WATCHING.

WE'LL SEE YOU NEXT WEEK ON

"BROAD & HIGH."

♫ WHEN YOU'RE NOT LOOKIN THAT'S

WHEN IT COMES ♫

♫ THAT'S WHEN IT COMES IT'S

COMIN TO GET YA ♫

♫ THOUGHT LIVIN WAS EASY DON'T

WORK TOO HARD ♫

♫ PLAY YOUR BEST CARD ♫

>> ANNOUNCER: PRODUCTION OF

"BROAD & HIGH" IS FUNDED IN PART

BY THE GREATER COLUMBUS ARTS

COUNCIL, SUPPORTING ARTS,

ADVANCING CULTURE AND CONNECTING

THE COMMUNITY TO ARTISTS EVENTS

AND CLASSES AT

COLUMBUSMAKESART.COM.

AND BY THE OHIO ARTS COUNCIL, A

STATE AGENCY THAT FUNDS AND

SUPPORTS QUALITY ARTS

EXPERIENCES.