Mulholland Dr.


2h 26m 2001
Mulholland Dr.

Brief Synopsis

Along Mulholland Drive nothing is what it seems. In the unreal universe of Los Angeles, the city bares its schizophrenic nature, an uneasy blend of innocence and corruption, love and loneliness, beauty and depravity. A woman is left with amnesia following a car accident. An aspiring young actress finds her staying in her aunt's home. The puzzle begins to unfold, propelling us through a mysterious labyrinth of sensual experiences until we arrive at the intersection of dreams and nightmares.

Film Details

MPAA Rating
Genre
Drama
Mystery
Thriller
Release Date
Oct 12, 2001
Premiere Information
Cannes Film Festival premiere: 16 May 2001; New York Film Festival opening: 6 Oct 2001
Production Company
Asymmetrical Productions; Imagine Entertainment; Le Studio Canal; Les Films Alain Sarde; The Picture Factory; Touchstone Pictures
Distribution Company
Universal Focus
Country
France and United States
Location
Los Angeles--Downtown, California, United States; Los Angeles--Silver Lake, California, United States; Los Angeles--Sunset Ranch, California, United States

Technical Specs

Duration
2h 26m

Synopsis

As the city of Los Angeles shimmers below, a limousine snakes along Mulholland Dr. Stopping suddenly, the driver turns around, trains a gun on the passenger, a sultry, raven-haired woman, and orders her to get out. At that moment, a pair of drag racing cars screams around a curve, smashing head on into the limousine. The woman, dazed, crawls out of the wreckage and stumbles down to the city streets below. Exhausted from her ordeal, she takes refuge in some bushes outside a stunning Spanish courtyard apartment building and falls asleep. The next morning, she is awakened when Ruth, one of the tenants, walks past to meet a waiting cab. After loading her luggage into the trunk, Ruth returns to her apartment to fetch her keys and the woman sneaks in, hides under a table and falls asleep. At Winkie's coffee shop nearby, a man recounts two nightmares he had about a horrific man who lurks in back. As the man and his companion go to investigate, a hideous tramp appears from the rear of the building, causing the man to faint. Soon after, fresh-faced, young Betty Elms from Deep River Ontario, lands at the Los Angeles airport, filled with dreams of becoming an actress. An elderly couple whom Betty had befriended on the flight wish her "all the luck in the world," then climb into the back of a limousine and drive off, grinning from ear to ear. Betty then takes a cab to the courtyard apartment owned by her Aunt Ruth, who has agreed to let her stay while she is away on business. There Betty is greeted by the complex's eccentric manager, Coco Lanois, who speaks in aphorisms. As Betty peruses the apartment, she is startled to see a woman's cocktail dress and purse discarded on the bedroom floor. In the bathroom, Betty finds the naked raven-haired woman standing in the shower. Assuming that the woman is a friend of her aunt's, Betty asks her name. The woman, now suffering from amnesia, gazes vacantly at a poster of Rita Hayworth from the film Gilda , and says her name is Rita. At the Ryan Entertainment office in downtown Los Angeles, Adam Kesher, a self-important, petulant young film director, meets with his backers, the sinister Luigi and Vincenzo Castigliane. As Mr. Roque, a wheelchair-bound dwarf, views the meeting over closed circuit television, Vincenzo extracts a publicity photo of actress Camilla Rhodes from his briefcase and demands that Adam cast her as the lead in his new film. After Adam vehemently refuses, Vincenzo menacingly states "it's no longer your film." Defiantly storming out of the building, Adam goes to the Castiglianes' limousine and smashes it with a golf club. Roque, who communicates only through a cellphone headset, then mumbles into the headset, causing Adam's production to be shut down. In a seedy office, a scruffy blonde man and a man seated at the desk laugh about a car accident. Reaching for a black book on the desk, the blonde pulls out a gun and shoots his companion. One of his bullets goes astray, however, and hits a corpulent woman in the next office. While the blonde wrestles with the woman, a janitor appears, forcing the blonde man to shoot both the woman and the janitor. The janitor falls, hitting the switch on his vacuum cleaner, and when the machine springs to life, the blonde blasts it with his gun, starting a fire that sets off the alarm, sending the inept killer fleeing out a window. After Aunt Ruth telephones, Betty learns that Rita is an uninvited guest. When Betty gently asks Rita who she is, Rita breaks into tears and admits that she does not know. Betty then presses Rita to search her purse for identification, but when Rita unzips the bag she finds it is stuffed with $100 bills and an oddly shaped blue key. After Rita suddenly recalls that she was on her way to Mulholland Drive, Betty make an anonymous call to the police from a pay phone outside Winkie's and discovers that there was an automobile accident on Mulholland Drive the previous evening. Upon learning that his film has been shut down, Adam unexpectedly returns home and finds his wife Lorraine in bed with Gene, the pool man. In retaliation, Adam douses Lorraine's jewelry with paint, after which the feisty Lorraine pounces on him, then orders him to get out after Gene slugs him in the face. At Winkie's, Betty is scouring the newspaper for a story about the accident on Mulholland Drive when a waitress wearing the name tag "Diane" approaches their table. The name jars Rita's memory, and after she tells Betty that the name "Diane Selwyn" seems familiar, Betty looks it up in the phone book. After leaving his house, Adam seeks refuge in a run-down skid row hotel. When the manager informs Adam that some men have called the hotel looking for him, Adam, sensing danger, phones his assistant, who delivers a message from a man named Cowboy, instructing Adam to meet him at a corral at the top of Beachwood Canyon. At the corral, a flickering light announces the arrival of Cowboy, a man with a chalky complexion wearing a ten gallon hat. After telling Adam to hold an audition after which he will proclaim that Camilla Rhodes "is the girl," Cowboy cryptically adds that Adam will see him "one more time if he does good, two more times if he does bad." The next day, Betty rehearses a scene with Rita, then drives to an audition on a grungy set where she meets washed up producer Wally Brown and aging lothario Woody Katz, the production's leading man. After giving a steamy performance, Betty impresses chic casting director Linney James who insists that Betty accompany her to Adam's set. There, Adam is auditioning a nondescript blonde named Camilla Rhodes. After uttering that Camilla "is the girl," Adam sees Betty. When their eyes lock, Betty remembers that she has a date with Rita and runs off. Rita and Betty take a cab to the address listed as Diane's apartment, and when Betty's knock at the door goes unanswered, Betty climbs in through the window and opens the door for Rita. When they see a woman's rotting dead body sprawled across the bed, Rita realizes that she is in grave danger and runs screaming from the apartment. Back at Aunt Ruth's, Rita is about to cut off her long hair when Betty stops her and gives her a blonde wig to wear as a disguise. Rita dons the wig, and the two women admire their blonde, bobbed hair images in the mirror. That night, after Rita and Betty make passionate love, Rita awakens, calling out "silencio." Rita then asks Betty to accompany her, and they drive through deserted downtown streets to the Club Silencio, a theater dedicated to exposing the artifice of illusion. There, they are transfixed as a woman on stage lip syncs the song "Llorando" ("Crying") acapella. When the woman collapses onstage and is carried off, the song continues, and Betty, moved to tears by the performance, reaches into her purse for a handkerchief and finds a steely blue cube inside. Rita and Betty rush back to the apartment, where Rita goes to retrieve the purse that she has hidden in the closet. When she returns carrying the blue key, Betty is gone. After Rita inserts the key into the cube, it opens and falls out of Rita's hands onto the rug. Some time later, Ruth returns and finds the apartment eerily empty, and the box missing. When Cowboy cracks open the door of Diane's darkened apartment and says "hey pretty girl, time to wake up," Diane awakens to find a blue key on her coffee table. Diane's neighbor then comes to inform her that two police detectives have been looking for her. After the neighbor leaves, Diane turns from the window and imagines a smiling Camilla standing in the room. While Diane makes a pot of coffee, she turns around and she sees the bare-breasted Camilla lying across the couch. As Diane fondles Camilla's breasts, Camilla grows cold and ends their relationship. [While watching Adam and Camilla rehearse a love scene on the set of Adam's new film, Diane realizes that they are having an affair.] Diane angrily throws Camilla out, then furiously masturbates. Some time later, Camilla phones Diane to tell her a limousine is waiting to drive her to a party. As the limousine winds down Mulholland Dr., the driver suddenly stops and Camilla appears to escort Diane to the party at Adam's house. After Adam introduces Diane to his caustic mother Coco, Adam and Camilla exchange knowing glances and toast to love. Over dinner, Diane tells Coco that she came to Los Angeles from Ontario after winning a jitterbug contest and that she and Camilla met while auditioning for the same part. After Camilla won the role and went on to become a star, she arranged for the struggling Diane to perform bit parts in her pictures. Adam stops nuzzling Camilla to boast that he got the pool and his wife got the pool man in their divorce settlement, then announces that he and Camilla are engaged. Extremely distraught, Diane crashes her place setting to the floor. Some time later at Winkie's, a bedraggled Diane hires the scruffy blonde man to kill Camilla. After she hands him a case stuffed with cash, the man holds up a blue key and says she will get it when the job is done. In back of Winkie's one night, the tramp shoves the blue box into a crumpled paper bag and drops it to the ground. A diminutive elderly couple, laughing hysterically, then scramble out of the bag. Back at her apartment, Diane glumly stares into the distance past the blue key, which is now on the table. Suddenly, the elderly couple squeezes under the door, grow to life size and drive Diane into her bedroom with their accusatory shrieks. Diane cowers under the covers, pulls a gun from her nightstand and shoots herself. At the Club Silencio, a lone woman sitting in an opera box whispers "silencio."

Cast

Naomi Watts

Betty [Elms]/Diane Selwyn

Jeanne Bates

Irene

Dan Birnbaum

Irene's companion

Laura Elena Harring

Rita/Camilla Rhodes

Scott Wulff

Limo driver

Robert Forster

Detective McKnight

Brent Briscoe

Detective Domgaard

Maya Bond

Aunt Ruth

Patrick Fischler

Dan

Michael Cooke

Herb

Bonnie Aarons

Bum

Michael J. Anderson

Mr. Roque

Joseph Kearney

Roque's manservant

Enrique Buelna

Back of head man

Richard Mead

Hairy-armed man

Sean E. Markland

Cab driver at LAX

Ann Miller

Coco [Lanois]

Angelo Badalamenti

Luigi Castigliane

Dan Hedaya

Vincenzo Castigliane

Daniel Rey

Valet attendant

Justin Theroux

Adam [Kesher]

David Schroeder

Robert Smith

Robert Katims

Ray Hott

Marcus Graham

Mr. Darby

Tom Morris

Expresso man

Melissa George

Camilla Rhodes

Matt Gallini

Castigliane limo driver

Mark Pellegrino

Joe

Vincent Castellanos

Editor

Diane Nelson

Heavy-set woman

Charlie Croughwell

Vacuum man

Rena Riffel

Laney

Michael Des Barres

Billy

Lori Heuring

Lorraine [Kesher]

Billy Ray Cyrus

Gene

Tad Horino

Taka

Melissa Crider

Waitress at Winkies

Tony Longo

Kenny

Geno Silva

Hotel manager [Cookie]

Katharine Towne

Cynthia

Lee Grant

Louise Bonner

Layfayette Montgomery

Cowboy

Kate Forster

Martha Johnson

James Karen

Wally Brown

Chad Everett

Jimmy [Woody] Katz

Wayne Grace

Bob Booker

Rita Taggart

Linney James

Michelle Hicks

Nicki

Lisa Ferguson

1st AC

William Ostrander

2nd assistant director

Elizabeth Lackey

Carol

Brian Beacock

Backup singer #1

Blake Lindsley

Backup singer #2

Adrien Curry

Backup singer #3

Tyrah M. Lindsey

Backup singer #4

Michael Weatherred

Hank--assistant dirctor

Michael Fairman

Jason

Johanna Stein

Woman in #12

Richard Green

The Magician

Conti Condoli

Trumpet player

Cori Glazer

Blue-haired lady

Geno Silva

Emcee

Rebekah Del Rio

Herself

Lyssie Powell

Blond in bed

Scott Coffey

Wilkins

Kimberly Clever

Dancer

Joshua Collazo

Dancer

Lisa Ferguson

Dancer

David Frutos

Dancer

Peter Loggins

Dancer

Theresa Salazar

Dancer

Thea Samuels

Dancer

Christian Thompson

Dancer

Crew

Hilary Adams

Stand-in for Ms. Watts

Agnes B.

Wardrobe

Julie Anderson

Prod Supervisor

Bryan Aremas

2d eng

Brian Avery

Stunts

Joni Avery

Stunts

Arash Ayrom

1st Assistant Editor

Angelo Badalamenti

Music

Angelo Badalamenti

Music Composition and Conducting

Wade Bailey

Painter

Alan Baptiste

Set Dresser

Barrandov Studio

[Music] rec at

Phil Bartko

Special Effects foreman

Joe Basile

Set prod Assistant

Earl Benton

Paint foreman

Howard Berger, Knb Effects

Makeup Effects

Minky Billups

Digital artist

Scott Billups

Digital artist

Scott Billups

Visual Effects Supervisor

Steve Birds

Driver

Paul Blizzard

Propmaker

David M. Blum

Digital artist

Ken Booker

Set Dresser

Arthur Brandenberg

Grip

Tony Bridgers

Propmaker

Angela Bright

Intern

Luis Brito

Catering chef

Stephan Brooks

Driver

Patrick Butcher

Propmaker

Cynthia Bystrak

Best boy grip

Scott Cameron

1st Assistant Director

Lucinda Campbell

Costume Supervisor

Dave Cannon

Propmaker foreman

Paul Carden

ADR Supervisor/Foley Editor

Bruce Carothers

Grip

Jack Carpenter

Stunts

Rice Caserios

Digital artist

Dave Cavanaugh

Composer

John Churchill

On-set Assistant to David Lynch

John Churchill

2d Assistant Director

Sean Coffey

Apprentice

Tim Collins

Best boy grip

Laura Lee Connery

Lorraine stunt double

Hugo Cortez

Assistant chef

Mark Cotone

1st Assistant Director

Lonnie Craig

Driver

Erik Crary

Assistant to Mary Sweeney and Neal Edelstein

Charlie Croughwell

Stunt Coordinator

Johnny Culley

Assistant Props master

Tim Cutt

Digital artist

Gary D'amico

Special Effects Coordinator

John Daud

Loc prod Assistant

Laura De Rosa

Const buyer

James Delaplane

Head paint foreman

Peter Deming

Director of Photography

Dan Dirks

Costumes

Willie Dixon

Composer

David Domeyer

Special Effects foreman

Julie Duvic

Loc Manager

Robb Earnest

Prod Coordinator

Pierre Edelman

Executive Producer

Neal Edelstein

Producer

Joe Elvington

Labor foreman

Ron Eng

Supervisor Sound ed/FX ed/Re-rec mixer

William Ermi

Painter

Corey Eubanks

Stunts

Edith Ewing

Driver

Mary Jane Fendler

Casting Associate

Lisa Ferguson

2d Assistant Camera

Mariano Fernandez

Propmaker

Chris Fielding

Set Dresser

Jack Fisk

Production Design

Jeremy Fitzgerald

Stunts

Tom Flanagan

Grip

Courtney Fowles

Costumes

Alan Freedman

ADR mixer

David Fudge

2d Assistant Director

Jon Jacob Funk

Painter

Rachael Gallaghan

Production Assistant

Susan Gamsaragan

ADR recordist

Bethany Gauthier

Costumes

Patrick Giraudi

Dial predus mixer

Cori Glazer

Script Supervisor

Mark Gordon

Dial Editor

Christopher Gray

Extras casting

Todd Griffith

Grip

Lisa Guerriero

Addl 2d Assistant Camera

Randy Guth

Assistant Sound Editor

Barbara Haberecht

Set Decoration

Steve Hagberg

Const Coordinator

Christian Hagele

Driver

Oscar Hammerstein Ii

Composer

Hugh Hanna

Foreman

Joe Hanna

Catering chef

Larry Hardman

Driver

Adam S. Hawkey

Digital artist

Allan Heindl

Grip

Marlo Hellerstein

Transportation capt

Mo Henry

Negative cutter

Scott Herbertson

Set Design

Richard Herres

Rigging key grip

William Hobson

Dolly grip

Michael Hoffer

Key grip

Spike Allison Hooper

Post prod Supervisor

Paul Hughen

Camera Operator

Patrick Ingram

Set medic

Daniel Irwin

Dial Editor

Peter Jamison

Art Director

John Jarvis

Driver

Selina Jayne

Key makeup artist

Peter Jehle

Propmaker

Mauricio Jimenez

Propmaker

Brian Johnson

Associate Editor

Jay Johnson

Main title Designer

Damiana Kamishin

Production Assistant

Gene Kelly

Propmaker

Steve Kerlagon

Head paint foreman

Jerome Kern

Composer

Christine Kim

2d Assistant Editor

Dan Kneece

Steadicam op

Susan Kong

Assistant accountant

Stephan Konicek

Conductor, Prague

Tony Krantz

Producer

Thomas Krausz

Propmaker foreman

Kevin Kubota

Boom Operator

Dennis Kuneff

Rigging best boy

Michael Laviolette

Chief lighting tech

David Lawrence

Labor foreman

Randy Lawrence

Gen foreman

Kimberly Leonard

Set Dresser

Jamie Liszewski

Stunts

David Long

Propmaker/Gang boss

Ken Longballa

Lighting tech

David Lynch

Addl Music comp

David Lynch

Sound Designer/Re-rec mixer

David Lynch

Writer

David Lynch

Composer

Vivienne Macleod-williamson

Extras casting Assistant

Paxon Malloy

Set prod Assistant

Steve Man

Steadicam 1st Assistant Camera

Pete Mandel

Driver

Lawrence Markham

Driver

Sean E. Markland

Props Master

Steve Marques

Payroll services

Mato

Col timer

Holly Mcgovern

Assistant to Mary Sweeney and Neal Edelstein

Tom Mcguire

Prod counsel

David Mckimmie

Prod Coordinator

Vern Mckinney

Driver

Jeff Mclean

Digital artist

Joe Melson

Composer

Jon Melvoin

Propmaker

Jill Meyers

Addl legal counsel

Jessica Milhollin

Prod Secretary

Christopher Miller

Loc Manager

Patty Miller

Key hair

Trip Morey

Loader

Billy Morts

Stunts

Gail Luane Munian

Stunts

William Munroe

Boom Operator

Jim Murphy

Driver

Dan Muscarella

Tech services

John Neff

Composer

John Neff

Addl Musicic comp/Music ed/Re-rec mixer

Greg Nicotero, Knb Effects

Makeup Effects

Edward Novick

Loc Sound mixer

Azalia O'neal

Set medic

Emjay Olson

Key hair

Roy Orbison

Composer

Russell Overstreet

Driver

Troy Parker

Propmaker

Julie Pearce

Key makeup artist

Rafael Peregrina

Grip

Denney Pierce

Adam stunt double

Michael Polaire

Producer

Michael Polaire

Unit Production Manager

Gaye Pope

Executive Assistant to David Lynch

Bill Post

Composer

Doree Post

Composer

Steve Powell

Propmaker

Mike Price

Driver

Jean Quay

Set medic

Mickey Quinn

Driver

Rocky Quiroz

Utility cable op

Racer Rangel

Key set prod Assistant

Rick Rawlins

Painter

Johanna Ray

Casting

Cheri Reed

Costume Supervisor

Dana Reed

Stunts

Richard Reedy

Driver

Katherine Rees

Hairstylist

Scott Ressler

1st Assistant Camera

Mike Riportella

Transportation capt

Michael Risoli

2d 2d Assistant Director

Robin Ritter

Stand-in for Ms. Harring

Michael Robinson

Propmaker

Malanie Romero

Assistant makeup

Mark Sadler

Lighting tech

Keith Sale

Set Dresser

Eric Sandlin

Assistant chief lighting tech

Film Details

MPAA Rating
Genre
Drama
Mystery
Thriller
Release Date
Oct 12, 2001
Premiere Information
Cannes Film Festival premiere: 16 May 2001; New York Film Festival opening: 6 Oct 2001
Production Company
Asymmetrical Productions; Imagine Entertainment; Le Studio Canal; Les Films Alain Sarde; The Picture Factory; Touchstone Pictures
Distribution Company
Universal Focus
Country
France and United States
Location
Los Angeles--Downtown, California, United States; Los Angeles--Silver Lake, California, United States; Los Angeles--Sunset Ranch, California, United States

Technical Specs

Duration
2h 26m

Award Nominations

Best Director

2001
David Lynch

Quotes

Trivia

Notes

Before the film's title card appears, a shot of jitterbugging dancers swirls across the screen. The dancers are shown both in full figure and in silhouette. Smiling, over-exposed images of "Betty Elms" and the elderly couple are then superimposed over the dancers. This is followed by a shot of rumpled bed sheets accompanied by the sound of heavy breathing. A City of Los Angeles street sign announcing "Mulholland Dr." then appears as a black limousine snakes through the hills overlooking Los Angeles. The opening credits then begin to roll. At the end of the film, before the final credits, the face of a tramp and the smiling images of Betty and Blonde "Rita" are superimposed over a long shot of downtown Los Angeles. Although the film's title card and key art read Mulholland Dr., many of the reviews refer to it as Mulholland Drive. Chad Everett's character is called "Woody Katz" within the film, but he is listed as "Jimmy Katz" in the onscreen credits. The opening onscreen credits state "dedicated to Jennifer Syme." The closing credits give special thanks to Barbara Orbison and add Babbo, Inc. as a production company. The order of closing cast credits, which show actors in order of appearance, differs from the opening credits.
       Mulholland Dr. began as a pilot for an ABC television series. Mulholland Dr. is a scenic street that runs along the crest of the Santa Monica Mountains, dividing the Los Angeles Basin from the San Fernando Valley. It stretches from the Hollywood Freeway in Hollywood to Woodland Hills in the valley where it ends just past Spielberg Dr. at the Motion Picture Television Fund Hospital. A March 2001 article in Screen International reveals the following information: David Lynch and Mark Frost conceived of the title while working on the series Twin Peaks. In August 1997, Lynch and his friend Tony Krantz, who at the time was head of Imagine Television, pitched the series to ABC Enterprises. ABC agreed to put up $4,500,000 for a two-hour pilot and promised Lynch creative control. Touchstone Television then increased the budget to $7,000,000, adding a provision that Lynch shoot extra footage to create a "closed ending," thus allowing the pilot to be shown as a feature-length film in Europe, according to a August 30, 1999 New Yorker article. On January 4, 1998, Lynch delivered a final shooting script that revolved around the relationships among three people-an amnesiac, an aspiring actress and a director. Although the production was approved, the network was reportedly unhappy by the lack of big name stars attached to the project.
       Production began in February 1998 on the Paramount Studios lot, and by May 1998, Lynch had completed a 125-minute version of Mulholland Dr. The Screen International article also adds that although Lynch tried to convince the network to give him a two-and-a-half hour time slot for the pilot, ABC insisted that he cut it to 88 minutes. In June 1998, Lynch was notified that ABC would not pick up the pilot and was not interested in producing a series based on Lynch's story. According to a Sep/Oct 2001 article in Film Comment, the network felt that the pilot was too dark, slow and confusing. In July-August 1998, French producers Alain Sarde and his executive Pierre Edelman, who were producing Lynch's film Straight Story, saw the pilot and decided that Mulholland Dr. had feature potential, but that the project would have to go back into production, necessitating an infusion of money. At that time, Imagine and Disney, who funded the pilot, assumed that the pilot would be finished as a TV movie and began circulating some prints. In January-August 2000,Le Studio Canal bought the project from Imagine. In September 2000, seventeen days of additional shooting was completed. Because of the long lag between the shooting of the pilot and the additional footage, many of the sets had to rebuilt. Scoring was recorded and special effects were then completed in December 2000-January 2001.
              Mulholland Dr.'s narrative structure is broken into two parts. Several of the actors in part one play different characters in part two : The character of "Camilla Rhodes" is played by the blonde actress Melissa George in the first part of the film. In the second, she is played by brunette Laura Elena Harring, who plays the role of "Rita" in the first part of the film. George reappears in part two as the woman who passionately kisses Camilla at Adam's party. Naomi Watts, who portrays "Betty Elms" in the first part of the film, plays "Diane Selwyn" in the second. Ann Miller plays "Coco Lanois," the apartment manager, in part one and Adam's mother part two. The name tag worn by the waitress at Winkie's changes from "Diane" in the first part of the film to "Betty" in the second.
       There are other threads that are transformed between the two parts of the film. In the first part, it is inferred that the scruffy blonde man was to kill Camilla. In the second, he kills Diane. The blue key that has a futuristic shape in part one, is an ordinary blue house key in part two. The man experiencing the nightmares and "Cowboy" from part one are both guests at Adam's party in part two. The elderly couple is benign in part one, menacing in part two. A jitterbug scene precedes the opening credits, and in part two it is revealed that winning a jitterbug contest brought Diane to Hollywood. The shot of the unmade bed that preceeds the opening credits turns out to be Diane's unmade bed shown later in the film, in which she shoots herself at the finale. The scene in which Betty watches Adam audition Camilla in part one is echoed in part two by the seemingly out-of-context scene in which Diane watches Adam rehearse a love scene with Camilla and realizes that Camilla and Adam are having an affair. The audition scene in part one is also noteworthy because it marks the only time that the narrative threads of Adam and Betty intersect in part one, and after that scene, Adam disappears from part one.
       The division of the two film parts has led to a disagreement among reviewers about the coherence of this film. The Los Angeles Times reviewer noted that the film's narrative shifts create something that feels "like an alternate reality" and adds that although some things "mean nothing in a conventional plot sense, as powerful images from a dreamlike world, they are unforgettable." The Chicago Sun Times reviewer called the film "a surrealistic dreamscape," noting that "nothing leads to anywhere [in the film]...the characters start to fracture and recombine like flesh caught in a kaleidoscope... There is no explanation..." The Village Voice reviewer called Mulholland Dr. a "mobius strip of double identities." In another review, Lynch was quoted as describing the film as "logical, a linear that's been snipped apart and rearranged just by a hair."
       Other reviewers have suggested that the narrative is a dream. The New York Times and Salon reviews suggest that Diane, failed in both acting and love, fantasizes Betty's story in part one as a projection of what her life May have been. Thus, the first part of the film becomes Diane's dream, the second part her grim reality.
              Much of the film was shot on street locations in Los Angeles, including downtown Los Angeles. In a November 2001 article in Entertainment Design Magazine, the film's production designer, Jack Fisk, stated that Diane's apartment house was shot on location in Silver Lake, at a complex originally built to house Disney employees. The scene in which Adam meets Cowboy at a corral was shot at the Sunset Ranch corral at the top of Beachwood Canyon.
              Many of the production people involved in Mulholland Dr. collaborated with David Lynch on previous projects, including producer Michael Polaire, producer and editor Mary Sweeney, cinematographer Peter Deming and production designer Jack Fisk. Angelo Badalamenti, who composed the music for Mulholland Dr. and appeared in the film as "Luigi Castigliane," also wrote the music for several of Lynch's previous productions. Michael J. Anderson who plays "Mr. Roque" in Mulholland Dr. also appeared in Lynch's television show Twin Peaks. Layfayette "Monty" Montgomery who plays "Cowboy" in Mulholland Dr. worked as a producer on Lynch's Wild at Heart. Mulholland Dr. marked the final feature film appearance of actress-dancer Ann Miller (1923-2004). Although Miller appeared in a brief cameo in the 1976 picture Won Ton Ton, the Dog Who Saved Hollywood, she had not acted in a feature film since the 1956 M-G-M production The Great American Past Time.
       Mulholland Dr. was nominated for the Palme d'Or award at the Cannes Film Festival, where Lynch tied with Joel Coen for Best Director. The film was named Best Picture by the New York Film Critics and was nominated by AFI as Movie of the Year. Other AFI nominations include Director of the Year for Lynch, Female Actor of the Year for Watts and Composer of the Year for Angelo Badalamenti. Badalamenti was also nominated by the Hollywood Foreign Press Association for a Golden Globe for Best Original Score. The film received the following additional Golden Globe nominations: Best Film Drama, Best Director and Best Motion Picture Screenplay. The picture was named film of the year by the National Board of Review. Lynch was named Best Director by the Los Angeles Film Critics Association and was nominated for an Academy Award for Best Director. Watts received the National Board of Review award for Best Breakthrough Performance by an Actress.

Miscellaneous Notes

Nominated for four awards, including Movie of the Year, Actor of the Year - Female (Naomi Watts), Director of the Year and Composer of the Year, at the 2001 American Film Institute (AFI) Awards.

Nominated for the 2001 Award for Best Costume Design in a Feature Film - Contemporary from the Costume Designers Guild (CDG).

Voted one of the 10 best films of 2001 by the American Film Institute (AFI).

Winner of the 2001 award for Best Director from the Los Angeles Film Critics Association.

Winner of the 2001 award for Best Picture from the New York Film Critics Circle.

Winner of the 2001 award for Breakthrough Performance (Naomi Watts) from the National Board of Review of Motion Pictures.

Winner of the 2001 Cesar Award for Best Foreign Film.

Winner of three 2001 awards, including Best Picture, Best Director and Best Actress (Naomi Watts), from the Chicago Film Critics Association.

Winner of two 2001 awards, including Best Picture and Best Actress (Naomi Watts), from the National Society of Film Critics.

Co-Winner, with "Memento" (USA/2000), of the 2001 award for Best Picture and winner of a further five awards, including Best Director, Best Actress (Naomi Watts), Best Original Screenplay, Best Original Score and Breakthrough Performance (Naomi Watts), from the Online Film Critics Society (OFCS).

Released in United States Fall October 8, 2001

Expanded Release in United States October 12, 2001

Released in United States on Video April 9, 2002

Released in United States 2001

Released in United States November 2001

Shown at New York Film Festival (Centerpiece) September 28 - October 14, 2001.

Shown at Vancouver International Film Festival September 27 - October 12, 2001.

Shown at London Film Festival (Evening Standard Film on the Square) November 7-22, 2001.

Film was originally shot as a tv pilot for ABC. After the pilot was rejected, French producers Alain Sarde, Pierre Edelman and production company StudioCanal brought an additional $7 million into the project to fund additional shooting and post-production.

Released in United States Fall October 8, 2001

Expanded Release in United States October 12, 2001

Released in United States on Video April 9, 2002

Released in United States 2001 (Shown at New York Film Festival (Centerpiece) September 28 - October 14, 2001.)

Released in United States 2001 (Shown at Vancouver International Film Festival September 27 - October 12, 2001.)

Released in United States November 2001 (Shown at London Film Festival (Evening Standard Film on the Square) November 7-22, 2001.)

Co-winner, along with Joel Coen's "The Man Who Wasn't There" (USA/2001), of the award for Best Director at the 2001 Cannes International Film Festival.