The book is now available from 1984 Publishing.
Summary David Lynch's Dune gets a detailed look at how it became a maligned cult classic with A Masterpiece in Disarray. Penned by entertainment journalist Max Evry, the 560-page oral history book offers an extensive breakdown of the 1984 Frank Herbert adaptation's pre-production, production and post-production, highlighting the creative ambitions of the movie's cast and crew and the multiple speed bumps that led to its infamous downfall.
It was, at the time, the most expensive movie Universal had ever made. It was a biggie, the fact that it had been kind of remanded to a cultural artifact, or a footnote in David Lynch's career, made it all the more enticing, because it's like the little kid on the playground that nobody wants to talk to. [Chuckles] You know that kid's got a secret clubhouse in the woods or something.
They're a little less media trained, or maybe they just don't give a f--k. Also, it's been 40 years, they can really be a little more honest, it's why the book is kind of balanced between above-the-line people, a few below-the-line people.
But I was never digging for dirt. In fact, in some cases, some people would tell me things that I think a less scrupulous writer, that would have been the first thing that they glommed on to, and for me, I was like, "No, I'm not." That may be interesting, you know, because it's scandalous or whatever, but if it didn't have a direct connection with the movie, if it was just about, "so-and-so is this," that kind of gossipy stuff, I tossed that stuff aside.
Speaking of the look, I love how in-depth you went down to the specific visual effect details, such as the Light Flex. A lot of times, when I've read oral histories, they will include images to help reference these details, and your book is very particular about what images to use and when to use them. What was your process behind doing that?
Max Evry: The fact that it is so candid is a testament to the fact that this was an independently produced book. This was not a studio-sanctioned book, this wasn't even sanctioned by the De Laurentiis organization, even though Raffaella participated, and Lynch participated, it was my own thing.
But if you were trying to do a book like mine, which is like a historical document, I think you'd have your work cut out for you, because you do have to talk to everybody I talked to, and then some, and it was a lot of work. I would love to write another book, but I don't know if I would ever go into another book again just blind, like I did with this, like, not knowing if I was gonna get a single person.
I'm sure it pains you to say that, but in a sense, yes, it was the better get. Before we wrap this up, now that you've dipped your toes into this field, I know you also do a lot of commentaries for Arrow Video.
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