There is no band, It's all on tape, it's just a movie in which we can participate and escape. It's a movie as an expressive substation between the real world and the dream.

Rating: 10/10 (22 December 2005)

I highly agree with this comment and it helped me interpreting the movie much more better. But I really liked to expend the comment by sharing my ideas in a more constructive base. Since I have been watching the films of David lynch, I've become interested in the construction of narratives. Like in Lost Highway (which has been criticized to be to disturbed and chaotic) the director wants to make a film where we can forget the Conservative Hollywood-story lines. To really enjoy a film as an aesthetic expressing we need to watch these movies with a more abstract perspective (why do a lot of Picasso's paintings become so famous?; most books write about the participative in the discussions of "what is the real?" and "How does art react on it?")
As David lynch has been arguing: we need to see his film in a way we can watch a Picasso painting, were perspectives and context change. Also his films are constructed with a collection of paintings (24 or more per second) and in between there are abstract connections. When we let part of the importance of narrative go, and watch his movies more on a artistic way, we could understand his participation in the film art-discussion. There is no band, It's all on tape, it's just a movie, a dream in which we can participate and escape. It's a movie as an expressive substation between the real world and the dream. It is the link between the concrete things and objects with their arbitrary meanings, and the possibility of complete abstract feelings and psychological ideas.
When we dream, we mix all the persons we know. These person do other thing. We see them from other perspectives and other contexts.
Where a lot of criticism on Vertov's film "the man with the movie camera" is based on the discussion of the myth of photographic reality, and the function of film. We like to ignore the idea that this film could also be an expression on the October revolution during the upcoming communism, where women been asked to "stand up" and participate in the social- and working practices. It the reversed way of looking at Lynch's movies and hold on to the demand for comprehensible normal structured narrative and ignore the contribution to the discussion on film art in the wide world artistic forum of movie makers and criticism.