Your 10 Favorite Horror Directors’ Favorite Horror Movies

Alberto E. Rodriguez/Getty Images for Entertainment Weekly
Alberto E. Rodriguez/Getty Images for Entertainment Weekly

Trying to find the perfect scary movie to watch can be a real fright. If you’re struggling to find just the right movie to scare yourself silly this Halloween, why not take a recommendation from your favorite horror director? From cult classics to childhood favorites to, in one case, a music video, we’ve compiled a list of the films that frighten the masters of horror. Read on for insight into the twisted minds of your favorite horror directors, along with some terrific horror movie recommendations.

1. JOHN CARPENTER ON NIGHT OF THE LIVING DEAD (1968)

Just in time for Halloween, John Carpenter provided Fader with a list of eight of his favorite scary movies. The first film on his list was George Romero’s classic Night of the Living Dead. Carpenter, the legendary director behind movies including Escape from New York (1981), The Thing (1982), and, of course, Halloween (1978), praised Romero’s impact on the last half-century of zombie movies.

The fact that a loved one can be turned into a zombie. It’s just tremendous,” Carpenter told Fader. “I mean, look at the movies that have ripped it off! Look at [The] Walking Dead. I mean come on.”

2. EDUARDO SÁNCHEZ ON THE EXORCIST (1973)

Eduardo Sánchez was the co-director of one of the most innovative, infamous, and absolutely terrifying found footage films of all time: The Blair Witch Project (1999). But the movie that scared his socks off as a child was The Exorcist.

“I was raised Catholic, and I was taught that everything was real,” Sánchez tells Mental Floss. “Satan was real, God was real, there was this fight between good and evil happening on Earth. And then The Exorcist came along. My parents didn't take me to the theater to see it, but when it came out on TV, we all sat around the family TV to watch it—almost like it was a documentary. It was almost like, 'This is what can happen.' At that age, it felt totally real to me, and it just scared the crap out of me. To this day, it still scares me, even though I don't believe the same things I did as a kid."

3. WES CRAVEN ON DON’T LOOK NOW (1973)

For nearly four decades, Wes Craven pushed the boundaries of the horror genre, directing everything from exploitation horror movies like The Last House on the Left (1972) and the classic slasher movie A Nightmare on Elm Street (1984) to the horror satire Scream (1996). In 2010, Craven shared 10 of his favorite horror movies with The Daily Beast. Writing about Nicolas Roeg’s horror classic Don’t Look Now, Craven explained, “This was one of the movies that just completely enthralled me and scared me at the same time, where I was watching a film that was a pretty moving work of art as well.” The film, based on a short story by Daphne du Maurier, follows a bereaved couple who, on a trip to Venice, begin seeing an apparition they believe may be their deceased daughter. Craven was particularly struck by Roeg’s ability to build fear without relying on blood and gore, explaining, “The sense that the child is either a ghost or is torturing them with her presence by disappearing was a wonderful example (not that I followed it) of being able to scare without showing blood.”

4. ANDRÉ ØVREDAL ON POLTERGEIST (1982)

Norwegian filmmaker André Øvredal is best known for the tongue-in-cheek monster flick Trollhunter (2010). Most recently, he directed The Autopsy of Jane Doe (2016), a stripped-down supernatural thriller set entirely in a small-town morgue over the course of a single night. Øvredal tells Mental Floss he chose Poltergeist as his favorite horror movie “for its sense of awe, wonder, and humanity in the midst of horror.”

“It revels in the ideas of the movie, it has a philosophy on its own subjects, not just trying to milk the opportunities for a scare,” Øvredal explains. “It’s also extremely close to the characters. You get to know and care for them, so you quickly fear for them. I think the filmmaking is really clever, visually stimulating, and tells the story with a surprising amount of humor, that only adds to the horror and sense of reality.”

5. TOBE HOOPER ON THE HAUNTING (1963)

Tobe Hooper’s cult classic The Texas Chainsaw Massacre (1974) is a masterpiece of chaos and gore shot on a shoestring budget. But the late director's favorite horror film is something quite different: an understated haunted house film from Academy Award-winning director Robert Wise, based on Shirley Jackson’s classic short story “The Haunting of Hill House.”

“It was the first horror movie that floored me,” Hooper told Filmmaker Magazine in 2000. “I really felt what the characters were going through. There is one scene where some of the characters have locked themselves in a room in the house and there are strange sounds and the walls start moving. My imagination ran wild, and it left an indelible impression on me.”

6. PATRICK BRICE ON JACOB’S LADDER (1990)

In his 2014 directorial debut Creep, Patrick Brice built a chilling thriller using just a few key elements: a remote vacation home, a creepy wolf mask, and a supremely unsettling performance by Mark Duplass. The low-budget found footage film was such a surprise hit, Brice directed a sequel, Creep 2, which was released on streaming platforms this month. For his favorite horror movie, Brice chose Jacob’s Ladder, Adrian Lyne's hallucinatory film about the visions of a traumatized Vietnam veteran.

“For its ability to be formally experimental, relentlessly terrifying, and downright touching all at the same time, I really think Jacob’s Ladder is one of the undervalued gems of horror,” Brice tells Mental Floss. “There are moments in the film that use practical and in-camera effects to pull off scares that are beyond comprehension. I remember having to rewind certain moments asking myself how Adrian Lyne was able to pull them off, and it's his only horror movie!"

7. DANIEL MYRICK ON JACOB’S LADDER

Patrick Brice wasn’t the only director we spoke with who was enthralled by Jacob’s Ladder. The Blair Witch Project co-director Daniel Myrick also chose to recommend Adrian Lyne’s classic horror classic.

“It’s really hard to designate one film as my ‘favorite,’ but certainly Jacob’s Ladder ranks up there for me,” Myrick tells Mental Floss. “This is more of a psychological thriller than actual ‘horror,' but those are always the scariest in my opinion. The way Adrian Lyne played with your senses on every level was masterful and to this day, one of the greatest endings ever.”

8. GEORGE ROMERO ON PAN’S LABYRINTH (2006)

In a 2010 interview, legendary horror director George Romero told TIME he wasn’t a fan of modern horror—with one exception. “ I don't like the new trends in horror,” he explained. “All this torture stuff seems really mean-spirited. People have forgotten how to laugh, and I don't see anybody who's using it as allegory.” But Romero, who directed classics like Night of the Living Dead (1968) and Creepshow (1982), professed his respect for Pan’s Labyrinth, a surreal and often terrifying dark fantasy film set shortly after the Spanish Civil War. “The guy I love right now is Guillermo del Toro,” Romero told TIME. “I’d love to make a film like Pan's Labyrinth.”

9. BABAK ANVARI ON THRILLER (1983)

Babak Anvari’s directorial debut Under the Shadow (2016) tells the story of a mother and daughter facing the horrors of war and haunted by something supernatural in 1980s Tehran. But the work of horror that has haunted him since childhood isn't a film at all, but a music video by the King of Pop.

“I have too many favorite horror films,” Babak tells Mental Floss. “But, the film that scared me most as a child, almost traumatized me, was actually not a film but a long music video: Michael Jackson’s Thriller directed by John Landis. I accidentally watched it too youngI think my older brother showed it to me first—and I got really freaked out. I used to be even scared of the tape that it was recorded on. I couldn’t be around it even during daytime. I kept thinking that zombies would crawl out of the tape to eat me alive.”

10. MICHAEL DOUGHERTY ON HALLOWEEN (1978)

Michael Dougherty’s first feature was the 2007 anthology film Trick ‘r Treat, so it’s fitting that his favorite horror movie is Halloween. “It’s very simple, in that it sort of defined the slasher genre, but it did so in a very elegant way,” Dougherty tells Mental Floss. “It’s beautifully made, and it’s beautifully shot. I remember as a kid, it was the first time I felt suspense—like genuine bone-chilling suspense.”

But Dougherty doesn't think you should stop at just one horror movie. “Halloween is a great time not to just revisit your one favorite horror film, but [to] watch just a whole slew of them,” he explains. “It’s a good opportunity to go back and revisit all your favorites or to introduce yourself to classics you might not have seen before: Halloween, The Exorcist, The Omen (1976), Poltergeist, It’s the Great Pumpkin Charlie Brown (1966). These are the things that make for a really good Halloween season.”

Fact-Checking 13 Plot Points in All Is True, Kenneth Branagh’s Shakespeare Biopic

Kenneth Branagh as William Shakespeare in All Is True (2019).
Kenneth Branagh as William Shakespeare in All Is True (2019).
Robert Youngson, Courtesy of Sony Pictures Classics

After being the face of Shakespeare film adaptations to a whole generation in films like Henry V (1989), Much Ado About Nothing (1993), Othello (1995), Hamlet (1996), and Love's Labour's Lost (2000), Kenneth Branagh has stepped into the shoes of the Bard himself. The British actor plays William Shakespeare in the new movie All Is True, which the five-time Oscar nominee also directed.

The film, which began rolling out in U.S. theaters on May 10, functions as a sequel of sorts to Shakespeare in Love. Call this one Shakespeare in Retirement. It depicts the Bard in the final few years of his life, which historians believe he mostly spent in Stratford-upon-Avon. Before his death in 1616, Shakespeare reunited with the wife and children he’d spent so much time away from while working in London.

All Is True takes its name from an alternate title used during Shakespeare’s lifetime for his play Henry VIII. The film frequently winks at its title, exploring the role of truth—or lack thereof—in the life of Branagh’s Will.

Spotty historical records leave many details about Shakespeare’s life in the realm of uncertainty, so filmmakers depicting the playwright must make use of broad artistic license to fill in the blanks. Mental Floss spoke with Harvard University professor and Will in the World: How Shakespeare Became Shakespeare author Stephen Greenblatt to fact-check All Is True. It turns out that the film’s depiction of Shakespeare is a mix of truth, presumed truth, and pure imagination.

1. Partially true: Shakespeare retired to Stratford-upon-Avon after the Globe burned down.

All Is True opens with the striking image of Will’s silhouette in front of a massive, crackling fire that destroys his prized playhouse. A title card tells viewers that at a performance of Shakespeare’s Life of Henry VIII (a.k.a. All Is True) at the Globe on June 29, 1613, during Act 1 Scene 4, a prop cannon misfired, starting the blaze. The next title card states, “The Globe Theatre burnt entirely to the ground. William Shakespeare never wrote another play.”

A prop cannon likely did misfire, and the resulting fire did destroy the Globe; while there were fortunately no deaths or serious injuries as a result, the fire delivered a serious financial blow to Shakespeare and other shareholders in the King's Men, the company of actors who performed at the Globe. But "never wrote another play" is a stretch. “The movie suggests he rode out of London, as it were, in the wake of the fire,” Greenblatt says. “But actually, it’s widely thought that he retired to Stratford before but he continued to write for the theater.”

The Tempest, for example, was likely the last play Shakespeare wrote solo, without a collaborator, and some scholars theorize he wrote it at home in Stratford-upon-Avon, not in London. Academics are divided as to which play was the final play Shakespeare ever wrote, but the general consensus is that it was either Henry VIII or The Two Noble Kinsmen, both collaborations with John Fletcher, which were possibly written during return trips to London.

2. True: Shakespeare’s daughter was accused of adultery.

Left to right: Jack Colgrave Hirst as Tom Quiney, Kathryn Wilder as Judith Shakespeare, Kenneth Branagh as William Shakespeare, Judi Dench as Anne Hathaway, Clara Ducz- mal as Elizabeth Hall, Lydia Wilson as Susanna Hall
Left to right: Jack Colgrave Hirst as Tom Quiney, Kathryn Wilder as Judith Shakespeare, Kenneth Branagh as William Shakespeare, Judi Dench as Anne Hathaway, Clara Duczmal as Elizabeth Hall, and Lydia Wilson as Susanna Hall in All Is True (2019).
Robert Youngson, Courtesy of Sony Pictures Classics

The film depicts a man named John Lane accusing Shakespeare’s eldest child, Susanna Hall, of adultery. That really happened, and the real-life Susanna Hall sued Lane in 1613 for slanderously saying that she had cheated on her husband with local man Ralph Smith.

As for whether Susanna Hall really did have an extramarital relationship with these men, that’s not known for sure, and the film leaves this somewhat up to viewer interpretation. But her real-life slander case did succeed in getting Lane excommunicated.

3. Likely true: Shakespeare had no schooling beyond age 14.

When a fanboy approaches Will with some eager questions, he says, “They say you left school at 14.” The line may be a bit misleading: Shakespeare did not quit school as a student would today if he "left school" at age 14. But it is true that boys in Shakespeare’s time completed grammar school at around age 14. They then could begin apprenticeships. Shakespeare’s schooling would have been intense, though: He would have been in lessons from 6 a.m. to as late at 6 p.m. six days a week, 12 months a year (getting an extra hour to sleep in only during the winter, when school started at 7 a.m. in the dark and cold months).

As Greenblatt wrote in Will in the World, “the instruction was not gentle: rote memorization, relentless drills, endless repetition, daily analysis of texts, elaborate exercises in imitation and rhetorical variation, all backed up by the threat of violence.”

No surviving records confirm that Shakespeare attended the school in Stratford-upon-Avon, but most scholars safely assume that he did. The grammar school there was free and accessible to all boys in the area, the exception being the children of the very poor, since they had to begin working at a young age.

Regarding the fanboy moment in the film, Greenblatt says, “The implication of that moment was precisely to remind us that [Shakespeare] didn’t go to university, as far as we know. I’m sure he didn’t. He would have bragged about it at some point" (as many of his contemporaries did).

4. Likely true: Susanna Hall was literate, while Shakespeare’s wife and younger daughter were not.

While boys received a formal education in Elizabethan and Jacobean England, girls did not. The film depicts Susanna as skillful at reading, unlike Will’s younger daughter, Judith, or his wife, Anne.

This is likely true: Greenblatt says that “the general sense is that Susanna was literate and that Judith and Anne were not,” though this is another area of Shakespeare’s family history that scholars cannot know for certain.

“This is a trickier matter than it looks,” Greenblatt says, “because lots of people in this period, including Shakespeare’s father, clearly knew how to read, but didn’t know how to write. This would be particularly the case for many women but not exclusively women in the period—that writing is a different skill from reading and that quite a few people were able to read.”

5. True: Shortly after his son’s death, Shakespeare wrote The Merry Wives of Windsor.

Judi Dench as Anne Hathaway and Kenneth Branagh as William Shakespeare in 'All Is True'
Judi Dench as Anne Hathaway and Kenneth Branagh as William Shakespeare in All Is True (2019).
Robert Youngson, Courtesy of Sony Pictures Classics

When Will insists that he did mourn Hamnet, his only son, who died in 1596 at age 11, Anne bites back, “You mourn him now. At the time you wrote Merry Wives of Windsor.”

It’s a gut-punch from Anne not just because Merry Wives (featuring the ever-entertaining character Falstaff) is a raucous comedy but also because it was, in the most cynical view, a cash grab. Shakespeare likely wrote Merry Wives after the Falstaff-featuring Henry IV Part 1 but before moving onto the grimmer Henry IV Part 2, “to tap an unexpected new market phenomenon,” scholars Martin Wiggins and Catherine Richardson wrote in British Drama, 1533-1642: A Catalogue regarding the "humours comedy," which debuted to immediate popularity in May 1597.

There is another way to interpret this: Both parts of Henry IV deal with a troubled father-son relationship, and the conclusion of Part 2 depicts a son taking up the mantle of his deceased father. Perhaps Prince Hal and King Henry hit too close to home for Will (who in this film hopes his son will follow in his poetic footsteps), and a lighthearted comedy is what he needed.

6. Very unlikely: The Earl of Southampton visited Shakespeare in Stratford-upon-Avon.

Henry Wriothesley, 3rd Earl of Southampton, was one of Shakespeare’s patrons, and Shakespeare included a lengthy dedication to Southampton in his poem The Rape of Lucrece. Despite that affiliation, the idea that Southampton (played by Ian McKellen, yet another acclaimed Shakespearean actor) would have visited Shakespeare’s home in Stratford is just “a piece of imagination,” according to Greenblatt. He points out that “it’s difficult to imagine any longer the social abyss” between an earl and someone like Shakespeare but explains, “The difference in social class is so extreme that the idea that the Earl would trot by on his horse to visit Shakespeare at his house is wildly unlikely.”

It is more likely that fellow playwright Ben Jonson would have visited Shakespeare, as he does later in the film.

7. Uncertain: Shakespeare’s sonnets were published “illegally and without [his] consent”

This is what Will reminds the Earl of Southampton of in the film. Regarding that term illegally, it’s worth first noting that though copyright law as we know it did not exist in 16th century England, “there definitely were legal controls over publication,” Greenblatt says.

“This is a notoriously complicated matter—the publication of the sonnets,” he explains. “It is still very much open to question. It’s not a settled matter as to whether Shakespeare did or did not have anything to do with the publication of those sonnets.”

8. Uncertain: Shakespeare wrote some of his sonnets for and about the Earl of Southampton.

Ian McKellen as Henry Wriothesley in 'All is True'
Ian McKellen as Henry Wriothesley in All is True (2019).
Robert Youngson, Courtesy of Sony Pictures Classics

One juicy debate about Shakespeare that endures is the question of who (if anyone) is the subject of his sonnets. Some speculate that his poems that describe a fair youth refer to the Earl of Southampton.

The film imagines a slightly more complicated—and perhaps more believable—situation than the idea that Southampton and Shakespeare had a fling: Will harbors feelings for Southampton, unrequited by the Earl, who reminds Will, “As a man, it is not your place to love me.”

“There is no way of achieving any certainty,” Greenblatt wrote in Will in the World regarding whether the sonnets were written as love tokens for anyone in particular. “After generations of feverish research, no one has been able to offer more than guesses, careful or wild.”

9. True: 3000 attendees could fit into the Globe for one performance.

In an elaborate, impressive clapback directed at Thomas Lucy, a local politician who repeatedly insults Will, the celebrated playwright cites his many responsibilities in London, then says he somehow “found time to write down the pretty thoughts you mentioned.”

It’s true that Shakespeare was both a businessman and poet. His status as a shareholder in the Lord Chamberlain’s Men (later the King’s Men) was actually unprecedented: “No other English literary playwright had ever held such a position,” Oxford professor Bart van Es wrote in Shakespeare in Company, adding that becoming part owner of the Globe, “the most impressive venue in London … placed him in a category entirely of his own.”

Among the accomplishments Will lists for Lucy is filling the Globe with “3000 paying customers per afternoon.”

“That is the upper end of the size of those public theaters, as far as we now know from archaeological evidence,” Greenblatt says. “Three thousand is at the high end, but yes. Whether they actually got 3000 people every afternoon is another question.”

Meanwhile, the reconstruction of the Globe that opened in London in 1997 has a capacity of about half that. Its dimensions are the same as the Globe of Shakespeare’s day but modern fire codes don’t allow playgoers to be packed in quite so tightly.

10. True: Shakespeare wrote Thomas Quiney out of his will.

The film depicts the retired playwright adding his son-in-law-to-be, Thomas Quiney, to his will in anticipation of Quiney's marriage to Will's youngest daughter, Judith. A couple of months later, Shakespeare amends his will again after it’s revealed that Quiney fathered a child by another woman before marrying Judith.

This may have really happened. Shakespeare summoned his lawyer in January 1616 to write Quiney into the will. Then in March, a month after his wedding, Quiney confessed in the vicar’s court to being responsible for the pregnancy of unmarried Stratford woman Margaret Wheeler, who had just died in childbirth (along with the child). Shakespeare then met again with his lawyer to strike out Quiney’s name and insert Judith’s name instead. However, some historians dispute that Shakespeare made this change as a result of the scandal; they instead suggest that it was due to practical concerns about Judith’s financial future.

All Is True reverses scholars’s common assumption that Shakespeare had a better relationship with Susanna’s husband, physician John Hall, than with Judith’s. It depicts Will’s removal of Quiney from his will as a reluctant necessity. “What the movie does is suggest [that John] Hall is an obnoxious, Puritan prig and that Thomas Quiney is actually a very nice fellow,” Greenblatt says.

One aspect of Shakespeare’s relationship with Hall that the film leaves out entirely is scholars’ assumption that Hall would have tended to the playwright during any sickness that led to his death. The cause of Shakespeare’s death is unknown, however, and Hall’s surviving casebooks date back only to 1617, the year after Shakespeare’s death.

11. Unlikely: Shakespeare’s family recited his verse at his funeral.

At what appears to be Will’s funeral, Anne, Judith, and Susanna (all with varying levels of literacy) read aloud the words of a dirge sung for the supposedly dead Imogen in Cymbeline. “Fear no more the heat o’ th’ sun,” they quote, “Thou thy worldly task hast done … All lovers young, all lovers must / Consign to thee and come to dust.”

The words are evocative of Scripture. (“Be not afraid” / “Have no fear” is said to be the most repeated phrase in both the Old Testament and the New Testament—and of course there’s the Genesis passage often read at funerals: “For dust thou art, and unto dust shalt thou return.”) Greenblatt says it is “very unlikely” that verse not from the Bible would have been recited at a funeral at the time of Shakespeare’s death, adding, “but I found that moment quite touching.”

SPOILER WARNING: The remainder of this article includes spoilers about some major twists in All Is True.

12. Uncertain: Shakespeare’s offspring wrote poetry.

Kathryn Wilder as Judith Shakespeare, Kenneth Branagh as William Shakespeare in All is True (2019)
Kathryn Wilder as Judith Shakespeare and Kenneth Branagh as William Shakespeare in All Is True (2019).
Robert Youngson, Courtesy of Sony Pictures Classics

In All Is True, when Will voices grief for his son who had died 17 years prior, he often references Hamnet’s apparent talent as a poet. “He showed such promise, Anne,” Will cries.

Branagh’s film imagines that Hamnet wrote poems full of wit and mischief. Then Judith drops the revelation that she actually crafted the poems, dictating them to her twin brother, who knew how to write. All Is True thus displaces the controversial authorship question from Shakespeare to his children.

“There’s no historical trace of any of this,” Greenblatt says. “That is just an invention.”

13. Uncertain: Hamnet Shakespeare died of the plague.

The other revelation that stuns Will in All Is True is about Hamnet’s death. Will looks at the record noting young Hamnet’s death and becomes suspicious about whether his only son really died of the plague. He confronts Anne and Judith, pointing out the small number of deaths in Stratford in the summer of 1596, saying that the plague strikes with “a scythe, not a dagger.” At this point, Judith confesses that her twin took his own life after she threatened to tell their father about the true author of the poems. She then tearfully recalls Hamnet, who did not know how to swim, stepping into a pond and drowning.

Though the historical record doesn't supply a cause of death for Hamnet, many historians assume he died of the bubonic plague. For the film's revelation about Hamnet’s suicide, which Greenblatt deems as another imaginative invention, Branagh and screenwriter Ben Elton seem to have taken inspiration from the real parish register recording burials at Holy Trinity Church in Stratford, which lists no more than two dozen burials between June and September 1596. Meanwhile, a plague epidemic hit Shakespeare’s hometown shortly after the poet’s birth in 1564 and lasted about six months, killing more than 200 people in Stratford, which was about a sixth of the population.

As Greenblatt points out, the storyline about Judith’s poems and Hamnet’s death serves as a commentary on Virginia Woolf’s compelling essay, “Shakespeare’s Sister,” which appears in A Room of One’s Own, published in 1929. The essay imagines a tragic story for Shakespeare’s fictional sister who is as gifted as her successful brother but is not permitted to go to school and whose parents scold her each time she picks up a book. “She was as adventurous, as imaginative, as agog to see the world as he was,” Woolf wrote.

Greenblatt observes that the central theme of All Is True seems to be “the tragic cost of not having full access to literacy if you were a woman.” He notes, though, that in Elizabethan and Jacobean England, “there were actually quite a few [literate] women, and the work of the last generation, particularly feminist scholars, have recovered a much larger field than Virginia Woolf could have understood or than the movie suggests, of women who were reading and writing in the period.”

Kenneth Branagh’s All Is True is in theaters now.

David Lynch Drew a Damn Fine Map of Twin Peaks, Washington

David Lynch and Mädchen Amick in Twin Peaks
David Lynch and Mädchen Amick in Twin Peaks
1990 ABC/Spelling Ent./CBS Paramount Domestic Television

It can be tough even for die-hard fans of Twin Peaks to navigate its convoluted narrative. In the original 1990-1991 television series, the 1992 film (Twin Peaks: Fire Walk With Me), and the 2017 Showtime continuation (Twin Peaks: The Return), director David Lynch offered a sprawling examination of weirdness in a small town. Now fans have discovered Lynch has drawn a map, J.R.R. Tolkien-style, of his weird wonderland that helped his cast feel a little less lost.

Actor Kyle MacLachlan, who portrayed FBI Special Agent Dale Cooper on the show, posted Lynch’s hand-drawn map of Twin Peaks on Instagram.

“Two years ago, we made a journey back to a little town with some amazing Douglas Firs,” MacLachlan wrote. “Today I wanted to share a fun part of Twin Peaks history: to create a sense of place for the show, David Lynch drew this map of the town.”

Lynch is no stranger to illustration. In his career, he has worked in a variety of media including painting, drawing, sculptures, and anthropomorphic lamps. More than 500 of his pieces were on exhibit in Maastricht, the Netherlands recently, with another exhibit due to open in Manchester, England on July 6.

[h/t Vulture]

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