Hilary van Doren: You see, I was offered this place in the San Francisco Ballet. I haven’t told anyone yet, but I’m gonna take it. I don’t care what they think. I’m a good dancer. Better than good. Maybe even the best in the school. And that’s not conceit, it’s just simple honesty. If I stay in New York, everyone will think I bought my way into ABT. And I’m not starving myself for Balanchine’s City Ballet. Not that I mind doing the corps de ballet bullshit. I’d sooner do it out of town. I’ll pay my dues on the west coast, come back to New York a star. You see, I’ve always had this crazy dream of dancing all the classical roles before I’m twenty-one. I want Giselles and Coppélias coming out of my feet. And Sleeping Beauties, and the Swan. I want bravos in Stuttgart and Leningrad and Paris. Maybe even a ballet created especially for me. You see? There’s no room for a baby.
Nurse: Will this be Master Charge or American Express, honey?
After Eraserhead, Lynch was eager to get started on a new project. After failing to get anything started on a personal project called Ronnie Rocket, he called Stuart Cornfeld – who had earlier called him to tell him how much he had enjoyed Eraserhead – and asked him if he had anything. Cornfeld said he had four projects. The first one he mentioned was called The Elephant Man; without knowing anything else Lynch said that was it. They pitched it around to several studios before Mel Brooks (for whom Cornfeld worked) decided (with some influence by his wife Anne Bancroft) it was right for his new BrooksFilms production company. He liked the screenwriters, but he didn’t know who Lynch was, so they screened Eraserhead for him. After it was over Brooks reportedly said to Lynch, “You’re a madman! I love you! You’re in!” The rest, as they say, is history. The film was nominated for eight Academy Awards, though it didn’t win any: Best Original Score, Best Art Direction, Best Film Editing, Best Costume Design, Best Adapted Screenplay, Best Actor John Hurt, Best Director and Best Picture. Lynch was saddened that the film didn’t receive sound or cinematography nominations. The year prior, sound designer Alan Splet received an honorary award for his sound work on The Black Stallion and a few years later he received a nomination for his work on 1983′s Never Cry Wolf. Cinematographer Freddie Francis won in 1960 for Sons and Lovers and in 1989 for Glory. The other films nominated for Best Picture that year were: Coal Miner’s Daughter, Raging Bull, Tess and winner Ordinary People. After the film’s loss at the Oscars, Brooks reportedly stated, “Ten years from now Ordinary People will be the answer to a trivia question. The Elephant Man will be a movie people are watching.” The film currently sits at #116 on IMDb’s user-generated Top 250.
Carl Spackler: Incredible Cinderella story. This unknown, comes outta nowhere to lead the pack at Augusta. He’s at his final hole. He’s about 450 yards away. He’s gonna hit about a two iron, I think. Oh, he got outta that. The crowd is standing on its feet here at Augusta. The normally reserved Augusta crowd, going wild, for this young Cinderella, who’s come outta nowhere. He’s got about 350 yards left. He’s gonna hit about a five iron, it looks like, dontcha think? He’s got a beautiful back swing. That’s it! Oh! He got outta that one! He’s gotta be pleased with that! The crowd is on its feet here. He’s a Cinderella boy. Tears in his eyes, I guess, as he lines up this last shot. He’s got about 195 yards left. He’s gonna. . .it looks like he’s got an eight iron. This crowd has gone deadly silent. A Cinderella story. Outta nowhere. Former greenskeeper. And now about to become the Masters champion. It looks like a mirac. . .it’s in the hole! It’s in the hole!
Eli Cross: We’re shaking a finger at them, Sam, and we shouldn’t. If we’ve anything to say it’s best to slip it in while they’re all laughing and crying and jerking off at all the sex and violence. We should do something outrageous.
Sam: Like what?
Eli Cross: Like catching an authentic stench of madness behind all that good clean fun.
Sandy Bates: You guys gotta tell me, why is there so much human suffering?
Space Alien: This is unanswerable.
Sandy Bates: Is there a God?
Space Alien: These are the wrong questions.
Sandy Bates: Look, here’s my point, if nothing lasts why am I bothering to make films or do anything, for that matter?
Space Alien: We enjoy your films, particularly the early, funny ones.
Sandy Bates: But the human condition is so discouraging.
Space Alien: There are some nice moments, too.