Inside David Lynch's Paris art-studio hideaway

Behind the doors of a 19th-century printworks in south-central Paris, filmmaker and painter-by-training David Lynch takes a cigarette break after hours of etching abstract shapes and twisted limbs onto stone and wood. Although best known for dark, surreal movies such as "Eraserhead", "Blue Velvet" and "Mulholland Drive", Lynch was an artist before he began filmmaking and since 2007 has been using the Idem workshop as his studio in Paris, creating some 170 lithographs and engravings. As three workshop staff clamber onto one of the six giant mechanical presses to print up a fresh design, Lynch - dressed in a blue apron and sporting his trademark white, bouffant hairdo - explains that there is something uniquely inspiring about the Parisian printworks. "This is totally Parisian. In people's dream of Paris, this place would fit in that dream perfectly," the 66-year-old tells Reuters, speaking above the noise of the whirling cogs and hand-operated cranks that he says remind him of the twisted, industrial world of his debut feature film "Eraserhead". "Everybody that comes to this place, they feel it...I can feel the past. I can feel the whole art of life going on here." Artists such as Picasso, Matisse, Chagall and Miro all had their prints produced at the site, a two-floor workshop built in 1880 that is still in use today by artists including Lynch. Encircled by piles of engraving-stones and the odd stuffed toy panther, the presses can also print from digital files. Lynch's prints - which he says he etches from scratch after "catching" an idea in his mind - vary from Keith Haring-esque red-and-white squiggles and doodles to ghostly Edvard Munch-like humans stranded in desolate landscapes, with titles like "Things In Air Over City" or "Oh, A Bad Dream Comes". They seem to combine the black-and-white, nightmarish imagery of "Eraserhead" and "The Elephant Man" with the abstract, surreal narratives of Lynch's last two movies, 2001's "Mulholland Drive" and 2006's "Inland Empire". Lynch has explored other media over the past decade, creating a series of animated shorts posted online called "Dumbland", directing a Duran Duran concert streamed on YouTube and even recording his own solo album called "Crazy Clown Time". He has even adapted his trademark palette of dark tones and surreal shapes to French tastes, designing a limited edition of Dom Perignon champagne bottles as well as an underground nightclub in the center of Paris called "Silencio". Despite his obvious enthusiasm for trying out new things, Lynch's affection for Paris comes from its protection of tradition. "I like the way the French people live. They protect the arts more than any other country," he says. "Here, almost every avenue of life is like an art form." In a seemingly upside-down world where governments and bankers are suffering from the financial crisis but where big-name artists are fetching higher prices than ever before, Lynch says that he can still separate the urge to make money from the urge to make art. "It's like Hollywood versus the art way," he says. "I love money for getting things to work and to live. But it's not the reason in my mind to make a film or to make anything." Asked what his next move is going to be, Lynch says he will continue to work on music and art but adds that there is a movie idea also in the pipeline. "Music and painting and maybe cinema, but we'll have to wait and see," he says. "Maybe it's going to happen but you need to be deeply in love and, you know...I'm falling in love.

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A Minute With: Director Peter Jackson on shooting "The Hobbit"

After bringing J.R.R. Tolkien's "The Lord of the Rings" trilogy to life, filmmaker Peter Jackson is back in the world of Middle Earth with the author's prequel, "The Hobbit." The three-film series is due to open in U.S. theaters on Friday with "The Hobbit: An Unexpected Journey." The Oscar-winning director, 51, told Reuters about the 3D film, including the 48 frames per second (fps) format he used, which was widely debated by fans and critics. Q: You originally intended "The Hobbit" to only be two parts. Why stretch it out to three? A: "Back in July, we were near the end of our shoot and we started to talk about the things that we had to leave out of the movies. There's material at the end of ‘The Return of the King' (the final part of 'The Lord of the Rings' trilogy) in the appendices that takes place around the time of ‘The Hobbit.' "We were thinking, this is our last chance because it's very unlikely we're ever going to come back to Middle Earth as filmmakers. So we talked to the studio and next year we're going to be doing another 10 to 12 weeks of shooting because we're now adapting more of Tolkien's material." Q: At what point did you decide you would direct the film yourself after originally handing it to Guillermo del Toro? A: "At the time (we wrote the script), I was worried about repeating myself and worried that I was competing with myself. I thought it would be interesting to have another director with a fresh eye coming in and telling the story. But after Guillermo left, having worked on script and the production for well over a year at that stage, I was very emotionally attached to it. I just thought, this is an opportunity I'm not going to say no to." Q: You hired Gollum actor Andy Serkis to do second unit directing on the film, something he has never done before. What made you hand the task to a novice? A: "I know how strongly Andy has been wanting to direct. One of the problems with second unit is that you tend to have conservative footage given to you by the director. They play it safe. I knew that I wouldn't get that from Andy because he's got such a ferocious energy. He goes for it and doesn't hold back. I knew that if Andy was the director I would be getting some interesting material, that it would have a life and energy to it." Q: What inspired you to make a film in 48 fps? A: "Four years ago I shot a six or seven minute King Kong ride for Universal Studios' tram ride in California. The reason we used the high frame rate was that we didn't want people to think it's a movie. You want that sense of reality, which you get from a high frame rate, of looking in to the real world. At the time, I thought it would be so cool to make a feature film with this process." Q: Not everyone has embraced "The Hobbit" in 48 fps. A: "For the last year and a half there's been speculation, largely negative, about it and I'm so relieved to have gotten to this point. I've been waiting for this moment when people can actually see it for themselves. Cinephiles and serious film critics who regard 24 fps as sacred are very negative and absolutely hate it. Anybody I've spoken to under the age of 20 thinks it's fantastic. I haven't heard a single negative thing from the young people, and these are the kids that are watching films on their iPads. These are the people I want to get back in the cinema." Q: Why all the hoopla over a frame rate? A: "Somehow as humans, we have a reaction to change that's partly fear driven. But there are so many ways to look at movies now and it's a choice that a filmmaker has. To me as a filmmaker, you've got to take the technology that's available in 2012, not the technology we've lived with since 1927, and say how can we enhance the experience in the cinema? How can we make it more immersive, more spectacular?" Q: George Lucas sold Lucasfilm to Disney for $4 billion. Do you think you will sell your New Zealand facility Weta someday? A: "I would if I want to retire at some stage and want to have a nice easy life, which will hopefully happen one day. But in the foreseeable future, the fact that I'm an owner of my own digital effects facility is a fantastic advantage for me." Q: How so? A: "When we asked the studio if we could shoot ‘The Hobbit' at 48 fps, we promised the budget would be the same. But it actually does have a cost implication because you've got to render twice as many frames and the rendering takes more time. The fact that we owned Weta and could absorb that in-house was actually part of the reason we were able to do the 48 frames."

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Legendary Indian sitarist, composer Ravi Shankar dead at 92

Sitarist and composer Ravi Shankar, who helped introduce the sitar to the Western world through his collaborations with The Beatles, died in Southern California on Tuesday, his family said. He was 92. Shankar, a three-time Grammy winner with legendary appearances at the 1967 Monterey Festival and at Woodstock, had been in fragile health for several years and last Thursday underwent surgery, his family said in a statement. "Although it is a time for sorrow and sadness, it is also a time for all of us to give thanks and to be grateful that we were able to have him as a part of our lives," the family said. "He will live forever in our hearts and in his music." In India, Prime Minister Manmohan Singh's office posted a Twitter message calling Shankar a "national treasure and global ambassador of India's cultural heritage." "An era has passed away with ... Ravi Shankar. The nation joins me to pay tributes to his unsurpassable genius, his art and his humility," the Indian premier added. Shankar had suffered from upper respiratory and heart issues over the past year and underwent heart-valve replacement surgery last week at a hospital in San Diego, south of Los Angeles. The surgery was successful but he was unable to recover. "Unfortunately, despite the best efforts of the surgeons and doctors taking care of him, his body was not able to withstand the strain of the surgery. We were at his side when he passed away," his wife Sukanya and daughter Anoushka said. Shankar lived in both India and the United States. He is also survived by his daughter, Grammy-winning singer Norah Jones, three grandchildren, and four great-grandchildren. Shankar performed his last concert with his daughter Anoushka on November 4 in Long Beach, California, the statement said. The night before he underwent surgery, he was nominated for a Grammy for his latest album "The Living Room Sessions, Part 1." 'NORWEGIAN WOOD' TO 'WEST MEETS EAST' His family said that memorial plans will be announced at a later date and requested that donations be made to the Ravi Shankar Foundation. Shankar is credited with popularizing Indian music through his work with violinist Yehudi Menuhin and The Beatles in the late 1960s, inspiring George Harrison to learn the sitar and the British band to record songs like "Norwegian Wood" (1965) and "Within You, Without You" (1967). His friendship with Harrison led him to appearances at the Monterey and Woodstock pop festivals in the late 1960s, and the 1972 Concert for Bangladesh, becoming one of the first Indian musicians to become a household name in the West. His influence in classical music, including on composer Philip Glass, was just as large. His work with Menuhin on their "West Meets East" albums in the 1960s and 1970s earned them a Grammy, and he wrote concertos for sitar and orchestra for both the London Symphony Orchestra and the New York Philharmonic. Shankar served as a member of the upper chamber of the Parliament of India, from 1986 to 1992, after being nominated by then Indian Prime Minister Rajiv Gandhi. A man of many talents, he also wrote the Oscar-nominated score for 1982 film "Gandhi," several books, and mounted theatrical productions. He also built an ashram-style home and music center in India where students could live and learn, and later the Ravi Shankar Center in Delhi in 2001, which hosts an annual music festival. Yet his first brush with the arts was through dance. Born Robindra Shankar in 1920 in India's holiest city, Varanasi, he spent his first few years in relative poverty before his eldest brother took the family to Paris. For about eight years, Shankar danced in his brother's Indian classical and folk dance troupe, which toured the world. But by the late 1930s he had turned his back on show business to learn the sitar and other classical Indian instruments. Shankar earned multiple honors in his long career, including an Order of the British Empire (OBE) from Britain's Queen Elizabeth for services to music, the Bharat Ratna, India's highest civilian award, and the French Legion d'Honneur.

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Actor Depardieu's Belgium move "pathetic": French PM

Actor Gerard Depardieu's decision to establish residency in Belgium, which does not have a wealth tax, by buying a house just over the border with France, is "pathetic" and unpatriotic, French Prime Minister Jean-Marc Ayrault said on Wednesday. Depardieu has become the latest wealthy Frenchman after luxury magnate Bernard Arnault to look for shelter outside his native country following tax hikes by Socialist President Francois Hollande. "Going just over the border, I find that fairly pathetic," Ayrault said on France 2 television. "Being a Frenchman means loving your country and helping it to get back on its feet." The "Cyrano de Bergerac" star bought a house in the Belgian village of Nechin near the border with France, where 27 percent of the population is composed of French nationals, local mayor Daniel Senesael told French media on Sunday. Depardieu also enquired about procedures for acquiring Belgian residency, he said. Yann Galut, a Socialist member of parliament, condemned the actor and proposed that France copy U.S. practice by adopting a law that would force exiles to pay full tax dues or risk being stripped of their nationality. "It is scandalous and shameful," Galut told Reuters in an interview. "The country's in dire straits. This man owes everything he has to France - the accolades, the subsidies that helped produce his films, the schools where he was educated. At the end of a career that made him extremely rich he wants nothing to do with national solidarity." Belgian residents do not pay wealth tax, which in France is now slapped on individuals with assets over 1.3 million euros ($1.70 million), nor do they pay capital gains tax on share sales. France has also imposed a 75-percent tax on incomes exceeding 1 million euros. The tax hikes have been welcomed by left-wingers who say the rich must do more to help redress public finances but attacked by some wealthy personalities and foreign critics, who say it will increase tax flight and dampen investment. Depardieu's move comes three months after Arnault, chief executive of luxury giant LVMH, caused an uproar by seeking to establish residency in Belgium - a move he said was not motivated by tax reasons. The left-leaning Liberation daily reacted with a front-page headline next a photograph of Arnault telling him to "Get lost, you rich jerk", prompting luxury advertisers including LVMH to withdraw their advertisements. Ayrault said he did not support the idea floated by Galut, and the call was also partially disowned by the leader of the Socialist group in the lower house of parliament. "I'd rather appeal to people's intelligence, to their hearts," Ayrault said. Undeterred, Galut said tax dodging may be costing the state as much as 6 to 8 billion euros ($7.8 to 10.4 billion) a year in lost income and that such amounts were "far from negligible" at a time when France is at pains to reduce a bloated debt. "Everyone is being asked to chip in, private individuals and companies alike. It's inadmissible that people who made fortunes in France refuse to share their part of the burden," he said. Galut said he was asked on Wednesday to set up a parliamentary panel that would look into the question of tax exiles, saying he would like to see action taken when parliament broaches a budget bill for 2014.

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Mick Jagger love letters fetch $300,000 at auction

A collection of love letters written by Rolling Stones frontman Mick Jagger to American singer Marsha Hunt, believed to be the inspiration for the band's hit single "Brown Sugar", sold at Sotheby's on Wednesday for 187,250 pounds ($301,000). The 10 letters, dating from the summer of 1969, had been expected to fetch 70-100,000 pounds, according to the auctioneer. "The passage of time has given these letters a place in our cultural history," Hunt said after the London sale. "1969 saw the ebbing of a crucial, revolutionary era, highly influenced by such artists as The Beatles, The Rolling Stones, James Brown and Bob Dylan. "Their inner thoughts should not be the property of only their families, but the public at large, to reveal who these influential artists were - not as commercial images, but their private selves." Hunt, with whom Jagger had his first child, Karis, told Britain's Guardian newspaper last month that she was selling the letters, written in July and August 1969, because she had been unable to pay her bills. "I'm broke," Hunt, who lives in France, told the newspaper. Jagger wrote them to Hunt while filming the Tony Richardson movie "Ned Kelly" in Australia. They showed a sensitive side of the then-young singer, who wrote about the poetry of Emily Dickinson, meeting author Christopher Isherwood and an unrealized multimedia project. Jagger's relationship with Hunt, who is African-American, was kept under wraps until 1972. Hunt has said she was the inspiration for Brown Sugar, which Jagger wrote while in Australia. The rock star also cites in the letters the disintegration of his relationship with singer Marianne Faithfull, whom he was also dating at the time, and the death of Rolling Stones' guitarist Brian Jones. There has been a surge in interest in the rock band this year, as Jagger and his three surviving bandmates celebrate the 50th anniversary of the Stones with a series of concerts, a photo book and a greatest hits album.

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Politico financier Joe L. Allbritton dies at 87

Joe L. Allbritton, the millionaire founder of Politico's parent company, died Wednesday of heart ailments in a Houston hospital. He was 87. The founder of Allbritton Communications, which launched Politico and owns several television stations, built the Washington, D.C.-based media empire after controversy-fraught years as the chief of Riggs National Bank. Born in Mississippi and raised in Texas, Allbritton was a self-made businessman, who dabbled in real estate, mortuaries and banking before entering the news business in 1974, when he purchased the struggling Washington Star newspaper. He revived the paper. Six years later, federal regulations regarding cross ownership of newspaper and television stations forced him to sell his $35 million investment. Time Inc. bought it for $217 million. Allbritton held on to his more lucrative media properties, including WJLA, an ABC affiliate in Washington, D.C. that took his initials, and helped launch NewsChannel 8, also in Washington, one of the country's first 24-hour news channels. The company he founded, which is now run by his son, Robert, has made inroads into the internet world - founding Politico in 2007 and TBD, a short-lived internet news site that the company shuttered in 2012. Though Politico is his son's creation, the elder Allbritton bankrolled the publication and has been accused of excessively involving himself in its editorial affairs. But, for all of Allbritton's successes and wealth, his career was marred by a nationwide recession in the early 1990s that Forbes magazine said brought the bank to the brink of insolvency. The economic slump left Riggs with bad loans on drastically devalued real estate, but Allbritton was also blamed by analysts for ignoring the growing suburban banking market which took business away from Riggs. Despite these woes, he refused to give up his private jet at Riggs, even as shareholders urged him to sell the Gulfstream. He was also criticized for his eagerness to do business with some shady customers He personally courted Chilean dictator Augusto Pinochet, whom human rights groups accused of killing more than 3,000 of his own citizens during his 17-year reign. And - in a 2001 letter to Teodoro Obiang Nguema, the dictator of oil-rich Equatorial Guinea - Allbritton praised the west African strongman's "reputation for prudent leadership." Obiang deposited hundreds of millions of dollars in banks controlled by Allbritton. But little of this criticism appeared in Politico's glowing, three-page obituary on its financier. The piece, bylined by editor-in-chief John F. Harris and reporter James Hohmann, makes a brief, passing mention of a federal inquiry into Allbritton's dealings with Pinochet. There is no mention of Obiang. The man, whom the Washington Post noted - in the headline of its obituary - led once-venerable Riggs to "disrepute" is praised by Politico with a laundry list of accomplishments. "He would wear Politico baseball caps and T-shirts while playing with his grandchildren. Sometimes, he would quiz executives at the company on business and editorial matters, sometimes pretending caustically to second-guess their decisions," Harris and Hohmann wrote of the former boss. "It took the publisher, adept at reading his father's sense of humor, to assure people that he was just kidding; his main involvement in the new publication was as cheerleader." It wasn't the only time Allbritton was accused of involving himself in Politico's coverage. In 2007, five months after the news agency's christening, Glenn Greenwald, then a columnist at Salon, accused Politico of having a conservative bias, pointing to Allbritton's appointment of Frederick J. Ryan Jr., a one-time assistant to President Ronald Reagan, as president and CEO of Politico. "There is nothing wrong per se with hard-core political operatives running a news organization. Long-time Republican strategist Roger Ailes oversees Fox News, of course," Greenwald wrote. "But it seems rather self-evident that a news organization run by someone with such clear-cut political biases ought to have a hard time holding itself out as some sort of politically unbiased source of news.

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