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In "Wild At Heart", Lana explores the freedom and nature of being wild and along with her lover. The music title could be a reference to David Lynch's 1990 cult wild at heart. [Verse 2] What would you do if I wouldn't sing for them no more? Like should you heard I used to be out within the bars drinkin' Jack and Coke Going...Tarte Wild at Heart is a rather warm-toned, gentle duochrome with a metallic finish. It is a restricted version eyeshadow that retails for $22.00 and Wild at Heart is a gentle, pink-peach base with blue-to-pink transferring pearl paired with a metallic end. The consistency was clean, flippantly creamy, and..."Wild At Heart". What would you do if I informed you, you're making me crazy To see your pretty pics on Sunset Boulevard? at heart. What would you do if I wouldn't sing for them not more? Like if you heard I used to be out in the bars consuming jack and coke Goin' loopy for someone who would pay attention to my tales, babe?But "Wild at Heart" does not have the nerve to simply be violent - it has to construct in its excuses. Take, for example, a gap scene the place the hero, Sailor The violence aside, "Wild at Heart" additionally exercises the constant streak of misogynism in Lynch's work. He has a specific knack for humiliating girls...Wild At Heart bedeutet Tätowieren mit Leidenschaft. Wir lieben deine Ideen und nehmen deinen Tattoowunsch ernst. Schreib uns eine Nachricht unter [email protected], über das Kontaktformular oder ruf uns an unter 089/168187, um einen Termin zu vereinbaren.

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Tarte wild at heart is price a swatch. It's a cream like formula. Pinkish with a horny inexperienced shift.Add to Favourites. Comment. Wild at heart. By Zire9. It is sort of like she is meditating and/or at peace among nature, love it is a 2nd house to her. ^^Wild at Heart is a 1990 American black comedy romantic crime movie written and directed via David Lynch and starring Nicolas Cage, Laura Dern, Diane Ladd, Willem Dafoe, Harry Dean Stanton...New merchandise to be had now at the reputable store.

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Wild at Heart is a crazy journey via a crazy land full of all manner of crazy people. The movie will also be many things: comedy, romance, adventure, mystery, horror, and so forth. It draws many comparisons as well: Repo Man, Raising Arizona, Easy Rider. But at its core it is a unique love story that works.«Дикие сердцем» — американский мелодраматический фильм 1990 года, поставленный Дэвидом Линчем по одноимённому роману Барри Гиффорда.Heart In Your Heartbreak. 4. chords. Heart In Your Heartbreak*. guitar pro. Heavens Gonna Happen Now*.The trip was once to first of all liberate a wild animal again into the wild, however then the vet falls in love with the animals and South Africa and decides to stick and purchase into a partnership with Anders Du Plessis - the game reserve owner.Lovers Lula (Laura Dern) and Sailor (Nicolas Cage) are separated after he's jailed for killing a man who attacked him with a knife; the assailant, Bobby Ray Lemon, used to be employed by way of Lula's mom, Marietta Fortune (Diane Ladd).

Wild at Heart (film)

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Wild at HeartTheatrical unlock posterDirected throughDavid LynchProduced through Steve Golin Monty Montgomery Sigurjón SighvatssonScreenplay throughDavid LynchBased onWild at Heartby Barry GiffordStarring Nicolas Cage Laura Dern Willem Dafoe Crispin Glover Diane Ladd Isabella Rossellini Harry Dean StantonMusic throughAngelo BadalamentiCinematographyFrederick ElmesEdited byDuwayne DunhamProductionfirms PolyGram Filmed LeisurePropaganda FilmsDisbursed byThe Samuel Goldwyn CorporateRelease date May 25, 1990 (Cannes) August 17, 1990Running time124 minutes[1]NationUnited StatesLanguageEnglishBudget million[2]Box place of job.6 million (North America)[3]

Wild at Heart is a 1990 American black comedy romantic crime film written and directed by way of David Lynch and starring Nicolas Cage, Laura Dern, Diane Ladd, Willem Dafoe, Harry Dean Stanton, and Isabella Rossellini. Based on the 1989 novel of the similar identify by means of Barry Gifford, it tells the tale of Sailor Ripley (Cage) and Lula Pace Fortune (Dern), a tender couple from Cape Fear, North Carolina, who go at the run from Lula's domineering mom and the gangsters she hires to kill Sailor.

Lynch was going to supply, but after reading Gifford's book, he determined to jot down and direct as smartly. He didn't just like the ending of the novel and thus determined to switch it to suit his imaginative and prescient of the main characters. Wild at Heart is a street movie which contains allusions to The Wizard of Oz and Elvis Presley and his films.[4]

Early take a look at screenings for Wild at Heart had a deficient reception; Lynch estimated that 300 other people walked out of an early screening.[5] On release, the movie had blended important reviews and used to be a reasonable success at the field workplace, grossing million, above its million budget. The film won the Palme d'Or at the 1990 Cannes Film Festival, which at the time used to be thought to be a arguable decision.[6] Diane Ladd was once nominated for the Academy Award for Best Supporting Actress for her efficiency. It has since gained some positive re-evaluation from critics.


Lovers Lula and Sailor are separated after he is jailed for killing a man who attacked him with a knife; the assailant, Bobby Ray Lemon, was hired by way of Lula's mother, Marietta Fortune. Upon Sailor's liberate, Lula picks him up out of doors jail, the place she palms him his snakeskin jacket. They go to a lodge where she reserved a room, make love and go to peer the rate steel band Powermad. At the club, Sailor will get right into a battle with a man who flirts with Lula, after which leads the band in a rendition of the Elvis Presley song "Love Me". Later, back of their lodge room, after making love again, Sailor and Lula in any case decide to run away to California, breaking Sailor's parole. Marietta arranges for personal detective Johnnie Farragut — her on-off boyfriend — to search out them and produce them back. But unbeknownst to Farragut, Marietta also hires gangster Marcello Santos to trace them and kill Sailor. Santos's minions seize and kill Farragut, sending Marietta into a guilt-fueled psychosis.

Unaware of the entire events happening back in North Carolina, Lula and Sailor continue on their means until — in step with Lula — they witness a nasty omen: the aftermath of a two-car accident, and the one survivor, a tender lady, loss of life in front of them. With little cash left, Sailor heads for Big Tuna, Texas, the place he contacts 'outdated friend' Perdita Durango, who may be able to lend a hand them, even supposing she secretly is aware of Lula's mother has a contract out for his murder. While Sailor has the same opinion to sign up for up with gangster Bobby Peru in a feed store robbery, Lula waits for him within the resort room, trying to conceal that she is pregnant with Sailor's child. While Sailor is out, Peru enters the room and threatens to sexually attack Lula, forcing her to ask him to have sex with her, earlier than leaving, declaring he has no time. This traumatizes Lula, who used to be raped as a child.

The theft goes spectacularly incorrect when Peru unnecessarily shoots the 2 clerks. Peru then admits to Sailor that he has been hired to kill him, and Sailor realizes he has been given a pistol with dummy ammunition. Chasing Sailor out of the shop, Peru is ready to kill him when the sheriff's deputy opens fire on him and Peru accidentally blows his personal head off with his personal shotgun. Sailor is arrested and sentenced to six years in prison.

While Sailor is in prison, Lula has their child. Upon his liberate, Lula makes a decision to reunite with him. Rejecting her mom's objections over the phone, she throws water over her mom's photograph and goes to pick up Sailor with their son. When they meet Sailor, he finds he's going to be leaving them each, having decided whilst in jail that he is no longer excellent enough for them. While he is strolling a brief distance away, Sailor encounters a gang who encompass him. He insults them, they usually quickly knock him out. While subconscious, he sees a imaginative and prescient within the type of Glinda the Good Witch, who tells him, 'Don't flip clear of love, Sailor.' When he awakens, Sailor apologizes to the boys, tells them he realizes the mistake of his tactics, after which runs after Lula. The photograph of Marietta, in Lula's house, sizzles and vanishes. As there's a site visitors jam at the street, Sailor starts to run over the roofs and hoods of the cars to get back to Lula and their kid within the car. Sailor sings "Love Me Tender" to Lula, having earlier stated that he would best sing that track to his spouse.


Nicolas Cage as Sailor Ripley: the actor described his character as 'one of those romantic Southern outlaw'.[7] Cage said in an interview that he used to be 'all the time attracted to those passionate, virtually unbridled romantic characters, and Sailor had that greater than every other function I'd played.'[7] Prior to being forged within the film, Cage had met Lynch a number of instances at Musso & Frank Grill which they both frequented. When Lynch learn Gifford's novel, he instantly sought after Cage to play Sailor.[8] Laura Dern as Lula Pace Fortune: previously, Dern had performed a supporting position in Lynch's movie, Blue Velvet. For Dern, Wild at Heart' was once the primary alternative she had 'to play no longer just a very sexual particular person, but also any individual who was, in her personal approach, extremely pleased with herself'.[7] When Lynch learn Gifford's novel, he in an instant thought of Dern to play Lula.[9] Diane Ladd as Marietta Fortune, Lula's overbearing mom, who forbids Lula and Sailor's relationship; she bureaucracy a grudge towards Sailor after he rejects her advances. Ladd and Dern are mother and daughter in actual lifestyles.[10] Willem Dafoe as Bobby Peru Harry Dean Stanton as Johnnie Farragut Isabella Rossellini as Perdita Durango Calvin Lockhart as Reggie J. E. Freeman as Marcellus Santos W. Morgan Sheppard as Mr. Reindeer Crispin Glover as Dell Grace Zabriskie as Juana Durango Marvin Kaplan as Uncle Pooch David Patrick Kelly as Dropshadow Freddie Jones as George Kovich John Lurie as Sparky Jack Nance as 00 Spool Pruitt Taylor Vince as Buddy Sherilyn Fenn as Girl in Accident Frances Bay as Madam Frank Collison as Timmy Thompson Sheryl Lee because the Good Witch Charlie Spradling as Irma Peter Bromilow as Hotel Manager Sally Boyle as Aunt Rootie Gregg Dandridge as Bobby Ray Lemon Koko Taylor as Zanzibar Singer


In the summer of 1989, Lynch had completed the pilot episode for the a hit tv collection Twin Peaks, and tried to rescue two of his tasks – Ronnie Rocket and One Saliva Bubble – each enthusiastic about contractual headaches as a result of the chapter of Dino De Laurentiis, which were purchased by means of Carolco Pictures.[2][11] Lynch stated, 'I've had a nasty time with stumbling blocks...it wasn't Dino's fault, but if his company went down the tubes, I were given swallowed up in that.'[2] Independent production corporate Propaganda Films commissioned Lynch to increase an up to date noir screenplay based on a Nineteen Forties crime novel, whilst Monty Montgomery, a chum of Lynch's and an affiliate manufacturer on Twin Peaks, asked novelist Barry Gifford what he used to be working on.[11] Gifford took place to be writing the manuscript for Wild at Heart: The Story of Sailor and Lula however nonetheless had two more chapters to put in writing.[12] He let Montgomery learn it in pre-published galley shape whilst the producer was running at the pilot episode for Twin Peaks. Montgomery read it, and two days later he known as Gifford and told him that he wanted to make a movie of it.[12] Two days after that, Montgomery gave Gifford's book to Lynch while he used to be editing the pilot, asking him if he would executive produce a film adaptation that he would direct.[13] Lynch recalls telling him, 'That's nice Monty, but what if I learn it and fall in love with it and need to do it myself?'[11] Montgomery didn't think that Lynch would love the ebook because he didn't suppose it used to be his 'roughly thing'.[13] Lynch cherished the guide and called Gifford quickly afterwards, asking him if he may just make a movie of it.[12] Lynch recalls, 'It used to be simply exactly the fitting factor at the best time. The ebook and the violence in America merged in my thoughts and lots of different things took place.'[11] Lynch used to be attracted to what he noticed as 'a actually fashionable romance in a violent international – an image about finding love in Hell', and used to be additionally drawn to 'a certain amount of worry within the picture, in addition to issues to dream about. So it kind of feels truthful come what may'.[11]

Lynch were given approval from Propaganda to switch projects; however, production used to be scheduled to start best two months after the rights were bought, forcing him to work fast.[14] Lynch had Cage and Dern read Gifford's guide[7] and wrote a draft in every week.[2][13] By Lynch's own admission, his first draft was once 'depressing and just about devoid of happiness, and nobody sought after to make it'.[15] Lynch did not just like the finishing in Gifford's e book, where Sailor and Lula cut up up for just right. For Lynch, 'it in truth didn't seem actual, taking into consideration the way they felt about each different. It did not seem one bit real! It had a definite coolness, however I couldn't see it.'[11] It used to be at this point that the director's love of The Wizard of Oz (1939) started to influence the script he used to be writing, and he included a reference to the 'yellow brick road'.[16] Lynch recalls, 'It was once an terrible difficult world, and there was something about Sailor being a rise up. But a riot with a dream of the Wizard of Oz is kinda like a gorgeous thing.'[16]Samuel Goldwyn Jr. read an early draft of the screenplay and didn't like Gifford's finishing both, so Lynch modified it. However, the director used to be apprehensive that this variation made the film too commercial, 'a lot more commercial to make a contented ending yet, if I had now not changed it, so that other people would not say I was trying to be industrial, I'd were untrue to what the material was announcing.'[11]

Lynch added new characters, comparable to Mr. Reindeer and Sherilyn Fenn as the sufferer of a vehicle twist of fate.[17] During rehearsals, Lynch started talking about Elvis Presley and Marilyn Monroe with Cage and Dern.[18] He also acquired a copy of Elvis' Golden Records and after listening to it, known as Cage and instructed him that he had to sing two songs, "Love Me" and "Love Me Tender". Cage agreed, and recorded them so that he could lip-synch to them at the set. At one level, Cage referred to as Lynch and asked if he may just wear a snakeskin jacket within the movie, and Lynch incorporated it into his script.[18] Before filming began, Dern instructed that she and Cage cross on a weekend road go back and forth to Las Vegas to be able to bond and get a handle on their characters.[13] Dern recalls, 'We agreed that Sailor and Lula had to be one particular person, one persona, and we would each and every share it. I got the sexual, wild, Marilyn, gum-chewing myth, feminine aspect; Nick's got the snakeskin, Elvis, raw, combustible, masculine facet.'[10] Within four months, Lynch began filming on August 9, 1989 in both Los Angeles (including the San Fernando Valley) and New Orleans with a moderately modest price range of million.[2] Originally, Wild at Heart featured extra specific erotic scenes between Sailor and Lula. In one, she has an orgasm whilst with regards to Sailor a dream she had of being ripped open by a wild animal. Another deleted scene had Lula reducing herself onto Sailor's face pronouncing, 'Take a chunk of Lula.'[9]


Wild at Heart features the Chris Isaak music "Wicked Game", for which a track video was once made — directed by means of Lynch, and that includes scenes of and Sailor and Lula interspersed with black-and-white pictures of Isaak appearing the track.


According to Lynch, one of the film's subject matters is, 'finding love in Hell'. He has stated: 'For me, it is just a compilation of concepts that come alongside. The darker ones and the lighter ones, the funny ones, all operating in combination. You you ought to be as true as you can to these ideas and take a look at to get them on movie.'[2] Some critics have postulated that, similar to Lynch's earlier Blue Velvet, the unexpected idealistic finishing of absolute best happiness is ironic, suggesting that individuals who have the opportunity of violence struggle to seek out true happiness.[19] However, Lynch himself refers back to the finishing of Wild at Heart as being 'happy', having consciously made the decision to modify the unique darker finishing from the radical.[11]


David Lynch accepting the Palme d'Or at the 1990 Cannes Film Festival with Isabella Rossellini, Diane Ladd, Anthony Quinn, Laura Dern, Nicolas Cage and Willem Dafoe. Distribution

Early check screenings for Wild at Heart didn't cross smartly, with the strong violence in some scenes being an excessive amount of. At the primary test screening, Eighty other folks walked out all over a graphic torture scene involving Johnnie Farragut.[15] Lynch decided to not minimize anything else from the movie, and at the second screening, One hundred walked out all over this scene. Lynch remembers: 'By then, I knew the scene was killing the movie. So I cut it to the degree that it was tough however didn't ship people running from the theatre.'[15] In retrospect, he mentioned: 'But that was a part of what Wild at Heart was about: truly insane and sick and twisted stuff happening.'[11]

Wild at Heart was once finished at some point prior to it debuted at the 1990 Cannes Film Festival in the 2,400-seat Grand Auditorium. After the screening, it won 'wild cheering' from the audience.[20] When Jury President Bernardo Bertolucci introduced the film as the winner of the Palme d'Or at the awards rite,[6] the jeers nearly drowned out the cheers, with movie critic Roger Ebert main the vocal detractors.[20][21] Gifford recollects that there was a prevailing mood that the media was once hoping Lynch would fail. "All kinds of journalists were trying to cause controversy and have me say something like 'This is nothing like the book' or 'He ruined my book'. I think everybody from Time magazine to What's On in London was disappointed when I said 'This is fantastic. This is wonderful. It's like a big, dark, musical comedy'".[11]


The Motion Picture Association of America (MPAA) instructed Lynch that the model of Wild at Heart screened at Cannes would obtain an X ranking in North America until cuts were made, because the NC-17 was once no longer in impact in 1990, at the time of the film's free up;[20] he was once contractually obligated to ship an R-rated film.[20] Lynch made one change within the scene the place a character shoots his personal head off with a shotgun: gun smoke was added, to tone down the blood and conceal the elimination of the character's head from his body. Foreign prints were not affected.[20] The Region 1 DVD and all Blu-rays comprise the toned-down model of the shotgun scene.

Box place of job

Wild at Heart opened within the United States on August 17, 1990, in a restricted liberate of handiest 532 theaters, grossing US



,913,764 in its opening weekend.[22] It went into large free up on August 31 with 618 theaters and grossing an additional 1,858,379. The film in the long run grossed ,560,247 in North America.[3]

Critical reaction David Lynch at the 1990 Cannes Film Festival.

Wild at Heart gained blended evaluations. On evaluation aggregator Rotten Tomatoes, the film has an approval score of 67% in response to 51 critiques, with a weighted reasonable of 6.5/10. The web page's consensus reads: 'One of director David Lynch's extra uneven efforts, Wild at Heart is held together by his distinctive sensibilities and compelling work from Nicolas Cage and Laura Dern.'[23] On Metacritic, the film has a weighted average score of fifty two out of 100, in response to 18 critics, indicating 'combined or average evaluations'.[24]

In his evaluation for the Chicago Sun-Times, Roger Ebert wrote that Lynch 'is a superb director, sure. If he ever is going forward and makes a movie about what's in reality on his mind, instead of hiding at the back of sophomoric humor and the cop-out of 'parody', he might understand the early promise of his Eraserhead. But he likes the field administrative center prizes that move at the side of his pop satires, so he makes dishonest motion pictures like this one.'[25]USA Today gave the movie one and a part stars out of four and mentioned: 'This strive at a one-up additionally trumpets its weirdness, but this time the schedule turns out pressured.'[26]

In his overview for Sight & Sound magazine, Jonathan Rosenbaum wrote, 'Perhaps the most important drawback is that regardless of Cage and Dern's best possible efforts, Lynch is in the end interested best in iconography, now not characters at all. When it comes to photographs of evil, corruption, derangement, uncooked hobby and mutilation (more or less in that order), Wild at Heart is a veritable cornucopia.'[27] Richard Combs in his evaluate for Time wrote, "The result is a pile-up, of innocence, of evil, even of actual road accidents, without a context to give significance to the casualties or survivors".[28] Christopher Sharrett, in Cineaste mag, wrote: 'Lynch's characters at the moment are so cartoony, one is liable to address him more as a theorist than director, excluding he isn't that difficult...one is rarely positive what Lynch likes or dislikes, and his ceaselessly putting photographs are too ceaselessly lacking in compassion for us to just accept him as a chronicler of a moribund landscape a la Fellini.'[29] However, in Rolling Stone, Peter Travers wrote: 'Starting with the outrageous and building from there, he ignites a slight love-on-the-run novel, making a bonfire of a movie that confirms his recognition as essentially the most exciting and leading edge filmmaker of his era.'[30]

Despite these initial critiques, Wild at Heart got here to be viewed favorably in subsequent years. It was once ranked the forty seventh absolute best film of the Nineties in an IndieWire critics' poll,[31] the twenty sixth largest movie of the same duration in a Complex ballot,[32] and the 53rd best possible in Rolling Stone's poll.[33]

Awards and honors

Ladd was nominated for Best Supporting Actress at the 1990 Academy Awards[34] and at the 1991 Golden Globes.[35]Frederick Elmes was nominated for Best Cinematography and Dafoe for Best Supporting Male at the 1991 Independent Spirit Awards. Elmes received in his category.[36] The film gained the distinguished 1990 Palme d'Or Award at the Cannes Film Festival, and used to be the second one of 3 consecutive USA films to be awarded the respect. (The different two had been Sex, Lies, and Videotape in 1989 and Barton Fink in 1991.) The film was once nominated for the Grand Prix of the Belgian Syndicate of Cinema Critics.

American Film Institute recognition:

AFI's 100 Years... 100 Laughs – Nominated[37] AFI's 100 Years...100 Passions - Nominated[38]


^ .mw-parser-output cite.citationfont-style:inherit.mw-parser-output .citation qquotes:"\"""\"""'""'".mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free abackground:linear-gradient(clear,clear),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")correct 0.1em middle/9px no-repeat.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .quotation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration abackground:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")correct 0.1em center/9px no-repeat.mw-parser-output .id-lock-subscription a,.mw-parser-output .quotation .cs1-lock-subscription abackground:linear-gradient(clear,clear),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em middle/9px no-repeat.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registrationcolor:#555.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration spanborder-bottom:1px dotted;cursor:assist.mw-parser-output .cs1-ws-icon abackground:linear-gradient(clear,transparent),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")correct 0.1em heart/12px no-repeat.mw-parser-output code.cs1-codecolour:inherit;background:inherit;border:none;padding:inherit.mw-parser-output .cs1-hidden-errordisplay:none;font-size:100%.mw-parser-output .cs1-visible-errorfont-size:100%.mw-parser-output .cs1-maintshow:none;color:#33aa33;margin-left:0.3em.mw-parser-output .cs1-formatfont-size:95%.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-leftpadding-left:0.2em.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-rightpadding-right:0.2em.mw-parser-output .citation .mw-selflinkfont-weight:inherit"WILD AT HEART (18)". British Board of Film Classification. August 6, 1980. Retrieved March 19, 2016. ^ a b c d e f Woods, Paul, A. (2000). Weirdsville, USA: The Obsessive Universe of David Lynch. Plexus, London. ^ a b Wild at Heart at Box Office Mojo ^ Pearson, Matt (1997). "Wild at Heart". The British Film Resource. Retrieved January 26, 2008. ^ Chris Rodley (1997). Lynch on Lynch. Faber and Faber. p. 202. ISBN 9780571178339. ^ a b "Festival de Cannes: Wild at Heart". festival-cannes.com. Retrieved August 7, 2009. ^ a b c d Van Gelder, Lawrence (August 17, 1990). "At the Movies". The New York Times. Retrieved March 10, 2010. ^ Rowland, Mark (June 1990). "The Beasts Within". American Film. ^ a b Campbell, Virginia (1990). "Something Really Wild". Movieline. ^ a b Hoffman, Jan (August 21, 1990). "Wild Child". Village Voice. ^ a b c d e f g h i j Rodley, Chris (1997). "Lynch on Lynch". Faber and Faber. ^ a b c Klinghoffer, David (August 16, 1990). "Heart Set in Motion by Perfect Pair". Washington Times. ^ a b c d Salem, Rob (August 25, 1990). "The Art of Darkness". Toronto Star. ^ Rugoff, Ralph (September 1990). "Wild at Heart". Premiere. pp. 80–84. ^ a b c Burkett, Michael (August 15–21, 1990). "The Weird According to Lynch". New Times. pp. 39, 41. ^ a b McGregor, Alex (August 22–29, 1990). "Out to Lynch". Time Out. pp. 14–16. ^ Rohter, Larry (August 12, 1990). "David Lynch Pushes America to the Edge". The New York Times. Retrieved March 10, 2010. ^ a b "David Lynch Interview". CBC. 1990. ^ Caldwell, Thomas. "David Lynch". Senses of Cinema. Archived from the original on January 23, 2007. Retrieved January 26, 2007. ^ a b c d e Ansen, David (June 4, 1990). "David Lynch's New Peak". Newsweek. ^ Mathieson, Kenny (1990). "Wild at Heart". Empire. ^ "Wild at Heart". Box Office Mojo. Retrieved June 15, 2007. ^ Wild at Heart at Rotten Tomatoes ^ Wild at Heart at Metacritic ^ Ebert, Roger (August 17, 1990). "Wild at Heart". Chicago Sun-Times. Retrieved June 15, 2007. ^ Clark, Mike (August 17, 1990). "Wild, A Bad Joke from Lynch". USA Today. ^ Rosenbaum, Jonathan (Autumn 1990). "The Good, The Bad & The Ugly". Sight & Sound. ^ Combs, Richard (August 20, 1990). "Wild at Heart". Time. ^ Sharrett, Christopher (1990). "Wild at Heart". Cineaste. ^ Travers, Peter (September 6, 1990). "Wild at Heart". Rolling Stone. Retrieved June 15, 2007. ^ "The 50 Best Films of the '90s, From 'Pulp Fiction' to 'Groundhog Day'". IndieWire. July 14, 2017. Retrieved October 8, 2017. ^ "The 50 Best Movies of the '90s". Complex. June 22, 2013. Retrieved October 8, 2017. ^ "The 100 Greatest Movies of the Nineties". Rolling Stone. July 12, 2017. Retrieved October 8, 2017. ^ "Academy of Motion Picture Arts and Sciences". Academy of Motion Picture Arts and Sciences. Archived from the unique on April 15, 2013. Retrieved February 14, 2008. ^ "Hollywood Foreign Press Association". Hollywood Foreign Press Association. Retrieved February 14, 2008. ^ "Film Independent's Spirit Awards". Film Independent. Archived from the original on February 10, 2008. Retrieved February 14, 2008. ^ AFI's 100 Years...100 Laughs Nominees ^ AFI'S 100 Years...100 Passions Nominees

External links

Wikiquote has quotations related to: Wild at Heart (film)Wild at Heart at IMDb Wild at Heart at Box Office Mojo Wild at Heart at Rotten Tomatoes Wild at Heart at MetacriticvteDavid Lynch Early existence Filmography Discography Bibliography Accolades Frequent collaborators Unrealized projectsDirectorial worksFeature movies Eraserhead (1977) The Elephant Man (1980) Dune (1984) Blue Velvet (1986) Wild at Heart (1990) Twin Peaks: Fire Walk with Me (1992) Lost Highway (1997) The Straight Story (1999) Mulholland Drive (2001) Inland Empire (2006)Short movies Six Men Getting Sick (Six Times) (1967) The Alphabet (1968) The Grandmother (1970) The Amputee (1974) The Cowboy and the Frenchman (1988) Premonition Following An Evil Deed (1995) Darkened Room (2002) Rabbits (2002) DumbLand (2002) Bug Crawls (2007) Boat (2007) Absurda (2007) Lady Blue Shanghai (2010) Idem Paris (2013) What Did Jack Do? (2017)Music movies "Wicked Game" (1990) "Longing" (1995) "Shot in the Back of the Head" (2009) "Came Back Haunted" (2013)Television Twin Peaks (1990–1991) On the Air (1992) Hotel Room (1993) Twin Peaks (2017)Albums BlueBOB (2001) The Air Is on Fire (2007) Polish Night Music (2007) Crazy Clown Time (2011) The Big Dream (2013) Thought Gang (2018)Books Images (1994) Catching the Big Fish (2006) Genealogies of Pain (2011)Awards by film The Elephant Man Blue VelvetComparable Jennifer Lynch (daughter) "In Heaven" Ronnie Rocket The Angriest Dog in the World Frank Booth Industrial Symphony No. 1 (1990) Lynch on Lynch (1997) The Air Is on Fire (artwork exhibition) Twin Peaks: The Missing Pieces (2014) David Lynch: The Art Life (2016) Blue Velvet Revisited (2016) David Lynch Foundation vteCannes Film Festival Palme d'Or Union Pacific (1939) Torment (Hets) (1946) The Lost Weekend (1946) The Red Meadows (1946) Brief Encounter (1946) María Candelaria (1946) Neecha Nagar (1946) The Turning Point (1946) La Symphonie pastorale (1946) The Last Chance (1946) Men Without Wings (1946) Rome, Open City (1946) Ziegfeld Follies (1947) Antoine and Antoinette (1947) Dumbo (1947) Crossfire (1947) The Damned (1947) The Third Man (1949) Miss Julie (1951) Miracle in Milan (1951) The Tragedy of Othello: The Moor of Venice (1951) Two Cents Worth of Hope (1952) The Wages of Fear (1953) Gate of Hell (1954) Marty (1955) The Silent World (1956) Friendly Persuasion (1957) The Cranes Are Flying (1958) Black Orpheus (1959) La Dolce Vita (1960) The Long Absence (1961) Viridiana (1961) O Pagador de Promessas (1962) The Leopard (1963) The Umbrellas of Cherbourg (1964) The Knack ...and How to Get It (1965) A Man and a Woman (1966) The Birds, the Bees and the Italians (1966) Blowup (1967) if.... (1969) M*A*S*H (1970) The Go-Between (1971) The Working Class Goes to Heaven (1972) The Mattei Affair (1972) The Hireling (1973) Scarecrow (1973) The Conversation (1974) Chronicle of the Years of Fire (1975) Taxi Driver (1976) Padre Padrone (1977) The Tree of Wooden Clogs (1978) Apocalypse Now (1979) The Tin Drum (1979) All That Jazz (1980) Kagemusha (1980) Man of Iron (1981) Missing (1982) Yol (1982) The Ballad of Narayama (1983) Paris, Texas (1984) When Father Was Away on Business (1985) The Mission (1986) Under the Sun of Satan (1987) Pelle the Conqueror (1988) Sex, Lies, and Videotape (1989) Wild at Heart (1990) Barton Fink (1991) The Best Intentions (1992) Farewell My Concubine (1993) The Piano (1993) Pulp Fiction (1994) Underground (1995) Secrets & Lies (1996) Taste of Cherry (1997) The Eel (1997) Eternity and a Day (1998) Rosetta (1999) Dancer within the Dark (2000) The Son's Room (2001) The Pianist (2002) Elephant (2003) Fahrenheit 9/11 (2004) The Child (2005) The Wind That Shakes the Barley (2006) 4 Months, 3 Weeks and a couple of Days (2007) The Class (2008) The White Ribbon (2009) Uncle Boonmee Who Can Recall His Past Lives (2010) The Tree of Life (2011) Amour (2012) Blue Is the Warmest Colour (2013) Winter Sleep (2014) Dheepan (2015) I, Daniel Blake (2016) The Square (2017) Shoplifters (2018) Parasite (2019) Authority keep watch over GND: 4709943-4 VIAF: 182792441, 191534193, 6978154387188230970007 WorldCat Identities (via VIAF): 182792441 Retrieved from "https://en.wikipedia.org/w/index.php?title=Wild_at_Heart_(film)&oldid=1021475865"

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