David Lynch is responsible for some of the most visceral and disturbing films in history. But for decades, the director of Eraserhead, Blue Velvet, Mulholland Drive, and other classics has been creating works for a wholly different realm: advertising.
It may be surprising that Lynch, who is a stickler for having total control over his movies, would agree to make commercials under the watchful eyes of corporate bean counters—but he’s not exactly a stickler for doing the expected thing, either. Here are 15 of his commercials, for everything from perfumes to pastas to pregnancy tests.
1. Obsession By Calvin Klein (1988)
Lynch’s first commercials for Calvin Klein’s fragrance line became iconic and are imitated and satirized to this day. He made a series of four, and each one is a short interpretation of a quote: from F. Scott Fitzgerald, Ernest Hemingway, D.H. Lawrence, and Gustave Flaubert.
2-5. Georgia Coffee (1991)
These ads only appeared in Japan and directly rode the wave of Lynch’s wildly popular television series Twin Peaks by featuring established characters and visual cues. “I’m really against it in principle,” Lynch said about the commercials, “But they were so much fun to do, and they were only running in Japan and so it just felt OK.”
6. New York Department of Sanitation (1991)
“We Care About New York” is a Lynch-directed PSA that tries to bring attention to the city’s rat infestation problem.
7. Gio for Giorgio Armani (1992)
According to NY Mag, Armani picked Lynch for “his brooding tone, his surrealism and sleepy pace.” They also mentioned that “Armani’s other two candidates were busy.”
8. Opium for Yves Saint Laurent
9. Alka-Seltzer Plus (1993)
For someone as meticulous when it comes to sound design as Lynch, there was just no turning down the allure of plop plop, fizz fizz.
10. Barilla Pasta (1993)
Is this spot featuring Gérard Depardieu the most un-Lynchian thing ever made? You be the judge:
11. Adidas (1993)
The Guardianreported thatLynch earned “close to $1million” for this British advertisement.
12. Sun Moon Stars for Karl Lagerfeld (1994)
13. Clear Blue Pregnancy Test (1997)
Anyone who has seen Eraserhead knows what Lynch can do with a subject like pregnancy. According to Entertainment Weekly, Lynch made the actress actually take a pregnancy test for the commercial. If that wasn’t enough to get her into the mood, “Lynch switched her results with those of a pregnant crew member.”
14. Playstation 2 (2000)
15. Nissan (2002)
According to Lynch (via Carpages.co.uk), “I like the Micra, particularly the headlamps. They are like jewels. And I like the concept of ‘Do you speak Micra?’ I like modern and retro put together to make modtro—that’s a very good concept… I think it was Magritte who put lips in the sky. This is a bit of the feel of those big beautiful lips speaking in a supermodern and very graphic city.”
If you’ve never visited the Big Bone Room, you’re in luck. Check out our visit to New York City's American Museum of Natural History for a rundown on fossils, which provide invaluable insight into our understanding of history and its once-living occupants.
In this edition of "The List Show," editor-in-chief Erin McCarthy explains the ins and outs of excavation, fossil follies (extinct giants were a big miss), and the terrorizing prospect of a 3-foot-tall parrot.
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More than 50 years since its premiere on CBS on December 9, 1965, A Charlie Brown Christmas remains one of the most beloved holiday specials of all time. Like Charlie Brown himself, the flaws—scratchy voice recordings, rushed animation—have proven endearing. Take a look at some facts behind the show that killed aluminum trees, the struggles to animate Chuck’s round noggin, and why Willie Mays is the unsung hero of Peanuts.
1. Charles Schulz wasn't really interested in getting into animation.
Since the debut of Peanuts in 1955, Charles Schulz and United Press Syndicate (which distributed the comic strip) had gotten a steady stream of offers to adapt the characters for film and television; the artist was also directly petitioned by young readers, who would write Schulz asking when Snoopy would come to some kind of animated life. His stock reply: “There are some greater things in the world than TV animated cartoons.”
He relented for Ford Motors—he had only ever driven a Ford—and allowed Charlie Brown to appear in a series of commercials for the Ford Falcon in the early 1960s. The spots were animated by Bill Melendez, who earned Schulz’s favor by keeping the art simple and not using the exaggerated movements of the Disney films—Bambi, Dumbo—Melendez had worked on previously.
2. Willie Mays played a part in getting it made.
Schulz capitulated to a full-length special based on the professional reputations of his two collaborators. The cartoonist had seen and enjoyed executive producer Lee Mendelson’s documentary on baseball player Willie Mays, A Man Named Mays; when Mendelson proposed a similar project on Schulz and his strip, he agreed—but only if they enlisted Melendez of the Ford commercials. The finished documentary and its brief snippet of animation cemented Schulz's working relationship with the two and led Schulz to agree when Mendelson called him about a Christmas special.
3. CBS and Coca-Cola only gave them $76,000 to produce it.
When Coke executives got a look at the Schulz documentary and caught Charlie Brown on the April 1965 cover of Time, they inquired about the possibility of sponsoring an hour-long animated holiday special. Melendez felt the short lead time—only six months—made that impossible. Instead, he proposed a half-hour, but had no idea how much the show should be budgeted for; when he called colleague Bill Hanna (of Hanna-Barbera fame) for advice, Hanna refused to give out any trade secrets. Melendez wound up getting a paltry $76,000 to cover production costs. (It evened out: Schulz, Mendelson, and Melendez wound up earning roughly $5 million total for the special through 2000.)
4. A Charlie Brown Christmas was going to have a laugh track.
In the ‘60s, it was standard procedure to lay a laugh track over virtually any half-hour comedy, even if the performers were drawn in: The Flintstones was among the series that used a canned “studio audience” to help cue viewers for jokes. When Mendelson told Schulz he didn’t see the Peanuts special being any different, the artist got up and left the room for several minutes before coming in and continuing as if nothing had happened. Mendelson got the hint.
5. Snoopy's voice is just sped-up nonsense.
The early Peanuts specials made use of both untrained kids and professional actors: Peter Robbins (Charlie Brown) and Christopher Shea (Linus) were working child performers, while the rest of the cast consisted of "regular" kids coached by Melendez in the studio. When Schulz told Melendez that Snoopy couldn’t have any lines in the show—he’s a dog, and Schulz’s dogs didn’t talk—the animator decided to bark and chuff into a microphone himself, then speed up the recording to give it a more emotive quality.
6. Charles Schulz hated jazz.
The breezy instrumental score by composer Vince Guaraldi would go on to become synonymous with Peanuts animation—but it wasn’t up to Schulz. He left the music decisions to Mendelson, telling a reporter shortly after the special aired that he thought jazz was “awful.”
7. Charlie Brown's head was a nightmare to animate.
Because Melendez was unwilling to stray from Schulz’s distinctive character designs—which were never intended to be animated—he found himself in a contentious battle with Charlie Brown’s noggin. Its round shape made it difficult to depict Charlie turning around; as with most of the characters, his arms were too tiny to scratch his head. Snoopy, in contrast, was free of a ball-shaped cranium and became the show’s easiest figure to animate.
8. Charles Schulz was embarrassed by one scene.
Careful (or repeated) viewings of the special reveal a continuity error: in scenes where Charlie Brown is standing near his tree, the branches appear to grow from moment to moment. The goof annoyed Schulz, who blamed the mistake on two animators who didn’t know what the other was doing.
9. A Charlie Brown Christmas almost got scrapped by Coke.
Mendelson recently toldUSA Today that an executive from McCann-Erikson—the ad agency behind Coke—paid him an impromptu visit while he was midway through production. Without hearing the music or seeing the finished animation, the ad man thought it looked disastrous and cautioned that if he shared his thoughts with Coca-Cola, they’d pull the plug. Mendelson argued that the charm of Schulz’s characters would come through; the exec kept his opinion to himself.
10. CBS hated A Charlie Brown Christmas.
After toiling on the special for six months, Melendez and Mendelson screened it for CBS executives just three weeks before it was set to air. The mood in the room was less than enthusiastic: the network found it slow and lacking in energy, telling Melendez they weren’t interested in any more specials. To add insult, someone had misspelled Schulz in the credits, adding a “T” to his last name. (Schulz himself thought the whole project was a “disaster” due to the crude animation.)
11. Half the country watched A Charlie Brown Christmas.
Viewers weren’t nearly as cynical about Charlie Brown’s holiday woes as his corporate benefactors. Preempting a 7:30 p.m. EST episode of The Munsters, A Charlie Brown Christmas pulled a 50 share, meaning half of all households with a television turned on were watching it. (That amounted to roughly 15 million people, behind only Bonanza.) CBS finally acknowledged it was a winner, but not without one of the executives getting in one last dig and telling Mendelson that his “aunt in New Jersey didn’t like it.”
12. A Charlie Brown Christmas killed aluminum tree sales.
Aluminum Christmas trees were marketed beginning in 1958 and enjoyed fairly strong sales by eliminating pesky needles and tree sap. But the annual airings of A Charlie Brown Christmasswayed public thinking: In the special, Charlie Brown refuses to get a fake tree. Viewers began to do the same, and the product was virtually phased out by 1969. The leftovers are now collector’s items.
13. There's a live-action play version of A Charlie Brown Christmas.
Up until 2013, anyone staging a live-action rendition of A Charlie Brown Christmas for their local school or theater had one thing in common: they were copyright infringers. The official rights to the story and characters weren’t offered until recently. Tams-Witmark fields licensing requests for the play, which includes permission to perform original songs and advertise with the Peanuts characters—Snoopy costume not included.
14. In 2015, the voice of Charlie Brown was arrested.
Peter Robbins continued voicing Charlie Brown until he turned 13 years old, at which point puberty prohibited him from continuing. In November 2015, the 59-year-old Robbins pleaded guilty to making criminal threats against a mobile home park manager and a sheriff. According to CBS News, the troubled former actor claimed that schizophrenia and bipolar disorder led him to make the threats. He was sentenced to four years and eight months in prison.