Dune (film)

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Dune
Promotional film poster for Dune
Directed by	David Lynch
Produced by	Dino De Laurentiis
Written by	Frank Herbert (novel) David Lynch
Starring	Kyle MacLachlan Francesca Annis
Music by	Toto
Cinematography	Freddie Francis
Editing by	Antony Gibbs
Distributed by	Universal Pictures
Release date(s)	December 14, 1984 (premiere)
Running time	137 min. (180 min. extended version)
Country	United States
Language	English
Budget	$45,000,000 (estimated)
Allmovie profile
IMDb profile

This article is about the 1984 film. See Frank Herbert's Dune for the 2000 adaptation.

Dune is a 1984 science fiction film written and directed by David Lynch, based on the 1965 Frank Herbert novel of the same name. The film stars Kyle MacLachlan as Paul Atreides, and includes an ensemble of well-known American and European actors in supporting roles, including Sting, Jose Ferrer, Virginia Madsen, Linda Hunt, Patrick Stewart, Max von Sydow, and Jürgen Prochnow, among others. It was filmed at the Churubusco Studios in Mexico City and included a soundtrack by the band Toto. As in the novel, the central plot concerns a young man foretold in prophecy as the "Kwisatz Haderach" who will protect the titular desert planet from the malevolent House Harkonnen and save the universe from evil.

After the success of the novel, attempts to adapt Dune for a film began as early as 1971. A lengthy process of what is known in the film industry as development hell followed throughout the 1970s, during which directors such as David Lean, Alejandro Jodorowsky, and Ridley Scott were considered. In 1981, David Lynch was hired as director by executive producer Dino De Laurentiis.

The film was not well received by critics and performed poorly at the American box office at the time. Upon its release, director David Lynch distanced himself from the project, stating that pressure from both producers and financiers restrained his artistic control and denied him final cut.

Fans of the Dune series are polarized by the movie, although in the years since its release, the film has become a cult favorite, and at least three different versions have been released worldwide. In some cuts of the film Lynch's name is replaced in the credits with the name of a fictional director Alan Smithee, a pseudonym used by directors who wish not to be associated with a film for which they would normally be credited.

Contents 1 Plot 2 Cast 3 Production 4 Release 4.1 Reception 5 Departures from the novel 6 Versions 6.1 Theatrical cut 6.2 Alan Smithee version 6.3 Channel 2 version 6.4 Extended Edition 6.5 Workprint version 7 Influence on popular culture 8 See also 9 References 10 External links

[edit] Plot

Note: The following synopsis refers to the "Theatrical cut" version of the film, which features departures from the original novel.

In the year 10,191 A.G. (After Guild) (23,190 AD), the known universe, a sprawling feudal galactic empire, is ruled by the Padishah Emperor Shaddam Corrino IV. In this time the most precious substance in the universe is the spice melange, which extends life, expands consciousness and is vital to space travel. The powerful Spacing Guild and its Navigators use the orange spice gas to achieve a sense called prescience by which they safely guide the interstellar ships to any part of the universe using the quantum mechanics of Holtzman generators, an extremely complicated machine which "folds space" (in effect, the ship is moved instantaneously across vast distances).

Four planets draw the attention of the Spacing Guild: Arrakis, a desert planet and only source of spice in the universe; Caladan, home of House Atreides; Giedi Prime, home of House Harkonnen; and Kaitain, Home of the Emperor Shaddam IV. The Guild, fearing a plot that might jeopardize Spice production, sends a third stage Navigator to Kaitain demanding explanations from the Emperor, who confidentially lets the Guild know of his plans to destroy House Atreides. The popularity of Duke Leto Atreides has grown within the Landsraad, and as Leto is suspected to be creating a secret army with a technique involving sound, he is now a threat to the Emperor. Shaddam's plan is to give the Atreides control of Arrakis, replacing the Harkonnens, who at an appointed time would launch a sneak attack on the Atreides. Upon being informed of the plot, the Navigator commands the Emperor to kill the Duke's son, Paul Atreides, a young man who dreams prophetic visions of his purpose. The cryptic assassination order draws the attention of the Bene Gesserit sisterhood, as Paul Atreides is tied to their centuries long breeding program in search of the Kwisatz Haderach.

Before departure, Paul is tested by Reverend Mother Gaius Helen Mohiam with a deadly gom jabbar at his throat. Paul is forced to place his hand in a box, which subjects him to excruciating and increasing pain; he passes to Mohiam's satisfaction, withstanding more pain than anyone has before him. Meanwhile, in the industrial world of Giedi Prime, the sadistic Baron Vladimir Harkonnen tells his nephews Glossu Rabban and Feyd-Rautha about his plan to eliminate their centuries long enemies, House Atreides, by manipulating someone very close to the Duke into betraying him.

The Atreides leave Caladan for Arrakis, a mysterious world of vast deserts, filled with gigantic sandworms and populated by the Fremen, mysterious people who have long held a prophecy that a messiah would come to lead them to true freedom. Upon arrival to Arrakis, Duke Leto is informed by one of his right-hand men, Duncan Idaho, that the Fremen have been largely underestimated, as they exist in vast numbers in Arrakis and could prove to be powerful allies. Duke Leto gains the trust of the people of Arrakis, proving to be a charismatic and just leader. But before the Duke can establish an alliance with the Fremen, the Harkonnen launch their attack more quickly than the Atreides expect.

While the Atreides anticipated a trap, they are unable to withstand a devastating Harkonnen sneak attack, supported by the Emperor's elite troops, the Sardaukar, and aided by a traitor within House Atreides itself, Doctor Wellington Yueh. Captured, Duke Leto dies in a failed attempt to assassinate the Baron Vladimir Harkonnen using a poison gas capsule planted in his tooth by Dr. Yueh, but his concubine Jessica and his son Paul escape into the deep desert. With Jessica's Bene Gesserit abilities and Paul's developing skills, they manage to join a band of native Fremen. Paul emerges as Muad'Dib, the religious and political leader the Fremen have been waiting for. Paul teaches the Fremen to use the weirding modules and begins targeting mining production of spice. In the span of two years, spice production is effectively halted. The Emperor is warned by the Spacing Guild of the situation on Arrakis, as the Guild fears that Paul would eventually take the Water of Life. The fears of the Spacing Guild are revealed to Paul in a prophetic dream. Paul drinks the Water of Life and enters a coma that disturbs all Bene Gesserits in the universe. The water of life prompts several visions to Paul, and upon awaking Paul is transformed and gains control of the sandworms of Arrakis.

Upon the Emperor's arrival at Arrakis, Paul launches a final attack against both the Harkonnen and the Emperor. His Fremen warriors, armed with weirding modules and riding sandworms, defeat the Emperor's legions of Sardaukar while Paul's sister Alia kills the Baron Harkonnen, who floats through a wall breach to be eaten by a sandworm. Paul faces the defeated Emperor, and avenges his family in a duel to the death with Feyd-Rautha Harkonnen. After making Feyd's organs burst by screaming at his corpse without a weirding module, Paul commands rain to fall on Arrakis. Alia reveals to everyone that Paul is the Kwisatz Haderach.

[edit] Cast

In credited order:

• Francesca Annis as Lady Jessica
• Leonardo Cimino as The Baron's Doctor
• Brad Dourif as Piter De Vries
• José Ferrer as Padishah Emperor Shaddam IV
• Linda Hunt as the Shadout Mapes
• Freddie Jones as Thufir Hawat
• Richard Jordan as Duncan Idaho
• Kyle MacLachlan as Paul Atreides
• Virginia Madsen as Princess Irulan
• Silvana Mangano as Reverend Mother Ramallo
• Everett McGill as Stilgar
• Kenneth McMillan as Baron Vladimir Harkonnen

• Jack Nance as Captain Iakin Nefud
• Siân Phillips as Reverend Mother Gaius Helen Mohiam
• Angélica Aragón as Bene Gesserit Sister
• Jürgen Prochnow as Duke Leto Atreides
• Paul L. Smith as The Beast Rabban (credited as Paul Smith)
• Patrick Stewart as Gurney Halleck
• Sting as Feyd-Rautha.
• Dean Stockwell as Dr. Wellington Yueh
• Max von Sydow as Dr. Kynes
• Alicia Witt as Alia (credited as Alicia Roanne Witt)
• Sean Young as Chani
• Honorato Magaloni as Otheym (credited as Honorato Magalone)
• Judd Omen as Jamis
• Molly Wryn as Harah, Jamis's wife

[edit] Production

Shot almost entirely in Mexico, the movie is an adaptation of the first part of a series of novels (see Dune, by Frank Herbert) and containing elements from the later parts.

The pre-production process was slow and problematic, and the project was handed from director to director.^[1] In 1971 the production company Apjac International (APJ) (headed by Arthur P. Jacobs) optioned the rights to film Dune. As Jacobs was busy with other projects (such as the sequel of Planet of the Apes) the project was delayed for another year. Originally, it was to be directed by David Lean (with Robert Bolt writing the screenplay) and scheduled to begin shooting in 1974. In 1973, Arthur P. Jacobs died.

In December 1974, a French consortium led by Jean-Paul Gibon purchased the rights to the movie from APJ. The director this time would be Alejandro Jodorowsky.

In 1975, Jodorowsky tried to film the story as a ten hour feature, in collaboration with Orson Welles, Dan O'Bannon, Salvador Dalí, Gloria Swanson, Hervé Villechaize and others (nicknamed by him as "his seven samurais"). The music would have been done by Pink Floyd. Jodorowsky set up a pre-production unit in Paris that consisted of Chris Foss, a British artist who designed covers for science fiction periodicals, Jean Giraud (Moebius), a French illustrator who created and also wrote and drew for Metal Hurlant magazine, and H. R. Giger. Moebius began designing creatures and characters for the film, while Foss was brought in to design the film's space ships and hardware. Giger started designing the Harkonnen Castle based on Moebius' storyboards and Dali was to play the role of the Emperor for a reported $100,000 an hour. Jodorowsky also hired Dan O'Bannon to head the special effects department. Dali and Jodorowsky began quarreling over money and just as the storyboards, designs, and the script were finished, the financial backing dried up. Frank Herbert travelled to Europe in 1976 to find that two million dollars of the 9.5 million budget were already spent in pre-production and that the Jodorowsky's script would result in a 14-hour movie ("It was the size of a phonebook" Herbert recalled). Although Jodorowsky took several creative liberties with his novel, Herbert stated that he and Jodorowsky had an amicable relationship.

The rights for filming were yet again sold, this time to Dino de Laurentiis. Although embittered, Jodorowsky states that the Dune project changed his life. Dan O'Bannon entered a psychiatric hospital after the failure of the production and worked on 13 scripts afterwards; his 13th script was Alien.^[2]

De Laurentiis commissioned Herbert to write the screenplay in 1978. However, considering that an average script is 110 pages long, Herbert's 175-page script was rejected.

With De Laurentiis holding the rights for filming, he hired director Ridley Scott in 1979 (with Rudolph Wurlitzer writing the screenplay and H.R. Giger back from the Jodorowsky production). Scott worked on three scripts using The Battle of Algiers as a point of reference and intended to split the book into two movies before moving on to direct another science fiction film, 1982's Blade Runner. As he recalls, the pre-production process was slow and to get the project done would have taken more time:

But after seven months I dropped out of Dune, by then Rudy Wurlitzer had come up with a first-draft script which I felt was a decent distillation of Frank Herbert's. But I also realised Dune was going to take a lot more work — at least two and a half years' worth. And I didn't have the heart to attack that because my older brother Frank unexpectedly died of cancer while I was prepping the De Laurentiis picture. Frankly, that freaked me out. So I went to Dino and told him the Dune script was his. — From Ridley Scott: The Making of his Movies by Paul M. Sammon

By 1981, the nine-year deal was expiring. De Laurentiis re-negotiated the rights again and settled the rights for Dune sequels (written and unwritten). Raffaella De Laurentiis, after seeing The Elephant Man, decided that David Lynch should direct the movie. Around that time Lynch was receiving several other offers, including Return of the Jedi, and agreed to direct and write Dune.

David Lynch worked on the script for six months with Eric Bergen and Christopher De Vore, eventually adapting the movie into two scripts. The team split up after this first attempt because of creative differences. Lynch would continue to work on five more different scripts. Shooting of Dune finally started with the 135-page 6th draft of the script on March 30, 1983. With a budget of over 40 million dollars, Dune required 80 sets built upon 16 sound stages and a total crew of 1700, with many of the exterior shots filmed in the Samalayuca Dunes in Chihuahua. The rough cut of Dune under completion was over four hours in duration without post production effects, but Lynch's intended cut of the movie as reflected in the seventh and last draft of the script was three hours long.

However, Universal Pictures and the film financiers expected a standard two-hour cut of the film. To shorten the film, producers Dino De Laurentiis, Raffaella De Laurentiis and director David Lynch removed numerous scenes, filmed new scenes that comprised simplified or concentrated elements of the plot, and added voice over narrations, including a new introduction by Virginia Madsen, into the final cut. Contrary to popular rumors, Lynch made no other version of the movie outside the Theatrical Cut; no longer, three to six hour version ever existed in its complete form.^[3]

In the Introduction for his 1985 short story collection Eye, Frank Herbert discussed the film's reception and his participation in the production, and listed scenes that were shot but cut from the released version.^[4] Herbert stated he was satisfied with the end result of the movie, but expressed disappointment that some of the scenes he saw on the rough cuts of Dune were not included in the Theatrical Cut.^[5]

[edit] Release

Dune's premiere was on December 3, 1984 at The Kennedy Center in Washington, D.C. and was released worldwide on December 14. Publicity for Dune was extensive before its release, not only because it was based on a best-selling novel but because it was directed by David Lynch, who had success with Eraserhead and The Elephant Man. Several magazines followed the production, and published articles praising the film before its release,^[6] all part of the advertising and merchandising of Dune, which also included a documentary for television as well as items placed in toy stores.^[7]

[edit] Reception

In his review, critic Roger Ebert gave Dune one star out of four and wrote "This movie is a real mess, an incomprehensible, ugly, unstructured, pointless excursion into the murkier realms of one of the most confusing screenplays of all time." ^[8] Ebert added that "The movie's plot will no doubt mean more to people who've read Herbert than to those who are walking in cold," and later named it "the worst movie of the year."^[9] On At The Movies with Gene Siskel and Ebert, Siskel began his review by saying "it's physically ugly, it contains at least a dozen gory gross-out scenes, some of its special effects are cheap — surprisingly cheap because this film cost a reported 40 to 45 million dollars — and its story is confusing beyond belief. In case I haven't made myself clear, I hated watching this film."^[10] The film was later listed as the worst film of 1984 in their "Stinkers of 1984" episode.^[11] Other negative reviews focused on the same issues as well as on the length of the film.^[12]

Janet Maslin of The New York Times also gave Dune a negative review of one star out of five. She said that, "Several of the characters in Dune are psychic, which puts them in the unique position of being able to understand what goes on in the movie" and explained that the plot was "perilously overloaded, as is virtually everything else about it."

The staff of Variety gave Dune a more favorable, but still negative review stating "Dune is a huge, hollow, imaginative and cold sci-fi epic. Visually unique and teeming with incident, David Lynch's film holds the interest due to its abundant surface attractions but won't, of its own accord, create the sort of fanaticism which has made Frank Herbert's 1965 novel one of the all-time favorites in its genre." They also commented on how "Lynch's adaptation covers the entire span of the novel, but simply setting up the various worlds, characters, intrigues and forces at work requires more than a half-hour of expository screen time." They did enjoy the cast and said that "Francesca Annis and Jurgen Prochnow make an outstandingly attractive royal couple, Siân Phillips has some mesmerizing moments as a powerful witch, Brad Dourif is effectively loony, and best of all is Kenneth McMillan, whose face is covered with grotesque growths and who floats around like the Blue Meanie come to life."

Richard Corliss of Time magazine gave Dune a negative review, stating that "Most sci-fi movies offer escape, a holiday from homework, but Dune is as difficult as a final exam. You have to cram for it." He noted that "MacLachlan, 25, grows impressively in the role; his features, soft and spoiled at the beginning, take on a he-manly glamour once he assumes his mission." He ended by saying "The actors seem hypnotized by the spell Lynch has woven around them — especially the lustrous Francesca Annis, as Paul's mother, who whispers her lines with the urgency of erotic revelation. In those moments when Annis is onscreen, Dune finds the emotional center that has eluded it in its parade of rococo decor and austere special effects. She reminds us of what movies can achieve when they have a heart as well as a mind."

While most critics were negative towards Dune, critic and science fiction writer Harlan Ellison was of a different opinion at the time. In his 1989 book of film criticism Harlan Ellison's Watching, he says that the $42 million production failed because critics were denied screenings at the last minute after several re-schedules, a decision by Universal that, according to Ellison, made the film community feel nervous and negative towards Dune before its release.^[13] Ellison eventually became one of the film's few positive reviewers.

More even-handed criticism praised Lynch's noir-baroque approach to the film. Others compare it to other Lynch films that are equally hard to access, such as Eraserhead, and assert that in order to watch it, the viewer must first be aware of the Dune universe. In the years since its initial release Dune has become a cult favorite, and has gained more positive reviews from online critics^[14] and viewers.^[15]

As a result of its commercial and critical failure, all initial plans of Dune's sequels were cancelled. It was reported that David Lynch was working on the screenplay for Dune Messiah ^[16] and was hired to direct a second and a third Dune film.

In retrospect, "Lynch admitted he should never have directed Dune," ^[17] and prefers not to discuss it in interviews. Universal has approached him for a possible Director's Cut of the film, but Lynch has rejected every offer.

I started selling out on Dune. Looking back, it's no one's fault but my own. I probably shouldn't have done that picture, but I saw tons and tons of possibilities for things I loved, and this was the structure to do them in. There was so much room to create a world. But I got strong indications from Raffaella and Dino De Laurentiis of what kind of film they expected, and I knew I didn't have final cut. — David Lynch, on Dune^[18]

[edit] Departures from the novel

The film makes numerous departures from the novel, most notably in the case of the Weirding Way, which in the novel is a super-martial art form that allows Paul Atreides to move with lightning speed. In the film it is replaced with "Weirding Modules," sonic weapons that resemble small video cameras and amplify the user's voice into a destructive force. Since the time of release, this has been controversial among Dune fans.^[19][20] Reportedly, the original technique was left out because it was thought that a pitched combat of Fremen fighting Sardaukar while using the book's Weirding Way would resemble an unsophisticated kung-fu film; additionally, the Weirding Modules provided an opportunity for the use of special effects. This change literalized a moment in the novel in which Paul says his name had become a death-prayer, as the Fremen shout "Muad'dib!" before killing an opponent. In the film, a Fremen training with the weirding module says "Muad'dib" and accidentally destroys a ceiling, leading Paul to make the remark "my name is a killing word."

The film grants the Bene Gesserit telepathy, while the novel notes their keen, nearly superhuman awareness. In a scene in which Spacing Guild members are responsible for covering up the Guild Navigator's activities, they cannot speak normally, but instead use a translating device, which has the appearance of a vintage radio microphone. Hawat is forced to milk a gruesome captive cat daily for the antidote to the residual poison in his body. The Harkonnens drink the juices of crushed insects; they also have heart-plugs, sadistic devices that terminate slaves by "unplugging" their hearts.

There are several distinctive visual and aesthetic choices made in the film that do not seem directly inspired by Herbert's novel. In the film, the Bene Gesserit women adopt shaven heads when they become Reverend Mothers and the Mentats have enormous eyebrows. The 'thopters (ornithopters) are depicted as wingless, jet- or rocket-propelled aircraft, while the color of the Arrakeen sky is changed from silver to orange.

Perhaps most conspicuously, both Paul and Feyd-Rautha are older in the film than in the novel. There is no mention in the film of the reasons for their mutual hatred, which are explained in detail in the novel. Furthermore, their climactic duel is reduced in both significance and length in the film.

Several characters are entirely excluded from the film adaptation, presumably as a result of time limitations, such as Count Fenring, his Bene Gesserit wife Margot, and several other minor characters. The deaths of characters such as Thufir Hawat, Baron Harkonnen, and Rabban were altered or omitted altogether.

The final line in the novel, spoken by Jessica to Chani, is "We who carry the name of concubine - history will call us wives" (in reference to Paul's marriage to and refusal of Irulan). In the film, the final lines (spoken by Alia) are "And how can this be? For he is the Kwisatz Haderach!", and are delivered after rain falls on Arrakis.

Some of the novel's central themes were minimized for the adaptation; political topics such as the "unstable tripod of power" in the novel's universe (Emperor, Landsraad, and Guild) were not depicted faithfully.^[21] The Guild treat the Emperor like a lackey rather than an equal power, while the Landsraad is almost non-existent. The book has the Guild operating behind the scenes, and their dependence on spice is only revealed at the end. It is not said that they were involved in the original plot against Duke Leto Atreides.

The Emperor's main concern in the book is that the Fremen are potentially as dangerous as his Sardaukar, the toughness of each group being reckoned to come from the harshness of their environment. He is less concerned with spice, reckoning he will get his share whoever controls it.

The ecological themes were not addressed as they were through the series: the film ends with rain falling on Arrakis, apparently at Paul's command. In the novel, this was accomplished decades later, through great efforts by the Fremen and years of terraforming. Additionally, a plot complication is created because rain falling on Arrakis would effectively stop spice production, as in the novel, water is the only thing that poisons worms.^[22]

[edit] Versions

DVD cover for Dune

2006 Extended Edition DVD cover

Despite initial failure, the movie has achieved a respectable cult status of which at least three other versions outside the original theatrical cut have been released. In grand total, five versions of Dune are known.

[edit] Theatrical cut

Released worldwide in 1984, it was edited by 37 seconds in the UK to pass PG rating, at a total running time of 137 minutes. Though this 137-minute version was not David Lynch's intended cut, it is the only director-approved version and the only official version he ever made of the film for release. It is widely available on both VHS and DVD. In 2006 it was remastered for a special DVD release, and as of late 2006 has been released on HD-DVD with many of the special features seen on other disks.

[edit] Alan Smithee version

The less-seen 189-minute "Alan Smithee" version is a favorite on its own, released in 1989. Prepared originally for syndicated television (and later seen on basic cable television networks) for a two-night broadcast, it was prepared without either participation or authorization by David Lynch. The missing footage includes a painted montage at the prologue, and several scenes reinserted, including the "little-maker" essence-of-spice scene. The television version was edited in a seemingly haphazard way (for example, certain shots were repeated throughout the film to create the impression that new footage had been added). Lynch objected to these edits and had his name removed from the credits of this print (which were replaced by Alan Smithee and Judas Booth). This version was initially only released on laserdisc in Japan, but has also been found as a poorly recorded VHS on the bootleg market.^[23] It is now available worldwide on DVD.

[edit] Channel 2 version

In 1992, KTVU, a San Francisco, CA Fox affiliate, pieced together a hybrid edit of the two previous versions for broadcast in the San Francisco Bay Area. It is essentially the television version with all the violence of the theatrical version reincorporated into the film, along with many of the "fabricated" shots objected to by Lynch removed.

An Extended Edition DVD version was released in Europe in November 2005. It includes, among its many extra features, an extended version of the film, credited to Alan Smithee, which is 177 minutes long. The booklet explains that this version was created for an American television channel, and is most likely the aforementioned Channel 2 Version. Neither the video nor the audio was remastered, exhibiting a poor television-like quality. Although the cover states that the soundtrack is in mono sound, it is, in fact, in stereo.^{[citation needed]}

[edit] Extended Edition

An Extended Edition was released by Universal Home Entertainment in the US on DVD on January 31, 2006. The DVD contains both Lynch's 137-minute theatrical cut and a 177-minute edit of the Alan Smithee television version (the latter being presented for the first time in its original anamorphic aspect ratio). It also features a documentary on the production design and special effects, as well as a supplementary section of outtakes and scenes not included in any previous version of the film, including an alternate ending.

[edit] Workprint version

An assembly of all footage after the completion of principal photography was shown to the crew in Mexico, as well as to Frank Herbert. Contrary to popular fan rumors, it was by no means the Director's Cut of the film. This workprint version is the basis of such rumors, but there was never a four-hour cut of the movie in its complete form. In the fan edit online communities, attempts have been made to re-assemble a "Workprint" of the film closer to David Lynch's intent and the original novel by using the deleted scenes and fixing any technical errors from the Smithee version.^[24]

[edit] Influence on popular culture

The film inspired the Cryo Interactive video game Dune, which used elements (such as the Weirding Modules) unique to the film. The character of Paul Atreides was designed to look like Kyle MacLachlan, and the CD version of the game included footage of the film. The Westwood Studios Dune games (Dune II, Dune 2000 and Emperor: Battle for Dune) were also visually influenced by the film. For example, the Emperor in Dune 2000 and the Reverend Mother in Emperor: Battle for Dune resemble the equivalent characters in Lynch's film.

Dialogue and music from the film has been sampled in various songs. On their album Machine Language, the techno-music DJ group Dynamix II's song "Get Out of My Mind" samples the Mohiam/Alia scene which features the titular line. Virginia Madsen's opening monologue is also featured in several songs by artists including Aphrodite, Astral Projection, and MFG. The Christian industrial/dance band Mortal samples from the film in their 1993 album Fathom, including Baron Harkonnen's line "I'm alive!" featured in the song "Alive and Awake."

Dune is the likely inspiration for the lyrics "Walk without rhythm, it won't attract the worm" in the song "Star 69 / Weapon of Choice" by Fatboy Slim. In the novel, Paul notes "We must walk without rhythm" to avoid notice by a sandworm as he and Jessica cross the desert; Lynch's Dune (1984) features Paul's line "If we walk without rhythm, we won't attract the worm" 82 minutes into the film.^[25]

[edit] See also

• Dune (movie soundtrack), the soundtrack to Dune, composed by Toto
• List of films recut by studio
• Frank Herbert's Dune, TV miniseries (2000)

[edit] References

[edit] External links

• Dune at the Internet Movie Database
• Dune at Allmovie
• Dune at Rotten Tomatoes
• Dune at Box Office Mojo

v • d • e The extended Dune series of fictional works by Frank Herbert Dune  • Dune Messiah  • Children of Dune  • God Emperor of Dune  • Heretics of Dune  • Chapterhouse Dune by Brian Herbert and Kevin J. Anderson Prelude to Dune Dune: House Atreides  • Dune: House Harkonnen  • Dune: House Corrino Legends of Dune Dune: The Butlerian Jihad  • Dune: The Machine Crusade  • Dune: The Battle of Corrin Dune sequels Hunters of Dune  • Sandworms of Dune Heroes of Dune Paul of Dune  • Jessica of Dune  • Irulan of Dune  • Leto of Dune Other Film adaptations Dune (1984) (soundtrack)  • Frank Herbert's Dune (2000)  • Frank Herbert's Children of Dune Games Board game  • Card game  • Video games  • Dune: Spice Opera (game soundtrack)  • Other games Companion books The Dune Encyclopedia  • The Road to Dune

v • d • e The works of David Lynch Feature films 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 Dr. (2001) • Inland Empire (2006) Short films The Short Films of David Lynch • Lumière et compagnie (segment "Premonition Following An Evil Deed") (1995) • Darkened Room (2002) • Boat (2007) Absurda (2007) Television Twin Peaks • American Chronicles • On the Air • Hotel Room Other work Industrial Symphony No. 1 • Catching the Big Fish • Rabbits • Images •Dumbland • The Angriest Dog in the World • Frequent David Lynch collaborators • BlueBob • The Air Is on Fire • Lynch on Lynch