Film & TV

Creativity and the Writing Process

David Lynch

Lesson time 24:27 min

Writing is a way to remember ideas that come to life in your mind. Learn how to approach a blank page and find out why David thinks there is no formula for writing a good script.

David Lynch
Teaches Creativity and Film
David Lynch teaches his unconventional process for translating visionary ideas into film and other art forms.
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Connect with your creativity

An avant-garde figure in filmmaking, David Lynch introduced mainstream audiences to art-house films. Now the Oscar-nominated director of Mulholland Drive teaches his cross-disciplinary creative process. Learn how he catches ideas, translates them into a narrative, and moves beyond formulaic storytelling. Embrace the art life in David’s MasterClass and learn to test the boundaries of your own artistic expression in any medium.


Students give MasterClass an average rating of 4.7 out of 5 stars.

creativity, hook the idea, see it, feel it, make it, protect it, live it

Best online class I have ever done- actually best class full stop. I knew David Lynch was good but now I know he is a visionary and a beutiful person. Loved every minute.

Perfect class! This approach is exactly what is needed for staying engaged and retaining the guidance.

Not very long, but really intense lesson in spirituality, creativity and cinema, by one of the few geniuses of world cinema of our time. Truly transcendental from beginning to end.


Bogdan G.

This course skilfully complements the classic screenwriting course. In school, they teach you the structure and working process, and David goes much deeper, the hidden place where you can catch the ideas.

Cleofânia R.

I would like you to return the subtitle translations, as I don't speak fluent English.

A fellow student

Movie vs TV nowadays - TV seems to be “where it’s at”, but movies may have more bang per buck so-to-speak (time and $-wise) - any thoughts?

Bruce S.

Really enjoying this course. You can see his creative wheels turning with every word selection. His visualization of the scene, you can tell he sees it, so the audience can see it. The use of lighting to set the mood. He has a wealth of knowledge to share.

Graham C.

I like David's approach to the creative process. Screenwriting is often taught in a way that makes the process sterile and demotivating.

Debby V.

Very interesting lesson. It was interesting to know how they filmed the scene with the good witch and sailor. I always wondered how they got that beautiful flowing light.

Kasia P.

To me this has been the single most useful course on here so far. To really make use of my creativity has always been my problem, well, not when I was a kid because I was just making use of it without thinking. But university trained me to overthink everything, which I always had a tendency to do anyway. I'm now undoing all that damage education has caused me and training myself out of second guessing every fish I catch and the fishing process itself, ending up leaving the shore empty handed yet again. I'm so, so grateful for this course!

James M.

I feel the greatest lesson from this is to understand when you do have the negativity around you. When you release yourself from those negative distractions then you can be more connected to your mind.

Kittie S.

It seems to be the case that many authors begin with a cast of characters that are more or less complete (personality wise) and are then set in motion to resolve some conflict or scenario. I struggle with this since I usually come up with the conflict or scenario prior to the creation of the characters, but when I try to develop each personality, I'm constantly drawing blanks. The characters are lackluster and 2-dimensional and the story dies before it gets off the ground. I understand that practice and real world exposure to people is the only real way to surmount this, but I'm curious if anyone knows a successful author or writer that writes in this "backward" manner. Any tips or advice would be immensely appreciated.

Mia S.

"My friend who really was an inspiration in the early days said, 'An artist needs at least four hours of uninterrupted - guaranteed uninterrupted - time to get one good hour of painting done. This is so true - every interruption just is like a knife stab in the middle of thought and getting into it, and you've got to start again. You start again, it's horrible. These days, there's interruptions around every corner, almost every second. I've said that you have to be somewhat selfish - but selfishness, like beauty, is in the eye of the beholder. If you're with the right people, it cannot be seen so much as selfishness, it can be seen as, 'That's your work in life, and you need the time and the materials to do it.' But you have to protect that space and that time, or you won't get anything done."