Throughout a journey found through his own writings and the writings of other filmmakers, Eoghan has taken to the spirit of the surreal to find greater meaning from the real. He finds it far easier to articulate his thoughts on the visual medium than to discuss it in the pub, surrounded by intellectuals and casual film watchers.
From teenage obsessions with the visceral designs in A Clockwork Orange and Full Metal Jacket (Stanley Kubrick, 1975 and 1987) to the the subversive narration of nouvelles vague films such as Les Bonnes Femmes (Claude Chabrol, 1960) and Adieu Philippine (Jacques Rozier, 1962) Lyng has had a pervasive interest in the unknown and the esoteric. He boasted that Terry Gilliam’s Brazil (1985) was a masterpiece aged fourteen; it took a venture to University to corroborate this fact.
After graduating from University College Cork, Lyng travelled between Edinburgh, Bilbao, Barcelona, Madrid and Prague, taking a greater interest in cinemas European and avant garde, the modern storytelling capturing the stories and lives of characters pertaining to ourselves of great interest to him. Writing credits including The Prague Post, The Irish Post, We Are Cult, Taste of Cinema and The Playlist have served him well on this journey. Since then, familial Oscar winning Dramas (such as Tom Hooper The King’s Speech, from 2010, and James L. Br ook’s Terms of Endearment, 1983) strike him as maudlin and superficial.
Alongside, Lyng is an avid collector of film posters, his Life of Brian (Terry Jones, 1979) and The Crying Game (Neil Joran, 1992) posters sitting nicely beside one another in perfect synthetic posterity. Lyng is also a music fanatic, any film that successfully combines image and sound is onto an automatic winner on his watch (such as Franc Roddam’s Quadrophenia, 1979, and Martin Scorsese’s The Last Waltz, 1978). He is available for contact on Twitter @eoghanlyng or via email at email@example.com.