[wind howling]
♪ Eerie music A'
III
S atmospheric music S'
III
[Kyle] We knew that it was something unusual
for David Lynch to do something for television,
which is I think why everyone joined in, because it was...
We knew it was gonna be something special.
We just didn't know in what form or how.
III
Predicated on the fact that it had been 25 years,
and it was indeed approaching 25 years,
and so suddenly it was a little more
in the world, somehow, or spoken about.
People were-people had no! let it die, you know?
So that initiated some kind of a,
"Well, what if?
How would that look?"
III
[water roaring]
[wind howling]
I electric guitar strums ♪
III
[indistinct chatter]
III
[man] Reset.
Action!
III
Miriam.
[Sarah Jean] Go away, Richard!
[Eamon] Hey. Hey, I just want to talk to you.
[Sarah Jean] I already told the police it was you who ran over the little boy.
- You already told the police? - [Sarah Jean] Yes!
[Sarah Jean screams]
[glass shatters]
- [Eamon] Come here! - [Sarah Jean screaming]
[Eamon] Come here! Come here! Shut up!
Cut it.
- [man] And cut. - [man] That's a cut.
[man] Good.
[Kyle] David Lynch and Mark Frost cooked up the idea
for what the return to Twin Peaks could be, you know,
and so together they worked on this for a while
before they really felt they were ready
to bring it into the light.
In a way, I! was like, um, a river, you know?
There just-there was no way to stop it.
Once the guys got their teeth into the story, Mark and David,
it's just inevitable.
It's so powerful and still is responded to.
People love it.
So we were gonna go forward regardless, it felt like to me.
[plane engine roaring]
[Sabrina] There's crew people that maybe didn't work on Twin Peaks
but have also worked with David throughout the years,
like, a lot from Lost Highway, which was about '95,
so still were working together throughout the years.
It was imperative to get these people,
because everybody is just so wonderful.
Everybody loves each other.
We work realty we“ together.
R's a good vibe.
And it's just really-it's kind of surreal to be back.
The actors too, but the crew people, you know, just-
we all work really well together, and ifs really fun.
I love working with him.
It's, uh, excitement. It's a challenge.
Uh, he's just so very creative and, uh, just a pleasure to work with
because he knows what he wants.
And he knows exactly what he wants from day one,
and that's what he wants, and you have to get that.
- [woman] Yeah. - [man] Ready to go.
- Keep this fresh. - [woman] Okay.
- Yep. - Just before...
- Quick spritz. Yes, sir. - Yeah. Great.
Beautiful. You're lookin' so sweet.
- [Sarah Jean] Good. [giggles] - [Lynch chuckles]
[Mark] I've had a chance now to talk about this experience
with mos! of the returning cast and obviously with David,
and there's nothing to compare ft to.
I mean, you can only compare it to the first time around.
And the fact that we're all 25 years older,
we've all gone on and had our own separate fives,
and this has brought us all back together again
is simultaneously poignant and funny and exciting,
and, uh, there's a teak sense of mission about it
ihai K think everybody shaves.
[moaning]
♪ Tense music A'
[Lynch] Cut.
III
[Harry] Handed. I went straight to the set.
And, of course, I had a ponytail.
And everyoneis like, "Well, can we cut that?"
You know, kind of a silly question.
"Well, I guess we're gonna cut that. Andy's not gonna wear it. "
Uh, I went straight into wardrobe, got fitted very easy.
Got those measurements, walked straight over to David,
and we chatted.
Pm sure we were excited. We were excited.
But it was just like seeing an old friend but only, like, seeing an old friend
from, like, a week ago.
It didn't seem momentous.
It just-there was a continuum for me anyway.
[indistinct chatter]
[Michael] Inever thought this would come back.
I though! it was a- it died early like James Dean.
You know, that was par! of the magic of it, you know.
I-I'm so amazed.
I live in the Bay Area, and there's a lot of young kids really Eike this show.
And we?! be going to the movies or something in Berkeley,
and my wife goes, "You know, those kids are following you."
And they go, "Are you the Hawk?" "Yeah."
And they just go crazy. My wife thinks it's so funny.
But, uh, there's nobody like David.
He's unique, you know? It's...
Being part of his artistic vision is a true joy.
[indistinct chatter]
David, I'm sorry I said anything disparaging about the space monster.
It's just the creepiest creature I've ever seen.
I got money, but I want more.
You always want me to leave town, right?
So help me out, and I'll get out of here.
[Jan] Don't! I mean it.
[indistinct chatter]
[man] We're rolling. We're rolling.
Action!
You always said you wanted me to leave town, right?
So help me out, and I'll get out of here.
Don't come any closer, Richard.
- [Eamon] Money, Grandma. - [Jan] I mean it! No!
Oh, Johnny! Johnny!
[Eamon] I will squeeze the shit out of you, bitch!
And I'll cornhole that piece of shit!
Now give me some fucking money!
- In my purse! - Not your fuckin' purse, bitch!
The safe!
The combination! The combination!
[Harry] I knew nothing about Eamon Faman,
and the day I armed, um,
I was brought onto the set to speak with David about a couple things,
and it was in between takes of a scene he was doing,
and I couldn't see the scene, but I could hear it,
and I remember people were just
looking at each other like, "Whoa."
It was, uh, very powerful, very loud, very vocal.
And then I kept maneuvering over so I could see him,
and here was this beautiful young kid completely lost in the moment.
Cut it. Good one, you guys.
That's good.
I jazzy atmospheric music ♪
III
[Harry] The trees. The trees are conducive
and the location for the beginning of a dream,
but as I was thinking about it, I just realized,
it's not the beginning of a dream.
It's the beginning of a life of many dreams,
many, many dreams, that location,
the trees enveloping and taking you.
III
Once again, Deputy Andy is walking
into some dark, ominous scene,
which, of course, I will probably solve
or figure out before everybody else.
III
[Dana] Being in this town, you know, this fictional place,
it, uh-it slows down.
The small-town vibe is still here.
Even after 25 years, you know, it's like, some-a tot of stuff has changed,
but most of it has stayed the same.
III
[Ruth] When David oflginally started this show 25 years ago
and they came up to Seattle and started scouting
and started looking around, they stumbled into where we are,
into Snoquainxie, North Bend.
And, uh, to quote David, I think he found pure gold.
And I think he stumbled into these different locations
with Patty, his production designer,
and, um, they just found some incredible gold mines
and worked off of that, and, uh,
we then, 25 years tater, had to bring it right back.
III
[Kyle] We're shooting in what was the sheriffs station,
the original sheriff's station from Twin Peaks the series.
And we've had to return to, um, the site, and it's changed.
It's been 25 years, so the building has changed.
The surroundings have changed.
And so they've had to some in and pretty much redo everything
and bring ii back to whai it originally was 25 years ago.
This, uh, used to be a giant sawmill
with logs and everything from the original,
and then this was the structure that was adjacent to the sawmill.
Sawmillis gone now. But the structure's the same.
So they came back in and kind of rebuilt it and redid it.
♪ wistful lounge music I
III
[Kimmy] I got out of the van 'cause our dressing rooms were super far away.
I start walking, and someone takes an arm and someone takes another arm,
and I'm like, "What are you doing?"
They're like, "Well, Mr. Lynch would like us
to, uh, escort you into the set."
Isaid, "Well, I-I'm fine. I'm not that old.
I can walk still."
And they said, "No, well, he asked us to just escort you this way."
And I said, "Well, I don't know why.
I don'! know. That's just weird."
And I stepped onto the set, and my knees buckled because...
it was all the same.
It was exactly the same, the same crew.
Everything was the same.
And there was David behind the monitor and the camera and the...
It was unbelievable.
[man] Quiet, everyone. Rehearsal.
[Kimmy] Lucy doesn't understand exactly cell phones.
There's some disconnect where she doesn't know how you can speak on a phone
that's not-not connected to a wall.
In the scene, Sheriff was talking to her
and then pops through the door,
and it freaks her out so much that she flies back in he! chair,
which is a Wiggly, wobbly chair, and so fails over.
[screams]
[Lynch] Cut it. Beautiful.
Uh, yes. Do you want it slow or fast?
[Lynch] No, I'm just joking ya.
Um, just-just go out natural, and-and you're...
[Harry] Ilhink, personally, he is an artist first
and a filmmaker secondly, and...
[Kimmy] But what's so great is that he stays true to his tone...
- [Harry] Mm-hmm. - [Kimmy] ...and his vision.
[Harry] I think he's basically painting with us,
and there is that trust.
- [Kimmy] You get to be paint. - [Harry] Yes.
[Kimmy] The color blue.
I wrote him a poem that I would wait another 25 years
just to be the color blue.
But you're in the mountains... fishing!
Oh, punk?-.
Funky.
[Lynch] Cut it. Beautiful, you guys.
Beautiful, beautiful, beautiful.
[Kimmy] It's magic.
It's...it's the energy that I believe
is around us all the time.
I think he works in that energy field.
It's called love.
That's the word for it.
And he uses that on a set.
Twin Peaks Sheriffs Station.
[Lynch] Is that you, Lucy?
Director Cole?
Lucy, have you been there all through the years?
Well, actually, I have gone home,
and Andy and I have taken some vacations.
One year, we went to Bora Bora.
Would you like to speak with Sheriff Truman?
[Lynch] Yes, Lucy, I'm returning his call.
Okay! I'll connect you!
[Lynch] Cut n.
[Lynch] Okay, good. Let's try one more of those.
S sentimental piano music S'
III
♪ éuiee Cruise's "Failing" playing 4'
III
[Kyle] David and I are friends beyond the director-actor relationship,
and so we would get together,
and we would kind of just really reminisce
and remember no! just Twin Peaks
but Dune and Blue Velvet, all the things we've done together.
And we?! tel; stories and we'd laugh,
and it was really a nice way to keep it alive.
[Lynch] Kale!
[laughter]
[Lynch] How you doing there, Kale?
[Kyle] Entering back into the relationship,
the working relationship, with David has been an absolute joy.
And, uh, I count myself right now one of the luckiest people working,
one of the luckiest actors working,
A, to be working with David Lynch,
B, to be returning to a cast
that is just extraordinary.
Reconnecting, rebonding, revisiting ail this territory,
um, has been an absolute joy.
[Harry] I walked into the makeup trailer,
and I was atone end,
and he was at the very, very far end
being dressed as the dark,
maniacal Cooper
and had the dark lenses in, and he was all smudged up.
And...I was so stunned, I just jumped up and...
[Lynch] Cut n.
[Harry] ...went down there, and I just gave him a big hug.
Hadn'! seen him in many years.
[Lynch] Andy. Andy.
[Harry] To me, I refer to it as he's actor-centrist.
There's an instant bond of trust.
He gives it to you. There's something about knowing it.
You go with it. That's it.
I mean, it's really a very streamlined relationship
that he has with actors one-on-one,
and you're on the scene; you're right away.
Action!
[Harry] I don't know why I had to retake that scene about 47 times, 48 times,
but there was something about that tailgate I wasn't pulling off.
[Harry] It's you! We were just talking about you.
Everyone's gonna be so happy to see you.
Can we cut it?
[Harry] I know those station wagons.
There's no reason I should have had to do 47 lakes.
That's a Ford LTD Country Squire station wagon.
[Kimmy] Lucy and Andy are really moving up.
[man] We cut.
Oh, yeah. Okay.
I minimal jazz music ♪
III
[inaudible dialogue]
III
[Kimmy] Look at that. Agent Cooper.
[man] That's pretty darn good.
'(cu are mun' so suave.
There he is.
- I'm back. - Back.
Thank you. Where he belongs.
Beautiful.
Well, you created him.
[Kyle] David cast me in my first two things,
so Dune and Blue Velvet,
and then, um, did a couple other things and then came back to Twin Peaks.
So, you know, I'm really a product of-of that process,
and, uh, it's been a longtime since we've worked together, and...
retuming to that is like, uh...
Action!
[Kyle] There's a freshness to it.
There's a lightness to it.
There is, um, a joy in the creation.
III
There 's a lot of humor.
There's intensity. Here's focus.
There's...specificity.
Yeah, try the net.
And race into the door.
The right door there.
And-and you see Andy. "Where is he?"
[Kyle] Pretty much, the things that I really need as an actor
and-and-and groove on as an actor are all those things that we work with.
You know, you want an environment that is-that is-that is light, you know,
that is creative,
that can breathe; there's mom to breathe.
Um, you want to feel included.
Um, you want your ideas to be important.
Um, you want to be...
Ultimately, you want to have the vision...
The director has the vision, so I'm there to sen/e that vision,
but I also wan! Io contribute.
Yeah, 'cause the other way is, "Andy?"
- It's like-it's like..."Andy?" - [Lynch] Yeah. No, no, no.
[Lynch] I think it was just, like, you know, quick enough.
- Like, "Oh, Andy." - [Lynch] No time has passed for you.
- Yeah. No time. - [Lynch] Okay, ifs good.
- No time has passed. - [Lynch] No time has passed for you.
- [woman] Nope. - [mouthing words]
[Lynch] Action!
[Kyle] He's an amalgam of-of different Ideas and characters and people.
David Lynch is-is-is one of the pieces that I-I draw on, of course.
[Lynch] Cut n.
Were you talking about that door sound, Pete, that would be better on this one?
[laughter]
[Pete] That was worse. For sound, anyways.
That was incredible.
[indistinct chatter]
This is all gonna be available on eBay later.
[Kyle] You know, I'm much older, as is Cooper, you know,
so that just comes with the package.
But his enthusiasm, his sense of wonder, his boyishness,
his, uh, moral code,
an' those things are at! stiff there.
[vehicle beeping]
[tires screech]
He's gonna be doing, uh, Gordon Cole,
so he's weaflng two hats.
He loves the world of Twin Peaks,
so he loves watching it unfold and obviously directing it
and helping people through it,
but he also wants to participate, you know?
He wants to get in the water.
- [man] Mark B. - B mark.
[man] B set.
[tires screech]
III
[man] Ladies and gents, thanks for a great day.
Let's drop it off.
[cheers and applause]
I sparse electric guitar music ♪
III
[indistinct chatter]
[Kimmy] Michael Cera plays our son, Wally,
who we named Wally because he was born on Marlon Brando's birthday.
I still do. [laughs]
[Kimmy] It was freezing cold, and we were outside,
and Michael Cera was thinking it was gonna take
ten, 12 takes to do his speech.
It was all him, with us gazing at him adoringly.
[man] That's good right there.
No closer. That's great. Here we go.
[Lynch] Okay, you're so filled with love,
you won't get cold.
Here we go. Action!
[Kimmy] on! Ooh!
[Kimmy giggling]
Sheriff Truman, look who's here!
[Harry] lfs Wally. We're so excited. He came in unannounced.
Tell us where you've been, Wally.
My family, my friend...
I've crisscrossed this great land of ours
countless times.
I hold the map of it here, in my heart.
[Kimmy] And he went from beginning to end of his speech,
and David said, "Cu!!! Print it!"
And he came over and said, 'That was great!
Great! Awesome, Michael. Awesome."
And then said...
"Do you think you got one more in you?"
And-and Michael Cera went...
"One?" [laughs]
And he got all pumped up to do it one more time.
That's just so cool, bause it's- normally you do it over and over and over
iii! at! the fife is wrung compieteh/ out of it.
[Harry] I-I suspect that Mr. Lynch
was very proud
of what I would call a casting coup with Michael Cera
because I remember, as an aside one day,
he turned to me and he said, "Do you know who your son is?"
Ana' I said, "Weff, no. "' Ana' he said, "Michael Cara. "
So that's when H knew that David was very excited about Michael Cera and-
[Kimmy] He loved him.
- [Harry] Yes. - [Kimmy] He was giddy around him.
[Harry] I just stood back.
Must“! just watched,
- even though I was in the scene. - [Kimmy] Yeah, it was good.
[Kimmy] It was great to be standing right next to him...
[Harry] Yeah.
[Kimmy] mwhile he was saying his lines.
- [Harry] Yeah. - [Kimmy] Just really magic,
magnetic and...
and that smooth skin.
[Harry laughs]
[Kimmy] Milky skin and so young
and that outfit and the motorcycle.
It was dreamy.
[Lynch] Cut n.
This shot is incredible.
Thank you, Robert.
[man] Good night to Robert and Harry and Kimmy,
and we're gonna drop back for an establishing shot.
Yes, urn, but we have a gather-around.
[man] What? Oh, no.
- Gather around, everybody. - [man] Gather around.
- [man] Already? - Gather around.
♪ Uplifting music a'
The great Wally Brando is a wrap.
[cheers and applause]
[Harry] At the end of your great gift
of working on an experience and a project like that,
David will call everyone together,
and he will give you a send-off, a send-off in the business,
but il-it really is the most gracious and lovely experiment.
It's his gift to you, his acknowledgment to you
of what you've contributed.
♪ eerie music A'
I think it's a moment where there's a defined period of gratefulness
to everyone, 10 each other, because of what you've done,
and I think what you've really done is to participate
in a very, very lovely dream,
a very ioveiy dream.
III
[Kyle] It's really a study of personality and behavior and character
wrapped up in a unusual world of people
who have interesting habits and cravings and needs.
You know, it has elements of soap opera
but not like anything you've ever seen before,
and once you take that idea and then you infuse it
with the vision of David Lynch as a director,
it became absolutely magic because it keeps you off balance
in kind of a delightful way.
III
[Lynch] There must be something in ft
that gets people to a good place
in the department of thinking and feeling.
Ifs in the realm of fine abstract.
III
[water roaring]