" Here's your slice of pie." "LYNCH:" "Thanks." "WAITRESS:" "Enjoy it." "I'll be back in a second to check on you." "PHILLIP:" "Through the darkness of future past." "PETE:" "She's dead." "Wrapped in plastic." "MAN:" "She's ﬁlled with secrets." "COOPER:" "I have no idea where this will lead us, but I have a deﬁnite feeling it will be a place both wonderful and strange." "So, DKL." "This is the strangest damn thing." "[ALL LAUGH]" "Kale." "It seems like you're really here." "[LAUGHS]" "And Madge-Kin." "I'm really here." "LYNCH:" "And JW." "— Right here, bud." "LYNCH:" "Madge—Kin..." "Madge—Kin's full name is Madchen Amick, but I've been" " It doesn't sound right." " It doesn't sound right to us." "[AMICK  MACLACHLAN CHUCKLE]" "LYNCH:" "I started calling you Madge—Kin." "And I don't remember exactly why or when." "I think from the very beginning." "LYNCH:" "From the very beginning?" "— Yeah." " Now, Madge-Kin." " Yeah." "You are staggeringly beautiful." " Thank you." "— And you are a fantastic actress." "Thank you." "And you are a really great human being." "Thank you." "And you look as good or better than you did, you know, back then." " You know, in the Double R. — I was a baby back in the Double R." " Really good to see you." "AMICK:" "Thank you." "LYNCH:" "Really good to see you." " Good to see you." "It's good to see you." " And Kale." "MACLACHLAN:" "Kale." "LYNCH:" "Your full name is Kyle MacLachIan, but I call you Kale." " Ha, ha." " And there's a" " I remember why I call you Kale." "— It's a good story." "Dino De Laurentiis could never pronounce Kyle's name." " He called him Kale." "MACLACHLAN:" "Yeah." " And so I started calling Kyle "Kale"..." "MACLACHLAN:" "Ha, ha." "LYNCH: ...and that's the way it's been for years and years and years." "True." "That's true." "LYNCH:" "And JW, or Johnny W, your full name is John Wentworth." "And I got a letter from John before shooting Blue Velvet, and he was applying to be my assistant." "And this letter was so formal and proper." " And the name John Wentworth." "— Yeah." "You know, I pictured a very collegiate, super clean, bright-as-a-shiny—penny, you know, good student." "And John is none of those." "LYNCH:" "He's clearly not." "[ALL LAUGH]" "LYNCH:" "And with a tie and a sharp jacket." " Yeah." " So I hired John unseen." "And three days later, the door to the office opened up, and there was JW." "And..." "' Not quite what you expected?" "AMICK:" "Not in a tie?" "Not quite." "But John was," " you know, a super cool guy." "MACLACHLAN:" "He's a great guy." "You've been in the family for years and years." "You asked me what I remembered." "I had an agent." "I still have an agent." "— Right." "— Good." "LYNCH:" "The same agent." "— Same agent." "But there was a guy, Tony Krantz," " down the hall in TV." "MACLACHLAN:" "Sure." "And Tony went to Rick Nicita and said," ""I would like to talk to David about doing something in TV."" " Which you'd never done before." "LYNCH:" "Never done." "And so I, you know-- I didn't wanna do that." "And then I had been working with Mark Frost." "MACLACHLAN:" "Mm-hm." "And I met Mark because of this book called The Goddess" " about Marilyn Monroe." "MACLACHLAN:" "Ah." "And we were gonna write the screenplay." "And, um..." "But that project didn't go." "But one day I was talking to Mark, and I said, "Do you like comedy?"" "And he said, "Yeah."" "I said, "Do you think you would like to write a comedy?"" "And he said, "Yeah."" "So Mark and I worked on this thing called One Saliva Bubble for" "— You know, and we laughed like crazy." " I remember One Saliva Bubble." " That was a very funny script." "LYNCH:" "It was very fun for us." " Yeah." "LYNCH:" "And that almost went." "But then we'd become friends, and so when Tony came along and said this thing, something kind of..." "It was like it wanted to be." " But we didn't really know that." "MACLACHLAN:" "Right." "And so we got together in Du Par's" " on Ventura Boulevard." " Sure, sure." "Classic." "And we talked and just kind of, like, rolled things around." "And a thing started, and we were gonna call it Northwest Passage." "— Yes." "LYNCH:" "And it was gonna be set in North Dakota." " Was it in North Dakota, really?" "LYNCH:" "Yeah, in North Dakota." "And that kind of rolled around." "And then we decided, "Well, we're gonna write..."" "And I was spending a lot of time in New York then." "MACLACHLAN:" "Mm-hm." "And so we started out writing over the telephone." "And Mark was completely computer savvy." "So we tried to write over the telephone." "And it kind of got a little bit of a start." "MACLACHLAN:" "Right." "And then back I went to L.A." "and we began writing more in earnest." "MACLACHLAN:" "Mm—hm." "LYNCH:" "And ideas started coming." "And I would-- We would write at Mark's house." "And he had a chair that reminded me of a kind of a chair that psychiatrists would put a patient in." "MACLACHLAN:" "Uh—huh." "A kind of a chaise lounge." "Black leather, and it was a little slippery." "And that's where I would lie down there, and—" "[MACLACHLAN  AMICK CHUCKLE]" "And stare at the ceiling and come up with ideas." "LYNCH:" "And then we were writing, and we wrote like that." "And he drank soy milk." "And I think he got me whole milk" " for coffees." "— Right." " That was nice." " Whole milk is key." "LYNCH:" "Yeah." " If you're gonna have coffee." "LYNCH:" "But he had" " Soy is better." "— You like soy?" " Yeah." "LYNCH:" "Anyway..." " We can differ on that." "LYNCH:" "It makes the world go around." " Exactly." " Madge-Kin likes soy milk." " Yes." "LYNCH:" "So if she visited Mark, they'd be" "I would be set." " You'd be set." "AMICK:" "Yeah." "LYNCH:" "Me, I like whole milk." "And when I visited Mark, I was fresh out of luck. 80..." "MACLACHLAN:" "Why didn't you bring your own?" "Yeah, we worked, and this one night at about" "9:45, maybe 10:00, we finished the script for the pilot." "Wow." "LYNCH:" "And Mark printed out two copies." "And when I got home, I thought, "Oh, I will read this script now."" "And I sat down and I read it." "And I got on the phone right away to Mark, and I said, "Mark, this is pretty good."" "[MACLACHLAN CHUCKLES]" "And he said, "I know, I just finished reading it myself."" "He said, "It's pretty good."" "And we were sort of surprised." " I heard a surprise in his voice." " Right." "— He heard a surprise in my voice." " Right." "And that's what, you know," " started everything." "MACLACHLAN:" "Mm." "Now, Kale, how do you remember you getting involved" " as Special Agent Dale Cooper?" "— Dale Cooper." "I remember that you were saying that I should be Dale Cooper." "But that you were also wanting Mark to have a say in who should be this character." "And I remember that I met with Mark." "We sat down and just, "Hello," and got to know each other a little bit." "And after that meeting with Mark, he said," ""Okay, I'm good with Kyle doing the role."" "And I remember thinking" "I thought, "I seem a little young for the character," I thought." "But then I thought," ""Well, that doesn't really matter, really." "He can be any age."" "But in my head, I sort of was thinking, "Oh, maybe he should be older."" "No, but Cooper has, you know," " such high intelligence and intuition..." " Right." "LYNCH:" "...it doesn't matter how old you are." "You know, that's in-- It doesn't matter one little bit." "MACLACHLAN:" "It took me a- — You're the guy." "Ha, ha." "It took me a long time to figure that out." "But then we got to talking and..." "TV was also sort of new for me, because I hadn't done much." "And so, you know, when you go into TV, you sign a five-year contract or five-and—a—half—year contract." "And I remember thinking, um..." "You know, the original idea was for what they call a back—end pilot, right?" "So we made a movie of the week." "No, we had to do a European ending." "That's what I remember." "They came and told me." "Because I saw that-- When I was in Paris," "I saw the video of Twin Peaks with the ending," "— which is from episode two." "LYNCH:" "Yeah, yeah, yeah." "But I remember thinking, "Nobody in their right mind is gonna buy this, you know, and make it into a series." "It's just too out—there," I said." ""No one is gonna understand it." "No one is gonna appreciate it."" "So when ABC and Bob Iger said," ""Oh, we're gonna buy, you know, those first six or seven episodes,"" "everybody was like, "Oh, my God, this is fantastic."" "We were taking over somehow, basically, the asylum." "The inmates were taking over the asylum, it felt like." "And we felt like we could really create something that was just mad, you know." "— Yeah." " And were thinking that that was cool." "Very cool." "And, Kale, you did such a stellar job." "Oh, thank you." "And Special Agent Cooper, so fantastic you were." "Well, it's the best introduction I think I've ever had into anything, movie or TV, driving up the hill." "I remember sitting in that car, having learned a couple pages or whatever it was, and being towed up the hill." "We only had a certain amount of distance." "We had to get it done by" "There was a point where you had to turn around." "And, you know, just doing all this stuff." "And everything just sort of fell into place." "— It was weird." " Mm-hm." "We did like a couple takes, was all." "I remember it wasn't that big of a deal, and suddenly it was like just pulling out pieces of paper and getting the right thing and talking to Diane and driving" "I mean, it was all this stuff, and I was like, wow." "All the stuff you created, it was just perfect." "— Perfect." " The entire character exists in that," "you know, couple-minute piece." "LYNCH:" "Yeah." "Dale Cooper is right there." "You meet him." "The best introduction I've ever had, so that was cool." "Well, now, let's let Madge-Kin go down memory lane." "AMICK:" "Ha, ha." " Yeah." "How did it happen, Madge—Kin, that you got this role of Shelly?" "You know, I don't" "I remember specifically being in a hotel room, reading the script." "But I cannot figure out why I was in a hotel room and why I was reading the script." "Madge-Kin, it's a good thing you don't remember." "[ALL LAUGH]" " Um..." "But-—" " Those pills worked." "They really, really worked." "I was so brand-new, fresh out of Reno, Nevada, with these big dreams——" "Did you come up from Reno?" "Did you come up from Reno?" " Or down?" "— No, I was here, but I was only in Los Angeles for only probably about a year." "Uh-huh." "Before that?" "AMICK:" "Before coming in for the show." "— Okay, now, so..." "Now, what were you——?" "What were you doing during that year?" "And how did this thing come about that you got the script?" " What happened?" "AMICK:" "Well, I" "At 14 years old, I decided that this is what I wanted to do." "I wanted to be a big movie actress." " And you sure did." " So within those two years," "I made my plan of how I was gonna get to Los Angeles and get agents" " Now, what sign of the zodiac are you?" " Sagittarius." "LYNCH:" "You're Sagittarius." " Oh, yeah, we can do anything." "— So you are so organized and willful." "AMICK:" "We can conquer anything." "You know, this is very good." "Now, so you came, you——" "At 14, you decided to do this." "AMICK:" "Yes." "Through, you know, meeting different people and finding my way," "I went and sort of knocked on the door of a modeling agency and a commercial agency and a theatrical agency." "And I ended up pinning them down, saying, "Would you represent me?"" "They said, "Well, if you come back and you're emancipated, yes."" "I said, "Okay, I'll be back."" "Explain "emancipated."" "Okay, so..." "Well, "emancipated" is you go to the courts, and your parents sign away their guardianship over you so that you can work as an adult." "Wow, and how old were you when you were emancipated?" "AMICK:" "Sixteen." " Sixteen." "Yeah, so I moved away from home at 16, was emancipated." " With my parents' blessing..." "LYNCH:" "Mm—hm." "...but I moved away from home." "And so within that year, I just worked my butt off." "I just went to every video audition, commercial modeling, anything I could possibly do." "And sort of towards the end of the year," "I had a few good acting jobs that seemed to be coming into place." "And one of them was the Baywatch pilot..." "LYNCH:" "Oh." "...which I was actually filming when I met you." "But so during that process of that year——" "Now, tell us about Baywatch." "What is that?" "Ha, ha." "Baywatch, um," " was a delightful show for years..." "— It's an exercise video." "...that featured a lot of people with beautiful bodies in bathing suits, lifeguards saving people at the beach..." "LYNCH:" "I got you." "AMICK: ...and, you know." " It's just a beach show." "Uh—huh." " It's a beach show." "But really I was the only one that wasn't in a bathing suit." "I was the psychotic teenager that tried to kill herself at the pier, which then in turn wanted to kill the lifeguard who saves me's wife so I could take her place." "Ha, ha." " Wow, the whole scenario." " So it was a good acting——" "Yeah, it was really good." "So it was challenging." "And that was before it sort of became what it became." "But in the process of that year, in proving yourself as a young actress that hadn't done anything, you go through these stages of going in front of casting directors so that the agents can feel like you're good enough for them" " to send you out on real jobs." "LYNCH:" "Right." "So I had gone in for Johanna Ray." "Isn't Johanna great?" " And she loves actors." " Oh." "I love Johanna." "And so many actors have been helped by Johanna." "So many." "And she gets behind somebody," "she just is, like, really, really great." "AMICK:" "Yeah." " She's been really——" " Because I didn't want you, Madge—Kin." "And she pushed and pushed and pushed." "[ALL LAUGH]" "Well, she's been instrumental in actually many important things in my career." "LYNCH:" "Tell us about Johanna, then, a little bit." "Okay, so, Jo" " So, um..." "So before you actually go in and audition for a real job, you need to prepare a scene and come in and perform it in front of casting directors, and then they give their opinions to your agents" " whether you're good or not." "LYNCH:" "Uh—huh." "And I don't remember" "I think I prepared, actually, a scene from Body Heat." "And so I did it for Johanna, and she just was wonderful and supportive and sort of from that moment on, always brought me in for things that she thought I was right for and just was always putting me in front of people and..." "And so that's how I ended up coming in for you." "But I remember reading the script, and it just felt so much like home, coming from the Northwest myself, and I just related to it." "And I remember coming in after filming a long day on Baywatch, and coming in and meeting with you, and I think I had prepared Lara Flynn Boyle's part originally." "And I remember Eric being there, Johanna's son, reading for Neal." "And it just, I guess, ended up-- You talked to me about..." "That you thought I would be right for probably Shelly, you know." "Mm-hm." "But that was" "That's my memory of the beginning of Shelly Johnson for me." " Wow, cool, Madge—Kin." "AMICK:" "Yeah." "I have a favorite—" "There's a line that she does in the pilot that is so amazing." " Which one?" " It's one I always remember." "It's, like, when they're in the-- There's happy hour in France, right?" "And they're driving up to the house." "And you see the truck." "His truck is there." "— And you" " Dana Ashbrook and—" " Yeah." "You say, "Back up," or something like that." "There's some way you say it." "It's like real terror." "And what it did, it just made Eric's character that much more frightening, because your reaction was so palpable." "And I always just said, "That's just a beautiful moment."" "I just said—- You know, I always remember that." "And, you know, when you were talking about how you say my name, for the longest time, you were saying it "Madge-Kin," and I thought," ""You know, I don't know, maybe at some point," "I should tell him how to really pronounce my name."" "[LAUGHS]" "And so, like, eventually I got up the guts to come up and just kind of," ""You know, David, actually, you pronounce my name Madchen."" "You said, "I know, Madge-Kin." "[ALL LAUGH]" "I want to call you Madge—Kin." I was like, "Oh, okay."" "[ALL CHUCKLE]" "LYNCH:" "So, JW." " Yes?" "How is that you became involved with Twin Peaks?" "Well, I had a prior association with some of the principal people involved with the project." "I worked on at a motion picture called Blue Velvet." " Mm-hm." " There was a little break between the end of that really wonderful experience, and I was hustling around, working on commercials and doing things like that." "And I remember kind of out of the blue getting a call, I think from you, saying," ""John, I'm doing this project up north, and would you like to go record sound effects on this pilot?"" "And I thought, "Well, that's a great idea."" "I've never recorded sound effects in my life." "I have no idea how to do something like that." "Of course, I didn't say anything to you." "And I remember getting the script and reading it and thought it was just a beautiful, really wonderful piece of work." "And I packed myself up in my Oldsmobile station wagon and drove to the Northwest." "Now can I tell that one story about you saving the sawmill?" "If the world is ready, I think." "I think it is." "I've told this story in a" " I don't know the story." "Okay." "LYNCH:" "Okay, so" "JW went up there to record sound effects, and I knew full well that he had never recorded sound effects." "But JW is a very smart guy," "— and savvy." "MACLACHLAN:" "Right." "LYNCH:" "Savvy." "— Yeah." "And I saw him a few times, but it's very hard to recognize him, because he was bundled like a bear." "— A fur all around his head..." " I remember that fur hat." "...and a giant, you know, paddings." " It was cold." "LYNCH:" "It was cold." "Very, very, very cold when we shot that pilot." "Now, this was the beautiful sawmill which was destined to be closed, and we had the opportunity to film in there." "JW was recording sound effects, and off on his" "Just alone in the backwoods there." "Meanwhile, the sawmill guys had a huge problem." "And one day, they ran across JW, and they might have thought he was that, um" " What is the--?" " Sasquatch?" "LYNCH:" "Sasquatch." "AMICK:" "Yeah." "LYNCH:" "At first." "— Yeah." "But then as he got closer, they realized it was a human being." "[WENTWORTH LAUGHS]" "LYNCH:" "And they started talking." "And they mentioned that there was a big problem with the mill, huge losses of power." "John sort of frowned and said, "I know what you're talking about because I recorded that sound."" "And he led them to these massive broken pipes." "Ah." "LYNCH:" "And saved, you know, who knows how many days of looking." "— So he saved the mill." "MACLACHLAN:" "He saved the mill." " I saved the mill." "Thank you." "— JW, very good, very good." " And there's a plaque." "— There's a plaque for JW." "I got this "you saved the mill" plaque." "I have that." " Yeah, yeah, that's very nice." "AMICK:" "It's nice." "Now, how did it get from North Dakota to what ended up being-—?" "And how did it get from Northwest Passage" " to Twin Peaks?" " Ah." "Well, Northwest Passage, I think it was a title I already used." "And so that meant, you know, we sort of used it just as a working title, knowing it was not gonna probably be that." "But where Twin Peaks, I think that must have been Mark." "And then the Northwest, I don't know quite how it got up there." "But I grew up in the Northwest, and the woods played such a big role, as it does up there, and the mystery in the woods." "AMICK:" "Mm-hm." "MACLACHLAN:" "Mm-hm." "LYNCH:" "Anyway, it went there." "Now, Kale, you're from—" " Yakima." "LYNCH:" "Yeah, there you go." " From the state of Yakima." "AMICK:" "Ha, ha." "And I went to school in Seattle and would drive that road, you know, back and forth home to Seattle, and would go right by North Bend, where the Double R was." "And JW was so influenced by Twin Peaks that he now is a mountain man." " Yes." " He's a mountain trooper." "I was born in Medford, Oregon, too." "— See, there you—— AMICK:" "Oh, wow." "— See, that's——" " We're all Northwesters." "And I worked in Ashland." "I know Medford." " I worked in Ashland." " Yeah." "And if Catherine Coulson was here, the Log Lady, she lives in Ashland," "— is part of a Shakespearean company..." "— Oh, she does?" "Really?" "...and she's the actress-- I think I just heard, the longest—running actress in that troupe." "Wow." "You were" " Was it Boise?" " Were you born in Boise?" " No." "— I was born in Missoula, Montana." " Missoula." "Missoula." "I get that." "I lived in Boise, and I love Boise, Idaho." "I lived in Spokane, and I was born" "I lived in Sandpoint, Idaho, and I was born in Missoula." "MACLACHLAN:" "Yeah, that's right." "Montana." "My dad died in Missoula." "Your dad died in Missoula." " He lived in Missoula and died there." "LYNCH:" "Wow." " This is crazy." "— Yeah." " Incredible, Madge-Kin, wow." "AMICK:" "Yeah, yeah." "What did your dad do?" " He was a musician." " I think you told me." "AMICK:" "Traveling musician." "And you met him at the Red Lion." "He came up and we met" "— Whoa." "AMICK:" "Yeah, I introduced you to him" " in the hotel room." " Oh, man." "Yeah." " And he passed away right after." "— How did he die?" "Massive heart attack after his 50th birthday." " Uh-oh." "Ha, ha." "— Just out of the blue." "Ha, ha." "Did I just scare everybody at the table?" "— Forty—eight, a couple days ago." " Happy birthday, JW." "WENTWORTH:" "Oh, thank you." " What sign of the zodiac are you?" "WENTWORTH:" "Aries." "— You're an Aries." "I have the same birthday as your daughter Jennifer." "We were born on the same day." " And Francis Ford Coppola." "WENTWORTH:" "And Coppola." "— Yeah, so happy birthday to you all." " Yeah, thank you." "— That's so good." "WENTWORTH:" "Aries is a good sign." "— Very good." "April 7th." "AMICK:" "What's your sign?" "— It's kind of myopic—" " Kale?" "Me?" "Oh, Pisces." " Pisces." " Yeah." " KaIe's a drinker and a dreamer." "ALL:" "Ha-ha-ha." "Drinker and a dreamer." "You got that right." "You got that right." "And what are you?" "I'm a Capriquarius." "I'm on the border." " Oh." " On the border." "Nice, nice." "LYNCH:" "Okay, you guys." " All right." "This was during the pilot, and that's why I sort of wish, you know, Ron Garcia was here." " Oh, Ron, sure." "LYNCH:" "Because he was up there." "We were shooting the scene where James Hurley drives out and meets with Donna, and they have this talk in the woods." "Donna and James." "And so we were on a back road way back in the mountains and found this place where there's this little trail, perfect setting." "But it was" " It was freezing cold." "And it's like, there are places that had a temperature colder than that." " But this cold was..." "MACLACHLAN:" "Mm." "LYNCH:" "It would seep into your bones." "— Yeah." "And I was freezing up there." "And the crew was freezing." "And Donna's nose would looked like Rudolph." "— You know, and James was suffering." " I remember that scene." "They looked like they were-- LYNCH:" "Yeah." "And so James rides in with the big Harley, right?" "And then they get off and they start, you know, talking." "MACLACHLAN:" "Mm—hm." " Down below, Debbie Trutnik is sensing the suffering." "The suffering was traveling through the air, and she was picking up on it." "ALL:" "Ha, ha." " Okay, good." "As only Debbie could." "And so she went to the producer and said," ""Don't you think it would be a good idea to send some hot food up to them" " up in the mountain?" MACLACHLAN:" "Right." "LYNCH:" "And so they organized a meal to go up the mountain to us." "And when it arrived," " the crew was pretty happy." "— Yeah." "And so we broke for these hamburgers." "And no sooner did they bite into them, they discovered the center of those burgers were ice." " No." "LYNCH:" "They were ice." "They weren't cooked hot enough?" "LYNCH:" "They were not cooked." " So it's not like they cooled down." "LYNCH:" "They weren't even" "They weren't" " They were, like, seared for a millisecond." "ALL:" "Ha-ha-ha." "LYNCH:" "The center was ice." "And then it became, you know, somewhat humorous to us." "For me, I went-- You know, again, being so brand-new and having that be my introduction to television and being an actress in Hollywood," "I went out of that experience, I was so saturated by it." "And it was such a positive experience and a creative experience." "And then I went out and had to find myself in the real Hollywood and..." " That was the real Hollywood, baby." "— Okay." "Ha, ha." "Everybody else is just pretending." "But, you know, all the different rules that they go by." "And it took me a long time to figure out that it was really different than what we did, you know?" "That it isn't always such an open, creative, positive environment." "That there's all these other rules I wasn't ready for." "Hmm." " So I sort of went out" " That's just what it's like, if I may, working with David, I think that's what you mean." " Just, like, that experience is rare." "— Yeah." "That's why everyone wants to work with you." "Bless you, Kale." "Because of what you-- The energy and the atmosphere that exists on the set." " And I loved working with you, buddy." " Thanks, man." "LYNCH:" "And Madge-Kin and JW for sure, and all the bunch." "It was really, really great." "I remember that there was a moment during the series that you" "And I don't remember what episode it was, but it was an episode where Shelly had to break down in the diner because of stuff that was going on with Leo." "And there was—— And it really needed to be a devastating scene." "And, you know, I'm just trying to find my way, and you came up to me, and you just put your hand on my arm and you said, "You know..."" "[SIGHS]" "And I just felt this overwhelming..." "That I was ready and that you needed to go, and that whatever you sent to me, I was ready." "And so you just walked away and you filmed, and I got whatever it was that you were trying to tell me." "No, you got it inside you, Madge-Kin." "Madge-Kin, you know, you just got, you know, solid gold." "— And I got to kiss you, Madge—Kin." "— I know." "I feel honored." "That" " Well, I feel-- Are you kidding me?" " One of the highlights of my life." "MACLACHLAN:" "Ha, ha." "And I remember thinking, "How sick is this?"" "[ALL LAUGH]" "Writing that into it so I could kiss Madge—Kin." "But still the pen kept moving." "Yeah, it was automatic writing." "I mean, it was coming from" "For me, it was, you know..." "How many takes did we have to do of that one?" "AMICK:" "A lot." " I think so." "We had to do—— We had to get it just right." "There was focus problems, there was battery problems." "There was always something going on." " That's funny." " No, I felt honored that" "Agent Cole could only hear one person on this Earth, and it was Shelly Johnson." "[ALL LAUGH]" "That just was my favorite moment of all during the whole series." "That was fun, when you came on and we did that shoot together." "That was great." " It was pretty cool." "AMICK:" "Yeah." "Gordon Cole is a character in Sunset Boulevard, and—" "Ah." "LYNCH:" "Billy Wilder's Sunset Boulevard." "MACLACHLAN:" "Mm-hm." "And Gordon Cole was looking to rent Norma Desmond's car." "And so the man who played Gor" "Gordon Cole is on the screen, you know, in the film." "And then if you drive to Paramount, from the east to Paramount, you'll pass Gordon and Cole." "AMICK  WENTWORTH:" "Oh." " Oh, that's right." "And so I figure, "Oh, my God, that's where that name came from."" "And then Gordon Cole worked his way into Twin Peaks because there's a scene early on when you're talking to your supervisor, Gordon Cole, from Truman's——" " I think it's in the conference room." "MACLACHLAN:" "Mm—hm." "— I can't remember exactly." "MACLACHLAN:" "Mm—hm." "And I think I just did the voice, you know, to be on the other side of it." " Right." "LYNCH:" "And I found myself talking, you know, loud through there for some reason." "And so the thing got born." "That's funny." "I remember, you would—" "This was either before monitors or you just never use——" "You were always right next to the camera or right below the camera watching the scene so that you were as close as you could be to getting what the camera was" "That's where I figure you're supposed to be, you know?" "— To see the scene." "— To see the scene." "It's not common." "People don't do that." "That scene you were talking about in the pilot where Shelly and Bobby are driving up to the house," " and we're drinking out of the flask." " Yeah, happy hour." " David was at our feet in the car." " Were you really, right down in front?" " What a beautiful place to be." "MACLACHLAN:" "My God." "Yeah." "LYNCH:" "At the feet of Madge-Kin." "— At the feet of Madge-Kin." "And we used to do scenes, and you used to sort of talk, and we would basically try to crack each other up." "[ALL LAUGHING]" "You were trying to always make me laugh." "There's a couple times that we got into trouble." "— But it was a hell of a lot of fun." " Ha, ha." "So much fun." "MACLACHLAN:" "It was fun." " Yeah." "It was a surprise to everyone that it took off..." " As successfully as that first season." " ...as crazily as it did." "LYNCH:" "It was an amazing thing." "Was it not a surprise to the network as well?" "LYNCH:" "Yes, it was a huge surprise." " They certainly did not expect it." "The thing was done, and the night was planned, and it was maybe advertised like a normal thing." "MACLACHLAN:" "Mm-hm." "They put us opposite Cheers, which was very, very popular at the time." " Yeah." " And there were tests done." "— Right." " And it didn't do as bad as they thought, but it didn't do great." "But I think they were even a little bit surprised that it went sort of in the middle." "Right, they were expecting it to- Yeah." "And so that was where it was sort of hovering, in the middle." "And it came on one night, the pilot." "And it got a huge share." " Really?" "LYNCH:" "Like, huge." "And I was in New York, and the next day I flew back, and the wife of the runner of an opposing network came to me and said, "I love your show." "I love your show." "I had to sneak into the other room, because my husband wouldn't watch it." "And I snuck in there and I saw it." "I just love it." "He's dying, he's dying, you got such a great share." "Congratulations."" "And so it went really good for some reason." "And this woods and the characters and something traveled that way around the world." " Quickly." " It was really, really something." "How did it go?" "Because they had the pilot on," " and then how shortly--?" " I don't remember." "MACLACHLAN:" "Was it next week--?" "— We were a midseason replacement, if I remember correctly." "LYNCH:" "Yeah, we were." "— We were." " The pilot was on in the spring." " Was it?" "Yeah, and the numbers, if maybe you could graphically represent over the two—hour course of the show, it kind of started like this:" " Then kind of started doing like that:" " Like that, yeah." "The last half hour just went "whoosh."" "LYNCH:" "Yeah." " Everybody was calling." "— People started calling everyone." " What the hell?" "AMICK: "Something crazy on the other channel." "We gotta tune in and look at it."" "Well, David, it's not just because it was the woods and it was interesting." "It was because you make beautiful, beautiful work and tell great stories." "Stop one second." " Mark Frost and I, you know, did that." "AMICK:" "Mm—hm." "And Mark Frost is at least 50 percent of it." "AMICK:" "Mm-hm." "And I loved working with Mark." "And we had a thing going, complementing one another, and the thing would flow, and so it was a very special experience." "And like I say, it wanted to be." "It wanted to be." "It had its thing, it lived, and, whoosh, we went." "You know, but now, it did a lot of things." "— Yeah." "— Yeah." " Did a lot of things." "— We made a world." "The influence is still being felt, from conversations I have." "So it's a great thing to have the pilot and the first season and the second season all together, the whole story." "And it's very, very good." "The thing that kills me is that the murder of Laura Palmer" " was never supposed to be solved." "MACLACHLAN:" "Really?" "And the reason is that is this beautiful little goose." "MACLACHLAN:" "Mm-hm." "And the little goose is laying golden eggs." "MACLACHLAN:" "Mm-hm." "And why would you kill this little goose?" "[MACLACHLAN CHUCKLES]" "LYNCH:" "It's unreal." " Yeah." "It's a huge sadness." "A huge sadness and an absurdity that that ever happened." " Was it just pressure from——?" "LYNCH:" "Pressure." "Yeah, yeah." "But the pressure really, if you translate that pressure, is a need to know, and that need to know is what draws you in." "Anyway, that's what happened." " How do you really feel about it?" "ALL:" "Ha, ha." "LYNCH:" "So anyway, it's that kind of thing." "But there was room for so many other mysteries." "But that mystery was sacred, and it held the other ones." "It was the tree, and the other ones were the branches." "MACLACHLAN:" "Yeah." "And it's just, like I said, a sadness." "Yeah." "Yeah, those core mysteries, you can't mess with them." "No." " Now, JW." " Yeah." "You know, in television, there's post—production." "And so JW just didn't hike in the backwoods recording sound effects." "He was, like, living only at night, in the lab, hour upon hour of finessing the final stages of every show." "MACLACHLAN:" "Mm." "And you might tell some of what goes on." "You know, when the show was finished editing, and it hit you, what did you do, JW?" "Well, I think, like everything associated with the show, it was an excellent team effort." "We had Phil Neel, myself, Liz Corbett, many others, a crack team of some of the best editors working in the business' assistance." "The show attracted some of the best directors working in show business." "So it was the best talent that the business has to offer was involved in doing the show." "And we worked hard, and we loved every second of it." " What did you do?" " Worked really hard." "[ALL LAUGH]" "Do you remember those late nights in the beginning?" "Yes, I remember our schedule typically was that each episode had a different director." "There was a very specific schedule for maybe, I think, four or five days on the set." "Then have probably a month for editing." "And then there'd be sound mixing and color correction and visual effects and things like that." "And so they would—— The shows would just come through." "And one week after the next was one different set, one right after the other." "Typically Monday morning would come and we would report to work at 9." "And then we'd work 8 hours." "Then the color correction would start at 6:00 in the evening and go from 6:00 in the evening until 2:00 in the morning." "And then we'd get back to work at 9:00 Tuesday morning and work the entire day, and then do color correction from 6:00 Tuesday until 2:00 Wednesday morning." "That would be, right?" "And then Phil Neel would be doing with the sound mixing, supervising the sound mixing on Wednesday at a stage at the famous Todd—AO/glen Glenn Studios." "And then we'd come back and do the onlines full days Wednesdays, Thursdays and Fridays." "And everybody would just collapse, would be in piles by Friday evening, Saturday morning." "And then we'd somehow pull this all back together and go back and do it again." "And this went on certainly for the first season, the second season, for weeks and weeks and months that we were lost in a——" "AMICK:" "Basically no sleeping whatsoever." "There was no sleeping, but we didn't need it, because this world was just a joy to be in." "I mean, just imagine, nothing else, the kind of music, the quality of the music that we would just listen to" " The great Angelo Badalamenti." " The great Angelo Badalamenti." "AMICK:" "Yeah, beautiful." "WENTWORTH:" "And the highlight of my job" "There were many highlights, but one that really stands out was delivering—" "I was tasked with taking the tapes and carrying them to the network headquarters, and watch them take the tapes out of the boxes, mount them upon the vintage, creaking one—inch video machines, spooling the tapes up and running it to check for technical stuff," "and then watch their faces as certain scenes from Twin Peaks went on spool on the monitors." "That was a really specifically nice and beautiful experience." "Very good, JW." "Do you have favorite episodes or favorite moments or just--?" "Well, I like all the" "MACLACHLAN:" "Gordon Cole, of course." "Yeah." "WENTWORTH:" "The scene in the diner." " And I like Shelly." "— Yeah, yeah, yeah." " I like all of it." "But I loved, um..." "Because of the European ending needed to be done," "I didn't have any ideas, and I didn't really" "Wasn't really, you know, focused on that." " Just finishing the pilot." " Right." "LYNCH:" "But then this pressure came to" "You know, someone said, "You gotta fulfill this obligation."" "— Yeah." "LYNCH: "It's part of this contract."" "And we were editing, and it was about 6:00 on a very beautiful warm evening, and we went out to the parking lot." "And we were at CFI lab, and we had editing rooms there." "And in the parking lot, there was a car there, and I was leaning against the car roof, and I was feeling how nice and warm it was." "— It was so toasty." "MACLACHLAN:" "Mm—hm." "And I was digging this warmth, and, whew, in comes the red room." "Ah." "And I went like this, and I told Dwayne," "I said, "Dwayne don't let me forget to do something like this."" "And I went and wrote it." "And then I wrote it again with Mark, because Mark is my partner on this." "MACLACHLAN:" "Mm—hm." "And we shot the red room." "And it was really a good experience." "It was so much fun." "People say when they see that." "Because you're watching a show that's already unusual and suddenly you're in the red room and suddenly, wham." "You're, like, in another dimension." "Just takes you right away." "So that was a thrilling thing." "How Frank, you know, Bob, became born out of it." "These things weren't there, but they came out." "And that's the beautiful thing of how one thing leads to another." "AMICK  MACLACHLAN:" "Mm-hm." "LYNCH:" "And you just have to pay attention." "Things start, you know, coming out." "That's the beautiful thing about a continuing story." " Right." " We don't know where it's going to go." "But you'll be going along and will be in a scene, and Shelly will say something just a certain way..." "Ah!" "A whole other world opens up just, like, in a second." "Ideas flowing." "MACLACHLAN:" "Yeah." "AMICK:" "Mm-hm." "Who are the Europeans, and why did they get a special ending?" "Johnny, there's certain things that we don't wanna talk about." "The Europeans, we love." "But the whole thing of why this was necessary opens a door that is not worth talking about unless we had a box of Kleenex." "[ALL LAUGH]" "I don't think I ever saw there was a different ending." " Yes, there was a different ending." " I don't think I ever saw that." "But that need for the different ending gave birth to the red room." " So you see what I mean?" " Yeah." "— That's the beauty of it." "— Yeah, yeah, exactly right." "And Bob being—" "Bob, that wasn't born out of the need for that." "That was a mistake" " that turned into beautiful gem." "LYNCH:" "It wasn't a mistake." "Well, did you capture him?" "LYNCH:" "No, not" "That wasn't the first thing." "AMICK:" "Oh." "I was up in Laura Palmer's house on the second floor under the fan." "AMICK:" "Mm-hm." "And I was on my hands and knees for some reason, cleaning some little part of the rug." "[WENTWORTH LAUGHS]" "And I was facing away from the door of the Laura Palmer's bedroom." "And I heard a girl's voice, a woman's voice, speak to Frank Silva, who was the set dresser." "And Frank was in Laura Palmer's room prepping it for shooting." "And he was moving a dresser." "And he had moved it near the front of the" " Near the door." "And the woman said-- I'm hearing it, like, back there." ""Frank, don't lock yourself in that room." "Ha, ha."" " You know?" "AMICK:" "Mm-hm." "And I suddenly pictured Frank in that room, like the word "locked" and, like, something like this." "And I went running in to Frank." "I said, "Frank, are you an actor?"" "And like everybody in Hollywood, he said, "Why, yes, David, I am."" "[ALL LAUGH]" "And so I said, "You're gonna be in this scene."" "And he says, "What am I gonna do?" And I said, "I don't know."" "And then we shot these pan—" "Just a drifting across the bed, just a drift across the room." "Nobody was in it." "And then I said, "Frank, now you get down and hold the end of the bed like this and freeze."" "And we did one shot with him there." "And then we went downstairs and we got geared up to shoot the night scene when Laura Palmer's mother, the great Grace Zabriskie, is lying down and she's distraught." "MACLACHLAN:" "Mm-hm." "We had an operator named Sean, and Sean is on the wheels." "And what Grace has to do is she's thinking, and she's picturing things in her mind's eye, and she sees something about the woods and the finding of that thing." "MACLACHLAN:" "Mm-hm." "AMICK:" "Mm-hm." "And so she bolts upright screaming." "And Sean has to, whew, get her like this." "And it was perfect, the first one." "And I said, "Great, great, cut it." And Sean said, "No, no, no."" "And I said, "What's wrong?"" "And he said, "There was someone reflected in the mirror."" "And I said, "Who was reflected in the mirror?"" "And he said, "Frank was reflected in the mirror."" " And there he is." " Yeah." "LYNCH:" "Right at the bottom of an oval mirror." "Wow." " Wow, I just got goose bumps." " How great is that?" " Great." "That's great." " That's great." "Madge—Kin, as you look back on the whole thing, what stands out as your kind of favorite memory?" "I was sitting in a booth in the Double R Diner, and I felt very soft lips kiss me." "[ALL LAUGH]" "— You're so beautiful, Madge-Kin." " Yes." "I open my eyes, and there's David Lynch." "[LAUGHS]" "That's great." "There are so many moments that I can think of that were just so unusual." "I think more than anything, it was for me, I think, the first time" "And I hadn't done that many things to that point." "But it was the first time that I felt a real kinship with a character." "As much as I enjoyed working together," "Dune and Blue Velvet and that, for some reason, Dale Cooper" "felt like I was home in a weird way." "I don't know why." "So I think more than any specific moment, it was overall a feeling of immense creativity." "And that whatever I was doing" " was not—" " Excuse me." "Wasn't right, wasn't wrong, just was, and was therefore, you know, A-okay." "And I think so much of that had to do with us working together." "By then it was number three, so we had a shorthand that was a shorthand of a shorthand." "And I remember all I really needed was your thumbs—up, you know." "And then I could really relax and just channel old Dale, so..." "Can you talk a little bit about Michael Ontkean," "Sheriff Truman, and your relationship?" "Because that's another dynamic duo that was" "People, I think, just loved that you guys got along, and a lot of things were so fantastic." "His energy was about the most laid—back of anybody I've ever met." "Very kind." "And he was, exactly, generous and kind and so happy to be in the world of Twin Peaks." "I remember him just feeling like he had found his dimension somehow." "And the two of us together, just visually, energetically, was so unusual, and yet there was a great affection that we each held for each other and kind of a wonderful pleasure that we took in each other's company" "that sometimes happens with people that are different." "— Yeah." " And you could completely understand and appreciate the friendship of these two men." "Yeah." "And him finding humor in strange places, you know?" "He's a great guy." "That was a great relationship." "JW, what is your favorite memory?" "My favorite memory is, um..." "It goes right to the heart of this process." "Two forty-seven a.m. up on a hill in a deep dark wood, wrapped in my protective outerwear, headphones on my head, stereo microphone at the end of a pole, recording a just ferocious gale in the branches." "And just rolling that tape." "Rolling that tape." "And then several months later, being in the Fantasy mixing facility in Berkeley, California, on Saturday morning at about 3" "Probably the same time, 2:47 in the morning, sitting in the theater of the mixing place and watching the playback of this pilot." "And having been through a week of watching the best technicians, you know, superbly directed, create something that really affirmed everything you could ever wanna know about what filmmaking can really be and how good it can really be." "And to watch a process that was pushed really, really hard and people, you know, flipping out and problems and things not working and nothing making any sense." "But then sitting back, watching this thing, and hearing that wind come back and hear it deeply embedded off someplace in the soundtrack, but hearing that thing come back, it was an extremely affirming and excellent experience." "Beautiful." "They asked if I sum up in seven words, because seven is my favorite number——" " I love seven too, seven and 17." "LYNCH:" "You do, Madge—Kin?" "— Seventeen's always been my favorite." " Seventeen is an eight." "But that's a nice number too, a great number." "But seven..." "Soto sum up in seven words," "I love Twin Peaks and its world." "Mm." "Perfect." "WAITRESS:" "Another cup of Joe?" " Do birds fly?" "WAITRESS:" "They sure do." "Sounds good." " I'll be right back." "LYNCH:" "Okay."