David Lynch in the Beautiful World of "Twin Peaks"Seventy- one years after David Lynch’s debut in Missoula, 4. Eraserhead, and 2. Laura Palmer said good- bye to Special Agent Dale Cooper, the most daring auteur in Hollywood goes to the one place that seemed off- limits. The Darkest, Sunniest Director in America. They all talk about him the same way.“He kind of hypnotizes you.” —Sherilyn Fenn, porcelain ideal of Lynchian beauty“There’s nothing bigger than David. We all submit.” —Jim Belushi, new to the Lynch universe“It just makes me smile when I get to see him.” —Sheryl Lee, Laura Palmer“He breathes through the moment, and everything is alive in that moment.” —Laura Dern, five- time collaborator who has “spent [her] life working with him.”“I felt tremendous gratitude to be there, seeing his face.” —Kyle Mac. Lachlan, on- screen alter ego“He was just radiating warmth and friendliness.” —Michael Cera, who’s in Showtime’s Twin Peaks reboot with the rest of them“You just fall into that love for him.” —Naomi Watts, returning muse“Today is a torment,” David Lynch says, tugging melodramatically at the collar of his shirt like a kid who’s been forced to stop digging up worms and put on stiff church clothes.
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The flash of a neon yellow watch hidden beneath a black suit sleeve offers the sole ray of the playful, beatific sun god who’s been gushed over in brochure- worthy terms by all his friends and collaborators. Here in the penthouse of the Chateau Marmont, Lynch seems cornered, physically resisting interrogation by folding up like an insect. When Lynch is asked a question about himself, his eyes squeeze shut. He bows his head and clasps his hands, somewhere between prayer and severe pain. Not surprisingly for an auteur whose work is defined by its elliptical mystery—from early lo- fi creepfest Eraserhead to humanity- is- the- real- freak- show allegory The Elephant Man to sapphic showbiz horror Mulholland Drive to the reason he’s being tortured today, Showtime’s 1. Twin Peaks—David Lynch really hates explaining things.
What’s more, Lynch complains, he had to get all dressed up for this inquest, which meant the arduous task of emptying the stuff from the baggy khakis he wears every other day and placing that stuff into a whole new set of pockets. There’s the suit, which necessitated putting on a tie, an interloper to his strict uniform of a white dress shirt buttoned to the top. Even Lynch’s hair—a volcanic- ash cloud the musician Questlove describes as “the cool white- guy version of Bobby Brown’s Gumby with a flip”—has begun to droop from the sheer exertion of so much self- examination. For someone who has been practicing Transcendental Meditation since 1. Maharishi Mahesh Yogi’s reported belief that “life is a festival of disruption” (even borrowing the phrase for the name of his recent two- day event at L. A.’s Ace Hotel), Lynch doesn’t seem particularly jazzed about today’s upset of the natural order.
It’s clear he’d rather be anywhere else, doing the things he normally does: filmmaking or building furniture, taking photographs of burned- out warehouses or painting nude women wielding electric knives. Anything that might give him the comfort of humdrum routine. And absolute control. Of course, anyone who’s seen Lynch’s work knows that control is just an illusion. That the safe routines of your existence can be disturbed at any time by a mysterious stranger breaking into your home, an unexplained videotape turning up on your doorstep, a severed ear discovered in a forest clearing, GQ asking you to do a photo shoot. This sudden meeting of the mundane and the macabre, often set in cheerful, terrifying daylight, is the classic “Lynchian” twist. It’s the moment when the mask of life’s banality slips to reveal the labyrinth of madness that was always just underneath, when Dennis Hopper bursts into your living room all hopped- up on amyl nitrite, screaming about shitty beer.
A kind of a honeycomb world—an underworld that exists simultaneously with the reality we see with our eyes every day,” says Twin Peaks star Ray Wise. This is the place where David Lynch’s work lives. You would probably expect the person who shows us these things to be dark himself, a brooding cross between Rod Serling and Edgar Allan Poe, a psychological sadist who runs his sets like a B. F. Skinner experiment. But when I first meet him, he literally greets me with an unironic “Howdy!” And all of David Lynch’s co- workers gush that when he is not politely enduring questions about his oeuvre, he is “warm” and “sunny and cheerful.” Mulholland Drive star Justin Theroux explains that “he’s got a very sort of sparkly persona. You want to be underneath that safety umbrella that he creates.”He is also, as musician and new Twin Peaks cast member Sky Ferreira puts it, “actually really funny.”Sounds like a great guy to hang with!
So what does David Lynch find funny, anyway?“Everybody loves to laugh,” Lynch says, body clenched and eyes winced shut. Larry David is great. Albert Brooks. Mel Brooks.”And then, the Lynchian twist.“I like girls that cry.”Murder in the Woods“I would have little fantasies: ‘ Twin Peaks will come back and I’ll live happily ever after.’ And [then David’s] like, ‘It’s true, Sherilyn Fenn. We’re coming back. And it’s gonna be great, and it’s gonna be all of us.’” —Sherilyn Fenn, Twin Peaks, Wild at Heart“I said, ‘If you do choose to revisit it, don’t forget me.’ And he said, ‘Well, Ray, you know, you’re dead. But perhaps we can work around that.’” — Ray Wise, Twin Peaks.
It’s been more than a quarter- century since Lynch last filled our living rooms with hilarious crying girls, back when he first partnered with Hill Street Blues writer Mark Frost to ground his dreamy abstractions into something ABC could cut commercials around. Network executives suggested something like Peyton Place.
Instead, the duo delivered a Dickensian delirium, a two- season network drama where the murder of beloved homecoming queen Laura Palmer unraveled a sleepy logging town’s secret connections to demons and alternate dimensions. It was a treatise on the monsters lurking just beneath the placid surface of American life. And it was a show whose willingness to be downright maddening, embrace of art- house surrealism, and DMT- hallucination- of- Happy- Days aesthetic would forever change the prevailing wisdom about what people would watch on television. Since the series’ 1. DNA has lived on in every show from The X- Files to Lost to Mad Men to approximately 9. And Lynch has spent those intervening decades being begged relentlessly by Twin Peaks’ fans—not to mention its cast and crew—to return. The revival of Twin Peaks marks Lynch’s return to filmmaking after the longest break in his career; he hadn’t released anything high- profile since 2.
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Inland Empire. So why now? Well, there is the fact that, in the show’s finale, Laura Palmer meaningfully tells her would- be avenger, Agent Cooper, “I’ll see you again in 2. I sense that David takes numbers and numerology very seriously,” says Showtime president David Nevins, who shepherded the series’ return. And that kind of promise, he feels some desire to fulfill.” It’s a tidy explanation, except Lynch says he didn’t even remember that detail until Frost pointed it out to him. Really, there’s only one reason David Lynch does something: He wants to.
He doesn’t do anything he’s not feeling,” says Laura Dern, who will join Twin Peaks in one of many new mystery roles. Watch A Royal Affair Mediafire.