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- Here's your slice of pie. - Thanks.
Enjoy it. I'll be back in a second to check on you.
Through the darkness of future past...
She's dead.
Wrapped in plastic.
She's still breathing.
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.
Kale,
it seems like you're really here.
And Madge-kin.
I'm really here.
- And JW. - Right here, bud.
Madge-kin... Madge-kin's full name is Mädchen Amick.
- It doesn't sound right. - It doesn't sound right to us.
I started calling you Madge-kin
and I don't remember exactly why or when.
- I think from the very beginning. - From the very beginning.
- Yeah. - And Kale.
- Kale. - Your full name is Kyle MacLachlan.
But I call you Kale.
- I remember why I call you Kale. - It's a good story.
Dino de Laurentiis could never pronounced Kyle's name.
He called him Kale.
And so I started calling Kyle Kale.
And that's the way it's been for years and years and years.
- It's true. It's true. - 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,
you know, I pictured a very collegiate, super clean,
bright as a shiny penny,
- you know, good student... - And John is none of those.
He was just showing off.
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.
- Not quite what you expected. - Not quite.
But John was, you know,
- a super cool guy. - He is a cool guy.
He's been in the family for years and years.
You ask me what I remembered.
I had an agent, I still have an agent.
- Right. - Good.
- The same agent. - The same agent.
But there was a guy, Tony Krantz, down the hall in TV.
Sure.
And Tony went to Rick Nicita and said, "I would like to talk to David
- about doing something on TV." - Which you'd never done.
Never done. And so I, you know, I didn't wanna do that.
And then I had been working
with Mark Frost. And I met Mark because of this book
called the Goddess about Marilyn Monroe.
And we were gonna write the screenplay but that project didn't go.
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.
- Right. - And so we got together in Du Pars
- on Ventura Boulevard. - Sure, sure.
- Classy. - And we talked
and just kind of like rolled things around.
And a thing started.
And we were gonna call it Northwest Passage.
And it was gonna be set in North Dakota.
- Was it North Dakota? - Yeah, it was in North Dakota.
And that kind of rolled around.
And then we began writing more in earnest.
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 chair the psychiatrist would put a patient in.
- That kind of a chaise lounge. - Right.
Black leather and it was a little slippery.
And that's where I would lay down in there.
- And... - Stare at the ceiling...
And then we were writing. And we wrote like that.
And this one night
at about...
...9:45.
Maybe 10:00.
We finished
the script for the pilot.
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."
And he said, "I know, I just finished reading it myself."
And he said, "It's pretty good."
And we were sort of surprised. I heard the surprise in his voice.
- Right. - He heard the surprise in my voice.
Right.
And that's what, you know,
started everything.
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, just got 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...
Doing the role."
And I remember thinking,
I thought, "I seem a little young
for the character," I thought.
But then, I thought,
"That's doesn't really matter. He can be any age," you know.
But in my head I was thinking,
"Oh, maybe he should be older."
No, but Cooper has a, you know,
- such high intelligence and intuition. - Right.
It doesn't matter how old you are.
- And, Kale, you did such a stellar job. - Oh, thank you.
And now let's let Madge-kin go down memory lane.
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.
That's a good thing you don't remember.
- Those pills worked. - It really, really worked.
I was so brand new,
fresh out of Reno, Nevada
with these big dreams.
- Did you come up from Reno? - No, I was here
but I was only in Los Angeles for only probably about a year.
- Before that? - Before coming in for the show.
Now, what were you doing during that year
and how did this thing come about that you got the script?
I had a few good acting jobs that seem to be coming into place.
And one of them was the Baywatch pilot,
which I was actually filming when I met you.
- So during that process of that year... - Tell us about Baywatch.
What is that?
Baywatch was a delightful show for many years
that featured a lot of people with beautiful bodies in bathing suits
and lifeguards saving people at the beach and, you know...
- It's just a beach show. - It's a beach show.
But really I was the only one that wasn't in a bathing suit.
I was this 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.
- The whole scenario. - 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
and 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. - Right.
- So I had gone in for Johanna Ray. - Isn't Johanna great?
- I love Johanna. - And she loves actors.
And so many actors have been helped by Johanna.
So many. And she gets behind somebody,
she just is, like, really, really great.
- Yeah. She's been really... - Because I didn't want you, Madge-kin,
and she pushed and pushed and pushed.
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, "Maybe at some point
I should tell him how to really pronounce my name."
And so eventually I got up the guts to come up and say,
"You know, David, actually you pronounce my name Mädchen."
"I know, Madge-kin.
And I wanna call you Madge-kin."
"Oh, okay."
- So, JW. - Yes?
How is it that you became involved
with Twin Peaks?
Well, I had a prior association
with some of the principal people involved with the project.
I'd worked on the motion picture called Blue Velvet.
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?"
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 about that.
I remember getting the script
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 how did it get from North Dakota to what ended up of being...?
And how did it get from Northwest Passage to Twin Peaks?
Well, Northwest Passage, I think, it was a title already used.
Yes.
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 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.
Anyway it went there.
Now, Kale, you're from the state of... Yeah, there you go.
From the state of Yakima.
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.
I remember that there was a moment during the series,
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 the stuff that was going on with Leo.
And there was, you know, it really needed to be a devastating scene.
And, you know, I was 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...
And I just felt this overwhelming...
That I was ready and that you needed to go.
And that whatever you said to me,
I was ready and so you just walked away and we filmed.
And I got whatever it was 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.
Well, I feel... Are you kidding me?
One of the highlights of, you know, my life.
And I remembered thinking, "How sick is this?"
Writing that into a...
But still the pen kept moving.
- It was automatic writing... - For me, it was, you know...
How many takes did we have to do that?
A lot. We had to do it a lot. We had to get it just right.
- There was focus problems. - I know.
There was battery problems, there was always something.
Gordon Cole is a character in Sunset Boulevard.
Billy Wilder's Sunset Boulevard.
And Gordon Cole was looking to rent Norma Desmond's car.
And so the man who played Gordon Cole
is on the screen in the film.
And then if you drive to Paramount, from the east to Paramount,
- you'll pass Gordon and Cole. - 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 where you're talking to your supervisor
- Gordon Cole. - Gordon Cole.
From Truman's... I think it's in the conference room.
I'm not quite... I can't remember exactly.
I think I just did the voice, you know, to be on the other side of it.
- Right. - I found myself talking
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 used...
You were always right next to the camera
or right below the camera watching the scenes.
So you were as close as you could be to getting what the camera was...
That's right. I figured that's where you're supposed to be,
- to see the scene. - See the scene.
You were trying to make me laugh.
There was a couple of times that we got into trouble.
It was a lot of fun.
- So much fun. - That was fun.
No, it was a surprised to everyone that it took off as...
- It was successful that first season. - Crazily as it did.
It was an amazing thing.
Was it not a surprise to the network as well, Dave?
- 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.
And they put us opposite Cheers, which was very popular at the time.
- 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 be... - Yeah.
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. - Like huge.
So it went really good for some reason.
And these woods and the characters and something
- traveled that way around the world. - Yeah, quickly.
It was really, really something.
David, it's not just because it was the woods and it was interesting.
It was because you make beautiful, beautiful work.
- And you tell a great story. - Well, let's just stop one second.
Mark Frost and I, you know, did that.
And Mark Frost is at least 50 percent of it.
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 we went.
You know, but now it did a lot of things.
The thing that kills me
is that the murderer of Laura Palmer
was never supposed to be solved.
And the reason is, that is
this beautiful little goose.
And that little goose is laying golden eggs.
And why would you kill this little goose?
- It's unreal. - Yeah.
It's a huge sadness.
A huge sadness.
And an absurdity that that ever happened.
- Was it just pressure? - Pressure.
Yeah.
But, you know, the pressure, really, if you translate that pressure
is a need to know.
And that need to know is what draws, you know, you in.
- Anyway, that's what happened. - How do you really feel about it?
- So anyway it's that kind of thing. - Yeah.
There was room for so many other, you know, mysteries.
But that mystery was sacred and it held the other ones.
It was the tree and the other ones were the branches.
Yeah.
And you now, it's just,
like I said, a sadness.
Yeah.
Yeah, those core mysteries, you can't mess with those.
- No. - Do you have favorite
episodes or favorite moments or just...?
Well,
I like all the...
- Gordon Cole, of course. - Yeah.
- And the scene in the diner. - And I like Shelly.
Yeah.
I like all of it but I...
I loved...
Because of the European ending needed to be done.
Yeah.
I didn't have any ideas
and I wasn't really, you know, focused on that.
- It's just finishing the pilot. - Right.
But then this pressure came, you know, someone said:
- "You gotta fulfill this obligation." - Yeah.
- It's part of this contract. - Yeah.
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 and I was
digging this warmth.
And in comes the Red Room.
And I went like this and I told Duwayne...
I said, "Duwayne, don't let me forget this was something like this."
And I went and I wrote it.
And I wrote it again with Mark
because Mark is, you know, my partner on this.
And we shot that Red Room.
And it was really a good experience.
It was so much fun.
People say that when they see that.
You're watching a show that's already unusual
and suddenly you're in the Red Room and suddenly:
You're like in another dimension. It just takes you right away.
So that was a thrilling thing, how Frank...
How, 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.
And you just have to pay attention. Things start, you know, coming out.
That's the beautiful thing about a continuing story.
We don't know where it's going to go.
But you'd be going along and we'll be in a scene
and Shelly will say something just a certain way...
A whole other world opens up just like in a second.
- Ideas flowing. - Yeah. Yeah.
And Bob being...
- That wasn't born out of the need. - Being a killer.
That was a mistake that turned into a beautiful gem.
No, it wasn't a mistake.
- Or was it, did you capture him? - No, not... That wasn't the first thing.
I was up in Laura Palmer's house,
on the second floor, under the fan.
And I was on my hands and knees for some reason,
cleaning some little part of the rug.
And I was facing away from the door over to 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... Near the door.
And a woman said, I'm hearing it, like, back there,
"Frank, don't lock yourself in that room." You know.
And I suddenly pictured Frank in that room
for, like, the word locked and, like, something like this.
And I went running into Frank.
I said, "Frank, are you an actor?" And like everybody in Hollywood,
he said, "Why, yes, David, I am."
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 sh... 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 till we got geared up to shoot a night scene.
When Laura Palmer's mother, the great Grace Zabriskie,
is laying down and she is distraught.
We had an operator named Sean and Sean's 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.
And so she bolts upright, screaming.
And Sean has to... get her like this.
And it was perfect, the first one.
And I said, "Great, great. Cut it," you know.
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. Right at the bottom of an oval mirror.
- Wow, I just got goose bumps. - How great is that?
- Great. - That's great.
And, Madge-kin, what...? As you look back at 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.
That's so beautiful, Madge-kin.
And I opened my eyes and there's David Lynch.
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 the 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
wasn't, was not...
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, you know, channel old Dale. So...
Beautiful.
They asked if I sum up in seven words...
Because seven is my favorite number.
- I love seven too. - You do?
Seven and 17. Seventeen has always been my favorite...
Seventeen is an eight. But that's a nice number too.
A great number.
But seven...
So to sum up in seven words,
I love Twin Peaks
and its world.
Perfect.
- Another cup of Joe? - Do birds fly?
They sure do.
Sounds good.
- I'll be right back. - Okay.
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