David Lynch’s iconic television series Twin Peaks burst onto the scene in 1990, surprising audiences with its unique blend of Americana, surrealism, and horror. Since its debut, it has become a staple of television and a testament to Lynch’s genius.
Mark Frost, co-creator of the show, recalls his first meeting with Lynch in 1985 and their instant connection over shared interests. The inspiration for Twin Peaks came from personal experiences, including a tragic murder in Frost’s past and a haunting story told by his grandmother.
The cast members of Twin Peaks reflect on their experiences working with Lynch, from the excitement of being part of a groundbreaking television show to the eerie coincidences that seemed to surround the production. The show’s iconic setting in the Pacific Northwest added to its mystique, with cast members remarking on the magical atmosphere of the filming locations.
Twin Peaks remains a beloved and influential series, a testament to the creative vision of David Lynch and Mark Frost. It was a surreal, otherworldly experience. Angelo Badalamenti’s music enveloped everything in a divine present. We felt like we were embarking on a journey.
Frost: While filming in Seattle, we sifted through countless photos of young women with our local casting agent to find the perfect Laura Palmer. When we met Sheryl Lee, we knew she was the one – so much so that we couldn’t just leave her as a picture on a screen. Sheryl was flawless and a joy to work with. It felt like fate was on our side, as the right people always seemed to walk through the door.
Amick: We transformed a real diner for a scene. I can’t remember where we got the pies from, but they were delicious! After the scene, everyone was eager to dig in. We even had to make bets on who would get to enjoy the pie.
‘There was a lot of friskiness going on’
Kyle MacLachlan (Dale Cooper) and Sheryl Lee (Laura Palmer) recreated the iconic ‚red room‘ dream sequence for series 3. Photograph: Suzanne Tenner/Showtime
Horse: Some people may think David Lynch does things just to be odd, but everything he does has a purpose and meaning.
Frost: We believed that simply depicting the everyday Americana version of Twin Peaks was only part of the story; our aim was to explore the mystery of life and the idea that there is more to existence than meets the eye.
Horse: I told David that many of my Native artist friends admire his work because we understand that the dream world is just as real as the waking world.
Frost: We were intrigued by delving into the dream lives of the characters, especially Special Agent Dale Cooper (Kyle MacLachlan), who served as our gateway into this world. We would write scenes, and then David, in his unique way, would elevate them even further with his visionary direction. One of his talents as a director was his ability to convey depth and beauty through imagery and sound. For example, shooting and having actors speak backwards for the Red Room scenes was a groundbreaking technique. It was truly mesmerizing.
Sabrina Sutherland (production coordinator): Michael Anderson (AKA The Man from Another Place) had an incredible ability to speak backwards for the Red Room scenes. Apparently, it was a skill he had since childhood. On the other hand, Sheryl Lee had to painstakingly learn to speak backwards word by word. It was a challenging task!
Ontkean: There was a magical aura surrounding the entire production. The atmosphere was both relaxed and charged with energy. There was mischief, mystery, and mayhem, all infused with humor and a great sense of camaraderie. I cherished every moment spent preparing, rehearsing, shooting, and hanging out on set.
Ashbrook: I would show up on set even when I wasn’t filming just to be a part of the scenes. I enjoyed watching David work. It felt like a family environment.
Dana Ashbrook, Mädchen Amick, and David Lynch on set. Photograph: Photo 12/Alamy
Amick: We had a lot of fun on set. A group of us – Heather Graham, Lara Flynn Boyle, Sheryl Lee, a few crew members – created a series of Polaroid pictures, coming up with crazy ideas for poses. We had a blast being creative on set. We usually take turns keeping the collection – I think I have them now.
Frost: There was a playful atmosphere. When you have a group of young, attractive actors in a confined space, it’s bound to be lively. But everyone remained professional and focused on the work. There were no egos in the group, and everyone contributed their best.
Horse: Personally, I had a great time. I was known for taking souvenirs from the set back then. If I had known Twin Peaks would become what it did, I would have taken even more.
‘David had an aura around him’
The funeral of Laura Palmer, featuring (l-r) Mädchen Amick, Peggy Lipton, Everett McGill, Wendy Robie, and Kyle MacLachlan. Photograph: ABC Photo Archives/Walt Disney Television/Getty Images
Ashbrook: David set the tone. During the pilot, he would listen to the music through his headset while watching the scenes unfold. Occasionally, he would let us listen to the music too. It really helped create the atmosphere.
Ontkean: David was incredibly attuned to the atmosphere. He was always open to incorporating new elements into a scene. He conducted the production with all his senses, including his intuition.
Robie: David would present an idea and leave room for interpretation. He trusted us to bring our own essence to the characters. It was a collaborative and fulfilling experience.
Sutherland: David exuded a unique energy. It’s hard to describe, but he had a magnetic presence. He was not only a talented director but also a genuinely good person, and that reflected in his work.
Chen: I was surprised by how down-to-earth and genuine David was. I expected someone eccentric, but he was refreshingly normal. He was a completely genuine individual.
Ontkean: As I spent more time with David, it became clear that he embodied both Truman and Cooper in a strong way.
Joan Chen with Jack Nance (Pete Martell). Photograph: CBS Photo Archive/Getty Images
Chen: I remember during Laura’s funeral scene, we were all seated in different rows. Richard Beymer (Benjamin Horne) approached me from behind to take his seat and whispered something in my ear. It wasn’t in the script and I didn’t understand what he said. Later, he apologized and revealed that David had instructed him to say a certain word to see my reaction on camera. However, as English was my second language and I was unfamiliar with the word, his plan didn’t work out as intended.
Amick: Before a scene at the diner, David approached me, held my hands, and without saying a word, conveyed the emotion he wanted me to portray. This silent communication helped me immerse myself in the scene when the cameras started rolling. David’s genuine and inspiring approach created a special atmosphere on set.
‘I’ve never seen something become so notable, so quickly’
Twin Peaks debuted in the US on 8 April 1990 with a feature-length pilot that was watched by 36 million viewers.
Michael Ontkean and Kyle MacLachlan in the first series. Photograph: Maximum Film/Alamy
Amick: The ratings for the show skyrocketed from the first hour to the second, with people calling each other to discuss the show.
Ontkean: After missing the original broadcast, Paul Newman asked for a copy of the pilot to be sent to him in New York. He later described it as a flawless movie experience.
Amick: The show’s rapid rise to fame was unexpected, and we were all taken aback by the sudden attention.
Ashbrook: My realization of the show’s popularity came when I was recognized in New York for the first time and people were asking about the mystery of Laura Palmer’s killer.
Mädchen Amick and Dana Ashbrook in the pilot. Photograph: CBS Photo Archive/Getty Images
Ashbrook: Fans were always eager to know who killed Laura Palmer, but it was never a secret to us actors. It was interesting to see the audience’s curiosity.
Chen: Despite my naivety, I expressed a desire to leave the show after the first season to pursue another project. David playfully suggested a unique exit for my character, Josie.
Frost: We decided not to kill off the character, leaving the door open for a return. David’s quirky idea was to turn Josie into a drawer knob.
Chen: David’s unconventional choice to turn Josie into a drawer knob was perhaps his way of jokingly getting back at me.
‘The production monster started chasing us’
The second season premiered in the US on 30 September 1990.
David Lynch and Mark Frost discussing the show’s potential cancellation in the early 1990s. Photograph: Jeff Kravitz/FilmMagic, Inc
Amick: The atmosphere on set changed in the second season with David’s reduced presence, leading to a forced attempt to maintain the show’s original essence. The show started to become self-aware and leaned into its campy elements.
Sutherland: David and Mark were not as involved in the second season, resulting in a shift in the show’s dynamic.
Ashbrook: The difference in energy on set was noticeable when David wasn’t directing. Things felt rushed and chaotic, unlike the calm and focused atmosphere when he was present.
Frost: The challenges of a second season with a larger episode order created pressure to deliver quality content within tight deadlines. The looming „production monster“ pushed us to work tirelessly to meet the demands.
Sutherland: I remember discussions about a potential romance between Sherilyn Fenn and Kyle’s characters, which felt forced and out of place in the evolving narrative. Kyle expressed disbelief that an FBI agent would become involved with a high school student, firmly stating, „No, I’m not doing that.“ Ashbrook admitted to taking things one episode at a time, feeling clueless about the overall story. Amick echoed this sentiment, noting the complexity of the narrative. Michael Horse, playing Deputy Sheriff Hawk, recalled moments of confusion on set, seeking clarification from his co-stars. The cast praised David Lynch’s ability to make them believe in their characters and storylines without question. Frost recounted the struggles they faced with network executives during the show’s run, including threats of cancellation. Sutherland remembered a tense moment with Lynch during the second season, where the director expressed his frustration with the script. Despite these challenges, Frost praised Lynch for creating unforgettable scenes in the final episode. The cast shared a touching moment of closure after filming wrapped, coming together for a sweat lodge ceremony led by Michael Horse. The revival of Twin Peaks 25 years later was a surreal experience for the cast, with many emotional reunions and a sense of gratitude for the show’s enduring popularity. The return of the series was met with tears of joy and a deeper appreciation for the story’s complexity. Lynch’s passing in 2025 was mourned by the cast, with Frost attributing his death to the apocalyptic cloud of the Los Angeles wildfires. Ich bin sicher, dass es dazu beigetragen hat.
Amick: Es ist schwer für mich, die Worte zu finden, um den Verlust eines meisterhaften Genies auszudrücken, aber noch wichtiger, eines einfach wunderbaren Kerls. Ich sage immer, dass meine Zeit mit ihm ein Segen und ein Fluch war. Ich wurde in die Magie von David Lynch hineingezogen und habe das meine gesamte Karriere lang mit mir getragen. Aber dann war der Fluch, dass ich mit gewöhnlichen Filmemachern arbeiten musste. Er hat mich verwöhnt.
Frost: Ich hatte in den letzten Jahren einige wirklich nette Gespräche mit ihm, als er mit seiner neuen Realität und den Dingen, die ihn einschränkten, konfrontiert wurde, aber das hat seinen Geist nie eingeschränkt. Und solange er das hatte, fühlte er sich frei. Er hat sich nie selbst bemitleidet. Selbstmitleid war nicht in seinem Wortschatz. Es war ein schrecklicher Verlust für alle. Und er war auch ein lieber, lieber Freund von 40 Jahren. Er war so eine unverwechselbare Persönlichkeit und auf so viele Arten einzigartig. Es ist eine lächerliche Untertreibung zu sagen, dass ich nie wieder jemanden wie ihn kennenlernen werde.
Ein Treffen der Engel, ein Festival, das die Arbeit von David Lynch feiert, wird später in diesem Jahr im Vereinigten Königreich stattfinden
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