I have said I love the world of Twin Peaks and I would think about it fondly during those years. And sometimes would wonder what people were doing and wonder about how things were left. But I didn’t really think of going back into the world until Mark Frost invited me to Lunch at Musso and Frank and we started talking. That was about five years ago. [Twenty-five years later] I am the same person. Just like you. When we talk to ourselves, we are always the same. And, I love a lot of things. I love working on wood, I like painting, I like music and I like cinema. And so getting back into the world of Twin Peaks is really thrilling to me, and for the last five years, like I said, I have been working on this. So it was very good to get back with a crew and the cameras and the sound and build this thing with a lot of great people. This time, I discovered “cronuts” and that is a new thing, and they are really good. They are incredible. A cross between a croissant and a donut. And it’s incredible. And I like cherry pie a lot too.
Do you think of directing as a kind of painting?
Yes. They say cinema takes seven arts: writing, and music, painting, many, many things. But I came into the world of cinema through painting. I was at the Pennsylvania Academy of Fine Arts, sitting in a small cubicle working on a painting in a garden at night, and I was watching the painting, and I heard from the painting a wind. And I saw the painting start to move. And I said, “Oh, a moving painting.” And that experience was what started it going. And I made a stop motion animated film, a one-minute film loop of six men getting sick and it was my first film, one minute long. And I kept getting green lights in the world of cinema, but it came out of painting.
You are a painter as well as a filmmaker?
I like to catch ideas, and the idea I always say dictates everything. You could be sitting and say, “Oh, I have an idea to go to the store to get some coffee.” That’s an idea. So you can be sitting in a chair and get an idea for a chair, a new chair. And you get so fulfilled with the thrill of it, that you get some wood, you go into the wood shop and you start building that chair. And how do you build it? You just remember the idea, and this goes like this and this goes like this, and so beautiful. And, you start building it according to the idea. And, what might come out is that someone could say that there is a certain style, but it wasn’t that you were trying to make a style, it was trying to realize an idea, translating an idea to some medium.
Are dreams very important to you?
First of all, I don’t really go by nighttime dreams. I have hardly ever gotten ideas from nighttime dreams. But I always say I love daydreaming. I love to sit in a chair, and it’s getting harder to do because there are so many distractions. But the idea of sitting and thinking and just thinking, like daydreaming, sometimes ideas can come that way. Or you can just walk down the street and an idea will come. You never know. I don’t know what triggers them, but ideas come in. And in a big way, I don’t really, I can’t take credit for any of those. They come from outside. They come into the conscious mind and they show themselves to you. It’s like a fish. The chef doesn’t make the fish, the chef just cooks the fish. So it’s all about just catching ideas. And I always say, if you desire an idea, a desire is like a bait on a hook and if you really are desiring, it’s almost like focusing. You are desiring and focusing and lo and behold, an idea will come in. And once you get on idea, I say it’s like catching a little fish, but you love that little fish, but it’s a whole fragment of something big, because you got one little fish that you love, now you got more bait, and you think about that little fish and then more will swim in, they just start swimming in. And then you have got a whole bunch of ideas, and a story emerges from that.