Watch episodes of Twin Peaks at CBS.com!!

Click here!

Thanks to TravisD!

P.S. It is possible these episodes are only available to persons within North America.

Welcome Digital Bits readers!

To expand upon the 'Hotel Room' and 'On The Air' DVD news...

"I just met David Lynch at the Huntington Cinema Arts Centre where he spoke about TM and took questions from the audience for about two hours and then did a book signing of CtBF. One audience member asked if there were any future plans for an authorized dvd of either Hotel Room or On the Air. David responded that it was funny he asked because some plans had started a couple of months ago. David did not go into any further detail, so, as always, we'll just have to wait and see."

Thanks to Motoko.

'In Twin Peaks' to expand!

Our friend Charles from In Twin Peaks has just announced a major expansion of his site to start in late summer. Click here for details. Please also note the amazing location preview pictured above. Still as it was 17 years ago...

Twin Peaks Props Is Updated!

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Richard Beymer improved and enlarged photos + downloadable Twin Peaks fest film!

Photo (c) Richard Beymer

Breaking news! Richard is now 100% officially undecided as to whether he'll start selling his Twin Peaks photos again! (Don't forget you heard it here first) However, to assuage our pain, Richard has kindly arranged for us to gander at his pictures in newly enlarged sizes and improved quality. You can also download his short film 'Here we are one more time'. Many thanks to Richard! Are you ready? Here we go!

Brand new piece from Richard Beymer!!

Photo (c) Richard Beymer

Exclusive Charlie Benante interview!

Formed in 1981, Anthrax quickly rose to be pioneers on the thrash metal scene, known as part of ‘The Big Four’ alongside Metallica, Megadeth and Slayer. With a wider musical outlook than their peers, the band were quick to incorporate elements of humour and influences of hip-hop into their sound, resulting in hit singles like ‘I’m The Man’ and ‘I Am The Law’. Public Enemy were suitably impressed to namecheck the band in their classic ‘Bring The Noise’ single, which both bands would later team up to re-record. Having parted ways with vocalist Joey Belladonna and Island Records, Anthrax released ‘The Sound Of White Noise’ in 1993 with new vocalist John Bush on Elektra Records. In keeping with their openness to new musical directions, the album featured ‘Black Lodge’, a collaboration with Twin Peaks composer Angelo Badalamenti, and the video for the single ‘Only’ featured none other than Frank Silva, known to Twin Peaks fans as the epitome of evil incarnate, Bob. The Twin Peaks Archive caught up with Anthrax drummer Charlie Benante, to find out more about this pairing… Twin Peaks Archive: How did you first get together with Anthrax?

Charlie Benante: At the time it was just Scott (Ian, Anthrax guitarist) and one of the other members, who’s no longer with the band. They had the band together and they were gonna lose their drummer. A friend of mine was friendly with Scott and they asked if I’d like to audition and I said ‘sure, why not?’ Basically we were just out of high school. I was actually in art school at the time, and then the ball started rolling – before I knew it, I was in a band going across the country for the first time.

TPA: And how did you get into Twin Peaks?

CB: I was a big David Lynch fan because of Blue Velvet. To me it’s one of the greatest movies of all. I loved it. I loved everything about it. I loved the way it was shot, I loved the story and I especially loved the music.

TPA: Have you any favourite scenes from the series?

CB: For me the whole first season was just awesome. The second season for me fell off. The first season was one of the best things ever on television. I remember for the latter part of the last season we were on tour in Europe, and I remember being in Finland and having a friend of mine Fed-Ex a tape of the last episode. I didn’t want to hear about it, I wanted to see it. That’s how obsessed I was with it.
TPA: What did you think of the last episode?

CB: I liked it. I miss that show a lot. I loved everything that was Twin Peaks related. When we would play Seattle, I would make sure we had a day off so that me, Scott and some of the other guys could drive up to Snoqualmie and go to the town where it was filmed, and go have a piece of pie and a cup of coffee at the diner. It was awesome. It was before a lot of people knew about it too, because a few years after that they would get busloads of Japanese tourists coming up there to do what we did. Like, we would go and find the location where they shot his part or that part, it was hilarious.

TPA: Were all the band fans?

CB: No, basically me and Scott were really big on it. I remember even going to Japan – because it was big in Japan afterwards too. They would have such crazy things there, like a Twin Peaks card game I picked up.

TPA: What are your thoughts on the Gold box?

CB: I got back into it again, it brought me back into that time. I think it looks awesome and it still holds up today. The one thing that did bother me about it, because I’m a collector of stupid stuff, is that they put the postcards in each one of them and I found out that there was 61 in all and there were special cards, like gold cards or whatever, so I had to start collecting them. I just thought it was kinda a rip-off to real hardcore fans who follow the show. Now we have to go on ebay and pay between $9 and $60 for one of those cards. It bothered me a bit. They should offer the fans who want to buy the full set, the complete postcard set.

TPA: What did you think of Fire Walk With Me?

CB: I was waiting for Fire Walk With Me to come out on DVD and there were always delays on it and then we heard a French company was going to put it out or they held the rights to it or whatever and I was like ‘Just do it already!’. Cos I also love that movie too. I would love to see that whole thing (the deleted scenes). Maybe there’s some missing things in that, that maybe Lynch could explain a little further. Knowing him, it’ll probably add more ambiguity to it all! The only thing with Fire Walk With Me that I didn’t like was that the Donna character wasn’t the original actress, but other than that I loved that movie. I particularly love Angelo’s soundtrack– they should remaster that one!

TPA: What was it like recording ‘The Sound Of White Noise’?

CB: We were going through, let’s say, a metamorphosis. We were actually saying goodbye to the past and embracing a new sound that had been fighting to get out, from at least myself, for the longest time. When John came into the band it gave me the power to write a new kind of song like ‘Black Lodge’TPA: Is there going to be a rerelease of White Noise?

CB: It has been rereleased now on i-tunes with bonus tracks and everything. I think there’s a ‘Black Lodge’ bonus track on that too.

TPA: You were friends with David Lynch’s assistant, Jennifer Syme?

CB: We used to be really good friends with Jennifer and it’s such a tragic thing that happened to her. I think about her quite a bit. If I’m in a Twin Peaks mood I automatically think of Jennifer. In the early 90s, she was David’s assistant and that was it – I would get all my info from her! She was really helpful in getting Bob in our video for ‘Only’. We were talking about getting Michael Anderson, but he was kinda difficult and wanted too much money to do it, so we scrapped that.

TPA: What was it like working with Frank? After all, Bob was one of the scariest characters to appear on the small screen.

CB: He was a scary character, but in that environment with us, he was just one of the guys. I remember him being very quiet. I remember talking to Frank and he told me everything about how he came to be Bob and it was a total accident, it was one of those Lynch things where he looks at somebody at says ‘You’re gonna hold the log’. And it’s the same thing that happened to him.

TPA: And then a few years after that Frank passed away…

CB: I remember knowing about that too and we were like ‘Wow’. I couldn’t believe it.

TPA: What was it like working with Angelo Badalamenti on Black Lodge?

CB: What happened with that was Angelo took the track and I went to meet with Angelo in a New York studio on the west side. It was just me, Angelo & some of his musicians; Grady Tate, Vincent Bell. They just did their version of it over the song and Angelo put these really moody strings on it. It was just awesome. It’s funny because you can hear the tones coming out of these guys, it was just the total Twin Peaks tone. Vincent Bell, when he got his rig set up and plugged his guitar in, it was the Twin Peaks sound, it was just awesome. I actually learned a lot from that session.

TPA: Can you imagine Twin Peaks without Angelo’s music?

CB: I cannot imagine Twin Peaks with anyone else’s music but Angelo Badalamenti. It’s almost how I feel about the movie Jaws, where if he didn’t have John Williams’ soundtrack, the movie was only half done. Music plays a big part in everyone’s life. You can take the tube or a bus ride and put your ipod on and a song comes on and it almost sets the mood for where you’re going. I think it helps you through certain moments of your life too.

TPA: Another high profile collaboration you did was with Public Enemy on the remake of Bring The Noise. How did that come about?

CB: That came about because Scott and I just loved Public Enemy. We had a big fondness for rap music in general back then, and to us Public Enemy was the epitome of what rap is. It was talking about issues that were important. Some people deemed Public Enemy as being a racist type of band. I never really took that what Chuck D was saying as being racist, I just took it that Chuck D was talking about what he knew, what he felt & what he saw. To me, Public Enemy hit the nail on the head. After that, I think some of the rappers who spoke about drug dealing were glorifying it. I don’t really think they were really speaking of ‘this is where I came from.’ I think Chuck D was trying to help his cause, whereas other rappers were trying to keep the cause as is, cos they were making money off of it. That (the namecheck in the original ‘Bring The Noise’) was one of the reasons why we wanted to do that cover & we just wanted to pay it back to them. I remember sending the track to Chuck and he called me up to say how much he loved it… in his exact words ‘This track is slammin!’. Then the ball just rolled from there. We got together in Chicago to do a video and I remember talking to Chuck afterwards and we were all so happy we said we should go out and do some shows together. The tour was booked – and that was it! It was one of those things that just came together in such a friendly way. There was no money thrown out or ‘I can’t do it unless I get this’. It wasn’t like that at all, it was just the way it should be. I don’t think that tour would happen nowadays, because too many other hands would’ve got involved.

TPA: What’s next for Anthrax?

CB: Well, we’re demo-ing songs for a new record. We have a new singer in place, we’re really excited about this third stage of our career. I could’ve just packed it in and said ‘I’m done with this’, but we still have this drive, I still have this hunger. And I still have this catalogue of music that needs to be heard. We’re gonna hopefully put it out this year. We just wanna make it right, because with a new singer it’s gonna be under the microscope. I would say it’s gonna be a little more in the older direction that we were going into, and I would say it’s going to be more into a new direction. I hear elements of the old and I hear elements of new. We’re thinking of working with this guy Joe Barresi, who worked on the last Tool record. I’m doing a lot of stuff in my place in Chicago, which is kinda like Anthrax central.

Interview conducted by Graeme Larmour exclusively for Twin Peaks Archive

Thanks to Charlie for a great interview and we look forward to hearing the next Anthrax record. For anyone with spare cards from the Gold Box to swap, the one’s Charlie needs to complete his collection are 32 (Killer Bob sketch), 34 (Maddy Ferguson), 38 (Audrey Horne), 39 (Roadhouse logo), 42 (Josie & Catherine) & 53 (Shelley Johnson). Make sure and check out Charlie's brand of coffee here. Also, make sure and keep abreast of the latest Anthrax news (Including newly announced tour dates) by checking out the official Anthrax site!

(c) 2008 Twin Peaks Archive

A Sneak Peak...

Then.Now....at the Twin Peaks California locations soon to appear at In Twin Peaks!

Collect them all!

Want some virtual Twin Peaks trading cards? Make friends with Josh on Jesterworld and ask! You may find some there, you may find some at our own MySpace page. Others may reside with friends. Collect them all! There are 11 cards in the 'Sex in the Black Lodge' series by Josh on Jesterworld including two rare 'Chase' cards...

Checklist:

BL1 - Annie
BL2- Audrey
BL3- Dale...?
BL4- Donna
BL5- Shelly
BL6- Josie
BL7- The Red Head From Season 3
BL8- Chet
BL9- Catherine
BL10- Jack (Chase Card)
BL11- Norma (Chase Card)

Rare 1993 Frank Silva interview!

Question: How did you become BOB on Twin Peaks?

Frank Silva: It was an accident. I was hired as the the on-set dresser for the pilot, we were shooting in Everett, Washington where the Palmer house was and we were shooting the interiors, and exteriors, and we were shooting in Laura Palmer's bedroom. It was basically the scene in the pilot where previous to the scene where we see her Mother downstairs yelling for her. Basically the shot we were getting ready to do, was Lauras's mother's POV of her daughter's room after her wanting her to come down to breakfast. So, the camera was in the doorway, David was out in the hall, where the ceiling fan is. I was tweaking the bedroom set, getting everything ready to go, making sure everything is in it's place. David jokingly said, Frank, you better get out of there, you're going to get caught in the camera. And then suddenly he said - wait a minute!! Frank, get down to the base of the bed, crouch down, look through those wrought iron bars, and act scared! And then they shot the POV, with me at the base of the bed. And it just sort of snowballed from there.

Q: Were you hesitant initially to get in front of the camera to do this? You hadn't done this stuff before had you?

FS: I hadn't done film work before. I had been an actor years ago, basically i was a theatre major. But i hadn't done film, so it was a whole different ball game, but i also did not expect this to go anywhere, you know, i expected this to like, be some sort of lark David was doing and wasn't going to go anywhere. I thought well, it might be able to go, We had no idea it would be a series at that point either. So, i had no idea if this character was going to be around.

Q: So, when they decided it was going to go to a series, where you hesitant, or where you willing to go on?

FS: I wasn't hesitant, because i didn't know when i was working. They would always call me up at the last minute and say, Frank, David wants you here at the set, and i'd say, well, what i'm i going to do? Well, we don't know! And it's not scripted, David doesn't know. Just be here. And they would always say, 'And don't forget to bring your wardrobe', because it was my own clothes that i was wearing that day on the set. So that's the outfit that BOB has been stuck with since day one, is my own clothes.

Q: Now, did you quit working behind the scenes once you were a regular on the show?

FS: I was not really considered a regular on the show, and i never quit my day job.

Q: Now, after the show was cancelled, were you surprised to find out they were going to do a movie or did Lynch tell you guys that before hand?

FS: He hinted around to us, but we had no idea that it was going to be concrete.

Q: Were you and a lot of the other cast members disappointed with what happened to FWWM... Do you...

FS: The film...

Q: I think the movie is fantastic, but as far as how as how it was received in America, i guess it did well overseas...

FS: Apparently, from what i understand...

Q: As far as America goes, we you guys dissapointed with how it did and do you have any explanation as to why it did not do so well?

FS: I don't look at a film in that respect. To me it's like... I think it's a great piece of film...

Q: Without a doubt...

FS: It doesnt matter to me if it's raking in the dough at the box office, I mean, i'll go see a film if it's not raking in the dough at the box office, before i'll go see a film that is raking in the dough at the box office. So, i wasn't dissapointed, I mean i think the film stands for itself, it definitely tells a story, and the fact that it wasn't a blockbuster hit, um, i also feel that probably had a a lot to do with promotion and the way New Line handled the advertising. I think that can make or break a film, and i don't think they did put enough into it. Maybe that was the case. I also think that a lot of people thought, oh, we already saw the series, we know what's going to happen. When, i don't think that was the case with the movie. I think, even if you did see the series, had you taken the risk and the gamble of going to the movie theatre to see the film, it would have explained a lot of other things for you, and close that chapter.

Q: And a lot of things were taken out too weren't they...

FS: Out of the film? Oh yes...

Q: Like 5 hours i heard the director's cut was...

FS: I'm not sure exactly the time on the director's cut. I know that David has a tendency to shoot a hell of a lot of film just to cover his bases. And you know, it's really sad but, he has a contract to have it down under two hours, which i think is really rough for any movie, to do 120 minutes and tell a a story. I also felt that with Wild At Heart. I mean, because i also worked on Wild At Heart, and seeing the final cut of Wild At Heart was like, wow, there's a lot of stuff that's not in here. Um, and i think that has a tendency to ruin a lot of films. They have these time limits they have to keep to, and if it's a good story and a good movie and people are into it, the'll sit in the theatre for 2 1/2 hours. I mean, they're there and if they're engrossed in it, what's it got to do with it being under two hours? I think that had a a lot to do with it.

Q: Are you still recognized alot as BOB?

FS: Uh-Huh!

Q: Does that get annoying?

FS: Um no, i'm flattered. It's a compliment.

FRANK SILVA 1949 - 1995

Click here if you are interested in obtaining an advanced autographed copy of Russ Tamblyn's upcoming memoir...

FWWM Steadicam Operator TJ Williams interviewed at Dugpa.com

CLICK!

Check out this amazing collection of original Twin Peaks props over at our sister site - Twin Peaks Props

Der Golden Ring des Nibelungen

Our friend Brad D has come up with a fantastic folk-rock opera based on Twin Peaks! It's free and you can download it here! Drop by his MySpace page and let him know what you think!

Exclusive Irwin Keyes interview!

Veteran character actor Irwin Keys has stayed busy for 30 years now in films such as 'The Warriors', 'Friday The 13th', 'House of 1000 Corpses' and The Coen Brothers' 'Intolerable Cruelty'. Irwin's breakout role as Hugo Mojelewski on 'The Jeffersons' also started a successful run of t.v. show appearances including 'Moonlighting', 'Thirtysomething' and 'Tales From The Crypt' amongst others. However, it is his role as 'Shorty' on David Lynch and Mark Frost's 'On The Air' that has brought him to the Archive...

Twin Peaks Archive: Did you always want to be an actor?

Irwin Keyes: I didn't always want to be an actor. I found acting while I was in college at SUNY New Paltz, N.Y. The Director of the play approached me, that they needed a guy like me in the Gorky play THE LOWER DEPTHS. I did the part and discovered I could finally do something RIGHT!!! From there I continued Acting to this day. SUMMERSTOCK, to NYC, to LA.

TPA: Your breakout role was...

IK: Hugo was my first acting role in California. One week i was in NYC. Next week I was Acting in LA on the #1 Show in America, THE JEFFERSONS. My role became a recurring character. The Audience loved what I did. They laugh to this day.
TPA: Were you aware of David Lynch before OTA?

IK: I knew who David Lynch was. I don't remember an audition. Just a meeting. He knew who I was. He built the role around me. The role of Shorty the Stagehand. All of the slapstick just happened.. I lite up the screen.

TPA: How long did it take to shoot the show?

IK: We did the pilot first. Then when they had the ok. We shot the other episodes. Groundbreaking! A sitcom without a laughtrack... I guess 7 weeks or less?

TPA: Lynch directed the first episode...

IK: David was quiet and sensitive as a Director. He knew what he wanted and made it happen.

TPA: Where was OTA filmed?

IK: MTM Studio in Studio City. Across the street from SEINFELD. I knew Jerry as a kid on Long Island. He was always driving his bicycle on the lot.

TPA: Your favorite episode is...

IK: I love the MR. PEANUT episode with Chuck McCann and his hand puppet. I pulled the plug on the bitch actress. She got rolled up in a carpet. The cast came out to sing the Mr.Peanut song. What a show!

TPA: What was it like working on a show people will be talking about 50 years from now?

IK: Great! They gave me a job!!!

The Warriors (1979)

TPA: OTA had such an amazing regular and guest cast...

IK: I had a great time on the show. All nice people. including the Bitch Actress!! I hear the Japanesse just loved the show. We need more OTA's today.

TPA: Did you take any photos or keep any goodies from the set?

IK: Sorry nothing to remember the show except my cap. That belonged to me from my cab driving nights struggling to get started in NYC. In the 1970's alot of actors drove cabs part time.

TPA: Many claim that your role as 'Wheezy Joe' in The Coen Brother's 'Intolerable Cruelty' really stole the show... What reaction did you get from Hollywood for a scene that got the biggest laughs in the film?

IK: No one steals nothing from George Clooney. He is a great guy! George is generous and shares. Miguel's cousin by the way. George knows that every film is an ensemble. Each person in his movies count. What we did together made a better movie. Better that the Coen Boys ever expected when they wrote it. The reaction I got from the big Hollywood Studios is that I have never done an 'A' Movie since. Why? Hollywood now makes films all centered around the lead actors. They don't want the audience to recognize anyone but the lead actors. Not like the great ensemble films of the past like CASABLANCA.

TPA: What's next for you?

IK: Opens on DVD 3/11/08 in my new horror film WRESTLEMANIAC. One of the great reviewed films this year. The audience will love this new horror film.

TPA thanks Irwin for his time!

Exclusive Carel Struycken interview!

As entrances go, few are more arresting than the first appearance of The Giant in the opening of Twin Peaks Season Two. Looming above an injured and possibly hallucinating Dale Cooper, The Giant proceeds to offer cryptic clues to the FBI man, including the much quoted observation that ‘the owls are not what they seem.’ The Archive called up actor Carel Struycken to find if any more other-worldy guidance was on offer…

Twin Peaks Archive: You had quite an exotic upbringing. Whereabouts were you born?

Carel Struycken: I was born in Holland, then moved to Curacao in the West Indies.

TPA: Your website mentions you recorded some Caribbean waltzes when you were 15 – how did that come about?

CS: When you’re there, you want to get involved in the culture. It’s funny, that’s been on the website for about 3 years and every so often there’s a lot of interest.

TPA: The website mentions that a CD of the music might be released. Would this be your original recordings at 15?

CS: I would re-record it… but I haven’t played piano for some time.

TPA: When did you first decide to start acting?

CS: I never did, it just happened. I went to film school, and while I was there I was approached for a part in a student film.

TPA: How did you get the role of Mr. Homn on Star Trek: The Next Generation?

CS: Well, it was one of those ‘catalogue casting’ calls, where they call up 20 or so actors. The first part they offered me was small. I’m a fan of Star Trek, so I said I would rather hold out for a bigger part, and they called me back a while later with the role of Me Homn.

TPA: What was the Star Trek 40th Anniversary convention like? Had you attended any Star Trek conventions before?

CS: It was big. (laughs) It was very nice, I actually had my own stall for signing autographs. I’ve attended many of the conventions before, but this one was special and on such a grand scale.

TPA: What was it like attending the Twin Peaks Festival & how did it compare to the Star Trek convention?

CS: I’ve been invited once and would love to go again. It was very nice, a very intimate setting and a lot of great people there. Just by nature of the scale, it was a lot more up-close and personal.

TPA: How did you get the role of the Giant on Twin Peaks?

CS: That was through casting director Johanna Ray, a great person. She read me for the part and I actually never met David Lynch until we started shooting. He trusted Johanna’s judgement on casting me… or my part was so small he didn’t really care who did it. That’s the other way of looking at it!

TPA: Were you aware of David Lynch or Twin Peaks before taking the part?

CS: Yeah. I hardly ever watch TV, but that was one of the shows I would watch. So it was a big complement to be there in person.

TPA: Did Lynch explain the character to you or give you any hints as to the meaning of the Giant or where he came from?

CS: No, I don’t think he explained any of his characters to anybody. And I don’t think he wanted to know himself. I always thought of The Giant as a kind of spectral projection, or alien, helper.

TPA: Before the last episode did you know that the Giant and Hank Worden’s Room Service Waiter were one and the same?

CS: No, I didn’t know. And it may be that he (Lynch) only decided that on the last episode. The whole shoot happened in one very long night. I remember a 24 hour shoot and learning my lines backwards at three in the morning. Little Mike, he can read something and say it backwards in real time, so he helped everyone and became our backwards dialogue coach.

TPA: Did you keep any props or costumes from the show?

CS: Well, I actually had the shirt I was wearing made by the same tailor, because I didn’t get to keep the actual shirt. But the strange thing is I’ve never worn it, it’s still hanging in my closet. So I might take it out and wear it!

Photo by Richard Beymer

TPA: Did you take any photos on the set?

CS: No, I only started taking photos two or three years ago.

TPA: It still seems a shame the show was never allowed to continue...

CS: It’s strange, but I always got the feeling there was a boycott by the network. I got the impression that even when it’s a success, they don’t feel comfortable when they don’t have control over it. So the first thing they did with the show was put it on a very unfavourable timeslot. To me it looked like they were trying to kill it.

TPA: Once the series was off the air, Lynch directed FWWM prequel, although this didn’t feature The Giant. Was this your decision or would you like to have been involved?

CS: No, I would love to have been involved – but they never asked me!
(laughs)

TPA: Did people ever see you walking down the street & recognise you from the show?

CS: That actually happened more in Europe. I was at a museum exhibition in Paris and I noticed that one or two girls were following me. I kept walking and the group got bigger and bigger. Finally, when I went outside again, there was a whole bus of Italian girls following me around. I always call that my claim to fame. (laughs) Some big movie stars are mobbed wherever they go, but I was followed by a busload of Italian schoolgirls! The other interesting thing is that I was in Romania a few years back and everyone recognised me. Then I found out that one of the very first TV shows broadcast after the overthrow of the dictator was Twin Peaks. The strangeness of the series resonated with them. It’s such a traumatized population, because in their country ultimately nothing makes sense. So watching Twin Peaks made sense to them because also in Twin Peaks nothing makes sense.

TPA: Can you explain to us the process of Spherical Panaramas (a type of specialized photography where the viewer can see a scene from 360 degrees)?

CS: Well, you take a digital camera and take a number of images which you stitch together. That’s the easy part. The hard part is creating images that are shot inside the building where the outsides don’t look washed out. It’s a pretty specialized field – in each country there are a handful of people who can do it. I’ve been doing it about three years and I’m getting better and better. One of the things that intrigues me about technology is how to make things hyper-real.

TPA: What's next for you?

CS: I’m trying to make the photography into a business venture, and whenever there is some time, i work on a mixed media project, something that combines elements of a feature film and a website. It is about how we are re-claiming our original (hunter-gatherer) mindset in this electronic age and the challenges of moving towards a virtualized environment.

Twin Peaks Archive thanks Carel for a great chat and encourages everyone to check out his Spherical Panoramas here. Also, don't forget to check out Carel's website where you can find out what he's up to and order an autographed photo or two! This interview was conducted by Graeme Larmour exclusively for TPA.