It's A Beautiful World - Review

In late 2009, David Lynch traveled to India for ten days to prepare for a film about Transcendental Meditation founder Maharishi Mahesh Yogi. Equally as important and tied into that task, Mr. Lynch retraced the steps of a young pre-TM Maharishi from one end of India to the other. Also in attendance was Richard Beymer whom David Lynch invited to shoot behind-the-scenes footage. This documentary is the result of that trip.

There are plenty of documentaries out there about David Lynch. David the painter, David the filmmaker etc. What has been missing, until now, is a documentary about David Lynch the person. I'm not saying that Mr. Lynch is the focus of this film. However, for once, David is captured on camera involved in a subject matter larger than himself. One of the wonderful things about 'It's a Beautiful World' (and there are many) is seeing the absolute joy and awe that Mr. Lynch expresses as he is able to spend some time in a tiny room that The Maharishi spent two years in silence in, or visiting the former hall where he gave his first lecture. Clearly Mr. Lynch is very authentic and earnest in his belief and respect towards Transcendental Meditation. There are no serious and stifling speeches here. Nothing phony is on display. Oh and don't worry, there are some great stories and talk about Eraserhead and Twin Peaks. This is a film with something to offer everyone.

Richard does a wonderful job behind the camera. Because of his strong friendship with Lynch, access is absolute and Lynch is indeed so enthusiastic that, although they only have a little more than a week, they fly, drive and trek through an impressive amount of space in the time given, all the while taking the time to appreciate the primary reason why they were there. Beymer's occasional commentary is clear and concise.
Different people will get different things out of 'It's a Beautiful World'. What I got was an incredibly positive and human portrait of a man that is not playing the part of an artist, but a man who is part of something much bigger.

Rating: A

Exclusive Clip from 'It's a Beautiful World' #2

'It's a Beautiful World' - A film by Richard Beymer. Released late April 2014. Special thanks to Richard Beymer and Robert Wilson.

David Lynch To Possibly Shoot Twin Peaks Promo This Tuesday

***NEW UPDATE (1/10)*** Ray Wise confirms a promo was shot!! ***UPDATE*** Mark Frost has called this story "Another strange baseless rumor." Notes: This is unconfirmed. If it is true, we can't help but wonder if this is related to the upcoming "unusual" press release for the Twin Peaks Blu-Ray set?

Exclusive Jeff Moore Interview (part two)

Continued from part one. Our interview with Jeff Moore concludes. Make sure and download Angel Highway's (featuring Jeff Moore) album 'Outside Twin Peaks' from iTunes!

Interview conducted by Brad Dukes...

Brad - Did you have a large collection of props of your own at the time that you would bring into the show?

Jeff - Yes, you know what you do is you have a kit of props that you carry around and you hope that when they ask for something you might have it within your kit to bring. There are a number of things I brought to the show like watches, different things in my kit, mostly I purchased it or rented it or had it made or made it myself. You remember the pig face in Diane Keaton's episode?

Brad - Yes! Jeff - That was purely my idea. What happened in the production meeting is they said "And she should bring out some food, something odd, something different..." they said, you know because that was Twin Peaks. Diane says "It should be something...I don't know..." and I said well how about a pig's head face? She went nuts and that was when I got her on my side and that pig face became part of the show and it was my little touch and I loved that.

"Oh Andrew..."

Brad - What were some of your other favorite props on the show? There are so many that come to mind. What do you remember?

 Jeff - The one that I had a real challenge with and the one I really enjoyed a lot was the box, the mystery black box with the astrological signs and you had to press the right sequence of signs for the sliding drawer to open up. That was probably one of my favorite props because of the fact that it was so complicated and I had to get it made... One of the interesting stories about that was while we were shooting that and Pete drops the box and it breaks right? Well, he drops it way to soon and we only had one of them and we had to put it back together again by magic to finish and carry on, we had to keep having that thing. So it was one of those great props and we watched it like a hawk. Leo's collar was fun. My big deal on that was finding a collar that lit up and then the button. We went through so many choices of what kind of button, it ended up being this cheap little plastic thing that had a light on the end and so that was an interesting prop as well. Then the clown on Leo's bed with the spinning nose, that was a fun find as well. Those are some of the things...there are so many...

Brad - You mentioned Leo, and it makes me think, when you watch that episode where he dives into the cake, did you have like five cakes on hand (laughs)?

Jeff - I think I had three that day. I only gave them three (laughs). That's why I said "You gotta get it in three!" (laughs) That's one of the things you can dictate to them and if they say well, we need five then they gotta' come up with more money. So that means production has to get involved because I can give them three within the budget that production give me and that's how that kind of flows.

Brad - Was Twin Peaks a tightly budgeted show? What was the prop budget for an episode?

Jeff - Thinking back, I think I might have had anywhere between $3500 and $8,000 an episode. Somewhere in there,  It's hard to remember, I still have all of my paperwork but I don't remember what my budget was exactly. We started off pretty low budget, we were barely existing as a show. That added to the fun part of it because you got what you needed with what you had.

Brad - So, I all of the interviews I've ever done, a lot of people have liked to bring in their own props. Do you have any interesting memories of people bringing in their own stuff?

Jeff - No, I mean the only one that comes to mind was one that wasn't really brought in but found was when Piper Laurie and I were out on a location here in L.A. shooting a forest scene and she comes out wearing all her hiking stuff including a leather hat, and we were going up to the set and she said 'Jeff, I need some sort of hiking stick'. I don't quite remember but I ended up presenting her a bunch of sticks I literally found right there, she choose one and just loved it. She mentioned it in the interview at USC and she even asked me twenty years later if I still had that stick. So she remembered that. Clarence Williams III was an interesting actor because he would like to put things in his pocket that you didn't see or it ever came out because that was his character. I remember I did two movies with him and he did the same thing with me on Twin Peaks and he was an FBI Agent and he had to have something like a folded up copy of The Constitution in his pocket. No one ever saw it but I had to have it for him every day!

Body bag sketch by Lynch on ceiling tile. Signed.

Brad - Do you remember if David Lynch, Mark Frost or anybody else requested any props that caught you off guard?

Jeff - Yes! Some of the more interesting props that David ever requested was the red rubber bouncing balls that the sailors are bouncing in the Great Northern Lobby. That day, David had decided to rewrite that scene in the lobby there. So he had these guys dressed up as sailors but he didn't have them smoking, I mean, you know he had no idea what he was going to do. All of the sudden during the middle of the rewrite, he calls me over during this two hour coffee break while he rewrites this scene and he says "Jeff, I need you to go out and get me all the red rubber bouncing balls you can find!" He said it in his David Lynch voice and he was one hundred thousand percent serious and I'm semi-laughing but at the same time I knew this was what he wanted. So I went out everywhere I could go in a mad rush to get these red rubber balls, which, by the way, I found the other day while going through one of my kits, and I came back and then the sailors were walking through the lobby bouncing these balls and that's what that turned out to be. Then there was the Smiling Body Bag and that was interesting because that really didn't exist until a day or two before it happened. David had drawn me a picture and we were at the location where it was going to be filmed and the day before I got the bag he said, "I need a giant black smiling body bag" and I said O.K. I knew I only had a certain amount of time to get this. I said, can you draw me a picture? So I'm standing there with Richard Hoover, David Lynch and myself and we're trying to get this figured out because Richard as Production Designer had to build whatever rig it was going to hang on over whatever sink it was going to be over and whatever David wanted and I had to have the prop. So we were all standing there and David was trying to explain it to us, so Richard says to David, why don't you draw it? So David drew it on a ceiling tile that had fell from the ceiling in this old run down hospital we were shooting in, he draws it, he draws this black bag and then as we were finishing and he was explaining everything, "It has to open up Jeff" and "Richard, I need it on this thing..." and then as we were walking away from this meeting, Richard says to me "You ought to have him sign that. It will be valuable some day!" (laughs) So I said will you sign it? He said "Sure!" So he signed it for me. Then I went off and found the body bag, which was a 1930's body bag when, back in those days body bags were zipped down the middle. Now they have an L-zip where they can just slide bodies in. So I was really up against finding that old fashioned bag to get that big smile he wanted. So that was one of those on-the-fly situations, he drew the picture and I found it. Oh there's one more! That would be the golf bag where Maddy's body was in when we sort of knew at that moment that Leland was the killer? Well, he called me in the office way before it and he said, "Jeff, I'm going to tell you something and you're going to kind of know something from this. I need you to find me... because you know, in the script it says Leland grabs a golf bag. We got scripts but sometimes not everything was not on them yet.  So he said "I want you to find me a golf bag I can put a body in." Then David insisted a real human had to get in it and he literally, when I did end up finding the golf bag, put somebody from the office, I don't remember who it was, into the bag to make sure that a body would fit in it. When it came time to film that scene I think we had a human in there to film the hands in the bag...

Brad - Oh, man...

Jeff -, that was a really interesting thing because at that point he was telling me that Leland was the killer.

Brad - What was it like dealing with the aspect of secrecy and all the multiple scripts going around?

Jeff - There wasn't a lot of multiple scrips, that's kind of a myth, they just came out when they were written and they came out slowly sometimes. The mysteries of the scripts were just that no one wants to know who the killer was. The biggest deal was getting scripts late for most people, because the writers were struggling to keep the storylines going and keep everything close to their vest but at the same time they had to communicate with certain departments and the departments they had to communicate with was Wardrobe and Props were the key ones because it always involved somebody in an outfit and it always involved something going on, some sort of prop. So, we were the only departments, besides a few others, that kind of always knew what was coming only because we had to have what was needed then.

Brad - You mentioned filming in that old hospital, do remember any other memorable location filming sites in the Los Angeles area?

Jeff - Yes, Cold Water Canyon, we were shooting up there a lot, they actually shot the opening credits to The Andy Griffith Show up there. That was shot up in Cold Water, we shot all of our Pine Tree stuff up there for Twin Peaks and I enjoyed the history between the two places. The two shows.

Brad - Do you have any interesting stories about working with Mark Frost? David Lynch is the name that always comes to the top with Twin Peaks but what was your experience working with Mark?

Jeff - I had a really good experience with Mark because he also took me to do 'Storyville' with him. Mark and I are the same age, we graduated at the same time and are similar in many ways so we hit it off. He was never really a presence there, he was always upstairs, that mystery guy you never saw much of. When the show finished, David asked me to go do 'On The Air' with him and at the same time, Mark asked me to go do 'Storyville' with him. So I had to finish Twin Peaks, do On The Air and then get ready for Storyville. It was during Storyville that I connected with Frost and he was really a great great guy.

The actual 'Jacoby Coconut' and 'James' Half Hearts!

Brad - Did you have a favorite place to find or purchase props in the L.A. area?

Jeff - Yes, Ellis Mercantile, which no longer exists, was the oldest prop house in Hollywood. Started in 1906 in the days when there was just a dirt road up there and people like Charlie Chaplin were making movies. I found everything I needed and most everything on the show came from Ellis Merc. It was the key to everything in Twin Peaks. Because of it's history, I could go really deep into that prop house and find any period I could think of.

Brad - What were the biggest challenges on Twin Peaks?

Jeff - The biggest challenge on Twin Peaks was time which is the biggest challenge on most productions. Time to get what you need and time for when they need it. Money, budgets, getting enough people on your department so that when your out trying to get things going, your two guys on the set have enough help as well. In the first few episodes of Twin Peaks that I did, we also did all the special effects! Rich did the fireplaces, he went out and got a license to do that. We did the smoke in the roadhouse and every other set that needed smoke. We were doing a lot of the special effects until the show turned union. Once that happened, legally we could not do any of those things anymore which was a big break for us. We didn't have to think of doing our props plus, oh yeah we have to do all these smoke and fireplace effects as well.

Brad - You mentioned working on Storyville with Mark. For me in all my research on the show, there's always been a mystery about the timeline. Mark Started Storyville which was at the tale end of Twin Peaks, but do you remember working on the finale in the Red Room? Do you have any stories about putting that together?

Jeff - There was no gap between that. Actually there was...Mark was probably in pre-production but not involved with any crew members at that point. He might have been casting and stuff but he was there until the bitter end on Twin Peaks.  Even though On The Air and Storyville were happening, they weren't interfering with any of the filming times with Twin Peaks. Probably more than anything at the wrap. When the show was over, I literally walked from backstage down to an office to found out about On The Air at the same time reading the script to Storyville. So I was involved with everything in the Red Room, every single episode.

Brad - Do you have any interesting stories about the Red Room?

Jeff - The big thing about that was the floor of course. That was done by David Robinson, the very first Prop Master for the first five episodes of the show. The reason I got the job was because David didn't want to be the Prop Master. He just got the job be default at the start of the show...he wanted to be the on-set painter because it's more artistic in the sense that you can make things look old etc and it's a real cool job. Of course I like props. What I remember most about The Red Room was the construction of the floor, how David Laid it out and how he painted it and his brilliant work. When the velvet came up I wasn't quite sure what was going to go on in there. It didn't read like what I saw you know? The reverse shot I remember because David had them do all that, in the song Outside Twin Peaks you'll hear some reverse guitar in it which of course harkens back to our finger-snapping guy! There's also some finger-snapping going on in there as well! So I pulled a lot of those elements from the Red Room into the song Outside Twin Peaks. Because when I was writing it, that's sort of where I was at in my head. So I carried those things over and I think I got it out in music in a sort of interesting way. I remember writing Outside Twin Peaks and a lot of it took place in that room as a songwriter.

Brad - Do you have any desire to do an album or any other Twin Peaks music?

Jeff - Actually we just finished a track called Glastonberry Grove. I'm also hoping this one song called Four Corners which was written by my Friend Bill Wheat and I, he's in the band...the name of the band is Angel Highway and the name of the album is Outside Twin Peaks. One of the other members of the band is Roger Johnson who has played with Tom Waits, I mean he's just a major player. He was a fan of the show. So I sent him this song, the first version of it, and he just flipped out and said "I love this song! I have to get involved." Like I said before, when I was doing the song, I knew I was going to the Retrospective at USC the next night and I was home alone in my studio and my girlfriend had gone to a wrap party for a television show she was working on...when I played it for Rich (Robinson) who went to the show with me that night at USC, now Rich is an old player with a great ear and I trust his...he knows good when he hears good. I played it for him and the first words out of his mouth was "Wow Jeff that was inspired." I'm thinking, "This is coming out of Rich's mouth?" (laughs) I know Rich, I've known him for 8 years prior to Twin Peaks, we were brothers! I know him as well as I know anybody. So I thought to myself, maybe I do have something here. So at the Retrospective I got a copy to Alex and he got it to Mary to give to David Lynch.

Brad - Do you have any interesting memories of working on 'On The Air'?

Jeff - It was seat-of-your-pants Brad! We sort of rode that one on the Twin Peaks phenomena. ABC had cancelled us, then had given David this other thing right? So the thing about it remember the most was...we used Okowita, the Art Director, so I worked with him, he was also the Art Director on Twin Peaks but I didn't work with him a lot so we worked more with each other and we were really running and gunning all the time. It was a period piece and I remember just barely keeping up with the scripts. Everybody was on the edge of not being ready. Everybody, David...everybody. I mean, it was sort of like "Okay, you're gonna let us do this?" So it was like "Here we go!!" Of course they only aired two or three of them. I also remember working with Squiggy, what's his name who was also in Twin Peaks? David Lander!  He was great and also working with David in pure period.

Brad - Any interesting stories from Twin Peaks we haven't covered that you would like to share?

Jeff - One of the things about David, everything goes back to David, I will say this, working with every director, one of things about Twin Peaks was working as a department head in props, I was very privileged to be able to work with each director face to face, one on one because we always had to get everything squared up to what they wanted in that it was exactly what they wanted. A lot of stories go along with Windom and his chess games and all these different things that were happening, I really had to be on top of my game. In working with every director, what's interesting about is because I've done a lot of one hour shows afterwords, I quit the industry for a number of years because I opened up a very successful restaurant in Sedona, Arizona which I'll give you a brief on that later. The thing I remember is each director being excited about working on the show. Each one more than any other director on any other show I've worked on except for 'Pushing Daises'. That was another one of those strange element shows that brought out the fun in directors. What was great about Twin Peaks was they wanted to be there, they wanted to put their touch on it, they loved what was going on with Twin Peaks, so working with each and every director was never a challenge. They were really happy to be there and they really leaned on us to search for what they needed.

Brad - What was it like attending the USC Twin Peaks Retrospective and walking into a crowded room and seeing all these people that are crazy about Twin Peaks nearly 25 years later?

Jeff - You know it's really interesting and I'm glad you asked that question. You know the reason is, Rich and I had gone together that night and we hadn't seen each other in a number of years. You know, I went on to do my restaurant in Arizona and Rich continued on in the business and we recently got connected together on a show, we were working on Scandal for ABC. So we got an invitation, which by the way came from an Instagram photo. We went to the Retrospective together okay? We drove up there just having a good time, feeling good and kind of wondering what's it going to be? We get lost on campus then we find it and we go into the lobby and see all the props in there and wondering "who got all these props?? How did they get this?? This was mine!!" Of course they got picked while I was out doing On The Air. So we walk into the place where they were showing the episodes and it was a full theater. Full. We couldn't sit down. We both walked into the theater and just gasped. Then Piper walks in through the door right behind us and she says "I can't believe how many people are here." Right then she asked me about the walking stick. Which was really funny! Before I said anything to her she said "Hey, do you still have that walking stick?" We walked into that room and we could not believe it. We knew that this is something.

Brad - For all the times you were on the set of Twin Peaks, what were the top two scenes that stick out in your mind for whatever reason?

Jeff - Well, I know of one really intense scene that I was directly involved with. Remember the scene inside the train car with the flashing and the strange lighting with what's her name? Pulaski? We had this set and David comes up to me and says "Jeff, I need some flashing and need something that flashes! What do you have, what can you get?" Rich and I are just scratching our heads and we say "Well, we have some flash paper, you know like magicians use." So we grab every flashlight, every piece of flash paper we could find in my kit from an old magic show, God knows how I had it and where it was from. (laughs) We went in there, we were shooting Twin Peaks on film, and we took in this film tray with the flash paper and Dave had us sitting there underneath her face lighting up this flash paper trying to get flashes you know? Then Stephen and Rich were doing flashlights in all different ways and the lighting guy were doing all different things and that was one of those scenes and then it was also this heavy scene. Besides all these different lighting things going on there was murder taking place and this whole rape and everything going on. That was probably on of the most intense things I did with David on Twin Peaks in the sense that we were right there with him and he was going "NOW!" "FLASH!" You know we didn't quite get what we wanted but I think it ended up looking pretty good.

Brad - I remember watching that in 1990 and it scared the Hell out of me.

Jeff - Well it scared me and I was doing it.

Brad - Do you have any memories of Frank Silva who played Killer BOB?

Jeff - Yes! The thing about BOB (laughs) The thing about BOB! He was in the art department, he was a set dresser and it was the same with the Log Lady, she worked in the camera department. So when David turned his camera on Frank, he knew that was going to be his BOB. He didn't send him to a casting thing, he just decided in the moment to turn the camera around on him and the next thing we know we have our killer. So I just remember him being on set with us working and dressing sets and I remember him there and then all of the sudden he was on the show. He was very soft spoken. The nicest guy you could meet.

Make sure and download Angel Highway's 'Outside Twin Peaks'!

Special thanks to Brad Dukes for conducting this interview!

Very special thanks to Jeff Moore for taking the time to talk with us!


"It's a Beautiful World" - A Film By Richard Beymer.

Latest news from producer Rob Wilson:

"Thanks for everyone's interest in Richard's film! We've been working on it steadily since 2010 and through many twists and turns, we're really happy with how it's turned out. We're still working out the kinks in how it would be distributed, but want people worldwide to be able to see it at the same time. We're leaning toward Video On Demand and website where it could either rented/streamed or downloaded in HD. What do you guys think? Our intention is to release it before the end of the year and we're hoping for November. Lastly, Richard is planning on including a bonus short film he shot while attending the Twin Peaks Fest-- it's fun and (since Richard's POV is our POV in the film) it gives you an idea what it must be like to be a guest."

"More info as we have it... And thanks again for everything."

Exclusive Diane Caldwell Interview!!

Interview conducted May 3rd, 2013 at midnight PST over Skype by Scott Prendergast, director of the films KABLUEY and THE DELICIOUS.

SCOTT: Hello! Where are you right now? Where am I skype-ing with you?

DIANE: I’m in Istanbul. In a wonderful neighborhood called Aynalıçeşme. And it’s a great neighborhood. It’s filled with – I would say a lot of Kurdish people. And now it’s the season where I walk through the streets, and laid out on the street on pieces of cloth, or hanging from rails or any place possible are hunks of goat and sheep fur. Because they either get it from the villages where they come from – or they open up their old bedding and take it out to air in the sun and beat it and let the dust come out. That’s what goes on in my neighborhood right now. I’m like five minutes from all the action in Taksim.

SCOTT: So now let me ask you just a few quick, background biographical questions. First, where were you born?

DIANE: Philly. I’m a Philly girl.

SCOTT: OK, but from your blog I know that you ran away to New York City in 1968.

DIANE: Yeah I ran away to New York when I was 16. In search of truth and beauty.

SCOTT: And did you find it?

DIANE: (laughs) Well the truth was I ended up with the misbegotten, forgotten misfits of the world.

SCOTT: And you were friends with Nico the singer and Allen Ginsberg the poet, correct?

DIANE: That’s correct.

SCOTT: And did you ever go back home to Philly?

DIANE: I went back home four years later with a baby boy. I was suffering from mononucleosis, I had a baby boy – and I went back home.

SCOTT: And then – I’m assuming that at some point you moved to Seattle? Or you moved to Washington state?

DIANE: Yeah. So I went back to Philly when I was 20. Took up with some crazy tye-dye wearing, fringe-bedecked, long-haired crazy man – and we took off in a van that I had collaged the outside of. And we left Philly for parts unknown. And at some point ended up in the Florida keys where we lived for a while. On Marathon Key. And then, I don’t know, somehow I ended up in California and then Oregon, where I did my back-to-the-earth trip in a little cabin with wood for the only source of heat and cooking. And I had my own garden and that kind of thing. And an outhouse. And then eventually up to Seattle. Actually it was in Ashland, Oregon where I first started acting.

SCOTT: As part of the Shakespearean festival there?

DIANE: As a fringe of that scene. So a group of us had started something known as Ashland Resident Theater. And I was a part of that.

SCOTT: And what took you to Seattle?

DIANE: I got more and more interested in acting and wanted to seriously study. I auditioned for Cornish Theater of the Arts, their drama department, and was accepted. But then I couldn’t keep going to Cornish because I had to work. And I had to quit the program. But I kept auditioning. And I started getting cast in roles in different theater groups. And slowly, got my equity card and my SAG card and I guess I was a “professional actress.”

SCOTT: And did you do television commercials out of Seattle?

DIANE: Yeah.

SCOTT: Do you remember any in particular?

DIANE: Well I remember the audition that made me stop acting. My agent called me and asked me to go down to audition for “2000 Flushes Toilet Bowl Cleaner.” A national, big time commercial. Do they still have this product in the states?

SCOTT: I don’t know about that one.

DIANE: OK. So I walk into the place where the audition is taking place. And of course it’s filled with actors, you know warming up and stretching and (makes funny mouth stretching noises) and saying their lines - and it looks like a lunatic asylum, of course. And if you could harness the energy, you wouldn’t need electricity because there’s already so much electricity just from the people. And I looked around at all these people and I said “They’re here to sell toilet bowl cleaner!” And I thought “I didn’t flesh out the pockets of my soul to sell toilet bowl cleaner. What am I doing here?” And I left. I didn’t become an actress to perpetuate capitalism.

SCOTT: So then, how did the whole Twin Peaks thing begin for you? What was the first inkling of it?

DIANE: There was a casting agent – I think it was Susie Dixon – who called me and said would I come and pick up a script and look at it, there’s going to be auditions for this... at that point I’m not sure that they knew it was going to be an ongoing series. There was going to be this made-for-TV film shot in the Seattle area directed by David Lynch. So I picked up a script, looked it over, came back and expected what was always the case – where I walk in a room and there’s a video camera and Susie would film me and maybe there’d be another actor or two to do lines with or maybe I’d do lines with Susie. And that’s what I was anticipating. So I walked in, and her assistant says “Please come this way,” opens a door, and I go in and David Lynch is sitting there. Which was quite a surprise, needless to say. And so I sat down and he said “How are you?” and I started to cough because I was just getting over a really bad cold. And I said “Fine except for this phlegm ball problem that I seem to have.” And he said “Tell me more – about the phlegm ball.” (laughs) So I started to wax poetic, talking about how I saw this thing about phlegm balls being attached to larynxes and this epidemic of phlegm balls. And he replied that he had a theory about “barbed phlegm balls.” And we went on this whole crazy “phlegm ball/barbed phlegm ball” journey as Susie Dixon was kind of doubled over in laughter and I’m thinking “This isn’t how I pictured the day going.” But after the phlegm ball interaction, he asked if I had ever been a waitress, he asked for some experiences, tell him about some experiences, which I did, after which he said “Hmm, I think there’s something for you in this, I think I have a part for you in this.”

SCOTT: Now let me ask you, let’s back up, when you got the script – I actually looked again today at the script for what was then called “Northwest Passage”...

DIANE: Right.

SCOTT: And there are several characters that are referred to as “Desk Clerk” or “Concierge” but there’s no actual – your character, who is Julie the Concierge – doesn’t actually appear in that script and doesn’t have any lines. So when you read the script, what were you reading?

DIANE: That’s a good question. He asked about waiting tables. So it was some sort of waiting position I thought or... I don’t know... It wasn’t a lot of lines and it was some sort of non-descript thing. I don’t really remember.

SCOTT: So then you’re in the meeting with him. And he says “I think there’s something for you.” And then you left? Or – what happened next?

DIANE: Well I said thanks, and nice to meet you and stay safe from barbed phlegm balls. And then whenever at some point I got a call from Susie Dixon saying you got a part in this thing and it’s now called Twin Peaks. And can you pick up a script and I’ll give you shooting dates.

SCOTT: And when you got the script, were there then lines for you?

DIANE: Yes, uh-huh.

SCOTT: So the lines that you speak in the pilot were by then in the script?


SCOTT: So maybe he crafted that part for you a little bit?

DIANE: Perhaps.

SCOTT: So then what happened?

DIANE: OK so where we filmed was up in...

SCOTT: Kiana Lodge, right? In the San Juan Islands off of Seattle? That location was used for the Great Northern Hotel interiors.

DIANE: Yeah, it’s been a while since I lived in... Up towards the hills in some lodge. I was driven up and shown to my little trailer. And I arrived, it was chilly up there and I remember I arrived in a pair of sweat pants that are like fatigue sweat pants, camouflage sweat pants? And I had this big, big surplus army jacket that I had bought in a Goodwill store or something and the crazy thing was (laughs) that David Lynch and I were dressed identically. And we kinda looked at each other like, “OK...” (laughs)

SCOTT: That’s hilarious. Now, you have a little name tag in the pilot. But it’s hard to read. Does it say JULIE or CONCIERGE? Do you remember?

DIANE: I think it says CONCIERGE.

SCOTT: Last summer I went to the San Juans and I drove down to Kiana Lodge and we went to the room where your desk was, in the lobby of the Great Northern. And I took a lot of photos, comparing the wall to the pilot. It’s a beautiful lodge. In reality it’s a place for weddings and events and corporate retreats, that kind of thing. A very beautiful location.

DIANE: Yes it is. I wonder if the desk still has coffee stains from where Sheryl Fenn sticks her pencil in the cup.

SCOTT: (laughs) There was no desk anymore. Were you waiting around for a while on set or what do you remember about the actual shoot day?

DIANE: I remember it was – (laughs) I remember a few things that stand out... I remember it was really cold. And I was asking isn’t there any thermal underwear I can wear underneath my top? And they ran out, somehow somebody procured some thermal underwear because it was really quite cold. And I remember... Piper Laurie? Yes, Piper Laurie was so lovely.

SCOTT: Oh, so she was there the day you were there?

DIANE: Yeah. And she was really, really lovely. Most of the other people were, I don’t know, busy prepping, busy getting into character – but she was so lovely and welcoming.

SCOTT: She was probably there because Kiana Lodge also doubled as the Martell home in the pilot. The Martell kitchen was on the other side of a door in that meeting room.

DIANE: I just remember her – she stood out – because she was so lovely. I remember this overall sense of what an overall warm lovely welcoming woman. And then, I remember thinking “Oh my God, it’s Rich... it’s Tony!” [Richard Beymer as Benjamin Horne, had played Tony in the film version of West Side Story in 1961]

SCOTT: Yes and you had a scene with him!

DIANE: Yeah! Yes, and I only wanted to go (laughs, sings) “Tony, Tony...” Like that, but no, no, of course. Richard. I had never heard or seen or thought of him since the days I used to enact West Side Story with friends in my house after our classes were over. And... I remember there was a great buffet at lunch time. Oh the other thing I remember was at first when my desk was filled with coffee from Sherilyn Fenn and I was trying to wipe it up and they said cut, I would start to dry my hands and then there would be someone who would come over and dry them for me. And at first, this was strange, but after the third time it’s like, “Where’s my hand dryer?” (laughs) You can sort of become used to these things.

SCOTT: The finer things in life.

DIANE: Yes. Or the woman who would brush the lint of my jacket.

SCOTT: Right. Anything else you remember about that scene with Sherilyn Fenn where she pops your coffee cup with the pencil?

DIANE: I would say that I don’t know if she was acting because she always behaved the same way from the first time I set eyes on her. So either she was completely in character at all moments or that’s who she is. She was always like this kind of out-there, styrofoam-cup-defacing girl. (laughs)

SCOTT Your last scene is when the foreign investors are checking out and you say...

DIANE: “The Norwegians are leaving.” And I said it so many times that at the end of the scene someone said to me “You now have the most lines of anyone in this entire thing.” Because for some reason David Lynch wanted it to go and go. And I did it a number of times and he said “Keep saying it, keep saying it, keep saying it...” And I kept saying it “The Norwegians are leaving. The Norwegians are leaving! The Norwegians – are leaving...” And it went on. And on and on and on. The Norwegians are leaving. Yes. That’s the thing I remember most. Because I said it the most times.

SCOTT: So I wanted to tell you I went to the Twin Peaks fest two years ago, and people come from around the world to visit the locations of Twin Peaks. And when I was there it was the 20th anniversary of the pilot. And there were people there from Japan – because you probably know the show was huge in Japan – and there was also a couple there from Norway. And every time this couple would leave the room everyone would shout out...

DIANE: The Norwegians are leaving!

SCOTT: So you could say that line has had an impact on pop culture.

DIANE: I suppose so. Maybe. (laughs)

SCOTT: Anything else you remember about the shoot?

DIANE: I do remember that Tony (Richard Beymer) broke out into a tap dance after one scene – and it was very nice. It was delightful.

SCOTT: So then once the shoot was over – you went back to Seattle...


SCOTT: And then, what was the next that you heard about the show? Did you know it was coming on the air? Or did you lose track of it altogether?

DIANE: I think that was about the time I was given a fellowship to the University of Delaware’s acting program and I was kind of caught up with going to Delaware and getting my M.A. in acting.

SCOTT: So when the series went on the air were you aware of it? Did you know it was airing?

DIANE: I think I might have been in Delaware at that time.

SCOTT: Because it was a huge cultural sensation. I would think that someone would have recognized you or spoken to you about it. Particularly if you were amongst other actors.

DIANE: I do remember that one classmate who left the program I was in, at some point, phoned me or mailed me or something, saying that he saw me in it. But let me tell you something, I’ve never seen Twin Peaks.

SCOTT: Really?

DIANE: Really.

SCOTT: Wow. I’m amazed. So you never watched it at all?

DIANE: No I’ve never seen it.

SCOTT: Why didn’t you see it at the time or since? No interest or it just didn’t happen?

DIANE: I don’t have a television.

SCOTT: Did you ever have a television?

DIANE: (laughs) When I was a child, growing up, yeah.

SCOTT: OK, so you just moved on with your acting career and your studies and you left Twin Peaks behind. And you didn’t ever look back.

DIANE: Yeah, after this – I left this fellowship program in Delaware, went back to Seattle, did a bit more acting and then after a show that should never have been done – Harry Kondoleon’s first play that he wrote when he was still at – where did he go to school? Harvard or one of those schools – and everyone’s saying at the end “interesting” which you know means “what a horrible piece of shit” – that and the commercial audition for “2000 Flushes” and I decided to become a pschyotherapist – and started a masters program in psychology.

SCOTT: So once the Twin Peaks pilot became a show – a few of the cast members who were from Seattle [Wendy Robie, Sheryl Lee] moved down to Los Angeles to be on the actual television series. And your character was a memorable character in the pilot and I was surprised that she didn’t appear in the series. But I guess you weren’t even aware of the series?

DIANE: Yeah and I don’t know if it’s because I didn’t notify people that I had moved and was doing this master’s program in Delaware or if David Lynch decided to drop the character.

SCOTT: Wait – but if you were in Twin Peaks, and it’s still on TV and now available on iTunes, you must be getting some sort of residuals, right? Or did you leave that all behind?

DIANE: Oh every year I get some amount like $5.97 from Screen Actors Guild.

SCOTT: So they have your address in Turkey?

DIANE: No they send it to my permanent address back in Seattle.

SCOTT: When was the last time you were back in the States?

DIANE: I haven’t been back for 10 years since I left.

SCOTT: Wow. So then in 2003 you decided to leave the United States altogether.


SCOTT: And why was that?

DIANE: Why was that... Um. Because I had this sense of – that what we consider reality has so much to do with where we grow up – and the culture we grow up in. And I had a feeling that if you go to other places in the world, you find that other people have different values, that other people look at things differently, and I wanted to expand my awareness. And because I don’t think that Americans are very good at living their lives.

SCOTT: Why not? How so?

DIANE: I think most Americans are spiritually bankrupt. I think that without realizing it this thing of materialism and consumerism is like a cancer that has spread through America. I think that this whole idea of viewing a person through the eyes of status is endemic. And I think that work is what people know. That the pleasure of living is not well known. I don’t think an American looks at another person without saying “What do you do?” – thinking that the job they have defines the person and defines how they relate to the person: “Are you higher status? Are you lower status? Or are we equal?”

SCOTT: So on your blog – on the bio update it says “10 years ago, with tears in my eyes and a choke in my throat, I left the United States.” So why was it an emotional thing for you?

DIANE: I’m leaving everything I know. I’m leaving deep friendships. I’m leaving the place I grew up. And I don’t know if and when I’m coming back.

SCOTT: And did you go directly to Turkey? Was that your first stop?

DIANE: Well, I went to Greece. I went to Crete to spend a month getting a degree that would allow me to teach English as a second language. But after getting it, this certificate, I immediately applied for work in Istanbul. Because is 1998 I had travelled in Turkey and I felt things there that I had never felt in my life.

SCOTT: Like what?

DIANE: A sense of “I think I belong here.” Which is really strange. I never felt that in the states.

SCOTT: What do you think it was about Turkey that made you feel that way?

DIANE: I think Turks are some of the most hospitable people in the world. The Ottoman Empire was an empire that was used to welcoming foreigners. And there are different standards for foreigners and Turks. For foreigners, you don’t know what it is to be Turkish. We forgive you, you are who you are. You do what you do. But also Turks are very hot blooded people. They celebrate everything. There’s breakfast celebration, there’s lunch celebration, there’s chocolate celebration, there’s dinner celebration. They celebrate life. And five days after I arrived in Istanbul I found a Turkish woman who was renting a bedroom in her flat. And there’s a saying Turkey that an apple that has been cut in half, and the two halves have been put back together. Her daughter said about myself and her mother. We were a perfect match. She is a madwoman. A woman who loves to celebrate life – and I have learned so much about being a better human being because of her generosity and her way of living.

SCOTT: So are you still acting?

DIANE: Well, I hadn’t for a long, long time. But last summer I acted in a film that was shot by a Turkish director. It was the first time I had acted since Twin Peaks maybe.

SCOTT: And what’s the name of the Turkish film?

DIANE: On Adim – “Ten Steps”

SCOTT: And you speak Turkish in the film?

DIANE: No I speak English.

SCOTT: Are you fluent in Turkish?

DIANE: I speak Turkish like a drunken two-year-old. Maybe an erudite drunken two-year-old.

SCOTT: What’s the film about? What’s your part?

DIANE: Oh Good Lord. I play a kind of wild, New York filmmaker who comes to Turkey to make a film. And the reason I come to Turkey to make a film is two-fold. One is that 25 years ago I left a son in Turkey. I had had this wild affair with a Turk, we had this son, and then for various reasons I left Turkey. So I come back to see my son who is an actor, and to make a film in the place where I met his father, and to put my son in the film.

SCOTT: Now how did you get the part? How did the director know that you were an actress at one time?

DIANE: 10 years ago I was sitting in this little café, drinking some tea, and talking to someone, when a guy sitting across the room in a black leather jacket said “I’m sorry I hear you speaking English – and what are you doing here?” And it’s this guy Fati, this director – he’s Turkish – but he had lived in Chicago for a while and studied acting. And we became friends and he was trying to do something with improv, so he got together with me and some other actors and we were working on some improv project which never really came to fruition but we stayed in touch. And he would call on me from time to time. And we’d throw ideas out together. Or if he had a script, he’d ask me to go over it, and tell him what I thought about it.

SCOTT: And does he have any idea that you were in Twin Peaks?

DIANE: Oh yeah. He knows.

SCOTT: How did you find that out? Did you tell him?

DIANE: Probably. I think he asked me if I had ever done anything that he’d know about and I said “Well, I was in this thing – this pilot for this thing that I understand has become quite famous – called Twin Peaks.”

SCOTT: And what did he say to that?

DIANE: People usually go “Wow! You were in Twin Peaks?!”

SCOTT: It’s interesting to me that it’s not a huge part of your life. When, to people like me, to so many people the world over who are obsessed with Twin Peaks, it’s played such a large role in their lives... How do you feel about something like that?

DIANE: (laughs) Speechless? I’m not often speechless. But I’ve never considered the ramifications of being in this thing you know? And I’d heard that there are people who are obsessed with it. But there are people who are obsessed with collecting old bubble gum wrappers. I should see it.

SCOTT: But, you know what the show is about, right? You read the script. Do you remember the script?

DIANE: Yeah I read the script at the time but honestly? As you’re saying things about it I’m like “Oh yeah...” But if someone had asked me what Twin Peaks was about, I wouldn’t have been able to say until talking to you.

SCOTT: Really? It’s the beginning of a big murder mystery. And they solve the murder in the second season. Around episode 8 of season 2. But it takes a long time. And it’s a very sad, dark, beautiful show. And the show has this huge cult following. And it still crops up in pop culture all the time. It’s a huge thing. Really. (long pause) Does it seem humorous to you that I’m so interested in Twin Peaks?

DIANE: Yes. (laughs). You know I did the shoot, then I went on, and I really haven’t thought about it much. I mean what’s funny is, every now and then, like recently, someone, an American I met here, who’s now back in San Francisco, she sent me this flagged email and “Was that you?? I watched the pilot and it was your name and it looked like you and how come you never mentioned this???” And I was like “Oh yeah, that was me.”

SCOTT: It’s an interesting level of celebrity. Where every now and then someone will say “Oh my God!” huh?

DIANE: Yeah, it’s like that. Actually, a friend here, who’s an artist, who does installations, he had watched it because of it’s cult following and then I got one of these emails, you know, “Diane! Why didn’t you ever tell me???”

SCOTT: And what do you say when people say that to you?

DIANE: “It didn’t occur to me. It doesn’t come up in my life.”

SCOTT: I’m going to send you the pilot, I’m going to find a way to send it to you and then I’d like to talk to you again just to get your reaction.

DIANE: OK. I’ll send you an address for me. Not my home, because sometimes things sent to Turkey don’t arrive. But I’ll send you the address of a school I know, where they can get packages for me. That would be great.

SCOTT: I’d just like to know what you think of it, because you left America, you left acting, you left it all behind – and then it turns out you’re a part of this huge pop-cultural event. I’d love to know what you think of it, seeing it for the first time.


So I purchased two DVDs from Amoeba Records in Los Angeles: #1 was the foreign import DVD of the pilot with the alternate ending, and #2 was a “Region 2” DVD from Spain of the pilot with Spanish subtitles. I FedEx’d them to Diane at the school address in Istanbul, and then hoped that the package would arrive – and that the DVDs would work. She wasn’t sure what would play in her computer. And then on May 29th at midnight PST we Skype’d again...

SCOTT: Hello?

DIANE: Hello!

SCOTT: Did the DVDs work?

DIANE: The Spanish one worked. It was in English, and you had a choice of Spanish dubbing. And call me crazy, (laughs) but I decided to go for the English.

SCOTT: So now tell me – this was almost 25 years ago that you were in this pilot. In 1990. But you’re just seeing it for the first time. What was your reaction?

DIANE: As I was watching it, um, I thought “Well, this is all kind of strange and weird...” Actually the first thing I thought of was the film Blue Velvet? Yeah. I thought of the film Blue Velvet and I thought about how much I didn’t like it. It was dark and weird, and what’s it all about Alfie? (laughs) But you know, as I was watching – you know I’ve never been a TV watcher so I was trying to remember what was TV like? Before this? And although I’m not a TV watcher I had some sense, and the thing I could see was – “Hunh, there was probably nothing like this on TV before.” I actually enjoyed – there were two DVDs in the little box. When I watched the second, the second and third episode, I think I enjoyed it more because it seems like he was beginning to find his way more, in whatever it was that was his goal for the show. It was funnier. It felt a little more tongue-in-cheek. And then I sort of wondered how it developed because it was different – than the pilot.

SCOTT: Yeah, the second episode begins with him having breakfast in the Great Northern – and Audrey Horne is there in the sweater with the forest on it – and she’s flirting with him? And it’s sort of a lighter tone, I guess.

DIANE: Yeah, it is lighter. And I think, for the most part they got rid of that horrible piano music that’s played all through the pilot, that’s just so over the top, and kind of melodramatic. There’s a theme of course, that I had heard, that’s associated with Twin Peaks – that’s the song that the girl sings in the roadhouse. But then there’s this really awful piano music that goes through it. That’s very dramatic. But then thinking about it too, like scenes where the mother finds out – over the phone – just the way she’s crying... I thought “Well yeah, that wasn’t done before.”

SCOTT: Yeah I think that was a big moment in American television because one victim was being mourned on television for a very long time.

DIANE: Yeah it went on and on. And I thought “Oh yeah...” So I can see that it’s something that had a major impact because there was nothing like it before. But can I say I enjoyed it? I can’t say that.

SCOTT: OK but then there comes a point where YOU appear on screen. How did you feel about that?

DIANE: I went “Holy shit I was so young!” And I think everything I shot was there. It was just that the way the Norwegians was shot, originally, David kept the camera on me forever and just had me repeating it repeating it repeating it – and of course it sort of fades away in the actual pilot. But I think all my scenes were there. And I might have mentioned this before, but seeing it now, I remember that Sherilyn Fenn seemed the same all the time. And I wondered if she was acting, or if she was just this way all the time.

SCOTT: How would you describe her – and her character?

DIANE: A façade of airy and dreamy behind a highly manipulative person.

SCOTT: Yeah, I think that’s a perfect description of Audrey Horne. So now that you’ve finally seen this contribution to television history, almost 25 years later... And I contact you, out of the blue, and I want to talk to you about this thing you did, what is your understanding of it? Do you understand why it holds this place in pop culture? This whole experience with me interviewing you and sending you the DVDs, does it seem bizarre or do you understand?

DIANE: Both. I understand that there was nothing like it before – and that’s clear. And so I can understand why at the time... And I mentioned all this to a couple of people here and the next thing you know so many people are talking to me about it and – this is really interesting – I have all these people coming up to me saying “You know, I used to watch this thing with my friends and we thought we were the coolest people because we were watching this thing that was so different.” And more and more people are coming up to me and telling me their Twin Peaks tales. And that’s interesting, that it was such a powerful thing that sort of defined a whole generation. But why you, Scott, are still so interested - today? Now that confounds me. I must say. I really hate to disappoint you and all these “Twin Peaks people” out there (laughs) who seem to have some great attachment to this show. But...

SCOTT: It’s OK. I understand. But, did seeing the pilot make you miss acting?

DIANE: Seeing this didn’t – no it didn’t make we want to go back to acting. (laughs)


Exclusive Jeff Moore Interview!! (part one)

Jeff Moore was the Prop Master on Twin Peaks. What is a Prop Master? Well dear readers, you shall find out below. Equally as interesting is the fact that Jeff is part of a musical group called Angel Highway. The soon to be released album (which will have other songs inspired by Twin Peaks) will be self-titled. You can download the single 'Outside Twin Peaks' right now on iTunes. The Band consists of Jeff Moore, Bill Wheat and Roger Johnson...

Brad - What were you up to before Twin Peaks?

Jeff - Well, before Twin Peaks I was working on this feature film, actually Rich Robinson who worked with me on Twin Peaks and I were doing a film in New Orleans and it was called Scorchers. We had worked on a number of television things and movies of the week before that. We had just finished this really difficult and hard shoot in the Bayou. We had finished that show and had a really good experience, I was working with Faye Dunaway, Denholm Elliot and just some really great actors. When I left that show, like I said I had a really good experience, it was hard, but I felt I had been around some great talent. So I had heard that Twin Peaks, I knew about Twin Peaks, was looking for a Prop Master, so a friend of mine, Stephen Camp, whose name is Gibson now, had told me they were looking for a Prop Master, so he gave me a phone number and so that's how I went from that show, that feature film, a very very small film called Scorchers into an interview with Twin Peaks. I went into that interview feeling very comfortable and satisfied from my experience in the last film and I kind of knew I was walking into this interesting place, but I wasn't intimidated because, hell, I just got done working with Faye and all these great actors and it was like...sure (laughs) the interview was very relaxing. So, I started in the film industry in 1986. Before that I was doing music.

Brad - What do you remember about your interview for Twin Peaks?

Jeff - The interview was a really interesting story because the day I went in, I went in to interview with the Production Manager Bob Simon and he had told me that he actually had really done all his interviews. He had reluctantly took this interview because someone else had already committed to it but come on in anyway right? So right away I don't feel good about this interview but I had this great feeling coming from this last film, I went in there very relaxed and I gave him my business card. For my business card, I had taken the the version of the "Hello, my name is..." sticker you wear on your shirt and I had made a business card out of that same motif, "Hello my name is Jeff Moore" and it said Prop Master. So I handed it to him as my business card and he went nuts! He jumped out of his chair, he said "This is your card?" "This is really your card?!" (laughs) "Yes, that's my card" and he walked around the office showing all these different people my card and saying "You've got to see this card!" For him it was unique. All of the sudden, he listened. I wasn't just the reluctant interview now. I was an instant cat! So he interviewed me and I walked out of there not knowing what the outcome was and I actually left for New York two days later on a vacation when I got the call. Back in those days you had to press your little machine button to get your messages played back on a tape machine in 1990 and that's how I got the information in Greenwich Village about getting the job for Twin Peaks.

The Log Lady's iconic red glasses

Brad - So I'm curious. Did you see the Pilot before interviewing for this job?

Jeff - You know, I was working a lot and had seen very little of the show until I got the job. At that point I watched everything before I even started rolling camera with my season which I believe began with episode six if I'm not mistaken. We had the Pilot plus five in the first run. But I could be wrong. I've been looking at some of the episodes recently as I've been exploring some my props. So I believe we started around episode six. So before that, I had been working. Watching television just was not something I could do working such long hours.

Brad - What is the technical definition of a Prop Master? What goes into that job?

Jeff - What the Prop Master does...everything that is needed is in the script. So, every prop that is needed is written down into words. "Bobby reaches into a boot, opens the boot and pulls out a mini-cassette." Now that whole thing existed this way; I have to get the boots from wardrobe, but then it becomes a prop because I have to take the heel out and I'm placing another prop within that. Anything where an actor or a scene requires to function, move, eat, shoot (like a gun) all the moving touching things an actor does. Not based in furniture but based in things. If that makes sense? Elements, cameras, lighters. My very favorite prop of all is the Zippo Lighter because they have a distinct sound. You don't have to see it to know what it is. So that's what a prop is, it's an action thing that an actor works with.

Brad - So tell me about the prop team? Who else was in the prop department and how did you guys work together?

Jeff - The prop department consisted of Rich Robinson and Stephen Camp, but it's actually Stephen Gibson now. It's a team. The Prop Master is the one who attends all the production meetings, meets with all the directors, gets everything they want, shows and tells all the toys they have to use to whatever ends up on camera. They are in control of the budget that is given to them and controls everything within that department. Now, your assistant, my first one was Rich (Robinson) his job was to make sure everything that happens on camera, that I provided him with, is there on time and working. So I give him what he needs, he makes sure it's in front of the camera and Stephen is the person who helps him make it happen on set because one man can never do what is needed in any scene, there is always a need for at least two people on the set while cameras are rolling for anything that can happen. A prop is always moving and in action, so anything can happen even down to a sheet of paper getting torn, and you better have a replacement! You know what I'm saying? It's that kind of minutia we deal with. So that's kind of how the prop department functions from top down and we all hold each other up. So it's the Prop Master's duty to make sure that everybody at set has what they need, on time and already seen by the director and the actors and pre-approved and so when it comes for it's time to work, there's no questions and we just move on.

'Georgia Peach' polaroid

Brad - How does the Prop and Art Department differ?

Jeff - Well the Art Department is really more geared towards furniture and set dressing. What's on the walls, what they sit in, what they walk over...sinks, anything that functions, the Art Department really creates the feel of the atmosphere and the Prop Department works directly with actors in the sense of what their function is and what their doing. So if it's a restaurant scene, the Art Department sets the restaurant up completely, so let's say it's The Great Northern, we did a breakfast scene there in one of the early episodes where Cooper is having breakfast. The Art Department has already made and set up the Great Northern set, that was the set in Van Nuys. Then what I do is bring all the breakfast in, I bring in all the food, all the stuff you see inside glasses. So that's how the two departments differ.

Brad - So, did you guys build a lot of props from scratch? Or was it more of a thing where you were going out and renting and buying stuff?

Jeff - I told this story at the retrospective and one of the things as I was beginning the show. David was doing one of the early episodes and I had a lot of questions about some things and I had seen the Pilot and the other stuff and I had seen that they had touched into all these different periods of time. You know, leather jackets, you know modern day and whatever. So I asked David about getting a few things, I said I wanted to use this, I wanted to use this old fashioned thermos and maybe a Zippo lighter for this particular person. David said "Jeff, just think of this as an alternate universe where anything goes as far as elements." He still wanted to approve everything and what all the directors did with each episode, you go to the director of each episode and you get their approval of whatever it is that plays in that episode, you know, more different items that are key things, things that have come from other episodes that are recurring, whatever it might be, you still have to get the approval from the existing shooting director. David set the precedent at the very beginning when he started by saying this is the way to think about it. He would approve most everything , but each director had there own idea of what they wanted, so when David told me to think of this as a alternate universe, and do what I feel like is the right prop, so that gave me the freedom to get things without his approval.

Ben Horne's love letters to Eileen Hayward

Brad - Speaking of directors, do you have any good stories of working with Diane Keaton?

Jeff - Well that was probably my most favorite episode. What I remember about Diane was she was probably one of the most exciting guest directors to work with. She was always a little nervous because, well that's just the way she is, she's very much like the characters you would see on screen. What she did with me is that she bonded very very tightly with me because a lot of the things she was doing with me in her episode were based on props. The chessboards there, you know there were photos, there were maps and then there was this quirkiness that she wanted to bring in because we had Windom in there and he had Leo so there were all these little sub-stories going on so she was turning to me to try find her quirkiness. The spider in that episode that had the yellow back on it. She really really wanted that and couldn't find it in her budget to get that and just tried..."Jeff, you get help me get this!" Then, when we got it, we couldn't see it because it was a black spider. So Rich went in there and painted a yellow back on it. She wanted these drummers inside the lobby of the Great Northern and she just really really wanted these certain drums and I searched and searched all the prop houses and finally came up with the ones that she liked. I mean she was just fabulous to work with and probably the biggest thing I remember about working with her was her enthusiasm for it all and her connection to the prop department in a lot of ways.

Brad - Interesting! Everybody always has a good Diane Keaton story...

Jeff - Yes! Her thing, she told me, "When I work with people like Prop Masters and stuff like...I love to work with them when I'm directing, If I'm working with them that way I don't want to work with them again and have to say I'm the actress." I thought that was really interesting. She was a really interesting person and I loved her. She remembered me years and years later because of her experience there. I've got a few messages back from her from people running into her saying Jeff told me to tell you hello and she said "Oh my God, Twin Peaks!". So, she was a really great person.

Part Two coming up on 9/3 with more about Angel Highway, 'Outside Twin Peaks' and of course more Twin Peaks Props!

Special thanks to Jeff for taking the time to talk with us!

Thanks to Brad Dukes for conducting this interview!


'Fan Phenomena: Twin Peaks' - Book Review

Freshly released from Intellect Books, 'Fan Phenomena: Twin Peaks' is the latest in a series of books that deal with cult television shows such as Star Trek, Batman, Star Wars etc. The template has clearly been set but is it worth your money? This book is rather odd. I wouldn't exactly call it a cash grab, but it seems to have a "let's throw it at the wall and see what sticks" mantra. The book mostly has essays ranging from merchandising to FWWM. There are numerous factual errors and typos. Chapter four on the cultural artifacts of Twin Peaks wonders if there had been a third season would Tim and Tom's Taxidermy (from the Access Guide) have played a role in the narrative, never mind the fact that a scene was shot late in the series only to be cut. Oh and Tim Pinkle is in many episodes of the second season. Typos such as Paul K. Shimatsu-U (No, it's Paula) don't really bother us, after all these things do happen. It's the haphazard manor in which the book was put together that really makes us wonder, just whom is this book targeted at? Hardcore fans? New fans? We're still not sure.

There are some bright spots. David Bushman's essay is clearly a cut above average and Scott Ryan and Joshua Minton's piece is well thought out and makes good reading.

For completists only.

Grade: C-

Exclusive Sheryl Lee Interview!! (Part Two)

Continued from part one...

Brad - So, right around that time, you and some the cast appeared on The Donahue Show, which I loved growing up, what do you remember about that day?

Sheryl - You know it's so funny, I had forgotten that we had even done that and somebody had a picture or clip or something from it...there is so much from that time in my life where, unfortunately, I can't remember or it was a blur or it takes somebody showing me a picture for me to remember that we did it. I think a part of that was I so nervous during that time, again, just going from this shy quiet introvert to all of the sudden you you're expected to do talk shows and you're expected to do press and talk about stuff, I felt very very vulnerable and very very nervous (laughs) most of the time! I'm just glad I usually got to do it with other cast members! (laughs)

Brad - I remember that they announced on Donahue that Twin Peaks had been renewed for a second season, do you remember if you had any prior knowledge of that announcement?

Sheryl - I think I probably would have. I don't remember a hundred percent but I imagine that we would have known before that. Even if it was just right before that.

Brad - So for the first season of Twin Peaks everyone pretty much existed in a vacuum. All eight episodes were shot before a single one aired. Then it aired. You've got all the high ratings, all this buzz in the press, everyone knew about all the actors etc. Do you think all that attention and pressure, maybe, had any affect on the show going into the second season?

Sheryl - You know, that's a very interesting question. I think, unfortunately, part of the culture we live in is not very kind. There is a part of our culture that finds entertainment in other people's failure. You know, whether it's Twin Peaks or whether it's something else, anytime someone or something is built up then it's almost inevitable that our culture is going to want to turn around and tear it down. So, I do believe that is sort of...that's there, I mean I've seen that happen time and time and time again with celebrities or shows or whatever. At the same time, that doesn't discount whatever happened on Twin Peaks the second season and because I was so young at the time and didn't understand the workings of networks and TV shows and everything, I'm sure there was a lot going on that we, I, didn't know about. You know, networks have a lot to do with how they promote it or what time slot it goes in, how they feel about the show. Twin Peaks was a very specific vision and we had amazing directors come in and direct. We had amazing writers come in and write. Some people think they didn't stay as true to David's vision,'s television. When something has a long story like that, it's hard because one director can't stay there and direct every single episode for two years. Do you know what I mean? We were fortunate enough to have a lot of really great directors come and guest on our show. When you have a show like that, you're never going to make all of the audience happy, with that many characters and that many different storylines, you know, people are going to want to see people get together who don't ever get together, people are going to want to see characters brake up who never brake up, you know what I mean? You just do the best you can to follow the story.

Brad - Season two was really different. David Lynch came in to direct the first three hours and really set the tone with messages from outer space, violent sequences with Killer BOB. When you look back at it now, what differences between season one and season two did you notice?

Sheryl - Honestly? I think to answer that question fairly, I'd have to really go back and watch the episodes and I haven't seen it in twenty-five years. So I would really want to be clear and objective answering that, you know for me, acting in it, I can't even sometimes tell the difference between the Pilot and the film, because to me, my job was to tell Laura's story and to tell Maddy's story. So, those all run together as one story. I don't differentiate Laura's story as the film and the television show. To me, it's all the story of Laura, so sometimes I'll think something happened in the TV show but actually it was in the film (laughs) Do you know what I mean?

Brad - Sure...I think...

Sheryl - Because my job, what I was asked to do was very different, you know I can't even remember any separation between the first season and the second season. I would really have to go back and watch it and really go back and watch it and probably look in my journals and remember where I was and what was going on.

Brad - I think a better way I can phrase that question is, did the darker tone of season two affect you at all as an actor?

Sheryl - No, I mean for me because of playing Laura, I always felt the darker tone. You know, I don't know how much darker you can get than being brutally murdered as a teenage girl. That darkness was never not there for me, for my character and the double life that was going on, was, I mean that's dark. So, I was never part of the lightness and the humor and all that other stuff. That wasn't even part of my storyline, so I don't even have any references to that sort of stuff. Even as Maddy, even though Maddy's storyline was a little bit lighter than Laura's, it was so connected to Laura's and it was so tragic, that was dark for me as well.

Brad - Speaking of dark, what was your first scene like with Frank Silva in the train car? How did you prepare yourself to take that on?

Sheryl - You know...It's very scary material. It's very scary material because it happens all the time in real life. That part of it, at least for me as an actor, I'm very aware of when I'm working on material like that, you know, I get to go home at the end of my day and wash of everything and take a shower and try and get some sleep, I usually can't sleep after those kinds of days. I couldn't have worked with better actors in terms of their kindness, Frank was an angel of a man. A dear, dear soul. David created an environment for us that made us feel taken care of and safe. I've often said that in acting school they teach you how to develop a character and how to bring in a character. But nobody teaches you how to let go. I would like to, at this point in my life, to work with young actors and help them let go of their characters, because when you go into that state of mind like that and allow yourself to go to those places, it can be very difficult to come out of it or to shake it off and not feel, for lake of a better word, haunted by it. I was fortunate enough that by the ending of the filming of the film, that I went on a trip with my family and that was probably the greatest thing that I could have done at that time, because I needed to do something so dramatically different after the filming of Fire Walk With Me. Again, I'm blessed to have known Frank and the dear man he was.

Brad - He was quite a character on screen, I'm still terrified of some of that stuff...

Sheryl - Yea I know. He really was an incredible man.

Brad - What emotions did you feel when you watched the dailies for that scene?

Sheryl - Well, I never watched dailies. I never have, so I don't ever see anything until it's finished. Then I usually only see things one or two times. If I see it more than that, it's because I have to go to a screening or something and I try not to even watch it too many times after that. You know, It's disturbing, again, (laughs) I tend to think a lot of my parents and how difficult it must have been for them to watch. God bless them for continuing to support me as an actor knowing that was my first job of all things, you know, that they had to watch their daughter go through that. That's very difficult. Even though they know it's just acting, as I said before, unfortunately this actually does really happen in real life.

Brad - So, speaking of surrealism, there is a scene of you, James Marshall and Lara Flynn Boyle singing the song 'Just You and I' and it's juxtaposed with this really frightening image of BOB. It's such a classic David Lynch moment, did you actually sing on that track? If so, what do you remember about doing that?

Sheryl - Yes, that's actually my voice and that...see it's funny, even though that was twenty-seven years ago, I don't remember doing the Phil Donahue Show but I remember being in the recording studio with Angelo Badalamenti and his musicians as clear as day! As if it was yesterday. Going in there to sing, I was so scared but Angelo Badalamenti is one of my favorite favorite people and a dear dear man. I was like, if anybody can get me to sing it would be Angelo, and he did! So that was really us singing (big laugh) And that was a great day, a great day. That was so fun! You know, anytime you get to do something as an artist that is in the medium that you're not usually working in, it can be really delightful to be able to express yourself in a different way. You know? And that's what that was.

Brad - So, Angelo made so much great music for Twin Peaks, what did his music say to you? What role did it play in Twin Peaks?

Sheryl - Oh it had a huge huge role for me. A lot like Jennifer's Diary, the second that I heard, I could just hear five notes of Laura's Theme and I was connected to Laura. Anywhere, anytime that I needed to be connected to that character I would have that music with me during filming and everything. It's like I knew who she was when I head that.

Brad - I mentioned James Marshall before and you have so many scenes with him in the series and in the film, what was it like working with him?

Sheryl - Oh he's fantastic! Again, I was just so blessed to be able have such great people to work with. He's such a good guy, such a gentleman. Down to earth, good actor. You know, really sweet man. Really kind sweet man.

Brad - So David Lynch directed a few episodes of Twin Peaks, how was his direction technique compared to a lot of the other guest directors?

Sheryl - Well...that's a difficult question because every single director directs differently. So it wouldn't be David compared to the other people because you can't even compare the other people to each know what I mean? Even the other people have their own style. I mean, David created the world and he wrote the world, so just knew that world. Some directors work from a very intuitive place, some are more technical, some really communicate with the actors, some trust the actors to do what they know, so, some directors are very funny, some are shy, some are more visual, some are more emotional, so, we got to work with all kinds of, and again, just all great, I think you can always learn something from any director. Because it was his show, he had that level of comfort and could change stuff anytime he wanted.

Brad - The Maddy death scene is still, over twenty years later, probably the most disturbing thing that maybe has been on broadcast television, certainly for a primetime drama. We know you had to do a fake scene with Richard Beymer as Ben Horne killing Maddy, what can you tell me about that marathon day of filming?

Sheryl - Yeah, I had to do that three times. Because I had to do it with Ray, Frank and Ben Horne. (laughs) I think I could barely move the next day! It just look at a day like that and you know, you just gotta get through it and it's not gonna be a fun day and that okay, there other days that are fun. There are stunt people there trying to keep you safe and it's a very technical day, even though it's as emotional as it is. Those are exhausting days emotionally and physically. The thing about physical days like that is your adrenaline is going, so you don't know how banged up you're actually getting and you can't help it, you know, you're doing scenes like that all day you're going to get a little bit banged up. Emotionally, it never left me that that sort of stuff happens in real life as well. It's heartbreaking. Again, I can go home and step out of it. Also, I was fortunate enough to work with three great men who were very consciousness and looked out for me and made sure I was okay. It's hard for them too, to do those scenes. I know you've probably heard Ray talk about having a young daughter home at the time when he was doing those kinds of scenes. It's very difficult.

Brad - So, I'm curious about Richard Beymer because that footage seems to be lost. Did he have a different approach to filming that scene and was he directed the same was as Ray was?

Sheryl - Well, I don't know the way the other actors were directed because David is very discreet...I don't know if he directs each actor the same way and he doesn't necessarily direct each actor in front of other actors, so I might not know what direction he's telling Ray, or Frank, or Ben. So, for me, he was going through the similar movements for the camera, they sort of all had to do the same thing physically...the choreography. Emotionally, I don't know what David told him about what his story would be. I mean, I think he knew at that time that he was a smokescreen, that he was doing that for the crew but that he didn't really kill Laura.

Brad - Wow. That's a difficult spot to be in...

Sheryl - Yeah, yeah, but unfortunately they had to do it that way because for how ever long it takes to shoot a scene like that and then before it airs, even it's just a few weeks, if there was anyone on the crew who would, go tell! That's why they had to do it with three actors.

Brad - After Maddy 'leaves' Twin Peaks, you came back for the grand finale sequence. From what I understand it was filmed in a 24-hour marathon and was all improvised by David. What do you remember about the mood on the set and did you know it would be the end of Twin Peaks?

Sheryl - Which scene was that?

Brad - It's in the Red Room as you come back as Laura and Maddy for certain scenes...

Sheryl - Oh yeah... (long pause) I kind of remember that. I don't remember for sure if it was the end, but I think, I think that I did. I feel like there was a feeling that...I knew. I wish I could remember more about that. If I saw the footage I would remember more about the filming of that day.

Brad - There's a particular scene of you as the evil version of Laura is screaming, to me it's still the most terrifying moment in all of Twin Peaks, so it was a job well done!

Sheryl - Oh is that where I have white eyes?

Brad - Yes!

Sheryl - Oh yes, I do remember that! I think that was (laughs) one of those days where you don't have to understand it, just go with it! (laughs) Well you know I learned from the best of screamers - Grace Zabriskie!

Brad - Speaking of the end of Twin Peaks, a lot of people think Twin Peaks didn't last because ABC was negligent and didn't know what to do with the show, why do you think, given the initial hype, the show didn't last into a third year?

Sheryl - I think there are many different factors and I think the ABC factor is definitely one of those. Many times I have seen other shows that are fantastic come on the air and maybe it takes them a little while to get going and rather than the network give it a chance or move it to a more appropriate time slot, they just pull it. It's sad, it's so sad when that happens. I don't understand the inner workings of the networks at all. I definitely think it was a factor on this show. I don't know if it was one hundred percent, there were probably many different factors, that being a big one. Again, it's hard for me answering questions like that because I was so young. If that happened to me know, at forty-six after twenty-five years of experience, I would be able to know much more what happened and why a show didn't work, or why a show was pulled. But at that time, I didn't know anything, I had no reference point. I'm not sure, I mean definitely David and Mark and Bob and all of those guys would be the ones with more clear answers.

Brad - Moving on to Fire Walk With Me, It's such a dense and challenging film and some might say it's ahead of it's time, how did it feel to go back to Washington State and be Laura again?

Sheryl - It felt amazing for so many reasons. I got to work with everybody again, because I got to work with David again, because I got to go back to Washington. I got to finish the circle was the most important thing to me because, I knew who Laura was. I felt her. But I never got to really play her before, even though I knew her and what her story was. So, it really did help me come full circle to finally give voice to her and express her truth and her story was really important to me. I was grateful for the opportunity. To work with David in that concentrated environment where you're making a film and it's just him for that month and you're there and you're in the character and you're in the work and you're shooting long days, you really kind of stay in that creative energy with him and with his group of people and all those other actors. That's such a gift.

Brad - Kyle MacLachlan cut down his involvement in the film and Lara Flynn Boyle choose not to appear, do you think David was challenged with the film given those circumstances?

Sheryl - You know, I don't know. That wasn't my business and so I never asked and I never heard. You know, my business was to play Laura and so my meetings with David were all creative meetings about Laura, they didn't have anything to do with anybody else. I had worked with Moira Kelly before, so, and adored her. So when David told me she was stepping in I was happy because I had worked with her and I was really proud of her because I knew...that was probably intimidating for an actor, but the why's and how's and all of that, I don't know.

Brad - So recently there was a huge flurry of rumors that Twin Peaks would return and even the President of NBC said it would be a great idea to bring the show back. Are you aware of these rumors and would you be willing if David, Mark and Kyle were all willing to go back to Twin Peaks?

Sheryl - I wasn't aware of the rumors until after the fact. From what I've heard those rumors have been put to sleep very soberly (laughs) and everybody has come out and said absolutely not, that is not happening! Would I be willing? I mean I'd be willing to work with David on anything. I would trust that if he was going to do something like this, (pause) he would know how do it. But from what I've heard, I don't know where those rumors started, I've heard no truth in them whatsoever from anybody.

Brad - A couple of months ago I saw online where Jennifer Lynch had endorsed an idea to record 'The Secret Diary of Laura Palmer' with you narrating it. Is there any truth to that or would that be a possibility at some point?

Sheryl - Yeah, Jennifer and I are trying to figure out how to make that happen. We just need somebody with money to pay us (laughs) to do it, you know? We need a publisher to get behind us and support us in doing it. So yeah, Jennifer and I are talking about it, we both want to do it, we're both on board, we both think it's a great idea. For twenty-five years people have asked her and people have asked me if there's a recording where they can get it, so we really want to do it (laughs) so, if there's anybody out there listening, or is reading this interview who has the money (laughs) who wants to support us in this project, thank you! We could use it!

Brad - Well, I would be willing to chip in on that!

Sheryl - Great! Great!

Brad - Well, I have one last question for you. There is a rumor that Twin Peaks is coming out on Blu-Ray. Have you taken part in any special features or bonus material for that release?

Sheryl - Not that I'm aware of. It's hard...I've done so much stuff over the years that, well I haven't done anything recently. So if they're using anything recently, no I haven't. If they're using something that I did years ago, which they could be, then I don't know.

Brad - Well that is the last of my questions, I just wanted to thank you so much for your time today, this has been such an honor for me!

Sheryl - Oh that's so nice Brad - Thank you! I appreciate your kind words. --------------------------------------------------------------------------------
A very special and heartfelt thanks to Sheryl Lee for taking the time to talk to us!

Thanks to our pal Brad Dukes for performing the phone interview with Sheryl!

Very special thanks to Paula K. Shimatsu-U.!