Twin Peaks Episode 1.005 Audio Commentary By Lesli Linka Glatter

The transcripts of audio commentary from the December 2001 “Twin Peaks – The First Season Special Edition” DVD set continues with episode 1.005. Director Lesli Linka Glatter offers rare insights into production of the David Lynch and Mark Frost’s series. She would direct four episodes of Twin Peaks, and appear in an uncredited role as a hunchbacked seamstress at One Eyed Jacks in episode 1.007.

TWIN PEAKS EPISODE 1.005 AUDIO COMMENTARY BY LESLI LINKA GLATTER

The audio commentary from Director Lesli Linka Glatter is found under the “Episode Features” tab after selecting “Ep. 5” from the Disc Three DVD Menu.

[Voiceover from Michael J. Anderson plays over the “Previously on Twin Peaks” montage]

Episode five commentary is by Lesli Linka Glatter. Lesli would go on to direct many episodes in Twin Peaks. Lesli Glatter.

[Lesli Linka Glatter] This particular show was shot number five, and I shot right after Tim Hunter in the line up.  And Tina [Rathborne] was show three. This was a situation where, that was very unusual in series television, because all of the directors were around a lot. So instead of the normal week prep, everyone was around for like a month. We prepped it very much like a feature film. So it was a great situation to be able to really interface with other directors.

So I was around when Tina was shooting. When Tim was shooting, I was prepping. We were all on each other sets all the time. It was, a very unique experience in that way. The thing that fascinated me with the whole Twin Peaks story was the fact that things are not what they appear to be, and that everything had kind of a mysterious underbelly, that in anything you looked at, there was a sense of mystery, whether it was nature, you know, if you if you looked another level under it would present something else.

And that was the same in in human dynamics, you know, you could not always see what was on the surface. You couldn’t always believe that. You had to see what was really going on underneath. And I felt a little bit it was like looking at life through a keyhole. You had to study it and observe it in a different way, and your normal sense of logic wouldn’t always hold true.

But there was definitely the way Dale Cooper was he was open to the mysterious, to the supernatural. He didn’t just see life as it presented itself. You know, he saw a whole other level of, like, psychic energy. So it was very interesting to approach the world that way. We’re following everything through through Cooper, you know, through his uncovering the mystery.

Yeah. So I very much felt like we all kind of submerged ourselves into this town of Twin Peaks that we all became residents there for a while.

You know, at first, even when he’s driving into town. Yeah, he’s looking at all the fir trees, the Douglas firs. You know, I think that he had never been to any place like Twin Peaks, but but he is also a man of investigation, you know, who’s open up to many levels of life.

Kyle [MacLachlan] was, was a joy to work with. I mean, he how he found this character so completely and became this person and, and understood the drama as well as the humor. You know, this first scene, I mean, sometimes there were moments on the set where it was really hard to contain oneself. Yeah.

When he’s doing this whole monologue about the Icelanders singing, you know, and he he forgot his earplugs. I mean, you know, he just went through that it you had to play everything for being totally real in the moment. You know, I don’t think it was ever a moment of trying to make it funny. It was just life happening, being open to life to me.

One of the things, now that I’m sitting here looking at The Great Northern dining room, one of the things, that we did here was always have some sort of convention happening there.

Now, whether anyone noticed it or not was fine. This particular breakfast was the American Indian Movement convention. So you’ll notice in the table in the background, it’s all Native Americans. So every you know, if you look at any Great Northern scene, there will be something going on whether someone notices or not. You know, I actually I think I might have started that idea.

You know, I did a tuba convention, tuba and cheerleader convention. I did a square dancing convention. And it’s just there whether anyone notices or not.

The scene in which, Cooper’s having breakfast, and Audrey come comes to talk to him, and there was definitely this kind of unspoken, you know, sensuality there. And that was pretty much who her character was, anyway. You know, and, but there was never a sense, like, I, they were never going to get together as a couple, but there was going to be this kind of tension there, which made it interesting.

I how all of the actors were joyful to work with, all for different reasons. But they it was it was quite an extraordinary group in that way.

This is David Patrick Kelly and Richard Beymer. They were hysterical. And again, because Richard has such a kind of dry wit and you know that, one is coming back David Patrick Kelly is coming back from his trip to Iceland, and he has fallen madly in love with a beautiful Icelandic princess named Heba.

And, Richard’s kind of the the the practical one, the pragmatist. So he kind of puts the lid on everything. I always felt like what to do with the different subplots that one must allow everything to reveal the next step. So to me, it was a kind of an unpeeling of an onion. You never know what again, what you were going to see on the surface of what was going to be underneath.

But but to me, even with this guy holding a leg of lamb here, you know, I felt like you had to play everything for being completely real. I mean, I think when something becomes a parody of itself, once you try to make it humorous, especially this kind of dark comedy, I think it’s all over.

You know, when Leland comes in totally distraught, it has to be played very real. You know, and, and, I think then we can laugh at it because there’s, there’s some sort of reality base to it. I mean, this guy’s lost his daughter. No wonder he’s, you know, completely, you know, overwrought.

I always want every character have its own arc for the story that you’re telling and what they learn. But by the time you know, with show number five and there were only seven made, he was already very much Leland was already very much kind of wrapped up in his grief and madness. So, you know, he he goes from one extreme of, of, of being already overwrought and dramatic to even more, you know, more overwrought.

I mean, by the end, he’s dancing, you know, doing this ridiculous dance with the Icelanders at a party, and they start to pick up on his dance. They don’t see what’s really going on. So, you know, again, it went another place, but I didn’t feel like I needed to see in my particular show that he started off. You know, I think he had to come in at the level he was in to get to the place he ended up dancing in The Great Northern, you know, ballroom.

We’re looking at this scene right now where they find, where Dale Cooper, and, Truman find the copy of “Flesh World.” Or actually Dale intuits that it’s there because no one has any idea. And and I realize how many things we did in, in one shot of just letting the action play out and seeing everything else, you know, and not having to quote, cover it in any sort of traditional way. A lot of wide angle lenses, a lot of things playing in one.

I feel like one of the things that was wonderful about directing on this particular series is that as a director, I was never told to shoot anything any particular way. It was very much left to how we each saw it. And it seems to me like the music held the show together in that way, that we were certainly encouraged to do what we wanted to do creatively.

So I don’t feel like I, I don’t think you can ever copy anybody else because you’re going to end up just back against a wall when you don’t know what you want, and you’re trying to copy somebody else.

I think it would be a really kind of horrible situation to be. And so I just tried to stay kind of true to what the scene was about, you know, and if it if it held. Yeah. I’m looking at this scene now where, where, Dale Cooper sees Leo’s truck in “Flesh World,” which is an insane idea. Well, I’ve read the directory in this magazine, but, you know, it’s just it’s just great. It’s great that he’s able to see things that no one else can see and put it together. And that’s what I loved about his character.

I think that that sensuality and an unspoken longing, you know, are definite themes in Twin Peaks. Or they were for me or things that I wanted to explore. And again, a lot of these are our kind of longings that are under the surface, that are not allowed to be out there in the light of day.

You know, it’s kind of unspoken longing in the scene between Cooper and Audrey, you know, in some way, you know, or between, you know, between these two here, between Shelly, you know, that that I mean, there is this is completely spoken, and it’s just has to be hidden behind closed doors because she’s married.

You know, there are things that people want. It’s a it’s a world full of secrets and and mystery. And, and there’s definitely a sensuality underlying everything to me. There’s also an innocence. I mean, I think the, the kids’ story is very much about they’re pure, they’re innocent, that they see things in a different way because of that purity. And they’re searching for the truth.

You know, I haven’t actually looked at the script in in years now, but usually they don’t tell you anything about blocking. I mean, maybe they’ll, you know, they’ll tell you where it’s set, but it very rarely would there be anything in most scripts that tell you how to block the scene. You know, it’s really something you kind of have to sort out for yourself as a director to figure out how you want to do it so that the subtext comes out and that it it works to tell the story in the best way with the actors.

Let’s say, here, I had him put her on the cabinet, but there certainly wasn’t anything written in the script about that. I did that because I wanted them, you know, they have a very passionate relationship. That’s what their relationship is based on. So it seemed completely appropriate.

So everyone has their secrets. To me, it’s a world of secrets, you know? And. And even Norma and Ed, you know, they love each other, but their love has to be secret because he’s married. They’re both married.  You know, so it’s about what’s not allowed to be out there in the world.

This scene, to me, was about a certain resolve and and again, longing that they love each other, but they can’t be together. You know that because of choices they made, they are they feel like they are responsible to those choices. I mean, to me, the fact that Norma’s husband is coming back out of prison, I mean, it’s, you know, they’re both in unhappy marriages and they feel they can’t get out, that they can’t they don’t deserve to have a better life.

So a lot of it is about their lack of deserving. I mean, he’s married to someone who has silent, you know, is inventing silent drape runners. So, you know, and also there’s a sense that there’s a purity about them, too. They don’t want to hurt anyone. You know, they are both very concerned about not hurting other people. Maybe to their own detriment.

That’s to me is why it’s like looking at life through a keyhole. You know, it’s all based on absolutely real emotional things, yet it does have this incredible soap operatic quality to it. You know, but it’s all coming from a place that’s very real. So I think you have to play it for that.And I think, I mean, nature, you know, is just a huge element in this. The power of nature.

TWIN PEAKS – EPISODE 1.005 – ACT TWO COMMENTARY

Audrey at Horne’s department store, at her most seductive and manipulative starting. I think classically we love the bad girl. I mean, she is so the bad girl and that way, and she gets what she wants and she knows how to get it. That’s the quality of the bad girl, of someone who absolutely, in a very charming and seductive way, gets what she wants. No, she puts her mind to it and she will get it.

You know, she does not want to be in the wrapping department. You know, she wants to be in the perfume department so she can solve the mystery. And also, I think it was her really wanting to finding a focus in trying to solve who did this. Not because she was a friend of Laura Palmer’s. You know, the way the other kids were. But because it gave her a focus to her life. She’s the one who has complete lack of love in her life.

So here the utmost of, you know, the innocence of young love. You know here, Donna and James in the gazebo, you know. And then again, you think about the story he’s telling about his alcoholic mother, you know, and and and them saying out loud in a world in a town full of secrets that they don’t want secrets. That they have to be completely honest with each other, that secrets are what keep people apart and destroy any chance of happiness. That is kind of the big theme – secrets destroy happiness.

So to me, the kids were pure, you know, and that their need to discover, the need to discover the killer of Laura Palmer was going to be the way to some sort of resolve that they couldn’t let it go. But they couldn’t not know who did it because they would never find any sense of peace.

And even, you know, as kind of outrageousness his story is, you know, when I was working with these young actors, it was all about being really honest to the moment. You know, he was telling her the deepest secret of his life is that his mother would go and drink and have men, you know, and it was incredibly painful for him.

We were in, like, a little bubble. I mean, in fact, I didn’t know if it would ever air. We can’t because it was just so weird. How would anyone like, how could they ever give notes on this?

This was one of my favorite shots. The doughnut pass shot. You know, David’s certainly this is an homage to David because he created the the importance of the doughnut in the life of Dale Cooper. So I loved that part.

And the absurdity. I mean, look at this he’s looking and he sees a cabin and what he sees are red drapes. You know, no one else would ever look at that cabin and that be a clue to anything. Red drapes that he had seen in world magazine. I mean, who has a brain like that? I mean, that’s what was so amazing about him is that his brain thought in a way that nobody else did.

It made it quite extraordinary. And that was from his dream. You know, it was from his dream. And he totally trusted another level of reality. Whatever that was. You know, he completely trusted that he could dream something and that would be as real as, you know, a chair or a rock or whatever.

Now, this whole series of shots of these profiles, which I did later, those were hysterical. And that just came from, I don’t know where – Mount Rushmore? I just it made me laugh. I thought it was really funny. And it was a actually a very hard shot to shoot because you need to keep everyone really in focus. You need tons of light. And [Director of Photography] Frank [Byers] had to just pump, I don’t even know how much light lights we were using to be able to get that shot.

Here it’s the same actress playing her identical cousin. She’s supposed to be the opposite of Laura. I mean, I don’t even want to think about how you have an identical cousin. I mean, it’s like Patty Duke. What are the genetics of an identical cousin? I don’t even want to go there, but just the idea that David would do that, would cast the same actress as her cousin Maddie is so outrageous to me.

I played it absolutely, you know that there wasn’t a contradiction in it. You know, I mean, to me, the fact is, she says she doesn’t know Laura very well, but she always felt this connection with her. I mean, there’s, you know, it’s outrageous stuff. Again, they’re, it’s the purity of the kids. They have sworn to find the killer of Laura Palmer that they can’t go on. You know, it’s all about the secrets hiding in the room. And that they need her help.

This shot coming up. I remember this is a really fun shot because I pushed into the coke to reveal Hank behind them, listening the whole time. And for some reason, that humored me a lot. I don’t know that you don’t know what it is that you’re supposed to be looking at, you know? But that, again, in Twin Peaks, one looked at everything slightly differently. I mean, maybe it is about the Coke that was left there.

To find out that he’s been listening to the whole thing. His keychain, you know that there is a whole another world of what those things tell you.

I love that that, Norman, Shelly, go off to have a day of beauty, you know, and that Hank is sitting there waiting, you know, for her. And I think what you see here is that he here, Hank is almost at his most charming here. You can see again the love of the bad boy. You know that there is something left here. She can’t quite let go of him completely, even though you know her love for Ed is completely pure.

You know that there’s something about this guy, you know, and that he’s saying all the right things. He wants to earn her way, his way back in her heart. What does he have to do? He’ll wash dishes. He’ll do whatever. You know, it’s hard to say. Get out of my life, you know? So I think she’s really pulled. You know, in terms of what to do.

“Invitation to Love.” I never shot any of “Invitation to Love.” They were all shot together.

TWIN PEAKS – EPISODE 1.005 – ACT THREE COMMENTARY

This scene was so much fun to do. I mean, what a situation where nothing is as it appears to be. You know, you go to the therapist’s office and he’s got, you know, Hawai’i behind him.

To me, this visually was so you know, the parents sitting there, these uptight parents and the whole design of his office and the colors and the masks and, you know, I think this is a great scene for Bobby.

I feel like this show was so much about digging out truths that no one had spoken before. The truths that you can’t speak, you know, and you know and also how. How the therapist gets to it, “Cut the shit, Bobby.” I mean, he goes directly, you know, and again, what he talks about is that there is no goodness in the world. You know, the kids are usually the pure ones.

But Laura had been corrupted and there was something really scary and terrible in her. And it, her life was filled with horrible secrets. You know, she is, you know, the adults kind of invaded her. Her own father, you know, invaded her. So she didn’t have that kind of purity.

He knew that Laura had a world, a life of secrets. She was delivering Meals on Wheels, but she was also doing drugs or having sex. And, you know, she was, she was not what she appeared to be. She was not the homecoming queen. Yeah, but she was corrupted. And you find all of this out. I think you find that a lot of information in this scene from Bobby about how distraught she was and how, they made love and she laughed at him.

So there was a cruelty. And he comes off as the tough boy, but he’s actually not. He’s actually very sweet and sad.

There were never really any ideas about about anything visually, did you? I mean, it was kind of just do it your own way, do it the best you can. I mean, you know, some of this stuff. I mean, I look at it, you know, this is a pretty extreme, you know, with the profile, then, you know, I always feel like a close up is a very powerful tool.

And I don’t think you want to use it in every scene. I don’t think every scene deserves. I don’t think every scene is that important. And I think sometimes the world that you’re in is as important as what’s going on in somebody’s face. So I think it depends what the scene is.

You know, I feel like some of the time the environment is, is so importantly a character. You want to put them firmly in the world they’re in. It’s fairly stylized in that way.

This shot was an establish… I didn’t shoot this. This came from that reel of landscapes because I was going into this, which I shot. So it was trying to find things so you could blend it together.

This was shot in Angeles Crest Forest. I mean, I loved Michael Horse, you know, sitting there looking at a twig and knowing how to read it. I mean, there’s it’s just fabulous and absurd and, you know, wonderful.

I do believe in, I don’t know if if we’re like, let’s say even even our eyes, what we can see of the color spectrum is so limited. If we were actually able to see more, would there be more there? You know, so I feel like I totally embraced the idea of of Cooper being able to see more than what most people see, that he’s open to this other level of consciousness.

And that was a great thing to play, you know, a great world to kind of delve into the mystery of the natural world, the mystery of the spiritual world, the mystery of the psychic world, and here was this very strange FBI agent who believed in all of it. I mean, what an absurd. Can you imagine an FBI agent like trust. I don’t know, with trusting all of that? What a different world. We would love it. You know, it’s outrageous, you know?

And I mean, that’s certainly embodied by the Log Lady. You know, the Log Lady who’s talking to this piece of wood who tells her these kind of strange, cryptic messages. The fish aren’t running. My log saw something.

I mean, yeah, I mean, but, you know, I loved that she listened to a tree and could hear something, you know? Is she crazy? I don’t know, is she more profound than any of us sitting here? Maybe. You know, maybe we’d all be listening to logs if we had that ability. I don’t know, you know, I certainly played it that way.

I certainly played it that she absolutely heard this log talking to her. You know, she had the gift to be able to listen. You know, maybe we don’t have that gift. Who knows?

As far as, like going to psychics or tarot cards, I find it intriguing, but it’s it’s nothing that I take terribly seriously something, but I’m fascinated. I do believe that there are people who see things differently, you know, and that’s interesting to me. I’ve certainly met people that have some sort of a gift to see more clearly, to see wider. You know, I don’t know if I would follow based my life on anything someone’s told me, but I find it intriguing.

You know, I’d like to meet a log lady and ask her. Log some questions. If you know anyone, let me know. You know, I love this whole monologue. She has, you know, about what she saw that. That the log actually saw this and knew this and could pass it on. If only we could listen. And I love the fact that the cop and the FBI Agent absolutely take this seriously.

I mean, I remember when Dale Cooper leans into the log to talk to it. I don’t know why I found that so outrageously funny when we were shooting it, but the fact that an FBI Agent is seriously leaning into a log to talk to it is just, you know, perfect. It’s just couldn’t be more perfect. I wish all FBI Agents would lean in and talk to logs, and maybe we’d have a different world.

And the log is saying the owls were flying. You know, that’s what the log is saying, you know, and that there were two men in it and the log is actually telling the truth. You know, in this world of secrets, the log is telling the truth. This is Catherine [Coulson], and Catherine is a first assistant camera woman and she had never acted before. And David was always amazing about seeing someone, you know, picking someone up that he saw and putting them in things. So she’s a great example of that. He had met her years ago. They’ve been friends for years and always had this character based on her. I think that’s actually where it all kind of came from anyway, was from her.

You know, we just looked everywhere. That would look like the northwest. I mean, we found lots of places that had, you know, Evergreens and the same kind of old growth. Then you just had to look very carefully to find places that worked. I thought I thought actually, we did a great job with that. I think most people think it was filmed, you know, in Washington state.

This is the shot that took an unbelievable amount of light of all these four profiles of all of them. And it was very important to me that they were all sharp that that, you know, Dale was, was not going to be in sharp focus and everyone else would be soft. So that was a tricky shot. It took a long time. It took a lot of light. It was a very set-up shot. It wasn’t something we didn’t shoot it on location here. We had to shoot it back at the studio because of how much light we needed.

And again, I love the fact that Dale observes all of these things about nature and life and puts them all together with some sort of theory. You know, the fact that he’s led everyone to this cabin because of the red curtains is, is pretty outrageous.

This is great. With all these, you know, with all these clues here. Waldo. The film, the Blood, the record, the music. There’s always music in the air. The Log Lady tells them there’s always music in the air. We did use playback because it was very important to hear the Julie Cruise song, because it set the whole tone. It helps incredibly, you know, it is a scene about hearing music everywhere and not understanding what it is, where it’s coming from. And, you know, the record playing over and over again.

TWIN PEAKS – EPISODE 1.005 – ACT FOUR COMMENTARY

I loved this particular. I didn’t have a lot of Joan Chan in my show, and I loved working with her, having done more, you know, a number of Twin Peaks. But she again was another surprise because you never expected that she would be involved with Ben. So to me, the fact that she was giving him the secret ledger again, another secret. It’s full of mystery. And so that was the choice to shoot her very silhouette. And with the cigarette.

Every episode was one day so you went through the whole day with everyone.  Oh my goodness, all the Icelanders. We did have a whole room of Icelanders. They were all Icelanders.

[Sigurjón “Joni” Sighvatsson] from Propaganda [Films] was Icelandic. So they got every Icelander.

She’s actually Icelandic. We had, like, every Icelander in this. I mean, the fact that she’s wearing a Viking hat, you know, it’s so absurd.

And of course, Leland comes because he wants to be part of everything. You know, it’s an extreme view of life here. I mean, Catherine’s pouring champagne on, Ben’s shoes to get his attention. I mean, who would ever do that? It’s so out there. I know it’s, fabulous.

This whole fourth act, you know, kind of leads to a culmination of Leland going mad and dancing, you know, in The Great Northern. And this is Ben’s big night of bringing his investors together and to really show them what Twin Peaks is all about and get them to invest.

So this is kind of, you know, the the culmination of his, his work and also a moment where many characters come together in the same place. And it was about building that moment, building to that dance sequence.

There are secrets everywhere and ways to find them out and Audrey sneaking down the hallway to go and watch what’s going on, to find the truth out. You know, it’s everywhere.

I tended to have, probably, the show’s again that had a slow rhythm than most things you see because you wanted to be able to observe what’s really going on. My show’s were quicker than the norm but that might be, I don’t know why, my background as a dancer, my own personal rhythm.

I mean this scene to me was so hysterical with her slapping him three times and they end up on the desk. And they had a really fun time doing this scene. Now none of that was written in. Slapping him was written in but ending up on the desk wasn’t. They both thought that was hysterical, you know. And it was really fun to do.

Audrey is the one trying to observe everything. She’s wants to know all the secrets because of her lack of relationship with her father or whatever, she lives in that darker world. You know, I think if she has the secret, she has the power.

Now Richard Hoover designed extraordinary sets for the show. And literally any place you turned the camera, you found something wonderful to look at, wonderful and odd. In Catherine’s house, there were lamps made out of chainsaws. I mean just really inventive, outrageous things.

I love this particular moment when [Jerry Horne] says, “We are all Icelanders.”

And now, poor Leland, is starting to dance. He just can’t handle it anymore. And I love the fact that Ben tells Catherine to get out there and dance with him and make it look like everything is fine, you know. And I’m trying to remember how that reindeer, I remember playing around, he kept putting his hands to his head. So I said, “Oh God, how can I make that look like a dance?”

You know, so I just had him doing this and Catherine pick up on it because it had to look like something everyone could pick up on. You know it had to be based on what he was doing, the fact that he was losing his mind and holding his head, you know. But then she has to be able to take it and then here we go. Take it the next step, I mean. And they, the Icelanders have to be able to pick up on it.

I think you get a glimmer into the fact that [Audrey Horne] is a young girl. She really is a 16-year old [ed. note: Audrey states she is 18 in the series] and is a little overwhelmed by everything and kind of unloved and unwanted.

I love those slippers. [Off camera: monster slippers] Monster slippers. Everyone is exploring, everyone is trying to find the truth. Having to sneak around in the middle of the night. Maddy, this young innocent, now getting involved in the deeper, dark mysteries of Laura’s life.

And of course, Laura, the Homecoming Queen. She’s not what she appears to be.

And now we found out that everyone’s double dealing. This to me again was about the mystery so it was very important that [Josie Packard] was in silhouette. It was dark then we shed the light on what’s really going on or at least what we know to be going on right now. So yes, those were very clear choices.

Part of the job of a director is to look for those visual transitions and ways to tell the story visually. And Twin Peaks was kind of a visual feast anyway, so you wanted to add as much to that as possible and use the sets, and use the worlds and use nature. That’s why this whole library, then again, the crow and the owl, those were things that I dug out of some library. They were not part of our “Twin Peaks shot for Twin Peaks” stuff.

And the full moon, I pulled that out of stock libraries because I wanted a sense of The Birds, you know. And a lot of came from what the Log Lady said. You know I started off with this image of the full moon but that was not scripted. That was just something I thought, “Oh, how perfect! You hear the Icelanders screaming everywhere.”

I mean even this with Shelly pulling a gun out on Leo you know. He was the casting director’s [Joanna Ray] son. This guy, he’s great. He was such a sweet guy who came off so horrible. And I love this actress, Mädchen Amick.

But again, to end on the swinging lamp, like the swinging light. It was a sense of mystery, like what’s going to happen here? You know, you don’t know.  Cutting to that waterfall, it’s adding natural elements to the mystery.

Here again we end up where we began with the Icelanders still singing. And then ending again on, is [Agent Cooper] going to let her stay in his bed? The last time we’ve seen her, she’s crying. We see the vulnerable part of Audrey, which I think Cooper’s seen from the beginning. I don’t think he ever bought into how controlled that’s because Cooper can see, he can see.

I don’t think there is a rule to how any story should be told. I think what was extraordinary about Twin Peaks is that it kind of made its own rules. And I think it got to a point where everyone felt the mystery had to be solved. But I think this is a world where mysteries really can’t be solved. So something happened when the mystery got solved. And I don’t know if you can go backwards again.

You know this is to me or for me personally, it was a world of mystery. So you might be able to gain more truths but you might never be able to solve them.