Twin Peaks
                                  (Showtime, Premiere May 21, 2017, 9:00 pm)



             Full cast and crew, and more details here


The character played by Richard Chamberlain, Bill Kennedy,
is featured in a short scene in season 3, episode 4, opposite David Lynch himself and David Duchovny.   












  David Lynch’s ‘Twin Peaks’ Revival Met With Standing Ovation                                             In Cannes 



"Fifteen years after serving as the Jury President here at the Cannes Film Festival, and 27 years after collecting the Palme d’Or for Wild at Heart, David Lynch returned to the Grand Theatre Lumiere tonight with the two-hour premiere of his Showtime series Twin Peaks and received a huge five-minute standing ovation."

Tonight’s ovation was one of the lengthier ones at this year’s
festival, on par with last night’s premiere of Sofia Coppola’s The Beguiled and a minute longer than Netflix’s Okja.

The moment Lynch hit the red carpet, those in the GTL erupted with huge cheers, outstripping the applause that even Will Smith received when he stepped out of his car for the Cannes Film Festival 70th Anniversary on Tuesday night. In attendance with Lynch was wife and Twin Peaks star Emily Stofle, as well as Agent Dale Cooper himself, star Kyle MacLachlan with his wife Project Runaway EP Desiree Gruber. Technically, it’s the second time that Twin Peaks has been to Cannes: Lynch brought the prequel feature film, Twin Peaks: Fire Walk With Me, that he made to the Palais in 1992.

 Thierry Fremaux doesn’t always take the stage before every screening, only during special occasions (i.e. DreamWorks Animation’s 20th Anniversary, Robert De Niro’s tribute last year during Hands of Stone). The Cannes film festival director did so tonight.

“It’s wonderful to have friends in town who have helped write the history of the event. Lynch, who won the Palme d’Or for Wild at Heart in 1990 and has gone on to be a festival fixture winning Best Director for 2005’s Mulholland Drive, is adored here,” said Fremaux. Then in a wink to this year’s controversy surrounding the inclusion of content not originally made for the big screen (which includes Top of the Lake: China Girl, the TV series by another Palme d’Or winner Jane Campion), Fremaux mused “If he had done a two-minute animated documentary we would have invited him. The return of David Lynch behind the camera is an event.” Both Top of the Lake and Twin Peaks are part of the festival’s 70th Anniversary events. During January’s TCA when Showtime made their Twin Peaks presentation,the network didn't have any plans to take the Lynch series to Cannes.  

Responding to Fremaux, Lynch yelled back, “I love Cannes,” at which point a lone female voice in the balcony section shouted back, “And we love you too!”While any title playing in or out of competition, Director’s Fortnight or Critics’ Week aims to get its fair share of global press, Lynch and Showtime limited the amount of PR they’re doing here for Twin Peaks, especially when compared to Top of the
Lake: China Girl.
 There is no press conference for Twin Peaks, nor is
there an international press day. Lynch attended Tuesday night’s
70th Anniversary Event and did photo ops with 12 other Palme d’Or winning directors, and of course, the premiere was tonight. This is
largely because Showtime did their blitzkrieg for Twin
stateside surrounding its premiere there.

Lynch himself was selected as one of this year's Deadline Disruptors
and featured in our annual Cannes Film Festival publication. Also,
as one observer pointed out tonight about keeping the lid on Twin Peaks in Cannes, “The first two episodes are really an overture to something bigger, and David would be bombarded with all these questions of what’s bound to happen in the series, and he can’t really spoil that.”

             © 2017 Nancy Tartaglione for Deadline Hollywood



‘Twin Peaks’: David Lynch, cast talk (very little)
about revival

We finally have a premiere date for Showtime’s highly
anticipated “Twin Peaks” revival.

Network chief David Nevins announced at the Television
Critics Association press tour Monday that the surreal drama
will debut at 9 p.m. May 21 with a two-hour episode. Nevins said episodes 3 and 4 will also be made available that night on Showtime’s digital platform. “It’s really happening,” he exclaimed.

The series will span 18 episodes, overall — all of them directed by
David Lynch.

“We’ve seen the whole thing … and the version of ‘Twin Peaks’ you’re going to see is the pure-heroin version of David Lynch,” Nevins said. “I’m very excited to put that out.”

“I hear heroin is a very popular drug these days,” Lynch quipped during a session for the show held later in the day.

Lynch said it was co-creator Mark Frost who several years ago broached the idea of returning to “Twin Peaks.” The two met in
a Hollywood restaurant and considered the possibilities.

“I often thought about what might be happening in that world,”
he said.

It was no certainly no surprise that Lynch — along with five members of the cast — were deliberately, and often hilariously opaque while fielding questions from journalists. Basically they said next to nothing about character details and plot lines.

One story nugget Lynch did convey: The developments of the
1992 stand-along film “Fire Walk With Me” will have an impact
on the revival.

“The story of (murder victim) Laura Palmer’s last seven days are very important to this,” he said.

The new series features the return of several actors from the original series, including Kyle MacLachlan, Sherilyn Fenn, Madchen Amick,
Sheryl Lee and David Duchovny. Newcomers include, among others,
Laura Dern, Michael Cera and Richard Chamberlain.

MacLachlan said “there was a huge sense of gratitude” to be working
on “Twin Peaks” with Lynch again. “It was a gift,” he said.

Dern added, every day working with Lynch “is magical and hilarious.
It’s the most freeing, wild ride …”

At one point, Lynch was asked if is aware of the “Twin Peaks” mania in pop culture. No, he said, “I’m too in the middle and I don’t
go out much.”

© 2017 Chuck Barney



Twin Peaks 2017: David Lynch revealed exactly one new detail about his upcoming Showtime revival

Since it was first announced in October 2014, David Lynch’s Twin Peaks revival has gone through almost as many twists and devastating turns as the original 1990 show itself. False starts and contract renegotiations threatened to sideline the cult favorite from
ever returning to television as its auteur creator — and an eager
Showtime — had planned.

But on January 9, Showtime finally announced at its winter Television
Critics Association panel that Twin Peaks: 2017 will begin on Sunday,
May 21, with a two-hour premiere. (And as a bonus, the third and
fourth episodes will be available for Showtime subscribers on demand
once the premiere’s over.)

As for just how much Twin Peaks we’re about to get, Showtime president David Nevins then confirmed that the season will be 18
hours(!) total — but that there are no plans to go any further.

At the end of Showtime’s press day, journalists were promised a panel
including original Twin Peaks castmembers
Mädchen Amick ,
Kyle MacLachlan , Robert Forster , Kimmy Robertson , and new
Laura Dern — but we were warned several times that we
wouldn’t be learning anything about the actual show.

However, we were not warned that we'd get the opportunity to try to
squeeze some details out of David Lynch himself.

The 45-minute panel provided exactly one solid detail about the new Twin Peaks

I’ll level with you (though if you’re a Twin Peaks fan, this disclaimer probably won’t be very surprising): The information we got from this TCA panel was next to nothing. There are no screeners available for critics, and with the actors under strict orders from Lynch not to spill anything at all, their segment of the panel was mostly limited to milquetoast anecdotes about how shooting Twin Peaks felt like shooting one big movie with old friends.

And so, fittingly enough, the only salient information we got about the show itself came from Lynch.

For the most part, the famously concise Lynch stuck to a few basic points: “I’m not really at liberty to talk about that.” “I’d rather not discuss that.” “I love Laura Dern.”

In fact, if Lynch ever elaborated beyond a single sentence, it was to rhapsodize about the making of Twin Peaks, a world he openly loves. “I’ve often thought about what might be happening,” he said. “I often just remembered the beautiful world and beautiful characters.”

So he was happy to return to the town, saying that he felt network pressure to wrap up the mystery of who killed Laura Palmer —

“a question we did not ever really want to answer” — is what killed
the show.

Still — and herein lies the only piece of real information we got from Lynch throughout the panel — the end of Laura Palmer’s life continues to hold significance for the 2017 revisiting. In fact, Lynch said, her last seven days alive, as depicted in 1992’s film follow-up Twin Peaks:
Fire Walk With Me,
are “very much important” to the revival.

And now, a final moment with David Lynch

So there you have it: A highly secretive project remains highly secretive.

But we don’t like to leave you on a bummer note, so here is a quote from Lynch on how he — a filmmaker who got into directing because he “wanted to make paintings move” — and collaborator Mark Frost came to create Twin Peaks:

We climbed the mountain … when we rounded the mountain, we entered a deep forest. Going through the forest for a time, the trees began to thin … and we discovered a town called Twin Peaks.

It’s not revealing, but you’ve got to admit: It’s pretty damn good.

© 2017 Caroline Framke



David Lynch and the Nightmarish Meanings of his Hollywood Star Casting

In episode four of Twin Peaks: The Return, an older gentleman has an obscure conversation with Gordon Cole (David Lynch) as he escorts him to the office of FBI Chief of Staff, Denise Bryson (David Duchovny). Their scene together is short but just by his brief appearance Richard Chamberlain evokes a mass of associations in the viewers who recognizes him, maybe as Cannon Films’ Allen Quartermain, maybe as the ambitious priest with impure thoughts of Rachel Ward in The Thornbirds, or maybe as Julie Christie’s husband in Petulia. An icon of classic television thanks to his performance in the prime-time medical soap, Dr. Kildare, Chamberlain is gay in real life. His walk with Cole down the halls of the FBI signals to a cinema-literate audience that the Bureau is a wholesome but progressive place, thereby making a perfect segue into Cole’s impassioned speech in support of Denise’s rights as a transwoman: “You were and are a great agent. And when you became Denise, I told all your colleagues, those clown comics, to fix their hearts or die.”

I’m not the first person to write about Lynch’s genius at casting, but I specifically want to look at how he uses the extratextuality of classic Hollywood stars to inform his films. Lynch’s environments are often so esoteric, yet these connotations and connections outside of his universe give the viewer fundament to build on as they try to grasp the obscure events happening onscreen. Chamberlain isn’t the only actor of this era to appear in The Return. Returning from the original series we still have the two stars of West Side Story, Richard Beymer and Russ Tamblyn, plus Don Murray, who I’ll address in-depth later.

Lynch has exploited the extratextuality of his performers for nearly his entire career. Starting with Blue Velvet he opposes two types of Hollywood as his representations of good and evil. Laura Dern’s suburban mom is played by Hope Lange, the Golden Age ingénue of Peyton Place, while Dean Stockwell and Dennis Hopper, exemplars of the iconoclastic independent filmmaking that challenged the waning studio system, are the villains. In Wild at Heart, real-life mother and daughter Diane Ladd and Laura Dern reenact a perverse subversion of the relationship between Dorothy and The Wicked Witch in The Wizard of Oz. (The reference is evoked less subtly in the end of the film when Sheryl Lee appears to Nicolas Cage in a vision as The Good Witch.) There are more examples, but I’ll just end by pointing out the presence of a top star of musicals of Hollywood’s Golden Age, Ann Miller in Mulholland Drive. When Naomi Watts’s aspiring actress character arrives to look at an apartment, Miller is Coco, the manager who greets her. Watts’s youth and big dreams are a harsh contrast with the 78-year-old Miller, who seems to symbolize the disappointment and decay that happens to all beautiful things in Los Angeles.

Essential to effecting Lynch’s vision is his long-time casting director, Johanna Ray, who has collaborated on every one of his feature films since Blue Velvet, plus his television work. Ray’s son, Eric Da Re, played the abusive and unstable Leo in the original Twin Peaks, and is Johanna’s child with 1950s tough-guy actor Aldo Ray. Aldo’s career began with instant success and he continued to work with major directors like George Cukor, Michael Curtiz, Raoul Walsh and Anthony Mann, until alcoholism worsened his strident temperament. In the last decades of his life, his work was limited to schlock horror, B-action movies, and even a (straight) appearance in a pornographic Western. Although some of them, like Psychic Killer and Don’t Go Near the Park, have cult reputations, Aldo’s demons doomed his career. On the cusp of his breakdown, in 1965 he starred in John Derek’s directorial debut Nightmare in the Sun.

I want to digress here a bit because John Derek’s life could be an unrealized plot from the Lynchian universe. A beautiful and adored Hollywood star, a favorite of Nicholas Ray, he quit acting at the height of his career to become a filmmaker, casting in his films a series of child brides/muses. Derek married Ursula Andress, the first Bond girl, when she was 19 and starred her in his first two films. While he was with his next wife, Linda Evans, he met a 16-year-old Long Beach high schooler, then took her to Europe to make a film and be his girlfriend. Derek wrote, directed, shot, operated and edited his films, a feat you would think auteurist film critics would appreciate, yet his output is reviled by reviewers and audiences alike, unless they’re watching to ogle the Long Beach high schooler Derek married and renamed Bo Derek. I had never watched one of his movies until recently, and I thought it was fucking fascinating.

His final film, Ghosts Can’t Do It, marked the end of a long collaboration with fellow actor-director Don Murray, who plays Lucky 7 insurance president Bushnell Mullins, aka “Battling Bud,” on Twin Peaks: The Return. Murray, like Derek, started his career as a Columbia Pictures leading man, co-starring in Bus Stop with Marilyn Monroe and his first wife, Hope Lange — yes, the same Hope Lange from Blue Velvet. In Ghosts Can’t Do It, Murray plays a supporting role as Winslow, the business partner of Anthony Quinn. Quinn is hideously rich and married to the young, succulent Bo Derek, but when a heart attack incapacitates him he takes his own life. He finds himself in heaven, an out-of-focus soundstage administered by angel Julie Newmar, where he is to be eternally deprived of the concupiscent gifts of Bo. By filming almost entirely in close-ups and concretizing Quinn’s absence-presence by the most generous of eyeline matches, John Derek disorients the viewer to draw us into the limbo of Quinn’s unstable existence. Murray is mostly there to look flummoxed when Bo speaks to herself but he also has a magical dance scene with her where she does that great dance move, “the dolphin.” And he also introduces her to the members who sit on the board of Quinn’s business empire, among them Donald Trump playing himself.

In Twin Peaks: The Return, David Lynch awakens us to the nightmarish knots that tie our world together with dark forces. In reality we’re also enmeshed in a matrix of images, all of which seemingly end with that failed actor and businessman, President Trump. We look to the last two episodes of Twin Peaks: The Return to show us our future. 

© Gillian Wallace Horvat, Filmmaking, August 31, 2017





                   Two actors featured in the series, Amy Shiels and Richard Chamberlain