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Twin Peaks

DRW50
in CBS | Paramount+ | Showtime

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    Rumor of the day: The Criterion Collection will be re-releasing Twin Peaks: Fire Walk with Me.


    Not sure what they can get for another Blu-Ray release beyond the full treatment it was given on the box set, but I'd kill for a commentary from Sheryl Lee or Robert Engels. That said, Lynch would have nothing to do with a commentary track, and I suspect he outlawed one for Criterion's release of Mulholland Drive - he also made sure all the recorded audio commentaries for the old TP Season 2 box set were stripped out, because he didn't care for the ones on the Season 1 set (done by various writers and directors). He just doesn't like audiences having that kind of narrative running with the film, I guess.

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    20 days away! I still can't believe this. I am trying to potentially finagle an invite to the premiere screening at the Ace Hotel on the 19th, but I doubt very much I'll get that lucky.

     

    I am not sure my heart or mind can handle 4 straight hours of new Twin Peaks after 25+ years without some sort of real trailer/teaser to prepare me emotionally, so I am hoping we get another with new footage this Friday. In the meantime, I am starting my umpteenth rewatch of the show and film this week - I've seen it a zillion times and know it by heart, but I want to be able to go into the new show with a very fresh recollection and see how it all knits together from then vs. now (or not).

     

    More articles. You can right click and read the larger articles in bigger images:

     

     

    Edited by Vee

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    Japan comes through again. I want this badly.

     

     

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    Full Variety article on the show's return, with Lynch, Kyle, Laura Dern and David Nevins.

     

     

    Interesting quotation from the above article re: the negotiations in 2015 -

     

    Lynch and Frost began talking about returning to “Twin Peaks” in August 2012, in part because the show’s baked-in time jump was approaching — in that pivotal red room scene, Agent Cooper is 25 years older. The two men shared ideas over meals at Musso & Frank, and after the writing process had begun in earnest, they started to shop the revival around. They settled on Showtime fairly quickly, given their history with the executives.

     

    Gary S. Levine, Showtime’s president of programming, has known Frost and Lynch since his days at ABC. Almost three decades ago, he was one of the execs who heard their pitch for the TV show they initially called “Northwest Passage.” (Levine still has the memo that notes the date of the first concept meeting for the pilot — Aug. 25, 1988.)

     

    But as with everything Lynch, the agreement for the redux came down to instinct: A final piece of the puzzle, say the execs, was a painting in Nevins’ office of a little girl next to a bookcase that looks like it may fall on her. “I was making the pitch about why he should come here and why we would treat his property right, and he mostly stood there and stared at the painting,” Nevins recalls. (For his part, Lynch says the painting wasn’t the deciding factor, but he smiles at the memory of seeing it.)

     

    The deal closed in the fall of 2014, with an order of nine episodes; the following January, Lynch hand-delivered a 400-page document.

     

    “It was like the Manhattan phone book,” Frost says. Their plan was to shoot the entire thing — with Lynch at the helm of every episode —and then edit the resulting footage into individual episodes.

     

    It’s hard to imagine wrestling that 400-page behemoth into a briefcase, let alone giving notes on it. When talks broke down, however, the conflict wasn’t about the script but rather the project’s budget.

     

    In April 2015, the director went public with his growing displeasure, tweeting that “after 1 year and 4 months of negotiations, I left because not enough money was offered to do the script the way I felt it needed to be done.”

     

    Lynch’s threatened departure generated a flurry of commentary, most of which said that a version of the TV show without him would be worse than no “Twin Peaks” at all.

     

    “I didn’t want ‘Twin Peaks’ without Lynch either,” Nevins says drily.

     

    The Showtime chief says he was out of the country when negotiations hit that difficult patch. Lynch wanted the flexibility to expand the length of the season, but he didn’t know exactly how many episodes he’d end up with. He hoped it would be possible to go longer than the 9 or 13 installments that had been discussed, but he ran into resistance from the network’s business affairs department.

     

    “It didn’t fit into the box of how people are used to negotiating these kinds of deals,” Nevins says. “Once I understood what the issues were from the point of view of the filmmaker, I was like, ‘OK, we can figure that out.’ And we did — it turned out not to be very complicated to [resolve].”

     

    Nevins and Levine went over to the director’s house. “Gary brought cookies,” Lynch recalls. And over baked goods and coffee, the three men hashed everything out.

     

    Lynch, says Nevins, has a history of being responsible. “He said, ‘Give me the money; I will figure out how to apportion it properly.’ And he did,” Nevins says. (Levine says the cost of “Twin Peaks” is comparable to that of Showtime’s other high-end dramas.)

     

    Asked for his side of the story, Lynch asks, “What did Showtime say?” Told their version, he signs off: “Basically, that’s it.” He says his relationship with the network ever since the cookie summit has been “solid gold.” (Treats never hurt: When he delivered cuts of the new season, he sent along doughnuts.)

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