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David Lynch On His Reasons For Returning To The World Of ‘Twin Peaks’In the 4. Eraserhead, David Lynch has established himself as the godfather of the cinema of the strange. Creating directly from the depths of his subconscious, Lynch challenged accepted notions of realism in the thriller genre with his breakout 1.

Blue Velvet, a psychosexual neo- noir, then did the same for serial TV in 1. ABC show Twin Peaks, in which the murder of a small- town beauty queen opened a festering can of worms. Lynch hasn’t taken a full feature to a film festival in over ten years, since his three- hour digital phantasmagoria Inland Empire (2. Venice. His last appearance in Cannes was in 2. Mulholland Drive—one of just two films released in the 2. Century to appear in Sight & Sound magazine’s Top 5.

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Phantasmagoria is a point-and-click adventure game that features live-action actors and cinematic footage, both during scenes between the gameplay and within the. The month of October brings with it a celebration of all things scary, creepy, and downright terrifying. We watch the best horror movies, read some frightening books. Lynch hasn’t taken a full feature to a film festival in over ten years, since his three-hour digital phantasmagoria Inland Empire (2006) premiered in Venice.

Greatest Films of All Time. But this year he’s back with the most anticipated TV event of the year: the first two hours of an 1. Twin Peaks, where Laura Palmer was brutally murdered, although the director has made it a condition of this interview that he will not discuss the show’s characters—or plot. Now 7. 1, Lynch relishes his role as a grand disruptor, last year launching his own Festival of Disruption after being inspired by the philosophy of Transcendental Meditation pioneer Maharishi Mahesh Yogi. It’s about disruption of the old, and making way for the new,” the director says. Disruption is a good thing—being disruptive can mean just bringing better knowledge along to people.”Why did you want to return to the world of Twin Peaks?

Well, you know, the story was not over. I love the world—and I love the people in the world. Had you always wanted to go back there? For a while I didn’t want to go back in, and then Mark Frost asked me to go to lunch, and I realized that I had been thinking about going back in. And then one thing led to another, and there we were—back in. So what was the starting point?

I’ve heard that you think of it as an 1. Well, like I said, I love the world, and ideas started coming. So there we were, and I always saw working in television the same as working on a film. It is a film. So when I shot the pilot for Twin Peaks, way back when, I just saw it as a short film. The pilot was not that short; it was a feature film, it just had an open ending. And the same thing goes with this—it’s a film.

It’s broken into parts. So what was your mood, going in? Oh, I love mood, and, y’know, Twin Peaks has a mood and it’s the ideas that you follow, and the ideas dictate everything.

But most every idea comes along with its mood. And what was your personal mood? Happiness. Showtime.

Happiness to see that world again? Or were you in a good place in your life? No, I just love working, and, like I said, it was seeing a lot of new faces, as well as a lot of great people I’d worked with before. How did it compare to the first and second series? A lot of reports about the the first series say that you were very loose, that you liked to embrace accidents.

I always say, you follow the script, but you should be on your toes for new things. A thing isn’t finished ’til it’s finished. And nature has a way of surprising you with ideas along the way. It’s just a fantastic, beautiful thing. So it’s not over till it’s over. And was it the same on this shoot? Same thing. Did you have more of a plan this time round?

No, you never have. You never know what you have, till it’s done. You’ve often said that you didn’t ever want to solve the murder mystery involving Laura Palmer. Have you gone some way towards addressing that regret in this series? Or is that—again—under wraps?

That’s totally under wraps, Damon, you know that. Well—Yeah, I know you gotta try. It’s funny that, in the internet age, people get very upset when you won’t tell them what they’re just about to find out anyway. No, no, no, they don’t get upset, they get curious. And it sometimes gets frustrating, and they want to know. People want to know right up until the time they know, and then they don’t care anymore.

The whole thing is about the experience of going into the world of Twin. Peaks, and catching that mood, and going on a trip. And this is a beautiful thing. It’s a delicate world. I always say you should turn the lights down low, make sure there’s no interruptions, get as big a picture as you can, the best sound you can, and go for this experience.

And this is a beautiful thing, a precious thing. For me, personally, I don’t want to know what I’m going to see, I want to discover it on my own, with no bulls—t surrounding it. And that’s really important. Have you been surprised by the anticipation for the series? You know, there are many surprises. How something that took place in a small town in the woods can travel around the world. It’s very surprising what happened.

Did you ever have that thought in the back of your mind? No, you just do the thing. There’s a Vedic expression, “Man has control of action alone, never the fruits of that action.” So when you finish a thing, like I have just now, I’ve got no control of what’s going to happen. It’s up to fate. And the people. Andrew Medichini/AP/REX/Shutterstock. Is it all done now?

Have you finished everything? There’s still a lot of loose ends, deliverables, and things like this.

But it’s, you know, a long way down the road now. Watch Bad Biology Online Hulu. It’s coming out May 2.

You’re also taking it to Cannes, where you had a bad experience with Twin Peaks: Fire Walk With Me in 1. How do you feel about going back there? I love the Cannes Film Festival, it’s the best film festival in the world. Not to put any other festival down, but everybody kind of agrees on that. And it’s a big deal, and it will be really great to show the first bit to the people at Cannes. What does Cannes mean to you?

Well, you know, it’s a celebration of cinema. Big- time celebration of cinema. And do you have a particular fond memory of a being there?

Yeah, I won the Palme d’Or [in 1. Wild at Heart]. That’s a pretty thrilling experience. Alan Davidson/Silverhub/REX/Shutterstock. It was a very interesting film to win with. Yeah. It was the first time I was ever there. I wanted to go—I was going to take Eraserhead there, probably to Directors’ Fortnight, or one of the other things, not the main event. But it didn’t work out, so Wild at Heart was the first time I was there.

I had no expectations of getting anywhere near a Palme d’Or, but there it happened. Thanks to that great jury, and Bernardo Bertolucci. Did they ever tell you why they voted for you? They just thought it was a great piece of film [laughs]. Why are you laughing? The Art Of War III: Retribution Full Movie Online Free here. I was just making a joke. You know, I don’t know, I didn’t get any feedback.

Last year you screened the making- of film Blue Velvet Revisited at your Festival of Disruption in LA. It gives a fantastic insight into how you worked on that movie—everything was so personal.

Surely no major director has ever been allowed that kind of freedom ever since? I’ve always had that.

You have to have that freedom. You have to have the freedom. Freedom is the name of the game. Final cut, and freedom to make the film you want to make, that’s what it’s all about. Why, I say, would anyone go and make a film if they didn’t have that freedom? But you spent a lot of time handcrafting signs and props, doing things that the art department would normally be doing. You’re getting involved. Showtime.

Every element is important, and you work along to get them to feel correct for you, the director. I love building things, painting things, and doing stuff. It’s part of the great experience of making a film.

Has that been the case with all your films? Yes, yes. They send me out with the painter’s kit and different things, for sure. Is it that kind of hand- crafted quality that makes an auteur? In fact, do you believe in the auteur theory?[Pauses] You know, in the old days, people came out here to California, and they just made films and had fun doing it. Then they’d go to a great dinner afterwards, when the sun went down, because they were using just sunlight—the light is so beautiful.