It’s no surprise that a significant number of memories come from the groundbreaking Twin Peaks — a TV show that uniquely blended cosy small-town drama with a surreal murder mystery.
Speaking exclusively to RadioTimes.com, Frost explains: "After World War II, television set up a kind of cosy and warm conformity that was best exemplified in situation comedies. It was always the nuclear family, the dad was a sweet, loveable goofball, the kids were all adorable, and it was utterly predictable. It was all designed to sell products to those people in the audience — television was an advertising medium.
Frost spent the early days of his career writing for a variety of shows, including The Six Million Dollar Man, and eventually had a three-year stint on Hill Street Blues, after which he decided to turn his attention to writing films. Enter David Lynch.
Whilst working on the (ultimately unproduced) film together, Frost and Lynch were approached by ABC over the possibility of creating a series for television. The pair jumped at the opportunity, Frost still feeling dissatisfied by the state of television at the time: "I felt it was underachieving, in terms of what it could possibly do. So, when we got the chance, we took it. We said, ‘What have we got to lose?’
The first season of Twin Peaks leapt onto screens in 1990, eerily balancing warm, familiar small-town drama with far darker dream sequences. Frost elaborates: "It all became an organic process. [David and I] had both spent time in small towns, and we knew that when you’ve got less people and more open territory, the ‘weird’ gets in a little easier.
Frost goes on to explain that he and Lynch had a lot in common, especially regarding their view of the world: "We’re both people who don’t necessarily have both of our feet planted in mundane reality. There’s a ‘shadow side’ to life that Americans have become adept at papering over — particularly during the Reagan years — and we wanted to let some of that shadow back in. I think that reflects our own experience of reality more faithfully."
While Lynch had developed himself within the world of fine art, Frost maintains that his talents are mostly in the written word: "I was a drama major and a playwright, and I’d studied literature and read the classics. Our disciplines were quite different but completely complementary. We were speaking the same language, just using different letters. It isn’t neatly dichotomous — it was really an amalgam. The two of us had a particular kind of alchemy that I’ve never duplicated with anyone else. I’ve never even tried!"
Frost explains: "The initial dream sequence was born out of the strange necessity that we had with the pilot. The foreign distributor wanted a closed ending of the initial two hours. It opens the door to the dream-world that then became part of the show. All that stuff snuck in through that cracked door for the closed end and we just decided, ‘well, that’s got to be part of the show’.
More than 25 years after the first season, the series returned in the aptly named Twin Peaks: The Return, an 18-part epic that continued the series, penned entirely by Frost and Lynch.
"We wanted the show to be — in its own way — as startling this time around as it was the last time. Everybody in the show had grown older and we had a lot of thoughts about some of the major themes of the third series — mortality, and how much is there to this idea of a spiritual world? Are mortal souls in peril because of moral decisions that we make? These were all things that we were able to put into place more directly and more forcefully now that we had some years under our belts."
"Television has a lot of filler — if you watch it a lot, you know [when] they’re just building a bridge between this scene and that scene. We wanted every scene and every moment to count.
All episodes of Twin Peaks launch on MUBI on 13th June in the US, UK, Latin America, Germany, Turkey, Italy, Netherlands and India.
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