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I've always had an idealistic streak about storytelling in that I believe we owe more to audiences than repeatedly bludgeoning them over the head while stealing their lunch money. We owe them inspiration. That's why I'm more interested now in creating new heroes than hooking up jumper cables to old ones.
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Criminality is a basic part of human nature.
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We've learned never to say never. Anything is a possibility.
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There's a part of 'Twin Peaks' that is sort of a hinged doorway to another, stranger place, if you can imagine such a thing.
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I'm a realist about how the networks work.
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I've always said that 'Twin Peaks,' to me, was like a novel we filmed every page of.
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In a business that's driven purely by economics, the fact that one or two unique shows happen to get on and reach a public for a brief time doesn't constitute a trend.
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I don't like getting stuck into someone's definition of what you can or can't do with a story.
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I don't know if I'll have a better friend than Bill Paxton.
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If you come in with all of the answers, you might create something that's very beautiful and powerful, but I think it will also seem sterile if you don't leave room for people to have their own reactions to it.
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The whole mythological side of 'Twin Peaks' was really down to me, and I've always known about the Theosophical writers and that whole group around the Order of the Golden Dawn in the late nineteenth, early twentieth century - W. B. Yeats, Madame Blavatsky, and a woman called Alice Bailey, a very interesting writer.