"At the end of the series, I felt kind of sad. I couldnīt get myself to leave the world of Twin Peaks. I was in love with the character of Laura Palmer and her contradictions, radiant on the surface, dying inside. I wanted to see her live, move and talk."

"I happened to be in love with the world of Twin Peaks and the characters that exist there."

" [I found myself] falling in love with the place. A small town surrounded by deep woods...It's almost like a fairy tale. I had to go back in."

"Most films are like a waltz, four four time kind of simple, in my mind. I'm not putting them down. This is like a jazz version of the story. And it's, uh, Laura Palmer's last week of life and it's got some abstract areas in it."

"I love the world of Twin Peaks. Twin Peaks is a land of mystery."

"I just sort of took off and got into a very strange world."

"It [the Red Room] changes depending on whoever walks into it."

"We had to cut a lot of scenes we'd shot because they didn't quite fit with the rest of the story. I was sorry that I couldn't use everybody again, but you have to admit that many of the people in Twin Peaks didn't really have a direct connection with the death of Laura Palmer."

"I couldn't even get arrested that year [after FWWM]! I just had a bad smell. Some planets must have been out or something. It was a beautiful experience in a way.

Order "Lynch on Lynch", the ticket into the world of David Lynch edited by Chris Rodley.

"I had a very difficult time feeling finished when the show went off the air and allowing it to just go, and this helped me. It was a wonderful exploration to be able to go back in there and do all the things that people had talked about that Laura had done for so long."

"We're not censored: Laura did walk on the wild side, and it's a lot wilder in the film. And I'm alive; that's a huge advantage right there."

"One reason I wanted to do this film is sometimes I feel defensive about my characters. At fifteen everyone loved Laura - she was the homecoming queen and sweet - and then people started hearing that she had done coke and had a lot of sex and walked on the wild side. But people don't take that path unless they're in pain and feeling lost. I don't think these are things to judge."

"Nothing that happened in the series held a candle to the scenes in this picture, the TV censors saw to that."

"Playing a character like Laura Palmer, your brain does strange things to you. I still have nightmares in which I'm riding with Bob on an old abandoned train."

"I was able to do things I never thought I could. It gave me an incredible sense of freedom."

"Its hard to shake off Twin Peaks, TV and movie...and how they were both accepted. There is some re-assessment of it but I think it will always somehow be tag-ended to the kind of broad-based popularity of the TV-series and a kind of strange footnote to it."

"The reaction was very bad over here. It did very poorly at the box office and more than that it was pretty viciously attacked in the reviews. Many people were hoping for an extension of the television series which was David's and Mark Frost's sensibility combined in part and the restraints of network television in part also making that more marginized David, as you would. But I think that many of the very enthusiastic fans of the television series came to the movie thinking they were going to get something like the extension of the TV-series instead of a genuine David Lynch movie. And they felt betrayed."

"I found Laura when she was dead, and now that she's alive it's real hard to see her go."

"[The citizens of Twin Peaks] have certain quirks of behavior. Usually, in a film, you'll have one character who is a little off-kilter and he's used for comic relief. Here it's everyone...it's all about these little moments of behavior. It's like sitting down and just watching people..."

"I loved it [working with David Lynch]. David is before his time as far as a filmmaker. I think he has a vision that is way ahead of a lot of filmmakers out there and it's very different. The beauty of Hollywood is that it was built on risk and here's a director who lives that way. He makes films that are risky. His vision in "Twin Peaks" is, I found, brilliant. He was telling it from the point of view from a girl who was a drug addict, who was abused by her father, who was tormented by major demons and it was how she saw her life and how she saw the world. Most people couldn't tap into that and they didn't understand what the film was about. You have to view it from the point of view of this girl and not from the point of view of the director or the point of view of yourself. This is this girl's tormented life and this is what it's like to her. Can you imagine what that must be like? Just watch it and you get the sense of it. The confusion, I mean the terror and the abstract surreal events about this life. I thought it was fantastic."

"When he [David Lynch] tells you what he has in his head, you say, no, that's impossible, nobody can pull off a scene like that. Then the next day, it's a circus act, and you're in it."

"[Phillip Jeffries] has either been dead for eight years or else took a long leave of absence and forgot to check in. I heartily endorse working with David Lynch. He's delightfully bonkers."

"The acting part was easy. But pulling my punches was murder. On one take, I really thought I broke the other guy's nose."

"The plot of the film dovetails perfectly into the pilot. David was adamant about the details of the script and how they merged with the series."