My first introduction to television, and really just the business in general, was working with David Lynch, with his incredibly open, creative mind that was not following any rules. I didn't know it, because I hadn't been in the business.

My first introduction to television, and really just the business in general, was working with David Lynch, with his incredibly open, creative mind that was not following any rules.

I knew David Lynch going to television was going to be something. It was either going to not work, nobody was going to get it and it would disappear, or it was going to be something special and really stand out.

The most common thing over the years is, 'What's it like to work with David Lynch?' That's absolutely the fascination, whether it's people that are in the industry or it's just diehard fans. Because he's our modern-day master. We're lucky enough to be alive at the time that an absolute master and genius is working.

In television, the writer-creator-showrunner is embraced as the creative mind.

Part of the reason I actually preferred Twin Peaks's second season to its first was the fascinating spectacle of watching a narrative structure disintegrate and a narrative artist freeze up and try to shuck and jive when the plot reached a point where his own weaknesses as an artist were going to be exposed (just imagine the fear: this disintegration was happening on national TV).