By late May, Iger had seen the rough cut of the pilot and ordered the remaining seven hours. The Secret Lives of Marilyn Monroe. We'll talk for a while and then find some way to avoid working and get a cup of coffee, the usual routine. The process was the same for the second episode, which Lynch also directed. Lynch then went off to finish Wild at Heart, while Frost wrote the remaining segments, with revising and shaping help from two writers.
Peaks epitomizes the fundamental conflict facing prime-time programmers.
But when you venture out there, there are not a lot of indications that they're embracing what's different. One member of the Lynch ensemble, often said to be the director's screen alter ego, doesn't necessarily subscribe to the martyr theory. Any new media where he can create pushes him forward. It's real important for me to do something a certain way without someone else coming through after you're done and changing everything. There haven't been any of the horror stories you hear on this show-yet.