LOST HIGHWAY | Cast (in order of appearance)

Credits | LOST HIGHWAY

RUNNING TIME: 135 MINUTES
RATED R

LOST HIGHWAY | Music

"I'M DERANGED"
Written by David Bowie and Brian Eno
Performed by DAVID BOWIE

"VIDEODRONES"
Created by Trent Reznor

"SONG TO THE SIREN"
Written by Larry Beckett and Tim Buckley
Performed by THIS MORTAL COIL

"SOMETHING WICKED THIS WAY COMES"
Written by Barry Adamson
Performed by BARRY ADAMSON

"INSENSATEZ"
Written by Antonio Carlos Jobim and Vinicius de Moraes
Performed by ANTONIO CARLOS JOBIM

"EYE"
Written by Billy Corgan
Performed by THE SMASHING PUMPKINS

"THE PERFECT DRUG"
Written by Trent Reznor and Danny Lohner
Performed by NINE INCH NAILS

"THIS MAGIC MOMENT"
Written by Doc Pomus and Mort Shuman
Performed by LOU REED

"APPLE OF SODOM"
Written by Marilyn Manson
Performed by MARILYN MANSON

"I PUT A SPELL ON YOU"
Written by Jay Hawkins
Performed by MARILYN MANSON

"HEIRATE MICH"
Written by Kruspe/Lindemann/Lenders/Lorenz/Schneider/Riedel
Performed by RAMMSTEIN

"RAMMSTEIN"
Written by Kruspe/Lindemann/Lenders/Lorenz/Schneider/Riedel
Performed by RAMMSTEIN

"DRIVER DOWN"
Written, Arranged, Produced, Performed and Mixed by TRENT REZNOR

LOST HIGHWAY | About the production

A mesmerizing meditation on the mysterious nature of identity, LOST HIGHWAY is the latest film by David Lynch, creator of such modern masterworks as THE ELEPHANT MAN, BLUE VELVET and WILD AT HEART. Starring Bill Pullman, Patricia Arquette, Balthazar Getty, Robert Loggia and Robert Blake, the film expands the horizons of the medium, taking its audience on a journey through the unknown and the unknowable. Radical, even for a Lynch film, LOST HIGHWAY is not only about the human psyche, it actually seems to take place inside it.

An October Films release, LOST HIGHWAY features an ensemble cast that includes Natasha Gregson Wagner, Gary Busey and Richard Pryor. Based on a screenplay by Lynch and Barry Gifford (whose novel Wild at Heart was the source material for Lynch's Palme D'Or-winning film), it was produced by Deepak Nayar, Tom Sternberg and Mary Sweeney. Peter Deming was the cinematographer, Patricia Norris was production and costume designer, and Mary Sweeney was editor. The film was scored by long time Lynch collaborator Angelo Badalamenti (BLUE VELVET), with additional compositions by Barry Adamson. The soundtrack, available on Nothing Records (a division of Interscope) features new songs by Nine Inch Nails, The Smashing Pumpkins and Marilyn Manson, as well as music by David Bowie, Trent Reznor, Lou Reed, This Mortal Coil, Antonio Carlos Jobim and Rammstein.

Set in a city that looks suspiciously like Los Angeles but which is actually a place of Lynch's own imagining, LOST HIGHWAY - like LA - is both blazingly modern and resolutely retro in look and feel. Dubbed by Lynch and Gifford "a 21st-century noir horror film," the film draws its plot, or rather, its plots, from classic film noirs filled with desperate men and faithless women, expensive cars and cheap motels.

From this inventory of imagery, Lynch fashions two separate but intersecting stories, one about a jazz musician (Pullman), tortured by the notion that his wife is having an affair, who suddenly finds himself accused of her murder. The other concerns a young mechanic (Getty), drawn into a web of deceit by a temptress who is cheating on her gangster boyfriend. These two tales are linked by the fact that the women in both are played by the same actress (Arquette) and may, in fact, be the same woman. The men in each are connected by a mysterious, mind-blowing turn of events that calls into question their very identities.

Unfolding with the logic of a dream, which can be interpreted but never explained, LOST HIGHWAY is punctuated by a series of occurrences that simply can't have occurred: one man turns into another; a woman who may be dead seduces the man who might have killed her; a man phones himself and - inexplicably - is at the other end of the line to receive his own call! As post-modern noir detours into the realm of science fiction, it becomes apparent that in LOST HIGHWAY, the only certainty is uncertainty. That, and the fact that David Lynch remains one of the most distinctive and fascinating artists working in film today.

Lynch trained and began his artistic career in painting - (he still creates canvases that are exhibited internationally)- so it is unsurprising that even his earliest work on film has been described in terms of painting. From ERASERHEAD onwards, his distinctive style has been called "expressionistic" and, like the expressionists, he places a premium on conveying emotions that are communicated by the distortion of color, shape, space and time in a highly personal way. He has also been compared to the surrealists who, in the words of Andre Breton, believed in "the omnipotence of the dream." In keeping with this movement, his films are rebellious experiments in irrationality and absurdity that bring an almost psychoanalytic approach to sex, dreams, and the unconscious.

Lynch himself disavows membership in any specific artistic "school," even as he acknowledges certain preferences and influences: "I love Surrealism and I love Expressionism," he says, "but, I had never seen THE CABINET OF DR. CALIGARI until after I had done ERASERHEAD." He goes on to say, "Ideas are the thing, and they just come out in a certain way, based on what you love and what you're feeling. Later on, you find out that you're in some sort of school!"

Regardless of what label one tries to put on him, Lynch, like all modern artists -- irrespective of their labels -- brings a radically new attitude toward both the past and the present and, in his exploration of the film medium -- a medium that has remained suprisingly realistic in its first century of existence -- he reveals a modernism that has long been taken for granted in painting and music, but which is rarely exhibited on screen. "In my mind," he says, "it's so much fun to have something that has clues and is mysterious -- something that is understood intuitively rather than just being spoonfed to you. That's the beauty of cinema, and it's hardly ever even tried. These days, most films are pretty easily understood, and so people's minds stop working."

Displaying an obvious affection for abstraction, Lynch's films have become increasingly non-narrative, fueled less and less by what one might call "story' and increasingly emphasizing mood, tone, feelings, and a highly subjective vision of the world. Unlike WILD AT HEART, which was drawn from a pre-existing novel by Barry Gifford, LOST HIGHWAY was actually born from a mere phrase from one of Gifford's novels: "Barry wrote this book Night People," Lynch recalls, "and in it, it had a phrase 'Lost Highway.' And I said, 'Barry, I love these two words. We should make something that's called Lost Highway' and he said 'Let's write it."' Apart from this, Lynch and Gifford drew inspiration from film noir. "Barry and I called it 'a 21st-century noir,"' Lynch recalls, explaining his affection for the genre as follows: "There's a human condition there - people in trouble, people led into situations that become increasingly dangerous. And it's also about mood and those kinds of things that can only happen at night. You can just take that," he concludes, "and run with it your own way."

From this departure point, Lynch and Gifford fashioned a script that actually subverts the rules of conventional filmmaking. Ending virtually where it begins (and full of interior repetitions), the film is structured somewhat like a circle, although it is far less simple than that. Taking a twist at a pivotal point - a twist that turns the narrative inside out - "it's a Moebius strip," observes Lynch. "We talked about that while we were making it."

At its outset, LOST HIGHWAY appears to be the story of Fred Madison (Pullman), a successful jazz musician married to Renee, a beautiful brunette who seems strangely withdrawn. A disturbing study of contemporary marital malaise, this chapter of the film explores Fred's escalating anxiety and insecurity as he begins to realize that Renee may be leading a double life. He has much cause for concern: though Renee says she will be waiting for him while he is out performing, Fred's call home is unanswered and her bed lies empty. One night he escorts her to a party hosted by a vaguely unsavory man, Andy (Michael Masee), whom he has not met before, and Renee is less than candid about how she came to know Andy and his crowd.

At the party, Fred has an alarming encounter with a strange gnome-like man (Robert Blake, identified in the film's credits as "The Mystery Man"), who insists that he has met Fred before and has even been in his home. The "Mystery Man" then proceeds to place a call to Fred's house and somehow manages to be at the other end of the line to take his own call. This shocking confrontation with the impossible - a person who seems to be in two places at once - forces Fred (and the viewer) to ask certain questions: Why does Fred suddenly feel like a stranger in his own life? Why does he know so little about his own wife? Why has he no recollection of encounters that would seem to be unforgettable? And, who is sending him those mysterious videos that indicate that someone has access to his home, and has been recording Fred and Renee's intimate moments?

Before Fred can decipher any of these strange occurrences, something even stranger happens. In a flash, Renee's bloodied corpse is found in their bedroom. Though Fred has no memory of the events that led to her death, he is the sole suspect. In fact, given his recent mental lapses, he could be the killer. The police apparently subscribe to that theory and Fred, in short order, is arrested, tried, convicted, and incarcerated.

Layering yet another mystery upon these mysteries, Lynch next takes his boldest storytelling leap: one day, during a routine cell-check, Fred is missing. In his place is a young man, Pete Dayton (Balthazar Getty), who has a conspicuous wound on his head and who, like Fred before him, has no recollection of the immediate past. The authorities can't begin to understand how Fred escaped a maximum security prison or how Pete gained entry. Ultimately, they are forced to release Pete, who has no visible connection to either Fred or to Renee's death.

At this point, LOST HIGHWAY becomes Pete's story, and we soon learn that he is an auto mechanic with a girlfriend, Sheila (Natasha Gregson Wagner), parents (Gary Busey, Lucy Butler), and a wealthy client, Mr. Eddie (Robert Loggia), who is probably a gangster and who will let no one but Pete service his valuable cars. Still disoriented from his "blackout," Pete has a chance encounter with Mr. Eddie's sultry blonde mistress, Alice (also played by Patricia Arquette), and before long he finds himself embroiled in a torrid affair with another man's woman - a woman about whom he knows nothing and who, like Renee, appears to be leading a double life.

In keeping with the Moebius strip concept, Pete's story is virtually the inverse of Fred's: one man is a middle-aged artist who lives comfortably in the hills above the city, the other a youthful laborer from the blue-collar row-houses in the valley. Fred loses his woman to another man, Pete steals another man's woman. Yet, for all these differences, these two men function as each other's alter egos and their common, uncommon experiences in confused identity, memory loss, depersonalized sex and, ultimately, betrayal and death, are equivalent. "They're living the same relationship," observes Lynch, "but they're living it in two different ways. They're victims in different ways, in both worlds."

The "transformation" of Fred into Pete, which combines the fancy of Lewis Carroll with the phantasmagoria of Franz Kafka is, perhaps, the defining aspect of LOST HIGHWAY in that it denies the audience something they get from most other movies - a literal explanation. (Lynch even taunts the audience in a scene at Pete's home during which he asks his parents what happened to him and his father, eyes brimming with tears, refuses to answer. The implication is that the father has an explanation, but can't bring himself to utter it. Perhaps this is Lynch telling us that he, too, has an answer but that we, like Pete, will have to find it on our own.)

It is tempting, while viewing LOST HIGHWAY, to make something linear and literal out of Lynch's Moebius strip. For instance, one could say that Renee and Alice are actually the same woman, with Renee donning a blonde wig and sneaking off while Fred is working to cavort with Mr. Eddie, Andy and Pete. "The only problem," Lynch reminds us, "is that Renee was already killed." One could also try to explain the Fred/Pete phenomenon in strictly psychoanalytical terms. Lynch points out that there is an actual psychological malady called "psychogenic fugue" that "fits Fred Madison perfectly. When Barry and I were working we didn't know the term, but it's when a person suddenly takes on a completely different personality, different friends, everything."

In many ways LOST HIGHWAY is about psychogenic fugue. (Furthermore, the musical term "fugue," which is defined as "a musical form composed for multiple instruments or voices in which the subject is announced in one voice and then developed by another," is highly applicable to the film.) However, if psychogenic fugue were Fred's problem - if it were simply that he had developed a new identity for himself - how would one explain a new family, new body, and new fingerprints?

Easy explanations aside, Lynch maintains that the answers are nonetheless there. "There are explanations for a billion things in life that aren't so understandable, and yet inside - somewhere - they are understandable. There are things that happen to people that can be understood in terms of jealousy, or fear, or love. Maybe not in a rational, intellectual way." Lynch insists that the Fred/Pete "transformation" and other such occurrences "are not inexplicable." He continues: "It's like when you are sitting alone, you sometimes have the feeling that there are different parts of you. There are certain things that you can do and there are certain things that you would never do unless there was a part of you that took over. SO, in a way, it's kind of logical."

Here, it is crucial to point out that grappling with LOST HIGHWAY's unusual plot will only take the viewer so far. In the end, the film is no more about its "story' than it is about its unique style. Rather, it must be seen in its totality - a complete integration of music, painting, architecture, poetry and drama that fuse to form a spectacle that is grander than the sum of its parts.

As Lynch himself puts it, "every single element is critical and the film is never finished until it's finished. You build the whole thing piece by piece. The script is one thing, but it's not the finished thing or else you'd just release the script. It forms a blueprint, and as you start shooting, you get more ideas, and you see things in front of you."

For instance, the mere choice of Los Angeles as the film's setting adds enormously to the sense of restless, directionless motion that is the lost highway of the title. Could the film have taken place elsewhere? "Perhaps," says Lynch, "but you don't know how it would affect it. The place, the light and the feel - all these things come with the knowledge that you are looking for things to flesh out your ideas, make them more right. For me, LA was the right place."

The house inhabited by Fred and Renee is similarly integral to the film's scheme, combining stylistic elements of yesterday, today and tomorrow, just as the narrative does. In fact, the house's peculiar design could almost serve as a metaphor for the entire film: when seen from the front, there are a few small windows, providing limited opportunities to see inside. But when it is approached from other angles, one realizes that there are many ways to observe the interior. The design within the house also corresponds to Lynch's overall vision. "I always like to have the people stand out, so the furnishings have got to be as minimal as possible so you can see the people." Lynch adds, "There were many things that had to be built for the story to work," and since Lynch has lately expanded his activities to include the design of furniture, he actually built some pieces for this set himself, most notably the case that contains the Madison's ominous VCR.

The heightened use of ambient sound, along with the eclectic blend of music, are additional ingredients that Lynch works prominently into the overall conception of his film. "Half of the film is picture," he notes, "the other half is sound. They've got to work together. I keep saying that there are ten sounds that will be correct and if you get one of them, you're there. But there are thousands that are incorrect, so you just have to keep on letting it talk to you and feel it. It's not an intellectual sort of thing."

Similarly, with the music, which ranges from old standards done in a new manner, to utterly contemporary pieces that contain haunting echoes from the past, Lynch's process is intuitive. "I listened to tons of music," he says, "and some of it talks to me for this scene or that. I don't really know why, but each piece that ends up in the film supports the scene and makes the whole greater than the sum of the parts."

Ultimately, discussing the individual parts that form the whole of LOST HIGHWAY is something David Lynch is both unwilling and unable to do. "It's a dangerous thing," he notes, "to say what a picture is. If things get too specific, the dream stops. When you talk about things, unless you're a poet, a big thing becomes smaller."

"It's not like I'm trying to cop out," he continues, "but where these things come from, I honestly don't know. Right now," the director confides, "I'm trying to find my next film and it's not here yet. I'm fishing, and maybe tomorrow it will bob to the surface. From where does it bob? From an area outside our consciousness. But at one time or another, it meets your consciousness and then you know it."

"Once an idea comes," he concludes, "it comes with all this power, like a gigantic spark. And everything is contained in it, and it thrills your soul. You know just what to do from then on. It's complete."

LOST HIGHWAY | About the cast

Bill Pullman has established himself as one of Hollywood's most versatile actors. After starring as a rugged romantic in the hit film WHILE YOU WERE SLEEPING and as a fun-loving father in CASPER, Pullman recently starred in the global blockbuster INDEPENDENCE DAY as the President of the United States.

At the age of 27, Pullman was the head of the theatre department at Montana State University. He left two years later to pursue acting and spent the next four years in New York doing regional theatre and appearing off-Broadway, at Lincoln Center, and at the Kennedy Center in Washington D.C..

Pullman won critical acclaim for his performance opposite Kathy Bates in the off-Broadway revival of Sam Shepard's " he Curse of the Starving Class." In 1985 Pullman moved to the West Coast to perform with the Los Angeles Theatre Center, which led to his film debut in RUTHLESS PEOPLE.

Additional feature film credits include SLEEPLESS IN SEATTLE, THE LAST SEDUCTION, WYATT EARP, SOMMERSBY, THE ACCIDENTAL TOURIST, SPACEBALLS, THE SERPENT AND THE RAINBOW, and A LEAGUE OF THEIR OWN. Pullman recently completed principal photography for director Wim Wenders on the upcoming feature THE END OF VIOLENCE.

Patricia Arquette recently co-starred with Ben Stiller in David Russell's FLIRTING WITH DISASTER and with Matthew Broderick in his directorial debut INFINITY. Other notable film credits include Tony Scott's TRUE ROMANCE, Tim Burton's ED WOOD, John Madden's ETHAN FROME, Sean Penn's INDIAN RUNNER, Sam Shepard's FAR NORTH, Jeffry Levy's INSIDE MONKEY ZETTERLAND, John Boorman's BEYOND RANGOON, and most recently, THE SECRET AGENT, opposite Gerard Depardieu and Bob Hoskins. Arquette also stars in the upcoming film NIGHTWATCH, directed by Ole Bornedal and starring Nick Nolte and Ewan McGregor, and Roland Joffe's forthcoming GOODBYE LOVER.

In 1993, Arquette earned a Cable Ace Award for her performance in the Lifetime movie WILDFLOWER, directed by Diane Keaton.

Balthazar Getty began his acting career with the starring role of Ralph in LORD OF THE FLIES when he was only 13 years old. He then went on to portray "Little J" in Marc Rocco's WHERE THE DAY TAKES YOU and one of Billy the Kid's posse-fleeing outlaws in YOUNG GUNS II. Getty also appeared as the ill-fated gas station attendant in Oliver Stone's NATURAL BORN KILLERS.

Getty recently starred in Ridley Scott's WHITE SQUALL and he appeared with Richard Dreyfuss in MR. HOLLAND'S OPUS.

Not limited to film, Getty (under the name B-Zar) produced nine tracks on the first album for the hip hop band Mannish entitled "Audio Sedative," which was released under the Grindstone Records' Correct Records banner in 1996.

Robert Blake began acting at the age of two. At ten he appeared in the Academy Award-winning classic THE TREASURE OF SIERRA MADRE, and played a young John Garfield in HUMORESQUE. Thirty years later he would turn in one of film's most chilling performances as real-life murderer Perry Smith in the screen adaptation of Truman Capote's IN COLD BLOOD. He also played a stockcar racer in CORKY, an Arizona motorcycle cop in ELECTRA GLIDE IN BLUE, and a fugitive Indian in TELL THEM WILLIE BOY IS HERE.

In the late seventies, Blake starred as a tough New York cop in the popular television series "Baretta," for which he won an Emmy, a Golden Globe and three People's Choice Awards. In 1983, he received critical praise for his work as "Hoffa" in the TV movie "Blood Feud." In 1993, he earned an Emmy nomination for his performance in "Judgment Day: The John List Story." Last year, Blake appeared with Wesley Snipes and Woody Harrelson in Joseph Ruben's MONEY TRAIN.

With over sixty films to his credit, Robert Loggia was recently seen in INDEPENDENCE DAY with Will Smith and Bill Pullman, and also played opposite Pullman in "Mistrial" on HBO. Other recent projects include WIDE AWAKE, Bille August's SMILLAS SENSE OF SNOW opposite Julia Ormond, and the NBC mini-series "Pandora's Clock" based upon the best-selling novel by John J. Nance.

A native of New York City, Loggia received a B.A. in journalism at the University of Missouri and then spent two years in the army during the Korean War. After returning to New York to study with Stella Adler, he gained immediate attention off-Broadway as Frankie Machine in "The Man with the Golden Arm." It was at this time he was invited to become a lifetime member of the Actor's Studio.

Loggia made his feature film debut in SOMEBODY UP THERE LIKES ME in 1955, and has since become one of Hollywood's premiere character actors. In the 1980s, he began the decade with AN OFFICER AND A GENTLEMAN and ended it with BIG. In the interim, Loggia was nominated for an Academy Award for JAGGED EDGE in 1986, and also starred in SCARFACE, PRIZZI'S HONOR, THE BELIEVERS, GABY, OVER THE TOP, THAT'S LIFE and TRIUMPH OF THE SPIRIT.

Thus far in the 1990s, Loggia has had memorable performances in I LOVE TROUBLE, BAD GIRLS, THE MARRYING MAN, NECESSARY ROUGHNESS, INNOCENT BLOOD, GLADIATOR and MAN WITH A GUN.

On Broadway, Loggia has starred in "Toys in the Attic," "The Three Sisters" and "The Boom Boom Room." On the small screen, he co-starred with Laura Dern in the HBO production of "Afterburn" and in the Oliver Stone produced mini-series "Wild Palms." His other television movies include "Jake Lassiter," "Merce," "Cold-Blooded," "LifePod," "Mercy Mission" and "White Mile." Loggia has also starred in numerous television series including, "The Nine Lives of Elfego Baca," "T.H.E. Cat," "Sunday Dinner" and the mini-series "Favorite Son," which then spawned "Mancuso F.B.I.," a series that earned him an Emmy nomination in the 1990-1991 season. He also received an ACE Award nomination for his portrayal of William Kunstler in "The Trial of the Chicago Eight."

Richard Pryor has been called the undisputed king of stand-up and the nation's most creative funny man. In addition to his performances, recordings and films, Pryor was the award-winning co-writer on Lily Tomlin's 1973 television specials as well as Mel Brooks' BLAZING SADDLES.

At the time of release of his 1979 filmed concert performance "Richard Pryor Live in Concert," he was one of the most sought after movie stars. In 1980, he directed the autobiographical film JO JO DANCER, YOUR LIFE IS CALLING. His other credits include SEE NO EVIL HEAR NO EVIL, HARLEM NIGHTS, CRITICAL CONDITION, BREWSTER'S MILLIONS, SILVER STREAK, BLUE COLLAR, LADY SINGS THE BLUES, STIR CRAZY, CAR WASH and ANOTHER YOU, among others.

A native of Goose Creek, Texas, Gary Busey was nominated for an Oscar for his 1978 performance as rock legend Buddy Holly in THE BUDDY HOLLY STORY. Two years earlier he'd received critical acclaim for his role in the 1976 remake of A STAR IS BORN and in 1984 for his performance as Alabama football coach Paul (Bear) Bryant in THE BEAR. Busey has worked with a wide range of directors including Nicolas Roeg on INSIGNIFICANCE, Joel Schumacher on D.C. CAB, John Badham on DROP ZONE, Ernest Dickerson on SURVIVING THE GAME, and Kathryn Bigelow on POINT BREAK. He received recognition recently for supporting roles in THE FIRM and UNDER SIEGE.

Busey recently starred in BLACK SHEEP directed by Penelope Spheeris, and THREE BLIND MICE, directed by Neil Tolkin, and plays alongside Dennis Hopper in ACTS OF LOVE.

Lucy Butler has appeared in the feature films MATINEE, THE NET, DREAM LOVER, THE BOOST, K-9 and LUCAS. She has worked on stage in Los Angeles and Chicago as well as regionally, appearing in Pasadena Playhouse's "Look Homeward Angel" and Second City's production of "Freud Slipped Here" and "First Rate" among others.

Natasha Gregson Wagner made her feature film debut in FATHERS AND SONS starring Jeff Goldblum and Rosanna Arquette. Notable film credits include BUFFY THE VAMPIRE SLAYER, SFW starring Steven Dorff, Adam Dubov's DEAD BEAT, Wes Craven's THE OUTPOST, the Disney remake of "The Shaggy Dog" for ABC, Mary Lambert's "Dragstrip Girl" for the Showtime Rebel Highway Series, and "The Substitute" and "Tainted Blood" both for the USA network. In 1996, Natasha starred with her step-father in a special episode of "Hart to Hart" titled "Secrets of the Hart" for NBC-TV.

She was recently seen in HIGH SCHOOL HIGH, starring Jon Lovitz and Tia Carrere. Upcoming film projects include: Josh Evans' GLAM, starring Tony Danza and Ali McGraw; George Hickenlooper's DOG TOWN, starring Mary Stuart Masterson and John Favreau; Jesse Perretz' FIRST LOVE, LAST RIGHT, starring Giovanni Ribisi and QUIET DAYS OF HOLLYWOOD, with Chad Lowe and Peter Dobson, directed by Josef Rusnak.

Natasha is the daughter of legendary actress Natalie Wood and screenwriter Richard Gregson. Her parents divorced when she was six months old and she was raised by her mother and her step-father, actor Robert Wagner.

LOST HIGHWAY | About the filmmakers

David Lynch has directed the following feature films: ERASERHEAD (1972), THE ELEPHANT MAN (1976), DUNE (1984), BLUE VELVET (1986), WILD AT HEART (1990), TWIN PEAKS: FIRE WALK WITH ME (1992), and LOST HIGHWAY (1996).

Deepak Nayar has produced two previous projects for David Lynch, "Hotel Room," an HBO anthology and "On The Air," an ABC series.

Among his credits as producer are the CBS series "Second Chances" and "Hotel Malibu" for Lynn Latham and Bernard Lethowick for Sweet Eugenia Films. He produced the Fox pilot "White Dwarf" for American Zoetrope. As producer for Merchant Ivory he worked on THE PERFECT MURDER and several other films. Most recently, he produced Wim Wenders' THE END OF VIOLENCE, which stars Bill Pullman and Andie McDowell.

Nayar began his producer experience in his home country, India. His film credits there include TUM LAUT AAO and GHARONDA, both for Climb Films.

Tom Sternberg includes among his credits as a producer, Francis Ford Coppola's APOCALYPSE NOW, THE BLACK STALLION, directed by Carroll Ballard, THE BLACK STALLION RETURNS, directed by Robert Dalva, and DIM SUM and EAT A BOWL OF TEA, both directed by Wayne Wang.

Sternberg has also been instrumental in bringing some of the best foreign language cinema to the U.S. over the last fifteen years. As a producer's representative, he has been responsible for the North American sale of many of Francois Truffaut's and Eric Rohmer's films as well as JEAN DE FLORETTE, MANON DES SOURCES, EUROPA EUROPA, TOUS LES MATINS DU MONDE, UN COEUR EN HIVER, QUEEN MARGOT, INDOCHINE, CINEMA PARADISO, MEDITERRANEO, IL POSTINO, THE STORY OF QIU JU, and TO LIVE, among others.

Mary Sweeney made her debut as a producer on the critically-acclaimed Michael Almereyda film NADJA.

Sweeney has worked as an editor on both feature and documentary films since 1979, including a series of projects at Lucasfilm and Fantasy Film in the San Francisco Bay area. She first began working with David Lynch on BLUE VELVET, and continued on subsequent feature films including WILD AT HEART, TWIN PEAKS: FIRE WALK WITH ME, and LOST HIGHWAY. Sweeney also collaborated with Lynch on the television projects "Twin Peaks," "On The Air" and "Hotel Room," and on the theatrical production "Industrial Symphony Number 1."

An artist as well, Sweeney studied painting at the Corcoran School of Fine Art in Washington D.C..

Barry Gifford is the author of the novels Cat Face, Night People, Arise and Walk, Port Tropique, Perdita Durango and Wild at Heart: The Story of Sailor & Lula among other books.

Gifford has received the Maxwell Perkins Award and a PEN Syndicated Fiction Prize. He has been awarded the Premio Brancati, an award established by Pier Paolo Pasolini and Alberto Moravia in Italy, for his novel Night People.

Patricia Norris has had a working relationship with David Lynch which began on THE ELEPHANT MAN for which she received an Academy Award Nomination for her Victorian costumes. She continued in the capacity of production and costume designer on BLUE VELVET, WILD AT HEART and the pilot for "Twin Peaks," for which Norris received an Emmy. Her work in films includes JOURNEY OF AUGUST KING, 2010, and THE ROSE GARDEN.

Norris has received other Oscar nominations for her work as costume designer on VICTOR/VICTORIA and DAYS OF HEAVEN.

Peter Deming has worked with David Lynch on the HBO production of "Hotel Room," the ABC television project "On the Air," which Lynch produced, a music video for Yoshiki, as well as several commercial projects. Deming has worked on projects in both film and television, including the Academy Award-nominated dramatic short, THE SILENCE, directed by Michael Uno.

Feature credits include MY COUSIN VINNY, JOE'S APARTMENT, S.F.W, SON-IN-LAW, NATIONAL LAMPOON'S LOADED WEAPON I, EVIL DEAD II, among others. Deming has also shot several projects with the Hudlin brothers including HOUSE PARTY, for which he was awarded the 1990 Cinematography Award at the Sundance Film Festival and a nomination from the Independent Feature Project.

Angelo Badalamenti received a Grammy for the music from "Twin Peaks," the series. The album has gone gold in 15 countries. He composed the acclaimed scores for BLUE VELVET, WILD AT HEART and TWIN PEAKS: FIRE WALK WITH ME, all by David Lynch, as well as Paul Schrader's THE COMFORT OF STRANGERS.

Together with Lynch, he co-wrote and produced the Brooklyn Academy of Music theatrical production "Industrial Symphony Number 1," which received the American Music Video Entertainment Award. He and Lynch also collaborated on two Julie Cruise albums, "Floating into the Night" and "Mysteries of Love."

Badalamenti has written songs for many artists including Patti Austin, George Benson, Mel Tillis, Nancy Wilson, Melba Moore and Roberta Flack. He has also arranged and orchestrated music for such performers as Liza Minnelli and the Pet Shop Boys. Badalamenti has also written and recorded music for Michael Jackson's "Black or White" video.

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