Twin Peaks Archive: Did you take any photos on the set of Wild At Heart?
Grace Zabriskie: The only day I shot people on set was the day we did the banquet scene. I had my camera with me for the first time on that shoot, because I knew the whole banquet scene would involve hours and hours of waiting. (I just remembered that that was the day I told my agents they could come, since I would have so much free time. I was thinking somebody could take some pictures of me with them.) As soon as I saw the china plates that were to be placed before each of the beautiful young women in that scene, I knew that I wanted to "frame David in asparagus." So I shot the plates, focusing on the asparagus, and David and Calvin and D.P. Kelley, and I gave my camera to David and he shot me. I shot the clap board, electrical stuff on the floor on the set, a radiator in the room, whatever is in the Wild at Heart collage and probably a lot of other stuff that didn't make it into the collage...which is not about Wild at Heart, so much as a tiny moment in a big film. Not a moment that actually occurred in the film; just the moment when I imagined David framed in asparagus.
Twin Peaks Archive: How did Inland Empire come about?
Grace Zabriskie: It came out in the trades that David had begun to work with Laura Dern and a video camera on some tiny internet movies. The next day or maybe a few days later David called to say that he had written a scene for me and Laura. I said great. Send it to me. He said he'd send it very soon, he wasn't finished "tweaking" it. I eventually forgot about it. Months later I heard he was back in the country to shoot here again, and knew I was about to be unavailable and I called over there to see if maybe he'd sent it and somehow I hadn't gotten it. No, no, it was still coming. By the time it came, I was busy with Big Love, and when he tried to set up a shoot day, I was booked. He didn't seem too worried, so I wasn't worried. Months and months later I thought about it and figured he'd already shot the day with somebody else. But then we got a day booked weeks in advance, I started working hard on the scene, and then three days before we were to shoot, he told me he was thinking I should do "an Eastern European accent." I freaked a bit, called my fabulous dialect coach, Larry Moss, (who calls himself "not the Larry Moss,") and did the best I could in the time we had.
Photo by Richard Beymer
Twin Peaks Archive: Talk about Big Love. In particular the amazing cast!
Grace Zabriskie: Big Love has been an utter joy for me. It really is an amazing cast, isn't it? I don't even know whom to single out, other than to say that there are just too many fine actors involved to give everyone enough to do, and in some cases, that's especially a shame. I have been happy with everyone involved, and have gotten quite close to a few. I am more in love with some of the directors than others of course, as is everyone on any series. But Mark Olson and Will Scheffer, the creator/writer/producers make up the difference on any given day with any given director. They stay hands on and creative throughout the day, and in addition to all that brilliant casting, they have assembled a team of writers, producers, post-production people, etc, who are really good in their jobs.
Twin Peaks Archive: What's next for Grace Zabriskie?
Grace Zabriskie: I don't know what's next. I hope we'll do a third season of Big Love. I wouldn't mind another "hiatus film" coming along about now, but on the other hand, I'm pretty happy to have time in my workshop. Last year's hiatus movie is about to open on July 4 - "License to Wed" with Robin Williams.
We at the Archive thank Grace for her time, generosity and enthusiasm!