Twin Peaks fans had to wait 25 long years before they finally got any sort of resolution to the shocking, head-splitting moments at the end of Season 2 of David Lynch's iconically surreal TV series.

While prequel movie Fire Walk With Me dodged the issue altogether, Season 3 was at least a proper follow-up, although it skipped answering plenty of the questions fans had – and instead just asked a bunch more.

"I don't know why people expect art to make sense when they accept the fact that life doesn't make sense," said Lynch the year before the original Twin Peaks, his collaboration with screenwriter, director and producer Mark Frost aired in 1990.

Pan Macmillan PA Images

Frost clearly sees things a little differently, and while last year's novel The Secret History of Twin Peaks was something of a warm-up, Frost's The Final Dossier gives actual, real, genuine answers.

And yes, that includes the fates of Audrey and Annie and Laura. We have an exclusive extract from it for you to read here, but first, Digital Spy asked him all about it.

It's called The Final Dossier – is that it for you and Twin Peaks?

"It's too early to say that. I wrote The Final Dossier as the final report from Agent Preston on the events of Season 3. It was really more about where it fit in the sequence of the character's development. It's too early to say about any possible future of the show from here on out."

How did you decide which stories and characters to pick up first in Season 3, and then in your novels?

"The scripts for the show developed organically as we talked and wrote over the period of a couple of years. I just simply filed away which stories and which characters had not been addressed and held those for The Final Dossier.

"There was no discussion with David about it, he really had nothing to do with either book. It was just my feeling that those characters who had been left out for whatever reason of the Season 3 episodes should be addressed and this was the best format to it."

The books are official and canonical – how come David wasn't involved? How 'not involved' was he?

"He was not involved at all. It was just a simple division of labour. He was working on Season 3 while I was working on the books."

The Final Dossier delivers in a big way in answering the questions people had before and after Season 3 – is that what you set out to do?

"That was part of my reasoning, yeah. I feel like you want a certain amount of completion in any narrative and particularly one that was left hanging for 25 years, as this one was.

"I thought it was in the interest of narrative wholeness, a good idea, to address those stories which we did not have time or the narrative space to address in the series."

Did you or David have any fears of over-explaining or taking away some of the mystery with the book?

"Again, I never spoke with David about the book so I don't know what his concerns were. My feelings were that I just trust my own instincts when I'm working on something and the process you're describing is something you just internally balance as you go along.

Showtime

"You look for that calibration between revelation and mystery and at this point I trust my instincts to have that as an ongoing measure in my mind."

Answering questions closes off certain stories should there be a Season 4. That power was solely in your hands – was that in your mind at all when writing?

"No, I wouldn't say that anything is foreclosed in terms of moving forward. I just felt responsibility to fill in some gaps and answer some questions that the series had left unanswered. We co-created the series and I think we have our own points of view about things, and that certainly reflected mine."

More people will have watched Season 3 than read the books, sadly – do they have an incomplete view of Twin Peaks?

"Well, maybe your story should urge them to buy it, to give them that sense of completeness! I think it does enhance your ability to enjoy the series, particularly Season 3. It's a great companion piece."

We live in the age of the 'fan theory' – as a creator, how do you feel about that?

"What I think it really connotes is a level of interest that goes beyond casual viewing. It means to some extent that you're emotionally involved with the narrative and the characters, and that's what any creative person is looking for from their audience. I see it only as a plus.

"It makes it a more interactive process and I think it speaks well for the audience, and I think it speaks well for whatever the show or the book or movie that prompted them to get that involved. It means that they've succeeded."

You've said that the Season 3 script was delivered as a single piece, but we had it in weekly episodes. How did you feel about that?

"The original run of the show really benefited from the fact that nobody knew about 'binging' back then. To roll out the episodes one week after the other gave people time to digest and theorise and talk amongst themselves. The internet has obviously enhanced that ability exponentially.

"I don't particularly enjoy binging myself... I steered us away from Netflix in this instance right from the start, because I didn't feel that was the right format to roll out this particular show. With Showtime we were able to more or less replicate the original experience – one a week, take your time, think about it, write about it, talk about it, then come back for more.

Sky Atlantic

"I think that was a healthier way to engage with the material. To ask somebody to sit through 18 hours at once, particularly of this show – we'd have to give discounts for psych wards probably! You don't know what effect it would have on people."

The last episode of Season 3 left people stunned and with a lot of questions – and it was very downbeat. How did you feel knowing that was in store?

"I didn't really have any preconceived notions about it. I had a wait and see attitude. I've been, for the most part, delighted by the way people have responded to things and it was very much in line with what I was hoping for.

"For the last episode, I guess some people were frustrated and others were satisfied. I remember some people feeling the same way about the last episode of The Sopranos years ago to some extent.

Suzanne Tenner Sky

"I happened to love that ending – I thought it was perfect and beautifully constructed. What it said to me was Tony might be dead or if he doesn't die in that moment he might as well be, because he's going to live the rest of his life consumed by that feeling of impending doom that David Chase created so beautifully in those last few minutes.

"His life was going to be purgatorial, whether he was going to survive or not. It was only a matter of time before something like that befell him. For me that felt like a perfect way to end the series, and I think with time people will look at this and maybe they'll come to a similar conclusion."

So much has been said about Season 2 – was anything in Season 3 or the books a corrective to that?

"Only incidentally. Season 2 went a little bit sideways for a whole bunch of reasons. A lot of people presume they know the reasons for it but in fact there were many more factors at work than have ever been discussed publicly – and it's gonna stay that way.

"But I also think it's bad form to bad-mouth your own work, especially when it's putting bread on your table, even if you weren't or didn't feel that you were particularly involved at the time. A lot of people worked very hard and did the best they could to make Season 2 – and it is what it is."

You weren't involved with Fire Walk With Me, but its tone, theme and content seem central to Season 3 and your books. How did that work for you as a writer?

"I felt when it came time to Season 3 that Fire Walk With Me needed to be included in the narrative and the mythological history of the show, so we dealt with it rather extensively during the series. I made a choice not to be involved with the movie way back then largely because I was doing a movie of my own at the time.

"But as I told David, I felt because of the way the show had ended on ABC, there was an opportunity to go forward and complete the narrative at that time, rather than go backwards and deal with a lot of issues – some of which had already been dealt with in the original series.

ABC

"That was just a choice I made back then. Now I think it fits in really well with the series as a piece and if that had been the decision back then maybe we never would have had a Season 3. I think it all worked out the way it was supposed to."

Twin Peaks: The Final Dossier by Mark Frost is available now. Read an exclusive extract of the new book here.

Twin Peaks season 3 is now available to stream via Showtime in the US and Now TV in the UK. It is released on DVD and Blu-ray from December 4.

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