Kyle MacLachlan Poster


Jump to: Overview (4)  | Mini Bio (1)  | Spouse (1)  | Trade Mark (4)  | Trivia (20)  | Personal Quotes (8)

Overview (4)

Born in Yakima, Washington, USA
Birth NameKyle Merritt McLachlan
Nickname Kale
Height 6' (1.83 m)

Mini Bio (1)

The "boy next door, if that boy spent lots of time alone in the basement", is how Rich Cohen described Kyle MacLachlan in a 1994 article for "Rolling Stone" magazine. That distinctly askew wholesomeness made MacLachlan a natural to become famous as the alter ego of twisted director David Lynch.

MacLachlan was born and raised in Yakima, Washington, to Catherine Louise (Stone), a public relations director, and Kent Alan McLachlan, a lawyer and stockbroker. He has Scottish, English, Cornish, and German ancestry. MacLachlan graduated from the University of Washington in 1982. The darkly handsome actor made his feature film debut when he starred in the big-budget David Lynch adaptation of Frank Herbert's Dune (1984), but only enjoyed real success after appearing in a second Lynch project, the moody and perverse classic, Blue Velvet (1986).

The following year saw MacLachlan appearing as an otherworldly FBI agent in the cult classic sci-fi film, The Hidden (1987). This turned out to be a sign of things to come, as MacLachlan soon took on another oddball G-man, "Special Agent Dale Cooper", on Lynch's cryptic ABC-TV series, Twin Peaks (1990), perhaps, along with Blue Velvet (1986), his most famous role. MacLachlan's remarkable work as Agent Cooper earned him a Golden Globe award and a pair of Emmy nominations, as well as steady work in television and films, including a part as Ray Manzarek in the Oliver Stone film, The Doors (1991), and villain "Cliff Vandercave" in the live action version of The Flintstones (1994).

His career took a hit after he appeared in the infamous flop, Showgirls (1995). However, MacLachlan returned to prominence in the early 2000s with a re-occurring role on HBO's Sex and the City (1998), as well as a starring role in the TV movie, The Spring (2000), and a turn as "Claudius" in director Michael Almereyda's version of Hamlet (2000). MacLachlan later took advantage of his resemblance to Cary Grant, when he played the classic actor's spirit in Touch of Pink (2004).

MacLachlan has remained a popular actor with independent filmmakers, and he has also been a familiar face on television, appearing on the ABC-TV shows, In Justice (2006) and Desperate Housewives (2004).

- IMDb Mini Biography By: Azure_Girl

Spouse (1)

Desiree Gruber (20 April 2002 - present) ( 1 child)

Trade Mark (4)

Frequently plays smarmy, wealthy characters
Often plays sneaky and sleazy villains
Deep smooth voice
Often cast by David Lynch (Dune (1984), Blue Velvet (1986), Twin Peaks: Fire Walk with Me (1992), and the television series Twin Peaks (1990))

Trivia (20)

Graduated from the University of Washington with a Bachelors of Fine Arts (BFA) degree in 1982.
Has two younger brothers.
Kyle has Scottish, English, Cornish, and German ancestry. He has, perhaps jokingly, stated that he could be a direct descendant of composer Johann Sebastian Bach (1685-1750), through Kyle's maternal great-grandmother, Henrietta Bach. However, Henrietta was descended, through her own patrilineal line, from a man named Johann Christoph Bach, born in Germany in the late 1600s. Thus, Kyle is not a direct descendant of Johann Sebastian Bach nor his other musician relatives (at least through that line).
He turned down the Charlie Sheen role in Platoon (1986).
Often stars in David Lynch films such as Dune (1984), Blue Velvet (1986), Twin Peaks: Fire Walk with Me (1992), and the television series Twin Peaks (1990), originated by Lynch and Mark Frost.
Married Desiree Gruber at Plymouth Congregational Church in Miami, Florida (her hometown).
Director Bruce Beresford said about him: "Kyle wears his handsomeness easily; he doesn't carry on. And he's not a boring man. He's ordinary but interesting, which is difficult to find."
Graduated from Eisenhower High School in Yakima, Yakima County, Washington, in 1977.
Kyle and his wife, Desiree Gruber, became the parents of their first child, a son named Callum Lyon MacLachlan, on July 25, 2008. Callum weighed in at 8 lbs. 6 oz.
Spells his last name differently than his father Kent McLachlan, who died in 2011 at age 77.
In Sydney, Australia, filming Mao's Last Dancer (2009). [May 2008]
The name of his winery, "Pursued by Bear," was suggested one evening over dinner by Fred Savage, referring to a stage direction in a Shakespeare play. As the story goes, Shakespeare only ever wrote one stage direction in any of his plays (that job was generally left for stage managers), as included in "The Winter's Tale": "Exit, pursued by bear".
Owns a vineyard and winery in the Columbia Valley of Washington State with business partner Eric Dunham. Other than his well known love of wine, his main reason for purchasing a vineyard was to spend more time with his father, Kent McLachlan, who had recently retired from being an attorney and stock broker.
He maintains a website for his family's two dogs (a Jack Russell terrier and a Yorkie/Chihuahua mixed breed), mookieandsam.com, who also have their own YouTube series.
Living with his wife Desiree, and son Callum, in Manhattan, New York City, NY and Columbia Valley, Washington State. [2013]
In one of his roles, as the fictional Mayor of Portland, Oregon, on the Independent Film Channel series Portlandia (2011), he co-stars with Sarah McLachlan, who spells her last name the same as his father, Kent McLachlan, but is no relation.
When his son, Callum, was born in 2008, he created a new wine vintage at his winery called "Baby Bear".
Was nominated for a 1990 Grammy Award in the category of Best Spoken Word or Non-Musical Recording for the album "Diane...'The Twin Peaks Tapes Of Agent Cooper'".
Of Clan Maclachlan.

Personal Quotes (8)

After the series finished, I was reluctant to return for the film, Twin Peaks: Fire Walk with Me (1992). I was pretty naive about it. At the time, I felt like I was trapped in this stale role, but looking back, Dale Cooper was one of the best things that happened to me. I went on to make some film choices that were rather strange - made with the best intentions, but not necessarily coming out the way I wanted them to. I certainly can't pretend that I didn't do Showgirls (1995). But I've been around for a while now, I'm of a certain age and I'm still doing what I love to do. There's some good work in there and there's some work that's questionable.
There's not very many filmmakers like David [David Lynch], particularly in America. He's so brave and courageous. He creates from a place that is unknown. He's not following any blueprints. He's following an unconscious urge and that's hard to do nowadays when people want to know how much you're going to make on this film on the first day of filming. They want to know what they can recoup by day 90, or day 120, or day 180, or whatever. And David just doesn't work that way and that just doesn't exist anymore.
[on whether or not the failure of Dune (1984) was deserved]: I think yes and no. We made it in '83 and it came out in '84 [with] 'Dino De Laurentis', who had a habit of over-hyping all of his pictures and saying it was the biggest budget ever seen - an over-the-top kind of salesmanship. It was a book that was incredibly popular but was impossible to translate. David did an okay job. Now you'd do a "Lord of the Rings" thing - you'd break it into three and you'd hope that it would recoup. But that would be the book, would be three movies. I think it was ill-fated from the get-go. There was no way you were going to make sense of this. There were just too many things going on. Add to the fact that special effects were sort of in an infancy. I know we'd had Star Wars: Episode IV - A New Hope (1977), that was '77 and this was '83, [but] blue screen was still pretty rudimentary. You couldn't use the computer on any of this stuff and that would have been a tremendous help.
[Further speculating on why Dune (1984) failed]: It had kind of a throwback quality, at a time when we were just getting used to science fiction. We were just seeing shiny "Star Wars" stuff. I appreciated "Alien" because it felt like that ship had been in space God knows how long. It was kind of beaten up and dirty. This was something that was even different than that. This was like made from the '30s, kind of. It was just at the wrong time. Add to the fact that it was very difficult to follow, it was a bit stilted, it was just not what people wanted at that time. Now you go back and revisit it and you're sort of stunned at the beauty of some of the scenes. It doesn't pull together but, to me, it's like a Blade Runner (1982). I like to go and watch "Blade Runner", which made no sense but which I loved going into that world. I think people loved going into the world of "Dune" with all of its problems.
(On seeing Showgirls (1995) for the first time) It was about to première, I hadn't seen it yet, and I wanted to. So I went to see it and... I was absolutely gobsmacked. I said, "This is horrible. Horrible!" And it's a very slow, sinking feeling when you're watching the movie, and the first scene comes out, and you're like, "Oh, that's a really bad scene." But you say, "Well, that's okay, the next one'll be better." And you somehow try to convince yourself that it's going to get better... and it just gets worse. And I was like, "Wow. That was crazy." I mean, I really didn't see that coming. So at that point, I distanced myself from the movie. Now, of course, it has a whole other life as a sort of inadvertent... satire. No, "satire" isn't the right word. But it's inadvertently funny. So it's found its place. It provides entertainment, though not in the way I think it was originally intended. It was just... maybe the wrong material with the wrong director and the wrong cast. Apart from all that, it was great. [Laughs.] It has a couple of moments in it that are pretty wild. And I gotta say that, when I was watching the actual shows that they created, I was like, "Hey, this is a Vegas show!" I was watching it from the audience, and it was amazing, what they were able to create. But reduced down to its elements, it was, uh, not one of my finer attempts. But it was done initially for all the right reasons; it just didn't turn [out] to be what I anticipated. Everybody has one of those in their repertoire, I think. It's just that this one has stayed around. Even Ishtar (1987) eventually disappeared. But this one keeps coming back! [Laughs.]
(On Showgirls (1995) "That was a decision that was sort of a tough one to make, but I was enchanted with Paul Verhoeven. Particularly RoboCop (1987), which I loved. I look back on it now and it's a little dated, but it's still fantastic, and I think it's got some of the great villains of all time in there. It was Verhoeven and [Joe] Eszterhas, and it seemed like it was going to be kind of dark and edgy and disturbing and real."
(On Dune (1984)) First film, first big break. It was a book that I loved when I was 15, when I read it for the very first time in '74 or '75, whenever I first came to it. It was kind of a fairytale that it ended up being me, because I was nowhere near Los Angeles when it happened. I was in Seattle, working in the theater, and I'd been out of school for less than a year. Looking back, it was an amazing, once-in-a-lifetime experience: seven months on a film in Mexico City in a giant, super-sized scale movie. It was the beginning of my working relationship and friendship with David Lynch. It was the highest highs and the lowest lows when the film came out and was sort of panned and critics really hated it; it meant that I really had to sort of start again. Which I did with David and Blue Velvet (1986). Granted, I had the exposure and I'd been in a big film, so that was sort of helpful, but ultimately it was a very difficult two years before Blue Velvet (1986) began filming. But it remains some of my fondest ever memories of working. I have a lot of photographs and writings and memories of that period of time, but 1983... that was a long time ago. [Laughs.]
Well, good art asks questions, you know? It doesn't always provide answers. I think that's what we're experiencing right now. It's not always the most comfortable or the most satisfying feeling. It's also asking us to consider what we've just seen. That's how I'm looking at it. -on the finale of Twin Peaks (2017)

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