Other threads about this has be made, I'm certain. Just another user glorifying the pilot alright?

To begin with, I wasn't that crazy about The Pilot from first viewing. I thought the show progressed within a few episodes. I think it grows on you in a way. When I started watching Twin Peaks for the first time, about two years ago, I was already a fan of David Lynch, so all the weirdness and surrealism I accepted. However, what surprised me was how absurd the ordinary things were - I felt it to be kinda silly. Then I realized that TP was more than the typical Lynch-scenarios, but also a sort of semirandom soap opera parody as well.
I honestly think that The Pilot is the best Lynch has ever done in terms of directing. No, I don't think it's the best he has produced artistically, but the directing here is marvelous, and where Lynch proves his talent for those who can't stand him.

The best example of this is the school sequence which is absolutely brilliant. There's a great suspense in that sequence that gets me all the time. There's a certain Hitchcock vs Monty Python-feeling to it.
So we've just seen a devastating scene where and man gets the news about his dead daughter, his wife hearing everything over the phone. And suddenly we're in Laura's school and we know that they're going to get the message any time soon. Then, just like that, some random kid dose a boogie-dance in the background, and makes one giggle. Now that thing was to me, amazing. It gives the audience this small but subtle notion, or more like a hint, that this show isn't exactly what most people would expect to see on TV. Lynch didn't even need a backward speaking midget to tell us that here.

Then comes what really makes this sequence great; in the classroom, the police arrives and tells the teacher about Laura without any of the students hearing it. The teacher looks shocked, Donna looks worried. Some random girl runs by outside and screams hysterically. Donna looks scared. She looks at Laura's empty desk, than at James who's doing the same thing. Their anxious eyes meet. Donna starts crying. The camera swifts to Audrey, who looks a little bit shocked, but mostly indifferent. She gets it too. Donna starts crying louder. No one in the class says or does a thing.
I think the silence of the scene, and the camera movements is what makes it work so damn fine. This is also the only moment where I liked Lara Flynn Boyle's and James Marshall's acting in the show to 100 %.
The phone scene between Sarah and Leland is also a great example of suspenseful directing.

I don't know about you guys, but I usually don't think much of Lynch as a director, but I love him as a creator.
I often find myself thinking that Lynch's way of directing his actors are too over the top and not always convincing.
Like for instance, when Maddy gets those premonitions about her bloodstains on the rug, and starts to scream hysterically. I find that scene to be way too bizarre, even for Twin Peaks.

I think The Pilot is the only time where Lynch's skills as a director beats his visual sense. And therefor quite unique among his works. What do you think?      

I'm not sure if I really understand the difference between director and creator, but whatever - it's not about words. I'm sure that the Pilot is not the best Lynch has "created" (sticking to your way of naming it) but indeed the way he made it is amazing. For me an example of a directing genius is most of all the phone scene between Leland and Sarah, with the silent participation of sheriff Truman (and before - the police car approaching in the distance, what a moment this is!!!). The same thing you stressed in the school sequence (which I love, too): the tension which is created by nobody saying directly what happened and yet everybody knows... the same is in the phone scene, too, only even more emotional imo.

Antoher example is the introduction of the main character. First of all, he comes to the scene really late. A lot has already happened, and I mean A LOT. We have met many characters and with a few we are already familiar. Suddenly someone comes who speaks a lot of nonsense, has the funniest smile, though he is capable of showing who is the boss. Very quickly the viewer gets the hint that this is going to be a character of essential importance but his entre is unforgettable.

Bobi 1 Kenobi

B. Beware
O. Of
B. BOB 

 Well, I don't blame you, my selection of words wasn't, perhaps, the best. But what I mean with direction is, in this case, how the characters interact with one another on conventional basis'. Any clearer? For instance two people sitting by the table and talking about frequent things. In many of Lynch's movies, I think sequences like that often lacks human chemistry. Now, this critique is highly subjective ofc - especially when Lynch's characters are often far from conventional. With creator I meant something of a larger context that could involve things like design, cinematography and tone. I love how he manage to create this parallel universes in his films. But when it comes to more ordinary situations and making them believable, like people crying, explaining their love for one another, and just being "normal" - things sometimes feel a bit stagey and often leads to overacting. I don't always like that.
Well, that's my opinion of his style as a a director, and the only critique I can give him. I have very hard troubles believing that he's able to direct anything more "typical" and making it believable, even though there are exceptions

 The Straight Story and The Pilot are good examples where Lynch is depending more on the subtle way of telling a story, and The Pilot especially is amazing. I just feel that the behavior of the characters being extremely down to earth natural in, what seems to be this surreal environment. The directing is so masterful. the already mentioned scenes (the school, the phone-call, entering Cooper etc.) are all good examples of this. One notion is also how stone cold Cooper can appear if he needs to. Like when he and Harry is meeting Dr. Jacoby at the morgue, and Cooper examines him in a very skeptical fashion. Then adding: "That guy is psychiatrist?" and Harry pulls off his usual "Yeeah..."
Or when he is interrogating Bobby and spits put: "You didn't love her anyway." and walks off.
Cooper never became more badass than that.                

I kind of get where you're coming from.....but have you not seen The Elephant Man?

I don't think it has anything to do with David not being able to pull it off with just 'normal' things....only my opinion, of course....but that there is more to be gleaned from this quirkier style etc.

 In Twin Peaks....there's the Briggs & Bobby's shared moment at the diner etc....there are countless examples.

Interesting points about the pilot though...I agree that the school sequence is a finely executed piece of art and that it works so well.