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LOST Spoiler - Daniel Dae Kim on The Possibility of a Sun/Jin Reunion
Posted by docarzt on January 4th, 2009

Seems Daniel Dae Kim is a bit loose lipped about the fate of Jin on LOST, especially when it comes to the question of a Sun/Jin Reunion. Will the two be getting back together anytime soon? Read on, but beware of LOST Spoilers. (Oh and for those who don’t get it… the title is what he comments on, not what happens.)

From this article on Radar:

…and don’t expect a simple husband-wife reunion either. With most of Season 5 already shot, apparently Kim hasn’t been in a single scene with his on-screen Korean wife, Sun (played by Sun-Hwa Kwon).

“I can’t imagine it not happening,” Kim tattles.

“I hope they don’t have us meet until maybe next season.”

Of course, what a lot of us want to know is just how many scenes Jin himself is in. For that we’ll just have to wait for the LOST season 5 premiere.

Evangeline lilly gives some hints for season5
Posted by lyly ford at 1:50 pm with 2 Comments

Evangeline Lilly alias Kate on Lost (TF1 my french channel) spent the end of the year with Dominic Monaghan, her boyfriend since 5 years. Both have chosen to go in Switzerland to finally have “a white christmas” told E. During lost break, the actress will do anyways the promotion of her first movie in theatre “Afterwards” (on cinema in france, January 17th) where she plays with Romain Duris.
January21th, american viewers will discover lost season 5. Kate became very different: she have been “saved” from the island and she became mother, told us Evangeline. “For this 5th season, I want to say to viewers to be very patient because the first part of the season5 is complicated. It’s again a puzzle where you’ll learn about characters by small parts to small parts. In the second part of the season 5, your patience will be rewarded. Take in note that the January 7th, TF6 (another french channel but private) will air the complete 4 seasons of lost every wednesdays at 8:45pm.

source : lylyford.blog

Spoiler: Significato di Jughead titolo della 5.03
Published by losttuttalavita on January 5, 2009 in Spoiler V Stagione.

Qualcosa l’abbiamo scoperta, forse, Darkufo e le sue fonti dai vari set ci svelano il significato del titolo episodio più enigmatico di quelli fin ora in nostra conoscenza.
Ma ci si legge dopo il continua.

La puntata 5.03 s’intitola Jughead, secondo gli spioni di darkufo non significa quel che i malpensanti avevano ipotizzato si riferisse alla testa dura di uno dei nostri eroi, ma Jughead è il nome di una bomba.
Infatti ci rivelano che sul set c’era un’enorme bomba che sovrastava una grande voragine, e lì vicino c’erano anche tre attori travestiti da militari.

Original

Lostpedia: What do you make of Ben’s relationship with Richard?

Michael Emerson: One of the great mysteries of the show- Richard Alpert—love Nestor and the agelessness of his character—surrogate father/mentor but also maybe a corruptor.

LP: You seem to be a genuinely warm and mild-mannered person in real life. What methods do you use to portray a character so different to yourself, and is it difficult to do? Is there a particular person that you’ve modeled the character on and if so whom?

ME: Ben doesn’t require a lot of “acting”—he’s like me (or anybody) but LESS. I don’t know anyone as cold as Ben but I enjoy his focus and calculation—he has a license to be unfeeling.

LP: Following on from the last question, do you use elements of your own personality and incorporate them into Ben’s character?

ME: Sometimes acting is not about the things you already are but about the things you wish you could be. We’re all capable of almost anything—Ben is not such a great stretch.

LP: Given how attentive LOST fans are, are you and the other actors more self conscious of your performances than you are when you act in other productions?

ME: I don’t think the cast factors audience scrutiny into their work very much—the work is fairly consuming as it is. That intense attention to the show is more an issue between the writers and the audience in my opinion.

LP: Has there ever been anything the writers have made Ben say or do that you have disagreed with?

ME: I admit to being shocked at Ben’s role in the mass murder of the Dharma Initiative, but I think that may be re-contextualized in the future. I trust the writers completely and I would be uncomfortable meddling in their business.

LP: Does having cameras all around you and specific stage direction, coupled with the fact that fans study your every move onscreen, at all distract you from your objectives, subtext, etc.?

ME: Acting for the camera is all about tuning everything else out. I like the challenge of it—keeping focused and staying available for the endless repetition of scenes without being too “heavy” about it all. We tend to shoot full takes of scenes on LOST so it doesn’t seem too fragmented.

LP: Many Lost fans are big fans of your character and are able to connect with and identify with Ben despite all the bad things he has done, and for this, I find your portrayal of him downright fascinating. As an actor, how do you approach portraying such a morally-ambiguous “villain” so that he is a character with whom the audience can sympathize?

ME: There’s no great mystery or secret formula here—we pay attention to villains because THEY ARE US. I look for ways to be asocial or unpleasing in an interesting way—sometimes in ways we don’t ordinarily allow ourselves.

LP: Since the episode “The Man Behind the Curtain” in what ways have revelations about Ben’s childhood affected your performance of him as an adult?

ME: I don’t feel much influence (he remarks coldly)—it just confirms that he is a person much like the rest of us.

LP: What was your reaction to the frozen donkey wheel? When Ben turned the wheel it was a moving experience (no pun intended); one could really see the sadness in him, knowing he’d never return to the island. When playing that scene did you conjure up real emotions, and feel a real sadness?

ME: Jack Bender said to be mindful that for Ben this moment would be the end of life as he had known it. Couple that with the fresh loss of his daughter and it is a scene with huge stakes. Did it seem real to you?

LP: Your heavily nuanced deliverance of lines that might, in another actor’s mouth, seem bland, has leant extraordinary ambiguity to entire scenes and episodes of Lost. In fact, this particular gift seems to be your character’s trademark. Have you ever delivered a line with multiple inflections in multiple takes before the directors/producers choose the one that best fits the course of the plot?

ME: I’m a stage actor and in that world success depends on how lines are spoken. I would say it is the thing an actor is paid to do.. On Lost we often shoot a scene (or a line) a number of different ways and let the editors pick which one they like best.

LP: Most big Lost fans have their own favourite Benjamin Linus/Henry Gale quote, or a number of them, but what is yours?

ME: Ben has a choice line or two in every episode and I love his wit but I’m more attached to his sober formulation of serious questions of ethics or philosophy. Despite being a man of action he is also a man in search of Meaning.

LP: How frequently are you given direction to play a scene a certain way without knowing why Ben, with his personal history and knowledge of what’s going on, would behave or feel that way, and do you have any examples of your method or thought process to compensate for this lack of knowledge?

ME: Honestly, I don’t worry about motivation or back-story overmuch. Much more important that a scene crackles or sings. Acting is more abstract that most people (or actors, for that matter) think.

LP: Having killed his own father and developed an infatuation with a woman who resembles his mother, it’s clear that Ben has a serious Oedipus complex. Do you find this aspect of your character more disturbing than his murderous violent streak? And do you think the writers are suggesting that Ben will ultimately be shown to be a tragic hero like Oedipus was?

ME: I’m not sure Oedipus qualifies as a hero of any sort, but no—everyone on Lost has a problem with their father—it’s one of the themes of the show. We’re two years away from being able to judge Ben a hero or not.

LP: Do you consider yourself a ‘method’ actor? What steps to you take to truly inhabit a role? Where exactly do you draw your inspiration from to play a character as seemingly evil and “creepy” as Benjamin Linus?

ME: No, I would not say I was a Method Actor. I would call myself a Technical Actor. To paraphrase Ben Kingsley, I learn the lines—and when I have learnt them in a full and meaningful way I may be ready to serve the story. Every day, every scene I say to myself, “What would I do if I were in this situation?” Purely imaginary.

LP: In other interviews, you have stated that the character of Ben is really between the writers/directors and the minds of the viewers; that you just say the lines and wear the clothes. Writers write scripts. Directors frame the shots. Editors and music coordinators build the subtle effects through cuts and cadence. But what do you do that helps bring Ben to life? Put another way: how much do you choose to do in the way of speaking tone, line pacing, physical movement, etc.. versus what the director asks for?

ME: I exhibit a set of behaviors and make a set of noises that I hope an audience will find plausible, surprising, maybe thrilling. I’m a flexible collaborator in this process up to a point, but at the end of the day it is me breathing and moving and speaking and trying to lure a critical viewership into the story. There is some nuance involved.

LP: Ben sometimes appears to maintain a childlike quality which instigates his actions, and this sometimes gives birth to petulant reactions. How do you personally feel about this side of his character, and do you feel that it answers some questions about his motivations?

ME: I think it tells the truth about brilliant people I have observed. All our parts do not develop at the same rate and our amazing skills come at a price. I like the idea that Ben is socially underdeveloped. Plus, I notice more and more that grownups are just later versions of the children they once were.

LP: Through the years Ben’s character evolved and changed, at first we knew him as Henry Gale, the frightened peaceful character from Minnesota, then there was the calm and creepy Other’s leader/dictator who used Jack to save his life, later we saw the cruel power-hungry side of Ben during the flashbacks of the purge, then we saw the emotional side of Ben in the aftermath of Alex’s death, and then back to the cruel power-hungry side of Ben when he killed Keamy. Which side of Ben did you enjoy acting the most?

ME: What I like is that you think there are all these versions of Ben when I’ve made it a point to always be the same man. (Thank you.)

LP: Ben has been involved in quite a few action sequences; I’m thinking in particular the scene in the Sahara with the Bedouins. Do you do specific training for these sequences? Further, do you do your own stunts on the show?

ME: I wish I had more background in “Action” skills but on Lost you pretty much show up on the day and do it. I have the usual stage combat training but nothing that prepared me for the shooting, fighting and riding I’ve done on Lost. I usually do my own stunts up to the point where I’m in pain or it seems crazy to continue, but by then we’re usually finished. The work is often dangerous and I’ve promised myself to be more retiring.

LP: How have you changed your portrayal of Ben over your time on the show? I mean this as conscious choice as an actor, not so much as what the writers have scripted for your character arc. Knowing what you know now about Ben’s character and history or even that of Henry Gale, are there any scenes that you would play differently if you had the chance to do them again? If so how?

ME: I haven’t really changed my portrayal (not consciously). It’s always been just me, what I knew at the moment and the scene at hand. Can’t think of a scene I’d change.

LP: What do you think is the biggest turning point for Ben’s character during the span of the whole show? Do you think that has happened yet or is it still to come?

ME: The death of Alex.

LP: What do you think are the personal religious/philosophical views of Benjamin Linus? In the episode “Dave”, while still posing as Henry Gale, he says to Locke: “God doesn’t know how long we’ve been here, John. He can’t see this island any better than the rest of the world can.” But in “The Cost of Living” he asks Jack if he believes in God. When Jack asks the question back at him, Ben replies: “Two days after I found out I had a fatal tumor on my spine, a spinal surgeon fell out of the sky. And if that’s not proof of God, I don’t know what is.” While this answer is slightly ambiguous, it reflects a different view on religion than what he said to Locke. Ben also has the Qu’ran and a book on Indian rituals on his bookshelf. So what do you make of all this? And if you want to answer, what is your personal worldview?

ME: Clearly Ben seeks Meaning and has a philosophical dimension. Like most humans (like me) he’s a little too caught up in the Here and Now to give it his full focus. Like me, he probably believes that he expresses his spirit in each day’s activity.

LP: In light of the recent S4 finale spoilers, do you feel such huge reveals (if you are unaware, Locke being in the coffin was the big spoiler that got leaked) hurt the show? How do you think the fan community should treat such spoilers?

ME: I hadn’t heard. That’s the downside of so much frenzied attention, I suppose. If the fans don’t want a surprise to be spoiled they know what to do.

LP: Do you or any of the cast members read these message boards? Are you as fascinated by the story as we are once you’ve seen it all put together or are you so sick of it by the time you’re done filming that you concentrate on other things? Have you ever visited Lostpedia?

ME: I don’t usually visit the message boards—don’t think many in the cast do. It’s like reading reviews—no good can come from it. I do follow the story closely and enjoy speculating on the meaning of it all and where the story is going. I have heard of Lostpedia and heard it praised but I don’t pursue Lost online—I’m more likely to pursue it in conversation.

LP: How does the cast interact with one another away from the set? Is there anyone in particular that you get along with on the set, and why do you think this is?

ME: The cast is very friendly with one another—we don’t get together often because we have non-Lost lives to lead and we probably see enough of one another on the set. I feel especially comfortable with Terry—not only are we in many scenes together but we are close in age and temperament and work habits.

LP: You, and many other members of the cast, have said that you don’t know what’s coming up on Lost, and sometimes can receive a script only days before shooting it. Coming from such an extensive theatre background, how difficult was it to adapt to this change?

ME: It was scary at first but now I’m finding it freeing. A minor adjustment.

LP: Terry O’Quinn said that the opportunity to work on a show like Lost is a once in a lifetime thing and some of the younger actors might not appreciate that as you can go through your whole career and never get to be involved in something so great. Is that how you feel and who else within the cast would you say are as big fans of the show as yourself?

ME: The magnitude of Lost’s success is hard to absorb. It’s not a thing I think about too much—I have work to do that requires my attention. In one sense, it’s just one of the many roles I will play.

LP: What’s your prediction for the final nature of the show: will it turn out to be more sci-fi explainable or will it be more magic and supernatural? What is your opinion of the science-fiction route the show has taken?

ME: A sci-fi angle seems likely to me—but like all really good sci-fi it will amaze and inspire. Sounds good to me.

LP: What did you think of the overall arc of season four? How do you feel the writers’ strike affected the show – was it positive or negative? Is this rapid pace - now with flash-forwards as well as flashbacks - a more compelling way to do it?

ME: I love the flash-forwarding—I think it elevates the show to something more sophisticated and something more poignant. Season 4 was a bit frantic for us but it gave the series great urgency and momentum. The only good thing about the writers’ strike was getting to be home unexpectedly with loved ones.

LP: If you could go back to the moment you were asked to play Henry Gale, knowing what you know now about the outcome of the character(s) (Henry=Ben), the extent of the obligation, the attention from fans (this being a major issue), would you say yes again? Why/Why not?

ME: I would say yes (but I would’ve been much more worried). I’m glad it came to me the way it did.

LP: You’ve mentioned that you aren’t an outdoors-y person. Is there anything you will miss about Hawaii when Lost wraps up in 2010? Do you have any set stories you can share with us?

ME: I will miss the smells of the place and the surprising trade winds, the colors of water and the ever-changing show of light, clouds and rainbows in the Hawaiian sky. I love the ragged green mountains here and the hiking and the unusual birds. I love the sound of the Hawaiian language (like moving water) and the music of the islands. Most of all, I will miss the relaxation and the easy hospitality of the people of O’ahu.

LP: What other actor(s) would you list as having had an influence on your craft?

ME: My idols tend to be the great actors of the Broadway or London stage—actors who found ways to manage the world of language.

LP: After playing William Hinks on The Practice, you are quoted as saying “It worries me a little bit the reach and power of TV. More people saw me in The Practice than will ever see me in all the stage plays I ever do. Which is sort of humbling. Or troubling. Or both.” Do you still feel the same way, especially now that there are those of us watching who interact with and sometimes even influence the show?

ME: I still feel the same. The volume and reach of TV is unimaginable, uncontrollable. It’s not human in scale.

LP: I know that there are some actors who hate watching themselves on TV: do you fall into this category? Are you very self-critical when watching your performances? And have there been any times where, when you watched it back, you wished you’d done things differently?

ME: I do watch myself—it’s often painful but it is educational. It seems in a way to be not-me. Sometimes you wish you had a moment to do over again. It is strange to see yourself from all angles.

LP: What type of books do you enjoy reading? Do you like fiction as well as nonfiction? Any particular genres that don’t appeal to you?

ME: I read a lot of novels, I read classics and history and commentary. I like to let one book suggest the next. For fun I enjoy ghost stories and murder mysteries. I do not read self-help books.

LP: Which genre of music do you enjoy the most? What kinds of CDs do you like to collect?

ME: I have pretty eclectic taste in music with a leaning toward the melancholy. I like Bach and blues and trip-hop. I like old jazz and live bluegrass and old reggae and anything ancient. Garage bands, Nick Drake, Captain Beefheart, Nino Rota, etc. etc.

LP: My 15 year old son is an aspiring actor. What would you say helped develop your career the most and put you in position to land a major role in a wildly popular show like Lost?

ME: I don’t think there’s anything a person can do that would have any bearing on landing a role on a “wildly popular” series. I think you learn to love your work, learn to do it well, be patient with yourself and go where your career takes you. Fame and Fortune are not healthy goals even if they were achievable. Acting is a difficult business and luck is a big factor. (Luck and preparedness, of course.) I still think of it as a monkish calling and it demands many sacrifices and makes no promises whatsoever.

LP: How do you pick what projects you take on? What do you look for in a script (film or TV) that makes you want to do it?

ME: I let good material be my guide whenever possible. I look for scripts with strong language values—something truthful, mysterious, challenging, surprising, thought-provoking. I look for the kind of project that would appeal to me as an audience member.

LP: Since you’re a veteran of the theater, I’d be interested in knowing your thoughts on modern-day interpretations of classic plays. It seems as if this is the norm these days, that no one stages a Shakespeare play without trying to update it to make it more relevant to modern audiences. What do you think of these attempts to “improve” on the master?

ME: There is no “right” period or style for a Shakespeare play. Even in his own day Shakespeare’s plays were “interpreted”. They are “classics” because they continue to bear (demand, even) every kind of interpretation. They are not historical documents or time-capsules. They are poetic works whose power lives through Metaphor. We continue to perform them BECAUSE they transcend their period, BECAUSE they are miraculously interpretable. Nostalgia for some good old (olde?) “traditional” style of performance is a false notion and a misunderstanding of the uses of drama. I cringe at the idea of jovial actors in pumpkin breeches clinking pewter mugs together.(You can get that any old day at Colonial Williamsburg.) Every production of a Shakespeare play is an interpretation. There are, of course, degrees of success and failure, good shows and bad, (and there are many more bad than good) but the best productions find powerful and illuminating metaphors that reveal the text freshly and surprisingly. It may be Elizabethan or it may be Post-Apocalyptic—whatever will inspire. (Question for the questioner: In what period did Shakespeare’s company stage Julius Caesar?)

LP: As the build-up for Season 5 continues (at least, for the fans), what is it you are most excited about for the upcoming season?

ME: Each season introduces a new dimension to the storytelling—I’ll be curious to see what it is this time.

LP: How were you able to be a successful actor coming out of Iowa? Also how did growing up in Iowa affect you?

ME: I had a fine childhood in Iowa and access to lots of books. A great place to grow up but a very practical place and no future for an ambitious young actor.

LP: Working on Lost must take up a good amount of your time. When you’re done working for the season, what do you do in your spare time (other than being nominated for Emmy awards)? Speaking of which, how did you react when you found out about your nomination?

ME: In the off-season I try to spend time with my loved ones and pursue my interest in theater. I was thrilled when my agent called to inform me of the nomination but I am somewhat superstitious and can’t help thinking about Mixed Blessings.

LP: Finally, when Lost is over, do you foresee going back into stage work, or sticking with television? Which of these disciplines do you prefer, and why?

ME: I’ll go where there is good material. Certainly I’ll be looking to do some theater. I’m attached to the world of the theater because of its rituals and history and because I like that it is a SPOKEN medium. It feels like both my home and my church.

Lostpedia would like to sincerely thank Mr. Emerson for giving the time for this interview.

TRADUZIONE CON GOOGLE

Lostpedia: Che cosa fare di Ben il rapporto con Richard?

Michael Emerson: Uno dei grandi misteri della mostra-Richard Alpert-Nestor amore e la agelessness del suo carattere surrogato-padre / mentore, ma anche forse un corruttore.

LP: È sembrano essere davvero un caldo e garbato persona nella vita reale. Quali metodi si usa per descrivere un personaggio così diverso da te, ed è difficile fare? C’è una particolare persona che hai modellato il carattere e se sì quali?

ME: Ben non richiede un sacco di “agire”-ha ’s come me (o nessuno), ma di meno. Non so come chiunque freddo come Ben, ma mi piace la sua attenzione e il calcolo-ha una licenza per essere insensibile.

LP: In seguito alla ultima domanda, non si utilizza elementi della propria personalità e incorporarli in Ben’s carattere?

ME: A volte non è che agiscono su le cose che si sono già, ma le cose che volete, potrebbe essere. Siamo tutti capaci di quasi nulla-Ben non è un così grande tratto.

LP: Considerato come attento LOST sono tifosi, sono lei e gli altri attori autonomi più consapevole delle vostre prestazioni di voi quando vi sono in atto altre produzioni?

ME: non credo che il cast fattori di controllo in pubblico il loro lavoro molto-il lavoro è abbastanza consumando così com’è. Che intensa attenzione alla mostra è più un problema tra gli scrittori e il pubblico, a mio parere.

LP: vi è mai stato nulla gli scrittori hanno reso Ben dire o fare che avete in disaccordo con?

ME: Ammetto di essere sconvolto a Ben il ruolo dell’Europa nel omicidio di massa della Dharma Initiative, ma credo che può essere ri-contestualizzata in futuro. Mi auguro che la scrittori completamente e vorrei essere a disagio ingerenza nei loro affari.

LP: Non avendo le telecamere attorno a voi tutti e determinata fase direzione, insieme al fatto che i fan di studio ogni vostro movimento sullo schermo, a tutti i distrarre da voi i vostri obiettivi, subtext, ecc?

ME: Agire per la fotocamera è su tutti i tuning tutto il resto fuori. Mi piace la sfida di esso mantenimento mirato e soggiorno disponibili per la ripetizione infinita di scene senza essere troppo “pesante” su tutto. Tendiamo a sparare prende pieno di scene su LOST in modo che non sembrano troppo frammentati.

LP: Lost Molti tifosi sono grandi fan del vostro carattere e sono in grado di connettersi con e individuare con Ben, nonostante tutte le cose cattive che ha fatto, e per questo, ritengo che il suo ritratto di lui decisamente affascinanti. Come un attore, come si fa a tale approccio raffigurante uno-moralmente ambiguo “villain”, in modo che egli è un personaggio con il quale il pubblico può simpatizzare?

ME: Non c’è grande mistero o segreto formula-siamo qui prestare attenzione alle villains perché sono Stati Uniti. Cerco dei metodi per essere asociale o sgradevoli in un modo interessante, a volte in modi che non consentono normalmente noi stessi.

LP: Dal momento che l’episodio “L’uomo dietro il sipario” in che modo sono rivelazioni circa l’infanzia di Ben colpite le prestazioni di lui come un adulto?

ME: non mi sento molto più influenza (egli osservazioni freddamente)-si conferma che solo lui è una persona molto come il resto di noi.

LP: Qual è stata la sua reazione al congelati asino volante? Quando Ben girato la ruota è stata un’esperienza emozionante, (gioco di parole non destinato), si potrebbe veramente vedere la tristezza in lui, sapendo che non avevo mai egli ritorno per l’isola. Durante la riproduzione di scena che ha fatto si evocano emozioni reali, e si sente una vera e propria tristezza?

ME: Jack Bender ha detto di essere consapevole del fatto che Ben per questo momento sarebbe la fine della vita come aveva conosciuto esso. Coppia che con la nuova perdita di sua figlia e si tratta di una scena con enorme posta in gioco. Ha sembrano reali a voi?

LP: Il tuo fortemente sfumato liberazione di linee che potrebbero, in un altro attore della bocca, sembra blando, ha appoggiata straordinaria ambiguità per intero le scene ed episodi di Lost. In realtà, questo dono particolare, sembra essere il personaggio del marchio. Avete mai espresso una linea con più flessioni in più prima prende i direttori / produttori di scegliere quello che meglio si adatta il corso della trama?

ME: Sono un attore fase e in quel mondo successo dipende dal modo in cui le linee sono parlate. Vorrei dire che è la cosa è un attore pagato da fare .. Il Lost spesso girare una scena (o una riga) un certo numero di modi diversi e lasciare che i redattori che scegliere quella che piace di più.

LP: la maggior parte dei grandi fan di Lost sono preferito proprio Benjamin Linus / Henry Gale citazione, o un certo numero di loro, ma qual è il vostro?

ME: Ben è una scelta o due righe in ogni episodio e mi piace il suo spirito ma sono più legati alla sua sobria formulazione di gravi questioni di etica o di filosofia. Pur essendo un uomo d’azione è anche un uomo in cerca di significato.

LP: Come spesso si sono date indicazioni per svolgere una scena un certo modo senza sapere il perché Ben, con la sua storia personale e la conoscenza di ciò che sta succedendo, si sente o si comportano in questo modo, e non avete il vostro esempi di metodo o processo di pensiero per compensare questa mancanza di conoscenza?

ME: Onestamente, non preoccuparti di motivazione o di back-storia troppo. Molto più importante che una scena crackles o canta. Agire è più astratto che la maggior parte delle persone (o attori, se è per questo) pensare.

LP: dopo aver ucciso il proprio padre e sviluppato un infatuazione con una donna che assomiglia a sua madre, è chiaro che Ben è un grave complesso di Edipo. Avete trovare questo aspetto del tuo personaggio più inquietante del suo omicida violenti serie? E pensi che gli scrittori sono Ben suggerendo che alla fine sarà dimostrato di essere un eroe tragico, come è stato Edipo?

ME: Non sono sicuro di Edipo si qualifica come un eroe di qualsiasi tipo, ma non tutti su Lost ha un problema con il loro padre-è uno dei temi della mostra. Siamo due anni di distanza da essere in grado di giudicare Ben un eroe o meno.

LP: Vi considerate un ‘metodo’ attore? Quali passi a voi di prendere veramente abitano un ruolo? Esattamente dove ti attirare la vostra ispirazione da a svolgere un carattere apparentemente male e “Creepy”, come Benjamin Linus?

ME: No, non mi dire che era un metodo Attore. Vorrei chiamare me uno tecnico Attore. Per parafrasare Ben Kingsley, ho imparare le linee-e quando ho imparato in un pieno e significativo modo io possa essere pronti a servire la storia. Ogni giorno, ogni scena mi dico, “Cosa farei se fossi in questa situazione?” Puramente immaginari.

LP: In altre interviste, lei ha dichiarato che il personaggio di Ben è davvero tra gli scrittori / registi e la mente degli spettatori; che hai appena dire le linee e indossare i vestiti. Scrittori scrivere script. Direttori scatti la cornice. Redattori e musica coordinatori costruire le sottili effetti attraverso tagli e cadenza. Ma cosa fare che aiuta Ben portare alla vita? In altre parole: come fare molto si sceglie di fare in modo di parlare tono, linea ritmo, il movimento fisico, ecc. rispetto a quello che il direttore chiede?

ME: mi mostra una serie di comportamenti e fare una serie di rumori che spero un pubblico troverà plausibile, sorprendente, forse entusiasmante. Sono un collaboratore flessibile in questo processo fino a un certo punto, ma alla fine della giornata mi è respirazione e movimento e parlare e cercare di attirare una valutazione critica la visibilità nella storia. Vi è una certa sfumatura coinvolti.

LP: Ben talvolta sembra mantenere un bambino di qualità che istiga le sue azioni, e questo talvolta dà vita a reazioni petulante. Come si sentono personalmente su questo lato del suo carattere, e ti senti che le risposte ad alcune domande sulla sua motivazioni?

ME: Credo che dice la verità sulla brillanti persone che ho osservato. Tutte le nostre parti non si sviluppa allo stesso ritmo e la nostra capacità di venire stupefacente ad un prezzo. Mi piace l’idea che Ben è socialmente sottosviluppati. Inoltre, ho notato più e più grandi che sono solo le versioni successive dei bambini che erano una volta.

LP: Nel corso degli anni Ben il carattere evoluto e modificato, in prima noi lo conoscevano come Henry Gale, il carattere pacifico spaventati da Minnesota, poi c’è stata la calma e creepy Altri leader / dittatore che Jack usato per salvare la sua vita, più tardi abbiamo visto la crudele potere-fame lato di Ben durante il flashback di spurgo, quindi abbiamo visto il lato emotivo di Ben in seguito alla morte di Alex, e poi di nuovo al potere crudele-fame lato di Ben, quando ha ucciso Keamy. Da che parte di Ben hai godere delibera di più?

ME: Che cosa mi piace è che tu pensi che ci sono tutte queste versioni di Ben quando ho fatto un punto di essere lo stesso uomo. (Grazie).

LP: Ben è stato coinvolto in un buon numero di sequenze d’azione; Sto pensando in particolare la scena nel Sahara con i beduini. Fate una formazione specifica per queste sequenze? Inoltre, fai la tua acrobazie il suo show?

ME: desidero ho avuto più di sfondo in “azione”, ma sulla capacità di Lost è molto bella mostra il giorno e farlo. Ho la solita fase di formazione combattere ma niente che mi ha preparato per le riprese, la lotta e di equitazione che ho fatto su Lost. Io di solito fare il mio acrobazie fino al punto in cui mi trovo nel dolore o sembra folle di continuare, ma da allora siamo di solito finito. Il lavoro è spesso pericoloso e che ho promesso a me stesso essere più andare in pensione.

LP: Come hai cambiato il tuo ritratto di Ben oltre il tempo il suo show? Voglio dire questo, come scelta consapevole, come un attore, non tanto come quello che gli scrittori hanno scritto per il suo carattere arco. Conoscere ciò che sapete ora su Ben il carattere e la storia o anche quella di Henry Gale, ci sono tutte le scene che si svolgono diversamente, se avete avuto la possibilità di fare di nuovo? Se sì, come?

ME: Non ho davvero cambiato il mio ritratto (non cosciente). E ’stato appena semper me, che ho conosciuto in questo momento e la scena a portata di mano. Non può pensare di una scena che avevo cambiamento.

LP: Cosa ne pensa è il più grande punto di svolta per il carattere Ben durante l’arco di tutta la mostra? Pensa che è successo ancora o è ancora a venire?

ME: La morte di Alex.

LP: Cosa ne pensa il personale sono religiosa / filosofica punto di vista di Benjamin Linus? Nel episodio “Dave”, pur ponendo come Henry Gale, egli dice a Locke: “Dio non sa quanto tempo siamo stati qui, Giovanni. Egli non può vedere questa isola di meglio rispetto al resto del mondo possibile “. Ma in “The Cost of Living”, egli chiede a Jack se crede in Dio. Quando Jack chiede la questione torna a lui, Ben risponde: “Due giorni dopo ho scoperto ho avuto un tumore mortale sulla mia spina dorsale, un chirurgo spinale è sceso dal cielo. E se questo non è prova di Dio, non so ciò che è “. Anche se questa risposta è un po ‘ambiguo, esso riflette un punto di vista diverso sulla religione di quello che ha detto a Locke. Ben ha anche il Corano e un libro sulla indiano rituali per la sua libreria. Che cosa si fa di tutto questo? E se si desidera rispondere, qual è la sua personale del mondo?

ME: Chiaramente Ben cerca Significato e ha una dimensione filosofica. Come la maggior parte delle persone (come me) he’sa po ‘troppo coinvolti nel qui ed ora per dare la sua piena messa a fuoco. Come me, probabilmente egli ritiene che egli esprime il suo spirito in ogni giornata di attività.

LP: Alla luce della recente finale S4 spoiler, ci si sente tali enormi rivela (se non sono a conoscenza, Locke è nella bara è stato il grande spoiler che è trapelato) ferito lo spettacolo? Come pensi che la ventola comunità dovrebbe trattare tali spoiler?

ME: non avevo sentito. Questo è il rovescio della medaglia tanto frenetico attenzione, suppongo. Se i tifosi non vogliono una sorpresa per essere sciupate sanno cosa fare.

LP: Lei o ad uno qualsiasi degli espressi membri leggere queste bacheche di messaggi? Sei come affascinato dalla storia di come siamo ancora una volta che hai visto che tutti messi insieme o si sono ammalati di modo che al momento hai finito le riprese di concentrarsi su altre cose? Avete mai visitato Lostpedia?

ME: io di solito non visitare il bacheche-don’t pensare molti il cast a fare. E ‘come leggere recensioni-non va bene può venire da essa. Fare seguire da vicino la storia e godere di speculare sul significato di tutto e dove la storia si sta muovendo. Ho sentito parlare di Lostpedia e sentito elogio, ma non mi esercitare Lost I’m on-line più probabile a proseguire in conversazione.

LP: Come funziona il cast interagire l’uno con l’altro fuori dal set? C’è qualcuno in particolare, che si ottiene con lungo sul set, e il motivo per cui Lei pensa che questo sia?

ME: Il cast è molto rispettosi l’uno con l’altro-non ci si ritrovano spesso perché non hanno perdita di vite per guidare e probabilmente abbiamo abbastanza di vedere l’un l’altro sul set. Mi sento particolarmente confortevole con Terry-non solo siamo in molte scene insieme, ma siamo vicini per età e temperamento e di abitudini di lavoro.

LP: è, e molti altri membri del cast, ha detto che non sai di cosa lo aspetta fino a Lost, e, talvolta, può ricevere solo uno script giorni prima della ripresa è. Venendo da un ampio teatro di fondo, come è stato difficile per adeguarsi a questo cambiamento?

ME: E ’stato spaventoso in prima, ma ora sto trovando la liberazione. Un minore adeguamento.

LP: Terry O’Quinn ha detto che l’opportunità di lavorare su uno show come Lost è una una volta nella vita cosa, e alcuni dei giovani attori potrebbero non apprezzare che, come si può passare attraverso tutta la vostra carriera e non arrivano mai a essere coinvolti in qualcosa così grande. Che è come ti senti e che il resto entro il cast che si dice come sono grandi fan dello show come te?

ME: La grandezza di Lost il successo è difficile da assorbire. Non è una cosa che pensa troppo-ho del lavoro da fare, che richiede la mia attenzione. In un certo senso, è solo uno dei tanti ruoli mi gioco.

LP: Qual è la sua previsione per il carattere definitivo della mostra: si rivelerà più sci-fi o spiegabile sarà più magico e soprannaturale? Qual è il tuo parere della fantascienza percorso lo spettacolo ha preso?

ME: una sci-fi angolo sembra a me, ma come tutti veramente buona sci-fi si stupire e ispirare. Suona bene per me.

LP: Che cosa hai pensato globale della stagione arco di quattro? Come ti senti gli scrittori ’sciopero influenzato la mostra - è stato positivo o negativo? E ‘questo ritmo rapido - ora con il flash-in avanti così come flashback - uno più interessante modo per farlo?

ME: Io amo il flash-trasmissione-credo che eleva lo spettacolo a qualcosa di più sofisticato e qualcosa di più commovente. Stagione 4 è stato un po ‘frenetica, ma per noi ha dato la serie grande urgenza e slancio. L’unico aspetto positivo della scrittori ’sciopero era di arrivare a essere a casa in modo inatteso con cari.

LP: Se potesse tornare indietro al momento in cui sono stati invitati a svolgere Henry Gale, sapendo ciò che sapete ora circa l’esito del carattere (s) (Henry = Ben), la misura dell ‘obbligo, l’attenzione di tifosi (questo essere un problema importante), che si dice sì di nuovo? Perché / Perché no?

ME: vorrei dire sì (ma mi è stato molto più preoccupato). Mi fa piacere che è venuto da me il modo in cui essa ha fatto.

LP: Hai detto che non sei uno all’aperto-y persona. C’è qualcosa che se ne perderanno circa Hawaii quando Lost avvolge nel 2010? Avete fissato storie che si possono condividere con noi?

ME: mi mancherà gli odori del luogo e la sorprendente alisei, i colori di acqua e mutevole spettacolo di luce, le nuvole e gli arcobaleni nel cielo hawaiano. Io amo il Ragged verdi montagne e qui l’escursionismo e l’insolita uccelli. Io amo il suono della lingua hawaiano (come l’acqua in movimento) e la musica delle isole. La maggior parte di tutti, mi mancherà il relax e il modo più facile per l’ospitalità della gente di O’ahu.

LP: Quali altre attore (s) ti elenco come abbia avuto un’influenza sul suo mestiere?

ME: I miei idoli tendono ad essere grandi attori di Broadway o Londra fase-attori che hanno trovato il modo di gestire il mondo del linguaggio.

LP: Dopo aver giocato William Hinks sulla pratica, si è citato come dicendo “E ‘mi preoccupa un po’ la portata e la potenza della TV. Per saperne di più persone mi ha visto nella pratica sarà mai più vedere me in tutte le fasi svolge ho mai fare. Che è sorta di humbling. Or preoccupanti. Oppure entrambi. ” Avete ancora sentire allo stesso modo, soprattutto ora che ci sono quelli di noi guardando che interagiscono con e talvolta anche influenzare la mostra?

ME: mi sento ancora lo stesso. Il volume e la portata della TV è inimmaginabile, incontrollabile. Non è umano in scala.

LP: So che ci sono alcuni attori che odiano se stessi guardando in televisione: non si rientra in questa categoria? Sei molto auto-critica quando guardando vostre prestazioni? E vi sono stati tempi in cui, quando si è guardato indietro, lei ha voluto che ti sarebbe fatto le cose in maniera diversa?

ME: fare guardare me stesso-è spesso doloroso, ma è educativo. Sembra che in un modo di essere non-me. A volte volete, ha avuto un momento di fare di nuovo. E ’strano vedere voi stessi da tutte le angolazioni.

LP: Che tipo di libri che ti piace leggere? Ti piace la fiction così come saggi? Ogni particolare generi che non si rivolgono a voi?

ME: Ho letto un sacco di romanzi, ho letto i classici e la storia e commento. Mi piace lasciare un libro suggerire il prossimo. Per divertimento mi piace fantasma storie e misteri omicidio. Io non leggere libri di auto-aiuto.

LP: Che genere di musica che ti piace di più? Che tipo di CD che ti piace fare a raccogliere?

ME: ho piuttosto eclettico gusto in musica con un pendente verso la malinconia. Mi piace Bach e blues e trip-hop. Mi piace vecchio jazz dal vivo e bluegrass e vecchio reggae e quant’altro antico. Garage band, Nick Drake, Captain Beefheart, Nino Rota, ecc ecc

LP: I miei 15 anni, è figlio di un aspirante attore. Che cosa dire contribuito a sviluppare la vostra carriera la maggior parte si e messo in posizione a terra un ruolo di primo piano in un selvaggio spettacolo popolare come Lost?

ME: non credo che c’è qualcosa di una persona può fare che avrebbe alcuna incidenza su un ruolo di atterraggio su una “selvaggiamente popolare serie. Penso che si impara ad amare il suo lavoro, imparare a fare bene, di essere paziente con te stesso e vai dove la vostra carriera vi. Fama e fortuna non sono sani obiettivi anche se sono realizzabili. Deliberando è un difficile e fortuna è un grande fattore. (La fortuna e la preparazione, naturalmente.) Continuo a pensare di come un monaco chiamante e richiede molti sacrifici e non fa promesse di sorta.

LP: Come scegliere quali progetti si assumono? Che cosa cercate in uno script (o film TV) che rende volete farlo?

ME: mi lasciare buona materiale essere la mia guida, quando possibile. Non vedo per gli script con forti valori-lingua qualcosa veritiere, misterioso, stimolante, sorprendente, provocando-pensiero. Non vedo per il tipo di progetto che mi appello a un pubblico come membro.

LP: Dato che sei un veterano del teatro, io sarei interessato a conoscere i vostri pensieri sul moderno-giorno interpretazioni del classico svolge. Sembra come se questa è la norma in questi giorni, che nessuno le fasi uno Shakespeare giocare senza cercare di aggiornamento per renderlo più rilevanti per un pubblico moderno. Cosa ne pensi di questi tentativi di “migliorare” il maestro?

ME: Non vi è alcun “diritto” periodo o stile di gioco di Shakespeare. Anche nel suo giorno di Shakespeare svolge sono state “interpretate”. Essi sono i “classici” perché continuare a sopportare (domanda, anche) ogni tipo di interpretazione. Essi non sono documenti storici o di tempo-capsule. Sono opere poetiche il cui potere vita attraverso metafora. Noi continuiamo a svolgere perché trascendono il loro periodo, perché sono miracolosamente Interpretativi. Nostalgia per qualche buon vecchio (Olde?) “Tradizionale” stile di esecuzione è una falsa nozione di un malinteso e degli usi del dramma. I cringe presso l’idea di gioviale attori zucca calzoncini tintinnano peltro tazze insieme. (È possibile ottenere che ogni giorno al vecchio Colonial Williamsburg.) Ogni produzione di un gioco di Shakespeare è una interpretazione. Ci sono, naturalmente, i gradi di successo e insuccesso, bene e male mostra, (e ci sono molti più cattivi di buono) ma le migliori produzioni trovare potente e illuminante metafore che rivelano il testo fresco e sorprendente. Essa può essere elisabettiano o può essere post-apocalittico-qualunque ispirerà. (Domanda per l’interrogante: In che periodo ha fatto di Shakespeare società fase Giulio Cesare?)

LP: Come l’accumulo di continua Stagione 5 (almeno, per gli appassionati), ciò che è lei la maggior parte sono entusiasti per la prossima stagione?

ME: Ogni stagione introduce una nuova dimensione alla narrazione-I’ll essere curioso di vedere che cosa è questo tempo.

LP: Come ti sono stati in grado di essere un attore di successo provenienti da Iowa? Inoltre, come ha fatto crescere in Iowa incidere voi?

ME: ho avuto una bella infanzia in Iowa e l’accesso a un sacco di libri. Un posto ideale per crescere, ma un luogo molto pratico e non per un futuro ambizioso giovane attore.

LP: Lost sul lavoro deve assumere una buona quantità di tempo. Quando hai finito di lavoro per la stagione, cosa fare nel tuo tempo libero (diverse da quelle di essere nominati per i premi Emmy)? Parlando di cui, come hai reagito quando hai scoperto la vostra candidatura?

ME: In bassa stagione cerco di trascorrere il tempo con i miei cari e perseguire il mio interesse per il teatro. Sono rimasto basito quando chiamato il mio agente mi informa della nomina, ma sono un po ’superstiziosa e non può aiutare a pensare misto Benedizioni.

LP: Infine, quando Lost è finito, si prevede di tornare in fase di lavoro, o si conficca con televisione? Quali di queste discipline che si preferisce, e perché?

ME: io andrò in cui vi è una buona materiale. Certamente sarò cercando di fare teatro. Sono allegate al mondo del teatro a causa dei suoi rituali e la storia e perché mi piace che si tratta di un PARLATE medio. Si sente come sia la mia casa e la mia chiesa.

Lostpedia vorrei sinceramente ringraziare il signor Emerson per dare il tempo per questa intervista.

Season 5 - Problem-free airings??
Source: TV Guide

Of course, going interruption-free has always been the plan for the series’ final three seasons. Season 4, however, was compromised by last winter’s WGA strike. And looking ahead to this season, ABC has yet to confirm any scheduling plans. One insider speculates that the network may decide to maximize their May sweeps payoff by “stretching out” Season 5 with a week off or two, rather than have the finale air mid-month.

But as original cast member Jorge Garcia (Hurley) shared with us in a Friday interview, “This season, I think, is going to run straight through. Last season, they skipped a week before the finale and had a clip show, so we might do that. But for the most part, it should run straight through.”

In May 2007, Lost producers revealed their plan to wrap up the supernatural saga with three more seasons totaling 48 episodes, each of them airing without interruption, à la Fox’s 24.

That idyllic scenario, however, was waylaid out of the gate when the winter 2007-08 WGA strike forced a five-week midseason break upon Season 4. Even with that, the episode total came up two hours shorter than hoped.

Similarly, a strike by the Screen Actors Guild (to be voted on in early January) could send up in smoke the dream of an intact Season 5.

To make up for last season’s shortfall, the next two runs will each contain 17 episodes, with Season 5 kicking off Wednesday, Jan. 21. The three-hour return event will feature a one-hour catch-up special followed by the season’s first two new episodes — “Because You Left” and “The Lie.”

What else did Jorge Garcia have to share? Watch for the next scoopy bit from our conversation to surface in Tuesday’s Mitovich Mega Minute. The complete Q&A will go up closer to Lost’s premiere date.

persoal comment of ” im a bloody rock god
Junior Member” of lost.com”
So i was listening to the Commentary on No Place Like Home pt2, and at 36:30-ish to 37 minutes, they are discussing who has bluer eyes, between charlotte and lepidus, and make a comment that they couldn’t make it into a contest on the show because Lepidus isn’t on the island, and charlotte is in the year 1114!!!!!! Could this be a huge spoiler that this is where the island traveled to???? Anyone else have an opinion on it????
__________________

My opinion/opinione mia

….. desmond = Ben daddy

…..Desmond = papa di ben…

come nella teoria sotto mia….tutto torna…

Josh Holloway and Wife - Expecting 1st Child
Posted by buffyfan145 at 6:24 pm with 1 Comment

Lost star Josh Holloway, aka Sawyer, is expecting his first child with wife Yessica, a rep for the actor confirms to JustJared.com.

Congratulations to the happy couple!

The 39-year-old actor is currently on location in Hawaii shooting Season 5 of his hit ABC show. The fifth season premiere of Lost airs on Wednesday, January 21st @ 8PM ET/PT.

http://justjared.buzznet.com/

CONGRATULAZIONI - CONGRATULATIONS

I very happy for Josh and Yessica.

The site is back, and I’m at a round-table with Damon and Carlton right now. So keep refreshing and beware of spoilers! For information on the DVD extras we were show, visit my article here at UGO.com!

Q: You’ve previously confirmed that Michael is dead. It would appear that Claire has also taken a dirt nap. But we’re still left hanging on Jin’s fate. Will both characters fates be resolved in Season 5?

Damon Lindelof: Good question. I would beg to differ on Claire’s alledged “dirt nap” (unless you mean taking a nap on dirt) — didn’t we see her last sitting in a cabin with the mysterious Christian Shephard? As for Jin, we’ll definitely be seeing more of him in season five… but as we’re moving through past, present and future… who knows WHEN we’ll see him.

Q: We here a lot of shows accused of jumping the shark. To your thinking, is it even possible for a show as time-bending and surprise-laden as Lost to jump the shark? In other words, how often do you guys say, “Hmm, that’s going too far?”

Cartlon Cuse: We actually TRY and jump the shark all the time. The last thing we want to do is feel like the show is falling into a tired paradigm. In fact this season we start out with a new narrative approach. Not the now traditonal flashbacks or flashforwards. We always are trying to keep the storytelling surprsing.

Q: At this point, how do you view the Lost DVD sets — are they part and parcel of the show? Are they extensions of it? And what are your thoughts on the people experiencing Lost week to week on TV versus in one or two or three commercial-free sittings on DVD?

Damon Lindelof: The DVDs are definitey part and parcel of the show. We’ve always thought of an episode of Lost playing on several different levels… they’re almost designed for repeat viewings. In fact, our habitual use of planting hidden “easter eggs” is tailor-made for the DVD experience. Personally, I love watching my favorite shows (particularly serialized ones like DEXTER) one after the other. I sometimes think about how frustrating it would’ve been to read the Harry Potter books ONE CHAPTER AT A TIME once a week. I’d pretty much kill myself.

Q: Hi Damon and Carlton, did the new structure (and experimentation) of flashbacks and flashforwards in season four open help you feel emboldened to explore even more with structure in S5 and how?

Damon Lindelof: Howdy, Tara! Yes — the fact that the audience embraced switching gears on the show from REVERSE to DRIVE emboldened us to get a little more loose with how we drive (as long as we’re never in neutral!) the story. The cool thing about Season Five is that it takes a little while for your brain to fully absorb how the story is unfolding… but hopefully, once it does, you’ll realize we’re trying something new yet again.

Q: It’s common knowledge that Ben was a character that came in, clicked with the audience and the story. What other characters/actors HAVE clicked that surprised you and HAVEN’T that surprised you?

Cartlon Cuse: Good question. And you’re right about Michael Emerson. He’s the biggest example of a character who we just fell in love with beyond our expectations. I would say Desmond would also be in that category. The audience really fell in love with him right from the get-go and he quickly moved right into the mainstream of our cast. Nikki and Paulo were less successful. We tried to introduce them out of the show’s chorus as it were and the audience cried foul. We listened and killed them off.

Q: We saw a lot more of Christian Shepherd in Season 4. Does this re-appearance tie into the empty coffin Jack discovered in Season 1?

Damon Lindelof: Indeed it does… and I think its safe to say you’ll be seeing Christian again in Season Five. And what’s up with those white tennis shoes he was wearing back in Season One?

Q: It seems that the next season will have A stories set in two time frames. Does this mean that you have to outline the story of the season in advance in ways you never did before?

Cartlon Cuse: Our approach to the story telling changed drastically once we were able to negotiate an end date to the show. Before that we didn’t know if the mythology had to last two seasons or seven seasons. Once we knew there were only going to be 48 eps of the show left we were able to start charting out the remaining journey. We approach it on three levels. First we have discussions about the uber-mythology and plant the big landmark events in rough locations. Then at the end of each season we have a writer’s mini camp where we discuss the arc of the upcoming season in great detail. Then we break each individual episode and see where we end up at the end of each break. We give ourselves a fair about of latitude to listen to the show and react — writing more or less for various characters or situations depending on how they play.

Q: The show continues to return to eastern religion and mysticism. How much of that is your personal interests and how much of that is just window dressing?

Damon Lindelof: Well… we try to infuse the show with all sorts of religious allegory, depending on what kind of story we’re telling. The Eastern religion and mysticism is something that started coming up a lot as we talked about the Dharma Initiative… but the thinking was more, “What if these hippies from Ann Arbor, Michigan were kind’ve like the Beatles and thought a trip to India could spiritually rebirth them?” Hopefully, when all is said and done, the themes of the show are hopefully universally spiritual… at least that’s what we’re going for.

Q: When you’re breaking stories, do you play to the strengths of a particular director — character development = Stephen Williams, action = Jack Bender — or do you tell the best story and let your incredible production crew figure out how to bring it to life?

Cartlon Cuse: Thank you Stephen Williams, masquerading as Michael Stailey, for your question. No, we break the episodes irrespective of who’s up on the director’s calendar. In fact, the director’s schedule is fairly fluid and they move slots so we would drive ourselves crazy trying to target a certain episode for a certain director.

Doc For UGO: There is a lot of concern amongst fans over how the show will work without the chemistry of the full ensemble. Is that separation something you will address in season 5, or is that more part of the remaining two seasons of story.

Damon Lindelof: We’re concerned, too! I think everyone, writers and fans alike, feels the show is at its best when our characters are together… but the fact of the matter is that the story is constantly twisting and turning to keep them apart. Let’s face it — Absence makes the heart grow fonder… but there’s nothing sweeter than a reunion. All we’re willing to say at this point is that if we were to spend the ENTIRE duration of Season Five with the Oceanic Six trying to get back to the island, we are fully aware that the audience would strangle us.

Q: You mentioned Desmond earlier… his reunion with Penny at the end of S4 was one of the greatest moments in the show’s history thus far (not to mention one of the year’s best TV moments). Nothing’s going to happen in S5 to jeopardize their happiness, right? Right?

Damon Lindelof: I’m sorry, Daniel. Wrong. Wrong.

Doc For UGO: Hey Guys, when will season one and two be getting the Blu-Ray treatment? Any plans?

Cartlon Cuse: Hi Jon. We have heard of no plans to go back and re-release seasons one and two on bluRay. But if I were a betting man I’d lay down a lot of money that you’ll be ale to buy a complete series blu-Ray box set when all is said and done.

Q: Do you feel that following the various viral campaigns that have been tied to the show is essential for understanding the mythology? Is there a risk of losing more casual viewers who can’t keep track of the complex mythology.

Cartlon Cuse: We consider the viral campaigns to just be additive and non-essential. Our rule of thumb is you should not need to watch anything but the mothership — the network show — to have a complete understanding (or at least as much as that is possible) of the show.

Q: If you had to pick THE pivotal moment from season four, for each of you, what was it? Why that scene?

Damon Lindelof: Hard to pick, but the one that immediately leaps to mind is the scene in the finale between Jack and Locke in the greenhouse. Obviously, the ramifications of Locke telling Jack (once again) that he’s not supposed to leave the island… but if he does, he must LIE about everything that happens… is essentially what kicks off the entire story of the Oceanic Six. We think its really cool that it was actually Locke’s idea, even though Jack doesn’t present it that way. And now that Jack is standing over Locke’s coffin, the relationship between these two men becomes really central to the endgame of our story.

Q: Do the shorter season schedules give you the time and energy needed to accomplish want you want, or do you still find yourself under the gun from week to week? Are you still on a 8-day turnaround schedule?

Cartlon Cuse: Thanks Michael. No, we are still on the same schedule, starting a new episode every eight days. Its just that the overall production season is shorter. When we’re in the middle of it, its just as insane. The biggest benefit to only doing 17 hours this year is pacing — we don’t find ourselves writing stall episodes. It really allows us to keep the peddle to the metal.

Q: Will there still be flashbacks and flash forwards next season?

Cartlon Cuse: Hi Kelly. Yes, there will still be flashbacks and flashforwards but we are not limiting ourselves to those ways of transitioning between stories. We still love doing them and will when appropriate. There are still some cool flashbacks left to tell for our characters.

Doc For UGO: The story has really arrived at a point where the science fiction and fantasy aspects can’t really stay in the subtext anymore, is this liberating for you guys as writers or do you wish you could go back to some of the science vs faith ambiguity of the earlier episodes?

Damon Lindelof: It actually IS liberating… but at the same time, the show constantly forces us to evolve. We CAN’T go back to the ambiguity of Season One because our characters have experienced so much since then. Carlton and I often talk about the STAND… how the story starts with something scientific, an epidemic that kills of 99% of the world’s population… but slowly and steadiy transforms into a mystical tale where people are having prophetic dreams… and finally, LITERALLY ends with the hand of God coming out of the sky and setting off a nuclear device. Our story has always been about a journey… but just because we’re embracing some of the more fantastical aspects of the island, doesn’t mean we’re completely abandoning the science vs. faith of it all.

Q: You’ve mentioned Nikki and Paolo not hitting with the audience. How do you draw a line between making the audience happy and telling the story you set out to tell?

Cartlon Cuse: Devin, its now kind of a moot point. Moving forward it will be virtually impossible for us to adjust in-season to audience feedback. By the time the show premieres on Jan 21 we will have written 14 of the 17 hours and probably will be deep into the specific scene plotting for the finale. This season we’re going to be completely relying on our on instincts and judgments — combined with the feedback of our collaborators here on the show and at the studio and network.

Q: What television series imprinted you as kids the most growing up-that perhaps influenced your decision to make a career in smallscreen?

Damon Lindelof: Thanks for asking that question, April… because I was a TV JUNKIE growing up. Other than watching endless hours of cartoons (THUNDERCATS, VOLTRON and yes, SMURFS), I loved watching “grownup shows” with my folks… like DALLAS. Perhaps that’s where I got my love for melodrama! The show that REALLY affected me, however, was TWIN PEAKS, which I’d watch every week with my dad. He’d tape the show on his VCR (remember those?) and we’d watch the episode AGAIN right after it aired in our quest to pull every last clue out of the show. The idea of a TV Show being a mystery and a game that spawned hundreds of theories obviously was a major precedent (that’s a fancy way of saying we ripped it off) for LOST.

Q: Watching season four in one or two sittings, on DVD, do you think there’s a break in style between the pre-strike and post-strike episodes?

Damon Lindelof: Hopefully not, Charlie. The fact of the matter is that we designed out — at least roughly — the entire sixteen episode season… planting flags as to what would happen where in the grand scheme of things. In that original design, there were a couple of episodes focusing more on the Freighter Folks (Faraday, Miles and Charlotte) that got pushed into this season, but more importantly, things like Jack’s appendicitis and Keamy arriving at New Otherton and killing Alex happened SOONER than we had planned due to the collapsed schedule. I think if there’s a sense of separation between the first eight episodes (ending with “Meet Kevin Johnson”) and the final six hours, it’s that the story is really moving at a much higher rate of speed than we’re traditionally accustomed to.

Q: Now that you are close to being finished with writing season five, how does it feel to know you are so close to the home stretch in this odyssey? Has it brought out reflections or feelings you didn’t expected either personally about the process or towards the storyline?

Cartlon Cuse: Tara, I think all of us who work on the show know what a special experience it is. Our ability to negotiate and end date to the show so far in advance was I believe unprecedented in network TV. It has given us a real sense of what the journey is going to be. Normally when you work on a TV show you never know when it is going to end. You’re just trying to survive season to season until the proverbial horse drops out from underneath you. We’re not quite far enough along yet to start to wax nostalgic, but I think we all recognize that we’ve had a chance to do something really extraordinary. I was watching all the bonus features and thinking about the special alchemy of LOST. You can do your best as a storyteller but on TV you also need a great cast, crew, directors, composer, etc. You really see on those features what a collaborative art form it is. We are truly blessed that this assembly of talent came together for this project. The journey of making a show over six years and the hourse it takes really makes you a family — and we’re about as happy and as functional a TV family as I’ve ever seen or worked with.

Q: With the end of the series looming in 2010, is a feature film being considered at all?

Damon Lindelof: The answer, Brian, is no. At least not by us. We’ve always felt that the show should definitively end the same place it started… on television. To bring our characters to some sort of cliffhanger where the audience gets none of the answers that they really care about and then say, “Now give us ten bucks. buy some popcorn and we’ll give you the rest!” would pretty much be the worst thing ever.

Q: Are we ever going to get back-stories for Rousseau, Libby, and/or Walt or does that now fall by the wayside with only thirty-four episodes left?

Cartlon Cuse: Let’s just say you will get more information about Rousseau and Walt at least. We can’t comment about who will or wont get full-on flashbacks. Obviously as the story moves forward we’ll be answering questions at a faster rate. But some stories — like Libby’s — we feel are pretty much finished.

Q: Are we ever going to get back-stories for Rousseau, Libby, and/or Walt or does that now fall by the wayside with only thirty-four episodes left?

Cartlon Cuse: Let’s just say you will get more information about Rousseau and Walt at least. We can’t comment about who will or wont get full-on flashbacks. Obviously as the story moves forward we’ll be answering questions at a faster rate. But some stories — like Libby’s — we feel are pretty much finished.

Q: What’s up with the four-toes statue and some of the crazy stuff that’s happened over the years on the show … are we ever going to get the answers to these questions?

Cartlon Cuse: Yes, more on the 4 toed statue to come! In fact (spoiler) the 4 toed state might come to life in the Zombie season. As we roll into the end of season 5 and certainly in season 6 the show will definitely be much more in answer mode.

Q: By having shorter seasons now, do you feel the storytelling has become much easier — or do you feel regret and often go “man, it would be great to have three more episodes?”

Damon Lindelof: The storytelling has never been easy… but we’ve always felt that “less is more.” The complaint that we got most often in the first couple seasons of the show is that we were not moving the story forwards fast enough — “stalling” — which, unfortunately, is a necessary tactic when you’re doing 25 episodes a year. The truth is that we actually liked those episodes low on incident (”Claire sends a message on a bird, anyone?”), but the show is much more fun to write when we can just power through and give you guys a hearty meal as opposed to a zillion little courses that never quite get you full.

Closing Remarks

Damon: All right, gang! Thanks so much for stopping by and we hope you dig the DVD! We know its our job to pimp the product, but in this case, the extras are actually pretty awesome. Especially since I get to wear an eyepatch in one. So Happy Holidays and we’ll chat with you again once the new season gets hopping!

Carlton: Thanks so much for showing up today. We gotta go. The writer’s room awaits. We hope you guys will enjoy the upcoming episodes and hope to talk to you all again soon. Best, Carlton

Manca ancora più di un mese alla quinta stagione di Lost, ma dopo mesi e mesi di attesa, siamo inondati da informazioni, video, foto promozionali e…spoiler! Partiamo con una casting news abbastanza rilevante, e cioè che l’attore Nestor Carbonell (Richard Alpert) apparirà in nove dei 17 episodi della prossima stagione: la news è stata confermata dallo stesso attore, ed è quindi ritenuta valida.

In occasione del lancio (americano) del DVD della quarta stagione, i produttori esecutivi di Lost, Damon Lindelof e Carlton Cuse hanno svelato qualcosina sulla quinta stagione: ci saranno ancora flashback? Gli Oceanic Six cercheranno di tornare sull’isola? Per saperlo, non dovete far altro che leggere…

Secondo Damon Lindelof, i fan non dovranno temere troppo la separazione degli Oceanic Six (Jake, Kate, Hurley, Aaron, Sun e Sayid) dagli altri personaggi: “Penso che fan e sceneggiatori, ha spiegato il produttore, sentano che lo show sia meglio quando tutti i personaggi sono insieme, ma la storia è in continua evoluzione e li ha separati“.

“Guardiamo in faccia la realtà: una separazione fa male al cuore, ma non c’è niente di più dolce di una reunion: ma tutti noi siamo d’accordo nel dire che se passassimo tutta la quinta stagione con gli Oceanic Six che tentano di tornare sull’isola, i telespettatori vorrebbero strangolarci“.

Uno dei più grandi misteri della quinta stagione riguarda come questa sarà strutturata: la serie è conosciuta per i suoi flashback e flashforward, ma sono in molti a chiedersi se, visto che ora conosciamo così tanto dei personaggi, questi ci saranno ancora: una delle casting news, quella su Sayid bambino, ci fanno propendere per il sì, cosa che Carlton Cuse promette/conferma: “Amiamo fare i flashback quando sono appropriati, e ci saranno ancora delle ‘retrospettive’ veramente forti sui nostri personaggi“.

E oltre a grandi personaggi e a una svolta ‘fantascientifica’, molti fan continueranno a guardare Lost per i ‘duelli’ che propone, come quello tra scienza (Jack Shepard) e fede (John Locke): ora che sappiamo che molti misteri dell’isola sono ‘incentrati’ sulla scienza, queste tematiche saranno ancora rilevanti?

“Non possiamo tornare all’ambiguità della prima stagione, ammette Lindelof, ma io e Carlton parliamo spesso del romanzo ‘L’ombra dello scorpione’ di Stephen King, di come la storia cominci in maniera ‘scientifica’, un’epidemia che uccide il 99% della popolazione, per poi trasformarsi in qualcosa di mistico, con persone che hanno visioni, per poi finire con un intervento divino, l’esplosione nucleare“.

“La nostra storia, conclude Lindelof, è stata sempre incentrata sul tema del viaggio, ma solo perché ‘abbracceremo’ teorie più ‘fantascientifiche’ per quanto riguarda l’isola, non significa che abbandoneremo l’aspetto ‘scienza vs fede’ del tutto“. In attesa di altre novità, l’appuntamento è previsto per mercoledì 21 gennaio sulla ABC.

Fonte: Televisionando

“In the rules of Lost…is anyone really dead?”

Dominic Monaghan just asked this quintessential Lost Q as I chatted him up on the Chuck set (he’s guest starring in February), and I know you many of you fans are dying to know:

Will any of the “dead” Losties be back for season five?

A recent promo sure seemed to show Jack’s creepy daddy Christian (John Terry) mingling among the Left Behinders. So…will we see him again? What about Claire (Emilie de Ravin)? And fan favorite Charlie (Dominic)?

I’ve got the word from Lost boss Damon Lindelof himself on the status of Christian, as well as exclusive insight from Dom and inside sources on Claire and Charlie’s whereabouts…

In case you missed the chat, there is much discussion about the figure visible at the 2:10 mark. Is that dead Dr. Christian Shephard in the ABC promo video? Check out the screengrab to see for yourself.

Could Christian really be in the Island camp, running from flaming arrows with the Left Behinders? I was so curious about this wild possibility that I emailed Damon Lindelof to find out, and he tells me exclusively, “No. It’s not Christian. John Terry is gonna be in the show this season, but he was definitely nowhere near Hawaii when we shot that stuff.”

(Note to Damon: That really does look like John Terry in the promo…You might want to make sure the guy isn’t haunting your set in his free time! Maybe he digs the craft services?)

So…you heard it. Christian (Jacob?) will be back for season five. But if Christian’s not in the camp, where the bloody Beelzebub is he? Still hanging out with his daughter Claire at the haunted cabin?
Emilie de Ravin, Lost Mario Perez/ABC

I just chatted up Dominic on the set of Chuck (he guest stars in the big 3-D episode) and asked if he could shed any light on Claire’s whereabouts. (He is her Wonderwall, after all!) Is she dead? Alive? Floating in some weird Island netherworld?

“I have been keeping up on her,” he says, “and I wonder if the world of Lost allows dead people to come back easier than it would be here. I think to a certain extent they wanted to find something for Claire to do outside of grieving over Charlie, and I think they thought, well if we take her away and essentially if we were to bring her back, there would be some drive to her story.”

Inside sources connected to the show tell me that Emilie de Ravin is not slated as a series regular for the upcoming fifth season, but we will see her again.

As for Charlie Pace himself, could he return, definitely dead though he is?

Dom tells me he recently had lunch with Damon and they talked about just that. He tells me, “As we were paying the bill, I said, ‘Let’s talk about Charlie.’ And we had a five-minute, very accelerated conversation where I said, this is how I would feel about coming back. These are the things that I really like about Charlie and ideas for Charlie. And Damon said, ‘OK, that’s great. I’ll go away and I’ll chew on that.’ Damon has to deal with not only the arc in the story for the entire show but also all the characters. He might not have space for me to come back, but if there is space, then we talked about how it would work.”

Who wouldn’t want more of rock-god ghost Charlie?

Besides killer aviator sunglasses, what would Dom like to see happen in Charlie’s return? He says of Charlie’s legendary death scene, “I’d always been very complimentary toward Damon’s writing in that moment, in the sense that he really gave Charlie a great preciousness and dealt with him with dignity, you know. I think other people have died in ways that maybe weren’t quite as dignified. Charlie was really taken care of and I really appreciated that…But really, if [the return were] not something as precious as Charlie’s arc in his death, then I might not do it. I wouldn’t come back for just a little hello in the background. It would have to be an interesting story, an interesting arc. Something that really moves the story.”

Fair enough, right? In case you haven’t heard, Lost returns to ABC for season five on Wed., Jan. 21.

Where do you think Claire and Christian are slumming these days? What should ghost Charlie do next? How awesome is Damon Lindelof? Testify in the comments!

And this just in: The latest Lost promo with some new shots:

Source: E!Online

Reiko Aylesworth shouldn’t have any trouble keeping her trap shut when it comes to the big mystery surrounding her new Lost character, the smart and charismatic Amy. But it’s not the gag order imposed on her by Team Darlton that’s preventing her from telling all. It’s the fact that…well, she can barely straighten out the plot twists herself.

“I know the show, but I have to say, I didn’t quite understand everything [the writers] were telling me,” confesses the actress, best known for her role as 24’s late CTU director, Michelle Dessler. “But it sounds like it’s going to be great stuff. I’m just excited to do something other than getting people files and carrying clipboards [like on 24].”

One theory making the rounds is that Amy, who’ll be introduced during the show’s fifth season (debuting Wednesday, Jan. 21), will be revealed to be someone from the early days of the Dharma Initiative. (FYI: For those playing along at home, the answer to last week’s Ask Ausiello asterisk quiz is she’s “with Dharma.) That would seem to confirm buzz that Ben (Michael Emerson) transported the island and all of its inhabitants back to the ’70s in last May’s finale.

At least Aylesworth can say with near certainty that Amy’s love life will be complicated. “There’s definitely some conflict with the suitors,” she teases. Wait a second — suitors, as in plural? How literal will the show’s depiction of the ’70s be? “Obviously, we want that to be a surprise,” says executive producer Carlton Cuse. ” Let’s just say her role will be emotional.”

Okay, time to put on your thinking caps, Lost fans. If Aylesworth’s Amy is with Dharma, and my sources confirm that she is, what purpose do you think she’ll serve on the island? What do you think the “surprise” is concerning all the men in her life? And are you as excited as I am to see Aylesworth back on the tube? Comment away!

Source: EW

report of Darlton, Eddy and Adam’s interviews by a lost fan
I am from Vancouver, Canada, but I flew down to Los Angeles for the 2008 Screenwriting Expo. More specifically, I was there to see the writers of Lost and I sat front row, centre. Eric Goldman from IGN, who I shared a few words with in the audience, has done a pretty good job hitting most of the major points from the first ninety-minute panel with Damon Lindelof and Carlton Cuse at http://tv.ign.com/articles/930/930680p1.html, but for some reason, he did not stay for the second panel with Edward “Eddy” Kitsis and Adam Horowitz, so I can give you a rundown of what happened there, in addition to some things that the show runners said that is not at IGN.
Some notes:
* There were not a ton of people at these specific panels (300 maybe? definitely not 4000 like at Comic-Con) and the audience was less fanboy-ish than Comic-Con. The moderator even specifically said not to ask spoiler questions because they are a waste of a question. The only question that seemed to be from Comic-Con was the one from the teenage girl (she was the only other teenager than me in the room, I think) who was disappointed that Rousseau was killed not because of a promised flashback but because it killed her longtime fantasy of Locke-Rousseau love. Well, I guess there was one person more Comic-Con: the guy who won the life jacket signed by all the writers showed up to say that he could not read any of the signatures while holding the jacket up. Ha ha. Also, Damon and Carlton and Adam and Eddy were very funny. Later, I saw Tim Kring (Jesse Alexander and Jeph Loeb were originally scheduled to appear as well, but I think we know why they did not show up.)Things that Goldman missed:
* One of the first questions that the moderator (Jeff Goldsmith, editor-in-chief of Creative Screenwriting magazine, which runs the Expo) asked was what were Damon and Carlton’s worst jobs that they have had in the television industry. Carlton told a humorous story in which he used to be a writers’ assistant. His boss was horrible and at one point, broke his mint green toilet seat so he decided that it was Carlton’s job to go across the city and find a new one, which Carlton did. (The moderator wondered how Carlton’s boss could have accidentally smashed a toilet seat in the first place. Damon’s worst job was when he was the official employee to pick up the business magazines (Variety, Hollywood Reporter) and take them to the executives. But sometimes it would rain and the magazines would be damp, leading Damon to put them up on a clothesline before delivering them to his employer. Damon also said that he had an antagonistic relationship with the delivery guy.
* It was while writing the pilot that J.J. told Damon that he was not going to be a show runner because he wanted to do movies. One day, Damon walked into the editing room to find Tom Cruise screening the pilot.
* Damon was shocked by the ratings and said “Now we have to tell them what the monster is!” That got a lot of laughs from the crowd.
* Goldman mentioned this, but I must repeat it. Damon said a couple times that the pilot cost “11 and a half million dollars”. Various websites have speculated between 10 and 14 and now we know that it was ~11.5.
* Damon and Carlton used to be different forms of studio executives and this helped them because they read so many scripts. They said that they were surprised by how many unemployed writers were unprepared for interviews (Damon would ask what the story was about and the guy trying to get hired would not really know).
* Damon learned that you need to think that whatever show you are working on is the BEST show ever, even though he said that there are probably better shows on television out there. The moderator corrected him.
* In the pilot when they introduced the polar bear, they knew that a group of people had brought it to the island for experiments, but they did not decide who these people specifically were until shortly after Carlton joined Lost for “Solitary” when he and Damon had a discussion about all the big mysteries that did not have answers yet. For example, Damon already knew what the monster and the island were, but they talked about question such as, what if the group of people is called the Dharma Initiative? What if the characters get off the island before the end because the audience would totally not expect that? What if the series becomes about the characters getting back together on the island at the end of the show? What is the final episode of the show? What is in the Hatch that is soon to be introduced?
* Did road map and Harry Potter analogies.
* They acknowledged that they stalled in the third season because they did not have an ending, pointed specifically to “Claire strapping a message to a frigging bird’s foot!” That also got laughs.
* They have written the first ten episodes of season 5.
* They never planned on Tom being the leader of the Others, when asked.
* They talked about how they kind of disguised/introduced the science fiction show as a character show and said that there is no subjectivity in the Heroes pilot, for example, it could not be debated that Nathan was flaying and that Claire went into a train.
* Four scenes from the first four seasons were not shot in Hawaii. (Based on past interviews, we know that the Widmore scenes in “The Shape of Things to Come” and “There’s No Place Like Home” and the hospital scenes in “Through the Looking Glass”, but what is the fourth?)
* Carlton used to travel between Oahu and California more often than now in the first and second season
* He (and sometimes, but less often, Damon) now talks on the phone to Oahu ten times a day for a combined ninety minutes
* Carlton and Damon’s day begins with them talking about what needs to be accomplished that day and how it should be accomplished (do both of them need to be there for editing or can one of them oversee what happens in the writers’ room?) over a ninety or forty-five minute (sorry, I did not write that part down) breakfast (in Damon’s office, I believe)
* Jack Bender, Jean Higgins and Stephen Williams are the three people who run the show in Hawaii
* There are three stories per episode: main island story, flashback and “C-story” (”ping-pong”, says Damon to more laughter)
* Newest script by Brian K. Vaughan and Paul Zbyszewski starts filming on Friday (based on what they said earlier, this would be 510, but that doesn’t seem right with postings on the DarkUFO website, so maybe 510 is not fully edited)
* Sawyer is a surrogate for the audience–if the audience asks a question then it is bad, but if Sawyer points out how ridiculous someting is, the audience accepts it
* Scenes in episodes get moved around, i.e. flashback is placed at different spots, but “The Constant” is pretty much the only episode that is exactly the same from script to final cut
* Normal episodes take two weeks to break/outline, but “The Constant” took five and would have taken longer but Adam Horowitz stepped in and said “stop”
* Sawyer is the Han Solo of Lost, so they named him (James Ford) after the actor who played Han Solo (Harrison Ford)
* “A Tale of Two Cities” originally began with a Talking Heads song but it did not fit the mood at all so they changed it in post-production
* Sometimes, Gregg Nations will come up to Damon and Carlton and say that there is a continuity error with flashbacks where a newspaper date will be inconsistent with the story and instead of trying to fix it through effects for the DVD, Damon just says “Fuck you”.
* And finally, the story of the scrapped Sawyer flashback and the Tampa job. Originally, a flashback story was written and shot for Sawyer in “Adrift”, in which Sawyer goes to Florida and falls in love with Jolene Blalock’s character, who he is conning, but it was apparently was absolutely horrible so they got rid of it.
* In “The Cost of Living”, the writers thought that it would be cool if the Others had a weird funeral service and the scene was much longer, but it was just so bad so they edited it down to its bare essentials
* When asked if they get writers’ block, they said not really, because most of the season is mapped out in a three week minicamp between the seasons. There is also a smaller minicamp halfway through the season to re-examine how the plot is progressing. Now that they have set an end date, they really do not get writers’ block because they know what needs to happen.
* We are never going to meet the DeGroots, but we are most likely going to see them.
* After making sure to sign everything that people wanted to get signed (I got a couple scripts and a poster signed), Damon and Carlton escaped out the back door with security guards to be escorted back to building 23
Second ninety-minute panel with Kitsis and Horowitz: “Anatomy of an Episode”
* The moderator asked some trivia questions, e.g. what is the name of Ben’s childhood sweetheart? what did Widmore bid on? and gave out prizes, such as a Dharma hat (which is what I was hoping to win, but was not chosen to answer), the season 3 DVD or the 2009 calendar (I picked up the 2008 yearbook magazine).
* The episode for them to analyze was voted on the the Expo website. “Greatest Hits”, which I voted for, won. Th other choices were “Dave”, “Tricia Tanaka is Dead”, “Exposé” and “Ji Yeon”. They ended up briefly going through these as well.
* Between the panel, they showed “Greatest Hits” on a gigantic screen
* The moderator also asked them what their worst jobs were and it seems that both Adam and Eddy worked their way up the television ladder like Damon and Carlton. Adam once had to bail a network executive’s son out of jail–the sixteen-year old had been driving without a license. Adam was not sure how it was his responsibility or why it should be his money, but he followed orders. One of Eddy’s employers made him obtain an obscure movie from Bulgaria just to see if he could (this was revealed once Eddy finally tracked it down and got it). On a more positive note, Eddy said that he used to work for Joel Silver (go look him up on Wikipedia or IMDb. A bit of trivia that I happen to know: He also invented the sport of ultimate Frisbee)
* They really like the casting of Nestor Carbonell (and Michael Emerson, of course)
* Eddy and Adam joined the show while “Numbers” was being written and they were immediately tasked with coming up with the episode’s C-story and they pitched Claire’s birthday to Damon and Carlton and that Locke would make her a crib and wrote that (I am not sure if they mean the outline or if they really did contribute dialogue to David Fury’s script while uncredited)
* Adam went home to his wife and said that he had come up with a Locke and Claire story and instead of being proud of or congratulating him, his wife got mad at him for ruining that Claire is okay because “Raised by Another” had just aired
* They were really surprised by how fans “universally hated” “Fire + Water” (which they pronounced “Fire and Water”). They thought that it was a good story and Dominc Monaghan gave a great performance. Then Adam corrected himself: His mom and his wife liked the episode so it was not “universally hated”
* They had a great time writing “Dave” (which was written because they knew that they were going to do a Hurley in the institution story eventually) and wrote the role of Dave specifically with Evan Handler in mind
* It was decided in the minicamp between seasons 2 and 3 that Charlie would die in “Greatest Hits”, but they decided in the midseason minicamp that Charlie should have one more victory and would die in the finale instead (great decision, I think)
* “Tricia Tanaka is Dead” is Eddy’s favourite episode that they have done. The idea was to do a hopeful episode because there had been a lot of bleak and heavy episodes at that time. They said that it was fun to stick a heavily mythological element, which was merely funny at the time, into what was pretty much the most character-driven episode of the season (”Roger Workman”)
* One time, Adam was discussing “Exposé” with Damon and went to give a thumbs up, when a tendon or something in his thumb suddenly snapped, and Eddy shrieked/yelled and fell over in pain as he was beginning to give his thumbs up. This is now something of a running gag in the writers’ room where Damon will give thumbs up and mock Adam
* Beginning in the first season when the writers would get writers’ block, they would come up with long and elaborate episodes of Exposé (the show about three strippers who solved crime with the Cobra secretly behind the murders), e.g. “I don’t know how we are going to reveal what is in the Hatch, but I do know that what happened that time that two of the strippers from Exposé solved the murder of the…” followed by details
* The chairs in the writers’ room now have Exposé seatbacks
* Damon and Carlton decided to prank Adam and Eddy in the final days before “Exposé” began shooting and Adam was extremely sad by the fake news that Billy Dee Williams had passed that it was not funny when Damon and Carlton realized that they should not have joked about this and told them that they were kidding
* The average Lost script is 57 pages and then they give it to Damon and Carlton for them to leave notes. They said that they and the other writers really try to avoid going past 59 pages because Damon and Carlton like the number 5 (even though it is not one of “the numbers”) and too many scenes will have to be cut. Before writing the script, a 30-page outline is written. Based on what other professional writers said in other panels and seminars at the Expo, I now know that this is ridiculously long. The script for “Exposé” was 65 pages long and they had to cut a lot of material. They wanted the episode to rewarding for the fans who had really been paying attention and tried to redo as many old scenes as they could.
* It was one of the most difficult episodes to do because they had to reconstruct the plane crash site and the editors had to search through archives for unused angles of footage from previous episodes
* They also tried to answer every minor mystery in the episode–their favourite one that got cut featured Paulo finding Shannon’s inhaler and saying “what’s this?” before tossing it aside into the jungle
* Adam thought about what he would need on the island and he is addicted to Nicorette since he quit smoking six years ago so they worked that into the story
* Damon and Carlton came up with the “Ji Yeon” plot device
* “Ji Yeon” happened to be written and outlined really smoothly
* They like how Michael never went back to the island, but had a huge influence on his fellow islanders. Also, Michael’s story was told just how they wanted it and was not affected by the strike
* They said something about the freighter people arriving at the end of season 3 (they have just been referring to Naomi, or they may have been referring to how Michael was originally supposed to return in “Through the Looking Glass”
* The “Born to Run” scene where Charlie and Kate talk and Charlie is really excited and confident that they will be rescued was a side that they wanted to explore
* Usually, Jack, Sawyer and Locke get the heroic moments and with “Greatest Hits”, they wanted to show that Charlie was also a hero and had always been something of one throughout his life
* Group speeches where Jack or somebody is talking to like fifteen people, such as the “we’re gonna blow ‘em all to hell” speech, are the hardest scenes to write
* But they are not as hard to write as the one with Sayid talking about the Looking Glass. That scene was originally several pages longer than it ended up being in the final product because they were so concerned with how the Looking Glass could still be working if it was flooded, which at that point in the episode, is what the audience is led to believe. Jack asked how it could be and then Sayid and the other characters came up with a variety of elaborate explanations for how. They finally fixed it by saying “who cares?” In the actual episode, Jack asks how it can still work and Sayid responds with “How it still works is irrelevant. What we do…” That was another funny story.
* In season 2, either Eddy or Adam (did not write down which) would burn CDs for the writing staff, saying that something like “here is what the Dharma Initiative is listening to this week!” and Shambala (”Tricia Tanaka is Dead” was one of them)
* The executives at ABC are great because they really are fans of the show and basically give suggestions only where something might be confusing to the audience, but the writing staff has an unusually large amount of leeway for network television with science fiction storylines and elements
* This year, Paul Zbyszewski (from Day Break) and Melinda Hsu Taylor (from Women’s Murder Club, Vanished and Medium) are new staff writers; Kyle Pennington (”Cabin Fever”) has worked his way up from post-production and is now a staff writer; it is never explicitly said, but strongly implied that Drew Goddard and Christina M. Kim are also no longer staff writers
* Eddy and Adam spent more time post-panel with fans before leaving before they also were escorted out the back door by security guards (I got them to also sign my poster, but I forgot to print off a script for them–I believe that “Fire + Water” is online.)
source : http://spoilerslost.blogspot.com

Producers Lindelof and Cuse give a new Q&A on the creation of the series.
Lost’s executive producer/showrunners Damon Lindelof and Carlton Cuse spoke today at Creative Screenwriting’s 2008 Screenwriting Expo, for an informative and fun Q&A about their creative process on the fascinating series.
The duo talked about their history together, dating back to when Cuse hired Lindelof as a writer on Nash Bridges. Cuse recounted how he’d specifically asked to see something original Lindelof had written (as opposed to a spec script based on an existing series), and was very impressed by the 17 page sample he was given of a one-act play Lindelof wrote… only to later discover Lindelof had hastily written those pages specifically for Cuse to see.
Nash Bridges star Cheech Marin plays Hurley’s dad on Lost, and Cuse revealed another Nash alum, Patrick Fischler, will be guest starring on an episode in Season 5. Mad Men fans will recognize Fischler for his recent role as Jimmy Barrett.
After working on Kevin Williamson’s Wasteland, Nash Bridges and Tim Kring’s Crossing Jordan, Lindelof recalled a meeting where he was told he’d have, “‘a great chance for you to meet J.J. [Abrams],’ who I’d been stalking for years, since Felicity and Alias.” When Abrams made it clear he had no interest in running Lost on the heels of four years each of Felicity and Alias, and also thanks to his interest in features, Lindelof knew he, “needed someone with experience” to help him, and turned to his old boss Cuse.
Lindelof admitted he was initially intimidated by the “insane creative challenges” of Lost, recalling that while they were waiting to hear if the project would be picked up as a series, he had people at the network telling him, “Yeah, the pilot is great, but there’s no series there. How are you going to do this every week?” Lindelof joked that his reply was, “I have no f**ing idea. Please don’t pick it up!”
Lost
Lost had a very expensive pilot, costing 11.5 million dollars. Cuse and Lindelof recalled that the ABC executive who greenlit it, “knew ABC was going to fire him, so this was sort of his final f**k you to them.”
Discussing the flashbacks on the series, Cuse said it was really exciting in the first year, answering the question, “Who are these guys?”, as the flashbacks could reveal big surprises about the character and their history. However, Cuse said eventually the problem became, “There’s only so many revelatory flashbacks,” and that by the time you get to flashbacks answering, “‘Why does Jack have tattoos’ and ‘Why does Desmond call everyone brother’, it’s a fairly good illustration that these flashbacks were running out of steam”
Cuse and Lindelof expressed their thankfulness they they’ve firmly established an end date for the series, saying the challenge of the flashbacks were one illustration that, “there’s a finite amount of material” in the story of Lost.
However, Cuse noted how helpful the flashbacks were early on, bringing up the example of the episode where Sawyer is trying to kill the boar – by showing flashbacks that helped explain why Sawyer could become so obsessed with something seemingly so random, it could flesh out the character without having him stop to deliver a long monologue, which Cuse said would have consisted of, “Here’s why I need to kill that boar, because it represents X!”
Asked if they know the answers to all the questions they raise on the show right away or sometimes figure it out as they go along, the duo said it was a combination of the two. Lindelof recalled how the entire pilot was put together – including writing, casting and production – in 12 weeks, which didn’t allow much time to come up with any long-term mythology. However, once the series was given a full season order, beyond the initial 12 episode order it received, Cuse said he and Lindelof sat down and discussed, “What the overall mythological underpinnings of the show would be. We quickly landed on the ending, and then constructed this broader road map of other mythological points we’d hit on this story.”
While each season of Lost is mapped out, the duo said you have to, “let the show organically tell us what it’s going to be,” bringing up the character of Ben Linus as an example. Ben was originally only intended for a three episode arc, and Lindelof and Cuse were playing a bit of wait and see as to whether or not he would turn out to be the leader of the Others, based on how things went with the actor playing the part. But once Michael Emerson was cast, “he was so good, we ended up writing eight episodes for that guy,” in Season 2, and then made him a regular. The decision to extend the original Ben storyline, in which he was held captive within the hatch, then had an influence on other storylines – Lindelof said they’d already decided that Michael, forced to help the Others to get Walt back, would kill Ana Lucia and Libby. But by extending Emerson’s time on the show, Michael’s specific task now became to free Ben.
Lindelof said they also knew from the start that Kate had killed someone and that it was probably her father – but, “the question became ‘when do we pull the trigger on [telling that story]?” and that the key was to, “bring it to an emotional point where it’s relevant to what’s happening on the island. ”
However, Lindelof and Cuse said that things had changed considerably now that they know the end of the show, with Lindelof explaining, “Certainly since we got an end date, that sort of fly by the seat of your pants story is gone now. Showing scenes [set] three years from now, you can’t change it.”
Cuse said that while they know the fans love to dissect the mythology, “We probably spend 80% on character, and 20% on mythology,” stressing that he thinks the focus on the characters, is “Why the show crossed over to not being a small genre show.” That being said, he acknowledged, “This year will probably be a little bit more science fictiony.”
Lindelof laughed that, “We sort of suckered people into this show but not presenting it as a science fiction show right out of the gate,” noting that there were elements early on that were, “like a Rorschach test”, saying that when Flight 815’s pilot is killed, someone who didn’t like sci-fi would think, “there has to be a rational explanation.” Even the reveal that Locke could walk on the island was tempered by the fact that they still hadn’t revealed why he was in the chair in the first place, leaving the opportunity that, “it could be psychosomatic.” Lindelof said Raiders of the Lost Ark was a great example of a story that has blatantly science fiction elements, noting, “Nazis melt and ghost fly out of this ark,” but that it waits a long time before presenting these elements, allowing the audience to fall in love with Indiana Jones first. Lindelof said he felt shows like Invasion probably had a harder time finding a wide audience because, “They said ‘Alien!’, right out of the gate.’”
Lindelof said that when it came to slowly building into more science fiction, “Lost has really been about the long con, because by the time we get to season 6, it’s going to be f**king crazy!”
The duo stressed that while they have introduced time travel and flash-forwards into Lost, they’ve firmly decided to never do a paradox story, with Cuse saying, “It’s not like Heroes,” where the future is always something that can be prevented or changed, but in fact on Lost, “There’s nothing you can do to stop it from happening, and the more you try to stop it, the more potential there is for you to be the cause [of that future event].”
Cuse said he felt that if the future is always alterable, the stakes are lower, and they wanted to “set the bar higher. What they saw [in the future] is what actually happens. That is going to inevitably occur.”
As for the end of the series, and whether every question will be answered, Lindelof noted, “Sometimes we’re presenting things that are not really questions for us, but they become questions for the audience, and we don’t have an intention of answering them.” He said that something like what is causing that roar in the jungle they certainly intend to answer, but, “that’s not to say there won’t be some questions left,” depending on the individual viewer and what they become fixated on.
He went on to say, “There’s a fine line between The Sopranos ending and the way we plan on ending our show. There are going to be a lot of mythological wrap ups, but our suspicion is most people really care how the characters end up - who’s going to end up with who? Who lives? Who dies? Those are the questions we’re really interested in answering.” Cuse gave an example he’s given before, The Phantom Menace’s infamous midichlorians, of how you want to be careful of going too far explaining things that probably don’t need to be explained. The duo noted that there are certain questions specific people can get hung up on that aren’t integral to a story – two examples given were “Why are certain people born with the ability to use magic?” in Harry Potter and “Why is the wardrobe a portal to Narnia?” in The Lion, the Witch and the Wardrobe.
Acknowledging the failure of Nikki and Paulo with the audience, Cuse answered a question about the oft-confused Steve and Scott and said that not only would there not be an episode focused on them, but that there is “a very tragic event that happens this season.” Lindelof said the original plan for Nikki and Paulo was to have them be like Rose and Bernard, “and occasionally have these characters melt out of the chorus so they had a voice. We weren’t going to make them part of the grand story arc.” Cuse said that when they decided to write Nikki and Paulo out, they took plans they had for their overall back-story, and “put it into one episode. We would have played that out over a much more elaborate set of flashbacks. Instead we compressed it into one episode.”
Discussing how Mr. Eko became a much shorter-lived character than originally intended, Lindelof noted how it stemmed from actor Adewale Akinnuoye-Agbaje, who did not like living in Hawaii. Lindelof said, ” Our Mr. Eko plans very quickly derailed. Adawele’s unhappiness was almost instantaneous. On his second episode, he was expressing extreme dissatisfaction.” This led to them quickly changing Mr. Eko’s storyline to one that would only last one season. Asked what might have happened with Eko had he been the long term character he was going to be, Lindelof answered, “Originally he was going to be someone who challenged Locke for the spiritual leadership of the castaways.”
Talking about Desmond and Penny and the fact that they reunited at the end of Season 4, Cuse and Lindelof said they liked putting a big dramatic beat like that in well before the end, instead of saving it all for the final episode. Lindelof also said that having played out their separation for so long, “If we’d waited any longer to get them back together, it would have risked people going, ‘Enough already.’” That being said, going forward, “It’s a challenge, because they’re together now.” Evoking other famous TV couples like Ross and Rachel, and on the negative side, David and Maddie, Lindelof said the question becomes, “Do we still have compelling stories to tell with these characters?”
As the panel ended, moderator Jeff Goldsmith jokingly asked the duo their “Favorite scene from the Season 6 finale.” Cuse’s answer was obviously a joke, as he said his favorite scene was, “the set up for the zombie season.” Fans can speculate however on whether Lindelof was joking or giving any sort of real hint, when he said, “It involves a volcano.” Come May 2010, we’ll find out.
source : ign.com