Lost Mania

Music video Spoiler

xfilesproject.com — Fri, 21 Nov 2008 08:31:50 +0000

Poster lost season 5

xfilesproject.com — Wed, 19 Nov 2008 11:10:09 +0000

cliccare per ingrandire

La domanda sara banale:

Rose e Bernard??

Patrick Fischler

xfilesproject.com — Wed, 19 Nov 2008 08:14:35 +0000

Finalmente un altro viso da associare ai personaggi reclutati per gli Episodi di questa 5° Stagione di Lost. Per vedere e sapere di chi si tratta ci si legge dopo il continua.

Sarà Patrick Fischler ad interpretare uno dei due ruoli che abbiamo letto nel Casting Call dell’episodio 5.08, sarà Phil o Jerry.
Nel frattempo Patrick è già alle Hawaii per le riprese.
Fischler è già famoso per la sua interpretazione in Mad Men, e per questa ultimamente ha ricevuto riconoscimenti e complimenti persino sul New York Times Magazine.
Sappiamo che Fischler voleva fortissimamente entrare nel cast di Lost, poiché l’anno scorso già aveva partecipato al casting per interpretare il ruolo di Daniel Faraday, quello che poi sappiamo è stato aggiudicato da Jeremy Davies.
fonte: Darkufo

Reyko Aylesworth

xfilesproject.com — Tue, 18 Nov 2008 07:53:41 +0000

Oggi pubblichiamo delle rivelazioni da parte di un nuovo personaggio che vedremo nella quinta di Lost, per saperne di più vi aspettiamo dopo il continua!

Reyko Aylesworth, che interpreterà Amy si dice entusiasta di poter recitare in Lost, probabilmente sarà un personaggio dei primi giorni della Dharma Initiative. Quello che Reyko ci dice con certezza è che la vita amorosa di Amy sarà molto complicata, e avrà una sorta di conflitto con i suoi pretendenti. Ci faranno vedere com’era la vita dei figli dei fiori Dharma?? Carltone Cuse, ci consiglia di aspettare e vedere la sorpresa che ci hanno riservato!
(fonte Darkufo)

Amy confirmed as member of Dharma

xfilesproject.com — Mon, 17 Nov 2008 07:54:11 +0000

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

xfilesproject.com — Sun, 16 Nov 2008 18:21:08 +0000

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.

xfilesproject.com — Sun, 16 Nov 2008 18:19:56 +0000

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

from season 3

xfilesproject.com — Sun, 16 Nov 2008 17:42:19 +0000

(Start)


--Tom: Did Juliet really ask you to kill him?
--Jack: Yeah.
--Tom: You do understand the only reason you're still alive right now is because we need you to do this operation. So if you let Ben die, you die too.
--Jack: I'm willing to take my chances.

(End)

Lost shoot on Alakea St.

xfilesproject.com — Sat, 15 Nov 2008 17:10:45 +0000

“LOST” Shoot on Alakea St. from hawaii on Vimeo.

New Lost mystery: Who’s that girl?

xfilesproject.com — Sat, 15 Nov 2008 08:07:13 +0000

I wonder how many Amy = Annie posts we’ll get this time

New Lost mystery: Who’s that girl?
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 the show’s iron-fisted producers 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 follow everything [they] 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. 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 is very emotional.”

Source: EW