18 ordspråk av Carlton Cuse

Carlton Cuse

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The job of being a television show-runner has evolved and there's all these new aspects to it. It's good because there are additional avenues open for content. We have ways of expressing ideas we have for the show that wouldn't fit into the television series. But it's hard to manage our time. And we honestly put most of our time and attention on the show itself - that still is the bread and butter of our existence.

The show is the mother ship, but I think with all the new emerging technology, what we've discovered is that the world of Lost is not basically circumscribed by the actual show itself.

That is very much going to be at the forefront of all the new labor negotiations, particularly with the Writers Guild, because writers are at the center of television series production and all of these new ideas are ultimately writer-based. Right now, our involvement in this is about being involved in the cutting edge of these emerging technologies and learning how it works.

'Twin Peaks' looms large to me as cautionary tale,

[* What the castaways discover under the hatch next season will change our perception of the island, and the show.] I think we've made a bold choice in terms of how to answer that question, ... Some people will not like it, but I think a lot of people will like it, but no one will accuse us of copping out and taking the easy solution, or making a choice that is just confounding, like going into the hatch and finding another hatch.

We know what the ending is seriously. This is a show that demands an ending. We want to find out what is the fate of these people. Do they get off the island? What is the nature of the island? I mean there are some big fundamental questions that you want answered at the end of this show.

By coming to an agreement, the quality and integrity of the stories we tell in this new medium will be consistent with that of the network show.

We purposely design the show with a big amount of ambiguity so people can theorize about what a certain scene means. This allows the fans to participate in the process of discovery.

The genre aspects of the show are cool, and we have fun doing it. But I am much more engaged by the people on the show, and I think that is fundamentally what we try to do.

While this episode is more on the mythological aspect, it's not reflective of a change in direction. Next week is a Hurley episode which is fairly comedic.

Damon and I came up with the idea that this character would die last spring,

We're viewers with control.

I think we very much want to put those things into the show that lead to discussion and analysis and that's what makes the show engaging. It's not a show in which everything is spoon-fed to you, which is the problem with a lot of American television. There is room for ambiguity in this story.

The mistake they made was hanging everything on the question of who killed Laura Palmer. In our show there is not one overriding question comparable to that. There are a series of mysteries: what is the nature of the island, what is the monster, what is the hatch, who are the mysterious 'other people'? Making sure that some of those mysteries are answerable over time is the way to prevent that frustration.

I think we've made a bold choice in terms of how to answer that question. Some people will not like it, but I think a lot of people will like it, but no one will accuse us of copping out and taking the easy solution, or making a choice that is just confounding, like going into the hatch and finding another hatch.

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