And here’s my part: I will finally stop talking about it. I’m not doing this because I feel entitled or above it — I’m doing it because I accept that I will not change hearts nor minds. I will not convince you they weren’t dead the whole time, nor resent you for believing they were despite my infinite declarations otherwise.
Let this be our pact. And I’ll just have to trust you on this — I don’t have Badger and Skinny Pete pointing lasers at your chests to keep you honest. And the truth is, there’s no way everyone is going to read, let alone agree with this deal.
But I’m going to keep my part. I’m done. I’m out. Just one last thing before I go …
I stand by the Lost finale. It’s the story that we wanted to tell, and we told it. No excuses. No apologies. I look back on it as fondly as I look back on the process of writing the whole show. And while I’ll always care what you think, I can’t be a slave to it anymore. Here’s why:
I did it for me. I liked it. I was good at it. And I was really … I was alive.
Damon Lindelof on how the ‘Breaking Bad’ finale let him say goodbye to ‘Lost’ (Guest Column) | THR
Look Inside the Mystery Box That Inspired Damon Lindelof and Brad Bird’s ‘1952' | /Film
04 08 15 16 23 42. Oh, Damon.
Yeah, he and every other Lost fan playing these.
‘There should be a hatch on this island! They spend the entire season trying to get it open. And there should be these other people on the island,’” Lindelof recalled Abrams saying. “And I’m like, ”We can call them The Others.’ And he’s like, ‘They should hear this noise out there in the jungle.’ And I’m like, ‘What’s the noise?’ And he’s like, ‘I don’t…know. They’re never going to pick this thing up anyway.’
Truth be told, I had initially resisted the idea of going to see “Raiders.” I was much more interested in seeing “Clash of the Titans,” which opened the same day and had a Pegasus in it. Ultimately, however, my dad argued that “Raiders” was the superior pick because it had Han Solo. I narrowed my eyes suspiciously — “But… Han Solo is frozen in carbonite.”
“This movie happened before that.” My dad responded.
“How could it happen before a long time ago in a galaxy far, far away?” I reasoned.
“Because this was longer ago.”
“How much longer?”
My dad leaned down, quite serious, and whispered, “The 1930s.”
Nerdist uploaded a great podcast on Friday which featured TV writers like Damon Lindelof, Erin Levy (Mad Men), Jane Espenson (Battlestar Galactica, Torchwood, Buffy, Caprica) and Drew Z. Greenberg (Buffy, Dexter, The OC) discussing their craft. The chat was moderated by Ben Blacker (Supernatural) and is available to download here. Worth a listen for any aspiring writer out there.
Excuse me LOST fans, I just wanted to point out that this happened today. (Read from the bottom up).
Suspicious that it’s right around Comic Con and seems particularly stage-y. It would be cruel for them to do this and not give us something. Wonder what it could be?
(major h/t to @ZachGoldberg)
I’ve always felt that really good prequels should be original movies. And the sequels to those prequels should not be the movie which already exists because, with all due respect to anyone who makes a prequel, but why would you ruin the greatest twist in the history of cinema, “Luke, I am your father”, by showing me three movies which basically spoil that surprise. You can do movies which take place before Star Wars, but I don’t need to see the story of the Skywalker clan. Show me something else which I can’t guess the possible outcome of. There is no suspense in inevitability. So a true prequel should essentially proceed the events of the original film, but be about something entirely different, feature different characters , have an entirely different theme, although it takes place in that same world. That was my fundamental feeling about what this movie wanted to be.
Disney has signed Lindelof to write and produce an original large scale science fiction feature currently titled 1952. Set initial;y for screen, Deadline reports that it does have ”multiplatform aspirations.” This is the first time Lindelof is developing an original film property of his own volition.
Damon Lindelof: Protector of Artistic Integrity.