According to reports, Jin wont be leaving the island any tme soon. But don’t worry, this isn’t a spoiler! Daniel Dae Kim, the actor who plays Jin on the epic island adventure, has be lined up to play a lead role in the CBS remake of Hawaii Five-O – which will be filmed on the main island of Hawaii.

EW say that Kim will play:

[a] state police officer Chin Ho Kelly alongside an yet-to-be-cast Detective Steve McGarrett.

The final season of LOST begins tonight on ABC! What better way to approach the season 6 premiere than with the classic Cuatro promo narrated by Terry O’ Quinn. (I still prefer the original, sounds more enigmatic - but hey, give me John Locke and LOST any day!).

TVGuide have produced a series of “Getting Lost” videos in preparation for the return of our favorite island adventure this coming Tuesday. Check out the first part below, on whether John “Orange Smile” Locke is a Good Guy..or a Bad Guy:

Season 6 of LOST begins Tuesday, Feb 2nd on ABC

The final season of LOST is less than a month away -- here’s the official Italian promo (above). Head past the jump to see the official UK, German, Australian and Finnish LOST promos and trailers, and a new Hurley/Mr. Clucks teaser!

UK LOST Season 6 Promo

German LOST Season 6 Promos

Australian LOST Season 6 Teaser

Finnish LOST Season 6 Promo

Hurley Mr. Clucks Teaser

[videos:l vassa/lostpediablog]

ABC have put together another one of their excellent (and snarky) LOST in 8 minutes 15 seconds catch-up videos . This time it’s for seasons 1 through to 5. You can find the original seasons 1 to 3 video here.

You may have seen the magazine scan versions around the Internet but above are the official “LOST Supper” promotional photos for the final season of ABC’s LOST.

[click photos to enlarge]

TV Guide talk to Team Darlton about the final season of LOST:

TVGuide.com: With the final season of Lost approaching, what are you feeling?
Carlton Cuse: I think we’re doing something new in this final season narratively, so we have that combination of fear and giddiness. The fear is, oh, what if people don’t like it, what if the audience doesn’t like what we’re doing? The giddiness is, like, we always feel like we have to be bold with our show and if it works, and if people like it as much as we do, we feel like the final season will be a success. When there’s a draw though, we stand by our decisions. We’re not playing it safe in the final season.
Damon Lindelof: I think at this point, the nervousness is more based on how we’re so deep into this season, that by the time the audience sees it, we’re committed to our path. It’s been like that ever since we started premiering in January and February. It’s like it’s too late to turn back now. We’re feeling very confident about executing what our plan was, and that’s all you can ever do.

TVGuide.com: What do you say to fans with such high expectations for your last season?

Cuse: I think it’s like anything in life. I think that you have to have realistic expectations. We’re going to do our best version of the show, but there’s still going to be some mystery and magic and intentionally ambiguous things that emerge at the end of the show. We’re going to answer questions, but at the same time, we’re going to tell the story the way we want to tell it. We feel like, all we can do is make the version of the show that makes Damon and I happy. If we do that, hopefully enough people will like it.

Lindelof: Ditto.

Continue reading..

Photo credit: damoncarltonandapolarbear.com

As a massive admirer of Bad Robot and their creative works, it was great to come across this fantastic interview from GQ’s Alex Pappademas, who talks to some of the Bad Robot elders.

JJ. Abrams, Damon Lindelof, Carlton Cuse, Alex Kurtzman, Roberto Orci and Bryan Burk talk openly about LOST, Fringe, Alias, Felicity and the creative challenges that come with creating serialized television, and making it accessible in an era where networks tend to lean towards stand-alone stories.

It’s a fantastic interview with lots of good stuff. Continue past the jump, where I’ve posted an excerpt and links to the full interview.

GQ: JJ, is there anything in particular that you learned from the Lost experience that you brought to Fringe?

Roberto Orci [writer/executive producer, Alias; co-creator/executive producer, Fringe; executive producer/co-writer, Star Trek]: We needed Damon and Carlton.

JJ Abrams [co-creator/executive producer/director, Lost, Fringe and Alias; director/co-writer/executive producer, Star Trek]: And they weren’t available. No—my involvement with Lost really ended within the first season. And so a lot of what I learned from Lost was what people watching the show learned, which is what great characters and story looked like. I think the work that Damon and Carlton do on that show is obviously a high-water mark for TV, and the ambition. In terms of this show, it’s a very different show. Every show’s a different show. It’s easy, in retrospect, to make comparisons, but when you’re in the thick of it, when you’re working on something, even if it’s the same people, it’s suddenly a whole new nightmare challenge. And you scramble the best you can to do your best work, and it’s especially difficult when you’re doing a mythology show that’s also aspiring to be a standalone show. Lost was very lucky early on to get really good ratings. So the network was okay with mythology, and the show’s never apologized for it. Fringe, up front, said, “Hey, it’s a standalone show, and every week you’re going to get your own little separate mystery.” But the fans who come back to watch the show– and tonight, fingers crossed, that happens again– are the people who typically like the mythology. So there’s a weird dynamic that goes on that I still haven’t learned, from Alias to Lost to Fringe, how to necessarily solve.

GQ: How to please those two audiences simultaneously, you mean.

Abrams: Yeah. This group dealt with that with Star Trek. How do we do something that’s wholly original, while also doing something that’s wholly reverent of what’s come before? And how do you do a show that’s a week to week closed story and still tell a larger overarching story? It’s hard to please both sides of that all the time. It can be done in some instances, and other times, y’know, we fail miserably. But that’s definitely one of the challenges that we face, doing the show.

GQ: Was that always your intention, that Fringe would be more of a one-and-done show that didn’t depend as much on people following the mythology over a season-long arc, the way Lost does?

Orci: We always thought it would be both. That we’d have a little clue in each episode, but then every few episodes, you can have a highly mythological serialized episode. But in general, we always try to have that right balance.

Kurtzman: Which is a challenge, because I think our collective instincts veer toward serialization.

Orci: From watching Lost, I learned characters. That characters are key. The smallest character moment can be a gigantic revelation, as a viewer.

Damon Lindelof [co-creator/executive producer, Lost]: From the outside looking in, though, as a fan, and someone who had nothing at all to do with the development of Fringe, I felt the pilot clearly signified both shows. And the show that was more interesting to me as a viewer was the mythology, because of Nina Sharp and the mysterious and elusive William Bell. There’s a moment in the pilot where Walter looks into Peter’s eye, and I’m like, “What was that all about?” The problem with mystery of the week shows is, at the end of the episodes it’s just like that [brushes his hands off] and that’s not compelling television to me.

Bryan Burk [co-producer, Alias; executive producer, Lost/Fringe/Star Trek]: [On Fringe] I found us, referencing Alias more often than Lost, in the sense that that was a serialized show, and then in the middle of the series we started dabbling with making them self-contained.

Abrams: Well, ABC insisted on it.

Burk: Yeah. And it was hard to go there. Particularly when it’s such a serialized show. So from the beginning, the idea was, is it possible, how can we do it—how do we service two different audiences, those who just pop in for the individual episodes and doing what we all love, which is the mythology.

Kurtzman [to Carlton Cuse]: You and Damon have both worked on shows that were standalone, procedural shows. Do you feel that that can be as satisfying, storytellingwise?

Carlton Cuse [creator, Nash Bridges; executive producer, Lost]: I think they’re apples and oranges. A lot of people like the satisfaction that comes with seeing that case resolved every week. There’s a certain artificiality to it, but there’s also kind of a wish-fulfillment quality—a dead body falls at the beginning, and by the end of the episode you know who did it. The puzzle’s solved. I think those shows—I did Nash Bridges for six years, and that show had a little bit of ongoing sort of character mythology, but it was just a case every week. And there’s a certain satisfaction in doing that. And obviously the audience can just drop in whenever they want to that kind of a show.

Lindelof: There’s a difference between serialization and mythology, though. Like Grey’s Anatomy is heavily serialized, in terms of the character relationships—who’s sleeping with who, who’s angry at who, who’s just been fired. And you have to watch every episode to understand the depth of it.

You can find the entire interview here (part 1 – 4 pages).

Part 2 can be found here. (3 pages).

Photo Credit: Chris Buck

Thanks to FringeWatch for the heads-up.

In an excellent interview with TV Guide, LOST producers Damon Lindelof and Carlton Cuse talk about the final season of the show, its evolution, and the inspirations which have led them to the brink of completing the island journey.

TVGuide.com: Tell me about how each of you got involved with Lost.
Damon Lindelof: I got a call from an executive at ABC named Heather Kadin. It was late January. She was tasked with trying to coerce J.J. Abrams into rewriting a script that they had about a plane that had crashed on an island. J.J. said that he did not have time to do this because he was writing another pilot for ABC at the time and running Alias and trying to launch his feature career.

[Since I was a] stalker of J.J. and his work, Heather basically felt like this was a prime opportunity to put me in a room with him, even if the project went nowhere. I jumped at the chance. I met with J.J. on a Monday afternoon and we ended up geeking out for four hours, and five days later we had the outline for Lost. Ten weeks after that, we had the two-hour premiere completed.

Carlton Cuse: I created and ran a show called Nash Bridges and I hired Damon to be a writer on that show. We not only had a really good professional relationship, but we developed a really strong [friendship]. After the pilot process that Damon described, J.J. left to go do [Mission: Impossible 3] with Tom Cruise. Damon and I had been talking about the show and I had sort of fallen in love with what J.J. and Damon had done in the pilot and the world that had been created.

There were very few people who believed this premise was sustainable as a series, and that was incredibly liberating for me. Damon and I would sit down and have breakfast every morning — as we continue to do to this day — and we kind of approached it like it was just 12 episodes and out, how do we make these the 12 greatest episodes of television that we would want to see ourselves? We basically liberated ourselves from all the rules of traditional television narrative. We thought this thing would probably end up on DVD and would be like Twin Peaks or The Prisoner.

Read more of our conversations with the most influential people in TV

TVGuide.com: Did you ever think about syndication when you were creating the show, in that it’s so mythology-heavy?
Lindelof: I think at the time that Lost and Desperate Housewives and Grey’s Anatomy came along, serialized was a dirty word. But those shows basically proved that you could create a water-cooler zeitgeist around a show because it was serialized. To [ABC president] Steve McPherson’s credit, I think that there was a lot more focus on being successful while you were on the air, as opposed to thinking forward to what the possible syndication deals would be.

Fortunately for us at this time, the DVD television market was exploding. That provided a revenue stream for them that made up for the fact that the show probably wouldn’t [syndicate] well. But if you watch the first season of Lost, the heavy mythological elements were not really in play. There was character serialization, the romance, that kind of stuff, but in Season 1 it took them eight episodes to build a raft; in Season 5, they jump through time four times in a single episode. I don’t think we could’ve gotten away with that in Season 1, nor did we want to.

Continue reading here.

[video: campetin]

Here is a neat Lost Season 6 promo from Spanish broadcaster, Cuatro. It’s nicely done and they definitely captured some of the thematic symbolism.