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.
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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.
