jeudi 30 avril 2009
mercredi 29 avril 2009
Yunjin's interview with spoilers for finale season5
Favorite episode?
"I think it would have to be from season one. It's the episode where you see Locke and you see him sitting, and slowly the camera pulls back, and you see that he's in a wheelchair. It's so surprising. Even though I knew it was coming, when I saw the episode and how beautifully it was done, I was so impressed."
What you like most about your character?
"I'm grateful she has so many layers and that's she's developed so much. I mean, to go from being the kind of woman who had to button up her sweaters to meet her husband's approval to being the woman who plots revenge is incredible. For Sun to be able to pretend to forgive Kate, lie to her and deceive her like that means she has come a long way from where she started."
What was the most shocking twist in the storyline?
"There's a huge twist in the season finale. It's the best one to me, and I can't talk about it. When I read it, I couldn't stop thinking about it. It's part of that secret scene. I think it tops everything that's happened before this point. I would love to talk about it, but I can't."
source : variety.com yunjin kim interview
Evi and Terry Interviews (no SPOILERS)
Favorite episode?
"I loved the episode in season one where Boone dies and baby Aaron was born. That episode summed up everything from the tragedy of death to the miracle of birth. It showed people at their most vulnerable, living with no luxuries, with none of the things we all take for granted. It just got down to the essentials."
What you like most about your character?
"I think you never know what you're going to get from Kate. She's a really mixed bag of tricks. She's flawed and makes mistakes but is also amazingly strong. I think that's really special because we see all these female characters who are surreally inhuman. They're these warriors who never break down. In a lot of ways she represents the everyman. She tries her best, but she screws up all the time. Damon (Lindelof) and Carlton (Cuse) have been generous enough to develop a real arc for her. I'm lucky she's continually changing right to the end of every episode. ... I love that Kate represents the reality of the everywoman doing her best and just trying not to screw up."
What was the most shocking twist in the storyline?
"I'm very surprised that Kate ended up with Aaron. If you could trade jobs with any actor on the show, I've always said I would like to play Claire because I'd like to be a mom. I always wanted to wear the pregnant suits. After saying that for four years, my wish was granted. That surprised and absolutely thrilled me. It was great, because Kate was almost completely self-involved, tough and focused, and then she has to let everything go to be a mom and make herself totally vulnerable."
source : variety.com evi interview
**********
Favorite episode?
"I don't think I have one favorite, but the two that I like for my character are 'Walkabout' and 'The Life and Death of Jeremy Bentham' because they sort of (summarize) his whole trip.
What you like most about your character?
"There are a lot of things happening with this character, and the writers give me a lot of room to do things. I like that they allow a wide range of ways of playing this character. There's a lot of potential for interpretation in how to play this character. I don't feel I'll be typecast when the show ends, because you see this character in so many ways."
What was the most shocking twist in the storyline?
"There was nothing that was a complete surprise, because there were murmurs down the pipeline about what was coming. When I read the episode 'Walkabout' and I hadn't known my character was in a wheelchair before that point, you sort of knew what to expect from that. It changed my thinking a lot about how to approach the character. I didn't expect to know things. I realized I was quite happy with that. I didn't have to deal with adjusting my performance to the character's future or past. I only had to deal with the now. I quite like that."
source : variety.com terry o'quinn interview
Happy 100th episode !
tonight it will be the 100th episode of LOST! be ready for this amazing episode and here articles for this episode :)
Lush jungle. Sun-baked beaches. Cool ocean breezes. Working on "Lost" sure is paradise.
Except that's Hawaii, where "Lost" has been filmed for five seasons now. Where the writers toil away? Well, that's actually Burbank. What we lovingly refer to as the Oahu of the San Fernando Valley.
That being said, the writers room of "Lost" is paradise in its own way. Though none of us are particularly tan, we've had the good fortune to enjoy the most amazing collaboration that any of us have experienced in our careers.
Since joining "Lost" during its first season, we've worked on breaking many an episode and during that time stumbled on a few simple truths, or secrets, about writing "Lost" that, in honor of its 100th episode, we thought we'd share. No, they have nothing to do with the monster, Jacob or the numbers -- they're much more mundane than all that.
The first thing to understand about "Lost" is that it's not a job. It's a lifestyle. For the eight to 10 months we spend writing and producing the show each season, we all eat, breathe and sleep "Lost" -- and sometimes takeout from CPK. But mostly "Lost."
The next thing you need to know is the answer to the question we most often get asked: "Is there really a plan?"
Yes. We really have a plan.
However, there's quite a distance to travel from "having a plan" to executing it. There's still the small issue of actually divvying up that plan into the 17 or so episodes we write each season. That's where the work comes in, which leads to the next thing we've discovered about writing the show. Every episode, for better or worse, must go through a process we've dubbed the "Four Day Break."
Day 1 -- Wouldn't it be cool if ...
Day 1 is the day we start batting around the ideas. We know where we are in the uber-plot, and we know where we have to start and finish. Now we need the idea that gets us from A to B, and Day 1 is where the greatest idea ever happens. And that's when one of us will spit out something like: "Wouldn't it be cool if ... Miles and Hurley took a road trip in a Dharma bus. Two guys who can communicate with dead people. Come on, that'd be cool. Right?"
Excitement sweeps through the room. The blank dry erase boards no longer look so daunting. We've done it. We know what the episode is going be and all pat ourselves on the back and head home. A job well done. Which leads us to...
Day 2 -- um, there's a problem
Everyone comes in early, excited to knock this sucker out, only to discover that after a night's sleep, maybe this great idea doesn't exactly write itself, that maybe it's got a few... issues. The conversation usually goes something like this.
Someone: "So we've got two guys in the bus heading to see Chang."
Someone else: "What are they doing?"
Someone else: "Going to see Chang. This is where we learn he's Miles' father."
Someone else: "But isn't the story over then? In act two?"
Now our greatest idea ever suddenly looks challenging.
After a few hours of wrestling with the difficulty of our premise, we all decide to sleep on it again. Which leads us to...
Day 3 -- the breakthrough
We all come back in, maybe a little later than the day before, and all with the same conclusion.
The problem is unfixable.
Time to scrap it. Can't be done. We need something else. Do we have any backup ideas? Island talent show sounds pretty good right about now. Yeah. We're doomed. All appears lost. That is until the sun is setting and someone, thankfully, quietly pipes in with ... the breakthrough. In the case of episode 513 ("Some Like It Hoth"), it went something like this:
Someone: "What if, after they find Chang at the Orchid station, he has to come in the bus with Hurley and Miles?"
Quiet. Time to absorb that. At first it seems just a small thought, but in actuality it has huge repercussions. And this change sweeps through the room, creating a new wave of excitement.
Yeah, if we did that then Miles is forced to interact with the one man with whom he has no interest in spending time. Conflict! Drama! A character going on a journey of discovery. Learning something about his past that will affect his future. And, lo and behold, hope returns to Burbank.
Riding the wave of euphoria, everyone heads home nervous. Is this a real breakthrough? Possibly. Which brings us to ...
Day 4 -- the break begins
Everyone sits around the table. Lots of nervous energy. Do we have something or not? As the discussion begins, suddenly ideas for scenes start popping up. Natural places for our uber-mythology to slot in appear. Connective tissue between episodes presents itself. All the ingredients seem to be there.
And that's when we know we might have a ways to go but we know we have an episode.
Which is not to say we're done. No, in actuality we're just beginning, but the four-day gestational process for the idea is complete, and now we can get our hands dirty figuring out the nuts and bolts of the story.
It's exciting and thrilling to be a part of it all coming together. Slowly but surely over the next few days to weeks, scenes and structure start to sort themselves out. All in the support of the core idea that was hatched during this four-day process. Everyone breathes a sigh of relief.
Up until the end of the break that is, because that's when, once again, we stare at the blank board that taunts us.
Yep. It's time for episode 514. Despair slowly fills the room once again. How can we possibly do this again? We're spent. That's all we've got. Every last bit of talent we have was expended making that last episode. We can't possibly keep going.
Someone: "Wait. Wouldn't it be cool if ..."
And the room goes quiet.
Suddenly we're re-energized. We all realize it at the same time. It's Day 1 again and, just maybe, we can do another one of these.
One-hundred episodes later we're still doing it. Doesn't seem possible. But Variety told us it's true, so it must be. Now if you're really interested in Jacob or the smoke monster, just watch the show.
Edward Kitsis and Adam Horowitz are exec producers of "Lost."
source : www.variety.com
********************
Lost" was never intended for the faint of heart.
Just ask those responsible for the ambitious ABC drama's existence. Remembering how, in early 2004, the creative team had a mere 10 weeks to write, cast and shoot the entire pilot, co-creator J.J. Abrams is still amazed the show about plane crash survivors on a South Pacific island ever took flight.
"We were just desperate to get the pilot made," recalls the exec producer, who also directed the influential first episode. "Looking forward meant the next day of shooting, not 100 episodes down the line."
Flash forward five years as "Lost" reaches that milestone. An instant hit for ABC and an Emmy and Golden Globe winner, "Lost" now ranks among the most respected -- not to mention dissected -- dramas in TV history, thanks to its artful balance of complex mythology and nuanced character development. Then, of course, there are those patented whiplash-inducing plot twists.
"There's generally one point within each meeting where I'm like, 'You want to do what?'" says Stephen McPherson, president of ABC Entertainment Group, of his state-of-the-union sit-downs with co-creator/exec producer Damon Lindelof and exec producer Carlton Cuse,, who've steered the show together since the early days of season one. "The fact that they're not afraid to take those risks is what makes 'Lost' so innovative and exciting."
"Lost's" boldest development didn't play out on camera, however; it unfolded behind the scenes three years ago when the network announced that the series would wrap after six seasons in spring 2010. The move was almost unheard of in network television. Typically, networks milk a hit series until the ratings run dry, and at the time producers were in discussions with McPherson and then-ABC Studios president Mark Pedowitz, and "Lost" was perched comfortably in Nielsen's top 15 and dominated its timeslot in key demos.
What producers were asking for, as Cuse puts it, was the "demise" of "Lost," something they felt was the only way to preserve their show's creative integrity and placate fans who worried that they were spinning their wheels with the increasingly labyrinthine mythology.
"Over the first three seasons, the audience was literally asking us, 'Do you know what you're doing? Is there a plan?'" Lindelof says.
"We needed to express to the audience where the bookmark was in the novel," adds Cuse. The book metaphor is apt: Part of the producers' inspiration to ask for an end date came from J.K. Rowling, who announced early in her Harry Potter series that the saga would end after the seventh book.
"By announcing the end date," Cuse says, "we signaled yes, we have a game plan, so you can rest assured that your investment in the show is going to pay off."
McPherson and Pedowitz agreed. "There was a real sense with this show that there was a beginning, middle and end," McPherson says. "The concern, which we heard loud and clear, was if the middle is infinite, then you're going to be diminishing its creative legacy."
Adds exec producer Bryan Burk: "We feel a huge responsibility to the people who have stuck with the show all these years, and our job is to do the best we can. We take that very seriously. ... On a financial level, I'm sure some people would prefer to keep the show going forever, but on a creative level, you don't want to stay past your welcome."
The move could prove to be a precedent-setting one.
"There are certainly shows that lend themselves to setting end dates," says McPherson, though routine procedurals need not apply. "Shows where you've just got the case of the week don't really need to have a timetable."
The impact of the decision on "Lost" was undeniable and immediate. Weeks after securing the end date, Lindelof and Cuse -- who, at the same time, signed new contracts keeping them at the helm of the show until it goes off the air -- unveiled their now trademark flash-forward device in the third-season finale to show crash survivors Jack and Kate were living off the island. The series has moved at a brisk clip ever since, rallying the fanbase and liberating its writers.
"The end date literally made all the difference," Cuse says. "It meant we could step on the accelerator pedal."
"When we announced the end date, people would say to Carlton and I, 'Wow, three more seasons? That feels like a lot,'" says Lindelof with a laugh. "Now, in season five, people have started saying, 'Do you think you have enough episodes left to do everything you need to?'"
They do and, they insist, they will. With season five winding down, the two are already starting to map out the intricacies of the sixth, which Lindelof calls "emotional." "Suddenly, we're doing things that we first started talking about years ago," he says. "We're like, 'Oh my God, this is it. We're really ending it.'"
Not that they regret their decision.
"There's never been any sense whatsoever of 'maybe we made a horrible mistake,'" Lindelof insists. "It's exactly the opposite. There's this real feeling of closure and a sense of excitement. It's been quite a journey."
source:www.variety.com
Lush jungle. Sun-baked beaches. Cool ocean breezes. Working on "Lost" sure is paradise.
Except that's Hawaii, where "Lost" has been filmed for five seasons now. Where the writers toil away? Well, that's actually Burbank. What we lovingly refer to as the Oahu of the San Fernando Valley.
That being said, the writers room of "Lost" is paradise in its own way. Though none of us are particularly tan, we've had the good fortune to enjoy the most amazing collaboration that any of us have experienced in our careers.
Since joining "Lost" during its first season, we've worked on breaking many an episode and during that time stumbled on a few simple truths, or secrets, about writing "Lost" that, in honor of its 100th episode, we thought we'd share. No, they have nothing to do with the monster, Jacob or the numbers -- they're much more mundane than all that.
The first thing to understand about "Lost" is that it's not a job. It's a lifestyle. For the eight to 10 months we spend writing and producing the show each season, we all eat, breathe and sleep "Lost" -- and sometimes takeout from CPK. But mostly "Lost."
The next thing you need to know is the answer to the question we most often get asked: "Is there really a plan?"
Yes. We really have a plan.
However, there's quite a distance to travel from "having a plan" to executing it. There's still the small issue of actually divvying up that plan into the 17 or so episodes we write each season. That's where the work comes in, which leads to the next thing we've discovered about writing the show. Every episode, for better or worse, must go through a process we've dubbed the "Four Day Break."
Day 1 -- Wouldn't it be cool if ...
Day 1 is the day we start batting around the ideas. We know where we are in the uber-plot, and we know where we have to start and finish. Now we need the idea that gets us from A to B, and Day 1 is where the greatest idea ever happens. And that's when one of us will spit out something like: "Wouldn't it be cool if ... Miles and Hurley took a road trip in a Dharma bus. Two guys who can communicate with dead people. Come on, that'd be cool. Right?"
Excitement sweeps through the room. The blank dry erase boards no longer look so daunting. We've done it. We know what the episode is going be and all pat ourselves on the back and head home. A job well done. Which leads us to...
Day 2 -- um, there's a problem
Everyone comes in early, excited to knock this sucker out, only to discover that after a night's sleep, maybe this great idea doesn't exactly write itself, that maybe it's got a few... issues. The conversation usually goes something like this.
Someone: "So we've got two guys in the bus heading to see Chang."
Someone else: "What are they doing?"
Someone else: "Going to see Chang. This is where we learn he's Miles' father."
Someone else: "But isn't the story over then? In act two?"
Now our greatest idea ever suddenly looks challenging.
After a few hours of wrestling with the difficulty of our premise, we all decide to sleep on it again. Which leads us to...
Day 3 -- the breakthrough
We all come back in, maybe a little later than the day before, and all with the same conclusion.
The problem is unfixable.
Time to scrap it. Can't be done. We need something else. Do we have any backup ideas? Island talent show sounds pretty good right about now. Yeah. We're doomed. All appears lost. That is until the sun is setting and someone, thankfully, quietly pipes in with ... the breakthrough. In the case of episode 513 ("Some Like It Hoth"), it went something like this:
Someone: "What if, after they find Chang at the Orchid station, he has to come in the bus with Hurley and Miles?"
Quiet. Time to absorb that. At first it seems just a small thought, but in actuality it has huge repercussions. And this change sweeps through the room, creating a new wave of excitement.
Yeah, if we did that then Miles is forced to interact with the one man with whom he has no interest in spending time. Conflict! Drama! A character going on a journey of discovery. Learning something about his past that will affect his future. And, lo and behold, hope returns to Burbank.
Riding the wave of euphoria, everyone heads home nervous. Is this a real breakthrough? Possibly. Which brings us to ...
Day 4 -- the break begins
Everyone sits around the table. Lots of nervous energy. Do we have something or not? As the discussion begins, suddenly ideas for scenes start popping up. Natural places for our uber-mythology to slot in appear. Connective tissue between episodes presents itself. All the ingredients seem to be there.
And that's when we know we might have a ways to go but we know we have an episode.
Which is not to say we're done. No, in actuality we're just beginning, but the four-day gestational process for the idea is complete, and now we can get our hands dirty figuring out the nuts and bolts of the story.
It's exciting and thrilling to be a part of it all coming together. Slowly but surely over the next few days to weeks, scenes and structure start to sort themselves out. All in the support of the core idea that was hatched during this four-day process. Everyone breathes a sigh of relief.
Up until the end of the break that is, because that's when, once again, we stare at the blank board that taunts us.
Yep. It's time for episode 514. Despair slowly fills the room once again. How can we possibly do this again? We're spent. That's all we've got. Every last bit of talent we have was expended making that last episode. We can't possibly keep going.
Someone: "Wait. Wouldn't it be cool if ..."
And the room goes quiet.
Suddenly we're re-energized. We all realize it at the same time. It's Day 1 again and, just maybe, we can do another one of these.
One-hundred episodes later we're still doing it. Doesn't seem possible. But Variety told us it's true, so it must be. Now if you're really interested in Jacob or the smoke monster, just watch the show.
Edward Kitsis and Adam Horowitz are exec producers of "Lost."
source : www.variety.com
********************
Lost" was never intended for the faint of heart.
Just ask those responsible for the ambitious ABC drama's existence. Remembering how, in early 2004, the creative team had a mere 10 weeks to write, cast and shoot the entire pilot, co-creator J.J. Abrams is still amazed the show about plane crash survivors on a South Pacific island ever took flight.
"We were just desperate to get the pilot made," recalls the exec producer, who also directed the influential first episode. "Looking forward meant the next day of shooting, not 100 episodes down the line."
Flash forward five years as "Lost" reaches that milestone. An instant hit for ABC and an Emmy and Golden Globe winner, "Lost" now ranks among the most respected -- not to mention dissected -- dramas in TV history, thanks to its artful balance of complex mythology and nuanced character development. Then, of course, there are those patented whiplash-inducing plot twists.
"There's generally one point within each meeting where I'm like, 'You want to do what?'" says Stephen McPherson, president of ABC Entertainment Group, of his state-of-the-union sit-downs with co-creator/exec producer Damon Lindelof and exec producer Carlton Cuse,, who've steered the show together since the early days of season one. "The fact that they're not afraid to take those risks is what makes 'Lost' so innovative and exciting."
"Lost's" boldest development didn't play out on camera, however; it unfolded behind the scenes three years ago when the network announced that the series would wrap after six seasons in spring 2010. The move was almost unheard of in network television. Typically, networks milk a hit series until the ratings run dry, and at the time producers were in discussions with McPherson and then-ABC Studios president Mark Pedowitz, and "Lost" was perched comfortably in Nielsen's top 15 and dominated its timeslot in key demos.
What producers were asking for, as Cuse puts it, was the "demise" of "Lost," something they felt was the only way to preserve their show's creative integrity and placate fans who worried that they were spinning their wheels with the increasingly labyrinthine mythology.
"Over the first three seasons, the audience was literally asking us, 'Do you know what you're doing? Is there a plan?'" Lindelof says.
"We needed to express to the audience where the bookmark was in the novel," adds Cuse. The book metaphor is apt: Part of the producers' inspiration to ask for an end date came from J.K. Rowling, who announced early in her Harry Potter series that the saga would end after the seventh book.
"By announcing the end date," Cuse says, "we signaled yes, we have a game plan, so you can rest assured that your investment in the show is going to pay off."
McPherson and Pedowitz agreed. "There was a real sense with this show that there was a beginning, middle and end," McPherson says. "The concern, which we heard loud and clear, was if the middle is infinite, then you're going to be diminishing its creative legacy."
Adds exec producer Bryan Burk: "We feel a huge responsibility to the people who have stuck with the show all these years, and our job is to do the best we can. We take that very seriously. ... On a financial level, I'm sure some people would prefer to keep the show going forever, but on a creative level, you don't want to stay past your welcome."
The move could prove to be a precedent-setting one.
"There are certainly shows that lend themselves to setting end dates," says McPherson, though routine procedurals need not apply. "Shows where you've just got the case of the week don't really need to have a timetable."
The impact of the decision on "Lost" was undeniable and immediate. Weeks after securing the end date, Lindelof and Cuse -- who, at the same time, signed new contracts keeping them at the helm of the show until it goes off the air -- unveiled their now trademark flash-forward device in the third-season finale to show crash survivors Jack and Kate were living off the island. The series has moved at a brisk clip ever since, rallying the fanbase and liberating its writers.
"The end date literally made all the difference," Cuse says. "It meant we could step on the accelerator pedal."
"When we announced the end date, people would say to Carlton and I, 'Wow, three more seasons? That feels like a lot,'" says Lindelof with a laugh. "Now, in season five, people have started saying, 'Do you think you have enough episodes left to do everything you need to?'"
They do and, they insist, they will. With season five winding down, the two are already starting to map out the intricacies of the sixth, which Lindelof calls "emotional." "Suddenly, we're doing things that we first started talking about years ago," he says. "We're like, 'Oh my God, this is it. We're really ending it.'"
Not that they regret their decision.
"There's never been any sense whatsoever of 'maybe we made a horrible mistake,'" Lindelof insists. "It's exactly the opposite. There's this real feeling of closure and a sense of excitement. It's been quite a journey."
source:www.variety.com
lost tonight episode
Lost
9 pm/ET ABC
Now that we know about Miles — he talks to dead people, his dad is Dr. Pierre Chang, etc. — we can move on to the other surviving member of the Widmore island expedition (other than pilot Frank Lapidus): Daniel Faraday, who was just alighting from the sub in 1977 as the last episode ended. It appears that the time-defying physicist has arrived just in time for Dharma's hostilities with the hostiles to heat up. In fact, don't be surprised if his presence has something to do with triggering them. —
source : tvguide.com
9 pm/ET ABC
Now that we know about Miles — he talks to dead people, his dad is Dr. Pierre Chang, etc. — we can move on to the other surviving member of the Widmore island expedition (other than pilot Frank Lapidus): Daniel Faraday, who was just alighting from the sub in 1977 as the last episode ended. It appears that the time-defying physicist has arrived just in time for Dharma's hostilities with the hostiles to heat up. In fact, don't be surprised if his presence has something to do with triggering them. —
source : tvguide.com
Sawyer is large and in charge as 'Lost' hits 100
Back in season one of ABC's Wednesday castaway drama ``Lost,'' James Sawyer, played by Josh Holloway with a stubbly dimple and a wink, was a charming Southern rogue, an avaricious con man with a store of goodies up for barter, a quick wit and an inexplicable fondness for U.K. writer Richard Adams' heroic fantasy ``Watership Down.''
He was also a constant irritant to the show's most apparently noble character, Dr. Jack Shepard (Matthew Fox), the self-appointed leader of present-day plane-crash survivors stranded on a very freaky island. Sawyer both cramped Jack's style and moved in on his girl, castaway Kate (Evangeline Lilly).
To one degree or another, that has been Sawyer's story.
But as ``Lost'' approaches its 100th episode on April 29 -- marked on the sets in Hawaii with a party and an island-shaped confection from Baltimore's Charm City Cakes -- Sawyer's fortunes have changed.
Like Hazel, a small rabbit in Adams' novel who only wanted to survive and wound up a king by his own hand, er, paw, Sawyer in season five has become a leader of men (yeah, it's under the less-than-heroic alias of Jim LaFleur, but even so ...).
And no one is more surprised by that than Holloway.
``I was a bit reluctant when hearing it,'' he says. ``I knew they would figure out a way to make it cool, but I never thought of Sawyer in that kind of a position, or James or whatever his damn name is these days.
``I didn't want him to become this softy who lost his edge and all that sort of thing. That won't be near as fun. But it has been fun. It's the evolution of a character, and I'm really honored that they've actually made him so interesting and complex instead of just a simple redneck.''
Also, during Sawyer's current sojourn way back to the 1970s as part of the enigmatic Dharma Initiative on the mysterious island, he has set aside his feelings for Kate and taken up with a fellow time-travel refugee, physician Juliet (Elizabeth Mitchell), another of Jack's ex-squeezes.
As to why Sawyer seems to pick up all of Jack's throwaways, Holloway says, ``Hey, man, I ain't so picky. There's not that many women on the island. Come on, women or boars -- what would you pick?
``He's always been kind of wham-bam, crazy-sex guy, and to explore an actual relationship where it's not that, it's actually a mature, loving relationship, is something that's totally new to him.''
Among those crafting this new direction is producer Elizabeth Sarnoff (``Deadwood,'' ``Crossing Jordan''), who says, ``Sawyer's great because he's come so far. This season, we're getting to do something unexpected with him. He's emerging as a leader.
``He's a good leader, unlike every other leader we've had. He's awesome. The relationship with Juliet is something that we weren't 100 percent sure how the audience was going to take it.''
Of course, what has made all this possible is a season's worth of mind-bending time travel, with castaways like Sawyer and Dharma apostates like Juliet flipping back and forth in time as the island undergoes spatial and temporal displacement that nearly defies the laws of science.
But in the 100th episode, ``The Variable,'' physicist and fellow island time traveler Daniel Faraday, played by Jeremy Davies, might finally spill all that he knows -- and it wouldn't come a moment too soon for the writing team.
``Time travel has given us migraines all year,'' Sarnoff says. ``No one is more delighted to see it end than us. But it's given us an opportunity to tell all these great island stories that we could not have told, that would have had to be handled with exposition or in ways that were not as interesting as actually seeing the Dharma Initiative in action.''
As for what Sawyer's up to in ``The Variable,'' Holloway says, ``I do remember what I was doing. Um, ah, I was frustrated -- I can tell you that much. Things are heating up and unraveling.
``That episode, I'm definitely running around a little frustrated, but it was good. I can't really tell you anything else.''
Sarnoff says, ``It's special for this season in the sense that it is going to encapsulate everything we've been saying all along, having to deal with time travel in general. It's going to be a great launch place for the end of the season.''
That episode, ``The Incident,'' is currently set to air May 13. It sets the stage for season six, which culminates in the planned series finale in May 2010.
``The end of the season is huge,'' Sarnoff says. ``It's the beginning of the end. We do this minicamp every year where we talk about the new season, dig deep. I find myself amazed every day, because I'm on a show that's planning its ending.
``That's a very rare experience.''
source : readingeagle.com
mardi 28 avril 2009
kristin spoilers
Anna in Cardiff, England: Please, any hints for this week's episode of Lost? Can I expect something between Sawyer and Kate?
All we can say is that after you see the finale, you'll understand why season five of Lost has not handed you Sawyer and Kate on a plate.
Eliot and Sandra: Are there any spoilers for the two-part season ender for Lost? We just can't wait! Thanks.
Sayid's wife Nadia is back in the finale. Yes, technically she's his tragically murdered wife, but still: whee! We'll also be meeting young Kate, young Tom ( Kate's friend from Iowa), young Juliet, young Rachel (Juliet's sister) and young Sawyer, and several of those sightings happen because a pivotal figure in the Island mythology wants to check in on our heroes in their youth, à la Richard Alpert's test visit ("Which of these are yours?") to John Locke.
source : kristin eonline
All we can say is that after you see the finale, you'll understand why season five of Lost has not handed you Sawyer and Kate on a plate.
Eliot and Sandra: Are there any spoilers for the two-part season ender for Lost? We just can't wait! Thanks.
Sayid's wife Nadia is back in the finale. Yes, technically she's his tragically murdered wife, but still: whee! We'll also be meeting young Kate, young Tom ( Kate's friend from Iowa), young Juliet, young Rachel (Juliet's sister) and young Sawyer, and several of those sightings happen because a pivotal figure in the Island mythology wants to check in on our heroes in their youth, à la Richard Alpert's test visit ("Which of these are yours?") to John Locke.
source : kristin eonline
lundi 27 avril 2009
dimanche 26 avril 2009
Lost à paris fews words
i just went home so i'm tired to make update i'll just say you saw my polar bear well
i yelled to evi and she leaned to me and she said it's for me and she took it for her and darlton !!!!!!!
see those pictures :D
i could say, evi spoke in french, she was cute, funny and emerson was just HIM lol it was very very great and i do apologize for fans who couldn't get evi's signature 'cause of my plush in her arm
samedi 25 avril 2009
Lyly in Paris!
Hi everybody! Here are the first pics of some Lost fans and herself that Lyly sent me from Paris this morning. She also told me they knew which hotel the "Lost" crew were staying at, that they were going to wait ouside the building and that she'll send other pictures if they manage to see the crew before tonight!
vendredi 24 avril 2009
Tomorrow follow the event Lost in Paris on live !
I'll not be here but one of my friend will be and she'll update soon i sent her pictures and news :)
be stunned for tomorrow night :)
jeudi 23 avril 2009
mercredi 22 avril 2009
Who will die on lost ?
it was also confirmed by my friend andy
Yes, Faraday is the son of Widmore & Eloise. Faraday arrives back to the island by sub. He tries to get Chang to evacuate the island by telling him the truth about the island and Miles. He ventures into the Other's camp to talk to his mother who shoots and kills him prior to talking to him.
Eloise is not portrayed as a villain because she doesn't know (at the time she kills Faraday) he's her son. She learns of his plans through Jack and Kate, and tries to see them through with the help of Richard.
source : Stilllost5losttv forum
Danny boy :'( i'll miss you so muchhhhhhhhh :'(
a chat with damon and Carlton
It’s been a long, strange ride over the course of five seasons, but if you’ve followed “Lost” all along from the very beginning of the series, then Season 5 has almost certainly felt like a pay-off for all of the waiting you’ve endured. Indeed, the staff of Bullz-Eye has voted “Lost” into the top spot on our bi-annual TV Power Rankings for the first time in the history of the show. It would seem that this accomplishment pleased executive producers Carlton Cuse and Damon Lindelof, given that they cheerily agreed to chat with us about the show. It will probably come as no surprise to you that they weren’t willing to unabashedly offer up spoilers about what viewers can expect to see in the weeks ahead, but they did provide us with a few teases here and there, along with clarification on how the show settled into a groove after declaring its end date and their picks for their personal favorite episodes of Season 5.
Carlton Cuse: Hey, Will!
Damon Lindelof: Hey, Will!
Bullz-Eye: Hey, guys, how’s it going?
DL: Pretty good!
BE: Excellent. Well, first off, let me get you guys to identify your voices for me, so it won’t be such a bitch to transcribe later.
CC: Sure. This is Carlton, and I have the slightly deeper voice.
DL: And Damon has the slightly more nasal voice.
BE: Awesome. Then I’m set. Well, I don’t know if you were told why we wanted to talk to you, but “Lost” has jumped into the #1 slot on Bullz-Eye’s TV Power Rankings.
Carlton Cuse: "Negotiating the end date (of ‘Lost’) was really a critical thing for us, because we had a mythology, but we just didn’t know if that mythology had to last two years or nine years, and as a result, we were sort of paralyzed. We were stalling, and I think the audience very much felt like we were stalling."
DL: That’s very exciting!
CC: We’re flattered.
DL: Yes. That’s awesome.
BE: It’s the first time the show has ever held the top spot, I believe. It’s hovered in the top 10, but it’s never been #1 before.
CC: Who did we knock out of the top perch?
BE: “Mad Men.”
DL: Oh, wow! As a huge fan of “Mad Men,” there’s no greater honor than to at least temporarily take the spot away.
BE: So how much of a release was it for you guys once you locked down a definitive end date for the series? Or did you have enough of a vision for your end game that it wasn’t as big a deal as it might’ve seemed?
CC: No, basically, negotiating the end date was really a critical thing for us, because we had a mythology, but we just didn’t know if that mythology had to last two years or nine years, and as a result, we were sort of paralyzed. This was all around the beginning of Season 3, and we had our characters locked in these cages, and I think it was because Damon and I…we were figuratively locked in cages. Well, okay, we were literally locked in cages, too. But because we just didn’t know how much time we had to make the mythology last for, so we were stalling, and I think the audience very much felt like we were stalling. And the end date kinda helped un-jam the log jam with the network, in terms of everyone recognizing that it was probably the best thing for the show for us to work out and announce when the show would be finished.
BE: With this season, you’ve really been hitting it out of the park, so I’d say the un-jamming was very much a success.
DL: Indeed.
BE: So did you find that the writer’s strike gave you a chance to, if not actually sit back and truly write, at least consider ideas for the next season?
DL: No, to be completely honest with you, during the strike, we didn’t talk about the show at all. We took the sort of mandate of the strike very seriously, in that you can’t even talk about story without violating the guild agreement. What it did provide us with was a break between the first eight episodes of Season 4 and what ended up being the last six, so we actually got an opportunity to kind of see what everyone thought about those episodes before we came back and started writing the final six. Otherwise, it would’ve been a lot more like it was in Season 5, this past year, where the bulk of the writing was done before the show even premiered. It’s always nice to rest your brain when you’re working on a show like “Lost,” but it’s not like the hundred days that we were on strike allowed us to plot out major story points.
BE: How hard is it to keep secrets under wraps on a show like “Lost,” where everyone is constantly trying to figure stuff out?
CC: Well, I think there’s a small segment of the audience that wants spoilers and wants to know what’s happening. Y’know, there are 425 people on the show, and we shoot the show in Hawaii, and basically every beach in Hawaii is free and open to the public, so it’s possible for people who want to spoil the show to get in there and take long-lens pictures of us shooting the show and find things out. We do try very hard to keep everything under wraps. All of our scripts are watermarked, and we try to keep the show as secretive as possible, but we realize that it’s almost an impossibility. But we really hope that most fans want the experience of “Lost” to be a surprise, and that’s one of the things that’s one of the most…I mean, almost more than anything else, that’s what we’ve tried to do as storytellers: to make the show surprising and unexpected. If you go and get those things spoiled for you, you’re just not going to enjoy watching the show as much.
Lost
BE: I was very happy to see Hurley address the time-travel headaches of this season.
DL: You’re not the only one.
BE: But, of course, it’s also been a good excuse to bring back a few more guest stars from previous seasons.
DL: What, the time travel?
BE: Yeah.
DL: True. But the fact of the matter is that the show has always been a little bit of a time-travel show, in that for three seasons it was flashbacks, and then last season it was flash-forwards. So the idea that you were hopping around time in a non-linear storytelling fashion allows you to bring back characters who are dead and, in some cases, buried. But now that the show is not just doing time travel in terms of the way the story is told but time travel is the story itself, it opens up even more doors. So when an actor reads that they’re getting killed off on the show, they’re basically, like, “Okay, but…should I still bother to show up next week?”
BE: So was the time travel aspect something that you’d had in mind from the very beginning, or was it something that came up on the fly?
Damon Lindelof: "Hopping around time in a non-linear storytelling fashion allows you to bring back characters who are dead and, in some cases, buried. Now that time travel is the story itself, it opens up even more doors. So when an actor reads that they’re getting killed off on the show, they’re basically, like, ‘Okay, but should I still bother to show up next week?"
CC: No, I mean, I think that, if you actually look back at the show, there are some big hints about time travel. Obviously, we started with the flash before your eyes. We saw Desmond, sort of as a result of getting zapped when the hatch imploded, had an ability to sorta kinda see future events and then ultimately started consciously traveling. And we had Sayid listening to a radio broadcast, and as he’s spinning around, we’re hearing ‘40s radio music, we saw a glimpse of the statue with four toes. We sort of felt like we’d laid the pipe so that it wouldn’t be unexpected when we made time travel more overt. So it was something that we’d known about from very early on, but it just couldn’t be deployed until we got within striking distance of the end of the show.
BE: Even with all of the people who’ve popped up during the course of the season, has there been anyone who you’d wanted to bring back but hadn’t been able to manage because of scheduling conflicts?
DL: You know, not so much anymore. Certainly, back when we were doing 23 or 24 episodes a season and we ran from September to May, that sort of a scheduling conflict would be a huge issue for us. But now, because we’re able to shoot over a wider range of time before the show actually has to be on the air, we have a lot more latitude with actors’ availabilities. Fionnula Flanagan, for example, who plays Eloise Hawking, is a regular on the Showtime show “Brotherhood,” and she was not available for us when we needed her at the end of Episode 2, and she was barely available for what ended up being Episode 6, the one entitled “316,” but we shot those scenes at a later date and slotted them in appropriately because it was so important to the story to have Eloise Hawking be that character. So we’ve been lucky so far in that there has not been any story that we wanted to do that got hamstrung by actor availability.
BE: Okay, I’ve got a series of reader questions now, so brace yourselves.
CC: Uh-oh.
BE: Is it possible that the so-called “Losties” could be stuck in some sort of time-loop where they keep time-traveling and never age?
LostDL: Huh.
CC: I mean, one of the things that we really try to do very studiously is avoid confirming or debunking theories. That’s sort of the great social aspect of “Lost,” that you get to sort of sit around and say, “What’s this thing?” You make your own interpretations. For us, it’s a huge part of the show, and we leave things intentionally ambiguous so that those kinds of conversations can arise and take place. So I’ll just say that it’s a very interesting theory, and we will neither confirm nor deny its accuracy.
BE: Are we ever going to discover what Richard’s relationship to the island is?
DL: Richard Alpert? Absolutely.
CC: Aren’t they divorced, but they still have feelings for each other?
DL: Yes, that’s exactly right. They’re divorced, but he has visitation rights on alternating weekends and also two weeks during the summer.
BE: Awesome. And I’m sure that’s exactly the answer they were looking for.
DL: Yeah. (Laughs sarcastically) But, yes, we will learn a lot more about Richard and why it is that he is wrinkle-free.
BE: Whose idea was it to slide in the line about “your friend with the eyeliner”?
CC: You know, I think it was just one of those things where…y’know, one of the things that we’ve learned as writers is that, if people are making certain observations, then it’s better to address them. And people were asking, “Is that guy wearing eyeliner?” And the answer is “no, it’s just a particular reflection,” but since we had about five people ask us that, we thought it would be funny to throw it into the script.
BE: I was at the TCA panel when someone called ya’ll out on that.
DL: Yeah, some woman asked that question, and we were, like, “Well, thank God we had Sawyer mention it!” That episode had already been shot a few episodes prior to the asking of the question, and it was very tempting to say, “Oh, just keep your eyes peeled, we’re going to deal with it in the show,” but then it would’ve spoiled the surprise.
BE: In Episode 509, “Namaste,” there’s a woman seen standing behind Sun. Was it a production error?
DL: (Long pause) We don’t know what you’re talking about.
BE: Fair enough. And at the risk of asking a question you’ll choose not to answer, why didn’t Sun travel back in time with the rest of the Oceanic Six?
CC: The show will answer that question at some point.
BE: At least two people belligerently demanded to know the whereabouts of Rose and Bernard.
DL: That is an excellent question, and in addition to “where is Vincent,” it’s probably the question that we get asked most about the show. And, “Where’s Faraday, and why aren’t any of the other characters asking about his whereabouts?”
BE: That was next on my list.
DL: I figured. (Laughs) Suffice it to say that the whereabouts of all of these characters will be addressed very specifically in the coming weeks.
BE: So prior to, or at least during, the season finale?
DL: Yes. Within Season 5, the whereabouts of all of those characters will either be discussed or determined.
Carlton Cuse: "One of the things that we really try to do very studiously is avoid confirming or debunking theories. That’s sort of the great social aspect of “Lost,” that you get to sort of sit around and say, ‘What’s this thing?’ You make your own interpretations. For us, it’s a huge part of the show.”
BE: Will we ever find out why Libby was in the mental institution and if she knew Hurley pre-island?
CC: No, we feel like we resolved Libby’s fate, and for the fans that are still obsessing about Libby, maybe at some point someone will write sort of a “Star Wars”-like novel about the story of Libby, but we don’t consider that to be a major story thread for us.
BE: This may be along the same lines, but…will we ever find out what Boone was trying to tell Shannon before he died?
DL: Oh, you mean what were his dying words going to be had he made it another five seconds? I don’t think we’ll ever find out, because Boone is dead and so is Shannon, so if ever something was moot in the history of the show, it would be that.
BE: Will Walt play a role in the future?
CC: Uh…I think that we will not comment on that because, y’know, to say anything would be to say too much.
BE: Are we ever going to see more of the front of the giant statue?
DL: Why, you didn’t like his back?
BE: Sorry, we need more.
DL: What about his side? Or what about an overhead view? Let’s negotiate here.
CC: The problem is wardrobe, really. When it comes to statues, a lot of them are naked, it takes a lot of cloth to cover them, and Standards and Practices are trying to find a garment that’s appropriate to cover the statue before we can show it.
Lost
BE: So it’s kind of a Doctor Manhattan thing, then.
DL: That’s exactly right. Except that “Watchmen” was rated R, and we’re on ABC. So, you know, you will not be seeing the statue’s fifth toe, if you know what we mean.
CC: (Bursts out laughing)
BE: Will we be seeing more of the statue before the end of the season?
DL: (Hesitates) Before the end of the series, right, Carlton?
CC: Uh…we will see it before the end of the series.
BE: One of the other writers wanted me to compliment you on your use of the rarely-utilized “romantic square,” with Jack, Sawyer, Kate, and Juliet.
DL: We actually refer to it as the quadrangle. That’s a lot more fancy than the square, but I guess a four-sided shape is a four-sided shape.
CC: No, because the thing about the quadrangle is that sometimes the lengths are closer than others, and that’s actually a more appropriate metaphor, because sometimes two sides can be much closer than the other two sides, whereas in a square, the sides are always at the same distance.
DL: Wow, I’ve never heard such geometric precision applied to intercharacter relationships.
CC: That’s pretty much my entire knowledge of math in, like, two sentences.
DL: If only that were true.
BE: There’s much talk on the ‘net about a death which will “rock the fans the way Charlie’s demise did.”
DL: That certainly wasn’t a quote by either of us.
BE: No, I believe it was from someone quoting someone else, who was probably unnamed to begin with.
Damon Lindelof: "We don’t really like to talk about characters deaths because all of the focus goes to, ‘Who’s going to live and who’s going to die?’ But I’m willing to venture that the online community doesn’t know as much as they think they know about the way that we’re ending this season"
DL: All we’ll say is that we don’t really like to talk about characters deaths because all of the focus goes to, “Who’s going to live and who’s going to die?” But I’m willing to venture that the online community doesn’t know as much as they think they know about the way that we’re ending this season. Carlton and I have been particularly devious in conjunction with some of the actors, in terms of misleading certain fates. So my guess is that, even by the end of the finale, people will be questioning the veracity of these online postulations. I would not feel comfortable saying anything a death rivaling the impact of Charlie’s.
BE: So does the talk of Mark Pelligrino reportedly playing Jacob fall into the same category?
CC: Y’know, obviously, Mark Pelligrino has been cast on the show, but to start making assumptions about what he’s going to be doing on the show…I think people are getting ahead of themselves. All we can say is that he’s an awesome actor and we’re very excited about him being on the show. But we think people will be surprised at how his character and story unfolds.
DL: I heard that Sir anthony Hopkins was going to be playing Jacob. That’s the rumor I heard.
BE: I’ll see if I can’t keep that going.
DL: Okay. Good luck with that. (Laughs)
BE: All right, this one is a little complicated, but it has the potential to be revealing. If you had to pick one book for “Lost” fans to read to understand what’s going on, should it be “Slaughterhouse 5,” “A Wrinkle in Time,” “A Separate Reality,” the “Narnia” chronicles, or “Valis”? And I have to admit that I’m not familiar with the last one.
DL: It’s a Philip K. Dick book. Um…I think my own personal poll would align with Carlton, which would be the “Narnia” books. A, it’s a series of books that sometimes tracks the same characters but sometimes abandons those characters to track entirely different characters, and B) it’s a more epic story that builds toward an equally epic conclusion. There will be many parallels, we feel, between that universe and the “Lost” universe when all is said and done.
CC: Especially when it comes to fauns.
DL: Oh, what a big spoiler!
BE: Is there any flashback from one of the earlier seasons that didn’t work as well as you’d intended when you originally came up with it?
Aaron PaulCC: Well, we were very excited in the writer’s room and then obviously proceeded with the idea of doing a flashback about how Jack got his tattoos, but that was not an episode that, when we looked at it, was a high water mark of the show. That was the episode where we were more convinced than ever that we must negotiate an end date, so we didn’t have to find out how Jack got his athlete’s foot. That was the point in the series where we were feeling like…it was at the point where we negotiated the end date where we were able to sort of deploy ourselves deeper into the mythological timeline, and that was enormously helpful. The realization was that those flashbacks were finite. The first ones, where you find out that Hurley’s a lottery winner or Kate’s a fugitive or that Locke was in a wheelchair, those were really exciting, but when you get down to the fifth or sixth one, they become exponentially less compelling. So for us, the Season 3 flashbacks…that was sort of the turning point for us, that particular story.
BE: And, lastly, what’s been your favorite episode of the fifth season thus far?
DL: Personally speaking, I think “The Life and Death of Jeremy Bentham” was the one that was the coolest for us to write, and just on a purely acting level, I think Terry (O’Quinn) was incredible. When we first talked about and wrote the scene where, basically, it starts as a man about to hang himself and ends with him getting murdered, it’s one of those scenes where you’re, like, “Wow, is there any way that we’re going to be able to make this work?” And I think it’s a testament to Terry and Jack Bender, who directed the scene, that it doesn’t seem like the most ridiculous thing ever. Obviously, Carlton and I and the writers have known about Locke’s visits to all of these characters since Season 3, because in the Season 3 finale, Jack is showing Kate the obituary and he’s been to the funeral home, so he’s mourning Locke’s death. And Locke’s death is what’s compelling him to shout out, “We have to go back!” So we’d been sitting on this episode for so long that, when it finally came time to tell the story and write it once all of the piece had fallen into place, it was, like, “Whew!” It was like the desk was never clean until we got to do it. It’s a script that I’m personally very proud of, and I really liked the way the episode turned out.
CC: You know, I would say that, when you talk about episodes of the season, we’ve seen an episode that…well, it’s going to be the 14th episode of the season. It’s called “The Variable,” and that’s a pretty damned good episode as well. We’re very excited about it and proud of it. And it also happens to be, coincidentally, the 100th hour of the show. It wasn’t as though we…we didn’t set out to do something particularly special for the 100th hour of the show, but this particular episode came out really well, and we’re very excited for the fans to see it. Obviously, I don’t want to say anything specific about it, other than to look at the title. But it’s one that we think is going to be very well received. I agree with Damon, though. I think that “Bentham” is my favorite. But if I had to pick another one, I would say “The Variable.”
BE: Oh, one last one for you, Damon: since you’re going to be one of the writers, are we going to see Khan in the new “Star Trek II”?
DL: Uh, no comment. But way to sneak that in there.
BE: (Laughs) Figured I’d save it for last. Thanks for talking to us, guys. I really appreciate it, and I know I speak for all of us when I say that we’re psyched to see the rest of the season…and the series…unfold.
CC: Thanks a lot!
DL: Thanks! And please pass along to everyone at the site and all of the fans who frequent it that we are enormously flattered and feel very grateful to hold the top spot, and we will do everything we can to live up to that lofty ideal.
BE: We’re keeping our fingers crossed for you.
DL: (Laughs) Thanks.
source : www.bullz-eye.com
mardi 21 avril 2009
Kristin spoilers
little hint about the death coming....
Delia in Vancouver: Stop abusing the Lost death. It's like you're dancing on the person's grave.
OK, we'll shut up about it then. But for the record, no disrespect was intended. We have adored the Lost actor in question for a long time, and we're superbummed that he/she is getting the hook.
source : kristin eonline
Delia in Vancouver: Stop abusing the Lost death. It's like you're dancing on the person's grave.
OK, we'll shut up about it then. But for the record, no disrespect was intended. We have adored the Lost actor in question for a long time, and we're superbummed that he/she is getting the hook.
source : kristin eonline
lundi 20 avril 2009
news promo pics epi 5x14
some news promo pics for episode 5x14, interesting scene between penny and eloise coming i could say :)
promo pics epi 5x15
only 3... i put the others on the gallery
but my question is WHERE IS MY DANNY BOY ????
Evi and Emerson in Paris !
thanks Franzo and also oceanic11.skyblog.com
Evi and Emerson will come in the Jules Vernes Festival "Lost in Paris" this week end with Damon and Carlton
Personally i suspected Evi to be here since she was in France recently and also she speaks french :)
i can't wait to meet them, take photos !!!!!
what amazing news !!!!!
to meet Benjamin Linus and our dear Freckles ^^
wow !!!!!
bring saturday NOW !!!
samedi 18 avril 2009
Kristin and Ausiello spoilers
sorry i'm in late ^^"
WHAT'S TO COME
We have to wait two weeks for a new episode. Argh! Doubleplusungood.
Howevah, they are going to make it up to us "The Variable," about which we are hearing very good things. Look for Mrs. Hawking explain stuff like her relationship with Charles Widmore and for Daniel to explain some of the mysteries of the Island (please review chapters 4, 8, 15, 16, 23 and 42 in your psychics physics textbook in preparation).
And oh yeah, the major death is bearing down on us. Next week, some people we used to trust implicitly make some (more) very bad decisions and in the end, it's curtains for someone we love. Darn you, Lost! Darn you to heck!
What did you think of
source : kristin at eonline
********
Question: Was the majorish death you were referring to on Lost that of Caesar in Episode 12? -- Ian
Ausiello: Nah. He's not big enough to garner an –ish, IMHO.
source : ew
WHAT'S TO COME
We have to wait two weeks for a new episode. Argh! Doubleplusungood.
Howevah, they are going to make it up to us "The Variable," about which we are hearing very good things. Look for Mrs. Hawking explain stuff like her relationship with Charles Widmore and for Daniel to explain some of the mysteries of the Island (please review chapters 4, 8, 15, 16, 23 and 42 in your psychics physics textbook in preparation).
And oh yeah, the major death is bearing down on us. Next week, some people we used to trust implicitly make some (more) very bad decisions and in the end, it's curtains for someone we love. Darn you, Lost! Darn you to heck!
What did you think of
source : kristin at eonline
********
Question: Was the majorish death you were referring to on Lost that of Caesar in Episode 12? -- Ian
Ausiello: Nah. He's not big enough to garner an –ish, IMHO.
source : ew
jeudi 16 avril 2009
lost anniversary photos !!
wow what a good surprise when i wake up to see all news promop pics ABC shared with us for 100th episode of Lost !
too bad everyone isn't here but glad to see they've had lot of fun :)
enjoy ^^ and more on the gallery :)
too bad everyone isn't here but glad to see they've had lot of fun :)
enjoy ^^ and more on the gallery :)
mercredi 15 avril 2009
lost tonight
Lost
9 pm/ET ABC
As we ponder whether the newly gentle adult Ben will remain that way, his 1977 self is causing trouble just by going missing from the infirmary. Who took him? Hostiles, perhaps. But just who, really, are those Dharma newcomers Kate, Jack and Hurley? Horace and Radzinsky, among others, might be asking, and it's security chief James LaFleur who'll be on the hook for answers. In other developments, Miles is the flashback star, and we can expect to see what Daniel Faraday has been up to lately.
source : tv guide
mardi 14 avril 2009
promo pic epi 5x14
ok so seem there is no promo pics for epi 5x12 and 5x13 (or maybe after the episode) but one word
DANNY BOY IS BACK !! but he's called Joe o_O
anyways enjoy :)more on the gallery as always;)
DANNY BOY IS BACK !! but he's called Joe o_O
anyways enjoy :)more on the gallery as always;)
josh is daddyyyyyyyyyyyyyy !!!!!!
CONGRATULATIONS JOSH AND YESSICA !!
Sawyer is starting his very own diaper initiative.
Josh Holloway and his wife, Yessica Kumala, are the proud parents of a baby girl, their first child together, a rep for the actor confirmed Monday to E! News.
Daughter Java Kumala Holloway was born April 9 in Oahu, where the couple have been living since Holloway became part of the Lost ensemble five years ago.
He and Yessica tied the knot in 2004.
source : eonline
lundi 13 avril 2009
No jorge in paris
hé hé lyly is very smart you know ^^
so for now it's sure jorge we'll not come in paris, he told me it :)
source jorge garcia@the fuse
dimanche 12 avril 2009
Happy Easter
Sawyer says in "conman" It's about bunnies and 'cause of the amazing week (no WeekS) i spent and 'cause i love this line, this day, i share this moment with my favorite couple ^^
happy easter guys
love you :)thanks for coming here and sharing time with me :)
kiss
Lyly
Michelle Rodriguez Fast and Furious 4 promo stills
here some promo stills of michelle in her movie "fast and furious 4"
enjoy :)
enjoy :)
samedi 11 avril 2009
Liveautos event, lyly got her items and share with you :)
guys hello ^^ for now i didn't get my poster but i got my scripts and photos and dvds and what a surprise !!!! darlton signed "the constant" script !! not the pilot !!
I LOVE THEM !
i took pics of me with my items and then i scanned it to give you look of everything, such amazing days for me :D
btw i noticed i got certificat of authenticity number 1,2 and 3 lol
i was the first to get my script signed by the cast :D
btw i noticed another thing and for me it's very important, if you look the date they finished the finale production draft of the pilot it was 19th april 2004, it's the aniversary of the death of my grandma and lost is very important for me, when they did it, it has been 4 years i lose her
that's funny and also fantastic coincidence :)
so enjoy my photos and videos :)
I LOVE THEM !
i took pics of me with my items and then i scanned it to give you look of everything, such amazing days for me :D
btw i noticed i got certificat of authenticity number 1,2 and 3 lol
i was the first to get my script signed by the cast :D
btw i noticed another thing and for me it's very important, if you look the date they finished the finale production draft of the pilot it was 19th april 2004, it's the aniversary of the death of my grandma and lost is very important for me, when they did it, it has been 4 years i lose her
that's funny and also fantastic coincidence :)
so enjoy my photos and videos :)
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