
It has been announced on Michael Giacchino website
Release Date: 11th May 2010

Better late than never uh ?
First i was too much amazed by “Sundown” to finish it lol but i said I have to lol so voila my review on “Lighthouse”.
I’m not big fan of Jack, it’s not his storyline it’s most the character but he’s important for the show even thought this episode for me don’t give us more clue than “The Substitute” (sorry Jack’s fans)
I’ll start with the FS
It wasn’t a shock to learn Jack has a kid since i knew it lol (i stopped spoilers around 604-605) but i think it was for the audience. In this other life we can see Jack isn’t broken man even thought he’s not with David’s mom anymore but he has the same father/son issue than he have had with Christian then Locke.
The episode started with Jack wondering about his appendix, of course it was echo from the island story where we saw what happened in season4 when Juliet operated him, does it mean we’ve another “hint” of “deja vu” by Jack ?
Probably but at the same it was more an hint about Jack ex wife.
What we learnt from the FS is jack was married (or is still but separated from David’s mother for now) and he have had probably issue with alcohol, why I think it ‘cause about his convo with Margo
MARGO: You want a drink? [she pours some]
JACK: Uh...no, no, no thanks.
MARGO: Good for you.
So it’s where i supposed Jack have had issue with alcohol like he have had on the FF when he was living with Kate and Aaron, Jack dealt with it, he can see David one week by month.
Now speaking of David, the kid is a mini Jack, i mean scared of his father ‘cause if he fails he’ll be ashamed, Jack was with Christian he even admitted it to his son but he don’t want to be this man and he shown his son he’ll be here for him, it was very touching scene but mostly when he discovered David playing piano, in my mind i thought of a future meeting with Daniel Faraday and Jack Shephard because hell Danny boy was amazing with piano don’t you think ? Maybe he could even be David’s teacher but i think no, i think like Dogen, they’ll meet while David will play.
The FS shown us too that Claire is part of Christian’s testament, of course she’s his daughter, does it mean Jack will search her ? Or maybe see her at the hospital afterall she’s pregnant and she was still when Kate left her ;)
Now the most important question in the FS
Who is David’s mom ?
We can eliminate Kate ‘cause the kid is around 12 and our Freckles is 26 so i don’t think there is a chance it’s her and also for people who have had kid together, it could be weird they were strangers on the plane don’t you think ?
Now Sarah, they were married on the other time and then divorced before the crash so Sarah ? Yes maybe but at the same i could say too predictable and we saw the FS is different, Locke is fiance with Helen and they’ll be married, Ben is the Ben Potter in adult version, Hurley is lucky and now Jack has a kid so my bet is on...
Juliet Burke
Afterall on the island they were close, they were both doctors too and they’ve kind of connection who was gone in season4 for my anger i could say too...
I think it could feel logical Juliet is Jack’s ex, both doctors, met at university, fall in love, got married and have a kid. And there is this little hint at the beginning of the episode where we spoke about Jack’s appendix and we first thought OH OH “deja vu” moment for Jack ! and me i was oh oh JULIET !
Also we know Elizabeth Mitchell will be back on the show for fews episodes, true her storyline is linked to Sawyer too but at the same it’s over and the only way to bring some surprise with character we love/loved, it could be to make Juliet be David’s mom !
She could go dutch with Jack at some point and speaks about David, people assumed it was Sawyer but i doubt it will be him, I think we’ll get to see different losties in Sawyer’s FS than Juliet.
We knew she was away for days and sometimes doctor have conference to assist or even to do, so maybe Juliet was out the town for this reason.
Maybe i’m completely wrong too but recently SPOILER ALERT Darlton confimed we knew David’s mom and my mind can’t get over it’s Juliet, she could fit to be David’s mom and in this life i could love Juliet to have her own kid, maybe be over Rachel maybe Rachel was never sick or maybe she was and it’s also a reason her and Jack aren’t together anymore but a part of her is linked to Jack forever with this kid. I just love that and hear me Darlton, Juliet deserves happy life on the FS or i’ll ask smokey to kick your ass :D
So to end let’s complete it
| First life | Flash Sideway |
| Jack is a doctor | Jack is a doctor |
| Jack lose his father and even the coffin was missing when he crashed | Jack lose his father and even his coffin is missing |
| Jack has no kid | Jack has a son |
| Jack have had issue with alcohol | Jack SEEM to have had issue with alcohol |
| Jack learnt he has a sister | Jack learnt about Claire (not yet she’s his sister) |
Now back on the island i’ll start with Hurley and Jack journey

It was just very funny to see Hurley and Jacob, I adore Hurley and he was very adorable, Jacob trusts him and needs him, it’s not the first time and probably not the last and someone is coming on the island to kick some smokey ass and probably drinking some SCOTTISH Whisky, what i said that ? Bah who never thought Desmond was going home ? just WHO ? :)
While Hurley is writting some “note” on his arm, jack and Dogen spoke about Kate, Sawyer and Jin and we see Jack knew they weren’t coming back (sorry but i doubt about it when Kate and Jin left, afterall i’m not in Jack’s head lol) then he spoke about Sayid they think he’s evil and they wanted him to kill Mister Jarrah, of course it was a shock for Sayid but he’ll have to deal with it later (in his AMAZING CENTRIC SUNDOWN !! WOW “Catch a falling star and put it in your pocket, Never let it fade away!” ok...be serious lyly...)
So Hurley has a funny moment with Dogen and he learnt by the same he’s a candidate so Flocke said the truth, they’re candidate, who doubt it ? not me but some thought it was a lie to get Sawyer on his side...
So Dogen knows Hurley knows even if he don’t know how lol and he’s not happy and in japanese he said his real feeling, he must need to protect him but if it wasn’t for that, Dogen the samourai could have cut some head lol
Hurley knows Jack and Jacob found a way to get Jack on the “loop”
"You have what it takes."
And i was o_O yeah and jack was all OH OH WHAT DID YOU SAY and me i was yes Hurley translation please but no we’ve to understand Jack knows what it mean and follow them in their journey !
But at first they met Kate who reveals to Jack she wants to find Claire and Jack told her what Dogen told him, well not really detailled just fews words, something happened to her (yes Jack, she was lost, Sawyer couldn’t find her and then you left the island and something happened to her ? say something news please...Sorry i was kinda joking but he could have say more than that lol no ?) so Kate is all no matter my mission is to save Claire and you Jack, find yourself i’m not part of it now. Even thought we KNOW Jack has more things to do than trying to get Kate’s back, Jack himself don’t get it very well YET but he’ll, just need fews times...
Jack and Hurley have an interesting conversation who was here to show once again, happy family be married and all wasn’t his destiny and he knows that and even if he tries to get over Kate, he couldn’t yet, he wanted to invite her and be part of his destiny but i think at the end of the episode Jack understood he has another purpose than having someone on his size, he has to be alone, afterall his tatoo says “He walks amongst us, but he is not one of us” and that’s true, Jack isn’t destiny to have a good life, be father and all, the FS is the life he might dream at some point but on this life, Jack is destiny to do something else, something huge and something that Jacob trusted him enough to give it to him.
When Hurley said those line about be married with Kate, raises Aaron and all, i was surprised because last time hurley spoke about Jack and Jack was happy and everything he said to him
HURLEY: Living with Kate... taking care of Aaron... it all seems so perfect... just like heaven.
JACK: Just because I'm happy doesn't mean that this isn't real, Hurley.
HURLEY: I was happy, too, Jack... for a while, anyway. Then I saw Charlie. He likes to sit with me on the bench out on the front lawn. It's pretty cool, actually.
JACK: Okay. (Sighs) So what did the two of you talk about?
HURLEY: Well, yesterday, he told me you were gonna be coming by. He wanted me to give you a message.
JACK: A message?
[Drawer scrapes]
HURLEY: He made me write it down so I wouldn't mess it up. "You're not supposed to raise him, Jack." Does that make any sense?
And here i was, Hurley you forgot what your buddy Charlie said ?
But i guess once again Darlton wanted people to get Jack + baby + Kate = will never happen
At least it’s the way i got it and you ?
We got also a little moment at the cave where Jack spoke about playing alice searching his rabbit/dad and the body still missing, ON THE ISLAND and IN THE FS, even if we can get now Smokey is/was responsible of that. Then they found the “lighthouse” and what Hurley said about the fact “we weren't lookin for it” it remind me “Narnia” and the fact only people who were looking for Narnia could access here because when they opened the closet, there was coat inside and Lucy couldn’t prove them there is a round for Narnia inside and then later, they were looking for it SO they saw it, that’s why for me “lighthouse” was always here but if you don’t think about it, don’t BELIEVE there is one, you’ll never see it. So Hurley needs to put at 108 degrees (oh oh 108 !!) does it mean the people who is supposed to come here is the number 108 ? (DESMONDDDDDDDDDDDD sorry but i’m sure it’s him lol) And because of the lighthouse we learnt Kate has a number too “51”, i was happy we finally learnt she has one and i found interesting in a miror place, her number was MIROR to number 15... maybe it was just a coincidence but i found it funny and interesting and since Jacob visited Sawyer and Kate as kids maybe this “miror” effect is related to that, maybe future will tell us. Jack got a view at different place, Sun and Jin wedding’s temple, Sawyer’s house and then Jack’s house, the one he grew up I wasn’t suprised by Jack’s reaction and the fact he destroyed the miror, i wasn’t too when Jacob seemed okay with that, afterall he knows Jack and the only reason he wanted them away the temple, Flockey is coming guys and it will be VIOLENT (SUNDOWN !! SUNDOWN YEAHHHHHH !!) I loved what Jacob said, because it’s true Jack has to do something he knows that, he thought it was to blow up the island but it wasn’t, it’s different and he needed a guide to bring him where he was supposed to go as Locke was here at first now it’s Hurley and also Jacob but now Jack has the card, he saw he’s important, he might not get this number thing but he KNOWS he was supposed to be on the island and what he said about beeing broken man and the island will fix him, it’s true and now he has to find what is it ALONE and here the tatoo line mean again a lot “He walks amongst us, but he is not one of us” Jack’s journey began... Now back to crazy Claire Bear ! My god what happened to Claire Bear ? how she became Crazy Claire Bear ?? I guess beeing on the influence of Smokey for years can you become the new “rousseau” but still Rousseau wasn’t under any influence and all by herself. So we’re back with Claire and Jin, she seems very happy to see Jin and at the same she’s all whatever 3 years happened all i care is WHERE IS MY BABY !! And you’re all o_O Claire if 3 years happened Aaron isn’t a baby anymore.... Like they did with Sayid, Claire was captured by the Kumbayahers because she was killing everyone and probably tried to save her from smokey influence. But what happened in the cabin, Locke saw her she was like on the drugg and here she’s all GIVE ME MY BABY, it veyr weird, at the same i think her behaviour on the cabin is the most weird of both. Here she seems “her”, don’t get me wrong Claire isn’t Claire anymore but she has feeling, when Jin mentionned Kate took Aaron you can see in her face she is surprised, sad, she’s ‘ALIVE” here she “wasn”t” she was all Hi John and Locke was all where is your baby and christian/smokey answered for her, and she wasn’t all like she acted on this episode so what happened really ? why this change of behaviour, this claire Bear might be crazy but she has feeling, the other one was like a zombie, empty of ANY feeling. Since Crazy Claire Bear told us first her dad then her FRIEND told her the Kumbayahers have her baby, we can assume the change of her behaviour started at this moment but i’m more intrigued of what happened BEFORE and AFTER Locke left the cabin than wondering what happened for her to become crazy Claire bear ‘cause what happened BEFORE it, influenced her. So now we can see cute Claire bear is gone, she lose her baby and she wants him back (remind us of Michael WALTTTTTTTTTT, they TOOK MY SON....) but Claire bear seems to be inside crazy Claire Bear too, at least a part of her, you can see some toys in her “house”, you can see some kids books, a part of her is still the adorable Claire bear who just needs her baby But another part of her is... well she found a new baby... Ladies and gentlemen Here baby squirrel !(now imagine her hugging baby squirrel like she did with aaron and YOU will freak out lol) Of course Jin understood Claire isn’t the same but he has a purpose since ‘What Kate does’, he wants to find Sun and the Kumbayahers might know about it so what he does after he hears Claire saying she’ll kill Kate if she really took aaron...he lies for his own interest, Aaron is at the temple and they can go together and here who walks inside... So here you know Jin made a mistake but we can’t blame him, he wants to find Sun, everyone could have do that just do not expect to see Claire’s friend was Smokey... No matter Jin wants it or not, he’s recruited by Flocke as Sawyer and Claire are and now it might be interesting to watch “Sundown” and what it will happen at the temple ;)JACOB: Jack is here because he has to do something. He can't be told what that is. He's got to find it himself. Sometimes you can just...hop in the back of someone's cab and tell them what they're supposed to do. Other times...you have to let them look out at the ocean for a while.

In December, I interviewed "Lost" executive producers Carlton Cuse and Damon Lindelof over lunch on the Disney-ABC lot in Burbank, Calif. In a week or so, I'll be using that interview to write a feature for the print version of the Tribune (I'll post that "Lost" feature here too).
But with the anticipation of the "Lost" Season 6 premiere building -- the start of the final season is only two weeks away on Feb. 2 -- I thought I'd start posting the full transcript of the interview. It's looong. Check back here for additional installments (there should be two more installments over the next week or so).
Yes, what follows is only about a third of the interview. I know! But given that Lindelof and Cuse were kind enough to give me an hour of their time, I'm going to share everything they said with my fellow island fanatics. Casual fans might not want to read the whole thing; if that's the case, there are a few choice excepts here. All my other "Lost" coverage is here.
This interview contains no spoilers for Season 6. I didn't (and still don't) want to know any specifics about the season to come.
I was interested in finding out how Cuse and Lindelof approached Season 6 and how they feel about the fans' expectations for the last season. This section of the transcript also contains the first set of 'Star Wars references, and there are several "Battlestar Galactica" and "Sopranos" references too. Also, giraffes.
In the next exciting installment: Time travel!!! Later: Ewoks!!!
Here's Part 1 -- enjoy!
Ryan: Even as a hardcore “Battlestar Galactica” fan, I was taken aback at how impassioned people were about the last set of episodes of that show. And I was really unprepared for how harsh people could get over the smallest things and what they meant, and over what and wasn’t dealt with in those final set of episodes. It was as if everyone had a different checklist in their mind of what had to happen.
In approaching this last season, do you have the sense that it's going to be like that? Or did you just not think about the intensity of the fan reaction?
Lindelof: I’m sure we both have similar yet vastly verbose responses to that because we talk a lot about it and been talking a lot about the ending of the show for a long time. But I think that there is a disproportionate focus on a finale and there always has been. And this happens on a micro level, where the critically and fan-hated season, Season 3, also happens to have the greatest finale probably of the series. And the taste left in your mouth in the wake of the finale is really all that matters.
If the entire series is going to be judged based on our ability to execute the dive, you can’t do your job. Part of it is -- despite what people think or say, so much of it has been talked about and planned for years now that you’re just kind of executing the plan to the best of your ability. You're changing the plan when it’s not working, but otherwise, you’re kind of married to the inevitable -- the stuff that we want to do.
Cuse: We also spent a lot of time talking about how we don’t want the last season of the show to be didactic. It’s very dangerous to basically create a checklist of answers and then start trying to tick them off, because we want to make sure we’re telling engaging stories. For us really, while the mythology is important, for us it’s a story about these characters. And so most of our focus has been on, how are we going to resolve the character stories?
We really feel we are very committed to this notion of not stripping the show of its essential mystery. I mean, mystery exists in life and we kind of always go back to the midi-chlorians example [in the 'Star Wars' prequel films]. Your understanding the Force was not aided by knowing that there were little particles swimming around in the bloodstreams of Jedi.
There are sort of fundamental elements of mystery and magic to the show that are unexplainable, and any attempt to explain them would actually harm the show, and in our opinion, the legacy of the show. So we’re trying to find the right blend of answering questions, but also leaving the things that should be mysterious mysterious.
Ryan: Yeah. I did not need to know more about Boba Fett. He has a jet pack. He a ship named Slave 1. I don’t need to know more than that.
Cuse: Yeah, exactly.
Lindelof: And for us, there are questions that we’re clearly presenting. It’s not like Lucas ever presented in the first three “Star Wars” films, "What is The Force?"
And therefore, it’s like, when people ask us, "What is the island, what do the numbers mean?" You know, we don’t know how to answer the question, "What do the numbers mean?" We can tell you what the practical application of the numbers is in the series, but how do you answer a question like that?
It’s like, if you could have a sitdown with God and say, "Why is a giraffe’s neck so tall?" You know, because he can eat from large trees. And it’s like, "But you made all these other animals that don’t need tall necks to eat, so why?" So you get into a conversation where every answer you give only makes it more frustrating.
Cuse: Or that leads to the question of, did God in fact create that giraffe or not, which is also a very, very tricky question to attempt to answer.
Lindelof: Of course. Look, the franchise of “Lost” -- in addition to the primary franchise, which is the characters and the mysteries of the island that have always been in support of the characters -- there's this idea of, "What did they mean by that?" The zeitgeist of the show has developed around different iterations of that question. What do they mean by that?
Because the show isn’t like a traditional cop show where by the end of it somebody basically says, “Here’s who did it, here’s why they did it, and here is what is going to happen to them.” Or a law show with no ambiguity. There’s going to be an element of "What do they mean by that?" long after “Lost” is done and no matter what we did, there’s nothing we could do to prevent it.
Cuse: And also, we also are aware that answering questions inevitably raises other questions. We call it the Big Bang conundrum.
Lindelof: A.k.a, Kate’s plane.
Cuse: Yeah, if you go back and you say, "OK, Jacob is obviously someone who was of great significance to the mythology of the show, but who was before Jacob? And then but who created that person?" If you go back in the universe you can say, the universe was created in an event called the Big Bang, but then you can inevitably ask the question, "Well, what was before the Big Bang?"
I think the audience has to have a sort of respect for the fact that there is only a circumscribed set of answers that we can ever give. And we’re not sitting here trying to evade our responsibility to provide answers. We are going to answer the questions that, for us, feel like they need to be answered and we feel like we have some cool and satisfying answers for them.
Lindelof: One of which will be, we will answer what caused the Big Bang.
Ryan: It was giraffes.
Cuse: It was giraffes.
You know, ultimately, we’re excited though, because it does feel like we concocted the mythology of the show a long time ago and it’s like having a Christmas present and you kept it on the shelf a long time and people are finally going to get to open it and see it. So we’re finally getting to deploy the ending of the show and that is exciting to us. It is a story and I think as storytellers, that’s always what’s delicious -- you set up the audience and then you basically finish the story. There’s a payoff and we’re actually going to finally give the audience our payoff.
And we are going to go off the grid after the show is over to avoid the actual issue of having to interpret the ending. Again, we’ve always felt that one of the compelling elements of “Lost” is its intentional ambiguity. The fact is, it’s open for interpretation and discussion and we feel like we would be doing a disservice to the fans and the viewers to say, “No, you must only look at this in one way.” We don’t think that is really good for the show or for people’s ability to read into the show what they want. I mean, that’s what I like to do when I read a good book -- basically be able to debate what the real meaning and intention of that story is.
Ryan: So, what you’re saying is, you're going to France?
Cuse: We’re not saying. We’re not saying where we are.
Lindelof: It’s an undisclosed location.
Ryan: Is it Dick Cheney’s bunker?
Lindelof: Exactly. The one promise that we are making is that what we’re not going to do is leave the show hanging so we can pick up the ball and run with it two years from now in some other television project or movie. I think that we owe ourselves and the story and the audience a sense of finality.
Cuse: The most complete ending that we can give them.
Lindelof: Yeah, you can’t break up with somebody and say, "Let’s not go out anymore, but I still want to sleep together, I still want to live in the same house, and we should still go on dates all the time." No. If it’s over, it’s over.
We’re trying to create a season that really feels like it’s over as opposed to [left open-ended]. People keep saying, "Is there going to be a Sopranos movie?" And I actually feel the question in itself is offensive to anybody who likes the cut-to-black [ending] because it completely neutralizes the deftness. Carlton and I happen to be huge fans of the “Sopranos.” But to do a “Sopranos” movie, you could never watch that series finale again with any level of respect [if you know] know that something followed it.
Cuse: The other phenomenon which is interesting is that the immediate interpretation of the ending of “Lost” may not be the same as the ultimate interpretation of the ending of “Lost.”
I mean, you as a “Battlestar” fan probably have experienced the sensation that there was an immediate reaction to how “Battlestar” ended, and [now] it seems like there’s a bit of and evolving reaction to how “Battlestar” ended. And we anticipate that the same thing might happen with “Lost.”
There’s an instantaneous sense of loss, and using the “Sopranos,” again as an example -- a lot of people were sort of outraged because the story ended and it wasn’t conclusive, but then with some perspective and a little distance from the show, the metaphor of what Chase was doing there became clearer and that seemed to resonate better over time than in the immediate aftermath.
Lindelof: What was so impactful about that ending is, as a huge “Sopranos” fan myself, I can tell you almost nothing about that episode other than that Anthony Jr. was considering going into the military and then he got into a car accident. But the episode itself is like completely like sand through my fingers. I don’t remember anything about it. All I remember is that [last] scene...
Ryan: The only other thing I remember, apart from the final scene, is Meadow trying to park the car.
Lindelof: Right. All I remember is that Journey song. What are people going to take away from the final episode of “Lost?” Will it be the final image?
Cuse: Will it be the episode in its totality?
Lindelof: We keep getting asked about the final image and we’re like, "Yeah, sure, we know what it is." But people are acting like the final image of the show is revelatory in some way, as opposed to maybe [what's revelatory] is what happens in the first hour of the finale.
Cuse: But what’s happened is, I think people have expectations that have grown from other shows, where that last moment is such a sting. Whether it’s all of a sudden you see a snow globe [as in "St. Elsewhere"] or you cut to black or somebody wakes up and it’s all been a dream. Whatever it is, it’s like that final twist negates or completely overshines everything that’s come before it.
Lindelof: Which is amazing because the fact that people invested six years of their lives and over 120 hours on “Lost” and they’re going to pay it all off in this 30-second scene. "That is going to change the entire way that I feel about the show."
Cuse: We hope it doesn’t.
Lindelof: We’ll be riding either a wave of goodwill into the finale, or bad will, and it’s happened different ways in different seasons for us. Last year, [we had] the overt time travel story mechanism and the rise of characters like Faraday and the risk of putting Sawyer with Juliet. All of those things could have been [big problems] in any other world, and we were just fortuitous enough that it worked. But we really don’t have any sense of how this season is going to be received until it’s on the air.
Ryan: James Poniewozik [Time's television critic] has written about this, about how the finale of a sci-fi show can't just be a finale, it has to provide an Answer. It can't just be an ending, it has to solve the problem. And I felt like I definitely saw that split in the "Battlestar" fandom, between the people who wanted or feel they got character payoffs and the people who don't feel various solutions to the plot and the story were arrived at correctly.
Your show, if anything, has more fans and more different camps invested in different people and also in different parts of the mythology.
Cuse: I feel like there will be diverse opinions and again, we understand that the hardcore mythology fans might react differently than the people who are really waiting to find out if Kate ends up with Sawyer or with Jack. And for us, we feel that the story lines that ultimately will be the most satisfying are the character stories. In discussing the various conundrums of mythology answers, we are very well aware that for people who are really focused on the mythology, it’s hard to provide probably completely sufficient answers for those group of people. So there will be there’ll probably be different levels of satisfaction based on what it is that interested you about the show in the first place.
All we can do is trust our guts, which is kind of where we’ve been from the beginning. We started the show sitting in my office every morning having breakfast, talking about what we thought was cool. And whatever we both would get excited about would go into the show and that’s how we’ve approached it [all along] and that’s how we approached it at the end.
So, our barometer can only be: Does this ending feel satisfying to us and to the other writers? And if we can achieve that, we feel like we will have done what we can do and what we should do. Beyond that, I think every show – certainly a lot of people have rejected “Lost” along the way. We started with a 10.2 rating at the beginning of the second season and a certain group of people said, “You know what? This is too much to invest; this is too much mythological show to invest in."
People found a way to part with the show for various reasons, or they embraced it all the way down the line. So, we’re not trying to reverse-engineer the process, we’re basically committed to doing the best version that we feel we can do and that’s all we can do.
Lindelof: There’s a certain amount of security in the idea of saying the show was never supposed to work in the first place. In the wake of the pilot, to say, "This show is actually going to be on the air for over 120 episodes," we would have laughed in your face. So the idea that it sustained as long as it has and that some of our best episodes were in our fifth season as opposed to [earlier in the shows run], or that we were able to bounce back from some sub par episodes and sort of regain our momentum. That makes us kind of think -- it’s becoming a lot more about the journey for us than it is about the ending and we hope that that’s the show's ultimate legacy.
But I think the sci-fi distinction you make is an interesting one because, when you talk about the “Sopranos” ending or the last episode of “Seinfeld” or “Friends,” there’s only so many iterations of what can happen. The “Sopranos,” the only thing that people were talking about is, "Is Tony going to live, or is somebody going to kill him?"
With “Lost,” nobody can even guess what the ending is going to be. If you were to have a contest right now saying, "In one paragraph, summarize what you think the last episode of 'Lost' might be" -- if you say it to 100 people, you will get 100 paragraphs that have nothing to do with each other.
If you say that to somebody about the “Sopranos,” 50 people will say, "I think Tony’s going to get whacked," maybe 10 people will say, "Carmela is going to kill him, but he’s going to get whacked." But no one would have said, "They’re going to be eating in a friggin' restaurant -- onion rings." That's what was so brilliant about it -- how do you do the unexpected?
Ryan: You brought up in the first season and how you thought it would never last this long. As you look back, are there things you wish you could have done differently?
Cuse: No, I don’t think so. You could ask the same question about your life. I suppose everyone has regrets, but at the same time, you can either focus on your regrets as a path to nowhere. The journey of the show has been the absolutely right journey of the show. We had to take all the steps and the occasional missteps that we took in order to get where we are. So, everything that we’ve done has been sort of right in the larger karmic sense.
It’s interesting that you talk about this. One of the central themes of the show is free will versus predetermination and that same issue was very much in play in how the show was constructed. Yes, the mythological architecture was constructed back in the first season and between the first and second season, but the actual journey of these characters is something that evolves literally, episode by episode. We view the process of making the show as a very organic one. We watch what happens and how characters play off each other, what relationships are working, what aren’t working.
So there still is an element of discovery that is a part of getting into the finale. We sort of know what the Incident is, but how that’s going to play out with the characters is still something that we discover as we write each episode of the show.
We are not only the stewards of this journey, but we also have this wonderful process of discovery ourselves, which is, I think, the essence of the creative process. It's when you get into that transcendence where the show tells you what it wants to be and that’s something that we didn’t even anticipate. So, that to us is what’s fun.
Ryan: You guys have obviously a unique relationship with the fans. Have you ever changed what you wanted to do, or reconfigured what you thought you were going to do, based on good or bad fan reaction?
Lindelof: There hasn’t been an instance in the show where we disagreed with fan reaction, or were incredibly surprised by fan reaction. By the time fans saw Nikki and Paolo deliver their first lines of dialogue, we were already writing [their final episode,] 'Expose.' Had the fans said "We actually love these characters," maybe it would have given us pause, but by then we fundamentally acknowledged we had taken a shot and it didn’t work.
We did the Sawyer/Juliet thing last year. We were introducing Juliet into a relationship with Sawyer, [even though] the debate has been about whether Kate going to chose Sawyer or Jack. Now we’re changing it into a quadrangle for the first time, and it’s going to be it is a mature love at that – we don’t even see how [their relationship] really starts. When we introduced the audience to it, [the relationship] is already up and running for three years. That was the bold risk, but when we saw those dailies with Elizabeth [Mitchell as Juliet] and Josh [Holloway as Sawyer], they just sold it and we’re like, "This works."
If the audience doesn’t like the relationship, hopefully they won’t fault us for the idea and the good news is, “LaFleur” is Episode 8 and the season is only 16 episodes long and then Juliet falls into a hole. So, if they hate it, it’s only going to last for eight episodes, but it’s really going to govern every decision that Sawyer makes from here on out.
So, there are moments where we go, "What is the fan reaction going to be to this thing?" But especially since we started premiering in January [the season is mostly written by then]. On February 2 [when the final season premieres], Carlton and I and the writers are going to be writing Episode 15 of Season 6.
Cuse: Yeah, there will be no time for course correction. Last year we committed to this concept of time travel with a certain expectation that some people really might not respond to it. I think the most pleasant surprise was how much people embraced it, because it was difficult and it was much more overtly science fiction, and yet people really seemed to like the season.
But we have the same anxiety about what we’re doing this season. We kind of feel like the fundamental tenet that we’ve tried to follow as storytellers is "Be bold." But in being bold sometimes you fall on your face.
So we committed to a narrative approach this season which we feel is bold and it’s different than what we’ve done before. And if it works, it’ll be exciting, but it might not be everybody’s cup of tea either.
Next: I give them grief about the time travel in Season 5. I know, I know, some "Lost" fans loved it. Which we discussed.

Last fall, while visiting the Lost production in Hawaii, we wanted to experience the Ben and Locke Show live, so we corralled Emerson and O’Quinn for a wide-ranging interview. You will be reading — and seeing — more of our adventures over the next few months at EW.com and in the magazine. In fact, this week’s issue of EW contains an informative Q&A with Emerson and O’Quinn. Although we can’t give you any season 6 teasers (yet), you’ll receive a peek into their working relationship and genuine friendship. In the meantime, enjoy a few bonus quotes from the mad men of Lost. —Jeff Jensen and Dan Snierson
On O’Quinn realizing last season that he wasn’t really playing John Locke anymore:
O’QUINN: There was a sort of gradual awareness, and then [with the season finale], a sort of a sad acceptance of the fact that John Locke was dead. I thought, “Well, wow, I guess I’m not playing the same person anymore. That role on Lost is over.”
On whether the new Locke is good or evil:
O’QUINN: Boy, they sure are loading it up to look as if John Locke is the devil. And then that makes me suspicious. Right? Apparently I’m playing somebody who can look like John Locke. It was easier playing this same person last year when I didn’t know who it was. Now it’s hard to not load things up and become arch, be heavy.
On playing comedic moments:
EMERSON: I began to feel last season that I was in my own little private comedy. He was very sarcastic all the time. There aren’t a lot of characters you can just bounce jokes off of — Jack’s not a big knee-slapper — but there’s a special kind of Lost humor, where we talk glibly about very grave matters.
O’QUINN: When somebody’s pointing a gun at you every episode, eventually it’s like, “Whatever. You’re not gonna shoot me. Or if you do, I’ll live.”
EMERSON: [to O’Quinn] Was it you that said, “On Lost, you can’t ask somebody to pass the salt without pulling a gun”?
O’QUINN: I don’t think so. Maybe it was you.
EMERSON: I want it to be you.
On shooting the pivotal scene in which Ben strangles Locke:
EMERSON: It was long, slow work that day…. It was very quiet on the set. The crew was gripped by the scene and fully supported the work in front of the camera.
O’QUINN: I remember prepping with you for the sequence. We were sitting in our chairs, going over the dialogue, but Michael has a hard time just sitting in his chair. So, pretty soon, I’m still sitting in my chair, and he’s on his knees in front of me, doing that moment where Ben begs Locke not to kill himself, and the whole time, the crew is just walking by us, not looking at us or saying a word.
On whether they’ll miss working together:
O’QUINN: I haven’t told Michael this yet, but I think about it a lot. A working relationship that is this smooth, it’s as unusual as a relationship with a loved one. At least for me. After Lost is over, I’m going to get a hold of somebody and say, “Write something for us.” I just want to keep doing this.
EMERSON: I don’t think it’s the last time we’ll be playing opposite each other.
On how much they worry about meeting fan expectations:
O’QUINN: Not as much as it worries [exec producers Damon Lindelof and Carlton Cuse] and those guys, I’m sure. What worries me is what I have control over. And that’s my performance. And if in fact the whole thing is a big laugh and it turns out badly and everything, I don’t anticipate feeling terrible about it. Because every day to me is work. And it’s given a lot already.
EMERSON: I’m also getting easier with the idea of secrets, of walking away with things unanswered, with mysteries left open. That’s all right, too.
Source : EW


From Lindelof and Cuse:
Below are ABC's promotional photos of the Season 6 "Lost" cast. Don't look if you don't want to know who will be getting a fair amount of screen time in Season 6.
I don't consider the bits of information that come before the photos spoilery. In fact, I don't think of them as spoilers but rather as Informational Tidbits. But on the off chance that you don't want to know these Season 6 Informational Tidbits, here's your chance to jump out now.
Last bits:



