God In A Box ?
thinbluemime
More news out of Paris as Damon and Carlton continue with interviews, This
one is especially tantalizing.
Damon Lindelof: It is clear that the series is influenced by spirituality
and the religion. Carlton and me let us come from different religious
mediums and there are often very spiritual debates between us, that one
finds in the series.
There are two principal references: the Bible and Stephen King. One was
accustomed to saying at the time of the first season that as soon as Locke
proclaimed “the island wants that I do this or that”, it is in fact with
God that it referred.
http://www.ozap.com/actu/disparus-lost-retrouves-paris-festival-jules-verne/272938
http://babelfish.yahoo.com/
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Babelfish Translation
Missings of “Lost” found in Paris!
Michael Emerson and Evangeline Lily in “Lost”
Appropriations: ABC
On the same subject
Cards:
Nobody
Carlton CusePersonne Evangeline LillyPersonne Damon LindelofPersonne
Michael EmersonSerie Lost: missings
Published by Jordan Grevet
Monday April 27, 2009 22:46
I by chance you passed on the side of Large Rex to Paris Saturday evening,
you could not escape the mob and the hysteria caused by the producers and
two from the main actors from Lost. The team of the series indeed formed
part of the guests of honor of the 17th edition of the Festival Jules
Verne, and on this occasion, it had come to present to the French public
the first episode of season 5 in preview. The executive producers Carlton
CUSE and Damon Lindelof as well as the actors Evangeline Lilly (Kate
Austen) and Michael Emerson (Benjamin “Ben” Linus) had answered present.
A few hours before this exceptional projection, the team of Lost met the
journalists and agreed to reveal some details on this fifth (and
penultimate) season. But like remaining faithful to the universe of the
series, Damon Lindelof, Carlton CUSE, Evangeline Lilly and Michael Emerson
also maintained the mystery…
“There is not the right to plant oneself!”
When you write the series, do you take account of what the fans say on
Internet and adapt your scenarios consequently or all he is already
written in advance?
Damon Lindelof: The series is written long enough in advance and thus at
the time when the televiewers see an episode on television, one already
wrote three or four additional episodes. But between the one season end
and the beginning of another, one enormously receives remarks of the fans
who say to us what they liked, which they appreciated less, which they
found fuzzy and one benefits from the additional time which one lays out
at this period to answer concerns of the televiewers and to restore the
shooting. One did it mainly between the first and the second season but
most of the time, in the course of season, one is brought to anticipate
the reaction of the fans because at the time of the diffusion, there is
great chance that one already buckled the production of the season and it
is too late to change anything. There, one already started to write the
beginning of the season 6 whereas the American public did not see yet the
last episode of season 5, therefore if one plants oneself, it will be too
late to restore the shooting (laughter)!
Producer J.J. Abrams contributed with you to the creation of Lost, then
was focused on its cinematographic career. With which point it is implied
in the series today?
Carlton CUSE: J.J left the series right after the pilot to turn Mission
impossible 3 with Tom Cruise and since, Damon and myself we are occupied
creation, production and writing of the series. Today still, J.J is very
occupied with its career with the cinema and also with its new Fringe
series.
“Lost is before a whole team work”
In the series, Ben seems to be that which has all the answers. It is also
your case, Michael?
Michael Emerson: I do not think more only the other members of the cast.
Like everyone, I have information only on the episode which one is
filming. And even within the series, Ben, who at the beginning seemed to
know some much more than the others, has answers less and less as season 5
progresses. Its advantage decreases.
Damon and Carlton, your duet seems to function with wonder in Lost. Once
do the finished series, you think of working again together?
Damon Lindelof: It is hoped for in any case. Carlton is that which gave me
my first employment on television in Nash Bridges, the series which it had
created. One then took different ways then we found oneself on Lost. With
a little chance, one will still manage to work again together at a given
time. Sometimes, it is better for collaborators, even if they work well
together, to separate a few times before joining again.
How do you share the task of writing between you?
Carlton CUSE: I believe that one of the largest differences between
American television, and elsewhere in the world, is that in the United
States, the process of writing is before a whole team work where one
collaborates much. Lost is not only written by Damon and me, but also by
six other scenario writers. One discusses the various stories and the
least details all together. Once one decided various screens of the
history of an episode, one of the scenario writers is harnessed to write a
first version of script and Damon and me make the modifications necessary
thereafter, but it is really a team work. Collaboration between the
authors is the most interesting part of our work of scenario writers. With
regard to the way in which one divides the writing, one generally divides
a script and each one chooses to write what interests it more according to
personal criteria. Then, one advises oneself mutually, each one rewriting
the scenes of the other. The fact that one writes while revising the work
of each one puts the bar even higher and improves quality of the scenario
because one is not made a gift the ones with the others, but everyone is
also opened with criticism.
“The voyage in time is increasingly paramount with the series”
Certain large fans of the series on Internet have an interesting theory
concerning the significance of the four letters of “Lost”. For some, that
would like to say “Leap Outta Sacred Territory” (“to escape from a crowned
territory”, note). Generally, which is the share of crowned in the series?
Damon Lindelof: It is clear that the series is influenced by spirituality
and the religion. Carlton and me let us come from different religious
mediums and there are often very spiritual debates between us, that one
finds in the series. There are two principal references: the Bible and
Stephen King. One was accustomed to saying at the time of the first season
that as soon as Locke proclaimed “the island wants that I do this or
that”, it is in fact with God that it referred.
Whereas the first season was focused of advantage on the life of the
survivors, the voyage in time is a central theme of season 5. Is
spatio-temporality an aspect which you want to approach since the
commencement of the series, or that you-it came thereafter?
Carlton CUSE: Actually, spatio-temporality was always integral part of the
series and one knew since the beginning that would have a place
increasingly important season after season. Firstly, the fact that the
island can be found by nobody of the outside world implied that it was in
a space time different from that of the rest of the world. There was
another index in the episode where Sayid (Naveen Andrews) listening the
radio and falls on a station which diffuses songs of the Forties. The
voyage in time passed on a higher level in the episode where it is the
spirit of Desmond (Henry Ian Cusack) which crosses the times. Ca was
always our project and one gave indices which progressively pointed in
this direction series. The progression of the series wants that
spatio-temporality could take all its importance only starting from one
certain point already quite advanced in the series. Also, the voyage in
time was a means of boring certain mysteries because the characters are at
times different from the history of the island and that enables us to
explain with more details certain things which occurred on the island and
which had remained unanswered, such as for example Dharma Initiative.
“The oddment is already planned”
Know how the series will finish?
Damon Lindelof: When one wrote the pilot of Lost, one did not know if the
chain would order additional episodes. Blow, one knew the answers of the
first intrigues like that the polar bear or of the French voice which
speaks through the talkie walkie. But with regard to the nature even of
the island, one did not know if one would have to tell the history in 13
episodes or 120 episodes. The oddment was thus completely dependent on
time that one had. When the series started to have success, between the
first and the second season, one started very elaborate discussions in
order to determine the oddment, even if one did not know yet when the
program would finish. With half of the third season, ABC agreed to fix a
completion date for the series, which returned to us extremely happy
because usually when a series has success, it continues until it blows and
that the chain cancels it because nobody any more looks at it. One
succeeded in convincing ABC that the base of our series was the mystery
and that one was to start to answer the various intrigues for not that the
fans hate us. After having negotiated the completion date, one decided to
finish the series as one had considered. One then could see how much
episodes it remained us before one can arrive at the end which one wanted.
Planning much was thus better distributed to leave it moment.
Evangeline Lily: They should not be listened to, they do not know
absolutely how the series will finish. They want just to make you believe
that they know it (laughter)!
“To play malicious has virtues purgatories”
Evangeline, when Carlton and Damon write your character, do you think that
they specifically make it for you and that you have a direct influence on
the way in which they write? Also, do you say to them sometimes that what
they wrote for you does not resemble so that Kate would make or would say?
Evangeline Lily: You know, I am a large diva and it is me which always
decides what will arrive at Kate (laughter)! More seriously, the creators
and the scenario writers are very talented and that it is with me or the
other actors, they observe us and use what they know of us to create our
characters. They find also aspects of our personalities in the relations
which one maintains the ones with the others during turnings. With regard
to the fact of knowing if I ask them to rewrite my counterparts, I had to
probably do it six times in five years. I rely really on our scenario
writers, they are incredible. It is rare that they write something in
which I do not find myself at all. I believe that it is what the actors
seek over all: a piece of truth. It is what enables us to find the good
manners to play.
Michael, you who play the malicious ones in the series, that do you think?
Does Ca have to be harder for you to identify you with your character?
Michael Emerson: I think that it would be harder to play nice, I am rather
relieved with the idea to be malicious because it is funnier and also
truer. I want to say by there that to play a malicious come down to
illustrate the human condition, because at the bottom we all are guilty of
something, even if one seldom acknowledges the crimes which one committed.
To play the part of malicious relieves to some extent, and has a little
virtues purgatories. I do not know how I would play my character if it
were nice and beautiful man!