Damon Lindelof tells GMMR’s Marisa Roffman why he can’t be completely frustrated some people misinterpreted the series finale, what he thought of the recent auction and why the Emmy’s feel like the gang is going away to college.
In the new issue of Entertainment Weekly, you’ll find what represents the first lengthy sit-down interview Cuse and Lindelof have given about “The End,” and you’ll hear both of them elaborate on the positive and negative reactions to their work. “It was never going to be possible for us to fulfill everyone’s expectations or desires for the show,” says Cuse. “But the fact that there seems to be a significant amount of people for whom the finale was very meaningful is very gratifying.” Adds Lindelof: “To be clear, we are not indifferent to fan reaction. We care about what they think. A lot. And the hardest part for me about the end of Lost has been the people who are so angry at the show. To read that I personally wasted the last six years of your life, or to read that people think we lied to them — it’s very hurtful. It sucks to hear that.”
My interview with Lindelof and Cuse was conducted over lunch in Los Angeles in mid-July, a few days after Lost was honored with 12 Emmy nominations, including a nod for Outstanding Drama. Matthew Fox, Terry O’Quinn, and Michael Emerson were all nominated for their acting, and Cuse and Lindelof were nominated for the script they wrote for “The End.” Over the course of 90 minutes, the producers addressed various aspects of the final season, from Cuse’s joy in writing John Locke to Lindelof’s personal identification with Jack Shephard’s flawed character. What was most meaningful to me was hearing the producers speak, with great emotion, about how their relationships with their fathers influenced the writing of Lost and especially the last scenes of the series. No, they didn’t offer answers to specific unresolved mysteries. But they did discuss why they wanted to leave many things unresolved, and they respond to the charge that failing to offer resolution was seen by some as a creative cop-out. They talked about a lot of other things, too, not all of which is represented in the magazine space. In the coming weeks, I’ll share more of my interview with them in my last few Doc Jensen/Lost columns, which you can expect toward the end of the month. It will include, at long last, the conclusion of my final theory of Lost (and how the movie Inception completely messed it all up) and my full report about my trip to the set of “The End.”
After the [TCA] awards show, I asked Lindelof about the end credits of the last “Lost” episode which showed pictures of the plane wreckage on the beach, which some viewers interpreted to mean that everyone died when the plane crashed. ABC had said they put that footage there, which turns out to be sort of true.
Lindelof said three days before air he got a call from someone at the studio who said the network planned to run a “Cougar Town” spot over the end credits of “Lost” and everyone agreed that would have been inappropriate. Producers’ first choice was to just go to black but the network feared that would set a precedent, there might be issues with the unions over credits and then everyone would want to run credits over black (heaven forbid!). So producers suggested using B-roll footage of the empty hatch, the empty beach camp, whatever they could find. Turned out no such footage existed but there was footage of the empty, broken plane fuselage. No one thought when it cut together it would be interpreted the way it was but Lindelof said he didn’t know of any other way he would do it differently if he had it to do over because no matter what images they put there, he figures viewers would pick them apart.
Lindelof also said he’ll never talk about what producers’ artistic intention was with the finale because he feels like it was very simple and very clear and no matter what he says, some viewers won’t believe him.
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