Q: You guys have opened up the time element of the show in this really interesting way, but how do you stop it from becoming a giant story problem? You know, “If a train left Pittsburgh going 50 miles an hour, and another train left Dallas going 25 miles an hour...” How do you make that time element clean and clear for people who might have trouble with it?
A: Lindelof: Carlton and I spent five weeks last year just breaking “The Constant,” with the entire writing staff. The reason it was so tricky was all these things you’re talking about, in terms of, “If Faraday told Desmond in 1996 to tell Penny to call him in 2004, wouldn’t she say to him ...”
And then eventually, you get to a point of saying, “Are we breaking any rules, according to the rules we set, is it emotionally viable, and is it confusing?” So when we were sitting down to talk about Season 5, we were like, “We’re essentially breaking ‘The Constant’ every single week now.”
A: Cuse: The reason, as Damon said, it took us five weeks to break the story was because we were relentless with each other about making sure that the story -- we would not consider the story to be finished until it had emotional resonance.
We had to deal with all the consciousness-traveling craziness, but ultimately we felt the story would only be successful [under the following conditions:] Not only did the time-travel stuff have to make some sort of sense and follow its own logic, but there needed to be a really genuine emotional payoff.
To read the rest of the article, go here: http://featuresblogs.chicagotribune.com/entertainment_tv/2009/01/lostabctv.html.
Thanks to Mark Cantrell for the link.
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