"I’d like to make a pact, you and me. And here’s your part: You acknowledge that I know how you feel about the ending of Lost. I got it. I heard you. I will think about your dissatisfaction always and forever. It will stay with me until I lie there on my back dying, camera pulling slowly upward whether it be a solitary dog or an entire SWAT team that comes to my side as I breathe my last breath.
And here’s my part: I will finally stop talking about it. I’m not doing this because I feel entitled or above it — I’m doing it because I accept that I will not change hearts nor minds. I will not convince you they weren’t dead the whole time, nor resent you for believing they were despite my infinite declarations otherwise.
Let this be our pact. And I’ll just have to trust you on this — I don’t have Badger and Skinny Pete pointing lasers at your chests to keep you honest. And the truth is, there’s no way everyone is going to read, let alone agree with this deal.
But I’m going to keep my part. I’m done. I’m out. Just one last thing before I go …
I stand by the Lost finale. It’s the story that we wanted to tell, and we told it. No excuses. No apologies. I look back on it as fondly as I look back on the process of writing the whole show. And while I’ll always care what you think, I can’t be a slave to it anymore. Here’s why:
I did it for me. I liked it. I was good at it. And I was really … I was alive.”
Right off the bat, we have to mention Lindelof was not happy this document leaked online. This “series format” was never meant for public eyes as its sole purpose was to prove to ABC the same thing LOST had to prove to its viewers: that this show was not just scriptedSurvivor. It was a viable show with a long shelf life.
Lindelof explained exclusively to /Film that during production of the pilot, a team of writers was tasked with coming up with ideas for the long run of the show, proving it had longevity. After nine weeks of hard work, this document was the result. And it worked. ABC picked up the show, which never would have happened without this document. However, once those writers got to writing the actual series, many of these ideas got thrown away.
Before production the pilot of Lost began, ABC was “very concerned about the premise’s viability as a series.” So four writers (Javier Grillo-Marxuach, Paul Dini, Jennifer Johnson and Christian Taylor) were hired to come up with ideas that would ease the network’s concerns.
“The job of these writers was, after eight or nine weeks, to present a document to ABC, after they saw the pilot, to try to convince them to order the series,” Lindelof said. While he and J.J. Abrams were working on the pilot in Hawaii, Lindelof would frequently call the writers in LA and hammer out ideas.
At the same time, ABC hired Steve McPherson as new president. McPherson had previously ran Touchstone Television, which was in production at the same time on another Abrams show, Alias.
According to Lindelof, McPherson had two major concerns about Lost while the pilot was being produced. “They were very concerned about Alias‘ longevity because, in their estimation, the show had become too serialized and too genre,” Lindelof said. He explained further:
So, per J.J., we made a very specific effort in this document to say we were not going to be serialized, we were not going to be genre and we were not going to do what Alias had done. So even though I think it was our intention to do all of the above, we needed to put that in the document because the document was essentially a letter to ABC saying ‘Here’s what the show’s going to be.’
So after nine weeks of work, breaking down thirty-three possible “self-contained” story lines (many of which did end up getting used), ABC liked the document and picked up the show. Which of course is where things all changed.
Work on writing the full first season of Lost began at the end of May 2004, roughly three weeks after the submission of the document. However, “by the time we started breaking the first two episodes, it was already very clear to everyone in the room that the document that we had written to get the show picked up was going to be completely and totally null and void,” Lindelof said.
The first post-pilot episode, Tabula Rasa, was a Kate episode that stuck pretty closely to the document. By the next episode, Walkabout, which revealed that John Locke had been in a wheelchair (a mysterious idea purposely not mentioned in the document), Lindelof and the writers had fully embraced everything the document forbade.
So how did they get away with it? Why did ABC allow Lindelof and his team to continue down a road they specifically said they weren’t going to travel? The co-creator didn’t say, but the number “18.65″ might provide a clue. That’s how many millions of people watched the first episode of the show. In its first season, the show averaged about that many viewers — massive numbers for a new show — and it seems all those concerns about the show being “self-contained or serialized” went away when the audiences showed up.
Yes, Lindelof and his team lied when they promised Lost would be self-contained. Some fans might feel that was the first of many broken promises. What this document proves, however, is that Lost was always about taking risks. Some risks worked, others did not, but either way it’s an enlightening piece of a puzzle that continues to enthrall.
"Well, shit, 10 years seems like the perfect time to get back together. But I also wonder if it’s too soon? Especially if the announcement of such a panel would stir up rumors of MORE LOST, which is most definitely not in the cards at this time. That said, if someone was organizing it, I would be foolish not to attend…It’s just not anything we’ve initiated internally"
~ Damon Lindelof comments on the LOST reunion rumors
From HitFix: The secret of Brad Bird and Damon Lindelof’s ‘Tomorrowland’ is not what you think
Do I know for sure if this is the “real” logline description for Tomorrowland? Nope. But what I do know is that this is the official description that’s being used to help assemble a cast, and it offers the first concrete plot ideas for what we’ll see when Tomorrowland arrives in theaters in 2014.
"A teenage girl, a genius middle-aged man (who was kicked out of Tomorrowland) and a pre-pubescent girl robot attempt to get to and unravel what happened to Tomorrowland, which exists in an alternative dimension, in order to save Earth."
The Tomorrowland that they keep referring to in this break-down appears to be a place where science has blown past the world we live in, and when Frank Walker was a young man, he first encountered the promise of Tomorrowland at the 1964 World’s Fair. David Nix was there, showing off his own work, and he told Walker to come back when he was older and his inventions actually worked. A girl named Athena saw great promise in 11-year-old Frank, though, and she snuck him into Tomorrowland. Eventually, Frank was discovered by Nix and thrown out, but not before learning that the girl he loved, Athena, was actually a robot.
By the time we meet Frank in the film, he’s much older, and is set to play the part. Nix is the role that is signed for, and by the point the main story of the film kicks in, Nix has been in charge of Disneyland for many years, and he’s become rotten, corrupt. Athena, unchanged since Frank was a young man, plays a key role in the film, and the hero is a girl named Casey who has a quick scientific mind that becomes important as the story unfolds. Nix is a guy who values technical accomplishment over creative thinking, and when he throws Frank out of Tomorrowland, he’s not alone. Every creative thinker is banished, allowing Nix to focus purely on aesthetics and technical advancement for its own sake.
There’s interdimensional travel, human-looking robots, and a quest for revenge on the part of Frank. He is a bitter adult, and the film is not just about Casey’s adventure, but also about Frank rediscovering the kid he used to be. It sounds like young Frank actually plays a decent-sized role in the film, so we may see both timelines play out to some extent.