@CarltonCuse

Starting working out the beats of the finale today... To quote Dylan: "Oh mamma, can this really be the end...?"

I just started watching Lost on sunday... im midway through season 2.

Its an ok show. I dont really love it, i dont hate it by any means at all. So here are my comments so far..

Shannon & Boone were amazing, i am really sad they died.

Can this show push Michelle Rodriguez/Anna on me anymore? DAMN! Hope she dies soon.

Kate is just... awful.

Sun is amazing. Jack is a great hero. Swayer is a lot of fun.

Greatest Character Arcs That Went Nowhere

After watching the entire first 5 seasons back to back, i cant say i agree with that list. But maybe i just dont understand the point of that list.

For example, Charlie. His story arc wasnt suposed to be about him being a creeper and going all mad man on the island. Those scenes you seen of him losing it were adressed. Sayid & Shannon i will give them, and thats a sham because they are by far the most intersting pairing ive seen on network tv... ever. Miles' daddy issues? Im sorry, who cared?... the Jin thing they talk about is way off. He was an ass when they crashed cuz Sun had cheated on him and he killed the guy (or something like that). being stuck there made him work with others, learn english, and actually be a decent human. They showed this over the course of the series. Sun i will half give them. Sure it didnt go anywhere, but that all took place over the 3 years off the island and it came to an end when she learned Jin was alive. So it wasnt really forgotten. I will give them the pilot. But Jack & locke? Are you kidding me? I don know why they think it was set up for season 2, it was obviously set up for down the line and it is playing out now. Season 1 to season 2 was about 2 weeks time anyways.

Shannon and Boone were awwful, I was so glad they wrote them off. The pairing with Sayid might have been interested, but she was just obnoxious. And I just can't stand Ian Somerhalder.

Shannon and Boone were awwful, I was so glad they wrote them off. The pairing with Sayid might have been interested, but she was just obnoxious. And I just can't stand Ian Somerhalder.

I loved Shannon. Not at first, but as the first season went on and she was paired with Sayid and they wrote for her more as a character than they did as a couple with Boone. I was sad when Boone died, but i didnt miss him. IS is highly overrated, IMHO. Tho i did fall for Shannon & Boone in their flashback episode, mostly because the actors were rather hot together esp in the sex scene. and as much as im not a fan of IS he really did sell Boones love for Shannon and was rather great in that episode where Locke drugged him up.

But back to Shannon & Sayid, they were interesting. I loved how they brought out different sides in each other and the relationship they were making. I also think it was highly courages of ABC/Lost, in 2004, to pair up pretty much the typical spoiled white teenage girl with an Iraqi torturer and show them actually falling in love and getting to really know eachother. I do miss Shannon, she is one of the few who has died over the years who i wish hadnt. I also hated that her death was rather meaningless and had zero fallout because the show was propping up the horror that was Anna Lucia. Oh, the horror..

Via LA Times:

I just hope... That all this talk... About not resolving some mysteries ends up not being one big, gigantic cop-out. We all knew they wrote and invented a whole lot of things as they went along, but all this talk about how it's not really about the mysteries, but it's about characters is making me nervous! The show is about both! You have to resolve a lot of stuff! Otherwise: why the hell did you invent it and put it in the show?! It was just gratuitous bull then!

If you wanted six seasons and got them all the way back in 2007, now it not the time to decide what will happen in the finale. Details yes, but inventing an ending to a whole arc? Umm, no.

I want to know what that damn Hurley Bird was. And "maybe", an answer Lindelof gave, is unacceptable!

Edited March 1, 201015 yr by Sylph

Season 6's double story line is quite simple.

The original metaphor that drove the series, esp season one, was the idea that the people on the island were equally lost in their off-island lives. By coming to the island they were being tested in new ways, and would find redemption.

We are now seeing that metaphor paid off.

The LAX world is not merely what would have happened if there was no crash. This alternative world has been changed. Desmond is on the plane. Jack has a mysterious cut. Characters believe that they have seen each other before, but can't quite place why.

And each of those characters seems to find hope from each other that they didn't before. Witness the meeting between Jack and Locke. Jack offers spinal surgery to the wheelchair bound man - "nothing's irreversible". Locke offers philosophical solace - "they haven't lost your father, just his body." It's as if the world of the island has given the characters a sense of moral engagement they lacked before.

I don't know how the island world resolves. It may be that the island world collapses though temporal paradoxes. Or there is a resolution in Jacob / Esau story that brings around some kind of closure. But whatever it is - it impacts on the "real world" - the world of LAX. It brings the redemption that the characters have been seeking for the previous 6 seasons.

It's practically impossible to imagine Lost without one of its most important characters: the music. Michael Giacchino's score — one moment fraught with tension, the next lyrically placid, and always generally creepy — is often just as responsible for the show's mix of suspense, mystery, and romance as the writing. Giacchino came to Lost after a decade of film-scoring success, writing for both blockbuster movies and television, and he's nominated for a second Oscar for his whimsical score for Up. Giacchino spoke to Vulture from California, on the eve of another Lost recording session, about his place in the island universe, the secrets of writing good suspense music, and what exactly film-score nominees do before the Oscars.

How did you get started on Lost?

I became a part of the show because of J.J. Abrams, who I'd worked with on Alias for all the years preceding Lost. After seeing the first episode — which was the first and only episode I watched in its entirety before writing music — I loved the pilot so much, I was like, "Wow, this is really weird. This is a show I'd actually enjoy watching." So going forward, I'd refuse to read any scripts and just watch the edited episode. Whenever I felt there should be music, I'd just start writing. To this day, it's how I do it — scene by scene.

Do the writers give you any clue about what to expect from an episode?

Nope. And when they try to, I tell them to stop! Every once in awhile, they try to tell me, "Something's going to happen and we want you to just pay attention to this one scene … " and it's become this kind of bizarre conversation we have — we just had one today, in fact. They wanted me to watch for something in the next episode, and I'm like, "I'm not going to watch it, you know that!"

You've come up with quite a few musical motifs that can be repeated week to week. What's the balance between original and repeated music in the episodes?

It depends on the story. When something new is introduced, whether it's a person or thing or place, that's when I feel I have to do something new. I've been tracking each character with their own themes for the past six seasons, and those have stayed with them throughout. Now, with the Flash Sideways, everything is starting to splinter off. It's probably been the most difficult season to score; in one episode, I may have two or three versions of Locke I'm dealing with. It's been tricky to track all that.

Do you have a favorite character to write for?

Locke's definitely a favorite. I love to write for Kate, as well; there's something very Alfred Hitchcock about that character. For a composer, the show's like going to a candy store. They allow me to do whatever I want, and I write some really bizarre music you wouldn't normally hear on a television show.

It's a fine line between suspense music that veers into caricature and music that just enhances what's already there. Do you try to avoid specific things as you're writing?

Absolutely. In the very beginning of the show, there was this talk of, "We should have jungle flutes, and jungle rhythms all the time, 'cause they're in the jungle!" And I was like, this show is not about that — it's about making you feel uncomfortable, so the music should create an ensemble you don't usually hear.

One of the great instrumental moments is the loud, alarm-ish trombone blasts. How'd you come up with those?

With some things, you try them out just to see what'll happen. Everyone laughs at first, but then after several episodes it just becomes a part of the show. In the case of the trombones, I remember one of the producers, Brian Burke, would say, "Stop doing that with the trombones! It's weird!" I'm like, that's the point!

Were you working on Up at the same time as Lost?

Well , there was a time when I was working on Land of the Lost, Star Trek, Up, Lost, and a documentary called Earth Days all at the same time. It was the busiest time I've ever had, and so it's all about organization and scheduling. It was somewhat of a nightmare, but if I concentrate on the story and the characters for each, I'm in good shape.

You certainly wrote a memorable theme for Up. What did you have in mind?

Pete Docter, the director, mentioned that he hoped there would be something nostalgic about it. For me, it all came out of that four-minute married-life sequence. Believe me, I cried working on it. That scene set the template for the entire film; if we didn't get that right, by the time you got to the end with dogs flying airplanes, you wouldn't buy it. It's a perfect lesson in storytelling. The people at Pixar are amongst the best in the world at doing that.

What do film-score nominees do before the Oscars? Do you get to just kinda sit back and hang?

No, no, it's been exhausting actually. There's something every weekend; for something like Up, it's been nominated on so many fronts, so one weekend it's the Grammys, then the Golden Globes, the Critics Choice, then the BAFTAs in London. It's all fun, but it's tiring. And then on top of it you're trying to work as well. I did just take a commission from the Dallas Symphony, so I think I owe them 30 to 40 minutes of music in 2011 or something. Oh my God. I have no idea what I'm going to do!

http://nymag.com/dai..._michael_g.html

Edited March 3, 201015 yr by Sylph

Go Claire Go! Loved how Sayid just sat there and watched...lol

WTF? Why is nobody talking about last night's episode. It was AMAZING!

Jacob, the man in black, and Richard; finally we learn a little more about these three.

I agree, one of the best episodes ever!

Richard and Flocke/MiB

WTF just happened in last night's episode? Did that really happen? Jin and Sun??? WHY!!???? So we watched them reunite...for one episode....and then they get killed off? And now their daughter lost both of her parents. Oh man, I don't agree with that. If it's one couple that deserved a happy ending, it was Jin and Sun. I blame Saywer! And Sayid gets killed off too.

Only a couple more episodes left. Though I'm glad we get a 2.5 hour finale instead of the 2 hours.

<span style=font-size:8.5pt;">Making ‘Lost’ Last, and Seeing It Home

Damon Lindelof and Carlton Cuse, show runners for “Lost,” talk about how they kept the series going for six seasons and what it all meant.

http://www.nytimes.com/2010/05/16/arts/television/16weblost.html?ref=arts</span>