Listening to Damon Lindelof admit that he wanted to quit LOST – more than once – makes you wonder what would have happened if the statement had actually come to pass. There would certainly be no polar bears or hatches. Maybe not even the game-changing character flashbacks and flash-forwards. Lindelof, who created the concept of the show along with JJ Abrams back in 2003, will be the first to admit that he thought LOST would never get picked up (much less become a smash hit or run for six consecutive seasons.) Yet hearing stories about his experiences on both a personal and professional level, you begin to wonder how he ever could have thought otherwise.

Without question, Lindelof is an absolute pleasure to listen to - not only because of his expertise, but because of the obvious devotion and passion he has for his work. At last week’s New York Television Festival, Lindelof sat down for a one-on-one with MTV’s Andrew Jenks to deliver the keynote address and speak candidly about his beloved show. The fact that it was exactly seven years to the day LOST first premiered on ABC seemed to be no coincidence.

In an exclusive interview preceding the panel, I had the opportunity to chat with Lindelof as he reflected on seven years gone by, what he would’ve changed (a trick question!), and his plans for future creative ventures.

It’s been seven years since the airing of the pilot. If you could go back – knowing what you know now, knowing the writing process, knowing what’s to come – what would you tell yourself? Would you change anything?

I have to preface that answer by saying what happened, happened and it’s impossible to travel back in time and change the outcome at all. And I mean that not by way of jest. I feel like if I could travel back, what I would tell myself is to relax, take it easy, let the show tell us what it wanted to be and try not to get too overwhelmed by it all. But at the same time, I feel that if I hadn’t gone through that entire process, the show might’ve been something entirely different. The panic and catastrophic experience that it was - especially the first year - really translated onto the screen in, I think, an overwhelmingly positive way for the show. Although the philanthropic thing to do would be to go back, ease my pain, hold my own hand…

At the time, anyone who knows me will tell you I was absolutely convinced that there were no more than six episodes of this show. And I was so terrified when they picked it up, and when I would say this to people, they would sort of laugh and think I was being modest or self-effacing. And then I would get home and tell my wife, who was my fiancé at the time, “But I’m not joking!” If I went back and told that guy the morning after on September 23rd, which was one of the saddest days of my life, “Don’t worry; this thing’s gonna go six seasons,” I would’ve said, “Six years; no way!” It’s probably a good thing that non-paradoxical time travel does not exist.

Did you ever think the show would be such a hit? Was there ever any thought in your mind that maybe it could work if it got the right audience or the right time slot? Or was did you really think no one would ever watch it?

It’s so funny for you to ask that question through the prism of ‘I’m really thinking now about what that day was like seven years ago, the night that the show premiered.’ And I haven’t really thought about it with any degree of substance because I kind of lump it into the overall experience of the show premiering and getting really good ratings. But when we were shooting the pilot, JJ and Bryan [Burk] and I would constantly be saying things like, “This is going to be the best show ever!” We were going to give you all this fun stuff and blow up stuff and have polar bears running through the jungle and have people flying out the back of planes, but we were like, “This is the best show ever that’s going to be cancelled.” We really got it into our heads that the best case scenario was going to be kind of like a Prisoner of War legacy, where we made 13 of these things and then it became a cult classic where it was cancelled prematurely and wouldn’t that be cool. In our brains, it was just kind of a cult-y show, you know, sort of catered to our own geeky sensibilities.

It wasn’t until I saw the pilot for the first time and realized how character driven and emotional it was, and what amazing performances all the actors had given us, that I started wondering whether or not the show could connect on a somewhat broader audience. But on this day seven years ago, JJ had a party at his house for the premiere. The actors were all in Hawaii shooting, but the entire LA production entity, we all went over there and watched it. And that night there was an ABC executive who was there who said, “Hey, listen, we do research at ABC to get some sense of how these shows are going to do and we’re kind of optimistic about this thing. We think it’s probably going to do about a 3.4 in the demo. And if you can stay above the 3 at 8pm on Wednesdays, you’re gonna be just fine.” And I remember hearing that number and being like, “Okay, that’s what we’re trying to hit.” And that sounded about right to me. At that time, in 2004, that number would’ve been a success or a survivor or a performer, or whatever they would’ve called it. Hit was never really part of the terminology as far as I was concerned and certainly, no one was telling me that this was going to be a massive hit. The show was being really well reviewed; there were a number of magazines like EW and TV Guide that said this is the best new show of the fall, but they offered that up with the caveat of ‘this is a great pilot but where is it going to go from there?’ So, in my mind, that was kind of it. “Groundbreaking” was never an adjective in my wildest dreams that I thought would ever be associated with the show unless it was in front of ‘cancelled after one episode.’

The landscape of television has really changed in the past seven years and I feel if the show premiered now, it wouldn't get the same reception. We’re so accustomed to getting everything at our fingertips, we need answers to be delivered at this moment, and we get fed up if we don’t get them after 2 or 3 episodes. We’ve become a lot less inclined to really invest in a show, especially a serial show.

That pilot asked a massive commitment form the audience. If you watch a pilot with no predetermined end date, what it’s essentially doing is proposing to you on the first date, saying will you marry me for as long as I’m on. Will you stay tuned even if I frustrate you on occasion? And that’s a much bigger deal now in 2011 then it was in 2004, and I think we take some responsibility for the fact that…there are a number of people who watched the show when it started versus when it ended. We lost millions of viewers along the way for various reasons, but those millions that we lost became very jaded and discontent and sort of pledged never to go out on any more dates. So, they’re very vocal…when you see other shows, like The Event, that came along after LOST that were branded in any way as LOST-like, just saying, “I’m not going to allow myself to get suckered again.” Or, “I just can’t emotionally invest in a show other than LOST,” on a more positive spectrum.

On the creative side, I know you used to write a comic book miniseries. Would you ever go back to that?

I really loved writing that comic…and then I wrote a very short story for Action 900 this year; a Superman story. The problem with writing comics is I’m super, super slow. And I have such a tremendous amount of respect for comic book writers and artists just in terms of, a comic book issue is 22 pages, and in those 22 pages are 100 panels and essentially every panel you have to describe what’s happening and what people are saying. And there was also the idea that I was doing this completely solo as opposed to collaborating, which is what I’m used to and what I’m much more comfortable with. I really like working with other people, so I’m not going to say that I’ll never do it again, but I do feel that the degree of writing for comic books is so high that it’ll probably be awhile before I go back to it again. Unless I can con someone into partnering with me and letting them do all the work.

You currently have numerous projects in the works, the Star Trek sequel and Prometheus being two of the most high profile. Is there a project you’re particularly amped about? Or one that you really can’t wait for the public to see?

It’s a little like asking your parents which child is their favorite. I do think that Prometheus and Trek 2 are such wildly different projects, tonally and everything else. I’m very excited to see both of them come to life. I’m living the dream. The idea that I get to work with Ridley Scott or JJ again is so great…to call those people my creative partners and have the level of involvement that I did in these creative franchises that made me want to do what I’m doing now. I used to write fan fiction when I was 13, 14 and now I’m getting paid to write fan fiction, and it’s getting made. It does not get any better, literally.

Is there a project, a sequel, a comic book, or anything in particular that you would love to take on one day, whether it’s something you want to remake or rewrite?

As great as it has been doing remixes of these classic movies, right now I’m really drawn to the idea of doing something a little more original. It never occurred to me to work on an Alien movie or a Star Trek movie until the phone rang and the person on the other end said, “What do you think about this?” And the level of enthusiasm that I felt in that moment kind of governed the next few years of my life in both those cases. So, to answer your question, there’s nothing really out there that I feel is dying to be remade. In fact, I sort of feel like it’s maybe time to move away from the safety of the remake and move into the slightly more terrifying territory of something more original. Because LOST was so satisfying for me…it’s much cooler for me to be able to do Inception and be like, “This is unlike anything you’ve ever seen before.” Or people will describe something as Inception and it’s impossible to describe Inception using the vernacular of any other movie. So, I feel like even the idea of ‘sure, I’d love to make a Batman movie, but am I going to be able to make a Batman movie better than Christopher Nolan did?’ Because at the end of the day, it’s Batman; his parents got killed and he puts on a suit and beats up bad guys. I’m sure Christopher Nolan found a way to remake it in a way that’s interesting to the audience, but there’s nothing out there that’s lying dormant that I’m like, “Oh my God, the world needs to be see this again, but with my spin on it.”

Do you think you’d ever return to television? Not necessarily in a sterilized drama capacity, but in any shape or form?

I definitely want to do TV again. And probably sooner rather than later. But I do feel like the real trick is going to be ‘what are people’s expectations going to be for someone who was behind a show like LOST?’ So that it’s consistent with that idea of ‘I liked LOST, so technically speaking, I should like this other show,’ I’m going to do a show that’s entirely different from LOST, but at the same time, it has to be different enough to justify its own existence. The worst thing I could possibly do to the audience is try to generate my own LOST clone. So, its kind of gotta feel like it has the same genetic make-up of the first show, but standing next to LOST, you wouldn’t be able to tell that they were brothers. And that’s been a real challenge for me in terms of figuring out exactly how to render that idea. I want to create a show that is gong to be polarizing not just for the sake of being polarizing, but it requires a certain degree of risk-taking. So, kind of getting outside my own comfort zone again is a huge part of the creative process.

It was an unparalleled delight to speak with Lindelof, someone I already consider to be within the ranks of those he admires. Given his sold-out panel and the fan reception following the hour, it's clear that I’m among many who will continually support the future endeavors of one the business’s most insightful individuals.

Interview With Damon Lindelof - Reflections On LOST's 7 Year Anniversary & Future Projects

No less than literary icon George R. R. Martin has reignited the debate over LOST's controversial ending. Martin made the comment that when it comes to ending his Game of Thrones series he doesn't want to, quote, "do a LOST." Ouch. LOST co-creator Damon Lindelof responded with a volley of strikes from his Twitter account that did everything from insulting the length between volumes in the Game of Thrones series, to ridiculing the oddly lavender design of Martin's less than cutting edge website. Declaring the situation a 'feud' Lindelof took exception to the idea of LOST's ending becoming the symbol for all things f'd up.

The initial burst of tweets were obviously from the heart, but when Lindelof was approached by EW to discuss the matter further his media training kicked in, and it wasn't long before the LOST show-runner was lavishing Martin with praise, and offering a more cool-headed perspective on his earlier blowup. "When he uses phrases like '[messing] up the ending' or 'I felt like someone dropped a turd on my doorstep,' you know: Look, 'Lost' is my baby, and you don't put baby in a corner. I feel duty-bound, just for my own sense of integrity, to respond publicly."

Without judging the man, it is obvious that Damon Lindelof is the kind of guy who is very reactive - perhaps to his own peril. Many creators handle public criticism in a very pragmatic way: it's a guarantee that some people will hate your work. If you are a writer, painter, musician, or even a blogger, preparing to show your work for public consumption you must be at peace with the idea that there are going to be people who will love it, like it, tolerate it grudgingly, or absolutely loathe it.

George Lucas is perhaps the best example of a heartfelt creator who gets it right. Long before Lucas was nearly crucified for Jar Jar Binks, Star Wars fans were prepared to lynch him for 'muppeting-up' Return of the Jedi. His commercial and creative decisions have made Lucas a divisive figure in the immense franchise he, himself, created. For all of this, though, Lucas exhibits a zen-like perspective of his critics. After Jon Stewart skewered Lucas on air about several plot-holes in the Star Wars series in a 2010 interview, the talk show host specifically addressed the love-hate relationship he endures amongst fans, to which the director answered, calmly, "life is duality." Pressing Lucas further, Stewart asked Lucas if he felt he needed to answer his critics. Lucas replied "It's a work of fiction, it's a metaphor, it's not real, and therefore you can either like it, or not like it. Whatever."

BIG FAT CORRECTION

In an earlier version of this, I used a quote from the LA Times Blog that referenced Lindelof as saying that he and Carlton felt the finale of LOST was empirically brilliant - a statement I figured was a bit too self assured.  As it turns out, the quote came from EW and was not used in the proper context at the LA Times.  Damon was referring to his reaction to The Sapranos finale and how both he and Carlton thought IT was brilliant, and were worried after the fandom responded negatively.  LA Times, and myself, both attributed those statements to Damon's opinion on the LOST finale. This is NOT correct. SORRY! Your turn, LA Times.

George R.R. Martin Vs. Damon Lindelof - Really?

It's hard to find a piece of television as divisive as the LOST series finale. When the show bowed in May, it left viewers with an ending that was immediately torn apart by critics and endlessly praised by fans. There was a clear line between those who loved the finale and those who hated it, and, in many cases I witnessed on Lostpedia, the negativity was far louder than the positivity.

Now, however, executive producers Damon Lindelof and Carlton Cuse are saying that the haters are changing their tune.

"Strangely, what happened over the last couple months is that every single person loves it," Cuse told Entertainment Weekly. "It seems like that's actually been a change."

Lindelof added to this, reaching into his ever appropriate bag of metaphors. "The finale is like a relationship. When it ends, at first you only remember why it ended. But as time goes on, you focus on why you were in it in the first place. I think that is what is starting to happen now."

I personally loved the finale when it aired back in May, and I still love it now. Do I wish it could have been more mind-blowing? Absolutely. My opinion of the sixth season has begun to drastically evolve in the time spent apart; I have deliberately not watched an episode of season six since the finale in order to let my mind stew on it for as long as possible.

Other fans seem to be having the opposite reaction. While I'm growing slightly more cynical, Cuse and Lindelof believe that fans are growing more receptive. That's probably due to the recent DVD release of the series as a whole on DVD and Blu-Ray. Fans getting a chance to watch the entire series are now remembering, as Lindelof said, "why they were in it in the first place."

Will there eventually be an entirely positive or negative consensus about the finale? Of course not. But we're beginning to see the beginning of a great exodus toward the big grey area in the middle, it seems. The history books haven't closed on LOST.

Fan Opinion on LOST Finale Has Changed, Execs Say

They're back!

Michael Ausiello just broke that the top writers from ABC's LOST are reuniting for a new "top secret" project, which they are hoping to pitch to ABC soon.

Edward Kitsis and Adam Horowitz (former executive producers and writers of LOST) are working on a "fairy-tale themed drama" that is ready to be pitched to ABC Studios for contention in the 2011-2012 pilot season. Another bonus is that Damon Lindelof himself will serve as a consultant (but only if the pilot gets the green light). All three writers have development deals with ABC.

Ausiello also says that there is word of a female lead, but didn't say whether she would be the focal point or will serve as the equivalent to a male lead such as the Matthew Fox/Evangeline Lilly chemistry from LOST.

Rumors are saying that the project could be the long gestating Fables comic adaptation, which ABC has had the rights for. Fables is a comic about fairy-tale personalities trying to blend in our world after being exiled from their own world by "The Adversary", who has conquered their home, which is called the Homelands. I could see this project getting adapted, but would it be a good fit on ABC? Keep in mind, though, that the Fable bit is only a rumor.

While this news itself is exciting, the most interesting thing to come out of it is the backlash from fans of LOST who are still to this day non too happy about LOST's series finale, "The End", which aired back in May. Some fans have decided to not tune in and have resorted to name-calling in the comments on the article. So we ask you, readers...

Are you happy to hear that Horowitz, Kitsis, and Lindelof could be possibly back in business? Or are you still calling for their heads on a couple of sticks?

Source: Ausiello EW

Damon Lindelof & Other LOST Writers Create New Show

After LOST ended, Damon Lindelof was nowhere to be found -- except Twitter. The writer and executive producer of the six-season series embarked on a European vacation shortly after Jack closed his eye, and tweeted his way though Italy and the U.K. "Last day in Italia. Mission Accomplished. I am fat," was an example of one of his characteristic tweets. Lindelof announced his return to the states yesterday with the tweet "There's no place like home" (also the title of a LOST episode), and today he announced his return to work, beginning his first project since "The End."

"Vacation officially over. Ready to boldly go," Lindelof announced, getting his point across despite a 140 character limit: he's starting work on Star Trek 2.

Star Trek was one of last year's greatest films, and that's partially to do with the fact that it had some of the best cast and crew ever. Most of the crew was lifted directly from J.J. Abrams shows like Alias, Fringe, and LOST (including Jeff Pinkner, Alex Kurtzman, Roberto Orci, and Michael Giacchino). Abrams himself directed, and, along with Lindelof, served as a producer for the film, which was one of the most critically praised films of 2009, holding a 94% positive rating on Rotten Tomatoes.

Lindelof, along with Orci and Kurtzman, was reported to have begun writing the script for the sequel in March 2009, though Abrams told the BBC in March 2010 that no script exists yet. That's probably what Lindelof is setting off to do today -- to begin writing processes for the sequel. This might be the end of Lindelof's television career -- many have speculated that he'll abandon television entirely in favor of film. If that's the case, writing the second Star Trek film is a good way to jump mediums.

He better hurry, though: the release date for Star Trek 2 has been set for June 29, 2012.

Damon Lindelof Returns Home, Begins Next Project

Unless you live under a rock – or you're not a LOST fan – you know that the final season of LOST will be premiering on Tuesday, February 2.

In anticipation of this momentous event, ABC has released a whole score of interviews with LOST cast members and producers. They discuss the show, the fans and, most importantly, the final season.

This video features the show's producers, Damon Lindelof and Carlton Cuse.

Oceanic Air flight 815 tore apart in mid-air and crashed on a Pacific island, leaving 48 passengers alive and stranded on a remote island in the South Pacific. The survivors include a diverse group of people from different walks of life – a doctor, an escaped fugitive, a con man, an Iraqi interrogator, a married Korean couple and a man formerly confined to a wheelchair who is now inexplicably healed. As the castaways attempt to get home, flashbacks (and forwards) illuminate their troubled lives before and after the crash, when the island they find themselves stranded on begins to slowly reveal its mysterious nature. Faith, reason, destiny and free will all clash as the island offers opportunities for both corruption and redemption… but as to its true purpose? That's the greatest mystery of all.

With only 18 original hours left until the final episode airs, the island's violent shifts through time were ended by Locke when he traveled off-island in an attempt to persuade the Oceanic 6 to return. Back on the island, the survivors' stay in late ‘70s Dharmaville was over when their covers were blown and they were accused of aiding "The Others," and Sayid was gravely wounded during their flight. In addition, Ben killed Jacob at Locke's request. But since Locke's body was found to still be inside the coffin, exactly who – or what – is John Locke? And if Juliet was successful in detonating the hydrogen bomb, was she able to reset time, allowing Oceanic Air 815 to land safely in Los Angeles, or was the island destroyed along with all of its inhabitants?

On the season premiere episode, "LA X" Parts 1 & 2, the aftermath from Juliet's detonation of the hydrogen bomb is revealed.

Soundbites: Damon & Carlton – LOST 6.01 "LA X

With only 28 days remaining until the sixth season of Lost premieres, showrunners Damon Lindelof and Carlton Cuse discuss what they hope to accomplish with the last 18 hours of their sprawling castaway tale. Once the finale airs, they will not be doing interviews to rehash or clarify--both will go off to undisclosed locations for some much-needed (and well-earned) rest.

While they are vague on the storylines for the upcoming season, Cuse and Lindelof talked with The Hollywood Reporter about how they think fans will react to the series conclusion. They know that people have a tendency to judge how satisfying the end of a show is by the last episode alone, but they want people to think about the finale (which the two of them will write and Jack Bender will direct) in the broader picture of what has come before.

When asked what the tone of Season six would be, Cuse replied, "We feel tonally it's most similar to the first season of the show. We're employing a different narrative device, which we feel is creating some emotional and heartfelt stories, and we want the audience to have a change in the final season to remember the entire history of the show. So we have actors coming back like Dominic [Monaghan] and Ian [Somerhalder]. We're hoping to achieve a circularity of the entire journey so the ending is reminiscent of the beginning."

Over the past five years, viewers have seen Lost employ flashbacks, flashforwards, and time-travel shifts, so we will have to wait to see what new narrative device they are talking about, although Cuse jokes that it will be musical numbers. None of the promos leading up to the premiere contain new footage because they want people to dwell on the cliffhanger of "The Incident" and wonder what will happen as a result of Juliet hitting the bomb.

Ultimately, the most important thing that Cuse and Lindelof wanted to do with the final season was to give resolution to the characters. Their story arcs had a beginning and a middle, and they will have an end. Looking back on the work they have done on the show, they have no regrets. Sure, there were some episodes that weren't so great--that weren't well-written or didn't move the story forward--but those episodes brought them to a place where ABC recognized that Lost needed an end date, which revitalized the story.

It was all part of the journey, and now they are both excited for the fans to finally see what they have been moving towards all along. As for future projects, Lindelof remarks, "The idea of going back into the fray Brett Favre-style is not alluring to us." When they do get back to work, Cuse says that he is ready to exercise some different creative muscles, whereas Lindelof says that he wants to rip off other successful shows, perhaps "a show about vampires that work in an ad agency and one is a serial killer."

"Especially if the lead character is also cooking meth," adds Cuse.

Knowing what great storytellers those guys are, there would be plenty of people who would actually watch that. Whatever they do next, Lost has made a definite impact on television, and we will be seeing its legacy for years to come.

'Lost' Producers Share Their Thoughts about the Final Season

Damon Lindelof & Carlton Cuse are among more than 100 writers protesting the Emmys

150 showrunners have signed a petition protesting against the decision to “time shift” eight categories in this year’s Emmy telecast. Writers including Shonda Rhimes (Grey’s Anatomy), Damon Lindelof & Carlton Cuse (Lost), Matthew Wiener (Mad Men), Seth McFarlane (Family Guy) and Marc Cherry (Desperate Housewives) are outraged at exec producer Don Mischer’s decision to pre-tape eight categories – two each for producing, writing, directing and acting – in order to streamline the ceremony, due to air September 20^th on CBS.

Yesterday was the first day of the TCA press tour in Pasadena, in which a panel was hosted by CBS president of entertainment Nina Tassler to discuss the Emmy telecast. When quizzed about this controversial decision, Tassler said, “I don’t think we’re being unfair to the creative community.” She went on to stress how the change will be done in a “very respectful way” that will in no way damage the integrity of the Emmys.

Mischer’s plan hopes to shed fifteen minutes off the three-hour telecast. “We are trying to keep the Emmys alive as a television event,” Mischer argued to reporters. He went on to claim research has shown that potential viewers are turned off from the telecast as it features a large amount of shows that “mainstream viewers did not know and were not interested in”.

Although the removed categories have been split, the writers feel particularly hard done by as they only had four categories to begin with. Coming close on the heels of the WGA strike which crippled the 2007-2008 television season, they believe that this is yet another example of the writers being undervalued and underappreciated within the industry. In a letter sent by the Writers’ Guild to all its members, it was argued that this decision “conveys a fundamental understatement of the importance of writers in the creation of television programming and a symbolic attack on the primacy of writing in our industry.” They argue that last year’s telecast – hosted by five reality television presenters who clearly had not much prepared by way of script – suffered “because of a lack of scripted material”.

The full protest letter reads:

"We, the undersigned showrunners and executive producers of television's current line-up of programs, oppose the Academy of Television Arts and Science's decision to remove writing awards from the live telecast. This decision conveys a fundamental understatement of the importance of writers in the creation of television programming and a symbolic attack on the primacy of writing in our industry. We implore ATAS to restore these awards to their rightful place in the live telecast of the 2009 Emmy Awards."

Nina Tassler, President of CBS

Last year’s WGA strike threatened to tear a massive hole in the television industry. A deal was of course reached, but it appears that the writers still do not believe that they are valued enough within their industry. They argue that writing plays a “primary and seminal role” in television, and to devalue this is “ridiculous and self-defeating”. Do you believe that this is yet another example of the writers being underappreciated? Or should they just get on with it?

Sources:

EW.com, Variety, and THR.com

Showrunners Protest as Categories Cut from Emmy Telecast

In a recent interview with DigitalSpy, LOST overminds Carlton Cuse and Damon Lindelof responded to the now widespread claim by star Matthew Fox that he knows the ending of the series. Fox has made the claim, or at least insinuated it, several times over the years.  Heck, I even remember other cast members claiming that Fox knows more about the direction of the show than anybody else - apparently, that includes the LOST braintrust of Cuse and Lindelof.

"It’s probably accurate that Matthew knows the end of the show, we’re just hoping he shares it with us before we have to write it." Lindelof said.

"He’s been really reluctant to tell us, and we’re kinda jammed up because we are getting pretty near the point where we need to know what it is so we can actually put it to paper." Cuse added.

"He’s not returning our phone calls, or e-mails, we offered him large cash contributions to the charity of his choice.   He’s been completely unresponsive.  So, Matthew, if you’re watching we are ready to know the ending.  We are emotionally prepared."  Lindelof pleaded.

To say that the duo, fondly known as Darlton, have a tendency to be sarcastic would be a colossal understatement. It is entirely possible, despite what this banter seems to indicate, that Fox actually does know the ending.  Then again, it is equally likely that he doesn't.  The ending of LOST is one of the most pursued nuggets of information in the television world, why risk that anyone would blurt it out at a party or slip it into some grapevine of confidants?

(source: DigitalSpy)

Carlton Cuse and Damon Lindelof: Matthew Fox Doesn't Know 'Jack' About LOST Ending