Carlton Cuse
Carlton Cuse
Arthur Carlton Cuseis an American screenwriter, showrunner and producer, best known as an executive producer and screenwriter for the American television series Lost, for which he made the Time magazine list of the 100 most influential people in the world in 2010. Cuse is considered a pioneer in transmedia storytelling...
NationalityAmerican
ProfessionTV Producer
Date of Birth22 March 1959
CountryUnited States of America
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I think 'North by Northwest' and 'Rope' and Rear Window' and 'Psycho' are on my list of favorite all time movies. I just think his kind of command as a director was almost unparalleled, and I feel like in certain ways the sort of character-based thriller owes more to Hitchcock than anyone.
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That's one of the reasons why 'Lost' has to end: because we can't sit around and envision, 'What is the flashback for Jack in year nine?' It doesn't realistically exist.
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One of the things that's, I think, hard in television is that there's a certain sameness to a lot of television because you're working in a very constricted box, and the box is defined by the amount of money you have to spend and the amount of time you have to get ready.
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I can't say that the ending of a story is always the best part of the story, and yet there's sort of this implicit idea that the finale is somehow supposed to be the mind-blowing best episode of a show. The question is: Why is that? Why do people make that assumption?
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'Lost' is about a bunch of people stranded on an island. It's compelling, but kind of tiny. But what sustains you are the characters.
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I feel like if you enjoyed the 119 hours that precede the finale of 'Lost,' is that whole experience ruined by the fact that you might not agree with everything that we did in the finale? I would hope not! I would hope that you would appreciate the fact that you were entertained for 119 hours even if you didn't love the finale.
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We know what the ending is seriously. This is a show that demands an ending. We want to find out what is the fate of these people. Do they get off the island? What is the nature of the island? I mean there are some big fundamental questions that you want answered at the end of this show.
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We purposely design the show with a big amount of ambiguity so people can theorize about what a certain scene means. This allows the fans to participate in the process of discovery.
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By coming to an agreement, the quality and integrity of the stories we tell in this new medium will be consistent with that of the network show.
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I'm a big baseball fan, and I feel proprietary about the Dodgers. I'm not the owner. I'm not the manager. But I feel passionate about the decisions that they make, and I take it personally when they make decisions I don't like.
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In Hollywood, there is no bigger commitment you can make than to a TV series. Even marriages pale in comparison. Marriages don't require signing iron-clad multiyear contracts. At least, most first marriages don't.
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That is very much going to be at the forefront of all the new labor negotiations, particularly with the Writers Guild, because writers are at the center of television series production and all of these new ideas are ultimately writer-based. Right now, our involvement in this is about being involved in the cutting edge of these emerging technologies and learning how it works.
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The most difficult story that I've ever been involved in breaking on any of my shows was 'The Constant' episode of 'Lost,' which was when Desmond was consciousness-traveling.
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This idea that you can watch a show like 'True Detective,' and it was awesome, but is it really ruined for you if the finale is not your favorite episode of it? It's just odd to me.