Photo illustration: von Geier; Photo by Mario Perez / ABC

When the lost final on 23 Aired May 2010, it was a very big deal It was probably the last big deal of its kind as well

Born from an idea of ​​the then ABC chairman Lloyd Braun, which was brought into pilot form by co-creators J Elaborated into a characterful, mythologically rich, Emmy-winning existential adventure over six seasons, Abrams and Damon Lindelof had become one of the world’s greatest pop culture obsessions by the end of the Aughts, just proof of what a big deal this was Was: When the White House signaled that the president could deliver his state of the Union to the same night that the sixth and final season premiere was due to air, Lost fans went online so ballistic that Barack Obama’s team made sure they got out of the way Lost

Because Lindelof and co-showrunner Carlton Cuse, along with ABC, announced their plans to end the series by mid-season three, and because the show’s secrets were busily dismantled online like none before, the fixation on the final episode was was extreme ABC’s promos for “The End,” the final chapter of Lost, hyped it as “the most anticipated episode in television history.” That sounded like a slight exaggeration

The two and a half hour finale, which cost more than $ 15 million to make, concluded six seasons of the relationship and time-jumping narrative development, playing Jack Shephard (Matthew Fox) against John Locke (Terry O) fought ‘Quinn) – who by then had become the human embodiment of the series’ famous Smoke Monster – in an attempt to save the island where the characters crashed, while also revealing that their parallel timeline is outside the island Syncing the flash sideways was really a bardo in which all of the show’s key characters came together to lead Jack into the next realm. The show would star with Jack & Co He gathered in a church and on the island Jack died in the jungle while Vincent, the Labrador of young Walt (Malcolm David Kelley) lay down next to him

When the finale aired, it sparked divided reactions (understatement) from fans.Some loved the emotional way Jack and his fellow Oceanic Flight 815 survivors’ journey came to an end; others were extremely angry about it, none more direct Getting Answers to the Show’s Many Questions. Still others were convinced the castaways had been dead all along (they weren’t dead, they really weren’t)

What was half clear at the time, and is even clearer now, is that broadcasting the Lost Finale would mean the end of something else: the truly communal television experience. Subsequent finals would and would be major events (see HBO’s Game of Thrones) even attracting a larger audience (the final 2019 Big Bang Theory drew 18 million viewers, compared to the 135 million who tuned in to say goodbye to Lost) but nothing else has since felt so massively anticipated and felt as prevalent in real time as the end of Lost, the Smoke Monster Super Bowl, in 2010

Vulture conducted extensive interviews with writers, actors and crew members who thought about the development of “The End”, the genesis of the still hotly debated episode and the cultural conversation it continues to generate. Because of course we had to go back

Despite accusations from critics that Lindelof, Cuse, and the rest of the writers just “invented” Lost over time, the seeds for certain elements and images that would appear in the finale were already beginning to plant season one in one unprecedented move at the time, Lindelof and Cuse later laid the groundwork for the show’s conclusion by determining when it would end midway through season three

Carlton Cuse, co-showrunner, executive producer, and co-writer of “The End”: We went to ABC on season three and said, “We want to end the show, I think the first counteroffer was nine seasons. We said:” No we can’t. But we needed to know [when we would end] It was impossible to move forward without a clear sense of what the rest of the trip was. The best we could do was six seasons of the year At least we could finish the show on our own schedule, which was something that hadn’t been done before

Liz Sarnoff, writer and executive producer: We shot so many episodes in the first three seasons I mean we liked 22-25 a season There wasn’t much time to speculate about the future It was more like: What are we shooting next week? But there were certain images that I know Damon always had in mind at the beginning. Surely one of them was Jack’s eye closure

Damon Lindelof, co-creator, co-showrunner, executive producer; Co-author of “The End”: I just want to make this very clear and make sure it gets printed: We’re in the field of memories I’ll give you my honest memories, but because we’re talking about memory, it’s not them to be trusted

I think already in the middle of the first season when I said openly, “This show has to end” – as part of my floor – it was “Show starts with Jack’s eyes opening, ends with Jack’s”Close eyes” As soon as he’s dead, the show is over. If it wasn’t season one, it was in the break between seasons one and two. It was early

Matthew Fox preparing for Jack’s deathPhoto: Mario Perez / ABC

Eddy Kitsis, writer and executive producer: I think we had the Vincent component too [in the final sequence, Vincent the dog of Walt lies down next to Jack as he dies] I remember thinking about it for years thought

Lindelof: There were certain things that we already orientated ourselves by and that we held onto. The first conversations about the character, who was ultimately the Man in Black, were all synonymous with “What is the monster?” These conversations already took place in this mini-camp [for the authors after the first season]

The idea that the island was a cork, like literally stopping Hell – we were all Buffy fans, especially during the season when Goddard and Fury hung around quite a bit – we called the island the cork in hellhole When Jacob Richard Alpert explained this last season, it was an idea that had been around for a very long time

Josh Holloway, James “Sawyer” Ford: I remember saying to Damon and Carlton once in season one, “You know what, the island is moving, it’s like the Death Star” and Damon got weird with me and he said, “Who did you talk to? “I said,” I didn’t speak to anyone, imagine if I never said anything and I walked away, so that’s where I stopped theorising

Lindelof: The idea of ​​the island moving was one of the crazy ideas that JJ threw out while we shot the pilot Sure, when we had the [writers] room together in season one, I remember those conversations because Carlton put it up in relation to constellations or something like that. We’ve all always loved the idea and wanted to keep them a secret. When Josh mentioned it, I said, “Oh, okay, someone is basically talking to him”

Jimmy Kimmel, lost superfan and host of Jimmy Kimmel Live! Aloha to Lost, the Post-Finale Special: Those Motherfuckers, J.J and Damon and Carlton tried to do something terrible to me, I don’t know, maybe somewhere in season two I was like, how does this end, what’s up? I kept pestering her to know what was going on. They said, “Here’s what we’re going to do. We’re going to tell you how the series ends. We’re going to write it down and put it in an envelope, and then you can decide if you want it.” want to open or not “I said,” I am not going to fall for your psychological torture “because I know that I will get up high and open that thing at two in the morning and then there would be a note inside that says, Aha we knew that you can’t wait or something. To this day they swear they would write down the ending, put it in the envelope, and leave it to me to decide whether or not to open it

Jack Bender, director of “The End”: This was our final season and we were in London to do press. Damon and I went to Tate Modern and decided to go back [to our hotel] He said, “Let me tell you the story of how we’re going to end the show” So he tells me the architecture of what’s going to happen along the way and says, “Okay, now let me tell you about Locke” We’re over come across the bridge and now going down somewhere in London and back to the hotel. When he told me about Locke, I looked over myself and said, “Damon, stop it” and he said, “Why? “And I said,” Look up, and we were outside a pub called Walkabout. I look at Damon and he looks at me and he says, “Oh my god” [The season one episode that shows Locke before landing on the Insel was sitting in a wheelchair, it’s called “Walkabout” “] I said,” I have to take a picture of you in front of it, so I’ll do that. Then he says, “Let me take one of you Picture makes a man in a wheelchair right next to him

The photos of Lindelof and Bender in front of the walkabout, which Bender incorporated into a collage (images courtesy of Jack Bender)

The photos of Lindelof and Bender in front of the walkabout, which Bender incorporated into a collage (images courtesy of Jack Bender)

Over a two-week period in the spring of 2010, the Lost staff gathered as a group and in individual writing sessions to create the final episode

Cuse: When you’re doing a show that lasts six years, there are two parallel journeys, there’s what’s happening on the screen and what’s going on off-screen when all the people doing the show are deep Connected and Connected It was even more intense at Lost because everyone realized that it was such an important thing and would likely be a huge demarcation point in all of our careers

Sarnoff: Our feelings about the finale were always, always, that it had to be very emotional and character-based because we found that the audience usually turned them down when we gave answers to riddles and the like. Mystery shows like that are so tricky because nobody wants the mystery to end, but they want answers

– Damon Lindelof

Cuse: I still remember vividly trying to stick to the same process that made us 120 and 121 Episode led I think it was really important that we tried to focus on that process That was: Let’s make a show that inspires us. Let’s not try to anticipate this or that reaction. Let’s make the finale that we want to see ourselves

Lindelof: I spent a disproportionate amount of time trying to figure out if there was any way to get Walt to the finals other than being in church and would it be weird for him to be in church because he’s grown up now ? He looks so different from the pilot, and everyone else in the church looks like they did in season one

Sarnoff: Damon always said, “There are questions that make you go, Ohhhh And then there are questions that make you go, Huh You don’t want that Huh” Especially in the last scene of the finale you don’t want to that people go Who is that kid

Cuse: Malcolm [David Kelley] grew up so we had to figure out how that works in the context of our story. It was a mystery figuring out how to bring this character back, but it felt like a missing piece, this not to do, considering what happened to him

Lindelof: There were a lot of Walt worries and that led us to do this epilogue for the DVD with the title “The New Responsible Man”, in which we dissolve the Walt of everything

People don’t consider it part of the canon I do, but the look on people’s faces when they say, “What about Walt?” and I say, “Oh, we did this thing and it’s on the DVD” – they just look like they’re going to strangle me, so I get that

Cuse: There was no way to answer all of the open-ended questions that were present in the previous 119 episodes of the series. In fact, an attempt to do so would be just didactic. We did a version of this with the episode “Across the Sea “tried, which was a couple before the end This was a very mythological episode about the origins of Jacob and the Man in Black This is what answers look like And I don’t think it’s great

Lindelof: I spend a lot of time really worrying about whether something is good, or whether people would like it or not, but I don’t think I really thought about what other people thought about the finale I thought about how I felt about it and said, “Oh, that’s what I want to do” We had talked about it for a very long time, so it was a pretty good vibe

Sarnoff: It was one of the more emotional times I can ever remember in a writer’s room. I also got cancer on season four of the show, and it was an experience that got us all very close, and that was the year of the writers’ strike and all these other things. So it had been an intense time the last couple of seasons, and it was hard to know how much the show meant to us, but also how much it meant to other people. Because the Lost- Fans were like no other fans I’ve ever met, and they were pissed off, the show ended, but at the same time they were so emotional

The lost crew is preparing for the sequence in the church Photo: Mario Perez / ABC

Kitsis: One night around nine o’clock Damon’s AIM came up – it always had that weird punch sound – and he says: Are you awake? Of course I thought He meant I would send you and Adam [Horowitz] the last piece. And he sent us this Christian scene [with Jack in church], the first draft, like literally right after he wrote it, just to see what we thought there was this feeling of specialty because we were all part of this mystery together

Adam Horowitz, writer and executive producer: I remember feeling, wow, that’s it, and it was beautiful

Throughout the show, the Lost team took steps to ensure that no spoilers leaked (note: this didn’t always work!) However, the details surrounding the finale were so in demand that they were guarded with extra intensity

Holloway: We were all so excited about the final script because we asked ourselves: How are they going to get out of there? You know, we didn’t see them end the show. I said, “Hey, I have a cabin in the Colorado mountains when you have to hide from people who are trying to kill you when you don’t finish Get it right “You know we were joking with Damon and Carlton They say,” Okay, we could bring you up on that “

Michael Emerson (Benjamin Linus): The last script was a high security script.If you were given pages that were usually on the day you were working, they were printed on red paper which is not reproducible This was especially high could not go out into the world

Maggie Grace (Shannon Rutherford): They really enjoyed the spy games, get people-scripts, it was early before Marvel took it to another level of paranoia

Jorge Garcia (Hugo “Hurley” Reyes): The scripts became more and more secret as the series progressed. I even had to buy a special mailbox with a lock so they could leave the scripts for me, otherwise they couldn’t script deliver when I wasn’t at home We just strapped it to a bench in front of my house If someone really wanted to, they could just steal the entire mailbox

Carlton Cuse chats with Henry Ian Cusick on the set Photo: Mario Perez / ABC

Yunjin Kim (Sun): I got the script, but it was thinner than I expected.Many of the scenes that I wasn’t involved in were missing. But that’s how the last five or six episodes were. In the sixth season, many were missing Pages I definitely didn’t get the whole exchange between Jack and his father Christian Shepherd

Emerson: My entire appearance on Lost was in the dark. I felt comfortable with that. So the finale was a lot of guesswork as we didn’t get a full script – lots of questions – how things were put together, what they would mean, how they were would look like

Henry Ian Cusick (Desmond): I’d called Damon and Carlton about certain things before but never said, “What’s up?” And here I said, “I need to know what’s wrong with my character.” They said, “We don’t want to tell you the ending. Are you trying to get the ending out of us?” I said, “No, I just have to do my job I don’t really know what’s going on ”

I couldn’t understand what I was doing [sideways in lightning] Why did I want to bring everyone back to church? Why did I wake everyone up again, what was my goal? In the end I got there I knew what was going on when we were filming it

Cuse: We were really concerned that someone would find out what was going to happen in the big church scene. So we hired two extras [during production] who looked like Sun and Jin and we put them in wedding gowns and placed them outside the church and we picked them up and down so that any paparazzi or people trying to find out what was going on would think we were hosting Sun and Jin’s wedding

Kim: What? No no no In a wedding dress there was no double. No way

Garcia: I think they had a woman who was like a Sun double dress inside a wedding dress, and they would commute her regularly [to hire] I never met her I remember seeing a woman in her wedding dress and they often referred to this scene as Sun’s wedding, even though we knew that wasn’t something that would go on in it

Kim: Wow, I had no idea this was going to happen. You didn’t tell us anything we didn’t need to know

Illustration: by James Clapham

The production of the Lost Finale, which took place in March and April 2010, was an emotional experience for members of the cast and crew who knew it would be their final shoot in Hawaii. The job could be physically demanding, daunting and daunting Occasionally a little scary (there was a little mix-up with a knife)

Holloway: I remember the [first] day we got to work, we were working on the beach, all the chairs around, and we all looked at each other smiling “Well they did it, they damn it done again It’s very good What do you think? ” Some loved it, some didn’t love it, but we all thought it was a good script and we were excited to do it

Cusick: I think people were happy that it ended. I was one of the few who said we could do another season. There’s a lot more to talk about here

Terry O’Quinn (John Locke): It was physically demanding because you know I’m not a kid I think I was 58 then I remember Matthew [Fox] running down the hill and diving on me and thinking : That will leave its mark

Holloway: I remember how crazy our stunt guy was I loved him He’s been my stunt guy all these years and the stunt coordinator at that point: Mike Trisler, former Special Forces guy So he says: ” Okay let’s do this I’m going to die “I think,” Don’t die, brother. It’s about 70 feet, just jump, you know? “He says,” No, it’s cool, it’s cool when I die “You are damn crazy! And he went ahead, 70 feet from that cliff They have plaques on that cliff of the people who died so it’s pretty important I remember being on top of it and making the wrong start like you’re going to do You have to get pretty close to the edge. Oh shit, that was terrifying

Wet Josh Holloway That’s it That’s the headline Photo: Mario Perez / ABC

Bender: We were really up there [on that cliff] The actors really were up there. Safety always comes first on any of my sets. It’s just like that. I think our line producer was really reluctant to shoot up there, and that for the right reasons.Since it came from the sea and the waves broke, the spray was up there at times, which made it visually fabulous, but also all the more dangerous. So we planned the action, absolutely safe and stopped all shots

But there was a moment in this sequence that I will never forget as an executive producer, as a director and as a person

O’Quinn: There was a big fight [between Locke and Jack] with knives and all that stuff

Bender: We had a fake knife and a real knife The real knife is blunted, as always when you’re making a movie But it’s a real blade so it doesn’t wobble because all the rubber blades do this a little bit Terry worked with a real knife and the fake knife we ​​had taken a number of shots in the sequence and probably came near the end of the shoot. Terry was well rehearsed when he had the real knife in his hand, though it was boring, and when he dropped it and right next to him was an inch away the wrong knife

O’Quinn: We wrestled and wrestled and the fire hoses went and there was water and at some point I had the real knife out [Matthew] saw me pull it out and then we wrestled with it

Bender: We made this switch with the blade and Terry picked up the wrong one

O’Quinn: I dipped it in Matthew’s side. Well, Matthew had a block [under his shirt] that was probably about the size of your extended palm where I was supposed to stab him. It was just about him from where to stab him I don’t think I reached out my hand to wait for the exchange because we were involved in the action so I stabbed him with a real knife

Bender: The scene ended with Matt rolling off and the next thing I know these guys are fucking laughing I’m leaving, what’s up? Terry says, “I screwed it up, I went, oh my god”

“So I stabbed him with a real knife” – Terry O’QuinnPhoto: Mario Perez / ABC

O’Quinn: Fortunately, I stabbed him where I should so he wouldn’t pierce his block I don’t think any damage was done When I tried to stab him and [the blade didn’t retract] I was clear that I said, “Oh, that’s not the right one, but in general you’d have trouble slicing butter with it using a knife in a fight like this, the real knife they don’t give you a dangerous knife to wrestle with

Emerson: I mainly remember getting injured [during the production of the finale] I tore the meniscus in my left knee on set. We shot a scene, it must have been maybe three or four episodes before the finale I just sat there waiting for the next camera shot and someone said, “Okay, the camera is up, let’s go, and I was sitting cross-legged and heaving myself out of that position like a young man, but it was more than my knee could endure and I heard something snap

There is one scene [in the finale] where Hurley and I meet by a rocky creek and I thought, “Oh my god, how do I manage to walk on these slippery rocks with a bad leg and what happens , when I go? down “and all that. That was a bit of a preoccupation with me, so maybe I wasn’t as spiritually present as I would have liked

While previous seasons of Lost featured regular flashbacks and later flash forwards, the sixth season featured so-called Flash Sideways: insights into the characters in a parallel universe where Oceanic 815 had never crashed. “The End” became that Sideways flashing empire, in Lindelof’s words, exposed as a bardo where several characters’ memories of their lives on the island were triggered by touch or moments that reflected things that had happened after the crash.One of the more emotional triggers was that the lost power couple Sawyer and Juliet realized that they had met in a different life on the island

Photo: ABC

Lindelof: From the writer’s point of view, it is impossible for me to convey the rules of sideways movement to you in words, except to say that we called it a bardo in the writer’s room, which was largely based on a construct in the Tibetan Book of the Dead, that is, when you die you experience an afterlife where you do not know you are dead, and the whole purpose of that afterlife is for you to become aware that you have died p>

I was able to give the show so much rope sideways because it was literally the place they made together so they could find each other The invention and Dickensian coincidence that we loved so much on the show, could really let the freak flag flow in this material

Holloway: I remember saying, “Man, is this getting cheesy?” I get a Coca-Cola and I touch her hand and I have to do this thing where I have this flash of memory We all thought, oh man, I wonder if it will work and when they did it was great I thought

Lindelof: We made sure people understood that Sawyer and Julia are going to be together forever. These things were a must, they had to be serviced And hopefully the good side of the fan service, where the fans really are want you to listen to them

Elizabeth Mitchell (Juliet Burke): I remember [while filming] the air conditioner rattling like crazy and sounding crazy and then we all talked about it. Then I just looked at Josh and the characters were just there and it was – I just remember thinking: Oh yes, here we are

Holloway: Elizabeth was so cute, so cute as a person You can’t shake her I tried to make her mad I was just an asshole at times, like I was Sawyer-ish on set She would just say, “Oh , Josh ”

Mitchell: Jack filmed that scene and I was so grateful that he understood that we need it to go until [the right emotion] is there and I think we did

The most emotional scene in the episode comes towards the end when Jack arrives at church and learns from his father that he is dead. Then he enters the sanctuary of the church and finds everyone he knew on the island, just like that how he remembers the last time he saw her that reunion cuts off between shots of Jack who saved the island and stumbles to his final resting place in the jungle

Barry Jossen, former head of ABC Studios: I woke up the next morning [after reading the script] and there were a few thoughts about what they had that bothered me so much that I couldn’t let go

So I called her [in Hawaii] I think I called Carlton first. It was good dialogue, it was a good back and forth Carlton is an intellectual processor, so he kind of worked his way through and asked questions, “Leave me talk to Damon, ”he said 30 minutes later, Damon called me back

We had our back and forth and my memory is what bugged me was the last moment in the conversation between Jack and his father I was probably looking for more answers and maybe more clarity at that moment, I think that might have happened I remember what Damon said to me, “I’m going to start crying You really piss me off” “What do you mean?” “Because I’m trying to figure out what you need or what you want or what you say and I think it makes sense I’m just like that” – I don’t remember what his exact phrase was – “I’m just so ready that things are moving forward ”

They are literally in their hotels preparing to go to that set and film the final moments of the show. And I am on the phone and say a version of “Yeah, but”

Photo: ABC

Lindelof: Barry’s memory seems to coincide with my own I can’t remember what dialogue was added to satisfy his note, I know “This was the place you teamed up to find each other” already Since it was possible that the additional dialogue was Jack asking for clarity about what was real, and Christian said, “It was all real, it all happened”, but since I no longer have access to the various drafts and I honestly couldn’t I’m not telling you

Jossen: We had our conversation and he said, “Okay, let me think about it I get it I know what to do” There’s so much brilliance in Carlton, there is so much brilliance in Damon you went and made their work and i mean i loved it

Lindelof: There are things that make me forgive a little while it’s not a regret, but I think if we hadn’t had that damn stained glass window we would have got a higher grade in the finale The literal nature of the window – that’s part of it who made me grit my teeth a little and say, God, you know why? We really thought this was a good idea at the time, so we have to forgive ourselves But it’s just a bridge too far

– Damon Lindelof

Bender: My idea was to keep all the actors away from each other until we got into the room in the church on set because it would be so great if they didn’t see each other until they are there and yet I knew that this cannot happen when wardrobe, hair and people run into each other and you know that people are people

Garcia: I remember there being so many cast chairs from virtually everyone who has ever been [on the show], just all in two rows with everyone’s name on their backs

Lindelof: I remember a lot that Harold [Perrineau] wasn’t in church. And I remember why we made that decision because for Michael it would mean Walt would have to be there too. And then got Cynthia Watros an iced tea at Craft Services And I thought Libby was in church? This is not an argument with Cynthia We wanted Libby there because Hurley wanted Libby there I just remember it was not only very emotional but also very strange

O’Quinn: That was wonderful. It was kind of a class reunion and a graduation party and a family reunion, kind of all at the same time

A pause for applause while filming the scene in the church Photo: Mario Perez / ABC

Bender: I have four cameras and I said to the brilliant cameramen, “I just want you to capture these moments, and I want you to follow the characters, wider shots, closer shots and pretend we’re taking a documentary about all these actors getting back together and just doing it all, a lot of it was just spontaneous. Then I’d say to Jorge, “Go over and take Matt and hug him with a bear and it was fabulous. It’s everyone’s imagination about what happens when.” we die That you are with the people you have lived with, with whom you have loved and argued, and that it is a room full of forgiveness

Emilie De Ravin, Claire Littleton: It was really art that imitated life or life, in a sense, because we only wander around at night, chat, laugh, catch up, hang out on the trailers and then go to church and do the same. Not exactly, but it was a very special evening

Grace: I think we had some kind of weird fake baby for Emilie de Ravins baby so we messed around with whose baby it was and took lots of pictures of the baby, it was kind of a creepy doll, I think we all got in later Maybe had a glass of wine that night

Photo: Mario Perez / ABC

An epic finale deserves an epic party, and that’s exactly what Evangeline Lilly gave her fellow campaigners click here to read the cast and creators who remember the event, including the unexpected guest who was in and out of the Stage occurred

Holloway: I think we got drunk while we were doing it too. A little bit you know, because we all partying. That was the last scene we all did together, so we slipped over to each other’s trailer and drank a glass of wine, went back in and made another scene It was great

Cusick: I brought my family – my wife and kids were there I remember people playing guitar and singing Somebody sang “Hallelujah” I don’t know who it was It could have been Terry

O’Quinn: “Hallelujah” was in my repertoire at the time. I always took the guitar to the set because you could always step to the side, and Naveen [Andrews who played Sayid] always enjoyed playing it

De Ravin: Daniel [Dae Kim] actually posted a video recently I think it was on his Instagram and I reposted it. It brought back so many memories. Sitting next to Maggie and swaying back and forth Oh, it’s so cute. That wasn’t just, “Oh, it’s the finale and the final scene “The entire course of the show, that’s the mood. At three o’clock in the morning, I sat on camping chairs on the beach with a fire – because we had them on the set – on the ‘wrong but real’ fire and sang Just this camaraderie of sunburned mosquitos Friends on the beach who just sing and relax and really try to understand how lucky we were to be able to film in such a beautiful place this was our job and we all felt very happy

Lost episodes usually came together on tight deadlines, and The End was no exception. Editors began working overtime on the episode, both during production and after it was completed, and Michael Giacchino composed and oversaw the recording of the episode Score

Michael Giacchino flanked by Cuse and Lindelof while he was recording the finalePhoto: Carlton Cuse

Cuse: I think we had a total of eight days to work on a two hour series finale and then the show had to march through all of the various other pieces of post production that were laborious including sound mixing, visual effects, music I mean everything was crazy

Ra’uf Glasgow, producer who oversaw post production: The last two months of the show were really seven days a week, either starting with editing or then mixing and doing the other aspects of post production

Michael Giacchino, composer: I would normally have three days to compose and orchestrate the music, and then we would record it on the fourth day. It wasn’t much time and it was a two-part finale so there was a lot to admit do And it was extra long episodes, so there was more music than normal

Mark Goldman, Editor: All of the editors, I remember, have had different times where at one point we cried when we saw I was working with Jack and his dad on the side where Jack finds out he was We had a screening of the show and Damon and I went back to my room to check out this scene. We started just talking about fathers and dying and things like that. Then I said, “All right, leave this to me Take notes for you Give me like half an hour “He says,” OkayAnd he jumps out. I turn around and start cutting and about 30 seconds later I suddenly burst into tears. One of the other editors was looking for network managers and at the end everyone, including the editor, sat crying

Giacchino: I never read any of the scripts and then got to the final I definitely haven’t read that. They were very protective of everything in general anyway. Not that I couldn’t have got them if I wanted, but it just worked better

Jossen: That day, when we all saw it together for the first time, there were a lot of tears in the editing room. A lot of tears I mean, Stephen Stemel [one of the other editors] – literally two thirds of the way in was the most prominent sound in the Room that he was either reaching for his Kleenex box to look for another Kleenex, or just sniffing

Giacchino: I would start at the beginning of the episode and work my way through that way I was reacting to seeing it and whatever I was experiencing when I saw it, that was then incorporated into the music I found this one better experience for the audience was to feel like it is more spontaneous. You literally get my reaction, my emotions that I had in the moment when I first saw this

Goldman: The only time [Ra’uf] left [the mix stage] was when his wife gave birth to a baby boy. That’s literally true. In the middle of the finale, the water of Ra’ufs burst Woman

Glasgow: I drove home and got home in time for him to be born. He was born at home. I slept a couple of hours and got mixed up a couple of hours late, but got straight to it the next morning returned to the mix phase

Goldman: What’s cool is that the baby made the crying when Claire gave birth sideways

Glasgow: It wasn’t my son It was my daughter She was, I want to say 2 or 3 These are the tricks you do in the end You say, “Oh we need this thing and we don’t have it” Then it’s kind of like, “Oh, come over here and cry into my iPhone”


When the finale aired, some viewers walked away thinking that the Oceanic 815 survivors were indeed dead to begin with, a post-credits sequence may have inadvertently contributed to this impression, but the spread of that disinformation is now ending / p>

But what does it mean? (Answer: Actually nothing)

Cuse: I really only have one regret about the whole trip from Lost and that was at the very end Barry Jossen, he called Damon and me and said, “You know, I’m worried that we’re going to get out of this incredibly emotional Come out at the end of this show and then get into a Proctor & Gamble commercial and that’s not going to be good. Is there any way I can soften or improve that? Is there any footage we could include in the end to lure the audience out of the show and into the commercial? “

Jossen: He calls me back at some point: “I talked to Damon. We think it’s a really cool idea. It’s the wreck of the plane and the various props and the beach and the water and everything is beautiful. And we always have the photos loved and i always thought wow wouldn’t it be cool to find something to do with this? So what we might find is that we cut a montage of these photos and put them at the end of the episode ”

Cuse: The only thing we had or could find was that at some point in the first season winter came and all parts of the plane had to be removed from the beach because in Hawaii in winter on the north coast of Oahu the changes entire geography Huge waves come in and the beaches erode It was a threat to the environment Before any parts of the Oceanic plane were removed from the beach, a unit went out and filmed them

So we put the footage at the end of the show and I think the problem was that the audience was so used to Lost that it had all meaning, purpose, and intent so they ended up reading into this material that they were dead That wasn’t the intent The intent was just to create a narrative pause But it was too meaningless It took on a different meaning And that meaning I think skewed our intentions and helped create this false perception p>

Garcia: I thought this would be a nice piece to decompress in the end. Then the next day I found out how people started interpreting it as a thing and I said, oh, okay and people still say it People still talk about it the same way

Lindelof: It has never crossed our minds that looking at the wreckage of the plane on the beach above the end titles is perceived as some kind of massive reveal in the way that French cinema, as in Caché, is perceived as Roll the ending title then they’ll give you the big “oh my god” moment

– Josh Holloway

Cuse: I think we could have done a few things to make it clear that you shouldn’t be taking this away, but one of the show’s big intentions was to provide the intentional ambiguity and the ability to digest and interpret Lost the way they want it when they want and at some level you can’t have it both ways

Holloway: I’m still confused I’m being honest with you I think that’s a theory We could all have been dead Or we could have had such a purgatory I’ve always thought that and still think it was more For me it makes more sense. Then they somehow got around the parallel life in the end. But I don’t know, because they always said: “No, it’s not purgatory”

Emerson: I don’t think I could have explained the ending to anyone right now [when I saw it] but I must have seen it again later. And then it started to fit for me and I started in able to describe what I thought it was or what it meant to be more effective And then as time went on I got happier and happier

Sarnoff: This [coda] didn’t help. I also think that a lot of people had said that all along and they wanted to be right. You know what I mean? It’s like you have a theory and you can make it work based on the evidence that ABC does and the way we told the story I think you will try

Jossen: There were always Easter eggs now, if we were to give them the pictures like they have never seen them before, it would make sense that the superfans would want to make sense of it now, and they thought that was intended for them This is of course a perspective as we were in the making of the show and all superfans were in the experience of seeing it

Lindelof: Whether you like the finale or you don’t like the finale, that doesn’t really annoy me. But this idea – they were dead all along – negates the whole show, it negates the whole point of the show I’m in the run around the time came to believe – whether I’m right or wrong, this is my consolation – that the people who truly believe they are dead all along haven’t seen the last season of the show, it just got the finale And a lot of them were on the show for season three. I found that when someone said to me, “Were you dead all along?” and I asked her, “Do you know who Lapidus or Faraday are?” You Couldn’t Answer These Questions Lapidus and Faraday aren’t characters just popping over for season six It was main characters who featured prominently in what I would call the third act of the show. Again, this is not verifiable data. There are probably people out there who will say, “I’ve seen every single episode, and I believe , they were dead all along”” I guess I’d say, “Let’s discuss you’re Phyllis Schlafly and I’m Bella [trigger] and let’s dance”

Braun: When you have a show that blew up like Lost and how Lost got into the zeitgeist and like Lost is loved, it’s nearly impossible to end a show like this and keep everyone happy, I tell you, it is an impossible task

Bender: What I loved about the finale, and that we were crucified for and still are on occasion, is that the show Lost wasn’t ultimately a Marvel-esque super-sci-fi ending, which I am among the many things Most proud of the show is ultimately how we live our lives, who we live with, and how we die

Photo: ABC

O’Quinn: You only heard the negative. I heard a lot about it, but I didn’t take it personally. I’ve often thought throughout the show if you don’t get it, you just aren’t paying attention or it’s just being not your cup of tea. It was written well enough that if you had just watched and paid attention, or at least came to some conclusions on your own, you would understand what they were trying to say

I know dissatisfaction with the end of a show is common.Even I was dissatisfied with Game of Thrones I thought that seemed like they somehow rushed out the door, they put on their clothes and they were gone, but me wanted to write them a letter and say: “Welcome to the club”

Cusick: The show is not about the ending.The show is the entirety of the six seasons that you had, trying to remember all of the emotions you had when you couldn’t wait to find out What was in the hatch That was the show It was a time when there was no binge watching so you had to wait until next week which is annoying, you know? And yet so delicious

Kimmel: The idea that people would put so much emphasis on what happened in the end misses the point. The point of this show was the fun and the mystery and trying to figure out what was going on and maybe is that still part of the fun that we still haven’t figured out exactly what was going on

I think it really has been the most interactive show ever, not since the Bible so many scholars worked so hard to interpret what was written

Holloway: I can’t wait for my daughter to be the right age for me to see it with her. She keeps trying to see it with me, but my wife is such a fanatic. For example, “No. , that’s not appropriate “So I’ll sneak in and see it with her

Garcia: I met Damon at an airport [last] … March? I was on my way to Atlanta to do an episode of MacGyver It was right when we learned that this apocalypse was beginning I spoke to him and his wife and then he waved his son over who is now so grown [Damons ] says, “He just started seeing itHis son was great, so excited He recognized me and was very excited to meet me I thought, oh this is cool His son is going to be a fanThis is great

Sharon Ross was phenomenally involved in Report Door’s success. She’s the super dedicated guy that’s always glued to her computer.She talks less, but doesn’t stand behind when it comes to work. She’s a tech freak and contributes to the tech space from Report Door at

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Das Ende

Weltnachrichten – AU – An oral story of the daring, divisive “Das Ende” – door report

Source: https://www.reportdoor.com/an-oral-history-of-the-daring-divisive-the-end/