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I would say that my fatal flaw, as a human being, is that I need people to like me, and if they don't like me, I will obsess over it - and try to change my personality until they like me - even if they don't like me for reasons that have nothing to do with me, and even if they're strangers.
When someone says something in an interview, the beauty of Twitter is that it's a platform for instantaneous response.
Good twists are enormously hard to come by, and I think the best ones are earned ones. The idea that a story can take a left turn on you, it's easy to do, but it has to be done very, very carefully, or else you risk losing the audience's trust.
As cliched as it sounds, if you have an original voice and an original idea, then no matter what anybody says, you have to find a way to tell that story.
'Star Wars' is a galaxy a long time ago, far, far away. 'Star Wars' is not about our future.
I've always felt that really good prequels should be original movies.
Connecting dots is not that rewarding of an experience.
My gravestone will say, 'Here Lies Damon Lindelof - Or Does He?'
The interpretive element of 'Lost' - the fact that you immediately need, as soon as the episode is over, to seek out a community of people to express your own thoughts about it, understand what they thought about it and form an opinion - that's the bread and butter of the show.
In really, really good science fiction, the line between the science and the fiction is blurry.
The fundamental law of nature is to not know too much about yourself.
My father - until the day that my dad died - didn't know how many points you scored in a touchdown. He could say there were nine innings in baseball, but no intricacies of the sport.
I saw myself as a teacher's pet but with a little of Ed Haskell mixed in. I was the teacher's pet, but that didn't mean that I was trying to pull one over.
The fun thing about doing origin stories is you are introducing the audience to characters.
Hindsight is 20/20, but the moral of the writing for me is that when you're feeling very scared and nervous about something and you're fairly convinced that it could be a massive disaster, that's exactly the idea that you should do.
Once you spend more than $100 million on a movie, you have to save the world.
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.
Sometimes we get frustrated ourselves and decide it's time to download a big chunk of mythology. And then the audience says, 'I find this confusing and alienating and too weird.' So then we pull back, and they say, 'You're not giving us enough'.
There is no suspense in inevitability.
All great sci-fi is: Be careful what you wish for.
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