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
thinking brain actors
As a writer, I always think about who my prototype actors are, in my brain. It's helpful, as a writer, to think about that.
dream betrayal real
We feel like 'Lost' deserved a real resolution, not a 'snow globe, waking up in bed, it's all been a dream, cut to black' kind of ending. We thought that would be kind of a betrayal to an audience that's been on this journey for six years. We thought that was not the right ending for our show.
discovery ideas roots
The creative process is not like a situation where you get struck by a single lightning bolt. You have ongoing discoveries, and theres ongoing creative revelations. Yes, its really helpful to be marching toward a specific destination, but, along the way, you must allow yourself room for your ideas to blossom, take root, and grow.
ambiguity amount certain design fans people process purposely scene
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.
believe book experience reading reads render special unique version
The experience of reading a book is always unique. I believe that you render a version of the story, when you read a book, in a way that is unique and special to each person who reads it.
actual basically discovered emerging lost mother
The show is the mother ship, but I think with all the new emerging technology, what we've discovered is that the world of Lost is not basically circumscribed by the actual show itself.
agreement coming consistent integrity medium network quality stories
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.
passionate personally
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.
bigger marriages pale require signing tv
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.
center cutting edge emerging forefront ideas involved labor learning production series television ultimately writers
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.
breaking episode shows
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.
black confound expectation living looking love people rooms saying somehow time
The thing we love most about Hurley is he's somehow able to say what people are saying in their living rooms just about the time people are saying it. We thought everyone's expectation would be for her to have a black husband. We wanted to confound everyone's expectation. Everyone would be looking for the 50-year-old black guy.
arrive audience creator engaged follow number people sometime time
Television used to be made much more in a vacuum; the only feedback the audience had for a long time was in a Nielsen number that would arrive sometime after the show had been broadcast. And now, people are just completely engaged on so many levels, and I think that you have to find a way as a show creator to follow your own compass.
ahead both fans far mapped time truth
Sometimes the fans want it both ways, of course. They want to feel like they're influencing the show, and at the same time, they want to think that showrunners have the story all mapped out in our brains. But it can't be both. In truth, we were usually far ahead of the fan feedback.