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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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.
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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.
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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.
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If we lived in a time where people couldn't watch 'Lost' on Hulu or record it on their DVR, we wouldn't necessarily have succeeded. We need people to be able to catch up. Now you choose when you watch TV. We wouldn't have survived in the old days because people would have missed episodes.
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TV showrunners have become known entities to people who watch television in the way that movie directors have been known to filmgoers for a long time. When I started out as a writer and producer in television, I never had the slightest expectation that fame would be part of the job.
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'Brisco' was the first show I created, and of course, at the time I had no idea what a special experience it was because I didn't have a frame of reference. After it was over I was like, 'Damn. Shoot. That was something special.' I'm still upset that it got cancelled.
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Both my wife and I went to Harvard, and it's incredibly exciting that our son and daughter are going there and have the chance to experience it. There are many awesome opportunities at Harvard. That's one of its greatest frustrations - not having enough time to take the classes you want to take.
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If you go to a movie and it's a great experience, the experience at the end of it is always like this sadness that it's over, that your time with these characters is finished. There's almost like an achy feeling that I have when I go to a movie that I love and it ends.
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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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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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The mistake they made was hanging everything on the question of who killed Laura Palmer. In our show there is not one overriding question comparable to that. There are a series of mysteries: what is the nature of the island, what is the monster, what is the hatch, who are the mysterious 'other people'? Making sure that some of those mysteries are answerable over time is the way to prevent that frustration.
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The job of being a television show-runner has evolved and there's all these new aspects to it. It's good because there are additional avenues open for content. We have ways of expressing ideas we have for the show that wouldn't fit into the television series. But it's hard to manage our time. And we honestly put most of our time and attention on the show itself - that still is the bread and butter of our existence.
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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.
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Being a showrunner meant writing and producing a television show, period, but with 'Lost,' suddenly it became part of the job to promote and be the face of the brand. In a weird way, the story was as much the star as any of the actors, so people wanted to hear from us.