Damon Lindelof fala sobre Lost

Acima, temos a íntegra do bate-papo de um dos criadores em novembro do ano passado na Golden Apple de Los Angeles (falei disso na época) e vale ficar atento ao finzinho do papo (em que ele começa falando sobre o gibi que estava lançando, o Ultimate Hulk vs. Wolverine, e até fala da adaptação de Dark Tower que está fazendo em quadrinhos), quando ele solta algumas coisas legais sobre o final de Lost.

E nesta entrevista para a blogueira de TV do Chicago Tribune, Maureen Ryan, ele e Carlton Cuse comentam sobre o impacto que pode ter a cena final da série. Cuidado que aí na frente tem spoiler de Battlestar Galactica, Sopranos e do St. Elsewhere, portanto, se você não viu, se liga:

Lindelof: Yeah, you can’t break up with somebody and say, “Let’s not go out anymore, but I still want to sleep together, I still want to live in the same house, and we should still go on dates all the time.” No. If it’s over, it’s over.
We’re trying to create a season that really feels like it’s over as opposed to [left open-ended]. People keep saying, “Is there going to be a Sopranos movie?” And I actually feel the question in itself is offensive to anybody who likes the cut-to-black [ending] because it completely neutralizes the deftness. Carlton and I happen to be huge fans of the “Sopranos.” But to do a “Sopranos” movie, you could never watch that series finale again with any level of respect [if you know] know that something followed it.
Cuse: The other phenomenon which is interesting is that the immediate interpretation of the ending of “Lost” may not be the same as the ultimate interpretation of the ending of “Lost.”
I mean, you as a “Battlestar” fan probably have experienced the sensation that there was an immediate reaction to how “Battlestar” ended, and [now] it seems like there’s a bit of and evolving reaction to how “Battlestar” ended. And we anticipate that the same thing might happen with “Lost.”
There’s an instantaneous sense of loss, and using the “Sopranos,” again as an example — a lot of people were sort of outraged because the story ended and it wasn’t conclusive, but then with some perspective and a little distance from the show, the metaphor of what Chase was doing there became clearer and that seemed to resonate better over time than in the immediate aftermath.
Lindelof: What was so impactful about that ending is, as a huge “Sopranos” fan myself, I can tell you almost nothing about that episode other than that Anthony Jr. was considering going into the military and then he got into a car accident. But the episode itself is like completely like sand through my fingers. I don’t remember anything about it. All I remember is that [last] scene…
Ryan: The only other thing I remember, apart from the final scene, is Meadow trying to park the car.
Lindelof: Right. All I remember is that Journey song. What are people going to take away from the final episode of “Lost?” Will it be the final image?
Cuse: Will it be the episode in its totality?
Lindelof: We keep getting asked about the final image and we’re like, “Yeah, sure, we know what it is.” But people are acting like the final image of the show is revelatory in some way, as opposed to maybe [what’s revelatory] is what happens in the first hour of the finale.
Cuse: But what’s happened is, I think people have expectations that have grown from other shows, where that last moment is such a sting. Whether it’s all of a sudden you see a snow globe [as in “St. Elsewhere”] or you cut to black or somebody wakes up and it’s all been a dream. Whatever it is, it’s like that final twist negates or completely overshines everything that’s come before it.
Lindelof: Which is amazing because the fact that people invested six years of their lives and over 120 hours on “Lost” and they’re going to pay it all off in this 30-second scene. “That is going to change the entire way that I feel about the show.”
Cuse: We hope it doesn’t.

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