In Really, Really Good Science

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.

I'm Trying To Focus As Much On The Here And Now As Possible. To Live My Life In A Way That The Humans That I Know Here On The Planet Earth Feel Like They've Been Treated With Respect By Me, Whether They're People That I'm Very Close To Or The Audience Who's Watching My Work.

In Really, Really Good Science Fiction The Line Between The Science And The Fiction Is Blurry.

I Think That At The End Of The Day I'm Drawn To A Certain Level Of Ambiguous Storytelling That Requires Hard Thought And Work In The Same Way That The New York Times Crossword Puzzle Does: Sometimes You Just Want To Put It Down Or Throw It Out The Window, But There's A Real Rewarding Sense If You Feel Like You've Cracked It.

Hopping Around Time In A Non-linear Storytelling Fashion (on 'lost') Allows You To Bring Back Characters Who Are Dead And, In Some Cases, Buried. Now That Time Travel Is The Story Itself, It Opens Up Even More Doors. So When An Actor Reads That They're Getting Killed Off On The Show, They're Basically, Like, 'okay, But Should I Still Bother To Show Up Next Week?'