American - Producer | March 22, 1959 -
The creative process is not like a situation where you get struck by a single lightning bolt. You have ongoing discoveries, and there's ongoing creative revelations. Yes, it's 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.
Carlton Cuse
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I can't say that the ending of a story is always the best part of the story, and yet there's sort of this implicit idea that the finale is somehow supposed to be the mind-blowing best episode of a show. The question is: Why is that? Why do people make that assumption?
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That's one of the reasons why 'Lost' has to end: because we can't sit around and envision, 'What is the flashback for Jack in year nine?' It doesn't realistically exist.
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'Lost' is about a bunch of people stranded on an island. It's compelling, but kind of tiny. But what sustains you are the characters.
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This idea that you can watch a show like 'True Detective,' and it was awesome, but is it really ruined for you if the finale is not your favorite episode of it? It's just odd to me.
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I feel like if you enjoyed the 119 hours that precede the finale of 'Lost,' is that whole experience ruined by the fact that you might not agree with everything that we did in the finale? I would hope not! I would hope that you would appreciate the fact that you were entertained for 119 hours even if you didn't love the finale.
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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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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.
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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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'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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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.
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I really think that as good of a job as you do as a writer, you're absolutely indebted to the actors that have to deliver that material.
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