Die TV-Landschaft hat sich im vergangenen Jahrzehnt drastig geändert. Kinokritiker und Leute “mit Niveau” blicken nicht mehr hochnäsig auf das Fernsehen herab, sondern genau dort findet man heute die besten Autoren Hollywoods. Freunde diskutieren nicht mehr wie schlecht Episode I war, sondern wie unglaublich krass die letzten fünf Minuten von Breaking Bad waren. Eine ganze Reihe von Serien wie Mad Men, The Sopranos oder The Wire haben diese Wende eingeläutet, die Adam Sepinwall in seinem neuen Buch The Revolution Was Televised: The Cops, Crooks, Slingers and Slayers Who Changed TV Drama Forever (Amazon-Partnerlink) analysiert. Eine der Serie ist zweifellos LOST. Einen Ausschnitt über die Anfänge der Serie und wie hektisch alles war, gibt es bereits online einzusehen.

“J.J.’s whole attitude was not defiant,” Lindelof says. “It was the idea that we had the luxury of pitching them exactly the show that we wanted to make, and if they didn’t want to do it, so what? Every other pilot was already cast — deep into casting. We have a week to basically cook the most ambitious, expensive television show ever, and if they want to make it, great. And if not, no worries.”

There was no time to write a full script, so Braun asked them to write a detailed outline that he would use to decide whether to go forward. He read it on a Saturday morning on the way to the home of his friend Marc Gurvitz, a veteran talent manager, and decided, “This is one of the best shows I have ever read. I walk into Marc’s house having just read it, and I go, ‘Marc, you see this thing? ER.’ And I throw it down on the table.”

Lost was a go, on an absurdly accelerated schedule.

Der ganze Auszug: ‘I Pretty Much Wanted to Die’