The guide stated:
HOW DO YOU SERVICE THIRTEEN SERIES REGULARS EVERY WEEK?
It's all about balance.
Without question, The Pilot platforms Jack and Kate as the leads of the show. The series will certainly keep these two dynamic characters at the front and center of every episode. This leaves eleven characters. Of course, all can't share equal screen time, but over the course of the first six episodes, each and every one needs to have the spotlight on them so we (and the audience) can begin to flag who "pops."
The operating thesis is this:
accessible to fresh eyes. Most importantly, by valuing quality over quantity, we always leave our audience wanting more.
Additionally, LOST will rely heavily on VIGNETTING. Short scenes which service the overall and on going arcs of island survival; in other words, the "business" of a scene while characters are talking to each other.
If Sayid decides to build a raft (a project which will cover the span of several episodes) we can watch this process unfold even as he deals with "the crisis of the week."
Something else worth mentioning -- The beauty of having such a large (and capable) cast is that with thirteen characters, there are 78 different combinations of scenes between just two people. We could go through two seasons and never come close to exploring all of them.
The producers sold the idea that a large main cast was an advantage to allow seasons of possible character interactions. But one thing was clear: Jack and Kate were going to be the focus of the story action. The rest of the characters in turn would be supporting or contributing players - - - unless the audience "pops" of likes/identifies/wants more of a character.
The one thing that the large cast did allow was the audience to immediately identify with characters with people in their own lives (including themselves). It was not mentioned by TPTB in the guide, but the diverse group of characters allows for audience members to gravitate toward people they identify with such as Rose (as losing her husband), Claire (the at-risk pregnant girl), Hurley (the shy loner), Charlie (the secret addict), or Locke (somebody who wants to be different or break away from their dull life).
The factory script story format proposed was supposed to feature 4 to 6 characters per week, dealing with a new problem at the start of each episode, having to resolve the conflict by the end which was to supposedly add or develop the overall survival-new community theme for the overall series. But instead, the series quickly developed the character-centric, flashback episodic formula. It was a method of letting viewers into a character's secret past or motivations on the island (for example, the twist that Locke was actually paralyzed until he crash landed on the island added mystery and a big question of how could that have happened?) But many of these back stories had no bearing on the development of the survival-new community theme. In fact, most of those stories detracted from building a single community. It showed a more individual, ego-centric, every man for himself selfishness that made trust a new theme. And instead of problem solving in small groups, the format changed to "missions" into the jungle, some which lead to no where.
It is interesting to note that the writers felt that Sayid would be the catalyst to build a raft in attempt to achieve survival. But in the series, it was Michael who took it upon himself to build the raft to flee the island. Both choices seem odd in retrospect: Sayid's background had no sailing since he was from central Iraq; and Michael's "art career" had nothing to do with the principles of sailing. The idea that he worked as a construction laborer does not equate to being a competent ship builder. But LOST fell into the "convenience trap" quickly and often: if a sudden skill was needed, a character suddenly had it (like Kate's perfect jungle "tracking skills" because camping in Iowa was so similar to the island environment.).
Lastly, the concept that Jack and Kate would be the centerpiece for the series was very inconsistent. Jack was quickly pegged as the "leader" of the camp, but his authority began to wane for two reasons: one, he did not want it; and two, the split in regard to the move to the caves showed castaways were more independent than followers. Kate would shift more quickly between camps, and alliances because she was playing her own game. She had her big secret to hide, but used her charms to get both Jack and Sawyer on her good side. But most viewers would not view Kate as being a co-lead in the series.
The series episode flow from the use of characters was pretty seamless. However, the "A,B, C" self-contained format for each episode was abandoned quickly for a more "action, reaction and new mystery-question cliffhanger" approach to story telling. The latter definitively left viewers wanted more - - - answers.
It's all about balance.
Without question, The Pilot platforms Jack and Kate as the leads of the show. The series will certainly keep these two dynamic characters at the front and center of every episode. This leaves eleven characters. Of course, all can't share equal screen time, but over the course of the first six episodes, each and every one needs to have the spotlight on them so we (and the audience) can begin to flag who "pops."
The operating thesis is this:
Design stories which FEATURE just three or four of the castaways (excluding Jack and Kate)
every week. Instead of trying to cram the other eleven into every episode in a meaningful way,
put the castaways who are not in the spotlight in roles that SERVICE the ones who are. The
following week, pick four more, rinse and repeat.
This guarantees that we can stick to an A,B,C story format and that the episode will always be
This guarantees that we can stick to an A,B,C story format and that the episode will always be
Additionally, LOST will rely heavily on VIGNETTING. Short scenes which service the overall and on going arcs of island survival; in other words, the "business" of a scene while characters are talking to each other.
If Sayid decides to build a raft (a project which will cover the span of several episodes) we can watch this process unfold even as he deals with "the crisis of the week."
Something else worth mentioning -- The beauty of having such a large (and capable) cast is that with thirteen characters, there are 78 different combinations of scenes between just two people. We could go through two seasons and never come close to exploring all of them.
The producers sold the idea that a large main cast was an advantage to allow seasons of possible character interactions. But one thing was clear: Jack and Kate were going to be the focus of the story action. The rest of the characters in turn would be supporting or contributing players - - - unless the audience "pops" of likes/identifies/wants more of a character.
The one thing that the large cast did allow was the audience to immediately identify with characters with people in their own lives (including themselves). It was not mentioned by TPTB in the guide, but the diverse group of characters allows for audience members to gravitate toward people they identify with such as Rose (as losing her husband), Claire (the at-risk pregnant girl), Hurley (the shy loner), Charlie (the secret addict), or Locke (somebody who wants to be different or break away from their dull life).
The factory script story format proposed was supposed to feature 4 to 6 characters per week, dealing with a new problem at the start of each episode, having to resolve the conflict by the end which was to supposedly add or develop the overall survival-new community theme for the overall series. But instead, the series quickly developed the character-centric, flashback episodic formula. It was a method of letting viewers into a character's secret past or motivations on the island (for example, the twist that Locke was actually paralyzed until he crash landed on the island added mystery and a big question of how could that have happened?) But many of these back stories had no bearing on the development of the survival-new community theme. In fact, most of those stories detracted from building a single community. It showed a more individual, ego-centric, every man for himself selfishness that made trust a new theme. And instead of problem solving in small groups, the format changed to "missions" into the jungle, some which lead to no where.
It is interesting to note that the writers felt that Sayid would be the catalyst to build a raft in attempt to achieve survival. But in the series, it was Michael who took it upon himself to build the raft to flee the island. Both choices seem odd in retrospect: Sayid's background had no sailing since he was from central Iraq; and Michael's "art career" had nothing to do with the principles of sailing. The idea that he worked as a construction laborer does not equate to being a competent ship builder. But LOST fell into the "convenience trap" quickly and often: if a sudden skill was needed, a character suddenly had it (like Kate's perfect jungle "tracking skills" because camping in Iowa was so similar to the island environment.).
Lastly, the concept that Jack and Kate would be the centerpiece for the series was very inconsistent. Jack was quickly pegged as the "leader" of the camp, but his authority began to wane for two reasons: one, he did not want it; and two, the split in regard to the move to the caves showed castaways were more independent than followers. Kate would shift more quickly between camps, and alliances because she was playing her own game. She had her big secret to hide, but used her charms to get both Jack and Sawyer on her good side. But most viewers would not view Kate as being a co-lead in the series.
The series episode flow from the use of characters was pretty seamless. However, the "A,B, C" self-contained format for each episode was abandoned quickly for a more "action, reaction and new mystery-question cliffhanger" approach to story telling. The latter definitively left viewers wanted more - - - answers.
