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I've always felt that really good prequels should be original movies.

Damon Lindelof

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Damon Lindelof
Age: 51
Born: 1973
Born: April 24
Executive Producer
Film Producer
Screenwriter
Showrunner
Television Producer
Television Writer
Damon Laurence Lindelof
Felt
Really
Good
Always
Originals
Original
Movies

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I think that we, as writers, get excited by risk. When we are feeling comfortable and familiar, I wouldn't say that we get bored, but the energy in the room gets flat. When we're most excited and when the show is the most fun, it's when we're duking things out.
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I think that 'The Shield' was a phenomenal series finale.
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Hindsight is 20/20, but the moral of the writing for me is that when you're feeling very scared and nervous about something and you're fairly convinced that it could be a massive disaster, that's exactly the idea that you should do.
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You can watch an episode of Friends or an episode of Law & Order and just drop in, but you're not going to in the middle of Season 4, Episode 5 of Lost. It's like picking up a Harry Potter book and flipping to a chapter. You have to read it from beginning to end.
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I'm not glass-half-full, glass-half-empty I'm like, There's a glass?
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If you do something awesome, you should be proud of yourself.
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Anger is not a real feeling. Every time in my life I've ever been angry, it's because I was scared, or because I was sad and I didn't know it. Anger doesn't just come out of a vacuum.
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I was born in 1973, so I did not see 'Alien' when it was released theatrically. I saw 'Alien' when it was on Home Box Office. I think I was probably 10.
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The fundamental law of nature is to not know too much about yourself.
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I felt like if I said something positive on Twitter, it got no play. But if I said something negative on Twitter, it was a billion retweets and so that was giving me a Pavlovian response to be mean, and I don't want to be mean. We all have mean thoughts. They should not be broadcast on Twitter. You don't need to see mean things.
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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.
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Essentially, there's no scientific evidence whatsoever that could ever be presented to me that would wipe out my fundamental spiritual beliefs.
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When you're a writer and you're a producer, traditionally the junkets are really focused on the beautiful people and nobody wants to talk to you.
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My father - until the day that my dad died - didn't know how many points you scored in a touchdown. He could say there were nine innings in baseball, but no intricacies of the sport.
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One person's magical thinking is another person's cynicism.
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Connecting dots is not that rewarding of an experience.
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I have found, unfortunately, that if I take on too many projects at one time, there is a higher probability of those projects sucking.
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Good twists are enormously hard to come by, and I think the best ones are earned ones. The idea that a story can take a left turn on you, it's easy to do, but it has to be done very, very carefully, or else you risk losing the audience's trust.
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Once you spend more than $100 million on a movie, you have to save the world.
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The best jokes on The Leftovers are the ones that make you feel a little sick to your stomach.
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