Damon Lindelof Quotes

If you do something awesome, you should be proud of yourself.

I stand by the Lost finale. It's the story that we wanted to tell, and we told it. No excuses. No apologies. I look back on it as fondly as I look back on the process of writing the whole show. And while I'll always care what you think, I can't be a slave to it anymore. Here's why: I did it for me. I liked it. I was good at it. And I was really … I was alive.

I love collaborating with different people.

Lost is a mystery show, so I think that would be stripping the franchise of sort of its essential nature.

If your friend is critical [of your work], you have to have a very thick skin and a thick skin is something that only builds up after it's callused for awhile.

In really, really good science fiction the line between the science and the fiction is blurry.

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.

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?'

There is no suspense in inevitability.

I'm a huge Star Trek fan. I've seen all the shows, I've seen all the movies, but ultimately I just want a 2-hour movie that takes me to another time and place - something that entertains me.

Reputation is a very interesting thing, and I always give people the benefit of the doubt, and I think that there's a part of all of us, especially in a generation where a lot of the stuff gets recorded.

Essentially, there's no scientific evidence whatsoever that could ever be presented to me that would wipe out my fundamental spiritual beliefs.

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

Sometimes diehard fans expect so much that they're never happy no matter what they get.

When someone says something in an interview, the beauty of Twitter is that it's a platform for instantaneous response.

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.

I'm not glass-half-full, glass-half-empty; I'm like, "There's a glass?"

I've always been really interested in the future, and I feel like all of the movies that I've been exposed to, over the course of the last 20 to 30 years, have shown me a future that I don't really want to be living in.

I love finding new creative partnerships but then continuing the partnerships I'm already in.

I think the idea that television has evolved to this place of real thematic richness and the fact that you no longer have to get 10 million people to watch your show in order to propagate its survival are the best things that have ever happened to storytelling in this medium.

For us, there's an inherent process when you're ending something to be thinking about the beginning, as writers.

We all look at ourselves in the mirror and think, 'Am I good?'

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.

In television, I don't feel constraints. I feel a lot freedom to maneuver.

I don't think it's hubris for me to say I'm a Trek fan. So, I don't treat Trek fans as somebody who's separate than I am. The only thing that separates them is, I'm one of the people responsible for the story in this movie and they're not. But we're all Trek fans. I can hang.

Suffice it to say, there are some very big ideas in Prometheus and, therefore, it covers a very vast expanse of time.

One of the things I've learned is there's no lesson to be learned. You have to resign yourself to the fact that mistakes are going to be made at any time in the creative process.

People talk about overnight successes, and ultimately, there's a certain amount of, you want to call it luck or fortune or good fortune, or whatever, but when your moment arrives, you have to have been at a point where you paid your dues, or done your 10,000 hours or have the requisite talent or whatever.

I think one of the problems in determining the ending for a television series is that you don't know how long the show is gonna last. Particularly because we were in the unique position of adapting Tom's Perrotta novel The Leftovers, it always felt like the first season was gonna end with the end of Tom's novel, and then we would figure things out from there and look back.