I ended up working on "Chicago Hope" and other things, but always with the idea that, eventually, I would want to take what I'd learned in character drama and try to apply that to the genre that I love, which is science fiction and "The Twilight Zone" type mysteries.

There's little things like that, that we paid a lot of attention to. We don't always know how to bond together to get help or to do something, and our attempts are often awkward, selfish or weird. We talked a lot about how to open things up.

There's been a lot of comparisons to "The Prisoner," and sometimes people take a negative tact on that, but to be really honest, I count that as a compliment, in the sense that what I felt "The Prisoner" was for the '60's, in how the individual triumphs over the state and authority, our show is really about how complacent we have become in our lives, which are scrutinized.

What we were trying very hard to do, just in the way we shot it, was to make it feel as if we're in that environment ourselves, just so we can get a grasp on what it is. A lot of our influence was about getting stuck on a level on any of those video games, where you find yourself caught and you can't get out, and it's maddening. We talked a lot about that.

What we're really trying to tell, even though it's very much a genre show, is a very human story. Even in this heightened situation, it still comes down to people being people, and dealing with people as people. It really is about the seven people in that town.

It was tough to write. We had the shadow of "Lost" hanging around and I just kept saying, "Guys, we need to take a really wide birth around 'Lost.' We're going to get lots of comparisons anyway, but we need to prove, within a couple episodes, that it's not 'Lost.'"

Hardly anybody thinks about typing in their social security number as ID. Hardly anybody pays attention to the myriad of security cameras. There isn't anybody that worked on this show that doesn't look at security cameras differently than when they started.