Pilot, Part 1 audio commentary

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A transcript is a retrospective written record of dialogue, and like a script (a prospective record) may include other scene information such as props or actions. In the case of a transcript of a film or television episode, ideally it is a verbatim record. Because closed-captioning is usually written separately, its text may have errors and does not necessarily reflect the true Canonical transcript.

Transcripts for Lost episodes up to and including "Enter 77" are based on the transcriptions by Lost-TV member Spooky with aid of DVR, and at times, closed captions for clarification. She and Lost-TV have generously granted us permission to share/host these transcripts at Lostpedia. Later transcripts were created by the Lostpedia community, unless stated otherwise below.

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Episode: - "Pilot, Part 1"

Hosts: J.J. Abrams, Damon Lindelof and Bryan Burk

(?)--Unknown spelling
[Ununderstandable]--Place after a word/words that are hard to hear


[J.J]: Hi I'm J.J

[Damon]: I am Damon

[Bryan]: I am Bryan, and this is Lost

[Damon]: Hooray

[J.J]: This uh, that card by the way, that you just saw was done on my laptop during the sound mixing. By the way, that shot right there of the eye, if you look at the iris, um Kevin Blank our visual effects supervisor made his, the pupil rather, the pupil dilate. That was pretty cool hu

[Damon]: It was very cool, all those little touches. Never realized how clean his shirt looked before

[J.J]: Look at that

[Bryan]: this was a day we were dodging the rain if I'm not mistaken

[J.J]: A lot of that also was uh, that shot was done later and all the sunlight there was artificial

[Damon]: Madison the dog

[J.J]: This the only uh, this was the first day actually we worked with Madison, she was pretty good.

[Damon]: She was, just off camera there there's a women with a tennis ball trying to get the dog...

[J.J]: And she had nothing to do with the dog

[Damon]: Yeah, she was just there, we had to frame her out!

[Bryan]: She was trying to get Foxy to stand up!

[Damon and Bryan laugh]

[Damon]: Which he did

[J.J]: When Damon and I first met which was the first day we talked about doing Lost, we met because of this project, Damon pitched this opening sequence pretty much shot for shot.

[Damon]: Except this shot right here

[J.J]: No but he really did, you know, you pitched this sequence and it was just so intriguing and was just such a, I knew exactly what was going to happen. This idea that had originally had been Lloyd Bronze who's head of ABC at the time, he pitched it to me, I didn't want to do it because I was trying to finish another pilot that I was writing and I knew when I met you and you pitched this sequence that we were going to work together and this was going the show

[Damon]: We just, you know, the whole idea of like couching the show as a mystery show where you were disoriented and you didn't know what was going on and, you know, we really wanted to be with this guy, and you know, you sort of begin to get this sense of sort of doom here, and I love that shot by the way

[Bryan]: That was meant to be just disorientating and strange, just the fact that he also over there, um, we just put all those plants right there we just, Walter our greens men was always running around having to put plants...

[Damon]: Oh my god...Burky, you should talk about the sound here

[Bryan]: Uh well we did a lot of passes with the sound here because originally we didn't have the music and um, we were trying to focus on just the mayhem without going overboard and hearing all the real panic that would be going on and all the screaming, we wanted it to be more about the engine still running and the impossibility to hear anything but the sound

[J.J]: This whole sequence, that shot, the first shot was meant to be, you know, sort of pieces of a puzzle. You know, as if you were looking at a whole picture but just having windows into it, not quite understanding what was what and where anything was, so we had these shots of, you know these random shots of turning and a lot of hand held whipping camera and these pieces of...she was amazing here by the way, uh Maggie in this screaming, and then you know, you see this thing up above the wing and then you pull back and it's the first time you kind of get a sense of what's going on.

[Bryan]: The wing is actually being held up by a crane which we had, we took out all the, we digitally took out all the cables because that was the only thing that could actually hold up this wing

[J.J]: We had five days to shoot this sequence and um, if you noticed that first bit he came along the side of the plane going right to left and we just continuously moved, circled the entire plane during the entire sequence...we had the cowling of the engine there uh, and Kevin Blank had put in the uh, the actual interior of the jet later so the actual cowling is there, the surrounding structure of the jet, but the uh, it was an empty hole behind Terry O'Quinn there

[Damon]: I kind of love how like all the characters are introduced in this sequence, you know it's like you have now idea your going to be spending the next, you know, season with all these people. And there's Locke...

[J.J]: Yeah and there's Locke who you learn later just stood up for the first time, by the way this is a great shot if you uh, actually if you go back, if you decide to, you'll see that the jet is there but there was no rear section of the jet and all those um, the heat ripples we all put in later

[Bryan]: Uh this scene where the man is sucking into the wing, uh into the engine, in an effort...

[Damon]: Uh that's ridiculous

[Bryan]: In an effort to try to cut our budget, a lot of people had made suggestions to remove that and J.J was firm that this uh...could not go

[J.J]: That was my favorite in the hole show! [he laughs]

[Damon]: And literally that, that, that moment was really defined the series in so many ways that, you know, surprising things could happen and uh, I don't think people had ever seen that gag before, especially on television

[Bryan]: Well the stunt man who did that was amazing and he literally just did it, he was on a harness, he got sucked right in and he just did it right there and all we did was put in the uh, the interior of the jet and the explosion was that big. And uh, it was a HUGE explosion, I mean people, like I could, we were far away from that thing and we all got hit by the heat blast. It was amazing

[Damon]: Ian Somerhalder, uh everybody getting these quick intro's here. We've met Claire and Hurley, and here's Boone and you know, sort of his defining moment of uh you know, offering help but uh being completely inept in uh, in doing so is uh, so totally a define that character in literally fifteen seconds

[Bryan]: The original cut of this sequence actually had her not waking up, until the end he hears the wing start to crack, uh in the original cut before she wakes up, so, but we re cut it so she woke up first because it felt ridiculous that he would still work on her if he saw this happen...we did the engine explosion first and then we were doing the um, the wing explosion next, this is one of my favorite shots Larry Fong our director of photography helped pull off...uh lets just stop the film for one second

[The film cuts to behind the scene footage of the plane crash scene]

[Bryan]: So we did the engine explosion first, the next day we were doing the wing explosion and we were told that the wing explosion was going to be huge, it was going to be this enormous explosion and so we were all just prepared for this enormous, you know, crazy, this detonation and it was the most...

[Damon]: Unimpressive?

[Bryan]: Yeah it was so unacceptable, it was like, literally it was like a firework

[Damon]: Yeah

[Bryan]: So Kevin Blank uh, once again who I will talk about ad nauseum, was the genius who had managed to make the explosions look enormous, uh he imposed and put those all in and also he had this idea while we were shooting this sequence, there was a huge piece of the engine that was sitting there on the beach and he said "what if we lifted that up on a crane, set it on fire and then dropped it right behind one of the actors?", so you'll see in a few seconds that happen, and we were actually shooting this, put this thing up on these wires, we put it on fire, we, they dumped this jell on it that it just stays lit and we were getting ready to shoot it and Dominic Monaghan(?) the actor that plays Charlie, was on the beach and he was probably 20 feet in front of it but we re zoomed a very long lense so it looked like it was right behind him and we were getting ready to shoot and all of a sudden, the wires snap and like this four ton piece of engine drops and lands right behind him and it scared the hell out of everyone. Everyone just got kinda quite and we shot that shot the next morning again for real because it was just getting to late to shoot it again, see the explosions that are about to happen with the wing are actually mostly post production and the piece of engine that drops behind Charlie is a very real piece of engine that really did drop very close to the actor

[Damon]: Yeah and it sort of defies you laws of common sense when you think were going to put a thing on a crane and hang it by something and then light it on fire, that the fire would not in fact burn threw the thing that it is hanging on, but uh, we were all very shocked and surprised when fire actually burns threw something

[J.J]: It is fire after all

[Damon]: It is

[J.J]: Yeah we should have figured it out

[Damon]: And that's why kids you should never play with fire

[J.J]: And on a island it has the same properties on the island

[Damon]: That's true...we learned that the hard way

[J.J]: Let's uh, lets roll the film

[The film cuts back to the show]

[Damon]: Of course the actors have no idea how lame the real explosion was behind them

[Bryan]: Well we did it in two pieces, we did the uh, the engine uh, I mean the wing falling and then we did the explosion after that, that was the big giant piece of engine we were talking about...we were running out of light desperately when we were shooting this and uh, scrambled to get these shots

[Damon]: I love how Hurley is sort of like more concerned about his belly than Claire seemed to be about hers

[All laugh]

[Bryan]: Jorge is the absolute greatest

[Damon]: He is fantastic

[J.J]: This uh, piece of music is written by Michael Giacchino (?) um, uh has become a theme in the uh, series and it was replacing a piece of music that was used from the Thin Red Line that was uh, such a beautiful piece of music that you know, Michael came in and...

[Damon]: I love this shot, sorry to interrupt, but that hand, some people don't see that and like in the foreground just hanging down there it's just that one image tells you so much about what it is Jack is looking at in there and he's like, you know we've just seen him be super action hero and here's sort of this intense and emotional moment, um were the audience can really sit with the gravity of the crash

[J.J]: This is one of the first shots that I knew I wanted to do 'cuz I love the idea of the horizon line in the water, you know, counter point to the seats upside down and it was just a long long slow zoom

[Damon]: You know what sucks about Ian Somerhalder, is his eyes are just

[J.J]: He's not a good looking guy

[Damon]: His eyes are just sort of you know, dull and uh, come on seriously

[Bryan]: Come on, you can't deny that guy

[Damon]: Jack looking for some, something that only he knows

[Bryan]: When we were you know, prepping the, this show, these sequences were all very, it was important that uh, we not be to gruesome and, it so, obviously it's so easy to get incredible bloody but I wanted to make sure that, that people didn't get desensitized or so disgusted by what you were seeing that, you know, they would tune out so there was no red in that sequence at all, except for the blood, the scratches on peoples faces or the blood on the leg of the man. I wanted to make sure that when you saw this blood it really landed and so there was no red on the airplane, uh the logo, the seats, uh we tried to keep the luggage as muted as possible so

[Damon]: Oh my god the scar

[Bryan]: We had a four hour delay because of the scar would never, it didn't look right. We finally got it and we actually shot this scene on two separate days, weeks apart, uh, her side, Evangeline Lilly...this is were we meet Kate's character, uh or the character of Kate, and uh, Evangeline's character, and this was shot on one location on one day and this was shot on another location on another day I think two weeks later

[Damon]: Yeah literally two weeks later

[Bryan]: This was uh, the audition scene for both actors so, we had heard this less than a hundred times

[Damon]: Six billion

[Bryan]: Yep

[Damon]: I remember, this is the first scene that J.J wrote, you know, we had met, we had written this outline which is an entirely different adventure to talk about but, uh, we were sort of wighting scenes at a time and sides factors [Ununderstandable] on that and J.J came into the office I was held up in over at Alias and handed me this scene and said that he had taken a crack at it, and it was pretty much verbatim, what this is and that was one of the first scenes in the show

[J.J]: Although originally it was one scene all the way through

[Damon]: Yes

[Bryan]: It was broken up into...

[J.J]: Yeah we broke it up in post, in editorial because we felt like we needed to keep alive the situation, it got too, it was sort of too myoptic in a way, it was too uh, the pace was too slow...she was great, the reason we ended up re shooting her side also was that uh, I made the mistake of directing her too strong the first time so there wasn't the vulnerability that we needed and when we redid the re shoot, um I asked her, you know, to be much more vulnerable and she is spectacular now I think, and this is the first time...oh by the way this, this shot were we first see Sawyer was actually the beginning of another scene that was cut and we ended up putting this shot here, it's such a great shot of that guy's face and connecting to this...

[Damon]: And he literally says or does nothing in the first hour of the show, it's just this and uh, his silence and his intensity is so much more impressionable than a lot of the scenes we had initially written him into

[J.J]: The sunset was so beautiful we knew we needed to do something and I thought the reflection of the wing was something I was hoping we could get and we were lucky to get it

[Damon]: I love that shot

[J.J]: I think she's pregnant!

[Damon]: Yeah, she is...and I think it's fair to say, we had about nine days to um, to edit this you know, two hour presentation together before the network decided what to do with it and we spent probably sixty percent of our time just cutting that opening plane sequence, the Kate and Jack stitching sequence and all this stuff. It was really about the first half hour of the show and getting it on its feet

[J.J]: At this point you've met pretty much everyone...and in the background there's Ian walking around with his phone...yeah and then we came back to this, we changed the cutting of that

[Damon]: So here we have Matthew Fox's tattoo and I remember we made sort of a conscious decision, you know, these are actually Foxy's tattoo's you know, whether or not we wanted to, you know, cover them up with makeup but you know, they made this guy so interesting 'cuz here he is talking about being a spinal surgeon but he's got this kinda crazy ornate tattoo on his arm, which, with a big five by the way, and the scene had been written were Jacks talks about counting to five before we cast Foxy so it just seemed like it was the right thing to do, and then eventually , you know, for reason which will be revealed in the series as it goes on, you know, that tattoo ends up being a sort of a crucial defining character point for this guy

[J.J]: I also want to say that there's a spinal surgeon who's a friend of mine and my wife's, told me a story that was similar to this, it was just, the idea that someone does this job and works on someone spine is such a impossibility, it's hard to imagine...that tear by the way was not Kevin Blank C.G, that was Matthew Fox, he outdid [Ununderstandable] himself

[Damon]: I have not eaten angel hair pasta since we shot this scene...just for the record...Evie is so good in this scene, it's ridiculous, just her listening to him

[Bryan]: Yeah, this is a plane full of the most beautiful people EVER

[Damon]: When, there was a draft of this script were we actually changed the name of Boone's name to Five, that was his name because J.J thought it would cool if he was like Boone Anthony Markham the Fifth and he went by Five, so we changed it and realized that, that was probably the worst idea ever and we changed it back, we did a search and replace on the final draft and when we did this scene came back...

[J.J]: Oh yeah, on the computer

[Damon]: Yeah when it did that scene came back and Jack said "One, Two, Three, Four, Boone"

[They all laugh]

[J.J]: Those stars by the way were also put in by Kevin Blank, I'm just going to be Kevin's manager, agent

[Damon]: And this is sort of Dom, uh invented the hoodie here, he started playing with this idea of Charlie hiding under that hood which is uh, sort of became a big thing in the pilot and throughout the series and that was pretty much all him as I recall. A great character introduction right there, what else do you need to know about this girl

[J.J]: This was a, a much longer scene but we realized again that a lot of the scene's a, this first act was like Damon said just in editorial the hardest sequence to pace and we realized a lot of these scenes you know, you could get so much in such a short period of time, we cut down a lot of these scene's quite a bit

[Damon]: And what cool is these relationships are all so you know, undefined like when you first see this scene you don't know, hopefully, if they're brother and sister are they boyfriend girlfriend, what's going on and you know we have us strangers meeting and fathers and sons and it's like as the series went on you know, those relationships became so much more defined and it's just really cool to kinda see them at ground zero here

[J.J]: And the order of these different scenes we played with the rhythm of who we wanted to meet first and how we met them

[Damon]: Who's idea was this? um J.J did Jorge do this?

[J.J]: Give her the second one?

[Damon]: Yeah

[J.J]: It was my idea when uh, unless you want me to say it was yours, what are you saying?

[Damon]: No uh...

[J.J]: Oh ok

[Damon]: It wasn't scripted it was I just remember seeing it in the dailies and thinking it was the greatest thing...

[J.J]: I just thought it would make you love him...this I love, I love that beat before you, when we cut to him because you know so far you haven't seen any kids so I think it was one of those moments you just...and of course we have our uh, Korean speaking couple and uh, this to me was, when we shot this I thought there was some other magical thing happening because Yunjin Kim, while an increadably talented, beautiful, smart you know, great actress...I COULD NOT BELIEVE what she was doing, she was incredible in this [Chuckles]...she's unbelievable

[Damon]: And you don't even see Daniel, you know, you don't even come around and see his side of it...yeah

[J.J]: She was just unbelievable

[Bryan]: This is another scene, a small scene in which I took out hoping it's on the DVD where Hurley brings dinner to Locke, who doesn't respond...

[J.J]: Oh by the way, that was the last scene that we shot...

[Damon]: And then Jorge went and jumped in the ocean

[J.J]: And Jorge, when we said cut, it's a wrap, Jorge went and literally ran and dove in the ocean

[Damon]: Three in the morning

[Bryan]: And then we lit J.J's bathing suit on fire

[J.J]: Those stars we put in later

[Damon]: Uh, the marshal scene we just looked at was so cool because you know, the audience doesn't know that, that's the marshal and they don't know why Kate cares about him you know, whether he's going to live or die. Jack is completely oblivious, they were warmer gentler times!

[J.J]: That too is a much larger scene

[Damon]: I have this uh, I have two of these planes, those palm leaf planes and I framed one and gave it to J.J and I got the other one, uh Burky did not get one because you know...

[Bryan]: Yeah

[Damon]: There were only two

[Bryan]: No one cares about me

[Damon]: No one cares about him, but there's, it's sort of like doringly gray, the uh...

[J.J]: Yeah they've become these sort of brown crispies

[Damon]: Their sort of rotting inside their frame

[J.J]: It's fantastic

[Damon]: Very cool

[Bryan]: Wasn't that something that your, uh, um prop shows that uh, the first day of your meeting with him he showed you?

[J.J]: Was it?

[Bryan]: Yeah

[J.J]: I gotta say that Evie, Evangeline had never done, had never had a speaking role in anything...the camera's very tight on this woman's face and she is so good and so naturally good I just think that uh, it's just a testament to her just in a ability she's just unbelievable...this was a great shoot...

[Damon]: I love that moment, "it wasn't for me"

[J.J]: Yeah...they were wonderful in this scene just the, every actor I remember had a moment in the pilot where they sort of found their footing and their voice and it was really, this for me was, for both of them a really crucial scene

[Damon]: Another scene that was in an entirely different place in the script and then got moved around in post

[J.J]: Your about to hear a sound and a number of sounds and this is something that Bryan worked on a long time and as a fan of film and technique Bryan's been a, you know

[Bryan]: We had spent a lot of time trying to figure out, we obviously knew what is out there but we didn't know how we wanted to show the audience, and we knew that nobody was going to be seeing it, you're going to be hearing it. So we had a lot of discussions about how much to reveal and how much not to reveal and um, we called in a guy named Jack Grillo who does sound design for a lot of video games as well, we met, he did the whole Medal of Honor and the Call of Duty series and uh, met him actually threw our composer Michael Giaccino (?)...It took a long time, we had sounds we were actually playing with from this scene we're actually shooting which by the way it's actually raining in this scene and we took it out as best as we could, we got out all the rain but if you look at Michael's shirt right there it's sobbing wet and uh, but in any case, we played a lot with the sounds and tried to really have singular sounds so you could hear the trees and then hear the...

[J.J]: This is my favorite thing, putting that sound right there with the wind uh, one of our um, grips had a large flag off camera and they were waiving it to make that uh, that wind. But those sounds were crucial and Bryan really worked hard to find that

[Damon]: And Dom saying terrific right there, I remember we were at your house J.J and like it was like three in the morning and we were trying to come up with some piffy line for how we were going to end and how the entire cast of characters was going to react to that noise and you just looked at me and said that, "Charlie should just say terrific" and that was it

[J.J]: Yeah, he is so funny, so good at playing those kinda moments [Ununderstandable]

[Damon]: And here's our first flashback!

[Bryan]: This was also our first day of uh, Los Angeles

[Damon]: Foxy isn't too charming here, that's good

[J.J]: The light outside the window, you know, this was the blown out sun look and again Kevin Blank later went and put in the uh, the wing and the clouds

[Bryan]: I believe the was the same plane that was used in Soul Plane

[Damon]: Yeah

[J.J]: Well there you go

[Damon]: Snoop Dogg is actually the pilot here...where is Jack going, we'll never know

[J.J]: We might know

[Damon]: We might. We might find out

[J.J]: In the uh, the finale

[Damon]: This is cool though, I love how you know, he takes the extra bottle and he puts it in his pocket and you realize he took it out later

[J.J]: This whole set was, there was no gimble the set was not in motion, uh Greg Grunberg the steady cam operator was operating all the motion you see, he was doing, um, we should stop the film for one sec here if you don't mind

[The film cuts to behind the scenes footage of the plane crash scene]

[J.J]: I have to say that this set, this airplane, was firmly on the ground there was no motion in this at all, Greg Grunberg was performing his heart out, just as much as any of these actors in all these flashbacks making it look as if this plane was actually in motion...roll film

[The film cuts back to the show]

[Damon]: Obviously Rose's husband is not in a good part of the plane right now, people always tell me when I fly that kinda stuff, "Planes wanna be in the air", it doesn't reassure me

[Bryan or J.J]: Yeah

[Damon]: Doesn't look like it wants to be in the air right now

[J.J]: So here's the stunt, see, boom

[Damon]: So this is almost entirely on camera I mean Kevin Blank...

[J.J]: We added a few shakes here and there to match but they were almost all happening, you see, you know extra's did a terrific job and we just wanted to keep the camera moving, Larry Fong our uh, D.P had a light and he was just flashing light through the set like, it made no sense but we wanted to get a sense that you know the sun was you know whipping past because the plane was changing pitch, and that's the sound you guys got on that cut was great it's just such a dramatic cut

[Bryan]: Because it's television we have a much limited bandwidth than we have in feature films so we just tried to create space between all the sounds so that the bang would not come right on the heels of the plane coming down

[Damon]: This is great because in the background their all speculating as to what the heard the night before, what is, you know, what the audience is doing at home...this is a great scene because I remember on the day we sort of improvised a little moment where uh, Kate says to Jack, "How many push ups can you do?" and Jack is sort of charmed by this and than she's like "Well how many push ups can you do?" and that's sort of what convinces him to go but in the cutting room the moment just didn't sort of play with the you know, sort of dark intensity of the scene that follows it...and coming up is my favorite shot in the entire pilot which was your idea again, shockingly

[J.J]: Oh, stop it [Mumbles]

[Bryan]: I gotta say this was one of those things that felt like, you know, we put it in the script and it was like the idea was just so...creepy, I wanted it to be a thing where you felt like, you could almost, it's almost like she was, she's being violated in this moment. It's like she's sharing this moment and all of a sudden it gets really creepy and you just think "What the hell am I dealing with here?"

[Damon]: Who the hell is that guy?

[Bryan]: Yeah, it's a very strange moment and she did terrific right there

[Damon]: She looks like she just had some bad fish [J.J Chuckels in the background]

[Bryan]: Uh, these locations were obviously so, so vast that using long long lenses and you know, putting the dolly tracks back, uh, much farther than you normally would 'cuz it was just, I was not used to using, not having such a broad, expensive sets

[Damon]: Jorge Garcia's brilliance is that when he, when he plays that joke you have no, you know, it's just like that's the way he spells bodies, like you know, I mean, he's so affable and...

[J.J]: He's a genius, Jorge...yeah we should actually stop the film here too

[The film cuts to behind the scenes footage of the beach meeting]

[Bryan]: This is actually a scene where Sawyer is first introduced to the group and he walks in and overhears what the conversation is about and his negativity was apparent

[J.J]: It was I think the second scene we had shot with Sawyer and we were still trying to sort of find the voice of the character and it didn't quite feel necessary and it didn't seem like we sort of had Sawyer's voice yet and also I think that you wanna get going, there was a sense of kinda wanting to get our people on the road, it just felt a little phony to me I think

[Damon]: There was just one too many things going on in this scene and it was the first in a long line of legacy scenes where somebody in the show is saying "Don't go into the jungle because there's a monster there, and you dumb". It's one of those scenes where you can only play it so many times before the audience begins to say, uh well they are kinda dumb for going in the jungle but we want them to go into the jungle because if they just sit on the beach all day we don't wanna watch that

[Bryan]: The interesting thing about this scene as it is in the final cut, is that in the end, in the shot were Jack is looking at Charlie and nodding, in the foreground the person you think is Charlie, is actually Sawyer and if you look carefully you might be able to tell it's not Charlie but it plays as Charlie because the audience has no idea Sawyer was ever there so it just, you read him as Charlie [He chuckles]

[J.J or Bryan]: Should we roll film?

[This film cuts back to the show]

[J.J]: Ian did a great job in that moment right here

[Damon]: Good job, yeah I love's uh, that moment plays

[Bryan]: Yeah

[J.J]: Yeah right there, that's Sawyer even though it looks like Charlie

[Damon]: And here we go

[J.J]: So I'm sure we'll have that scene on DVD

[Damon]: The birth of "You All Everybody"

[All chuckle]

[J.J]: We had a big dolly track on the side of this mountain, setting up shots on this show uh, it was just wild cuz' again it was just you know, I had been to Felicity and then Alias which was you know, especially Felicity which was such a small you know, two kids in rooms talking kind of thing and this was just, it was, I felt obligated while we were shooting this to make sure people who were there felt like they, the locations were great is Dom

[Damon]: He's fantastic, we literally you know, we knew the song was going to be called "You All Everybody" for you know, for quite some time prior to this scene but there was no melody whatsoever and I think it was on the day that...

[Bryan]: Yeah

[Damon]: ...that you finally sort of riffed out

[J.J]: yeah and then Dom took it and just made it his own

[Bryan]: What was the original name of the band? It was your high school band

[Damon]: It was the Petting Zoo

[J.J]: The Petting Zoo

[Damon]: It was the name of my college band, but it didn't clear you know, it turned out that some other band was named the Petting Zoo, but uh, Drive Shaft was the idea of our script coordinator at the time Dustin

[J.J]: This was I believe the second scene with Madison

[Damon]: Also, a woman with a tennis ball, that was Madison's motivation in that scene...I love Terry, I mean seriously

[J.J]: You can't really deny Terry

[Damon]: Who was that guy?

[J.J]: It had been raining on and off during these scenes and uh, this was all obviously created rain, but uh, it was an amazing thing, we were in this location and it rained one night and it was just uh...

[Damon]: There were flash floods!

[J.J]: Yeah and we got to the set and it was impossible, this day actually we weren't supposed to shoot these sequences but it was truly raining on this day so, there's Ben Binswinger who's a friend of mine who was on the set that day

[Bryan]: Binswinger's actually helped us out a lot on this because his brother Morgan came in during the editing process and was...

[J.J]: Yeah that's right that's Jin...

[Bryan]: Very helpful

[J.J]: He gave us a lot of good ideas

[Damon]: I love the music here, Michael Giaccino (?) again

[J.J]: Michael Giacchino (?)...

[Damon]: Genius

[J.J]: Is...maybe...the greatest...

[Bryan]: Man who ever lived

[Damon]: Ah...and here we have our uh, it's back again...we should just, we should, they bought the DVD we should tell them what the monster is right? We should just...should we?

[J.J]: Alright you...ehh...

[Damon]: Burky?

[Bryan]: Who said it's a monster?

[J.J]: This is my favorite shot in the pilot, because you think it's gonna, and right now they're stepping over dolly tracks by the way although you can't tell, um, this shot goes on, you think it's just one of those shots of them walking past and then it all just stops and then it goes again and it reveals the plane and when we did this we actually had the actors blindfolded so they couldn't, they hadn't seen this uh, until they got there and uh, just sort of for fun

[Damon]: Blindfolding the actors is something we try to do on a regular basis just, just 'cuz

[Bryan]: Supposedly there are rarely electrical storms in Hawaii and when we were shooting this the rain was coming down so hard that there was...

[J.J]: This was real rain

[Bryan]: It was suddenly flooding in the neighborhood and there was electrical storms and the Hawaiians who don't really freak out about the weather, were suddenly coming up to us and saying "Maybe we should stop shooting today"

[J.J]: Yeah they had us leave...'cuz they were afraid we'd get hit by lightning

[Damon]: So obviously you know, there is an awesome documentary um, on this DVD about how we got this plane to Hawaii but uh, this is a real, this is the, what you see is what you get here, this is the cockpit and it is out in the middle of the jungle and uh you know, we should talk a little bit about exactly what, how this is angled and all that

[J.J]: It was on a, yeah yeah, it was on a crane being held up and it could be lowered to a slightly less extreme angle but we shot this there, this was not a set built somewhere else this was really where you see it...when I first went into the plane and climbed up the smell was so hideous because it was in the mud and had been there for a couple weeks

[Damon]: And then I was asked to leave the set and things got much better

[J.J]: [Chuckles] But the angle that the plane was at, when you were close to the cockpit, I got nauseated because it was...[Ununderstandable]...Heidi would be proud!

[Damon]: Yeah

[All laugh]

[J.J]: Uh, it was just so, uh, it was just disorientating and sickening, I mean it's a very morbid thing to be in a set like this

[Bryan]: Plus there was no ventilation and there would be like forty people at any given time shooting and wasn't pleasant

[J.J]: They did a great job here, you know they were exaggerating the angle, the camera was tilted to make it seem as if it was a little more angled...I love this stunt

[Damon]: That's great...that's a guy

[J.J]: That's a real guy

[Damon]: These were kinda, again, simpler times for Jack and's all just about getting the transceiver, funny without trying

[J.J]: He is terrific

[Bryan]: He tries a little

[J.J]: No he does try

[Damon]: Just totally sold this, how many days were we inside this thing?

[J.J]: Three, was tough shooting in that um, area of the fuselage but then in the cockpit it's you know, cockpits are small [Chuckles], this was really what we had...there's uh, Greg Grunberg (?) playing the pilot, uh, I put him in everything I do, um, mostly because he's got some dirt on me...No, he's my oldest friend since kindergarten so we just try to work together all the time

[Damon]: This is like the greatest cameo ever

[J.J]: This, if we had more time and money we would have built a set for this

[Damon]: I'm glad we didn't though

[J.J]: Oh I know

[Damon]: BOO, there he is...I love the blood on his face in that shot, it's just like, it really jumps out at you...that's timed really nicely

[J.J]: Shooting in this space was crazy, we um, we often actually even had two camera going and we, like they would remove a window and we'd shoot threw one of the windows and, but there was not a lot of mobility in you learn there's forty-eight at least, uh, this is one of those scenes that uh, we felt that people would feel as sense of relief that they found someone who had some knowledge as to where they were, what happened to the plane um, and we needed you know we needed a line, that would land so people would understand why they not being rescued at least for the moment...and given the fact that people were going to feel relief that the pilot was alive, what happens in a couple seconds we were hoping would be especially shocking

[Bryan]: The thing is going to arrive in a moment and we decided that the sounds you were going to hear would be different because it was going to be closer and the sounds you would hear right outside the cockpit would definitely sound different than what you were hearing when it was further away

[Damon]: Greg's really good in this scene

[J.J]: He is terrific...that took a while to, to find sort of the right sense of like his voice and his energy

[Damon]: I remember thinking you know, how are we ever going to get away with you know, not having Charlie in for all that exposition and then...

[J.J]: You actually forget

[Damon]: It just plays

[J.J]: Yeah

[Damon]: It's like, "Oh yeah, where is Charlie?" and of course he's in the bathroom

[J.J]: I love by the way seeing that um, that window, the Oceanic logo on it and then you see it later on the plane in his flashback

[Damon]: There it is...quitin' time!

[J.J]: [Chuckles] Isn't Al in town? [Ununderstandable]

[Damon]: Not a good noise...the poor pilot, he has no idea, and obviously...

[J.J]: This shadow by the way, there, which I love and then that shot was put on later in post, in the window

[Damon]: And now you know, we have to break you know, rule number one of scary movie making which is, just stay put and don't investigate but somebody always has to...unfortunatetly

[Bryan]: When we were shooting this scene is was kinda gitty over what would do because a lot of things like the whipping of the window, there was no say on the jezzae [Ununderstandable], immediately said when we did it, "We'll put in a squeaky sound"

[J.J]: [Chuckles]

[Bryan]: And when the blood splattered against the windshield we just knew that there was going to be all these sounds that weren't there that would really heighten while this was happening

[Damon]: Right here's were the audience realizes that Greg is, not long for this world


[Damon]: Yep, that's it. See ya...and we literally had a stuntman who was sort of...

[J.J]: He was being yanked

[Damon]: Yeah he was being yanked

[J.J]: His legs got pretty...

[Damon]: Smash

[J.J]: That was all done, right there...we have people outside with red paint, and this was really, we really knocked this cockpit down

[Damon]: Oh, we dropped that thing, that's one you can only do once. I remember you saying like, If it doesn't work the first time we can actually do it again and, wondering how the hell we were going to pull that off

[J.J]: Hoping it wasn't necessary

[Damon]: Fortunately, we got it

[Bryan]: Is it, this is actually one of my favorite things were we did have a uh, a DVD cameraman behind but with that shot right there of Foxy, all these close up shots like Evangeline there, J.J wanted to have them in focus but we wouldn't be able to keep them in focus while they were running so had them running in place while using a long lens so everything in the background fell out of focus and they were, that one as well, and all they're doing is running in place and looking terrified and looking over their shoulder and it gives the illusion and the camera shaking giving the illusion that they're running, when in fact they're standing in place

[J.J]: It worked, it was sort of fun to do and this was great we in this area of the jungle for I think three days in the rain and it was weird how after a couple days it just felt like we were in a set, like, you became so comfortable there, it was so uncomfortable at first and uh, she was terrific and this was the first scene that we shot in Hawaii with her, and, with Evangeline, and I can't believe what she did here, what she did was incredible, I mean, it was unbelievable to me how wonderful she was

[Damon]: I remember standing in video village uh, when Evie did this scene and everybody was just sort of look at each other and thinking, "Who was this girl and where did she come from?"

[Bryan]: All I could do is just shrug! I was like god, she's amazing

[Damon]: And then the next day I remember her eyes swelling up to sort of graphic proportions

[J.J]: She [Or it] was shocking

[Damon]: Because of all the rain and uh, jungleness, but here we's just Charlie, and this is the first in a long legacy of scenes where Kate is on top of men, holding them down...her hair is right in his eye there and I'm just always impressed with Dom's ability to not respond to it

[J.J]: We had those shots looking straight up mostly because the trees are so spectacular, in the jungles there and uh, they were so alien I just really wanted to feature those, he's terrific here, and this shot I love too, I think he did such a great job just being scared. This tree had obviously already been there um, but it was again, there were so many beautiful uh, visions in the jungle that I just you know, anywhere you put the camera you got something great

[Damon]: I love that moment where Evie says, "We have to go back for him" that was such sort of a defining moment for her character where your kinda like uh, "I like this girl"

[J.J]: Yeah, exactly right

[Damon]: And you needed moment like that in order to buy it back later when we realize who Kate is...

[J.J]: Uh-huh

[Damon]: ...And what she was doing on the plane

[Bryan]: It's weird to look at it now and remember the location and there was certain places we couldn't walk because literally the mud was come up to your knee

[J.J]: Oh by the way, this scene, this moment was not in the script, seeing the reflection but when we, the rains happened I was walking through the set and there was complaining what a disaster it was and I looked down and saw the reflections of the tree and I thought, "God we could use that" and it ends up being one of those moments that...look how great she is here, it's so good

[Damon]: Now, you know, it's sort of gone into Lost lore that in fact the body up in the tree used to be Jack, that uh you know, in the original outline, in the draft, first draft of the script it was Jack who sort of gets grabbed by the Monster and tossed up into this tree which sort of kicks off a chain of events that you know, an entire act of Kate actually climbing up the tree uh, in order to get the transceiver which was sort of wedged in dead Jack's pocket, but cooler heads prevailed, sort of lead by Steve McPhearson now head of ABC, um, who basically convinced us to let Jack live along with Susan Lime who is uh, then head of ABC

[J.J]: I also have to say, by the way, that dummy in the tree was not Greg, it was just a dummy that we happened to find that looked so much like Greg it freaks me out

[Bryan]: So we're uh, going to do a commentary on the second part of the pilot so

[Damon]: Otherwise known as...Pilot...Part...

[J.J]: Part two

[Bryan]: Originally is was all it was all one pilot but now it's two parts

[J.J]: But please, join us on that disk

[Damon]: Yes, please

[Bryan]: Please

[Damon]: You have time

[Bryan]: We're going to go change our outfits

[J.J]: Seriously, what are you doing? [Unuderstandable]

[Bryan]: Let's all go change and we'll meet on disk two

[Damon]: Ok, see you there

[Bryan]: Same disk, we'll all go change and we'll meet on episode two

[Damon]: Yeah

[The rest of this commentary is continued on to "Pilot, Part 2"]

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