Damon Lindelof to Write and Produce Large-Scale Sci-Fi Film for Disney

by     Posted 3 years, 195 days ago

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Damon Lindelof co-created a pop culture hit with Lost and Disney is hoping that he can bring that same magic (sans the controversial ending) to the big screen.  Deadline reports that Lindelof has signed a 7-figure deal with the studio to write and produce a large-scale sci-fi film tentatively titled 1952.  And that’s all that’s known about it at this time.  Does the title refer to a date?  To a code?  To the number of possible endings he Lindelof could have used for Lost? No one knows, but Disney is conceiving of the project for multiple platforms because why just have a film when you can turn it into video games, comic books, webisodes, and beach towels?

This will be the first film Lindelof produces from the ground-up.  He’s previously worked on the screenplay for Cowboys & Aliens, he rewrote the Alien prequel into the mysterious sci-fi flick Prometheus, and he’s currently working with Alex Kurtzman and Roberto Orci on a gigantic outline for Star Trek 2.  Once Lindelof finishes up with Trek 2, he’ll move on to 1952.




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  • fr

    Disney should not put so much faith into someone who can’t even plan a proper ending for a tv show, even after announcing its ending date 3 years in advance. Whatever JJ created in Lost, Damon just shat on it

    • elikias

      Point of order: it’s much easier to write a coherent movie than a coherent TV show. I don’t mean to defend him, but that is an obvious fact.

      In earnest I think he and Carlton Cuse felt trapped by Lost when they could have been cranking out movies like JJ, and that’s why the final seasons of Lost lost some of their fire.

      • T. Van

        @ Elikias

        True. Plus, Lindelof’s experience as a producter for the most recent Star Trek was probably good preparation for the logistics of his own film project.

        Of course, I’m a bit nervous about the guy using numbers as a title for his next project. After what happened the last time, there’s no way that I’m going to trust him with numbers, until he proves himself.

    • Matt B

      Point #2. The ending to LOST was phenomenal unless you are faithless scientologist.

      • Lance

        Hi Matt B,

        I think the ending of LOST was phenomenal if you don’t care about good storytelling.

        It’s like a very close football game between two teams in which the announcers give a very close play-by-play up until the last thirty seconds. And then the announcer says, “And then all the players went to Heaven.”

        Intelligent viewers will be asking, “What the heck happened before that though?” while the sheep will be drooling, “Who cares? Jack was lying on his back in the jungle with Vincent and it was just like the first episode and OMG–VINCENT!!!!!”

        Damon Lindelof is a hack. In fact, he hacks the hacks.

      • J

        @Lance – The ending was beautifully symmetrical. How are people sheep for recognizing the potency of the last shot, the closing of a major television event conveyed in a single shot of an eye closing. It was beautiful.
        Sure, not everything was answered, but an episode listing off what everything was would have been terrible. The characters got closure and despite the trials they had in life, we get to see that in the end they’re happy. To call him a hack is ridiculous. He helped make Lost into one of the best shows of all time. Why a lot of people only focus on the last episode is stupid and narrow-minded.

      • Lance

        Hi J,

        The ending was beautifully symmetrical. But what about the story?

        Again, the finale of LOST was like a football game in the last thirty seconds. Let’s say both teams are tied. The announcer excitedly says, “So-and-So has the ball, he’s running for the goal, and–all the players are dead and in Heaven!”

        It was bad storytelling, plain and simple, and you know it. Hence your appeal to imagery, emotion and ‘symmetry.’ Lindelof and Cuse were banking on sheep like you falling for it (Don’t worry about the story, look! There’s Jack, lying on his back, just like BEFORE! And there’s Vincent, like in the beginning! Awwww! And his eye closes. In the beginning his eye OPENED! Woww… so deep. Oh by the way, what actually happened in this mess of a ‘story’?).

        LOST was not one of the best shows of all time. It was one of the worst time-wasters of all time. The finale makes everything that went before pointless and unwatchable.

      • Tarek

        The same plague has destroyed Heroes. Two brilliant first seasons, followed by two stupid nonsense seasons.

  • Tarek

    I have two theories:

    -The Flying Enterprise drama in 1952.
    -Mr. Potato Head is 1st toy advertised on television in 1952.

  • Jesus

    Considering 1952 had the UFOs that buzzed the White House, the Bloch Wave Theorem, the discovery of nuclear magnetic resonance in liquids and solids, an unexplained fireball crashing in a backyard in New Zealand, and a huge series of weather anomalies…it’s not out of the question to assume it’s a large-scale alien invasion type of film.

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  • dh

    And now Lindelof will start trolling the fanboy message boards like these to get plot ideas, much like the last 3 seasons of Lost.

  • Edward Lee

    Here’s hoping that this royal douchebag (he’s still openly pissed and downright violent at LOST fans for hating his “ending”) gets some maturity before Disney actually puts a relevant project in his hands.

    • Rimshot

      If you’ve bothered to read any of his more recent interviews, blog posts or tweets, you’d find out that he has since apologized for saying that disliking the ending or any part of the show didn’t make you “less of a fan” as he had previously vehemently stated.

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  • KLM

    YAY!! I love Damon and I love that he’s getting his own movie. Good for him. :D

    I loved Lost, flawed as it was at times (the episode about Jack’s tattoos. SERIOUSLY.), and I for one really loved the finale. It returned to the core of the show: the characters and their relationships. We didn’t get all the answers we wanted, but that was never the point. The point was the journey and the core characters, always.

  • Jordan N.

    “Disney is conceiving of the project for multiple platforms because why just have a film when you can turn it into video games, comic books, webisodes, and beach towels?”

    Um, wasn’t that Disney’s mandate with the new CEO took over, and in the process killed the sequel to that successful Sandra Bullock movie? Only big tent-pole movies that they could market and exploit the hell out of with cross-promotional crap?

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