"[man] Background!" "Grief-stricken survivors of Oceanic flight 815 are gonna suffer some more losses this evening." "Death by flaming arrow." "[man] Let's get ready to rehearse." " These guys..." " Two main things we're dealing with, arrows on wires, that will be important to be aware of that, and where the wires are so nobody trips and gets in the way." "The second element is fire, which will be part of the arrows at times." " Also part of burns on stunt players." " Arrow hits boar." " You guys are running." " [man] We got that script, Jack Bender, our director, said he wanted this to be really big and dramatic." "Up in the trees, up and over, they're coming at you." "So we really had to have some people get burned." "And we had our guy, Frogurt." "Hello." "I'd like to get a few things, uh, off my chest." "That bit with Frogurt, that's such a funny moment." " We're gonna get through this." " How?" "!" "Didn't you hear what I just said!" "?" "We can't even get fire!" "I'm in a bad mood, but I have heartburn." "He totally nailed that scene." "He was fantastic." "I'm a little burnt out." "And, uh..." "I take your point to heart." "We're trying to find the right speed." "You put the fire on him, we'll be there." "Archie Ahuna, our special effects guy, put arrows on a wire so the arrow couldn't accidentally hit someone." "[man] Excellent." "Perfect." "It's with a wire, so it doesn't come anywhere near your face." "It's totally safe." "They're like literally with a sling shot shooting the arrow from a ladder down a wire into the guy's heart." " You know... it bounces off of him." " [man] Cut." "[man] Light 'em up." " [man] Let's roll!" " There's so much wiring and stuff." "If I trip on this wire, or if I do this in the wrong way, it's gonna hit me." "[Mader] It says in the script," ""Charlotte trips and misses a flaming arrow not going into the side of her head." I'm thinking," ""How will they pull that off?" I'm running and rehearsing." "I rehearse my trip, it's like..." "Whoosh!" "Right by my head." "I was like "Aaah!"" " I was like, "OK." - [man] Action!" "That night of arrows was really fun." "Run!" "The stunt guys were truly fantastic." "When he says run, then give it one beat and go." " OK." " OK?" "We brought a great fire team over here." "Kim Koscki doubled Frogurt, did a fantasticjob with that fire burn." "[Koscki] This is stunt gel." "Protects my skin from burning." "Trying to stay relaxed." "I'm gonna do a quick fire test." "Tell me if it's big enough for you," " or if you need it smaller." " [man] Here we go." "Three, two, one." "[man 2] Here it comes." "OK." "[man 3] That's beautiful." "It hides his face pretty good." "That looks great." "We did a full ten-second burn." "I think it looked really good." "[man] Light." "Background, action!" "[woman screaming]" "Put him out!" " [applause] - [overlapping chatter]" " Very nice." "You all right?" " Yeah." "Good." "Thanks." "There's definitely fire all around, uh, but our guys are amazing." "They're very good at controlling the situation." "They're very safe." "So they just made it look amazing." " Background standing by." " Everybody there was efficient." "One of those things where if everything could go right, it did that night." "That's why we came out with a great sequence." "Tonight, we're gonna be making a storm, rough seas, some lightning, a bit of wind." "It's gonna be killer." "By the time it all gets going, a big frothy storm is..." "There'll be a lot of thrashing about." "[man] We executed the nighttime portion, for various reasons, just practical reasons, in a swimming pool." "We've shut the pool down for a couple of days to lay down that black tarp to conceal the whole bottom, set up everything." "It's kind of a crazy ordeal here for the past couple days." "This is one of our bigger setups here." "We're usually out in the ocean, dealing with the elements." "This is controlled circumstance," " which is different." " We had permission to turn off all the street lights, any light in the area." "We'll get this place as dark as possible so we can get that lightning shining." "[man] We supply all the power to the set." "And, in this particular case, it was really complicated 'cause of the storm in the pool." "So we had to have a separate run for the lightning, a separate run for the safe pool power, 'cause it's gonna be wet." "Maybe we move this." "We got almost 10,000 gallons of water that's pushing to make turbulence to try and give the effect of a storm in a swimming pool." "Our canoe is a 43-foot outrigger, Hawaiian canoe." "Six person." "We gauged it a little bit." "We're gonna take it out of the water and give it more of a paintjob." "It'll look lighter than it is now." "Move, together." "[man] OK!" "Ancient Hawaiians used to go hundreds of miles in these canoes." "You see these long arms here?" "These are the 'iakos." "Then we have this long flotation device." "This is the ama." "The ama is the counter flotation." "If we didn't have this on this canoe, it's so narrow, the canoe wouldn't stay straight up." "So this allows it to stay up." "Uh, this particular one is..." "is a fiberglass canoe." "In ancient Hawaiian days, it was all wood." " [man] Last minute paintjob?" " No, no." "Never. [chuckles]" "Paint takes time to dry." "So we're accelerating that time." "'Cause it'll be in the water in about ten minutes." " [man] You wanna see a rain test?" " [man 2] A lot of elements working." "We're gonna do a full test with all the effects working." "Troubleshoot that and then we'll bring our cast into the boat." " [man] Here we go!" " [man 2] Here comes the rain!" "Oh, yeah!" "It'll look great." " Josh, you're first." " Yes, ma'am." " [man] One on each side..." " Shouldn't we just swim over, really?" "[laughing] [man] Bounce around." "OK." "Away you go." " OK." " Whee!" "[woman] How am I gonna get past Ken?" "Set." "OK, and the flash is bright, it's bright, it's bright." "And out." "Raining." "Holding onto the edge." "Wind." "Rain." "Action!" "And cutting!" "[powering down] [shouting, yelling, indistinct]" "Let's do that again." "That was awesome." "You're almost there, actually." "Believe it or not." " Only seven shots away." " All right, let's roll." "[Leung] No acting necessary when you're actually in the environment that you're supposed to be in." "I take that back!" "For that to look so dramatic, yet so controlled, uh, of a situation, was wonderful." "That was a lot of fun, uh, actually." "We had a good time doing it." "[man] We're just getting warmed up!" " Checking the gate!" " That's it!" " [man] Come on back to shore." " [woman] Yeah!" "Woo!" "[man] Yeah!" " [woman] Moving on to the stunt." " We're doing a big car crash." "Playing in the streets on a Saturday afternoon." "We're having a great day of stunts on Lost." "It's gonna be fantastic." "I'm in the big, white, heavy Suburban hitting Hubie in the little blue car." "We got the script and it read, "Locke head-ons with an oncoming car."" "Well, you can't do a head-on car crash at any type of speed, really, and keep somebody safe." "So that's where I went to Jack and said," ""Let's do something different, an intersection, three-car sort of semi-T-bone." So we had the stunt driver," "Conrad Palmisano, hit him from the front, which is difficult in timing." "Quarter panel Ford." "We're in the money." "It's a millisecond difference between hitting the sweet spot or..." "So we do the best we can, take a run at it, and hopefully we all connect." "Then we got... we have him hit by Eddie Braun from the side." "What we did on that was we shot it four different setups." "What about going from one to two?" "We do the first hit and cut?" "We have to troubleshoot everything and make sure it's all..." "We've thought of everything that could go wrong." "Once the crash car hits the hero car, spins it around, if it's lined up in this intersection, we're taking it out." "Uh, I just want to point out one thing." "Being a good exec producer/director means letting people who are wonderful do their job." " Thank you." " So I'm gonna sit down and watch." "[woman] Move Tiffany and Junior down here." "There's this parking garage over on this side." "Shutting down the streets." "Nothing locations can't do." "Big bang coming up." "Boom!" "Everyone just keep your eyes open." "In a big crash like this, things get splintered and shot and broken." "So, uh, just be aware." "There will be almost no chance of an abort from the two hero cars." "OK?" "When we go, we're going on this one." "Because the timing's super critical." " Here we go." " Roll A, B, E and F. Let me hear back." "Rolling." "[woman] A camera, speed." " [man] B camera." " Roll the unmanned camera." " [man 2] C and D camera speed." " And three, two, one, action." "[man] Everybody stay clear, please." "[applause]" "[man] Yeah!" "Nice job, boys!" "It jolts you from the toes to the tip of your head." "The car was going so fast, it actually didn't get the full 180 spin" " like we had planned." " We should haul it out." "Well, we're using our second car to continue the action." "We need to make it look like it was hit." "I think we smash it a couple of times with a sledgehammer." " Heads up." " [man] There you go." " Action." " [Trisler] What we've done now is we overlapped it with a nice 180 slide in here." "[man] And cut." "Good job, guys!" "That was great, Eddie!" "So although it didn't work perfect, it looks perfect because you have a backup plan." "What it's all about." "We're now adding a cut which I hadn't planned of Locke in the car as it spins." "[man] Action!" "Probably end up being better." "We'll have a few more action cuts in the sequence." "Action, bump!" "Awesome." "Print." "One more." "Out of something that didn't quite work the way we expected it, we'll end up with a better sequence." "[Bender] Beautiful, huh!" " I think we got it, boys." " [man 2] Awesome." "Acting action is, uh is harder than acting dialogue." "Because you're pretending, which is, in a nutshell, what making this stuff is like." "Then we shoot the car over Locke's shoulder through the car as he stops spinning with the oncoming car coming." "Terry can also, when he sees it coming, turn profile." "That'll be great." "Let's do that." "If you do it in reverse, it allows you to get the contact car which hits Terry much closer." "Action!" "Cut." "Good." "Print them both." "The trick is that the actor has to act in reverse." " [man] Action!" " [Bender] As the car pulls away, he had to look forward and then out." "So you have to have an actor who can get that [bleep] together, which isn't easy, and still make it believable." "Then when we play it in reverse, it will appear that he's looking this way and then he looks and the car hits him." "Now we're going for the final climax shot here, so to speak, when the second crash car comes in and nails him." "[man] Cut!" "When you cut it all together, it looks extremely violent." "Jack was very specific on he wanted the car crash to look like Locke died, so the audience felt like, "How did he survive?"" "And I think we got that out of it." "[radiator hissing, sputtering]" "Seeing Dharma when it was new." "More than one of the vans all lined up together." "Seeing the inculcation center of the Dharma Initiative with our main characters in it was something we really wanted to do from the get go." "[woman] I think those of us who were in the Oceanic Six, we felt kind of like fish out of water, back in the jungle again, because we'd..." "I'd gotten used to stilettos and pencil skirts and cement and tea and couches." "It was a little..." "There's a bit of electricity in the air." "Add to that the fact that we're in 1977, so we're playing dress-up." "[man] Set, and... background action!" "Welcome to the island." "For your comfort and safety, stay within the confines of your living quarters." "Our barracks are surrounded by a sonar fence to protect us from the island's abundant and diverse wildlife." "I feel pretty '70s." "Dance fever." "They told me to grow all of it out." "Then they removed seven-eighths of it." "So apparently Fu Manchu is what they're going for." "It's styling." "[Lilly] I'm in ridiculous bell bottoms and a very, uh, fun, authentic 1970s shirt." "Matthew Fox is in a polyester-collared blue shirt." "And, um, it was fun." "It was a good day." "Stuck in the '70s." "Feeling young again." "And we say, "Roll, please."" " A marker." " [man] And action." "What's your name?" " Uh..." "Kate Austen." " Austen..." "You're not on my list." "[Zbyszewski] We also wanted to set up the fact that our characters were going to be brought into this society and have to play roles in it, and have them think about why they were brought to the '70s." "[Lilly] Kate is assigned a job in the motor pool, which means, essentially, that she will be a mechanic." "But Kate doesn't have a clue about cars." "The irony of that is that I used to be a grease monkey." "I do know my way around the underbelly of a car." "When I pass the big rigs on set, I can tell you if the hitch for the flat bed needs greasing or not." "I'm a grease monkey." "Thanks very much." " [man] That's right..." " Juliet." "Motor pool." "Grease monkey." " I didn't know you knew how to do that." " What can't Juliet do?" "We're gonna be in the work pool together one day." "Isn't that exciting?" "I think Juliet put Kate there." " I hope so." " They'll be together." " Forever." " Lots of grease and jumpsuits." "First half of this season, being split from Elizabeth Mitchell, never having any scenes with her, was trying, to say the least." "So anytime I have a scene with her, it's gonna be a good day at work." "Maybe this is where the love relationship..." "This is where the love..." "I knew it." "I knew it!" "That was a fun thing for our characters because there's so much history." "We never believed these two don't like each other." "We always thought Juliet and Kate are meant to be great friends." "Circumstances haven't lead that way." "I'm Juliet." " Kate." " Hi, Kate." "Welcome to the island." "Cut." "Print." "To have Jack sitting across the table from Marvin Candle..." " It's Chang." "Pierre Chang." " ..." "Pierre Chang telling Jack" " that he was going to be a janitor." " It's my first face-to-face with Jack." "Namaste." "I'm Pierre Chang." "Welcome to the Dharma Initiative." "How was your ride in?" "I'm just waiting to see when I lose my arm, if I do." "You've been assigned to the Shed." " [Fox] "Workman." What's that mean?" " Getting to wear jumpsuits was fun." "[Garcia] Learning that the jumpsuit had the up zipper at the bottom, so that..." "For easy bathroom breaks." " We got jumpsuits." " I feel like I'm joining a cult." " Really, I guess it kind of is." " [man 2] Process people." " Give them a packet of blank paper." " [man 3] How do they know what to do?" "Mind control." "We're looking for their address, some hobbies, the usual things that might be required if you're going out to the bush." " All of us are crazy." " Just relax." " That wasn't so bad." " Good." "Just one more." "Bend over." "What's going on tonight?" "Maybe we got a burning van driving through Dharmaville." "Hitting the house, collapsing the porch." "Engulfing the entire house in flames." "Fire hoses..." "All kinds of action." "Five feet in the air." "Flame-throwing van." "That's how we roll on Lost." "I don't know." "What is up with Dharmaville?" "Three years, no burning buses." "You're here one day..." "Sawyer thought he was gonna get to chill out." "I guess not." "You can only be peaceful for so long." "You need a bit of a lull of peace, then you can stir it all back up again." "Originally, um, the joke in the room was, "What's the diversion?"" "We kept saying, "They send a burning cow in."" "But, of course, it just felt natural that it had to be a bus." " We would never hurt a cow." " Never." "We're burning a van on this first shot." "We'll get the fire started." "That bad boy over there has got propane rigged in it." " I'm applying pyro gel." " We think we need some more on the side." "I'm gonna bring it in and stop it there." "If everything goes right, we should have it on take one." " [man] Fire coming up." "Roll camera." " [man 2] Rolling camera!" "Rolling!" "[applause]" "All right!" "I love shooting action scenes." "There's no acting required." "I'm just gonna grab her." "If you throw yourself into the scene, it's gonna happen." "Action!" "[man] Cut!" "[Lilly] Archie, our special effects master, he does a fantasticjob of putting us in the scene and in the moment." " You fine right here." " He's all about bigger and better." "I got a fireball right here that will come out about seven feet wide and eight feet high." "There's a little heat on him, but boom and gone." "It's gonna be loud." "So when we blow up the house, these explosions are very big and real." " I had a great time that night." " [man] Action!" "Back up!" " [overlapping chatter] - [chuckles]" " Stretch it out!" " Here you go." "All security!" "All security!" "This is LaFleur!" "We have a fire!" "I had a sequence where I had to hit three different cameras." "The scene kept going on and on." "They were like, "When you're doing this, there's a camera there." "There's this camera over here." "And then you go over here, there's one behind that tree." "You see it?" I'm like, "No." "There it is." "OK."" "So that was interesting to me." "Of course, I messed them up here and there." "Finally, I was frustrated at one point." "So I was like, "Let's blooper this one."" "[man] A mark." "Craig, find Rita, I need a blow dryer!" "Erin, does this make me look fat?" "[laughter]" "Sorry!" "I got lost!" "All right!" "Sorry, Duane!" "[Lilly] With Elizabeth Mitchell, the hose was not working." "We ended up getting on the hose together, her and I." "And I had to get my t-shirt involved to try to twist things around." "And finally, we got the thing going in the right way." " They called "cut" immediately." " It was funny, seeing everyone's version of a hose with no pressure." "We were all laughing at each other 'cause we all had to do it." ""Let's see your job with the hose with no pressure."" "They'd get up there..." "It was funny." "[grunting]" " [woman] Go!" " [man] Go, go!" "Those situations are rife for laughter." "They're the memories you hold onto," " not when everything goes perfect." " Good times." "[laughter]" "Like..." "I break him out of jail." "And... he shoots me." "It's like, what's up with that?" "Ben gets shot by Sayid right..." "Wait." "Right there." "Jin comes by, picks him up, takes him back to his van, drives him to the Dharmaville, where he goes into operation with Juliet." "Sawyer comes in, Sawyer gags." "But then Juliet can't help Ben anymore." "So then Kate takes me out into the jungle." "I'm dying so bad that they take me to the Others, with Richard Alpert, and he takes me here... to the temple." " B marker." " [man] Action!" "[Lindelof] We think what's interesting is that young Ben is already going off the deep end when he meets Sayid." "He's got a drunken, abusive father." "He lives amongst Dharma people, but he lets a Hostile out of prison, which is potentially dangerous." "So is this a good kid or not?" "Dude, it's like..." "I actually look bruised, and like I have a bullet wound in me." "It's like... [gasping]" " Don't get excited." " [laughs] OK." "I gotta let this dry, and then it's gonna look really good." "[Mitchell] Something's not right." "His breathing's labored." "His pressure's dropping." "Potential pneumothorax." "His lung's collapsing." "I need a 14-gauge needle." "What's going through my head is, "What gauge?" "13 gauge?" "No, 12-gauge." "Do 12-gauge." As a result, I'm happy when it comes out and seems coherent." "Put a one-way valve on the catheter." "Run..." "Find out where the source of that bleeding is, Someone has to..." "Hold on, that's not it." "He's still bleeding in there, somewhere." " It's all right." " No!" "It's not..." "Better her than me, once again." "Uh, she's amazing." " [Mitchell] More gauze." " Definitely convincing as a doctor." "That's good." " Looks good." " [man] Gotta watch edges there." "Hi, Mom." "Hi, Mom." "I know this creeps you out 'cause I'm all dead and bloody and dying." "But... hi!" "I love you." "[Mitchell] It was really interesting because you would think Juliet would want to kill Ben." "But then you realize how soft she's gotten in these three years." "And I thought it was very interesting that she and Kate were the saviors of Ben." "And I liked that she just said, "I don't let children die." That's it." "Jack said, "It's Ben." She said, "It's not Ben yet."" "I'm still sweet and innocent Ben." "It's really because of his inaction that Ben becomes Ben. [laughs]" " So it's good." " Awesome." "Gotta get pictures with the Dharma Initiative camera." "You know how we do." "What's going on?" "What's happening?" "Well, this next scene is more trekking, if you can imagine that on Lost." "This is what you have to do when you're out in the jungle." "What's happening today?" "It's the day we first see the temple." "It's a really cool set." "It has hieroglyphics." "I see a few birds, a few little fish." "I see one that looks like the temple." "When I went inside, it was just a piece of plywood." " [man] That's it?" " [Beaumon] That's it." " No smoke monster?" " No smoke monster." "But I guess we'll have to keep watching to see what's inside." " Come on!" " [man] Roll, please." " Rolling." " [man 2] Action!" "[Lindelof] The question becomes, when Sayid shoots him, is that what turned him into the Benjamin Linus we have grown to, um, know and hate?" " Or..." "And love, just a little bit." " Alpert does say," ""If I take him, he will never be the same." That hints that he probably is..." "Sayid is, in a way, responsible for him becoming that guy." "We shouldn't do this without asking." " If Charles finds out..." " Let him." "I don't answer to either." "In this particular scene, the only clues I have as to whether Ben will be a good leader are through the people who are delivering him to me." "And that's, uh, Kate and Sawyer." "So it's all on them." "I'm just the messenger." "If you were shot as a 12-year-old, that might have an impact on the adult you became." "I wanna be the big, bad, mean Ben." "We always consider the finales to be the real seismic episodes of the season because they not only wrap up this story, but they also hopefully set up the next season's idea." " Why the hell are we stopping?" " That's why." "In season five, Sawyer's become very civilized." "In fact, he becomes a leader much like Jack." "He realizes that's an easy job when you're not in conflict." "But when you are in conflict, being a leader," " you have to make difficult decisions." " Doc, we gotta talk." " You wanna talk, get in the van..." " I ain't gettin' in the van!" "This fight has been a long time coming." "We feel like it had to happen now." "[man] Watch the left." "Yep, there it is." "Celebrity Deathmatch:" "Lost." " Ready for blood." " Let's get this again adding blood." " Set blood!" " Hit Josh two times with blood." " We got blood coming in." " Good stuff." "I'm gonna be like, "Are you gonna stop?"" "So it's kind of choking." "Or is it better...?" " I think it's better if you choke me." " All right." "I can do that too." "I don't know." "These actors have held it together for all these years." "[man] Yeah." "Now they're beating the [bleep] out of each other." "Hey, it ain't real unless you get a little banged up." "[man] Guys, that was awesome." "[Fox] The whole season has been getting to the island, looking for that destiny that Locke tried to tell him was there." "Nothing in my life has ever felt so right." "The idea that you could alter the future was a very faith-based concept." "So the idea that Jack had to pick up Faraday's mission" " was really engaging to us." " You want to save Sayid," " take us to the Swan." " Swan it is." "The finale was huge, and we didn't have a lot of prep." "First, we had to pick a place where we could create this construction site." "We're at the actual site where we've seen the hatch on the end of season one and part of two, where Locke goes in and we discover Desmond." "[Bender] Our team had to work with geologists." "We had to get permits." "State parks, coastal committee, engineering, soils." "This layout is architecturally scaled to what we saw on season two." "We'll shoot this out 'til the end of the season, and then we will restore this location, put it back to its original condition." "It rains in He'eia frequently." "That was part of the logistical nightmare of having this pit." "The night before we were gonna go there pissing rain." "They arrived to two feet of water and a lake." "Special effects had the pumps going, construction had trenches being dug." "And once the water was out of it, it looked even more real." "It starts off with the Gunfight at the OK Corral." "All the actors have to be able to play who they're shooting at and why they're going or it doesn't make sense." "We can have..." "We can have them in our sights, if you want that." "Today, we have a lot to look after." "We have 18 guns out." "And, uh, no waiting." "Major misnomer that blanks aren't dangerous." "Any gunfire is dangerous." "Bang, bang, bang." "Bang, bang, bang." "Bang!" "[Bender] Once the shootout happens, then Jack brings the bomb." "And then the [bleep] hits the fan on a whole other level." "This is a big rig." "We got so much things happening at once." "I mean, we got mortars going." "We got steam." "We got sparks." "We gotta collapse them with stunt guys around." "Action!" "It's dangerous out here." "There's no sled." "It's just us on the rocks, right?" " [man] What sled?" " That's not a sled." "Anything that's metal on a set wherever Jack's pointing" " will be traveling." " That's hollow." "[man] Ready... and action!" "This is the most awesome thing ever, actually." "The fact that we're doing this on a television budget for television is the greatest thing ever." "This is huge, this whole sequence." "This is what you get when you watch the season finale of Lost." "That's a lot of everything." "That's taro and that's the statue we're putting on the base." "The art department has given us this base." "This is before." "And that's after, when it's just the foot." "Who the heck is Jacob?" "This is a question the audience has." "I think the audience was surprised when we said, "Wanna see Jacob?" " Here's Jacob."" " We felt nobody would expect that." "Not only would he appear in the teaser, but he would have run-ins with all these characters on the show." "Some very early in their lives..." "I'll pay for it." "Yes, here I am at the party." "Crashing with my hors d'oeuvres." "[Lindelof] What is the significance of these visits?" "There's a big mystery," " and the essential mystery..." " Know what I thought was interesting?" "That he touched most of the characters he visited off the island." " Did he?" " He did." " I noticed he touched a lot of them." " I'd have to go back and watch the DVDs to see if he actually touched them all." "We've always thought of Jacob as good." "Why?" "Who knows?" "So we want the audience to be coming out of this season wondering, is this guy Jacob a force of light or a force of darkness?" "Obviously, this conflict between the man in white and the man in black is something very significant rolling into the final season of the show." " You found your loophole." " Indeed I did."