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Can you jump out a window?


quote:


Chris: The windows are indestructable



quote:


Chris: -You can'[sign in to see URL] like you... I mean... If you could, you would not want to.

-CUT-
Chris:
...for instance even if the front plaster was breakable, you know what I mean,
BEHIND the plaster would not be. You know, you might be able to do a little damage, but... I do not know...
Some of those things are like... we always thought, like... Any rule that was not totally established...



What if someone jumped out, would she be in Gallup 1961?

quote:

CL: We always wanted to show what would happen if someone tried this, but never had time for it in the miniseries. The short answer is no, you would not be in Gallup in 1961. Room 10 does not exist in 1961, nor does it exist in history at all. It was erased from our reality by the Event. But in whatever future editions of THE LOST ROOM exist, you will see someone try this and what happens.

PW: What you see outside the window of the Motel Room is Gallup in 1961, but that doesn’t necessarily mean that Gallup 1961 is outside the window.




Quotes are from the Comic-Con 2009 interview
[sign in to see URL]|offset=30#post14779

Last edited by Cattrina, 12/21/2011, 3:30 pm


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What would happen if someone opened the door from the other side just as Joe inserted the key?


You can only have 1 instance of The Room existing at one time.

You can not stay in The Room and close the door if you do not have The Key, and survive reset.

You can not open the Door without The Key

although it is assumed, the Occupant can open the door without The Key, it would be highly unlikely to happen at the very precise moment, simultaeneously.

Even a microsecond a difference, and the door would open for the faster one.
quote:



CL: The answer is, you can only open one instance of the Motel Room at at time. So if you used the Key on a second door, it simply wouldn't work while the first door was still open to the Motel Room.

This is an important rule, or else theoretically there could be millions of Motel Rooms out there, being used as de facto teleportation machines by people who don't have the Key, but who are extremely careful about keeping the door wedged open to their Room every time they exited. Which is itself kind of a cool idea, but it conflicted with our core idea of the importance of the Key, and how it was the ONLY way to access the Room. If there's just one Room, accessed by one Key, they both become much, much more important. Worth killing for...





Q: When Iggy opened the door with the key, the other side of the door is still closed.
When Joe opened the door without the key, the other side of the door behaved normally.


quote:

paulworkman wrote:

Because only one side of the real world door was attached to the motel room door!



quote:

paulworkman wrote:

quote:

Jintosh wrote:

quote:

Because only one side of the real world door was attached to the motel room door!



[sign in to see URL]'ve given this some more thought. For instance, when Iggy opens the police station door, HALF of the door is in use to access Room 10.

What if : A cop had tried to open the OUTSIDE of that same door while the inside is in use for Room 10 ?

Would the door open? Would you see the inside of the door? Or since the inside of the door is in use, would you see nothing? Or ??????



The door wouldn't open. It would be jammed shut.



Q: Can you have more than one instance of The Room Door open at simultaeneously?

quote:

paulv70 wrote:

I thought this was interesting so I went to the source. (Chris Leone, co-creator of TLR)

Chris,
What happens if you exit the room leaving the door open and then open another door with the key? Would you open another instance of the room?


and his response...

The answer is, you can only open one instance of the Motel Room at at time. So if you used the Key on a second door, it simply wouldn't work while the first door was still open to the Motel Room.

This is an important rule, or else theoretically there could be millions of Motel Rooms out there, being used as de facto teleportation machines by people who don't have the Key, but who are extremely careful about keeping the door wedged open to their Room every time they exited. Which is itself kind of a cool idea, but it conflicted with our core idea of the importance of the Key, and how it was the ONLY way to access the Room. If there's just one Room, accessed by one Key, they both become much, much more important. Worth killing for...

--Chris





Last edited by Cattrina, 1/20/2010, 7:14 am


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Can you destroy/break/dismantle parts of The Room?


The Creators have stated in the Comic Con Interview, that the Windows are indestructable, but the Room itself is somewhat mundane.

The Room is it´s own world, the plaster is breakable, but what is BEYOND the plaster is not.

Whatever damage you do to the Room, it repairs itself
upon reset.


But taking into regard the following answer about dismantling Objects into smaller parts is 'NO' therefore one could jump into the conclution: 'No you can not unscrew The Room to make more Objects'

But where do we draw the line between furnishings and the fe. screws on the wall.

It is not estabilished.

Some draw the line to what you can dismantle without tools, which would effectively make the Television, telephone, bathroom utilities and the ceiling lamp parts of the Room.

Last edited by Cattrina, 3/7/2010, 5:33 am


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Can you dismantle an Object and therefore get new Objects?


quote:


Christopher Leone stated
in the Comic Con Interview:

"The Room is it´s own reality and the Objects in that are kinda restored to that, you know,
but they may have certain indestructable qualities."


...just for the Rules, I always felt like, well if they were completally breakable in there, then,
 you'd be like "Yei, I just gonna brake the Pencil and have two Objects', right?

The Occupant' s willpower would not make much difference then...





Answer is: NO dismantling = destroying

BUT

You can remove pieces, that are 'naturally' removable and they are separate Objects
Read more about the Object Entities #post15395] here



Q: There are two combs in Room 10 during The [sign in to see URL] in the medicine cabinet and one in the grooming kit on the [sign in to see URL] this intentional ? are they separate Objects ??

quote:


Christopher Leone wrote:
A: Ha, I didn't realize there were two combs. That wasn't the intention, but there's no rule against there being two combs.



Q: The Transistor Radio has removable [sign in to see URL] they a separate Object ??


quote:


Christopher Leone Wrote:
A: Yes, anything that can be broken down into other pieces -- without breaking the indestructible rule, of course -- would actually be separate Objects. So for instance, you can't rip a match out of the matchbook -- it's indestructible -- so all the matches and the matchbook are one Object. But if you can unplug the headphones from the radio, then they're two separate Objects.



Q: In The Grooming Kit there are many Objects that can have a cover removed ...does the cover(s) become Objects when separated from the main Object ??

quote:


Christopher Leone wrote:
A: Same as above. Yes, if the cover can be removed then it's a separate Object




Q: How about The Pen?

quote:

Christopher Leone wrote:

I would argue that, while technically you could unscrew a ballpoint pen without breaking it, if there was any slight bit of gunk or rust in the connection, the Pen would be indestructibly fused shut. Unlike, say, a pillow that could easily be slipped out of a pillowcase. So, somewhat conveniently for the purposes of storytelling, certain Objects like the Pen would always remain one Object.



Q: The Deck of Cards, Cigarettes?

quote:

Christopher Leone wrote:
The Deck of Cards was always meant to be wrapped in cellophane, so it would be impossible to open and, therefore, would be a single Object. HOWEVER, there's a philosophical question here, which is, is every card in the deck, plus the box, plus the cellophane one single Object, or actually 50+ Objects housed in a single "body"? Is the Deck's effect is a combination of 50+ separate Object effects or a single one? Anyway, it's ultimately a moot question -- since it can't be broken down, the question can never be answered -- but anyway it's interesting.







,offset=0]Read one of our chuckles about the matter here

Last edited by Cattrina, 5/4/2011, 11:57 am


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Is there any word on continuing the series?


 
June 24th 2010 it was announced a comic book will be launced on 2011

---------------- old news -------------------

If not would you consider another venue to continue telling the story? Perhaps a book or online series?

quote:


CHRISTOPHER LEONE: Well, there’s bad news and good news.

The bad news is, we just heard that we won’t be doing any more episodes of THE LOST ROOM for the Sci-Fi Channel. We always got a tremendous amount of support for the show at Sci-Fi and they were very proud of it, so I don’t think it was a decision they liked making. It’s a shame though, because we created a ton of new material for the show that I think everyone involved really loved and I think you guys would flip for.

The good news is, Lionsgate is committed to keeping the project alive in some form or another, possibly including novels. When we have something to announce, we’ll announce it here in the Collector’s forum first. We also have some new projects in the works so we’ll announce those too when we can.


quote:

Spikosauropod wrote:

Well, let me see.

Chris and Laura have been heard to say that they may work on some kind of TLR comic book after they finish their current project. Their current project, we have now learned, is a comic book published through RED 5 called ]WE KILL MONSTERS.

Paul Workman has suggested that books or short stories might be in order, but he has not hinted that anything is in the works.

The Sci Fi Channel treats TLR like a low grade B movie to be shown during times when they might otherwise run an infomercial. While on the one hand they do not seem interested in pursuing TLR, they seem to think they can pull in the TLR fan base with WAREHOUSE 13. This is evidenced by the link they posted ]here. (Don’t anyone try convincing me they aren’t behind it.)

Lionsgate is more interested in socially conscious films like Saw, Saw II, Saw III, Saw IV, Saw V, and Saw VI.




quote:


Syfy president Dave Howe:

... the concept of Warehouse 13 which is objects with special powers I think Warehouse 13 does a, you know, does a better version of the Lost Room from a series perspective.

I think the challenge that we had with Lost Room is it was very difficult as a concept even though we loved it to kind of market it in one sentence or less because it was somewhat, you know, complicated to just explain to everybody there was this kind of, you know, missing room and a missing key etcetera, etcetera.

And the thing about the objects was that their arbitrary powers were also problematic. The fact that, you know, you picked up an alarm clock and you had no idea what it would actually do. I think the success of Warehouse 13 is we've tried to give all of the objects a real kind of mythology and a history that actually stacks up that makes some sense either historically or scientifically, etcetera.

And I think that’s why Warehouse 13 works. And I think that’s probably why the Lost Room didn't work for us. It was one of our lowest rated miniseries ever. And I think that’s pretty much - I think answers your question.



The comic book season 2 is coming, although postponed due the hectic lifesituations of the Creators.

Last edited by Cattrina, 3/3/2012, 8:25 am


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Why 1961?


quote:

PAUL WORKMAN: One reason we chose 1961 was that it's long enough in the past to be historical, but not so long in the past that it becomes abstractly historical. One might be tempted to set The Event a thousand years ago to make it feel more epic, but how would a person relate to that personally? We were always trying to find a balance between the fantastic and the mundane, and 1961 is recent enough that many of the trappings of our ordinary lives were present, although in forms that nowadays may look slightly exotic (like wind-up clocks). So by setting the Event forty years ago but setting the story in the present day, the Objects are both familiar, and slightly foreign.

1961 feels like a year just out of our grasp, something we just barely missed. Or, for audience members over 45, something they lived through but is now kind of fading away.



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Can the images on The Show to be trusted?


quote:


CL:I would like to point out though that pictures of Objects cannot always be trusted. Remember that the Sood deals in Object “science” – pictures, videos, and evidence of Objects. But the vast majority of these materials are fakes and hoaxes. This is why the Sood’s reputation matters so much to him – he deals (usually) in the real McCoy.

It was always a crucial idea to us in the show that no one has a perfect understanding of the Objects. Everyone has part of the truth, but no one has all of it.

PW: An ongoing theme of the show was how people deal with weirdness, with stuff that they cannot explain. They produce theories, best guesses, and all of these guesses are likely to have some basis in fact or at least are somewhat reasonable. But nobody is sure, and they can’t be. Some people deal with that uncertainty by faking certainty. So don’t trust anything any character says, no matter how sure they are.



Q: Some of us have noticed that some objects change during the series. The glasses Ruber takes from the mechanic and gives to the Order and the glasses he wears in the hospital scene with Lee aren’t the same. Was this just a case of props getting mixed up, lost or broken?

quote:



CL: I’m stunned to discover that you’re right – the Glasses are different in the last scene! This was not intentional, this was a production error that I’ve never noticed. Great, now I won’t sleep tonight. I guess someone grabbed the wrong glasses for that last scene.



Q: The life Magazine dated July 7 1961. Was this deliberate and part of the plot, or was it a prop malfunction?

quote:


Regarding the Life magazine, the answer is "both." It was originally an error -- we knew immediately it didn't make sense as an Object because of the date -- but decided to leave it in the Sood's database because (a) it looked kind of cool and (b) we could consider it either:

1. An error on the part of Sood's (although a pretty obvious one).

2. A known hoax that still exists in the Sood's database for some reason or

3. An as-yet-unexplained anomaly which we could play with at a later date. This is by far the most interesting, of course...

I love that we're talking about an Object that appears for literally 2 frames in the miniseries, by the way. It does not surprise me in the least. I KNEW that part would be gone over with a fine-toothed comb!



quote:

Spikosauropod wrote:

Also, Chris has suggested that if more episodes are made they will probably work the prop error into the show. My assumption is that it will be a replacement for a destroyed object.




Q: Some Objects dissappear from scene-changes, is that a production continuum-error?

quote:

paulv70 wrote:

I was rewatching the part with the film and noticed something. As Arlene closes the door you can see the Objects are still nailed to the outside. Then the camera pans away and back and they are gone.

Same with Kreutzfeld except in his case once Eddie and Joe enter the room you see the Objects in a small cluster on the bureau.

I asked Chris about this and here's what he said:

"This is a sharp catch. The idea was this was the Occupant's doing. There was a moment filmed for Night 3 where the Occupant ripped the Objects off the door, but in editing it was felt that it broke the pace of that big moment. I don't think anyone has caught it until now."






Q: The shot of the shoe polish in the vault is brown polish and also the sood's pic of the shoe polish is brown too but eddie's shoes are black !

Why did he have brown polish with him when his shoes are clearly black.?


quote:


Chris: Ha! I never caught that one. Well, I suppose it's easily possible he was traveling with either (1) more than one set of shoes or (2) a shoe polish kit containing a few different colors. Or both.




It is also possible that is an error of Eddie (he bought wrong polish) or propping departement



Last edited by Cattrina, 1/20/2010, 7:39 am


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How does one activate a sealed Object, like cigarette from the Cigarette Pack?


quote:

13. How would one use such objects as The Pack of Cigarettes, The Matchbook or The Bar of Soap? They are all sealed shut and indestructible so how do you smoke a cig if you cannot rip open the cellophane? You can’t rip out a match and strike it so how do you use it? the bar of soap is sealed too so how do you use it to activate its power? Can you explain these Objects and their use?

CL: Well, activating the Object does not necessarily have anything to do with the way it is used in real life. The Comb is activated when you run it through your hair – that makes sense – but the Quarter is activated when you swallow it, which doesn’t. Also not all Objects need to be activated – some are always “on.” There is an Object that turns iron into manganese for a twenty foot radius, and it never shuts off. You can’t get near it or else it destroys your red blood cells.

LH: A little bit of trivia to add: we didn’t get to explain this in the mini series, but there are actually TWO bars of soap, and one of them is not sealed. At the time of the Event, the Occupant was using it (this would be the soap in the bathtub, not the soap on the sink, which remained wrapped). He had thrown the wrapper into the Waste Basket, so the Soap Wrapper is its own Object, seen ever-so-briefly in the mini series as one of the Objects in the Collector’s Vault.



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How did Kreutzfeld get out of the fallout shelter?


quote:

paulworkman wrote:

The Collectors' Vault could have had a bunch of doors, possibly leading to nowhere (i.e., just a door in a frame, facing a blank wall), used to get back out. For added security, they could have sandwiched the door behind a larger sliding door with a latch on the outside. They could have escaped by unlatching the larger door, revealing the regular door, and then used the Key. This wouldn't have been a way *into* the vault, because if you entered from the Motel Room and the larger sliding door hadn't been opened, you would have seen just a blank wall (the sliding door in its closed position). Presumably the Vault already had one of these and we just didn't show it. There was a lot of stuff that was glossed over because there wasn't time.

Also that escape door couldn't be used as a way in unless the Key owner already knew that it existed, even if the sliding door had been removed. The door that was advertised was the one to the trap entrance.

That whole sequence diverged a lot from what we had originally planned. I had planned that going into the trap room would have triggered a portable engine to blow exhaust into the room (to get the interloper with carbon monoxide). Also it was going to be in a different location. It was turned into a bomb shelter under a prison because we needed something a hurry that was near Albuquerque.





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Where did the idea of The Lost Room originate for you?


quote:


From UGO interview
UGO: Where did the idea of The Lost Room originate for you?


LAURA HARKCOM: It was a combination of two separate ideas. One was an idea from our collaborator, Paul Workman, who we went to college with. Chris and Paul worked in the library together.

CHRIS LEONE: Paul and I used to work at the library together, and he used to come into work with these weird ideas, and one of these ideas or mental experiments was, "What would be the best superpower that you could have, that would be the smallest power with the most effect?" His idea was, "What if you were teleported to this hotel room where I would have to pay rent and I'd get room service." He could not have a job, and that would be a life-changer. I think that was the funny idea, and he also had this idea of a power where "you could have a bus ticket to Fort Wayne, Indiana, and you'd have a bus ticket back to wherever you came from." It would be annoying, but it wouldn't be devastating. They could always come home.

That was one half of the idea. Years later, Laura and I had been working as writing partners for a while and we had sold some features, and we had a feature idea about this kid who had this glass eye. There was this whole underground war happening in diners and bowling alleys and such, but it didn't really connect to anything. We were kind of stuck on that.

LAURA: We didn't know what to do with it and then, one Thanksgiving, Paul, who works in San Francisco but comes down to have Thanksgiving with Chris and his family, was sitting around with us just talking. We decided, "What if we combined Paul's ideas with our ideas for the movie?" It just kind of exploded into this thing. We had to ask Paul to stay for a few more days because we were writing furiously out ideas for five days. When we had everything assembled, we realized it was way too big to be a movie, which is what we were used to writing. So, we decided to try it out as a TV show.

UGO: As you were assigning the powers to the ideas, what item was the most fun for you to create?

CHRIS: They're all fun in different ways. I think Paul came up with the idea of the pencil that makes pennies. You know, tap it on the table and a penny falls out, which I find hilarious and so weird and so arbitrary. The comb, too, I always really liked. The funniest things are the limitations of the items, actually. One of the weird ideas, some of which are more straightforward and some of which are more surreal, but for instance, the comb; Yes, it stops time, but only for maybe ten seconds, and most people wouldn't notice because you'd be in the bathroom combing your hair anyway. Then, the world just kind of freezes, so you can't just do everything you want. Then, you're nauseous afterwards. Everything has its limitation.

LAURA: I would also add that we tried to make the powers arbitrary to the object, so there's not a pillow that makes you fall asleep. The powers are so strange and not relatable to the objects themselves... that was a lot of fun for us. Personally, my favorite was the wristwatch that hard boils eggs, just because its so crazy.



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