Since you were also serving as executive producers, did it help to have input on the casting of the characters you created?
Christopher: There’s a lot of people involved, but we had our voice.
Laura: We have to give props to Mary Jo Slater and Steve Brooksbank who did a phenomenal job and brought us people that we either didn’t know or would not have thought of for some of these roles that were just perfect.
In the second half of the mini-series, you began to combine objects in order to tackle different obstacles – The Collectors vault, specifically. How did you handle the inclusion of so many objects at once and how did you go about creating the various steps needed to gain access to the vault?
Christopher: You have to be careful because once you do a story about magic forks and stuff… it can become really silly.
Laura: Yeah, it could be like Wizard of Oz – let’s gather Dorothy and Toto and storm Kreutzfeld’s castle.
Christopher: You almost didn’t want to talk about more than one or two objects per scene, because it becomes preposterous. Arguably, it’s all preposterous, but it becomes really preposterous when you talk about more than one or two at a time. Once you’ve collected five, as long as you’re just grouping them together, it’s fine.
Laura: For getting into the vault, we loved the idea of the scissors – something that rotates things. So, it seemed like a natural way to break into the vault.
Christopher: The vault was specifically deigned by The Collectors. So, what could they do with the objects that would essentially be a security system that somebody without the key couldn’t even find. You need these three items to get through the system that they created.
Internet Resurgence, Cult Following & The Totally Rad Show
How do you feel about the resurgence of The Lost Room via the internet? It’s always been there, but Dan Trachtenberg and The Totally Rad Show really put a voice to it.
Christopher: It’s awesome.
Laura: Yeah, we couldn’t be happier with Dan and The Totally Rad Show guys for, like you said, putting a centralized voice to it.
Christopher: It’s funny because we actually got in touch with him over Twitter. I saw on Twitter where Dan had said how much he loved [The Lost Room] and had just re-watched it. So, I just Twittered him back completely cold and said, “Thanks!”
Then, we started talking and met him for lunch. He’s a commercial director and I’m a commercial director, so we have a lot in common – we hit it off, so it was a natural thing. Then, they were like, “Do you want to make this announcement (of The Lost Room: Season 2 comic ) at our panel and I was like, “Yeah, that would be great!.”
That’s the interesting thing. It seems to have gained a more cult reputation.
Laura: Right, on DVD and since [The Lost Room] airing in more and more countries - it has helped the DVD sales.
Have you ever thought about recording your own audio-commentary for The Lost Room and releasing it online?
Christopher: That’s interesting, I don’t know. Maybe we should think about it. In a way, I’d hate to talk about it too much and ruin it for people or explain everything – “When he says 'this,' he means 'this.'" – because some of the fun is leaving that kind of [ambiguity].
Laura: It might actually be good to get more distance, more time. Maybe wait until after the comic comes out.
Christopher: It would be interesting, even now, to revisit it – I haven’t watched the [mini-series] in a while. One of the things is that if you [rewatch] it, there are certain scenes – not the rules or logic – where you’ll go, “Did that scene stay in there? Did we cut that?” It’s like a surprise to me because we had ten-thousand different versions of it, at one point.
Laura: Yeah, things we had to cut for time, had to cut for budget.
Christopher: Yeah, or things you just revised.
Laura: Yeah, the ripple effect of revising something… some scenes are obsolete.