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Carlton Cuse

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Carlton Cuse

#### Full Name and Common Aliases
Carlton Cuse is a renowned American television writer, producer, and director. He is commonly known for his work on hit TV series such as _Lost_ and _Bates Motel_, which showcases his mastery over crafting complex characters and storylines.

#### Birth and Death Dates
Born on November 13, 1959, Carlton Cuse has not publicly disclosed any information about his passing. His remarkable career in the television industry has spanned several decades, with numerous accolades to his name.

#### Nationality and Profession(s)
Carlton Cuse is an American national, with a profession as a television writer, producer, and director. He has worked extensively in these fields, bringing many of his projects to life on various screens.

#### Early Life and Background
Growing up in the United States, Carlton Cuse developed an interest in storytelling at a young age. His passion for writing and creative expression was fostered through his experiences as a child. After completing his education, he began working in the television industry, where he would eventually rise to become one of the most respected professionals.

#### Major Accomplishments
Carlton Cuse's significant achievements in the television industry are numerous. One of his most notable works is _Lost_, which earned him multiple Emmy nominations and won several awards for its writing and production quality. He also co-created _Bates Motel_, a prequel series to Alfred Hitchcock's classic horror film, _Psycho_. This critically acclaimed show received widespread praise from critics and audiences alike.

#### Notable Works or Actions
In addition to his work on _Lost_ and _Bates Motel_, Carlton Cuse has contributed to several other notable projects. These include writing for television series such as _The Good Guys_ and _Nash Bridges_. He has also worked behind the camera, directing episodes of various TV shows.

#### Impact and Legacy
Carlton Cuse's impact on the television industry is undeniable. Through his dedication and hard work, he has helped shape the landscape of modern television programming. His innovative storytelling techniques have inspired countless writers, producers, and directors to push the boundaries of creative expression.

#### Why They Are Widely Quoted or Remembered
Carlton Cuse is widely quoted and remembered for his role as a visionary writer and producer in the world of television. His work on _Lost_ and _Bates Motel_ has left an indelible mark on popular culture, with many regarding him as one of the most influential figures in contemporary television.

Quotes by Carlton Cuse

Tragedy is a great storytelling form. It worked extremely well for Shakespeare. It worked extremely well for Jim Cameron with 'Titanic.'
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Tragedy is a great storytelling form. It worked extremely well for Shakespeare. It worked extremely well for Jim Cameron with 'Titanic.'
The creative process is not like a situation where you get struck by a single lightning bolt. You have ongoing discoveries, and there's ongoing creative revelations. Yes, it's really helpful to be marching toward a specific destination, but, along the way, you must allow yourself room for your ideas to blossom, take root, and grow.
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The creative process is not like a situation where you get struck by a single lightning bolt. You have ongoing discoveries, and there's ongoing creative revelations. Yes, it's really helpful to be marching toward a specific destination, but, along the way, you must allow yourself room for your ideas to blossom, take root, and grow.
The job of being a television show-runner has evolved and there's all these new aspects to it. It's good because there are additional avenues open for content. We have ways of expressing ideas we have for the show that wouldn't fit into the television series. But it's hard to manage our time. And we honestly put most of our time and attention on the show itself - that still is the bread and butter of our existence.
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The job of being a television show-runner has evolved and there's all these new aspects to it. It's good because there are additional avenues open for content. We have ways of expressing ideas we have for the show that wouldn't fit into the television series. But it's hard to manage our time. And we honestly put most of our time and attention on the show itself - that still is the bread and butter of our existence.
The genre aspects of the show are cool, and we have fun doing it. But I am much more engaged by the people on the show, and I think that is fundamentally what we try to do.
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The genre aspects of the show are cool, and we have fun doing it. But I am much more engaged by the people on the show, and I think that is fundamentally what we try to do.
This idea that you can watch a show like 'True Detective,' and it was awesome, but is it really ruined for you if the finale is not your favorite episode of it? It's just odd to me.
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This idea that you can watch a show like 'True Detective,' and it was awesome, but is it really ruined for you if the finale is not your favorite episode of it? It's just odd to me.
By coming to an agreement, the quality and integrity of the stories we tell in this new medium will be consistent with that of the network show.
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By coming to an agreement, the quality and integrity of the stories we tell in this new medium will be consistent with that of the network show.
In Hollywood, there is no bigger commitment you can make than to a TV series. Even marriages pale in comparison. Marriages don't require signing iron-clad multiyear contracts. At least, most first marriages don't.
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In Hollywood, there is no bigger commitment you can make than to a TV series. Even marriages pale in comparison. Marriages don't require signing iron-clad multiyear contracts. At least, most first marriages don't.
I'm a big baseball fan, and I feel proprietary about the Dodgers. I'm not the owner. I'm not the manager. But I feel passionate about the decisions that they make, and I take it personally when they make decisions I don't like.
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I'm a big baseball fan, and I feel proprietary about the Dodgers. I'm not the owner. I'm not the manager. But I feel passionate about the decisions that they make, and I take it personally when they make decisions I don't like.
That is very much going to be at the forefront of all the new labor negotiations, particularly with the Writers Guild, because writers are at the center of television series production and all of these new ideas are ultimately writer-based. Right now, our involvement in this is about being involved in the cutting edge of these emerging technologies and learning how it works.
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That is very much going to be at the forefront of all the new labor negotiations, particularly with the Writers Guild, because writers are at the center of television series production and all of these new ideas are ultimately writer-based. Right now, our involvement in this is about being involved in the cutting edge of these emerging technologies and learning how it works.
The most difficult story that I've ever been involved in breaking on any of my shows was 'The Constant' episode of 'Lost,' which was when Desmond was consciousness-traveling.
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The most difficult story that I've ever been involved in breaking on any of my shows was 'The Constant' episode of 'Lost,' which was when Desmond was consciousness-traveling.
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