The creative team for “The Leftovers” works out of a nondescript structure in Santa Monica, but executive producer Damon Lindelof’s office is anything but. Nearly every inch is covered with memorabilia, a testament to his unabashed love for television. A “Guilty Remnants” poster hangs on the wall opposite a row of seats from Oceanic Airlines; there’s a “Clear Eyes, Full Hearts, Can’t Lose” sign over the doorway, a souvenir from the “Friday Night Lights” set.

“It’s my own curated museum of the narcissistic me,” jokes Lindelof. “I’ve built this space to be surrounded by a tremendous amount of pleasant memories, but also stuff that evokes my childhood, because the minute I start to get stressed out, I remind myself, ‘Oh, that’s a pretty cool job.’ ”


The first thing people notice when they come in his office, he says, is that computer from “Lost” — where Desmond had to enter the numbers every 108 minutes. But the “shot computer” (which got riddled with bullets accidentally) also serves as a metaphor to prevent too much exposition in storytelling: “Don’t be too talky,” he cautions.


On “Mad Men,” Lane Pryce was driven to suicide when a check was discovered that he’d written to himself; it’s framed on Lindelof’s wall, a prize won in an eBay auction. “I love that show and I hate it because it always makes me feel like a shitty writer,” he admits. Of all the show’s characters, he identified most with Pryce. Why? “You’d have to ask my shrink.”


Fans of the original “Batman” TV series will recognize the Shakespeare bust that Adam West would flip open to reveal the Batpole. Says Lindelof, “I love the idea of a secret world. I think we all fantasize about walking over to a Shakespeare bust, flipping the switch, and then just sliding out of whatever situation we’re in.”