Soundtracks

During the nine days we scurried to cut the LOST pilot, we had to put in temporary music before presenting the project to the studio and network. Bernard Herrmann, Ennio Morricone, Hans Zimmer, Thomas Newman, James Horner, Vangelis, John Carpenter, and half a dozen other composers unknowingly lent their brilliant music for the first test screening of the pilot - which led to its "pick-up" by ABC.

Unfortunately, as is often the case with temp music, many network executives had already grown to love the music - which left Michael Giacchino with the unenviable task of writing a score to replace some incredible music by some of Hollywood's leading composers.

Immediately, Michael dismissed the existing music and set out to create his own vision for the show. Instead of using music to simply enhance the scenes, Michael's score gave life to the characters. We no longer watched Jack walk through the debris of the plane wreck or Jack, Kate and Charlie flee from the cockpit - we now felt their grief, their angst, and their horror. From the pilot and on to the series, Michael used his own voice and passion to give LOST a sound all its own.

Hopefully, this collection will remind you of out characters' journeys through their first season on the island. For us, we finally have one CD to meet all our future temp music needs - at least until Michael releases his next score.

—J.J. Abrams, Damon Lindelof, Bryan Burk, Jack Bender, Carlton Cuse

Special Thanks to Damon Lindelof, Carlton Cuse, Ra'uf Glasgow, Cheryl Foliart, Chad Seiter, Samantha Thomas and Stephen Davis.

I'd also like to thank my team - without the help of the Disney music department, my conductor, contractors, copyists, music editors, and assistants I could not do this. Seriously, I COULD NOT do it.

To the players of the Hollywood Studio Symphony - whenever I am in your presence - the first word in my head is simply "WOW!".

A special thanks to Bryan Burk - who makes me feel as if I am in business with both a friend and a brother. His love of movie music is a shared enthusiasm that is a rare trait in today's producers.

And finally, a resounding thanks to my good friend, J.J. Abrams - you give me the freedom to be creative and to have fun with my work - there's no better gift.

And one last mention for the best family a guy could have - Jamie, Mick, Gracie and Griffith. One day you kids will watch this show and say - "so THAT's what daddy was doing up in his office all the time!"

—Michael Giacchino

I am about to start my 3rd season of composing music for LOST. This summer, for the first time since I began working on the show, I had a chance to visit the set in Hawaii.

This show has always been special to me, for so many reasons, but my visit with the wonderful cast and crew reaffirmed for me why I love working on the show. You couldn't find a more fun, generous, warm and simply inspirational group of people.

In the end, LOST isn't necessarily about the polar bears, the hatch, the numbers or even the Others. For me, LOST is about the idea that we as individuals can be better. Whatever happens to you in life, the one thing you always have is the chance to improve upon your flaws.

As I quietly wandered the beach set that serves as the encampment for the survivors, I couldn't help but think of our own world as that troubled island in LOST, a small bottle violently tossed in a despondent storm of emotion. And yet, even with its failings, sometimes the sea is calm, and I am able to find hope that it may improve.

—Michael Giacchino

Special Super Thanks to Damon Lindelof, Carlton Cuse, Stephen Davis, Mike Andreas, Ra'uf Glasgow, Cheryl Foliart, Chad Seiter, Andrea Datzman, Samantha Thomas, and the ENORMOUSLY talented cast and crew of LOST. I must thank my team - were it not for the help of the players of the Hollywood Studio Symphony, the Disney music department, my conductor, contractors, copyists, music editors, and assistants and various LA recording stage crews, this CD would be blank. To Bryan Burk - I wish you were the dictionary definition for the word "producer." One of my favorite people, ever. And finally, J.J. Abrams - simply put, you are an imaginative genius who sparks my mind every time we get together. THANK YOU. And as always, "ginormous" love to my family - Jamie, Mick, Gracie and Griffith.

—Michael Giacchino

If you were to open any LOST script you'd find two things that would probably surprise you: lots of swear words and references to Michael Giacchino. Now before you draw conclusions, the two are not related in the way you might think. But both serve an important purpose for us as writers: they exist to convey emotion - emotion above and beyond the expected.

Our prodigious use of expletives is our way of amplifying the intensity of what we put on the page. But even pulling out all the stops, there are times when words fail, when we find ourselves unable to convey the depth of the emotions we are trying to express. And that's when we turn to Michael.

Both on the page and on the screen we count on his brilliant and unique music to raise the bar, to make any given scene better. The script might say something like, "As they board the raft with hope of rescue finally at hand, Giacchino plays the moment for all its worth." Or "With Giacchino's DRUMS POUNDING like hell, they run fast as they can through the jungle rain." You get the idea. In other words, we rely on Michael a lot to save our asses.

For season 3, Michael has taken the themes he's developed for all the main characters - Jack, Hurley, Locke, Ben and the rest - turned them, deepened them, and found new ways to express the emotion of the show. From heart pounding action to lyrical emotional pieces that dig deep into the soul, Michael can do it all.

We are blessed to have Michael as our collaborator and even more as a friend. LOST would be nothing close to the show it is without him.

—Damon Lindelof and Carlton Cuse

I would love to give special thanks to my partners in crime - the writers and producers of LOST. Without their work, their words, their trust - I have nothing. I am also fortunate to have at my side the best music team in the business, with an extra special thanks to my assistant Chad who is "Johnny On The Spot" no matter what time of day or night. And my favorite thing about working on LOST? Being with members of the orchestra, who are truly at the heart of what I do. They bring LOST to LIFE.

And last but not least - special thanks to my family - Jamie, Mick, Gracie and Griffy. You make all this fun.

—Michael Giacchino

Assembling the annual soundtrack for LOST is always an enormous - but also rewarding and fun - task. I re-watch every episode and re-listen to every cue. I know how dedicated the fans of the show are and that, invariably, every cue I leave off of the soundtrack is going to be someone's favorite. For Season 3, I just couldn't contain the music to one CD. For the fourteen episodes of Season 4, however, I had a fighting chance. I think, over the course of the seventy-eight minutes finally settled on, the musical and dramatic arc of the fourth season is exhibited as well as seventy-eight minutes allows.

Each successive season has allowed Michael Giacchino the opportunity of further exploring his principal LOST motifs, as well as introducing new ones - as the mystery unfolds and events warrant. From the very beginning (Pilot, Part 1), Michael set himself a certain constraint which, in turn, spawned all the ensuing invention. In the grand tradition of the way Jerry Goldsmith and Bernard Herrmann would help define the "sound" of a new score by a very specific and tailored instrumentation, Michael would apply the concept on a previously unimagined scale, using a string orchestra with trombones, piano, harp, percussion, and an occasional fleeting guitar, to support not only a single episode or season, but the entire six-year LOST saga. Far from being a limiting force, this approach would ultimately give Michael's LOST scoring a unity and a depth that is now even considered, let alone attempted, elsewhere in television. Characters, relationships, and events all have defined motifs which are endlessly explored in fresh and inventive ways.

The principal musical themes of LOST, as featured on previous seasonal soundtracks, form movements, so to speak, in the greater LOST symphony. In fact, on September 22, 2007, a bona fide LOST Symphony was performed by the Honolulu Symphony Orchestra at the Waikiki Shell, complete with Terry O'Quinn reading "Messages From The Bottle" as interstitials. Hearing the music of LOST performed under the stars - at the foot of Diamond Head, with trade winds rustling the stage-side palm trees - made for a truly unimaginable, and indeed magical, evening! There was even Oceanic 815 wreckage on the stage ... with luggage strewn about!

For LOST, Michael Giacchino has created a unique musical world. Even a casual fan of the show can recognize his work from a single note ... a bar of those unnerving strings or a trombone glissando, a low string on the harp or a few delicate notes on the piano. Not even a melody is required. From the very first note of this Season 4 album to the last, we're instantly transported to The Island.

Didn't need a plane. Michael Giacchino took us there.

—Robert Townson

I would like to dedicate this album to Larry Corbett. You've heard him play his self-made cello on just about everything I've recorded. We miss him, and will continue to miss him every time we gather to play.

And it goes without saying that I would like to thank my orchestra, my music team, and finally...my family.

—Michael Giacchino