MICHAEL GIACCHINO

A LOOOOOOOOOOOOOOOOT!!!



2 CD'S!

222222222222222!

No thanks! I'm more than happy with the 1 CD release.

The music I remember from the film doesn't really warrant a 100 minute release...

I don't even remember the film.

I suspect Jordi is a goldfish.

Well I for one like the appearance of Duel of the Fates in its truncated form, with the full version only appearing during the credits. Its presentation is of course miles behind the ones from the SE releases of Hope, Empire and Jedi. Nothing can beat those IMHO. But I can enjoy this UE for what it is.

It's incredible. How unfortunate for them it's not an obscure synthy Goldsmith score.

I've been ill and off work today, so have been doing some writing...

*Warning: This is a super long read. If you are not a dedicated Lost fan, this post may not be for you.

I would love to work as an album producer, picking cues, sequencing and editing them.. It's enjoyable (and sometimes frustrating) to see a film or TV show, work out what music plays well out of context, and then pick up the soundtrack and see how close you’ve come.

I also love Lost, although I was slightly disappointed with the season five soundtrack. Whereas the first four albums excelled in pretty much every way, season five seemed to be missing some memorable pieces and had a bit too much repetition of existing music.

So in the hopes of the season six soundtrack, I've gone through the show and done my best to work out what would and what wouldn't work on CD rather than simply listing anything that comes to mind. I’ve considered cue length, repetition of themes and the balance between action, suspense and emotional music (although this area is the most patchy as I’m sure it’s different when the music isn’t with the picture!)

Before you read through it and realise it's only one CDs worth of music, I'm confident MG and Varese can squeeze enough of the highlights onto a single disc. Some cues I’ve marked with “left out from ____” and while I’d love to hear these on a soundtrack I accept they probably aren’t all CD worthy due to length etc. and as a result have excluded these from the total running length.

Whether many people read this or not, I’ve had fun going through it, and if anyone involved in the soundtracks ever reads or considers this that’s a bonus.

01. LA X (Part 1) - The island is revealed to be underwater. (:52) – A great, if not obscure way to start the album. Although the previous soundtracks have missed off a lot of short cues, I think many of the highlights come in the short and sweet form. Seasons four and five didn’t start with fantastical opening cues, so I would be extremely happy to see this bizarre percussion-heavy cue open the album.

02. LA X (Part 1) - Juliet dies (1:57) – Death. The season is full of it. And any Lost soundtrack has to come with two things: One being the trekking music, and two being the LIFE AND DEATH THEME. Out of the several variations we hear in the season (excluding the ones in The End), I think this is the most sentimental and original. This one please. J

03. LA X (Part 1) – Oceanic 815 lands at LAX (4:00) – Aha! A shiny new big emotional theme, and what I’m now calling the PURGATORY THEME. I didn’t really think much of this until it appeared again in the finale, but it really is a whopper of a theme that I think gains entry to the hall of great Lost music along with Life And Death and the Oceanic Six themes. This version presnts it in full and is the longest variation of it in the season.

--- Left out from LA X (Part 2): THE TEMPLE THEME. I’ll go into more detail later, but the temple music is probably the toughest to present on album, at least in the format of it in the show. Many variations lead into long suspense passages that would drag on CD, or the cues are simply very short. There are two great versions of it in this episode, the first as the Losties are taken to the spring (scroll down to track nine for more info on this though), and the second as the firework is launched (which is roughly 1:08). A solution to this is in track nine. ---

04. LA X (Part 2) – Ben and Demon Locke exit the statue and Locke takes Richard captive (1:44) – Until the introduction later in the season of a proper MIB motif, I loved MG’s use of the simple four rising notes used for DEMON LOCKE’S MOTIF. This is probably my favourite use of it, with some trippy string work also included for good measure.

--- Left out from What Kate Does: Unfortunately there isn’t a version of KATE’S SIDEWAYS MOTIF longer than 30 seconds found anywhere in the show, but if by chance shorter cues are included, the best version is when she takes the plush whale out of Claire’s bag. ---

--- Left out from The Substitute: I love HURLEY’S SIDEWAYS MOTIF (1:33) as he talks with Locke outside the box company, but a better version appears in Everybody Loves Hugo. If there is a chance for more music though I would love for this cue to be included. ---

05. The Substitute - Locke and Helen's conversation (2:26) – This accompanies the coversation they have at the kitchen table when Locke’s knives are delivered. This is one of the lengthiest, interesting and moving versions of LOCKE’S SIDEWAYS THEME, and is probably the strongest of all the sideways character themes.

06. The Substitute - Descending the cliffs and the cave entrance (3:17) – Action! This cue starts with another great version DEMON LOCKE’S MOTIF as he and Sawyer descend Jacob’s ladder. As it breaks, we hear something we don’t usually hear in Lost – cymbals. After a frantic action segment, DEMON LOCKE’S MOTIF continues as they enter the cave and we gets some nice tense music as Jacob’s “list” is revealed on the cave walls.

--- Left out from Lighthouse: Jacob tells Hurley someone is coming to the island, and I love the reference of HURLEY’S FLASHFORWARD THEME from season four pop up here and then lead into JACOB’S THEME. But at only :33 seconds long I don’t expect to see this. I’ll still keep my fingers crossed though! ---

07. Lighthouse – Jack and Hurley at the top of the lighthouse (3:25) – The cue starts as Hurley and Jack look in the reflection of the mirror, and we get a truly epic version of JACOB’S THEME as Jack moves the mirror. This turns into a suspenseful version of JACK’S THEME, later accompanied by JACK’S MOTIF from season one up used when he smashes the mirror

08. Lighthouse - Jack speaks with David after the recital (1:20) – While Jack got a new four note motif for the sideways, it’s DAVID’S THEME which is used most effectively. There isn’t a massive amount of varition or difference in length on the occasions this pops up, but this is my favourite use of it.

09. Sundown – Sayid and Dogen fight in the temple, and Locke tells Claire to deliver the message (3:55) – As far as THE TEMPLE THEME is concerned, this is probably the best cue for an album. As Sayid enters the room with Dogen, we’re treated to a similar rendition of it used in LA X (Part 2) (as the Losties are taken to the well). While in that episode it then turns into a long suspense cue, here it bursts out into a crazy action version as they duke it out. As the fight concludes we get a version of LOCKE’S DESTINY MOTIF as he sends Claire into the temple.

--- Left out from Sundown: The temple attack (roughly 4:00). This is a difficult one to work out in the show due to the loud sound effects, but it sounds like this may be several short cues which wouldn’t necessarily work well on CD. Another solution to the temple music problem would be to instead include the LOST LIVE SUITE which is mix of firework and attack cues which includes the TEMPLE THEME, the LOST MAIN THEME, KATE’S MOTIF and SMOKEY’S MOTIF and is about three minutes long. ---

10. Dr. Linus – Principal Reynold’s office (1:47) – BEN’S SIDEWAYS MOTIF gets a nice workout in the final sideways scene in the office with Alex, followed by his discussion outside with Arzt.

11. Dr. Linus - Returning to camp (2:35) – Ilana and Ben return to camp as s sombre version of BEN’S THEME plays, followed by an epic version of the OCEANIC SIX THEME as Jack, Hurley and Richard arrival at the beach.

--- Left out from Recon: THE AJIRA MOTIF as Sawyer arrives and inspects the plane. While the cue is roughly 2:10 a large passage of it is tense strings as Sawyer discovers the bodies, followed by a variation on ROUSSEAU’S MOTIF as Sawyer chases after Zoe. ---

12. Recon - Sawyer and Miles talk in the car and Kate's arrest (2:00) – We get a nice emotional version of SAWYER’S SIDEWAYS MOTIF (which sounds similar to Ben’s theme from the original timeline) as he explains to Miles the truth about Anthony Cooper. This is followed by KATE’S ACTION MOTIF from LA X (Part 2) as Sawyer chases her down.

13. Ab Aeterno – Richard speaks with (invisible) Isabella while Hurley translates (3:40) – While RICHARD’S THEME is used frequently through the episode, this version at the end presents the longest variation on it, followed by some suspenseful music as MIB is revealed to be watching them.

--- Left out from Happily Ever After: The car crash action cue (1:57). DESMOND’S SIDEWAYS MOTIF crossed with Jaws is the best way to describe this fun, but not-totally-necessary-to-include-cue. ---

14. Happily Ever After - Daniel and Desmonds conversation (3:17) – DESMOND’S SIDEWAYS MOTIF plays as Faraday explains to him his meeting with Charlotte and memories of detonating Jughead.

15. Happily Ever After - Desmond speaks with Penny (1:55) – This cue begins as he asks her out for coffee, and we get a nice version of DESMOND’S AND PENNY’S LOVE THEME followed by DESMOND’S SIDEWAYS MOTIF as he enters the car with Minkowski and asks for the 815 manifest.

16. Everybody Loves Hugo - Chang's speech (1:37) – A better version of HURLEY’S SIDEWAYS MOTIF first heard in The Substitute. While roughly the same length this version has more variation.

17. Everybody Loves Hugo – Hurley, Jack and Sun arrive at Demon Locke’s camp (2:25) – This cue starts with a dark variation of LOCKE’S MOTIF (the main four note one from the first season) which leads into the new DESTINY MOTIF (three rising notes). This is introduced earlier in the episode as the group splits at the Black Rock, but this is a better version. The cue ends with a dark version of the OCEANIC SIX THEME as the rest of the group appears after Hurley’s conversation with Demon Locke.

18. The Last Recruit - Sawyer and Kate swim out to Demon Locke’s boat (1:35) – A cool extension of the DESTINY MOTIF from Everybody Loves Hugo. This is perhaps even better than the original version of it in the previous episode, but may be a bit too much if it’s coming off a track with it in as well.

--- Left out from The Candidate: Taking over the sub (4:44). An interesting cue in the show; this does jump from being an all out action to cue suspense cue and back a bit too much. It might work well on CD but I’m not certain until I hear it. ---

--- Left out from The Candidate: The sinking of the sub (roughly 5:00). There’s a really cool brass variation on JACK’S MOTIF as the Losties discuss the plan with the bomb, and we get some great versions of THE SUBMARINE MOTIF and the OCEANIC SIX THEMEs in the sequence, but I can’t tell if under all the sound effects this is several different cues. Like the previous cue I’ve left out above, while great in the show I can’t immediately see it working on CD. ---

--- Left out from Across The Sea: Mother and young MIB talk on the beach, the boar hunt, and Mother shows Jacob and MIB the light (5:20). This cue (or cues – it’s in several parts) introduces MOTHER’S THEME and has some wonderful variations of it, but can quite easily be substituted for… ---

19. Across The Sea – Jacob takes the role as protector of the island and MIB finds his destroyed camp (5:05) – What I consider to be one of the best scored episodes of Lost. While there are many brilliant cues in this episode, this has to be the best as it presents all the main themes wonderfully. It starts with CLAUDIA’S THEME as Jacob and Mother approach the light, leads into the epic version of MOTHER’S THEME as Jacob drinks from the cup, and ends with the tragic version of MIB’S MOTIF as he discovers his camp destroyed.

20. What They Died For – Desmond, Kate and Sayid are let free at the pier (2:28) – My favourite cue of season six, mainly because it’s so upbeat and different to anything else we’ve heard beforehand. It’s a rousing version of DESMOND’S SIDEWAYS MOTIF mixed with HURLEY’S MOTIF. If no other music in this list in included on a soundtrack at least include this! (Fingers crossed I don’t live to regret that!)

21. The End - Trekking up the mesa (:40) – The TREKKING THEME! This has to be on every Lost soundtrack at least once. ‘Nuff said. (Although I’ll ignore it’s absence in season two!) Like the previous cue from What They Died For, this is much more upbeat than most Lost music which makes be give it a big thums up!

22. The End - Arriving at the light and Desmond's talk with Jack (3:15) – This cue introcudes the great ENDGAME MOTIF as Desmond, Jack and Demon Locke arrive at the light, followed by a beautiful version of DESMOND’S THEME as he explains what he saw in the sideways to Jack. It ends with MOTHER’S THEME as they approach the waterfall.

23. The End - Lowering Desmond down the waterfall (1:55) – A much longer variation on the ENDGAME MOTIF as Jack and Demon Locke discuss prior events.

24. The End – Jack Vs. Locke (2:20) – Tense action as Jack and Demon Locke duke it out which includes a dark rendition of the LOST MAIN THEME and MIB’S MOTIF as Jack kicks him over the cliffs.

25. The End - Jack says farewell to Kate and Sawyer (3:34) – The cue starts with the PREPARATION MOTIF from The Last Recruit as Frank, Miles and Richard try and fix the plane. It leads into the ENDGAME MOTIF, the LOST MAIN THEME and a goregous version of JACK’S THEME as Kate kisses him.

--- Left off from The End – The Losties escape on the Ajira plane and Jack plugs the island (roughly 5:00). Another fantastic cue – in the show. It’s got action, an epic version of The Gathering and MOTHER’S THEME, but like a lot of music from The Candidate, it doesn’t sound like it would flow well on album; switching between loud action, suspense and “epic” music several times a minute. ---

26. The End - The water flows again (1:10) – A massive, sweeping version of the LOST MAIN THEME as the light comes back on and Hurley and Ben pull Desmond up from the light. The cue ends with a brief version of MOTHER’S THEME.

--- Left off from The End – Locke’s conversation with Ben outside the church (3:09). This is a great cue, giving resolve to the PURGATORY THEME, LOCKE’S MOTIF, LOCKE’S THEME and BEN’S THEME. If the five minutes I think are spare really are, prioritise this! ---

27. The End - Jack arrives at the church (2:18) – Now while this starts with KATE’S FLASHFORWARD MOTIF as they arrive in the car park, it’s the end of this cue as Jack awakens at the waterfall which I adore – a really lovely version of JACK’S THEME on the piano.

28. The End - Final scene (7:53) – A mammoth of a final cue which includes the LIFE AND DEATH THEME, JACK’S THEME, the OCEANIC SIX THEME, the SURVIVOR’S THEME (Hurley’s Handouts), and the LOST MAIN THEME. What a way to go out!

1:14:25

And whether you did or didn’t read all of that, what cues would YOU like to see?

(fuck)

Hire me to correct spelling mistakes.

Blame Steven

A friend of mine knocked LaMarr out

He's well known for being very rude to people, this time he met someone he regretted being rude to.

Darn! I wish I haden't mentioned it now.

Unfortunately I've heard from a few sources that he's real life prick, still, that incident was well over 10 years ago....maybe he's changed?

Personally, it hasn't affected how funny I find him, he was BRILLIANT on NMTB, I like Amstell and he's one exceptionally sharp tool but it was never again been to the same heights without LaMarr.

Didn't he feel cheated by George Lucas when he realized that he won't do Vader's voice?