BackLog: Getting LOST

This is the first of my "BackLog" posts, which will retell fun and exciting events that occurred pre-blog. 

One of the big perks of being in the Film Scoring Program at USC last year was interning on the show LOST with Michael Giacchino. It was an exceptionally lucky circumstance because last year (as I'm sure you know) was the final season of the show. There weren't enough intern spots for everyone, so we doubled up so that everyone would have the opportunity to participate. One person would be the main intern and the other would be the assistant (observer).  We essentially got to see an episode from start to finish (musically anyway). First, we attended the spotting session at Disney in Burbank. We sat in the room with Michael's music editor and watched as he, the film editor, and producers determined what music they wanted where. Then, as the session approached, I received two cues that had to be prepped in Sibelius that would be used on the session. Once those were approved by Michael's assistant, they were sent off to the copyists for printing and part making. I then showed up at the scoring date where I got to meet Michael and conduct the cues I prepared. Super fun! A few days after the session we got to attend the dub, where I basically hung out with Alex the music editor, who showed me how the dub stage worked, what his role was, and how it all came together. All in all an incredibly rewarding experience.

For musicians and composers reading, what I learned most from this experience was just how many cool things can be done with 4 trombones, particularly involving cluster effects. Often times there would simply be the phrase "cluster out" in the score. The trombones would just slide out in random directions creating the perfect noise for a cut to black. It's amazing how sometimes you really don't need to be particular about notation. Same was true for the percussion section, headed by the infamous Emil Richards. Their parts would have maybe one bar of rhythm and then say "vamp" or "groove" or "ad lib"and they would just do it. More than likely it was more effective than anything I could have notated for them!

The really amazing/lucky thing about the session was that it took place on March 11, 2010, which happened to be the first one they had since the Oscars where Michael won for Up. So when we arrived at the stage everyone was freaking out because Michael had all three of his awards with him and was taking pictures, which is how I got the photo you see above. Funny story, I suggested that we get a shot of me trying to run away with the Oscar and Michael chasing after me with his Golden Globe.... but instead he gave me a look that very clearly said "what the hell is wrong with you?" Thanks, Michael. ;-)