MICHAEL GIACCHINO:We met and got along really well. We have a lot in common. We look at things very similarly. He's a fun collaborator as far as ideas go. He's always thinking and having ideas. One of the funny things is when we're watching an episode it has a temp track on it, and they always use previous ALIAS music. It's never quite right, and it's so funny to watch him get frustrated because he knows it's not right for the scene. He almost can't watch it because it just isn't computing in his head. He has a very definite idea how he wants to do things.

Do you recall what was on the Pilot's temp track?

MICHAEL GIACCHINO:I remember after a while not really listening to it. It was getting us off of talking about what he was actually after. I went off and started writing stuff that I thought he wanted. The weird thing is how the music now and the music for that Pilot is so different from one another. Towards the last quarter of the year it started to get its own identity.

CASE EXHIBIT # 2: Season Two cue "The Bible" (1.4 Meg MP3)

How many episodes were you originally asked to work on? Am I right in understanding that at about the halfway stage, the show was extended?

MICHAEL GIACCHINO:Yes they were going for 13 episodes, but within only a few being aired it was picked up for a full 22. Fairly early on we knew we had a full year and not that long after that - it seemed - we knew we were going for a second year too. I'm sure there are guys out there bored working on shows they wish would get cancelled. But this isn't one of them.

Were you asked to assign musical motifs to the characters?

MICHAEL GIACCHINO:Yes. That's sort of how I work anyway. So things naturally developed in that vein. Not real complicated themes. It's mostly very simple stuff. Sydney definitely has thematic stuff used for her. She has her own themes. Her Dad does too. Most of the minor characters have their own small motifs. There's the Rambaldi Theme. Now the Mom has her own developing theme. The one I haven't done and is hard to figure out is Vaughan. He's never...

...are you thinking of the unrequited love aspect to the character?

MICHAEL GIACCHINO:There's that and that he's never 100% in control of the action. He's always just assisting. So far it hasn't been that he's in charge. Will has a lot though. I use a lot of minor 13th chords for him. It's more jazz oriented when he's involved in something. Sloane has sounds that have been dedicated to him as opposed to a motif.

What about the most important character in the show? When is Marshall Flinkman going to be assigned a theme?

MICHAEL GIACCHINO:He doesn't have one, you're right! One reason is that during those briefings in the Conference Room we never have any music. A lot of his scenes are therefore done dry. And he's funny enough that he doesn't need assistance. Then the other times where he might have music, his scenes are intercut with a mission, so the music is playing to that instead.

How did it work with Mr. Abrams writing the Title Theme? Stylistically it must have been a good pointer for you.

MICHAEL GIACCHINO:Exactly. It set the tone. I had no qualms with that. It's his show. He really had his hands all over the Pilot. He wrote it and directed it. On top of that he picked me, a nobody out of a group of somebodies. So I felt he could do whatever he wanted!

Some shows have their Title Themes change series by series, either on a whim or because the cast expands or shrinks.

MICHAEL GIACCHINO:It hasn't got to that point yet. It would be fun to add another element though. I don't know if you get to hear, but I did the End Credits Theme. We usually get somebody talking over the top of that unfortunately.

How have you been involved in the use of songs, if at all?

MICHAEL GIACCHINO:If I happen to be there when they're choosing them I get to offer my opinion.

Were there any instances where your score led into or out of a song?

MICHAEL GIACCHINO:We did one where Syd was in Helsinki and there's this techno-lounge piece they used. What happens during the scene is things get more and more tense, so the music starts to creep in over the song. This orchestral dissonance starts to work in. There are times like that when we start to overlap and eventually take over. Most of the time the songs are on their own until the scene changes. They used more songs last year and towards the beginning of the year. It got less and less, which was interesting because the scores at the beginning of the year were about 17 minutes long at most. Then by the end of the year it had got up to about 25 minutes.

What has been the week-to-week schedule working on episodes?

MICHAEL GIACCHINO:This year's starting out quite nicely where I have 5 days to write an episode. In normal circumstances, it's 3 days. That's how it was last year. I get a locked tape, then I have 3 days to write it and then record. That includes orchestration and everything, and I'm orchestrating all the music.

Mr. Giacchino, I'm trying to imagine the logistics of this situation. You lock yourself a recording date, but until you get into your writing surely you cannot know what instruments or how many you need?

MICHAEL GIACCHINO:Exactly! It's crazy. You really have to think on your feet and be organised.

Are there any solo artists or vocalists you work with that you would like to see entered into the record at this time? For example, who was the female singer in the Spanish episode "Parity"?

CASE EXHIBIT # 3: Season One cue "Spanish" (481K MP3)

MICHAEL GIACCHINO:Azam Ali. You'll hear more of her this year actually because she's tied into what I'm doing for the Mom. I used her on SEMPER FI too. Also Victor Lawrence is a cello player that whenever I do home sessions he'll come here to play and record. As far as guitars go that's Loren Ellis. Those are the people that I work with on a regular basis.

So these individuals are expected to make themselves available at short notice?

MICHAEL GIACCHINO:Yes! It'll be a call like: "What are you doing right now? Can you stop and come over to record?" It's always like that. Those three are the ones that come to my home studio the most. Then there's good old Tim Simonec my conductor.

What kind of over-the-shoulder input do you get from directors and producers at your studio?

MICHAEL GIACCHINO:None! The schedules are so tight that they're busy doing their own thing. It's the kind of thing that has to work by trusting the people you're working with. This is the perfect example of that. People are given their orders and then come back with the work done. Occasionally there'll be something we have to adjust, but generally everyone trusts where it's going to go. It has to work that way on a week-to-week basis. It therefore worked out really nicely that J.J. and I get along so well and understand each other the way we do.

Who else is usually in attendance at a recording session?

MICHAEL GIACCHINO:J.J. is usually too busy. He was at the last session. Before that was the one where she's in the insane asylum ("Color Blind"). We'll play a cue and he'll say: "What can we do to make that part a little weirder?" So I'll dictate the changes to the orchestra and we'll do it. Everyone knows we have a very limited amount of time though. 90% of the orchestra dates have been just me and my team. There's my assistant Chris Tilton running the laptop and the Music Editor. That's pretty much it. The producers usually don't show up because they're working on the next episode.

How big does the orchestra get?

MICHAEL GIACCHINO:It ranges from 25 players to the biggest it's got at almost 50.

It is actually something of a rarity to find belief in orchestral scoring for TV today.

MICHAEL GIACCHINO:I know! And to be honest I don't think that I would be enjoying this as much if I weren't able to use the orchestra. I hate having to emulate the orchestra. I probably wouldn't write it with an orchestra in mind. If there were no orchestral budget I'd be writing more for solo instruments and electronic stuff.

One of the harder scenarios that has developed in movie scoring is doing a mocked-up demo of the entire score as well as writing and later recording it.

MICHAEL GIACCHINO:They don't give you that much time to begin with, and then you're doing it twice! It's really insane how that area of the industry has developed. Or not developed. It used to be that a composer would play themes on a piano and that would be it. In a lot of ways it's like that on ALIAS. I don't spend time mocking things up. I don't care how it sounds coming out of a synthesiser because I know in my head how it sounds. If I did mock-ups I'd never have the time to do everything. Not in 3 days!

So what do you believe truly distinguishes itself in Season One, and validates your use of an orchestra on a regular basis?

MICHAEL GIACCHINO:That one in the insane asylum actually ("Color Blind"). I think that was my favourite score. And my favourite episode too. I loved that story. Two of the most fun episodes were "Rendezvous" and "Almost Thirty Years". The final two. They were really fun to work on because that's when everything exploded in everyone's face. It was fun to play with when Will got entangled in everything.

I must admit that his reaction on realising it was Sydney rescuing him had me fall out my chair!

MICHAEL GIACCHINO:Exactly what I did too. I laughed out loud at that.

On a personal note, one of my own favourite musical moments is the big reveal of the oversized device during the final show.

MICHAEL GIACCHINO:Oh really? It's the Rambaldi Theme done in this old Roman style. Like an Emperor's theme. SPARTACUS or something. I'm glad you liked that.

Let's finish things up here Mr. Giacchino. What did you do as soon as Season One was over?

MICHAEL GIACCHINO:As soon as it was over I began work on the movie SIN (Release Date T.B.A.). That was a very different experience from ALIAS. Having come off a project where I know people so well to working with almost complete strangers. There was a time period in which we had to get used to each other, and work out what they wanted. Then I finished that and in my week's break I completely rebuilt my home studio. I have a much bigger recording booth now. All of the computers are in their own room so I don't hear Hard Drive noise. The boards are right in front of me so when writing I can reach up and grab them. Everything's made more accessible. It's much more comfortable and will mean I can work faster now I'm back on ALIAS!

CASE EXHIBIT # 4: Season Two cue "Rescue" (2.6 Meg MP3)

INTERVIEW ENDS

CONCLUSIONS:

It seems clear this was more than just a case of Œwho you know' / Œright place at the right time'. After all, Giacchino is the composer whom Steven Spielberg called "a young John Williams" on first hearing his music...

INTERVIEW SUBJECT # 2: JEFFREY J. ABRAMS BIOGRAPHICAL INFO:

Mr. Abrams I see from your file that before ALIAS you are credited as writing music for both NIGHTBEAST and FELICITY. May I ask, what is your musical background? Were you tutored or are you self-taught?

J.J. ABRAMS:I'm just self-taught, and have always had enormous fondness for music and especially soundtracks. People who know me well say that I've created TV shows just so I can do the themes for them. The idea of working with a real composer like Michael is the most exciting thing in the world to me though.

How long ago do you contend that the show was conceived?

J.J. ABRAMS:It was the end of 2000 I had the idea and was writing the script. Then we were in pre-production at the beginning of 2001.

When exactly was the Title Theme created during the chronology of the series' development?

J.J. ABRAMS:After we shot the Pilot and we were in post-production I wrote the theme. I brought my Laptop in and a portable keyboard.

CASE EXHIBIT # 5: ALIAS "Title Theme" (433K MP3)

The eminent film composer Jerry Goldsmith has said that TV Themes need to be a hook that gets the viewer from their fridge and back to the TV in 30 seconds. Would you concur?

J.J. ABRAMS:That's exactly right. For me it's one of my favourite sub-genres of music - the TV Theme.

An album I'm about to turn my attention to is from BUFFY THE VAMPIRE SLAYER and their recent musical show.

J.J. ABRAMS:Oh, "Once More With Feeling"? That was a wonderful episode. I'm a friend of Joss Whedon's, so I'm a huge fan of that show.

Let us turn both our attentions now to the collaborative partnership you've established with composer Michael Giacchino. When do you submit that his name occurred to you, and why?

J.J. ABRAMS:One of the producers of ALIAS brought his name to my attention when we working on the Pilot. It turned out he had also done the music for a short film by another friend of mine called LOS GRINGOS. So I had these two very close friends both singing his praises. I got in contact and then we met and talked. We instantaneously hit it off. We share a very similar sense of humour. We knew we were going to be buddies. Then in listening to his music and getting more familiar with what he'd done, I knew I was going to fight to make sure we got him on the show.

Did you have music in mind before he came aboard?

J.J. ABRAMS:I had temped the Pilot with other soundtracks because I wanted it to have the orchestral sound. I sent him that tape and he watched it with that score.

Do you recall what pieces were on there?

J.J. ABRAMS:First of all there were about 8 songs. There were a number of things from VERTICAL LIMIT. It was a really tense score. We also used a lot of things from RUN LOLA RUN. It's one of my favourites movies. I listened to that score constantly when I was writing the script, which is why I had Sydney wear that red wig.

Were you involved in the choice of songs for the Pilot?

J.J. ABRAMS:I chose all the songs. I liked that there was everything from Peter Gabriel ("Here Comes the Flood") to Sinead O'Connor ("No Man's Woman") to the Supreme Beings of Leisure ("Under the Gun"). It was a very odd mix of music. There was one great Cat Stevens song called "Trouble" for a moment when they give her this medication, and as she passes out and the bad guy leaves the room you hear Stevens wailing "Trouble". I thought it was great to have the music play the sense of humour in the scene.

On a per-show basis, what has been your relationship with Mr. Giacchino? Did you attend any scoring sessions?

J.J. ABRAMS:I went to a few sessions. I dropped by his studio to see what was going on. We'd have spotting sessions. His instincts are so sharp. He's so smart about the way music should play. I think one of the reasons we get along as people is there's a certain rhythm that we both work at. He takes the same sort of rhythmic approach to his music in terms of where and how it's placed within the dramatic context. We often don't even need to do a spotting session unless there's something that's really unusual and I want him to really understand what I'm going for. But usually I can just give him an episode, he'll score it and he's right. That's one of those things where you hope that when you marry someone you hope they'll understand you. Michael understands me. Every once in a while he'll come up with something and I'll think: "What the Hell?" Then I'll watch it with the music and I'll think: "That's so genius!" Other times he'll be playing a sentimental aspect of a scene when I wanted to play the creepiness or feeling of dread. But I'll say so and he'll get it and re-do it. We have an incredibly collaborative relationship. On the other side of it he'll come into the editing room and say: "I don't like that scene." He'll say why and then I'll work on it. He's had an impact on the show beyond just the music.

That is very rare.

J.J. ABRAMS:I guess it is. But I feel like I'll take a good idea from anyone. Michael's such an integral part of the show that I love it when he comes by with ideas.

Is there any difference in working with Mr. Giacchino as the Director?

J.J. ABRAMS:I've only got to work with him as a Director two times, and the first time with the Pilot he wasn't on board yet. It came later. In terms of doing the last episode of the first season, he was there for a couple of scenes. He's not unlike our costume designer or production designer. He's one of those people who is a pleasure to delegate to and say: "Do your thing". Because no matter what he does, it's better and more thought out than I could ever have done. It's great to do my thing, be that just writing or producing or directing, and then know when he gets it it'll become a more cohesive and elevated piece.

Can we expect to see any changes to the musical approach going into Season Two?

J.J. ABRAMS:Musically as well as dramatically we're still finding what the things were last year that worked the best. I think that it's very much an evolution and it's hard to see what a change might be. One thing is we can't afford as many songs in a show as were used in the Pilot. But Michael's built these amazing themes for the characters and it hardly writes itself, but the show is beginning to become something that is familiar to a point.

Can we expect to hear any new themes this year?

J.J. ABRAMS:I don't want to spoil anything! But we have Sydney's mother who has a wonderful theme that Michael's written for her. Lena Olin's spectacular in the role.

CASE EXHIBIT # 6: Season Two cue "Mother of A Mother" (1.6 Meg MP3)

I understand there will be a Rambaldi device with a musical motif...

J.J. ABRAMS:We do have a music box in episode 3 ("Cipher") and I can't wait to see what Michael comes up with for that because I think he's going to have a field day.

So what do you believe truly distinguishes itself in Season One, and validates your use of an orchestra on a regular basis?

J.J. ABRAMS:I think that in the last couple of episodes he did some of his best work, but I've got to say that all through the year every episode has a piece here and there that I think is just brilliant. One of my favourites was an episode where Sydney went to a Romanian mental institution ("Color Blind" again!). Michael did this beautiful score that was so evocative. It had this great Eastern-European heartbreaking quality and also a creepy motif. It was one of those classic moments where the show was working, but once the score was added it became a movie. That episode has some of my favourite music and one of my favourite guest stars in John Hannah.

Mr. Abrams my final question for you is to ask how it can possibly be that there is still no sign of any of this extraordinary music commercially available on an album?

J.J. ABRAMS:We're definitely going to do an album. We're talking to a couple of different companies now and trying to figure out the balance of score to songs. My dream would be to release a score specific album through Varèse Sarabande. We might do that as well. Not that I take award things seriously, but the one criminal negligence was that Michael wasn't nominated for an Emmy. You can't deny that what he does is superior to most everything else on television, and the fact that he's doing orchestral scoring on a weekly basis. It's increasingly rare in this world. I'm thrilled to be on one of those few shows that gets to utilise an orchestral score.

INTERVIEW ENDS

CONCLUSIONS:

I find no reason to believe Mr. Abrams is in fact channelling a higher being for his writing, nor do I feel the need at this time to press him for information regarding the SUPERMAN project. Further investigation into such matters will however follow in due course.

The fact that they have their stories straight in spotlighting "Color Blind" as a series best for music, would suggest that they do actually know whereof they speak!

CASE EXHIBIT # 7: Season One cue "Romania" (476K MP3)

The only downside to this investigation is in learning that the story is being expanded into comic book form in January of 2003. Unless an album coincides, there'll be no soundtrack of outstanding quality to accompany Sydney on those particular adventures...

ADDITIONAL AVAILABLE ON-LINE INFO SOURCES:

www.michaelgiacchino.com (The Composer's own site, with soundclips)
www.christilton.com (The Composer's Assistant)
Alias (Official show site)
sd-6.com (Unofficial show site with info galore)

AVAILABLE EVIDENCE OF MICHAEL GIACCHINO ON CD:

THE LOST WORLD
MEDAL OF HONOR
MEDAL OF HONOR: UNDERGROUND
The 3 above are available at Amazon etc.
MEDAL OF HONOR: FRONTLINE
(Search: "Soundtrack")

THOSE WHO ASSISTED IN THE PROCESS OF THIS INVESTIGATION: Michael, J.J., Chris Tilton, Erik Woods, Dee Scott.