A Quote by Michael Giacchino
I loved writing 'Lost.' It was like a never-ending opera, in a way.
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I loved. I lost. So I learned to love what is never lost. Then even what I loved that can be lost was through what cannot be lost...so it was never lost.
The difference between me and, say, the opera critic is that I'm charged with thinking about the world beyond opera. I could go see 'Die Fledermaus', for instance. I've never done any of this, by the way. I've never written about one opera since I've had this job.
That was my way, and I also use the music after five years, I started hearing opera, opera, it was very good instrument to keep the spirit very strong because you feel like you are yourself singing opera, and I used to hear a lot of opera, they send me tapes.
I've always loved opera; it never occurred to me that I would write a proper libretto. One of my closest friends is a composer, Paul Moravec, and a few years ago, Paul and I were at lunch, and I said to him, "you really have to write an opera." So, he says very casually to me, "I'll do it if you write the libretto." Well, little did I know that the within a couple of years we would end up getting a commission from the Santa Fe Opera to write an opera together, "The Letter," which turned out to be the most successful commissioned opera in the history of the Santa Fe Opera.
As a child, I was always making sound; it was a compulsion. I loved to scream and yell and sing; it freed me from all the thoughts in my head. I begged for opera lessons because opera singing is the most formidable, most emotional way to use your voice.
As we began working toward the finale of 'Lost,' I knew there was no possible ending that was going to be universally loved, and I accepted that. We ended the story the way we wanted it to end, and we stand by it. On my Twitter feed, I still get ten to fifteen positive comments for every negative one.
My message is to forget about dichotomies. The Brain Opera is an opera, even if it does not tell a story in the usual way. It is a psychological journey with voices - so I do consider it an opera.
What has been attained may again be lost. Only when you realise the true peace, the peace you have never lost, that peace will remain with you for it was never away. Instead of searching for what you do not have, find out what is it that you have never lost. That which is there before the beginning and after the ending of everything, to That there is no birth nor death. That Immovable state, which is not affected by the birth and death of a body or a mind, that state you must perceive.
People who say "It is better to have loved and lost than never to have loved at all" never felt a broken heart.
Anyone who tells you that it is better to have loved and lost that to never loved at all has never done both.
When I am writing, I focus one hundred percent on my writing. Then, by the time I'm half way through the book, I'm already thinking about the ending.
My father's an opera nut, and my stepmother used to work at the Metropolitan Opera, so I had a lot of opera immersion. I like the grandness and pretention of it.
I was never really interested in an operatic post, but I took on the Bastille because it seemed a unique opportunity to build an opera ensemble from scratch, and to deal with all the disciplines that go into opera - the music, the staging and the singing - in an interrelated way.
In the course of my movies, the financing and the releasing were always the tough part. Because I loved the creative; I loved the writing. I loved the making of it. Because, I guess, I never had the giant blockbuster, I never got that sort of ease for the next one.
There's a reason a happy ending is called an ending. The trick of a television storyteller is to find all the rivers and mountains and valleys on the way to that ending.
I never know what I'm going to write next. If I'm still writing the book but I'm very near the end, and I begin to think of what I'd like to do next, then I'll know that what I'm writing is in hand. I'll think of an ending and it will be fine.
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