Quint chats with composer extraordinaire Michael Giacchino!
Ahoy, squirts! Quint here. My chat with the great composer, Michael Giacchino, runs a little off the rails. At a certain point we just start geeking out over movie scores and trade favorites. I have no idea if that’s at all interesting to read, but I kept all that in the below chat, so I hope it’s not too bad. We talk a lot about the process of film scoring and touch upon Super 8, John Carter of Mars and Mission: Impossible 4! Hope you guys dig the chat! Apologies to Score Keeper for nudging in on his territory!
Michael Giacchino: It was funny, before I left I was… I’m always on Ain’t It Cool News. I’m always reading your reviews and I saw your “I’m heading off to…” how many screenings you were going to see?
Michael Giacchino: No, this week.
Quint: I have well over thirty.
Michael Giacchino: You were saying “I’m going off to see 35 screenings.” I was like “What? How can you do that?”
Quint: That’s when I posted the Fantastic Fest posters.
Michael Giacchino: Exactly, right.
Quint: Your new poster is awesome.
Michael Giacchino: Yes, I know! When I saw that, I actually grabbed it off the website and threw it in my email and sent it to Matt [Reeves] and said “I want this poster!” It’s fantastic. It was so great. It was so good. The Morse code where the two red (dots) for the fangs. So good.
Quint: I’m a massive fan and I’m so excited to actually sit down and talk to you, because every other time it would have been Score Keeper getting this interview. I never get to talk to composers!
Michael Giacchino: Are you texting him saying “Haha”?
Quint: No, I’m not that mean.
Michael Giacchino: Is he here, too?
Quint: Yeah, he’s around.
Michael Giacchino: So, have you seen (the movie)?
Quint: Yes, and I’m a tough sell man, because this…
Michael Giacchino: Look, I never saw the original one and I haven’t seen it yet. I’ve been waiting for this, once it opens and then I’ll go and see it, because I didn’t see it first of all because I just didn’t want to hear or see anything about it. I’ve heard nothing but great things, so I’m excited to see it. You know both, obviously.
Quint: Yeah. I prefer the original, because the original is something that I had no idea what it was when I saw it, so automatically any remake is going to be hobbled by the fact that I’m aware of the story. Listen, when this was first announced the instinct was just like “Oh my God a remake? They are going to TWILIGHT this!” Whenever they announced Kodi (Smit-McPhee) and Chloe (Moretz) in the movie, that’s when I knew that at least the heart was in the right place. Then the movie is not only good, but the performances are out of this world good.
Michael Giacchino: Right, they are. Aren’t they all amazing?
Quint: I can’t imagine that without a strong director or a strong producer that the studio would have made this movie this way.
Michael Giacchino: I know. It’s crazy, but they did and then I think Matt did an amazing job. I love Matt.
Quint: Drew McWeeney was telling me a story yesterday about you guys playing with Darth Vader voice changers or something during the scoring session?
Michael Giacchino: (Laughs) During the scoring session… Yeah. Drew’s here too I guess, right?
Michael Giacchino: We were there for all day long, so there was a lot of goofing around with Darth Vader helmets and all kinds of… whatever we could find in my office that was just in between takes, we would just goof around. It was a lot of fun. We had a fun couple of days. So, what’s up? I’m going to interview you.
Michael Giacchino: How long have you been doing this?
Quint: (Laughs) Almost 15 years now. I was 15 years old when the site started. I’m 29 now.
Michael Giacchino: Really? Are you kidding me?
Quint: I was writing while I was a freshman in High School.
Michael Giacchino: That’s amazing. Were you on the site from the beginning?
Michael Giacchino: Wow!
Quint: I think my first review was maybe early 1997 or late 1996.
Michael Giacchino: What was it?
Quint: It was a really shitty Dennis Hopper film festival indie movie called BLACKOUT. We had screen names at that point. Harry told me to write in, because he knew I went to see this movie and he didn’t go see it. I wrote in and I said “Well my favorite movie is JAWS, so Quint, Hooper, Brody, whichever of the three” and he picked Quint because he liked being able to introduce me as “The Crusty Seaman.” So the name stuck because Harry had to make a cum joke.
Michael Giacchino: (Laughs) And now you are famous.
Quint: No, you are famous. Oscar Award Winner!
Michael Giacchino: I know, it’s crazy.
Quint: I bring you up all of the time. I love film music and I get pissed off every time an X-MEN movie or a SPIDER-MAN movie comes out, even if they are good movies, I hate how their scores are just background noise.
Michael Giacchino: I know.
Quint: So, I bring up THE INCREDIBLES as a recent example of the only great modern superhero score. I’m like “There’s a guy who did the first memorable superhero theme probably since Danny Elfman’s BATMAN.”
Michael Giacchino: But you also have to have a director and a producer who want to support that, because I think a lot of these films are being made in mind with as far as the cash register as opposed to the story. It’s not about making the best thing they can, it’s about making something that will just sell like hell and that’s the difference. Pixar is totally different. Pixar is not about that at all and I think as a result they actually end up making more money than most people because they really are just making something that they themselves want to love.
Quint: By this time their brand is a stamp of quality.
Michael Giacchino: Yeah, exactly.
Quint: People know going into a Pixar movie they are going to see a good movie. They are not going to see a cash grab.
Michael Giacchino: Yeah, and even your least favorite Pixar movie is great to watch, you know? At least you have that. I feel like it’s hard to find that. JJ (Abrams) is like that. JJ cares that much about what he does. Brad Bird… And Matt is very similar, it’s just about the thing that he’s making and I love that. Those are the only kind of people I want to work with.
Quint: You are very thematic in your music, right? You like to create character themes, so when you are approached with something like LET ME IN, what’s the first thing that you try to set up? Do you try to set up a character theme? Do you try to find the overall feeling of the movie?
Michael Giacchino: On a film like this I will usually try and go to the most emotional scenes or something that’s somewhat emotional and can speak to kind of what the characters are feeling. Generally when I’m writing music, I’m just basically passing onto you how I felt when I watched it. I try never to be in a situation where I’m trying to tell you what to feel unless I actually feel that as well. The guys that I work with on a consistent basis, I do that because I know that their heart is in whatever they are making and I know that when I watch it, I’m going to feel something and if I can feel something, then I can put that down on paper and then give it to you as music and you will feel that as well. So that’s kind of where it all starts. Now thematically, that come out of because when I was kid and I would listen to soundtracks like crazy. I was a soundtrack fanatic. I loved them. I used to love envisioning in my head the replaying of the story. When I was a kid, that was the only way to do it; there were no videos and no DVDs. That stuff was nonexistent, so the only way to relive a movie was either go back to the theater, but once it’s gone it’s gone, or buy the soundtrack and imagine in your head. So I would attach all of those themes to the different characters in my head that I was listening to and if I was listening to classical music I would make up stories. “And this theme belongs to that person.” “This theme is that.”
Quint: So you must have loved FANTASIA.
Michael Giacchino: Yes, absolutely. It was great. I feel like that’s where it all stems from for me thematically, attaching themes to characters. I love doing that because of what I listened to growing up where they don’t really do that now. Like you said there’s just a lot of background music. It’s a lot of energy in order to get from here to there.
Michael Giacchino: Yeah, it’s terrible and there’s also I think too much music a lot of times too, to the point where you are just numb to it after a while. Like there’s no stop and star.
Quint: There are a few people who are doing it right. I like Marco Beltrami’s 3:10 TO YUMA score…
Michael Giacchino: Oh Marco’s great. You know who is one of the greatest underused composers is Bruce Broughton who did SILVERADO and TOMBSTONE. The films that he’s done… The guy writes thematically and big and like a big Hollywood film score and it’s awesome and I love it. I think he’s fantastic.
Kraken: Bruce Broughton did MONSTER SQUAD.
Quint: Oh yeah?
Michael Giacchino: Oh yeah. Bruce is awesome. Bruce is amazing. The guy is like one of the guys around that can write like hell, that can just write in the real way like he knows his shit.
Quint: You say MONSTER SQUAD, I can hum the tune.
Michael Giacchino: There you go.
Quint: I just saw John Williams at the Hollywood Bowl.
Michael Giacchino: Yeah, I was there too.
Quint: Oh yeah?
Michael Giacchino: Yeah, that was great wasn’t it?
Quint: When he did the JAWS music against the scene I was in hog heaven. And when he did the 1941 theme. His 1941 score is so awesome.
Michael Giacchino: That’s an amazing score. I love that score and I also love his SUPERMAN score and I loved that he ended it with SUPERMAN. That was so good.
Quint: Do you want to know a secret to the SUPERMAN score? If you hit play on William’s SUPERMAN theme right when the plane starts to taxi down the runway to take off when the wheels leave the ground is right when the music escalates, almost to the note.
Michael Giacchino: You know what? I used to do that exact same thing. It was on a Walkman at that time with the cassette tape. I used to do that with the RAIDERS theme. Every time I would take off on a plane. It wasn’t much that that tire went…
Quint: Really, the RAIDERS theme fits?
Michael Giacchino: Yeah and it was just fun to kind of take off, but you can’t do that anymore.
Quint: So in your mind you are seeing a red dot and a line on a map?
Michael Giacchino: Yeah, exactly. (laughs)
Quint: So what do you think about scoring the different genres? With INCREDIBLES you have the superhero theme, you have the adventure themes and then with Roar, at the end of Cloverfield… I didn’t get to bring up to Matt, but I’m just like “Hey that one cue during the credits made me hate your choice of not scoring any of the movie,” because I wanted to hear your big monster score.
Michael Giacchino: The reason that even happened was because when JJ was telling me about the film, I was like “Oh my God, I am so psyched. I am dying to do a giant monster movie,” because as a kid loved Ultra Man. I loved him and I was obsessed with it. He was like “There’s no music in the film.” I’m like “What are you talking about? How do you make a monster movie without music?” He’s like “Well, it’s a point of view, how we are shooting this thing.” I was like “Oh come on.” Then he’s like “I know, it sucks” and I was like “You’ve got to have end credits, right?” and he was like “Yeah, there will be end credits.” I was like “Don’t you dare put a song on the end of that end credits. I’m going to write something” and he goes “Alright, that’s great.” I said “I will write the score that would have been in the film had the film had a score,” so that’s what I ended up doing with the 12 minute thing.
Quint: What are they doing with the new GODZILLA movie?
Michael Giacchino: Yeah, but I’m very picky about who I work with. There are some films I could look at being made that I get excited about and I say “I’ll just watch that one.” Then there are ones getting made that I get excited about and I go “I want to work on that one.” I love how JJ makes movies. I love how Brad makes movies. I love how The Wachowski Brothers… The guys that I work with, I love their style and their approach and their heart that they put into it, so that’s what I look for. A lot of these films are being made just to be made and you can totally tell. I’m not saying that’s one of them, I don’t know, but I don’t know the people involved so I’m always hesitant. That’s why I try to do different kinds of films, jumping from genre to genre. I don’t want to be the person that just writes the same kind of music for every film I work on. I always explain it as my grandfather was a tailor, he would make suits that would fit a person perfectly and I want to do the same thing with music for films. I want to create music that fits the film and the story perfectly.
Quint: And look at… We keep going back to John Williams, but John Williams’ SUGARLAND EXPRESS.
Michael Giacchino: Awesome, yes.
Quint: With all of the mouth harp stuff.
Michael Giacchino: It’s so good.
Quint: It’s so radically different than JAWS, so radically different than…
Michael Giacchino: ACCIDENTAL TOURISTS.
Quint: …RAIDERS or EMPIRE OF THE SUN.
Michael Giacchino: STANLEY AND IRIS. EMPIRE OF THE SUN is so good. I love it, but I always look at him as kind of a model for what I want to do career-wise.
Quint: Are a frustrated jazz musician, too? (laughs)
Michael Giacchino: I love jazz! That was one of the great joys about working on THE INCREDIBLES was being able to do all of that kind of stuff. I love it. If you listen to even the smaller stuff I do, I love 60’s jazz kitsch. (Disney’s) Prep & Landing… a lot of that stuff just allows me to kind of mess around with those types of scores and have fun, so I do love jazz, but I love that he just goes here, there, and all different places with his music. He fits a score to a film and it’s not done in a way that just feels cheesy or manufactured.
Quint: Also he’s one of the few composers who you hear these master filmmakers say that he completed the vision, took the movie beyond where even they could take it.
Michael Giacchino: And they allow him input and that’s what’s great. I think there’s a collaborative thing in the creation of the film itself between the composer, the writer, the director… There’s this great circle that you are all working together in as opposed to being told “Alright, here’s the film. We temped it with this. We want it to sound like that, so just do that.” That is something I will never and don’t ever want to do. I like making movies. I grew up making movies. That’s all I did as a kid. I grew up making super 8 films and I went to film school… I like that process of making something, so I don’t want to just kind of like be told “Copy this.” It’s terrible. I want them all to sound like their own thing.
Quint: You are on JOHN CARTER right?
Michael Giacchino: Yes.
Quint: That to me, if they pull it off, that could be your STAR WARS. It’s an epic fantasy/adventure, it gives so much license to play big and dramatic…
Michael Giacchino: Totally. It definitely does. You know it’s the project I’m trying not to think about too much because it is so huge and has never been done. The story has never been told before and…
Quint: And they have been trying to tell it since the 1930’s…
Michael Giacchino: Yeah and I usually also like to wait until I see the cut. I always get so frustrated if I have to read the script. It’s different though, JJ will have me read and I’ll tell him what I think. It’s different like that, but a lot of times you envision the film in your head in a very specific way and then when you finally see it, it’s totally different than what you were thinking, you know? So I’d rather just wait for the cut and see that. That way I’m not composing prior to and creating all of this stuff that when I see the film I go “Wait, none of that would work. None of that’s going to go.” So I try to not think about it until I actually get to work on it.
Quint: When do you think you are going to see it? The movie is still 2012, right?
Michael Giacchino: 2012, yeah.
Quint: So you’ve got a little time.
Michael Giacchino: There’s plenty of time and they have a lot of post production to do on the film, so they’re done with principal photography and now they are going into I don’t know what you would call it “Digital Post Photography?” Whatever they want to call it or however they are doing it with their animators. I’m actually really excited about this coming year, which means SUPER 8 and JOHN CARTER OF MARS and then MISSION IMPOSSIBLE 4, which I think Brad is going to do a great job with.
Quint: He’s an inspired choice to bring to that series.
Michael Giacchino: And like that in particular was my wish for years. I would always tell JJ “You have to work with Brad” and I would always tell Brad “You have to work with JJ!” It was one of those things that over the years kept getting closer and closer and then finally boom and I’m like “This is awesome.” It’s like getting two of my best friends together form different neighborhoods.
Quint: And now they are getting married.
Michael Giacchino: Yes.
Quint: You get to have their first kid named after you.
Michael Giacchino: Oh God, I don’t want to see that kid! (laughs)
Quint: I guess MISSION IMPOSSIBLE 4 will now be called MICHAEL GIACCHINO.
Michael Giacchino: (laughs) Yeah. That’s going to be fun, though. I think it’s going to be fun. We will see.
Quint: And SUPER 8, I love the trailer and I love the idea of JJ going “Fuck it, I’m going to make an Amblin movie.” Like a real Amblin style movie. Again we have the John Williams connection, but there’s also Jerry Goldsmith who did the great GREMLINS score… Who was GOONIES?
Michael Giacchino: Dave Grusin. Awesome score.
Quint: Yeah, I love that score.
Michael Giacchino: Dave Grusin is fantastic.
Quint: And Alan Silvestri did BACK TO THE FUTURE, so it’s like those are all of the Amblin family and again not to put too much pressure on you, but there is a legacy of these.
Michael Giacchino: (Laughs) I know!
Quint: Not to put any pressure on you, but if it’s going to be a real Amblin movie, you are going to have to deliver a hell of a score.
Michael Giacchino: It’s going to all depend on the kind of film he makes. Ultimately I can sit here and think about “What would be the perfect Amblin score for this film?” It’s really irrelevant until I see what he does and what he puts together and then I can say “Okay, this needs this.” Hopefully whatever I do is going to fit what the film is, but I am so psyched to see that film. I am excited about that one.
Quint: How long does it normally take you for a bigger movie? Obviously JOHN CARTER is probably going to be a lot more involved than LET ME IN was in terms of you’re probably going to have a bigger orchestra and you are probably going to write more music.
Michael Giacchino: It will be a big orchestra. It will be a lot of music I’m sure, but on live action films typically eight weeks you’ll have to write it, if you’re lucky.
Michael Giacchino: And also if you are lucky they are not changing the film while you are writing, which always happens. Animation is totally different, you could get a year to do it slowly bit by bit as they finish the film and the one thing you can bet in animation, they don’t change the picture. It’s locked and so you can be sure that what you are writing to is going to stick as opposed to live action where they could literally be editing on the scoring stage and changing things. So it’s always a bit of you just never know what you are going to get. You never know heading into it, but you know if I have eight weeks, that would be great. I had six weeks with SPEED RACER and that was the most music I have had to write for a film ever. It was insanity.
Quint: So is that six weeks from you sitting down to write the first note?
Michael Giacchino: Yeah, to being on the scoring stage.
Quint: Jesus Christ!
Michael Giacchino: Yeah, there’s a lot to do and that’s why I try to be as organized as I can, because I don’t like working late. I hate working past ten o’clock if I have to. I hate working past six thirty if I have to. You know, I’d rather just be 8:30 to 6:30, shut it down, come back to it the next day. If I have to, I’ll come back at night after dinner with my kids. I’ll have dinner, put them to bed and for maybe an hour or two I will sit and go through whatever I did that day, but I try to have a normal life as well, which is difficult.
Quint: Now coming form somebody who couldn’t read a page of music to save his life, what’s the process? Do you sit down and you go “Okay this is what the horns are going to be. This is what the percussion is going to be.” Do you hear different layers of it first or hear the whole thing?
Michael Giacchino: No, I like to kind of build it as we go. The first thing I do is just sit down at the piano and come up with whatever the major themes are going to be because if you get it to work well on a piano you know that it’s going to work well within the orchestra. So it always starts there. “Here’s the theme” and get it done that way. So once that’s done, then I just go right to scoring the film and the way I like to have it setup… If I have a normal amount of time on a film, I have the sequence setup just as like a score paper, so you have the piccolo, the flute, all the way down to double bass, and I will pretty much orchestrate as I write, because color to me is very important in how it affects the audience, the color of the orchestra and all of that stuff is going to tell you how to feel. I’m very particular about that. So I’ll orchestrate it as I right and I’ll hear the horns, but a lot of times when I’m watching something I will hear what I want in my head and then I’ll just go put it down. I really don’t understand how it all works. It’s just one of those things that just happens and there’s no real explanation! (Laughs)
-Quint email@example.com Follow Me On Twitter
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Oct. 2, 2010, 6:32 p.m. CST
Oct. 2, 2010, 6:41 p.m. CST
Oct. 2, 2010, 6:47 p.m. CST
by Fat and Curious
Oct. 2, 2010, 6:52 p.m. CST
...is some of the FINEST music to grace a movie in along time.
Oct. 2, 2010, 7:01 p.m. CST
The fact that he gave such a retarded movie such an epic score speaks some volumes, man.
Oct. 2, 2010, 7:05 p.m. CST
What's up wit' dat? Great, fun score.
Oct. 2, 2010, 7:24 p.m. CST
I've not heard a Giacchino score that I didn't like. Except I would have liked a few questions on 'Lost'.... you know, a kind of WTF was that all about string of questions. <p> And Roar! is fucking fantastic. <p> (Mr. Giacchino owes Akira Ifukube big time)
Oct. 2, 2010, 7:25 p.m. CST
The Season 6 score is the best soundtrack from a television series ever!
Oct. 2, 2010, 7:25 p.m. CST
Michael Giacchino is jesus
Oct. 2, 2010, 7:26 p.m. CST
Oct. 2, 2010, 7:42 p.m. CST
His score for the first one was awesome... first viewing in the theater, the percussion and fanfare as the Kelvin blew and the title rolled across the screen... fucking awesome. Not to mention the ecstatic reprise of the original series theme at the end. Great stuff.
Oct. 2, 2010, 8:10 p.m. CST
The Up score is fantastic. My kids watch it constantly and I'll be in the other room just digging the music.
Oct. 2, 2010, 8:21 p.m. CST
ROAR! would be a perfect piece of music for any Godzilla movie. Loved the score from The Incredibles too.
Oct. 2, 2010, 8:21 p.m. CST
I'm a band teacher and we did a Giacchino concert last spring. Up, Star Trek, and the trombone slide from lost. it was awesome. There is a great feature on the UP dvd about how he created that score. Very interesting. I think when everything is said and done, he will top Williams.
Oct. 2, 2010, 8:34 p.m. CST
Agreed. His work on Lost is excellent. The Incredibles score is not one of my favorites of his, not bad just doesn't stand out as much as some others to me.
Oct. 2, 2010, 9:03 p.m. CST
Wowwwwwwwwwww!!!Recently, I came across a hot dating site-----Black White Flirts.co-m----- There are many sassy ladies and handsome rich guys seeking fun, friendship, love ,marriage and even more!!!!! Maybe you wanna check out or tell your friends.
Oct. 2, 2010, 9:36 p.m. CST
by Nasty In The Pasty
His associates Chris Tilton and Chad Seiter have traded off on episodes since season two.<BR><BR>And I'd LOVE to hear Giacchino tackle the new Godzilla movie based on his wonderful faux Akira Ifukube "Roar" suite from Cloverfield. He's one of the brightest talents composing for films today, and it's a crime his score to Up never got a proper CD release.
Oct. 2, 2010, 9:36 p.m. CST
Giacchino is a God. I think one of the major differences between him & Williams is, with Williams his scores hit you instantly. With Giacchino I think it takes a few listens to really "get". At least thats how I felt about his 'Trek' score & 'Let Me In'.
Oct. 2, 2010, 9:37 p.m. CST
by Nasty In The Pasty
Still not enough, which is why I'm glad the expanded version was released.
Oct. 2, 2010, 10:28 p.m. CST
I know it's played out and talked about to death, but still....that's his legacy. No John Carter. No incredibles. Lost.
Oct. 2, 2010, 11:36 p.m. CST
I miss it...
Oct. 2, 2010, 11:47 p.m. CST
Oct. 2, 2010, 11:50 p.m. CST
is definitely one of the most talented guys in the business right now. Taught myself to play the sad "someone died" music from Lost on the piano. I can't walk past a keyboard without playing it now. Great interview. And he can't read music? how does he do it?
Oct. 2, 2010, 11:57 p.m. CST
by PRESIDENT BALTAR
TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!TEAM D.VADER!!!
Oct. 3, 2010, 12:15 a.m. CST
What is up with the ridiculous track titles on your CDs? Distracting beyond belief.
Oct. 3, 2010, 12:27 a.m. CST
Oct. 3, 2010, 12:54 a.m. CST
"And he can't read music? How does he do it?" I keep looking through the interview to find where he says he can't read music. I noticed Quint says he can't read music as a way to preface a question, but Michael doesn't say anything about reading sheet music. Can you please explain why you asked that question. I feel like I've missed something obvious.
Oct. 3, 2010, 1:19 a.m. CST
The only modern composer I can get excited about is this Spanish guy, Roque Banos. He did the most amazing 'Bernard Herrmann' style score (theremin and all) for 'The Machinist'. It's the only really brilliant score I've heard in years.
Oct. 3, 2010, 1:31 a.m. CST
All of Andrew Stanton's previous films have been scores by Thomas Newman (Finding Nemo, Wall-E). <p>I really dig Giacchino a whole lot but my god how I love Thomas Newman, and hearing him tackle an epic fantisy would be mind meltingly awesome. <p> I do wonder whether Newman was even consulted or pursued at all. I recall Stanton previously stating that he could not imagine making a film without Newman composing.
Oct. 3, 2010, 1:45 a.m. CST
I really like the music scores this guy has written, but have you noticed how IDENTICAL the score of "up" is to the one from "Lucia y el sexo" by Alberto Iglesias?? If you don't believe me, search for "Me voy a morir de amor , de Alberto Iglesias" on YouTube You won't believe your ears!!!!
Oct. 3, 2010, 1:49 a.m. CST
Yeah Giacchino did a very nice job. And sure Goldsmith is probably the gold standard and Horner's Trek scores are regarded rather highly, honestly too high I think (and I'm a confirmed fan and apologist for Mr. Horner). But I'll tell you what was actually the very best Star Trek score of them all. <p> It was Cliff Eidelman, yes, Cliff Eidelman's Undiscovered Country score. I mean it just is. I'm not saying the movie is the best although it's pretty decent, but the music is rediculously good. Just steller. Like epic and emotionally resonant. It's the score that I think even rivals Goldsmith's music for The Motion Picture, and that's no small feat. <p> I just wanted this little known fact to be disclosed to everone here. Because it is a fact, I checked the science and everything.
Oct. 3, 2010, 1:52 a.m. CST
... On Let the right on in. There's hardly a single second without music. The original had a much more "muted" feel and it wasn't spoon-feeding every emotion at every corner.
Oct. 3, 2010, 1:54 a.m. CST
Sorry I meant too much music on "let me in" in my previous message. However do check "Me voy a morir de amor , de Alberto Iglesias" on www.youtube.com if you want to hear where Giacchino got his music of "up" from
Oct. 3, 2010, 3:14 a.m. CST
Oct. 3, 2010, 3:57 a.m. CST
The moment he delivers a score as good as Jaws, CE3K, Star Wars, Superman or Raiders THEN you can start considering him the next John Williams. But he hasn't.
Oct. 3, 2010, 4:23 a.m. CST
Oct. 3, 2010, 5:24 a.m. CST
The idiot who when he decide to have lyrics for a choral work for the climatic scene in Jar Jar Abrams's BREWERY TREK, he had the choir sang the name of his dead pets. Don't believ eme, just listen to the audio comentary of the fucking movie. And people kiss the ass of this hack composer? How th fuck this idiot mannaged to make a good score for THE INCREDIBLES? Or maybe it's actually easier then it looks, just copy and paste from John Barry with total gay abandon. Screw this Michael Giacchino clown!
Oct. 3, 2010, 5:25 a.m. CST
The reason this "composer" is so adored is because he belongs to Team Abrams. And you know how the AICN dogma runs, Jar Jar Abrams can do no wrong, nor any of his team by extention.
Oct. 3, 2010, 5:27 a.m. CST
You know why ROAR from Cloverfield is nice? Because it's a fucking copy and paste job from the Godzilla music from the original 1950's movie.
Oct. 3, 2010, 5:29 a.m. CST
You haven't see much TV, have you? Better then Carnivàle? Rome? Dexter? Battlestar Galactica? You got to be kidding me!
Oct. 3, 2010, 9:08 a.m. CST
Roar was atrocious. As an Ifukube connoisseur, it's downright blasphemy to suggest any links there. I hope to hell this guy does not score the new G flick. Grab Ko Otani!! Hell Jeremy Soule or John Ottman could do a way better job as well. I have yet to hear anything this guy has ever done to warrant any attention whatsoever.
Oct. 3, 2010, 10:45 a.m. CST
...every now and then his work sounds like the 'Oscar Broadcast' version of a movie score and not the real thing, if you know what I mean. Still, I prefer his style over the Hans Zimmer wall of noise approach.
Oct. 3, 2010, 11:21 a.m. CST
by Nasty In The Pasty
So? The choir in Shirley Walker's phenominal Mask Of The Phantasm score was chanting the names of her composing and orchestrating team from Batman: TAS backwards. Nine out of ten times, whenever you hear the Apocalyptic Choir Of Doom in a movie, the "lyrics" are complete gibberish, but it sure SOUNDS cool, doesn't it?
Oct. 3, 2010, 11:23 a.m. CST
by Nasty In The Pasty
...why did you listen to the fucking AUDIO COMMENTARY?! "This food is terrible! And such small portions..."
Oct. 3, 2010, 11:26 a.m. CST
Oct. 3, 2010, 11:57 a.m. CST
When I first played the game, I wanted to stay on the menu screen just to listen to the score. It's so fantastic. I also think his score for The Incredibles is still his best work so far.
Oct. 3, 2010, 12:02 p.m. CST
If they every get rid of Arnold, he needs to do a Bond score based on his Incredibles work. Watching Incredibles always makes me want to watch a 60s 007 film! I'd love to see his take on 21st century Bond!
Oct. 3, 2010, 12:25 p.m. CST
Forget Williams, I wonder if MG can deliver anything as good as the Quincy, Dallas, Chips theme songs plus the Silverado soundtrack. But I agree Incredibles is his best work.
Oct. 3, 2010, 12:28 p.m. CST
Sorry, Zimmer's worst work destroys this guy. Putting him in league with Ifukube and now J Williams is hilarious.
Oct. 3, 2010, 12:31 p.m. CST
That's exactly why people like it so much.
Oct. 3, 2010, 12:31 p.m. CST
I liked the new Trek movie. Oh, I hated the writing as it went on, but nothing was as mediocre as that hack score! Every, and I mean EVERY Trek composer in history smokes that shitty score!
Oct. 3, 2010, 12:55 p.m. CST
by Buzz Maverik
SILVERADO and YOUNG SHERLOCK HOLMES were among the best scores of the 1980s. The score on MONSTER SQUAD was the best thing in the movie. Giacchino is the real thing. The only score of his I've ever been disappointed by was SPEED RACER but that's okay because SPEED RACER was, at least, consistently disappointing. I mean, it was great having a download for CLOVERFIELD but I wanted a CD.
Oct. 3, 2010, 2:01 p.m. CST
You guys talked about many of my favorite scores, especially to Amblin films. Giacchino to me is the 'new John Williams' in his film scores. Even with what he did on 'Speed Racer' is really impressive. I am anxious to hear the tone he'll put into 'Super 8.'
Oct. 3, 2010, 3:19 p.m. CST
dat shit be tight yo...
I just wanna say that Speed Racer is probably his best, oddly enough. It's just really fucking fantastic, and I haven't even seen the film. <p> Also, yes, Star Trek 6's score is an overlooked gem.
Oct. 3, 2010, 4:51 p.m. CST
by Brannagins Law
than Giacchino did.
Oct. 3, 2010, 4:57 p.m. CST
by Robots In Das Guys
The Score for the Spider-Man films is epic, uplifting stuff. The character did have a fucking theme, and so did the villains, and all the other fucking characters too, by the way? Watch the fucking movies again.
Oct. 3, 2010, 5:25 p.m. CST
Eidelman's 6 score is kickass for sure! Actually, my favorite opening theme for all movie Trek.
Oct. 3, 2010, 5:46 p.m. CST
The audio comentary was enlightning. It proved what a bunch of retard those who made that movie are. In fact, they revealed to be even worst then i first though. I learned a lot. And you know what, yes, there's some choir music whose lyrics are not exactly lyrics. Vangelis's album Mask comes to mind. But using names of dead pets? That's fucking retard! Say what you want about THE PHANTOM MENACE, but in that movie, john Williams actually had a sanscrit poem recited in sanscrit during the big choral music during the battle. That's the difference between a professional like John Williams and a fucking dumb ass unimaginative hackboy like that fucking guiccinanino or whatever the fuck that fucking hack fucker is called.
Oct. 3, 2010, 9:25 p.m. CST
by Nasty In The Pasty
Only a retard would phrase it like that. The *correct* way is to say "That's fucking retardED!"
Oct. 3, 2010, 10:33 p.m. CST
His score was the best thing about that film. Really terrific work.
Oct. 4, 2010, 3:10 a.m. CST
by attaching himself to the coat tails of a TV director who also got lucky. Yet another in the line of cut and paste hacks who have no understanding of the artistry of what they do. Is there really so few artists still working in Hollywood that mediocrity has now become the gold standard?
Oct. 4, 2010, 3:13 a.m. CST
Oct. 4, 2010, 4:12 a.m. CST
Respect for sitting through the Star Trek commentary, you've a stronger stomach than me.
Oct. 4, 2010, 6:15 a.m. CST
Good fucking point. That's pretty strange that Asi would subject himself to such torture as to watch, not just the entire movie (which he hates with a passion) again... but listen to the fucking COMMENTARY while doing so lol <P> Dude is CRAZY... Or maybe he's just a bit of a masochist ;-)
Oct. 4, 2010, 6:17 a.m. CST
Needs to do themselves a favor and check out James Perterson's "The Red Canvas" score... It's fuckin' BRILLIANT. If you love melody and a heavy emphasis on THEME, you will absolutely LOVE this score. It's very "old school"... Truly one of the best scores of the past decade.
Oct. 4, 2010, 6:26 a.m. CST
needs to get their fuckin' head examined. Elfman's Spiderman score is fantastic. It's subtle... more "mature. Not as BOMBASTIC and over the top as his work on Batman, but it does in fact, have a THEME. Jesus Christ guys, open your damn ears! ;-) <P> And anyone who knocks the score to the first X-Men film doesn't have a facking clue what they're talking about when it comes to film score. Micheal Kamen wrote a beautiful, POWERFUL score to X-Men. And to anyone who says it's simply "background noise"... that it doesn't have a THEME... needs to go over to youtube right now and check out the track "Logan and Rogue", and tell me there's no fucking theme lol <P> That shit is beautiful. Another great piece is played during the opening scene (with child-Magneto in the camp, discovering his powers...) It may in fact, be the very BEST score to any of the "new gen" comic films. Sadly, there's not really too much competition...
Oct. 4, 2010, 6:32 a.m. CST
I'm not a huge fan of Elfman. And while i do really enjoy his Spiderman score... i still feel that his 2 best works are Dick Tracy and Edward Scissorhands. <P> "Ice Dance" is the shizniz ;-) <P> And an honorable mention goes out to Pee-Wee's Big Adventure.
Oct. 4, 2010, 6:32 a.m. CST
Cheers for the Red Canvas heads-up, will check it out.
Oct. 4, 2010, 7:28 a.m. CST
Everytime I think of the music from "Up" I start getting all misty eyed like a little girl who lost her Barbie. Damn you Michael Giacchino and your fucking incredible genius!!
Oct. 4, 2010, 8:32 a.m. CST
Great Interview! Love Giacchino's work! Love it! So excited about "Super 8" having an Amblin score! Thanks for the great interview!
Oct. 4, 2010, 9:50 a.m. CST
You fuckers here at AICN are really trying to sweep the greatest show of all time under the rug, aren't you? It's still Giacchino's finest work and what put him on the map and you don't even MENTION it, let alone ask about it specifically? FAIL.
Oct. 4, 2010, 11:26 a.m. CST
Oops read that wrong, makes a little more sense now haha
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