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That's the first time I've heard a bad word said about Giacchino. I've always felt he's like the next Williams in a lot of ways, not only because he's taking over the mantle for Jurassic World but because he's great at composing pretty sweet and memorable themes (amongst some more subtle and gorgeous ones, like the one Timby linked). I've always liked his version of the Star Trek theme, even though I can't shake how similar is sounds to a certain piece from World of Warcraft of all things. Not that I think it's intentional at all. I think a prime example of Giacchino channeling Williams is his score for The Lost World video game. That stuff is terrific and really gets me excited to listen to his Jurassic World stuff.
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Feb 6, 2015 17:28
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Ash1138 posted:I agree, though I was afraid that if John Williams didn't get the new Star Wars gig, he might literally die (of a broken heart). Given his age, it's unlikely that he'd be able to score the other two movies in the new trilogy, not to mention all the other standalone Star Wars movies coming out. Maybe Disney's intent was for him to set the tone for the new age of Star Wars movies and then literally pass the baton. Maybe Giacchino will get to score the second movie in the new trilogy, and maybe that'll be the one most like The Empire Strikes Back. 
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Feb 6, 2015 17:58
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Stare-Out posted:That's the first time I've heard a bad word said about Giacchino. I've always felt he's like the next Williams in a lot of ways, not only because he's taking over the mantle for Jurassic World but because he's great at composing pretty sweet and memorable themes (amongst some more subtle and gorgeous ones, like the one Timby linked). I've always liked his version of the Star Trek theme, even though I can't shake how similar is sounds to a certain piece from World of Warcraft of all things. Not that I think it's intentional at all. I think Giacchino is very good, but somewhat overrated online due to a lot of people rooting for him for being relatively young, coming from game scores, and composing more in the "old" style than the post-Zimmer style. It's a kind of rooting for the underdog thing. He actually makes GREAT themes. All of the themes he made for the Star Trek movies are fantastic, as is the Up theme. He also does a serviceable job with filling in between the themes. My only issue with him, and why I don't personally rate him on the level of Powell, Zimmer (when he's not being lazy), Newton Howard, Newman, etc. etc. etc. is that, to me, he's yet to make a score that worked perfectly inside the movie AND made a perfect listen outside of that film. Star Trek 1 had great theme work, but then relied too much on those themes to the point of getting repetitive. Up had great moments, but got somewhat "Mickey-Mousey" and not really melodic listening as it continued. Etc. He has the potential to be top tier or maybe even current best, but hasn't quite reached there yet, imo.
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Feb 6, 2015 22:05
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Giacchino definitely feels like a "work in progress" composer but he's getting there. Now I have to confess I've not listened to his scores independently, but within the context of the films (Up, Star Trek, Mission: Impossible) I've noticed his talent. I'm sure he'll be up there with the greats soon enough given the opportunity. I agree, the potential is definitely there, he just needs the films and the opportunity to show his stuff. I think a lot of the online appreciation of him has come from his work on games (Medal of Honor, The Lost World) and as such it's easy to be pitted against him and consider him an underdog when it comes to film scoring. I have no doubt he's the next big thing, but he does need the opportunity for it. Which is exactly why I'm very curious to hear his Jurassic World score. Also I don't know; I think in the Star Trek movies in particular his score worked tremendously well - swelling up and taking over with the themes where needed and backing down and being subtle where appropriate. Hell, I'd even forgotten that piano piece Timby posted earlier but I know for certain it delivered and thensome while I watched the film. Giacchino is a curious case and it makes him far more interesting than the "certified" composers and one to watch for when he's able to really spread his wings.
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Feb 6, 2015 22:21
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Basically, Giacchino is what Marco Beltrami should have been. Christ, Beltrami is such a wasted talent.
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Feb 6, 2015 22:22
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Timby posted:Basically, Giacchino is what Marco Beltrami should have been. Christ, Beltrami is such a wasted talent. 3:10 to Yuma was so good 
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Feb 7, 2015 02:17
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If we're gonna talk game composers, I'm baffled that Jeremy Soule has never been given a shot at scoring a major movie release. From Total Annihilation to Elder Scrolls to Guild Wars, the man's been writing some of the most epic orchestral themes in the business and you'd think they'd hire him on for one of these big blockbusters at some point. Giachinno has done good work, but for my money, Star Trek should've been his opportunity to deliver something great, and his entries aren't even remotely in the same league as James Horner's or Jerry Goldsmith's themes for that series. If he couldn't write something worthy of Star Trek with 2 times at bat, I don't see how he's ready to take the reigns on Star Wars.
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Feb 7, 2015 06:40
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MorgaineDax posted:I loved The Theory of Everything as a movie, but I don't know why it was nominated for best score. The ending song over the last scene and the credits is the only song I found memorable, and it was taken from a different film. It was a great use of the song, but how does voting for something like this work? Does everyone in the academy get to vote on "hey, I liked that music, I guess," or is it only musical background people who know what songs were actually composed for the film?
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Feb 7, 2015 17:09
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ManifunkDestiny posted:3:10 to Yuma was so good It really was. https://www.youtube.com/watch?v=GVtJDGeBweU Timby fucked around with this message at 18:00 on Feb 7, 2015 |
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Feb 7, 2015 17:56
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I'm really surprised none of you mentioned Lost when it comes to Giacchino because that's one of my favorite scores of anything.
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Feb 8, 2015 04:53
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While it falls in line with the thread title, Hans Zimmer score for Chappie is probably one of the best he has done. No orchestra, synth heavy and altogether a perfect fit for the film
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Mar 8, 2015 01:46
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Word now going around that Williams is indeed scoring Star Wars (presumably VII-IX).
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Mar 8, 2015 22:24
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Stare-Out posted:Word now going around that Williams is indeed scoring Star Wars (presumably VII-IX). Williams was confirmed for Episode VII in July 2013.
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Mar 8, 2015 23:52
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Ah, I hadn't heard that, only today that he's due to start scoring in the summer.
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Mar 9, 2015 01:46
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I wonder how he feels about going back to Star Wars again. https://www.youtube.com/watch?v=-7T98bF0O60
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Mar 9, 2015 18:18
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Really liking Chappie's soundtrack. It's like a merging of the electro bass theme from TDKR with quite a bit of influence from M83's Oblivion soundtrack. At several points I keep expecting the main Oblivion theme to start playing.
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Mar 9, 2015 19:30
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It took me a long while to warm up to the Chappie soundtrack, I'd think it works very well with the film (which I haven't seen yet) but on its own it was hard to get into initially. It's definitely something you want to listen to very loudly with some good headphones and it's kind of cool to pick out moments where you can hear the Zimmer framework of a track but instead of an orchestra you get electronic, bass-synth craziness. It also reminds me of Blade Runner in some spots, weirdly. I could do without the chiptunes here and there but they don't ruin the thing.
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Mar 11, 2015 00:29
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Finally got around to watching Romeo and Juliet since I've been listening to the score for years. Korzeniowski was too good for that film.
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Mar 28, 2015 14:49
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This may have been said earlier but god do I miss David Arnold. I know he didn't drop off the face of the earth, its just that he isn't really doing movies anymore. His last major film was Quantum and Solace more than a half-decade ago. IMDB has him listed as the composer on ID4-2 and I want to believe that because his ID4 score is one of the best scores ever in my opinion, but I'm not sure I can trust that since he had that falling out with Devlin and Emmerich way back and hasn't worked with them since. If you haven't, listen to the Independence Day score (the extended edition if you can get your hands on it), it's just wonderful from start to finish. A masterclass in how to write for wind instruments (particularly horns, trumpets and upper woodwinds) and heart-swellingly patriotic without ever falling into sap. It's exhilarating.
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Mar 31, 2015 15:51
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I remember playing the lead in my high school drama club's presentation of The Valiant. At the climactic scene, as I'm being marched off to the gallows, nobly facing my fate, I told the A/V guy to play the music from President Pullman's speech in the background. Niagara Falls. Even my little brother got weepy, and he hated everything.
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Mar 31, 2015 16:23
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Good lord I hope someone can help me because for the last hour I've done nothing more than trawl movies looking for this piece. I know I must have seen the movie it's originally from hundreds of times and it's killing me that I can't pinpoint it. https://www.youtube.com/watch?v=L_YqcxcWnQo Specifically I'm referring to the bit around 2:10, after Bang Bang.
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Apr 1, 2015 23:29
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It's from Spike Lee's 25th Hour by Terence Blanchard.
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Apr 1, 2015 23:35
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Yes, yes!! I re-watched almost the entirety of The Lives of Others because I was positive it was a period film and that looked like a good starting place. Thanks a lot man, this was driving me nuts. 
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Apr 1, 2015 23:43
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ComposerGuy posted:This may have been said earlier but god do I miss David Arnold. He's still doing a lot of work, though. I listen to Sherlock season 2 quite a bit for instance.
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Apr 1, 2015 23:51
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I like a lot of David Arnold's Bond stuff and the Independence Day score (Godzilla 1998 isn't half-bad either honestly) but I can't disassociate it from the cheesiness of the movie, particularly when it comes to the Bill Pullman's speech. It's too hammy for me to not hear it when I listen to the score.MeLKoR posted:Yes, yes!! I re-watched almost the entirety of The Lives of Others because I was positive it was a period film and that looked like a good starting place. Thanks a lot man, this was driving me nuts.
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Apr 2, 2015 14:41
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I wish he was still doing Bond. I love Thomas Newman, but he was wrong for Bond. The Skyfall score has a few too many "THAT'S what you went with for this scene?" moments.
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Apr 2, 2015 17:36
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I like a lot of Newman's stuff but yeah, he's a bit odd for Bond even though it's hardly surprising Mendes brought him in for it since he's scored all (?) of Mendes' other movies. Speaking of Bond, I only recently found a wonderful bit of music the late John Barry did for A View to a Kill, an orchestral version of the Duran Duran song for the movie. It's stellar. That flute.
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Apr 2, 2015 17:45
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ComposerGuy posted:I wish he was still doing Bond. I love Thomas Newman, but he was wrong for Bond. The Skyfall score has a few too many "THAT'S what you went with for this scene?" moments. Yeah. Newman is serviceable, but that's it. Action beats don't play much to his strengths, and Bond needs a certain majestic repetition with rock structure backing that Newman doesn't really do much of.
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Apr 2, 2015 17:49
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I'm hopeful the producers ask him back once Mendes is done.
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Apr 2, 2015 17:59
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Speaking of Newman, Bond might not be his thing but Road to Perdition was so goddamn good.
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Apr 2, 2015 18:01
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Speaking of which, Man With the Golden Gun just came on. John Barry probably had the most predictable, easy, composition style, but goddamn if it didn't work fantastically in almost every film he did.
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Apr 2, 2015 18:35
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Thomas Newman generally doesn't know how to score for the tone of the scene in general. See: Nightcrawler. VVV EDIT: Oops. VVV EDIT 2: I've heard that interpretation before... Has there been other examples of this done in other films? I'd be interested to see. iSheep fucked around with this message at 19:37 on Apr 2, 2015 |
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Apr 2, 2015 19:31
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Nightcrawler was scored by James Newton Howard and while I didn't find the score itself particularly memorable, its usage was genius. Basically the whole point of it was that the music in each scene was what Lou Bloom heard in his own head, not what the audience was supposed to hear in each scene. It was actually scored with that angle in mind and it worked really well.
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Apr 2, 2015 19:34
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Stare-Out posted:Speaking of Bond, I only recently found a wonderful bit of music the late John Barry did for A View to a Kill, an orchestral version of the Duran Duran song for the movie. It's stellar. That flute. Nic Raine arranged a killer mash-up of the On Her Majesty's Secret Service and A View to a Kill themes for an orchestral Bond theme album a long time ago: https://www.youtube.com/watch?v=C2GS6kfkTUE The bit at 3:50 sounds almost like something Poledouris would do, with the woodwinds. Timby fucked around with this message at 19:42 on Apr 2, 2015 |
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Apr 2, 2015 19:37
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That's a fantastic version. I was never really a fan of the OHMSS stuff but man, when the A View to a Kill music kicks in it's magnificent. I've always thought it was really up there as one of the best Bond themes of all time, as many as there are. And yeah, the bit you mentioned is Robocop. It's not even a matter of resemblance, I bet it's note-for-note.
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Apr 2, 2015 21:36
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Timby posted:Nic Raine arranged a killer mash-up of the On Her Majesty's Secret Service and A View to a Kill themes for an orchestral Bond theme album a long time ago: God drat that owns. Agree that the View to a Kill transition is gold.
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Apr 3, 2015 00:37
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Stare-Out posted:Nightcrawler was scored by James Newton Howard and while I didn't find the score itself particularly memorable, its usage was genius. Basically the whole point of it was that the music in each scene was what Lou Bloom heard in his own head, not what the audience was supposed to hear in each scene. It was actually scored with that angle in mind and it worked really well. yeah i was slightly puzzled by the score at first but once it got to that big quick-edited montage of Lou gathering footage it tipped its hand. the music cue for the end credits is pretty hilarious with that in mind.
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Apr 3, 2015 15:12
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iSheep posted:Thomas Newman generally doesn't know how to score for the tone of the scene in general. I subscribe to the interpretation that the music in Beasts of the Southern Wild comes from Hushpuppy's head.
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Apr 16, 2015 19:37
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Anybody else heard Michael Giacchino's score for Tomorrowland? It's the best thing I've heard since his score for Jupiter Ascending earlier this year. It's just a shame he keeps doing stellar work for movies that mostly fall flat at the box office. Until Jurassic World, I'm sure. But after that, somebody please get Giacchino into a Star Wars movie!
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Jun 3, 2015 16:24
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So, I just randomly came across the news that the new Spielberg movie written by the Coen bros coming out later this year... ...WON'T be scored by John Williams, but by Thomas Newman (Williams was sick). First Spielberg movie that's not Color Purple that's not scored by Williams, done by a better composer than Quincy Jones...I'm curious.
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Jun 4, 2015 18:57
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