32 replies to this topic

[Josh500]

Lost vs. 24.

Who is the BETTER COMPOSER/DOES A BETTER JOB???

Note that I'm ONLY talking about the music and how it plays in the series. I'm NOT talking about the series itself!

For me (and I'm in the minority here, I believe), it's Sean Callery, hands down.

[Stefancos]

Sean Connery!

[Luke Skywalker]

giacchino, though i dont like lost much...

[Mark Olivarez]

Giacchino.

[Richard Penna]

Giacchino. While there are some highlights, Callery's music is just electronic droning a lot of the time.

[ohnoyoudidnt]

I think Giacchino would also win in a street fight.

He has that flinty stare.

[Red Rabbit]

Giacchino definitely. Lost is one of the better scored shows I've seen.

[Docteur Qui]

Giacchino.


A more appropriate comparison to make would be his work on ALIAS, considering the similarities in the genre and the generous use of techno samples, at least in the first two seasons.

[Koray Savas]

Callery's music is just electronic droning a lot of the time.

Just like Philip Glass.

[Jim Ware]

Giacchino. Callery's scores have been universally unimpressive.

Callery's music is just electronic droning a lot of the time.

Just like Philip Glass.

That's complete bollocks.

[Koray Savas]

All his music is the same droning synth sound. EVERYTHING.

[bondo]

Tough call, considering those are my two favorite tv shows and tv scores. My vote goes to Giacchino though, because his music brings the extra emotion to the show that makes it so great.

[Jim Ware]

All his music is the same droning synth sound. EVERYTHING.

That is also complete bollocks. Do all of these look like synth 'droning' to you?

[scissorhands]

Do you know what you're talking about, koraysavas?

Symphony 5, Symphony 6, Symphony 8, The Civil Wars, Akhnaten, Appomathox, Itaipu, Orphée, Timpani concerto, Piano concerto... just to name a few... ever listened them? They're quite different between each other, and definitely without any synth sound.

[Koray Savas]

All I know is that Koyaanisqatsi, Powaqqatsi, Naqoyqatsi, The Truman Show, Secret Window, The Illusionist, and Notes On A Scandal are all droning synth, or I guess electronic is the better word, noise.

Do you know what you're talking about, koraysavas?

Just for the record, you can call me Koray. Koray Savas is my full name.

[Jim Ware]

Koyaanisqatsi

Woodwinds, brass and strings with keyboards.

Powaqqatsi

As above, with additional ethnic instruments.

Naqoyqatsi

Woodwinds, brass and strings with keyboards and Yo-Yo Ma (who plays a cello, in case you were unsure).

The Truman Show

This includes a selection of pieces from other Glass scores, including the Qatsi scores, Anima Mundi and Mishima. The pieces specifically written for the film are entirely acoustic. Dreaming of Fiji was later adapted into the second movement of the Tirol Concerto.

Secret Window

Entirely orchestral.

The Illusionist

Entirely orchestral.

Notes On A Scandal

Entirely orchestral.

[John Crichton]

Giacchino hands down. And up.

[Marian Schedenig]

A more appropriate comparison to make would be his work on ALIAS, considering the similarities in the genre and the generous use of techno samples, at least in the first two seasons.

But when Callery did it, he was already becoming uninteresting. Giacchino's Alias music is brilliant.

There was some cool music in the first two or three seasons of 24, sometimes seemingly very much inspired by Goldsmith. I used to wonder what Callery could do with a full orchestra, but he didn't seem to keep it up for too long, the later seasons very quite uninvolving (just like the plots).

Giacchino, on the other hand, is a great chamaeleon and has brilliant orchestrations.

The Truman Show

This includes a selection of pieces from other Glass scores, including the Qatsi scores, Anima Mundi and Mishima. The pieces specifically written for the film are entirely acoustic. Dreaming of Fiji was later adapted into the second movement of the Tirol Concerto.

It was Truman Sleeps, actually. And I adore the Tirol Concerto.

[Docteur Qui]

A more appropriate comparison to make would be his work on ALIAS, considering the similarities in the genre and the generous use of techno samples, at least in the first two seasons.

But when Callery did it, he was already becoming uninteresting. Giacchino's Alias music is brilliant.

There was some cool music in the first two or three seasons of 24, sometimes seemingly very much inspired by Goldsmith. I used to wonder what Callery could do with a full orchestra, but he didn't seem to keep it up for too long, the later seasons very quite uninvolving (just like the plots).

Giacchino, on the other hand, is a great chamaeleon and has brilliant orchestrations.

Agreed.

Callery was ambitious, and had the very same variety of projects Giacchino did at the same time early in the decade (popular television series and video games) but he seems to have now become lost in the sea of uninteresting contemporary composers. Giacchino was lucky, but also smart. He knew when to write like another (like Williams for Medal of Honor, David Arnold for ALIAS S1-2) and when to be more original (LOST; ALIAS S3-5), and he is now head and shoulders above his contemporaries in both projects and talent.

[Koray Savas]

That huge post by Jim Ware

O.K. I stand corrected by all the specifics and instruments you listed. Despite all that though, the scores turn up sounding the same, and they go on and on with no build-up, or any kind of variance.

http://www.philipgla...ages/jokes.html

[QuestionMarkMan]

That huge post by Jim Ware

Despite all that though, the scores turn up sounding the same, and they go on and on with no build-up, or any kind of variance.

ugggghhhhh

[Stefancos]

That's minimalism for you.

[Taikomochi]

For me (and I'm in the minority here, I believe), it's Sean Callery, hands down.

WOO! go minority! Callery's music, in my opinion, is original and hard to ignore.

[bondo]

There was some cool music in the first two or three seasons of 24, sometimes seemingly very much inspired by Goldsmith. I used to wonder what Callery could do with a full orchestra, but he didn't seem to keep it up for too long, the later seasons very quite uninvolving (just like the plots).

Check out Callery's score for 24: The Game.... it was composed for orchestra

[fommes]

Giacchino is much more consistent.
Callery wrote some really good music for seasons 3 and 4, but seems to make some bad selections for the CDs. I also don't get why he doesn't write for orchestra. Surely the show has money enough. And, ironically, the game has orchestral music. But it must be said, concerning the best action cue, Callery's got the edge over Giacchino, esp. with 'Closing in on Marwan'! Yeah!

[Incanus]

Well it has to be Giacchino as I do not remember a single note of Callery's score from 24.

[Mr. Breathmask]

Giacchino is much more consistent.
Callery wrote some really good music for seasons 3 and 4, but seems to make some bad selections for the CDs. I also don't get why he doesn't write for orchestra. Surely the show has money enough. And, ironically, the game has orchestral music. But it must be said, concerning the best action cue, Callery's got the edge over Giacchino, esp. with 'Closing in on Marwan'! Yeah!

Scheduling and budget doesn't allow for Callery to record with an orchestra.

Little trivia: apparently, "no woodwinds" is a style rule on the 24 score as well.

[Richard Penna]

fommes is right, Callery made some bad selections IMO for the Seasons 4&5 CD. It seemed to just focus on the action with very little thematic material (and yes, there are themes, but unfortunately Joe public doesn't give a cr@p about them).

[John Crichton]

I think my favorite Callery cue was that Bond-style stuff he wrote for Chole when she was in the field towards the end of season...5?

[Mr. Breathmask]

It was season 4. That track was on the season 4 & 5 album.

[Richard Penna]

One of my favourite parts of Season 5 is when

Spoiler

Jack and Audrey are reunited at the end and hug

- there's a huge rendition of the 'love' theme. Curse whoever decided that didn't deserve a place on the CD.

[John Crichton]

It was season 4. That track was on the season 4 & 5 album.

Ah. So was it 4 or 5 when she tasered that guy that was coming on to her? In my humble opinion, the greatest moment in 24 history.

[Mr. Breathmask]

Oh, wait. It was season 5. Sorry, I mixed it up.

I thought it was around the time she gunned down a terrorist with a machine gun. I think that was season 4.