I don't understand why people don't mention John Carter that much in this thread. I thought it was very liked around here! That's my favourite score from the guy!
Introduce me to Michael Giacchino
Started by Alexander, Jun 15 2012 07:47 PM
65 replies to this topic
#41
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Posted 17 June 2012 - 02:37 PM
#42
Jason LeBlanc
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Posted 17 June 2012 - 02:39 PM
It's a very very long CD, and I wouldn't consider it a good "starter" CD for a new Giacchino fan.
It is well liked around here, I personally love it and consider it the best score of 2012 at the moment. The complete sessions are my current holy grail
It is well liked around here, I personally love it and consider it the best score of 2012 at the moment. The complete sessions are my current holy grail
-Jay
#43
Ro Sajooc
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Posted 17 June 2012 - 03:07 PM
The Prize Is Barsoom is one of my favourites cues 
"I get asked all the time, 'What happens after Return of the Jedi?,' and there really is no answer for that. The movies were the story of Anakin Skywalker and Luke Skywalker, and when Luke saves the galaxy and redeems his father, that's where that story ends."
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#44
Marian Schedenig
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Posted 17 June 2012 - 03:44 PM
I seem to be alone in really appreciating his work on Alias.
#45
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Posted 17 June 2012 - 03:44 PM
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#46
Koray Savas
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Posted 17 June 2012 - 06:07 PM
It's okay. I enjoy a few cues but overall I'd rank it near the bottom of his repertoire. A lot of the more emotional cues seem like a blueprint for LOST, where he really unleashes his scoring chops.I seem to be alone in really appreciating his work on Alias.
I still don't really like John Carter.
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#47
Miles Prower
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Posted 17 June 2012 - 06:08 PM
(ok, Super 8 is a really long OST, but at least it doesnt' really ever drag much).
Honestly, I'm inclined to disagree. There's a fantastic 40-45 minute CD in there somewhere, but the bitty tracks and long suspense cues tend to undermine that.
#48
ymenard
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Posted 17 June 2012 - 06:40 PM
TLW is the only thing I can't listen to by Michael, because it's just so... not him. He hadn't found his style yet.
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#49
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Posted 17 June 2012 - 10:01 PM
(ok, Super 8 is a really long OST, but at least it doesnt' really ever drag much).
Honestly, I'm inclined to disagree. There's a fantastic 40-45 minute CD in there somewhere, but the bitty tracks and long suspense cues tend to undermine that.
Indeed, the score drags quite a bit on album and makes a poor album experience as a whole (with excellent openings and closings but dragging suspense material). John Carter worked better as an album than Super 8.
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#50
alicebrallice
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Posted 17 June 2012 - 10:44 PM
I love super 8. I think it's my favorite MG score.
#51
Jason LeBlanc
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Posted 17 June 2012 - 10:48 PM
amazing cue
-Jay
#52
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Posted 18 June 2012 - 12:02 AM
His Lost World theme is my favorite work by him. You can hear it in that track posted above.
#53
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Posted 18 June 2012 - 02:55 AM
Secret Weapons Over Normandy
Super 8
John Carter
Super 8
John Carter
#54
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Posted 18 June 2012 - 04:27 AM
Blumenkohl, that signature....huge lol.
#55
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Posted 18 June 2012 - 10:31 AM
I think it's a great 12 min suite.
"I get asked all the time, 'What happens after Return of the Jedi?,' and there really is no answer for that. The movies were the story of Anakin Skywalker and Luke Skywalker, and when Luke saves the galaxy and redeems his father, that's where that story ends."
- George Lucas
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#56
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Posted 18 June 2012 - 10:33 AM
Fantastic work, really gets you in the mood... whatever that mood is. Roaring monsters?
Izena duen guztia omen da.
#57
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Posted 18 June 2012 - 11:10 AM
All the top Giacchino scores I was going to mention have been mentioned already. My work here was done even before it began.
And with all due respect to Dan Wallin, he should retire. Then Giacchino's scores might actually have a sense of grandeur and lovely articulate but spacious sound which would be much more flattering to them than Wallin's dry as chalk approach.
And with all due respect to Dan Wallin, he should retire. Then Giacchino's scores might actually have a sense of grandeur and lovely articulate but spacious sound which would be much more flattering to them than Wallin's dry as chalk approach.
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I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#58
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Posted 18 June 2012 - 11:24 AM
Since the ultra disappointing Star Trek I haven't heard anything to hit the mark with me. He is very promising, just something isn't clicking imo
#59
Jason LeBlanc
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Posted 18 June 2012 - 11:33 AM
Try some of the YouTube vids posted in this thread and see what they do for you
-Jay
#60
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Posted 18 June 2012 - 04:01 PM
Try some of the YouTube vids posted in this thread and see what they do for you
Cheers, I will do
#61
Alexander
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Posted 18 June 2012 - 06:22 PM
All the top Giacchino scores I was going to mention have been mentioned already. My work here was done even before it began.
And with all due respect to Dan Wallin, he should retire. Then Giacchino's scores might actually have a sense of grandeur and lovely articulate but spacious sound which would be much more flattering to them than Wallin's dry as chalk approach.
You're right. A good recordign would make his music even better.
Where is Shawn Murphy when we need him?
#62
Marian Schedenig
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Posted 18 June 2012 - 08:18 PM
You mean Bruce Botnick.
I'm not convinced Wallin is to blame. I think Giacchino's scores are recorded so dry because they are orchestrated that way, too.
I'm not convinced Wallin is to blame. I think Giacchino's scores are recorded so dry because they are orchestrated that way, too.
#63
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Posted 18 June 2012 - 08:29 PM
You mean Bruce Botnick.
I'm not convinced Wallin is to blame. I think Giacchino's scores are recorded so dry because they are orchestrated that way, too.
Yup, this also seems to be a contributor to the problem. He often uses instruments in an unconventional way, especially brass. Sometimes it works other times, sometimes it is what it is. Like trying to use a submarine to fly.
#64
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Posted 18 June 2012 - 11:07 PM
I think a flying submarine could be quite beautiful!
EDIT: In all seriousness, I think Wallin's sound worked splendidly for LOST, but in a lot of Giacchino's other scores, I find myself wondering how they would have sounded if they'd been recorded and mixed differently. A Botnick-Giacchino pairing would be very, very interesting, and would probably have some significant effect (positive or negative) on my impression of Giacchino's scores, particularly when it comes to orchestration.
EDIT: In all seriousness, I think Wallin's sound worked splendidly for LOST, but in a lot of Giacchino's other scores, I find myself wondering how they would have sounded if they'd been recorded and mixed differently. A Botnick-Giacchino pairing would be very, very interesting, and would probably have some significant effect (positive or negative) on my impression of Giacchino's scores, particularly when it comes to orchestration.
#65
Marian Schedenig
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Posted 18 June 2012 - 11:23 PM
To be more precise, I'm not sure Wallin is to blame for anything. Yes, (nearly) all of Giacchino's scores since Lost have that dry, claustrophobic sound. It's in the orchestration. A Botnick recorded Giacchino score could certainly sound more spacious... but perhaps not so much more. They would still sound dry, just with wetter recorded sound.
#66
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Posted 18 June 2012 - 11:29 PM
Not sure why people want to obscure the dry wit that suffuses everything from Giacchino's music to his track titles.
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