filmscore5

I recently posted a story I heard about Michael Giacchino and how he came by the opportunity to score The Incredibles. Well, after some concerned reaction by some people in this forum, I'm now realizing that the story isn't even true, and more importantly, that I shouldn't have even relayed what I wasn't sure about. I was an ass and bilndly believed what I had heard, much to my regret. I have already offered a personal apology to Michael, and wish to do the same to any of his fans here that may have been mislead or offended, as my intentions were by no means at all malicious. While I feel awful that I offered up a story that is totally untrue, I have no excuse for my actions other than to say I'm a total ass. I stand by my previous comments that Michael Giachhino is a very, very cool guy, as he showed a great deal of restrain in not ripping my head off when I absolutely deserved it.

I couldn't care less about his reliability as a Giacchino source. I was simply relaying what I had heard from some people at Pixar. Who the hell am I to assume what people tell me isn't all true? I guess I could just have no faith in people, assume that everyone is a liar and flex my machissmo muscles when I claim to know something more than someone else. I've found that there are a few people in this forum like that already. No offense, but these qualities don't strike me as very philanthropic. I prefer to assume I know nothing while attending the circus so I can eat cotton candy and dance with midgets.

Perhaps Yo-Yo's funny expression was hard to notice on television, I wouldn't know as the camera angles may have had something to do with it. You have the option of watching the televisions in the studio while they're taping, but I ignored them, as Johnny was only 15 feet away! As for the re-tape thing, Leno does what you call a "live taping." They tape just as if it was going to a live feed, they even insert the same commercials you see at night while they are taping so they can sattelite feed the show to the east coast as soon as they are done. The funny little blip in their playing was no surprise, it happens, especially when you flub a page turn like Williams did. I've done it a few times when accompanying soloists on piano. Missing that page turn sucks!

I too attended the taping today and was sitting about 15 feet from the performers on the small balcony. I will say though that I enjoyed Terry Bradshaw, perhaps a bit more than others in this forum that went. He was damn funny, and if you're a big football fan like I am, then you'll understand my laugh out loud reactions to his football-caused brain cell damage. In regards to Williams, there was a moment that nobody has talked about yet on this post. Williams and Yo-Yo came damn close to tearing, as Williams missed a page turn and as a result, fell off with the harmony. It was pretty obvious, and Yo-Yo's face looked like he was about to shit, hoping that they got back on. Of course they did, but it was more funny than anything else, mostly because it sounded like Williams took 15 minutes to put that arrangement together. It was a half-assed piano accompaniment, but the cello writing was cool, and of course Yo-Yo played the shit out of it.

I wasn't aware that I had to divulge my name, rank and file to be taken seriously in this forum. I guess keeping to yourself is perceived as deception and lying to some people. My apologies for keeping to myself. You're right on, Jerry never blasted John Williams in public nor in private, at least to my knowledge. I do know through various comments by Jerry made to me and others that he thought his composition chops were more advanced than Williams. This wasn't an isolated thing, as I heard him say numerous times in reference to his teacher Mario Castelnuovo-Tedesco; "He was such a sweet man, but he wasn't really a good composer." I only mention things as it applies to Williams because of the nature of this forum. Look for a book to come out in the next 12 months about film music by composer Paul Chihara. He was a fairly close friend to Jerry, and perhaps there might be some references to Jerry's very humble frustration throughout his unbelievable career. Who knows if any of these things will be in reference to Williams even if they show up in the book, as this is guesswork on my part based on what I have heard. Anyhow, I wouldn't dare taint the image of one of the late, great composers of the last 100 years.

My congratulations to you.

Perhaps you should work for Pixar then, as it seems the VP is a liar. Pehaps his motivation for making that up is to smear Michael Giacchino, who helped make The Incredibles one of the most successful movies of the last 20 years. It all makes sense now; make up stories about those who help you make money. Or maybe he doesn't like making money so he's trying to make sure that the team on The Incredibles doesn't make money for him ever again. Whatever the case may be, I think that you should take over Pixar, as you are more in the know than the VP.

Well, then I guess you know more than the VP of Pixar.

I never said Goldsmith hated Williams, read the post. I used the word 'resented.' That's a world of a difference. And Stefancos, please don't presume to know what I know about Jerry. Not that it matters, but I studied with Jerry for 2 years, and also studied with his very best friend, Charles Fox. Again, this doesn't matter, but it would be cool if you didn't presume to know what I know. Peace.

In response to which composers have generated such a variety of output early on in their careers, I think no composer comes close to Jerry Goldsmith. He was a true chameleon, and although I know this will cause some riffs with members in here, I personally believe that Goldsmith wrote circles around John Williams. But Johnny had two things that Jerry didn't; 1) the realization that 19th century Romanticism was the easiest way to connect with audiences, hence Williams' much more connected themes and harmonies to famous 19th century works, and 2) was the composer on a great deal many more movies that the Academy put up for major awards than Goldsmith was. Jerry resented Williams more and more towards the end of his life, always wondering while Williams was getting all the major pictures that he was not, which is too bad, as they used to be good enough friends to play some 4 hand piano at Jerry's house on the weekends, many times with various others such as Henry Mancini (who were eventually replaced with friends James Newton Howard, David Newman and Charlie Fox). For me, any comparison of potential talent and chops always goes back to Jerry. So, how does Giacchino fare here? Well, he doesn't, not even close. But this is unfair to him, as even composers like Jerry and Johnny needed time to develop, although in their cases, not much time at all. Especially in the case of Goldsmith, as his first few features were astounding. You gotta' give it to Williams though, 45 dang nominations. Boo yah.

I agree that there are some fresh qualities to his music. I also agree that he is a welcome voice in a world of generally pathetic film music. It's amazing how easy it is to shine in film music now. When you are surrounded by mediocrity and worse, it doesn't take much to come off as fresh. I'm not faulting Giachinno here, it is the fault of all these hack, no-talent idiots writing film music that surround him. Maybe one day soon we'll have the pleasure of hearing some truly remarkable music by a young composer in Hollywood.

I heard this from a colleague of John Lasseter (then VP of Pixar).

Well that's how it's done. It's not who you know, it's what you know: Giacchino's father controls an interest in a major golf course in the Los Angeles area. Pre-The Incredibles, an exec at Pixar was after a corporate package for this particular golf course, and in return for the discount given to Pixar studio for this golf package, Giacchino Senior managed to convince Pixar to introduce and recommend Michael to Brad Bird. Pretty sweet deal. He wrote an effective score though, that's for sure.

Thanks! Pretty cool thread, interesting opinions. I hung out with Michael over the summer when he came to the Henry Mancini Institute to conduct. First let me preface this by saying that he's written some cool stuff, and he's a very, very cool guy. BUT...he could not conduct to save his life, WOW!! He was asked to conduct the opening chase sequence to The Incredibles. First of all, he had admitted never conducting before this gig. Second, the music editor on the gig for the Institute made up a click track for Michael to hear in his headset as he conducted, because as we know (if we know this cue) there is a huge tempo change from the opening theme going into the 1960's Batman rendition at the car chase. Well, the rehearsals went great, as he was with the click. The dress rehearsal went great, as he was with the click. As he came out to condcut the concert he decided not to use the click...... DISASTER... TOTAL TRAIN WRECK The entire orchestra stopped (minus the strings who weren't watching OR listening) and thankfully Rob Shaer on lead trumpet counted off the brass and the rhythm section in time to come back in without having to restart the piece. Anyhow, it came off cool because afterwards, oh man did we drink. The was one hell of a party with Michael Giachinno, Alan Silvestri, James Newton Howard, Paul Chihara and Patrick Williams all having a very cool laugh about the show. POINT OF THIS STORY: Michael Giacchino is one cool dude.

Yeah, I have heard much of the music to Children of Dune. I would say that this score may be the best of Tyler's music, but it really doesn't do it for me. The orchestration is far from refined, the meoldies boring and the rhythm's cliche. This is simply opinion of course, I mean hell, I like the movie Over the Top! I was really taken when I read an article some time ago comparing the long term career development of Brian Tyler to people such as Dimitri Tiomkin, Max Steiner and Jerry Goldsmith. I think this comparison highlights a very sad thing in today's film music world: Those scores from the late 1930's-late1980's which were considered average would, by today's standards, generally be regarded as magnificent. And vice versa. Those well received scores of today generally wouldn't have been given a second thought in recent decades' past. Of course there are excections to what I'm saying, but as a general rule I think this holds up pretty well.