Miz

BBC Radio 4's Film Programme had a good interview with Miller. http://www.bbc.co.uk/programmes/b06j5qd5

He's solid and his action writing is powerful, with a tight use of electronics. He captured every Bond he worked on better than Newman has so far.

I didn't enjoy this at first but have warmed to it immensely. The themes are fabulous, especially the main theme, and I've enjoyed learning them all on melodica. The themes fit together so well and are all developed nicely. It's classic Giacchino, for sure, but the tone and energy are brilliant. It's better to listen to it on the move though...!

Happy Lost Day for those who use the more sensible European date format of Day/Month/Year!

This score was a grower for me. I thought the main themes quite simple and childish at first, but they've since deepened in scope and they are threaded well through the score. As I'm a fan of scoring my own life (using earphones), and not just judging a score by sitting in my house listening to it, I've found some perfect scenarios for enjoying the big, bright pieces of this score: sitting in a field with the sun setting behind glowing cloud, watching jetplanes approaching and soaring overhead, and birds weaving among the clouds. Also, cycling downhill through beautiful, or just open, environments! Also, I think this one of Giacchino's most Hermann-esque scores to date. The atonality or edginess in Jurassic World (and even Lost) doesn't quite carry the same character and poise as some of the tracks here: Texting While Driving, Sphere and Loathing, and others. Enjoying this score much more, trying not to wear it out too quickly!

This may be a grower, but on first listen I'm finding this score quite generic. The few themes and overall structure don't really go anywhere. Of course the exciting 'free' passages are fun to listen to, but the action music doesn't stand out, and the whole score seems to have a single tone (possibly befitting the film). After Jupiter Ascending, this is simply...alright.

JNH pulled that off! For which score?

Hoping someone is up for some wider analysis of this score, since there's so much material all over the place. I might get on Audacity and cut up my own album too, partitioning quieter parts and action scenes; for example, Cain's excellent theme given brooding build-up in the middle of Family Jeopardy.

Well, I take it all back. I'm glad I listened to this plenty before seeing the film, it enchanced the viewing experience a lot for me, enjoying the pieces (and, in this case, mostly parts of pieces) show up and be given such stunning imagery. It doesn't seem like a 'hack job' of a score as much as a greater use of tracking than we're used to (as so much was recorded as concept music, as we know). As for our album, I think quite a few of those track titles are cursory, considering how material is moved around so much! I also found it interesting how so many orchestrations and mixes were used that differ from the albums; that's quite uncommon too, no? My appreciation for the themes has grown too, as they are more subtle than, say, John Carter's, but possibly no less developed. I'm looking in particular for a quiet statement of what I think is Cain's theme, the ascending theme that closes in such style Commitment and Family Jeopardy. Can anyone find it? I'm looking forward to deeper score analysis of this one, and hopefully a full release with some of the great missing cues and alternates.

Good idea, I'll do that from now on. It's also the action music, though. Too many tracks are limited to rhythmic percussion and slicing strings with little real weight or momentum, for me, with the possible exception of Helluva Chase (the only recurring track title of his to annoy me). With the rich colour or at least driving weight of Mission Impossibles, John Carter, of course classic MoH and SWON, even Lost, I must assume this is a stylistic choice to suit the film's setting and feel, rather than a composer's stylistic direction. I hope.

I'm having trouble warming to this album, even as an ardent fan of Giacchino. It's earlier parts, the 'symphony' included, are attention grabbing, but I don't feel it develops enough for warrant the album length. I will cut down a playlist for further enjoyment, if I want this one to be a 'grower'. In inevitable comparisons with John Carter (which wasn't a grower at all, it jumped right out and got its claws in me!), I don't think Jupiter Ascending compares on any front, except possible orchestration gimmicks or flourishes. John Carter is so much more handsome, rounded and organic in its stylings, and its themes more compelling. I do need to see the film, and that usually helps, though I don't have high hopes for it to hold anything but aesthetic merit. Perhaps seeing the visuals marry with the music well will enamour me to this work more. I was disappointed to here that so much music is cut and chopped, especially the wonderful Titus Clipper (Barry-esque indeed!), so that may just make this an awkward album in the Giacchino collection.

The pilot looks like Dev, or Rogue 2 from the Snowspeeder search party, which would be great continuity. But the actor Christopher Malcom died in February 2015. Could it still be him? Is this little inclusion an quiet tribute, or is it someone totally different? http://www.imdb.com/name/nm0539095/?ref_=ttfc_fc_cl_t26

I decided that Ridley Scott could redeem himself for directing such a weak script by creating a sequel or series in which Shaw and David explore the universe and have zany adventures. It could be called "Doc and the Head", and they wouldn't get on very well because of such differing temperaments and the obviously-difficult history. He would have to come to admit it was he who killed her boyfriend and caused her impregnation; she would hold it against him for a long time and refuse to reconnect his head. They would grapple with existential issues about 'meeting your maker', the dream she pursues, while he has already done it. Through trials and adventures they would bond, she would eventually forgive him and they fall in love. But it wouldn't be an easy ride: she might still harbour animosity, and create confusing jealousies within him by having sex with his body and head alternately. The infertility issue would have to broached again too, as it's really an inter-species love (plus he totally ruined her womb). He might even deconvert her from her primitive human theism, and help her philosophies become more sophisticated considering the scientific odyssey they are on. There'd be humour throughout though, as his head's sense of humour can be very cerebral and linguistic, while his body engages in all sorts of slapstick shenanigans (and get them out of trouble a few times too!). Eventually he could use his language skills to communicate with the engineers and help her realise her wishes - they might come to fully manifest their destinies by using engineer technology, her eggs and his skills to create their own child.

Do I hear whistling in Hendricks' Manifesto,at around 3:00, with the trio of downward phrases of the MI theme...?

Good montage. Out for a Run is this year's Hunting for Jules! I can't stop listening to it, or cycling to it.

What a weird release. I hope the demand and impetus for releasing Lost paraphenalia doesn't fall away (once the DVD and soundtrack have been release and hit peak sales), otherwise we may not see another release. Here's hoping for those crucial episode track releases, along with The Moth from season 1! I'll register my interest in such a prospective release by actually buying this Lost soundtrack, as I have all previous ones (the same can't be said by me for most scores these days).

That performance of "Moving On" seems to be purely a concert piece based loosely on the finale from 'The End'. There's no Jack's theme to begin it, no Hurley's theme at the church; only what I think is the first sideflash theme, the Oceanic 6 theme and luminous Life & Death/Lost theme conterpoint at the end. Anyway, we'd be lucky if that piece is on the CD, considering Lost was never recorded with a choir. As for this August release date, it seems totally spurious to me, and I'm not holding to it. The producers would be wise not to do the same as ever and release it a year after the end of that season. Lost-fever will have died by next summer and no boxset will accompany a soundtrack release. I'm sure it will come out sooner than that, but Varese's release date is the last word, really.

It's pretty difficult finding the music (just heard the intro to Matthew Fox, that's all) without watching the whole show, which I can't. Any pointers, or a montage of the music? So, about the season 5 CD... There are some tracks that seem to not correspond to their episodes. I can't find where the first track "Making Up For Lost Time" takes place, and the brilliantly suspenseful end of "Locke's Excellent Adventure". Maybe I've just missed them, but this seems like the first soundtrack release that has unreleased, or mislabelled, music.

Can we get a video of this?

If I had to get one album signed it would be Secret Weapons; I'd love him to sign Lost but I wouldn't know what album to choose! Secret Weapons Over Normandy is a towering acheivement, and made me realise I love Giacchino best in his game scores, where he has more temporal freedom in his writing. SWON is solid action, so much more eloquent than the childish game it comes from, and I'll love it for a long time to come.

How have people got a hold of the promo for Force Unleashed? If anybody has a very accurate answer to that, could they please PM me?

Oh, I didn't know! I'm interested now, is it on a page in this thread?

Hello Giacchino fans; finally I have for you my track titles for the 45-track complete Speed Racer score. I was generously given this stream-rip by members of this board and it seems a popular one as I've seen it on a few torrent sites. Know that I know the score well, I confess I would've split the tracks differently but have stuck with this arrangement as it seems popular. 01 – I Am Speed 02 – Driving Test 03 – Flickbook Fantasy 04 – World’s Best Autopia 05 – Thunderhead 06 – Crush Crash 07 – Tragic Story of Rex Racer 08 – Ghost Racer 09 – “Nuthin’” 10 – A Royal Sycophant 11 – Candy Jet 12 – Royalton Tower 13 – Peak Physical Condition 14 – Cannonball Compliment 15 – A Dark Look 16 – Intimidated 17 – World’s Worst Road Rage 18 – Bring Them To Justice 19 – The Flirt 20 – Monopolising 21 – Serious Thought 22 – Jellybean Jackpot 23 – Racing’s In Our Blood 24 – Jig’s Up 25 – The Only Record Book That Matters 26 – Sign That Contract! 27 – True Heart of Racing 28 – Funny Ain’t It 29 – Harbinger of Boom! 30 – The Crucible Rumble 31 – Casa Cristo 32 – A Good Team 33 – Ninja Versus X 34 – More Like A Nonja 35 – Bumber to Bumper, Rail to Rail 36 – Racer Family Rumble 37 – Ice Cliff, Togokhan Treachery and The Face of X 38 – Thirty-Two Hours 39 – The Presence of Speed Racer 40 – Grand Ol’ Prix 41 – Reboot 42 – Let Us Drink… 43 - …Milk! 44 – Speed Racer & Variations 45 – “I Love You” – (Giacchino) As you can see I've kept the track titles of the album where appropriate and tried to remain in the vein of Giacchino's track naming. Now that I know this score well I have to say it's utterly fantastic - truly one of the most accomplished scores this year; I'm grateful to be given a chance to hear it all, alone.

Minority Report. Call of Duty & Secret Weapons Over Normandy.