Max

"I just want to write Johnny a theme."

Michael Giacchino's GSA page says he was the "score producer" of the film "Argentina, 1985"
 
https://gsamusic.com/wp-content/uploads/2013/03/Giacchino_Michael-1.pdf
 
IMDB does not credit him, because somebody screwed up and gave the credit to Mick Giacchino instead!
 
https://www.imdb.com/title/tt15301048/fullcredits/
 
However, Mick Giacchino's GSA page reveals he was actually the composer of Additional Music
 
https://gsamusic.com/wp-content/uploads/2017/08/Giacchino_Mick.pdf
 
What a mess

Michael Giacchino To Make Feature Directorial Debut With Fresh Take On ‘Them!’ At Warner Bros
 
 
 
Cool! I'm excited to hear (and see) what he comes up with! Given all the turmoil at Warner Bros. Discovery lately, I hope this actually happens!

Michael Giacchino To Make Feature Directorial Debut With Fresh Take On ‘Them!’ At Warner Bros
 
 
 
Cool! I'm excited to hear (and see) what he comes up with! Given all the turmoil at Warner Bros. Discovery lately, I hope this actually happens!

Michael Giacchino To Make Feature Directorial Debut With Fresh Take On ‘Them!’ At Warner Bros
 
 
 
Cool! I'm excited to hear (and see) what he comes up with! Given all the turmoil at Warner Bros. Discovery lately, I hope this actually happens!

Michael Giacchino To Make Feature Directorial Debut With Fresh Take On ‘Them!’ At Warner Bros
 
 
 
Cool! I'm excited to hear (and see) what he comes up with! Given all the turmoil at Warner Bros. Discovery lately, I hope this actually happens!

Michael Giacchino To Make Feature Directorial Debut With Fresh Take On ‘Them!’ At Warner Bros
 
 
 
Cool! I'm excited to hear (and see) what he comes up with! Given all the turmoil at Warner Bros. Discovery lately, I hope this actually happens!

After watching Andor I finally was motivated enough to finish my edit after abandoning it multiple times since the expansion was released. 86:12 long, cuts down on crap material to focus on the good stuff in an IMO better structure. Some great cues were kept as is, some were joined with others but untouched, maybe moved around in order, some were microedited to shorten them and remove some worse material (in a lot of cases this was easy, as many of the action cues are almost modular), and in some cases replacements had to be fabricated for real bad parts that couldn't just be thrown out.
 
01 - He's Here For Us:
01 He's Here For Us
02 - A Long Ride Ahead:
02 - A Long Ride Ahead 0:00-3:24
46 Scarif Antenna Alignment 1:38-1:50
46 Scarif Antenna Alignment 1:51-1:56
02 - A Long Ride Ahead 3:46-3:57
The opening cues are fine as is, but film title logo music is horrible. The alternate is somehow far worse. The cue can't just end on nothing, it needs a resolution, something had to be done. My best idea was to lift this triumphant Hope statement from late in the score, fix its weird note held too long to keep it rhythmically consistent, and transition back to Long Ride Ahead for a nice fadeout ending.
03 - There Are Spies Everywhere:
07 Mission to Jedha 0:00-0:25 (before the inexplicable long pause)
04 There Are Spies Everywhere
Added the extra opening here to get a "things are starting to get going" energetic feel after the opening segment/logo, the combination works shockingly unnoticeably.
04 - Jyn and the Rebellion:
03 Wobani Imperial Labor Camp
06 Jyn's Interrogation 0:00-1:17
08 Trust Goes Both Ways 0:00-0:40
08 Trust Goes Both Ways 0:54-2:08
06 Jyn's Interrogation 1:17-1:33
05 The Detention of Jyn Erso 0:29-0:51
05 The Detention of Jyn Erso 0:55-1:13
A track that ends up being an establisher: We get a big Jyn, some downtime, a middle Jyn, some Jedha callback, an establisher for the military tension motif (no idea how to call it at the moment), then Hope and the Rebel Fanfare as a happier finale. These all had problems. Wobani was too short and alone where it originally was. I don't like the early and kinda bland Force Theme in Jyn's Interrogation, but the rest worked well as connective tissue here. The awful Force Theme was removed from Trust Goes Both Ways easily, and I transitioned back before it really went away into the violent noisy material. I also threw away the noisy weak brass first half of Detention of Jyn Erso, as well as the random brass notes marching after the Rebel Fanfare.
05 - When Has Become Now:
09 When Has Become Now
06 - Jedha Arrival:
11 Jedha Arrival 0:00-1:47
12 Hearts of Kyber
10 Jyn's Memories of Childhood 0:00-0:36
11 Jedha Arrival 2:22-2:50
Wanted to keep both the middle cues and remove the middle of Jedha Arrival, so this was a nice way to solve it.
07 - Ambush in Jedha City:
13 Ambush in Jedha City
55 Jedha City Ambush (Alternate)
Classic joining of a lead-in cue with the thing it obviously leads into. Picked the shorter version because it's plenty enough.
08 - No Friends of the Empire:
17 No Friends of the Empire
I like the Jedha stuff, but not really the Saw stuff. This was a nice transitionary cue that also reinforces the presence of the underused Guardians theme.
09 - Star-Dust:
22 Star-Dust 0:00-0:39
22 Star-Dust 1:03-2:58
29 Confrontation on Eadu 5:52-8:09
Microedit to remove the intrusive bit and keep the mood consistent. This final bit is the only part of Confrontation on Eadu that I like and the only part of that entire segment that I kept, and it had to go somewhere. In the end I put it in the place of Star-Dust's much less refined ending to combine these 2 major Jyn/Dad relationship cues.
10 - An Imperial Test of Power:
18 Imperial Departure
23 An Imperial Test of Power 0:00-1:45
23 An Imperial Test of Power 2:24-3:38
Had to put the former cue somewhere and this worked out. Streamlined the latter by removing the bare held notes and noisy bits in the middle.
11 - News from the Ashes:
25 News from the Ashes
24 Apologies are in Order
Switched these two because I felt the former led into the next cue better than the latter.
12 - Rebellions are Built on Hope:
31 Rebellions are Built on Hope
32 A Rebel Change of Heart
33 Rogue One
Yes, I skipped over all of the mess that is the Eadu setpiece. Just felt these 3 would work better combined, the last 2 especially to make the buildup build up to something instead of losing it all with a 5 second quiet break until Rogue One starts out of nowhere.
13 - Cargo Shuttle SW-0608:
34 Cargo Shuttle SW-0608 0:00-0:41
34 Cargo Shuttle SW-0608 0:59-4:02
Just a little streamlining to keep the mood consistent here.
14 - Good Luck Little Sister:
35 Good Luck Little Sister
15 - Finding a Way Through:
40 Finding a Way Through 0:00-1:02
40 Finding a Way Through 2:04-2:06
40 Finding a Way Through 2:03-3:36
The previous few cues were mostly kept unedited in order, but now the third act needed restructuring. When listening to the expansion, it felt like it starts off strongly, then meanders away eventually, then starts back up again, then at some point just decides to stop and go into the tragic showstopper best cue. I moved this more quiet sneaking cue that gradually ramps up to action here as the first track after the setpiece begins. Skipped through the middle action by fabricating an opening for the sneaky bit right after by looping a portion of it.
16 - Scrambling the Rebel Fleet:
38 Scrambling the Rebel Fleet
17 - Are We Blind:
37 Are We Blind
Moved this here to spread the two big JW-theme peppered rebel fighter action cues out a tad.
18 - AT-ACT Assault:
39 AT-ACT Assault
19 - The Imperial Archives:
41 Project Star-Dust
20  -Antenna Alignment:
46 Scarif Antenna Alignment 0:00-1:37
46 Scarif Antenna Alignment 1:58-3:16
This is basically the end of the final action bit. Removed the triumphant Hope since it'd interrupt this final stretch of desperate action and since I already used it for the title logo.
21 - The Master Switch:
44 The Master Switch
Moved this back to provide a sad playoff/bridge from the bombastic action to the tragic finale instead of the former just... stopping.
22 - Your Father Would Be Proud:
47 Your Father Would Be Proud
23 - Hope:
48 Hope 0:00-1:20
29 Confrontation on Eadu 7:54-7:56
29 Confrontation on Eadu 7:56:10-7:58
29 Confrontation on Eadu 7:58:20-8:09
So uh, listen. The final note wandering of the Force Theme sucks. Either we can leave it as is. Or transition it early to some film rip or other recording of the SW credits then to the alternate opening next track, which I didn't do because the opening transition sucks. Or try to remove notes from those wandering notes - I can't because he's not using the right notes to finish the theme, it'd sound worse. What remains is to take some other good enough finale-esque bit from some other cue and patch it on or replace it completely. The only real good finale feeling bit I found was the very end of Confrontation on Eadu, even though I already used it. I'm not 100% happy and proud with the final result, but I might learn to live with it - the idea was to keep the first 2 notes of the Force Theme, and carefully fade to Eadu, which ends on 2 similar rising 2-note figures, so that together it'd seem like it's 3 2-note rising figures. Also shortened held notes in Eadu to help the transition rhythmically.
24 - Jyn Erso & Hope Suite:
49 Jyn Erso & Hope Suite
25 - The Imperial Suite:
50 The Imperial Suite
26 - Guardians of the Whills Suite:
51 Guardians of the Whills Suite
Not 100% sure about these, might end up switching Whills and Jyn.

https://composer.spitfireaudio.com/en/articles/michael-giacchino-on-scoring-six-films-this-year-making-his-directorial-debut
 
Great interview. Interesting questions and interesting and expansive amswers.
 

Here's the second part of my breakdown of the themes of the show, this time focusing on all the different themes and motifs for the central character of the show, Princess Rhaenyra.
 
Djawadi created several different ideas that he develops through the season (and I'm sure will come back in future seasons) and I tried my best to comment them all, their meaning, and their development in each episode. I even did a complete analysis on one of my favorite cues of the season, The Crown of Jaeharys, which features almost all of Rhaenyra's themes into one single, glorious cue.
 
 
Hope you enjoy it! Feel free to share your thoughts and be sure to stay tuned for next part, where I will cover the different themes for the Black side of the story (Viserys, Daemon and House Velaryon).

I finally figured out what that Elendil and Isildur theme kept fucking reminding me of:
 
 

Aha!
 
 
 
The music for “Zootopia+” was composed by Curtis Green and Mick Giacchino, except for the
“Duke: The Musical” episode which features music by Oscar®- winning composer Michael Giacchino
(“Zootopia,” “The Incredibles,” “Mission: Impossible,” “Star Trek,” “Thor: Love and Thunder”). The
original song, “Big Time” featured in the “Duke: The Musical” episode was written by Michael
Giacchino, with lyrics by Elyssa Samsel and Kate Anderson (“Olaf’s Frozen Adventure”).
 
 
https://lumiere-a.akamaihd.net/v1/documents/zootopia_fact_sheet_disney_09b4fc03.pdf

I'm listening to the new version of the album and loving it again!
 
I was busy doing a bunch of stuff so wasn't paying any attention to when I was hearing one of the new tracks or one of the old ones, EXCEPT at one point when the music was so good, I wanted to stop what I was doing and see which track it was, and it was one of the new ones: "World's Worst Makeover".
 
So I guess the additions were worth it, for me!

The digital album has been updated on iTunes New Zealand, so should roll out to every service as it becomes Friday everywhere
 
https://music.apple.com/nz/album/marvel-studios-werewolf-by-night-original-soundtrack/1651343086
 
 
New tracks in bold
 
1. A Marvel Special Presentation (0:12)
2. Mane Title (3:02)
3. Hall of Shame (1:00)
4. Ulysses’s Rant (3:24)
5. There Is No Peace Without Tuba (4:17)
6. Scot Free (0:47)
7. Big Shoes To Fill (1:30)
8. A Farewell to Arm (3:27)
9. Cryptic Messages (0:59)
10. Tales from the Crypt (2:29)
11. Two Lefts Make A Right (2:01)
12. Elsa’s Ted Talk (3:17)
13 All The World's A Cage (0:58)
14. Beach Blanket Betrayal (3:23)
15. World's Worst Makeover (1:59)
16. Where’s Wolf (4:01)
17. I Don’t Know Jack (3:12)
18. Mane on Ends (1:58)
19. End Shredits (4:21)
20. Mane Theme – Piano Arrangement (1:35)
 
That's 4 added tracks totaling 6:28 of additional music, for a new album length of 47:31 (it used to be 41:03)

Yes! So those were rustling leaves I thought I heard.  I’ll be performing the score live to projection this Autumn as I do my yardwork. 

Looks like that cue is going to be added to the album!
 
 

Looks like that cue is going to be added to the album!
 
 

Looks like that cue is going to be added to the album!
 
 

Looks like that cue is going to be added to the album!
 
 

Looks like that cue is going to be added to the album!
 
 

Looks like that cue is going to be added to the album!
 
 

Yes, that was my first time learning that, too! I really liked the trailer music (maybe except for the big trailer-ized swell around 13 seconds in). Kinda surprised someone hadn’t noticed the theme sooner.

I've enjoyed the spotting of the music, the sync points with the image at the very beginning, and some guy marching with a burning sousaphone (or whatever marching band instrument that was). Soo good when the director of a film is a composer.
 
The score felt somewhat Elfmanesque, although it is still clearly Giacchino. I am happy about the profuse uses of glisses / aleatoricism / atonality, and other horror tropes (reminiscent of CE3K, JP, IJ, LOTR, and Gia's own MOH), and of the choir.
 
2:33
reminded me of this bit: 3:23
and Dracula, of course.
 
The bonus piano track was a nice addition (together with the guitar end credits).
 
Overall a fun short film and some of the most satisfying scoring I have heard from Giacchino in quite some time. I am glad he had the freedom to do what he wanted (and to do it well).

I just listened to the album again, since I liked it so much the first time!

"Mane Title", "Mane on Ends" and "End Shredits" are all great tracks!

During the Direct they revealed that Brian Tyler is doing the score…