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  1. He, if I need to keep my LOTR talk limited to one thread then ?-man can do all his Michael Giacchino praising in here, were I'm not bothered by it. Comments, complaints? indysolo@comcast.net Stefancos-
  2. Announced via his twitter I would have thought Christopher Young would have gotten the gig, but this could be a fun score for him after Zootopia and Star Trek Beyond.
  3. I'm at work and can't listen - any Giacchino music in this? This is one of four Giacchino scores in 2015, along with Jupiter Ascending, Jurassic World, and Inside Out
  4. Michael Giacchino Is Hard At Work On The 'Inside Out' Recording Sessions
  5. So J.A. Bayona, the director of Jurassic World 2, posted this on Twitter for Giacchino's birthday yesterday. Could this be a confirmation that Giacchino is returning for Jurassic World 2, which will be the fifth movie in the franchise (hence the hand)? I really, really hope so!!
  6. Admin note: Original thread title was Giacchino's Star Trek - Live to Projection (April 12, 13 and 14, 2013, Lucerne, Switzerland) Michael Giacchino's full score to J.J. Abrams' Star Trek (2009) will be performed live to projection next April in Lucerne (Switzerland). The performance will take place in Lucerne's KKL Concert Hall, with Ludwig Wicki conducting the 21st Century Orchestra & Chorus. More info: http://filmmusicreporter.com/2012/12/28/live-to-projection-concerts-of-michael-giacchinos-star-trek-score-announced/ Tickets: http://www.kkl-luzern.ch/navigation/top_nav_items/culture/Programmuebersicht/detail.htm?client_request_contentOID=3813&client_request_dateOID=20102&client_locale=en_GB
  7. Giacchino is currently recording the score at Abbey Road! Having loved Jurassic World, I'm excited that Giacchino and Trevorrow are teaming up again. I can't wait to hear this one!
  8. http://www.varesesarabande.com/servlet/the-1184/Star-Trek-Into-Darkness-cln-/Detail http://www1.screenarchives.com/title_detail.cfm/ID/27668/ http://www.moviemusic.com/soundtrack/M09485/startrekintodarkness/ http://store.intrada.com/s.nl/it.A/id.9058/.f I know this is already being discussed in the Varese Club thread, but this deserves its own thread. I am of course super excited that this release is coming out, because it's a great score, and because the OST was so short, and I'm glad there's a market for expanded scores that are only a year old. However, I am a big befuddled by two choices made for the final product here! One is that Giacchino's intended original end credits suite is missing, replaced by the film edit of the end credits. This means the new recording of Spock's Theme is replaced by music tracked in from London Calling and Ode To Harrison like in the film. A big bummer that nice recording won't get a legal release, especially since the full London Calling and Ode To Harrison are on the CD anyway (Ode To Harrison in the very next track!) And secondly is that an entire cue, "Spock to Spock" is missing on this release. That's the music for Spock's conversation with Spock Prime, and featured a great new version of the Vulcan theme. You can here both missing cues in this youtube video (I apologize for not having timestamps handy, but I will try to post them later) Why on earth did <whoever chose to omit these two pieces> omit these two cues? Why!? Why!?
  9. Rogue One: A Star Wars Story Music Composed by Michael Giacchino Original Star Wars Music by John Williams I know it's not Williams, but I still like what Giacchino did with this score. Let's take a look... He's Here For Us I was not at all disappointed not to see the traditional main title. I like how the piece opens, a hint of the piccolo like at the beginning of ANH or ESB even, and then dramatic strings and a swift entrance of the Imperial theme for this movie. A Long Ride Ahead Solid track with lots of tension and some interesting percussion. I like the brass as the death troopers storm the house. I'm not sure if it's a recurring idea but it fits well. Jyn's theme is also present very softly. The Hope theme blasts over the main title. It's ok but it's not my favourite theme here by any means. Wobani Imperial Labor Camp Starts with Jyn's theme, and then a great brass transition takes us to another underworld planet. Dramatic strings prepare the audience for the next scene. Trust Goes Both Ways I like what the strings do in this track. Jyn's theme and the Force theme both appear. There's a really neat banjo sound effect as we arrive on Jedha. Nice eerie bassoon, chimes and tense strings. Great percussion to close. When Has Become Now Features a lot of the stuff in the Imperial suite, which is nice. The Death Star motif from ANH is used, which is cool! Jedha Arrival Starts with Jyn's theme lightly but the mood changes as she awakes and the crew land on Jedha. Things gets more serious and the mission is at hand. Saw reappears and the atmosphere is tense again. Jedha City Ambush Neat battle piece, although the idea is a little simple and repetitive. Stardust I like this bit of the soundtrack quite a bit. The piano is super sorrowful, and then the frenetic strings as the Death Star finally fires. Great build up. Confrontation on Eadu A long excerpt from the soundtrack and maybe my favourite track here. Cool brass fanfares, lots of themes appear and plenty of intensity over 8 minutes. Krennic's Aspirations My favourite part here is the music when Krennic arrives on Mustafar. Very big scoring from Giacchino, I think. Cool to hear all the Vader rumbling, and a hint at the Imperial motif from ANH. There were lots of planets in this movie, more than usual, but it was really neat to see Mustafar again. Rebellions Are Built on Hope The Hope theme tries to muster the Rebels to fight, but subsides before they can join Jyn and company. It was cool to see where the Rebellion was at in this movie, going into ANH especially. Rogue One This is one of my favourites from the soundtrack. Cool up-beat march as the crew hurry off. The setting is still anxious but they're confident on their mission. Cargo Shuttle SW 0608 I didn't like this piece at first. It's a simple and slow repeating idea and it has grown on me. Sounds quite like a Williams suspense idea, although it is still Giacchino. Scrambling the Rebel Fleet Lots of little bits of the Rebels in this one, and some nice references to brass sections from the OT. Jyn's theme also appears. AT ACT Assault More alright battle music, and also featuring the Guardians of the Whills theme. The Master Switch Really builds the suspense, and then ends with the Guardians of the Whills theme on violin, which was an interesting choice for the scene. Your Father Would Be Proud Yes, Mr. Giacchino. He would be proud with a piece like this. The pinnacle of the score honestly. Hope Super cool scene with Darth Vader, especially considering I knew very little about this movie before I watched it. Pleasantly surprised, and the choir really builds up this scene where Vader almost gets through everyone to recover the plans. Jyn Erso and Hope Suite I don't mind the Hope theme but I prefer Jyn's theme. It may not be strong enough for her character though, but I think that it also has to do with her relationship to her father, which would make sense. Imperial Suite This is the theme I remembered from the theatre, maybe because it's in the movie quite a bit. I'm glad Giacchino didn't automatically resort to the Imperial March all the time despite how similar this is to the ESB theme. Guardians of the Whills Suite Very nice choral work for a theme that wasn't used a lot in the actual score, at least not like it appears in the end credits. Sounds kinda familiar again but I like it. Thanks for reading!
  10. EDIT: It's confirmed! I guess we should take this with a grain of salt until it is confirmed, but according to this photo, it would appear that Michael Giacchino has already composed the score for Pixar's Coco! I hope this turns out to be true. It could be a colorful score from him!
  11. I am happy to announce the latest collaboration between the London Symphony Orchestra, the European FilmPhilharmonic Institute and conductor Frank Strobel: "Tribute to Steven Spielberg" December 10, 2017 @ Philharmonie de Paris, France London Symphony Orchestra Frank Strobel, conductor Repertoire to include excerpts from BACK TO THE FUTURE by Alan Silvestri BRIDGE OF SPIES by Thomas Newman INDIANA JONES AND THE LAST CRUSADE by John Williams JAWS by John Williams JURASSIC PARK III by Don Davis POLTERGEIST by Jerry Goldsmith SUPER 8 by Michael Giacchino THE ADVENTURES OF TINTIN by John Williams THE BFG by John Williams and other works https://philharmoniedeparis.fr/en/activity/concert-avec-images/17859-hommage-steven-spielberg
  12. The third movie (which Reeves is directing and Giacchino is scoring) will be called War of the Planet of the Apes. I'm can't wait to hear Giacchino's score for this one (and for any film, really)! I just hate that it got pushed back from 2016 to 2017.
  13. Oh my god oh my god oh my god oh my god. Royal Albert Hall Festival of Film Tickets go on sale tomorrow.
  14. Giacchino revealed through his Twitter feed that he is scoring Dawn of the Planet of the Apes. https://twitter.com/m_giacchino/status/334428501996359681
  15. YES!!! http://filmmusicreporter.com/2013/03/05/michael-giacchino-to-score-jupiter-ascending/
  16. I figured it was time to start a new thread now that we're really moving on to a new movie. And we have a preliminary date: June 29, 2012! Speculation to commence below.
  17. Not surprisingly, Giacchino is confirmed to score Star Trek (X)II http://www.comicbookmovie.com/fansites/BatFreak/news/?a=50240
  18. The AICN report was wrong, Giacchino debunked this story on his twitter! https://twitter.com/m_giacchino/status/466603039701622784 That's what Ain't It Cool News is reporting, from this article about Giacchino scoring Jurassic World (Bolding mine) http://www.aintitcool.com/node/67282 Discuss!
  19. Let's get to it, shall we? Does this top John Carter (my favorite Giacchino score)? Not by a long shot. That score remains in another league of sci-fi scores, rubbing elbows with some of the greats. Does this top Star Trek (2009)? Yes, because it takes the best of that ultimately good but not knock your socks off score and evolves them into something more mature and musically a little more interesting. On top of that the quality increase over 2009 is aided by a much more full bodied mix courtesy of Joel Iwataki. For the first time in a long time, Michael's army of percussion instruments actually sound alive. Two evil villains work in tandem against the Into Darkness soundtrack, keeping it from reaching the realm of greater sci-fi scores. One is its ridiculously short presentation, the other the break-neck pace of the film, together forming a nightmare dynamic duo that destroys any hope of musical cohesion. And by that I mean hold on to your hats and nuts, this is the Michael Giacchino Star Trek Variety 3/4 Hour. There is no beginning, middle, or end. And that's my biggest disappointment with the music. There is no clear musical narrative. That may be a problem with the short presentation, but the fast action pace of the film also means even with a longer presentation we are unlikely to see a proper beginning-middle-end musical narrative. So if you're looking for a slow-build up and setting the musical scene (which even the original film had), you will be sorely disappointed. Instead what you do get is a mature, darker, and more challenging score with lovely ideas splattered across tracks that [in their disjointedness] span a rather curious array of sounds and styles. Furthermore, you can tell Michael Giacchino heard a great deal of complaining about the lack of "Star Trek" sound in the previous score. Consequently, Into Darkness sounds distinctly more Star Trek than 2009, but in the heat of the action it still largely retains the "excited action squirrel" sound (it's the best visual way of describing it to me) Michael has developed for himself by assigning his choppingly tremolo strings to the higher instruments as usual. The excited action squirrel sound is getting slightly tiresome as it robs some of the action of much needed gravitas. Additionally, a couple of major new themes are included. Harrison's Theme is strong, memorable, although a little flat. Giacchino is still a weak composer when it comes to tension and release. Even in the concert version of the theme (not included on album), he struggles to build and release musical tension. So it works to the detriment of the theme. But the theme's overall presentation with interesting synthetic textures and instruments combats some of the flatness, if not all. The London Calling Theme is lovely and conveys a nice combination of sadness, pain, and anger. Wish we'd hear more of it weaved through the album. The old (and some new) themes get taken into some fresh, exciting, and better territories. "Sub Prime Directive" is a perfect example of how noble and powerful Giacchino's Star Trek theme can sound. "Kronos Wartet" has an interesting start, but it ultimately descends into lifeless atmosphere before turning into a asthmatic version of Harrison's action motif. "San Fran Hustle" is a fantastic track taking a plethora of themes and motifs into some really exciting and fun territory. From the Star Trek theme to Spock's Theme (wow!) to the most propulsive take on Harrison's Theme to the "Matter I Barely Know Her" string motif to the Amok Time fight music. "The San Fran Hustle" is arguably the best action track Giacchino has written so far. It doesn't have too much "excited action squirrel" and it has some proper tension and release. Another neat little track is "Kirk Enterprises". This is the most quintessentially Star Trek track on this album. Listen closely around 2:09 to be transported in time to Jerry Goldsmith's Motion Picture. All in all, it's a very good score. It's more mature, more challenging, and more Star Trek. While it isn't as good as Giacchino's best, to be fair he is back from a long hiatus, the album is abysmally short, and he is writing to a very fast film. Hearing Into Darkness and his maturation I'm excited to hear what he has coming up in this "post-hiatus" chapter of his career. Blume's Temporary Score (until seeing the movie/Deluxe Album): 83% Other Soundtracks Mentioned: ST09 Score: 70% John Carter Score: 93% And finally, my Blume-Experience-Scientific track by track ratings:
  20. Super 8 by Michael Giacchino Complete Score Analysis by Jason LeBlanc That writer/director JJ Abrams would have Giacchino score third feature film was no surprise - considering Giacchino has composed the music for everything JJ has directed to date. It is also no surprise that Giacchino contributed a score that hommages John Williams style while maintaining his own voice is likewise no surprise, considering the versatility Giacchino has shown to date. Since the film is also an hommage to the films of Steven Spielberg, the score fits the film like a glove, accentuating all the right moments, thoughts, and emotions. When I first heard the OST and saw the film, I only picked up on the 4 major themes - the Family Theme, The Love Theme, The Alien Theme, and Nelec's Theme. But once I began to study the score I discovered there were many more themes - Six more, in fact - some of which are my favorite themes GIacchino has produced! In this post I will reveal the complete cue list (any cue name in quotes was titled by me, as the real cue name has not been revealed), go over all the themes and give times where they can be found on the OST, and finally go through each cue and discuss the scenes they were written for and what themes Giacchino used to score them. Complete Cue List 1. Super 8 - 1:44 - OST 1 -. Electric Light Orchestra - “Don't Bring Me Down” 2. Family Matters - 0:29 - OST 2 -. The Commodores - “Easy” 3. Model Painting - 0:41 - OST 3 -. Joel Courtney, Gabriel Basso, Riley Griffiths, Ryan Lee, and Zach Mills - “My Sharona” -. The Cars - “Bye Bye Love” 4. Acting Chops - 0:40 - OST 4 5. Aftermath Class - 1:41 - OST 5 [0:00-1:41] 6. "Dr. Woodward" - 4:14 - OST 5 [1:41-end] 7. Thoughts of Cubism - 0:48 - OST 6 8 (Original version). We'll Fix It In Post-Haste - 0:44 - OST 7 8 (Revised version). "We'll Fix It In Post-Haste" - 0:32 - Unreleased 9. Production Woes - 0:34 - OST 8 10 (Original version). Air Force Train Cars - 0:55 - Available here 10 (Revised version). Train Of Thought - 0:35 - OST 9 -. Wings - Silly Love Songs 11. Circle Gets The Cube - 1:06 - OST 10 -. Blondie - Heart of Glass 12. Breen There, Ate That - 1:12 - OST 11 13. Dead Over Heels - 0:48 - OST 12 14. Gas And Go - 1:34 - OST 13 15. Looking For Lucy - 0:49 - OST 14 16. Radio Haze - 1:08 - OST 15 17. Mom's Necklace - 1:33 - OST 16 18. Shootus Interuptus - 2:35 - OST 17 19. Thoughts Of Mom - 1:41 - OST 18 20. Woodward Bites It - 1:54 - OST 19 21. Alice Projects On Joe - 2:29 - OST 20 22. Neighborhood Watch - Fail - 4:45 - OST 21 23. The Evacuation Of Lillian - 3:40 - OST 22 24. A Truckload Of Trouble - 0:57 - OST 23 25. Lambs on the Lam - 2:40 - OST 24 26. Woodward's Home Movies - 1:58 - OST 25 [0:00-1:58] -. Alan O’Day - “Undercover Angel” 27. “The Boys Are Captured” - 0:42 - OST 25 [1:58-end] 28. Spotted Lambs - 1:37 - OST 26 29. Air Force HQ or Bust - 1:04 - OST 27 30. World's Worst Field Trip - 3:36 - OST 28 -. Chic - “Le Freak” 31. The Siege Of Lillian - 2:57 - OST 29 32. “Entering The Garage” - 1:02 - OST 30 [0:00-1:02] 33. Creature Comforts - 5:43 - OST 30 [1:02-6:45] 34. 6m55 Tunnel of Love - 3:25 - OST 30 [6:45-end] 35. Letting Go - 5:18 - OST 31 36. 1m00 Super 8 Suite - 5:54 - OST 32 37. The Case - 3:28 - OST 33 Themes The Family Theme - This 15-note theme is made up of 4 sections (three similar 4-note ones followed by the final 3 notes), making it easily referenced by simply quoting the first 4 notes. It is introduced under the opening logos, then is often used when Joe is thinking or talking about his mother, before finally receiving a grand, long statement at the finale of the movie when he is able to let her necklace go and move on. The Love Theme - This 8-note theme represents the feelings Joe has for Alice, commonly used to indicate Joe is thinking about her (and occasionally that Alice is thinking about Joe). It is flexible in that in can be played in full form on strings showcasing the romantic aspects (We'll Fix It In Post-Haste), or just have its opening notes played quietly (Thoughts of Cubism) and still be instantly recognizable The Alien Theme - The most omnipresent theme in the film is also fairly flexible, appearing often in both a 3-note and 4-note version, usually repeating for a while like an ostinato, though sometimes the 3 notes are enough to indicate the creatures presence. Nelec’s Theme - The theme for the head of the military presence in the film gets a 10-note theme that various between militaristic versions (Aftermath Class) and menacing ones (Woodward Bites It) The Wreckage Theme - This 4-note descending motif appears only four times in the film, and doesn’t seem to represent anything in particular. The first two times it is used in scenes involving the wreckage from the train crash, but the next two times times involving scenes of Nelec’s men burning a field and the evacuation buses departing respectively. Family Theme (Descending Variation) - While the Family Theme represents to good thoughts of a family being together, there is also a variation used for when Joe’s family or friends are in danger of not being toegether. It is created by taking the first 3 notes of the Family Theme and turning them into a descending, repeating melody. It is introduced at the train crash when Joe tries to find out if anyone else survived, then appears again when he puts up a sign for his lost dog, and is used a third time when Joe and Cary have to separate from Charles and Martin to rescue Alice. The Mystery Theme - Like the Wreckage Theme, this 7-note theme is hard to connect to any specific character or idea. It is introduced when Joe and Alice look at the wreckage of the train crash, returns when Jack examines the scene where the Sheriff was abducted, but then is used for scenes involving Jack working towards figuring out the mystery of what is going on with the alien and Nelec’s men. The Evacuation Theme - This terrific 11-note theme is underused in the movie, appearing in only 2 cues (one of which had its scene containing the theme removed from the final cut of the film). However, it clearly represents the military’s evacuation of the citizens of Lillian. Jack’s Action Theme - A 7-note theme is used is two cues featuring Jack taking action to get to his kids. The Finale Theme - An 8-note theme is used in the 3 penultimate cues leading up the climactic cue. Theme Locations The Family Theme OST 01 Super 8 OST 02 Family Matters OST 03 Model Painting OST 16 Mom’s Necklace OST 18 Thoughts Of Mom OST 20 Alice Projects On Joe OST 30 Creature Comforts OST 31 Letting Go OST 32 Super 8 Suite The Love Theme OST 4 Acting Chops OST 5 Aftermath Class OST 6 Thoughts of Cubism OST 7 We’ll Fix It In Poste-Haste OST 8 Production Woes OST 12 Dead Over Heels OST 16 Mom’s Necklace OST 21 Neighborhood Watch - Fail OST 22 The Evacuation of Lillian OST 29 The Siege Of Lillian OST 30 Creature Comforts OST 31 Letting Go OST 32 Super 8 Suite The Alien Theme OST 01 Super 8 OST 5 "Dr. Woodward" OST 6 Thoughts of Cubism OST 9 Train Of Thought OST 13 Gas And Go OST 17 Shootus Interuptus OST 18 Thoughts Of Mom OST 19 Woodward Bites It OST 21 Neighborhood Watch - Fail OST 22 The Evacuation of Lillian OST 23 A Truckload of Trouble OST 25 Woodward’s Home Movies OST 29 The Siege Of Lillian OST 30 "Entering The Garage" OST 30 Creature Comforts OST 31 Letting Go Nelec’s Theme OST 5 "Dr. Woodward" OST 10 Circle Gets The Cube OST 13 Gas And Go OST 18 Thoughts Of Mom OST 19 Woodward Bites It OST 22 The Evacuation Of Lillian OST 25 "The Boys Are Captured" OST 26 Spotted Lambs OST 28 World’s Worst Field Trip The Wreckage Theme OST 5 Aftermath Class 0:18-0:41 OST 9 Train of Thought 0:08-0:27 OST 21 Neighborhood Watch - Fail 3:25-3:48 OST 22 The Evacuation of Lillian 1:04-1:22 Family Theme (Descending Variation) OST 5 Aftermath Class 0:41-1:06 OST 14 Looking For Lucy 0:08-0:27, 0:34-0:46 OST 29 The Siege Of Lillian 2:20-2:54 The Mystery Theme OST 9 Train Of Thought 0:00-0:25 OST 13 Gas And Go 0:24-1:10 OST 15 Radio Haze 0:02-0:13 OST 17 Shootus Interuptus 0:00-0:21, 1:28-1:36. 1:40-1:46 The Evacuation Theme OST 22 The Evacuation Of Lillian 0:42-1:02, 1:25-1:55, 2:11-2:18, 3:26-3:44 OST 23 A Truckload of Trouble 0:27-0:40 Jack’s Action Theme OST 24 Lambs on the Lam 0:01-0:05, 0:12-0:20, 0:34-0:55, 1:00-1:44, 2:23-2:32 OST 28 World’s Worst Field Trip 3:15-3:24 The Finale Theme OST 30 "Entering The Garage" 0:00-0:30, 0:55-1:02 OST 30 Creature Comforts 1:44-2:10, 2:32-3:01, 4:11-4:48, 5:04-5:31, 5:54-6:05 OST 30 "6m55 Tunnel of Love" 7:48-7:58 SPOILER WARNING!!!!!! If you haven't seen the film and don't want every plot detail spoiled, I would not recommend reading further until after you have seen the film!!! Cue-by-Cue Analysis: 1. Super 8 - 1:44 - OST 1 Over the opening logos, Giacchino introduces two of the main themes from the score: First the Alien Theme plays twice under the Paramount logo, which gives way to the Family Theme on strings, arriving right when the moon of the Amblin logo appears. The theme is repeated for the Bad Robot logo. As the Super 8 logo is revealed the thematic material fades, and tense strings enter as we transition to the "Days Since Last Accident" sign at Lillian Steel Corporation, which is being changed to 0 days. Plucked, somber strings let us know that the accident was fatal, and we meet Joe on a swing, alone outside of his house where a funeral for his mother is being held, who died as a result of the accident. -. Electric Light Orchestra - “Don't Bring Me Down” Four months later, it is the last day of school. As the kids leave the building, Charles informs Joe that he's written a new scene for his zombie movie, and that Alice will play a new wife character he has written into it. 2. Family Matters - 0:29 - OST 2 The Family Theme is played on piano for a short sequence of Joe leaving the Kaznyk's house at dinner time and returning home on his bike, where he finds his dad crying. -. The Commodores - “Easy” Over dinner at a local diner, Jack informs Joe that he intends to send him to a six-week baseball camp for the summer, which he thinks will be better for him that running around filming zombie movies (and more importantly to Jack, it’s what he himself needs). 3. Model Painting - 0:41 - OST 3 While "Easy" is still playing, Joe is looking over the pamphlet for the baseball camp. As as the camera pans to the necklace in his hand, score enters the soundscape as well, as the Family Theme returns on piano. Back home, it is just after midnight, and Joe is painting models in his room listening to the radio. Charles comes on the walkie-talkie letting him know its time to leave. -. Joel Courtney, Gabriel Basso, Riley Griffiths, Ryan Lee, and Zach Mills - “My Sharona” While waiting for Alice, the kids sing “My Sharona” (originally performed by The Knack). -. The Cars - “Bye Bye Love” On the way to the train tracks in Alice's car, “Bye Bye Love” plays on the car radio 4. Acting Chops - 0:40 - OST 4 The kids rehearse a scene where Detective John Hathaway says goodbye to his wife. As Alice delivers a monologue asking John to stay, and not to leave her, the string section begins to hint at the Love Theme as all the kids, including the one playing Detective Hathaway, stare in awe. The following scenes are all unscored: The kids notice an oncoming train and rush to shoot the scene with the train going by in the background. While filming, Joe notices a truck approaching the train tracks, which causes the train to crash. The kids flee for their lives, avoiding fireballs and falling debris. Joe is lying on the ground when he raises his head because he hears a noise coming from one of the train cars. He clutches his mother's necklace as the train's door flies off, seemingly thrown from something inside. 5. Aftermath Class - 1:41 - OST 5 [0:00-1:41] The door lands near Joe, and tense strings enter as he continues to stare briefly at the train car, before walking away. Charles' Super 8 camera is revealed to have been recording this whole time, as it just runs out of film. The Wreckage Theme is introduced over a wide shot of the wreckage, which Joe travels through to find the others. The Wreckage Theme gives way to a new, twisted and solemn version of the Family Theme based on the first three notes - the Family Theme (Descending Variation) - as the kids check on each other and all are revealed to have survived except Alice, whom Joe inquires if anybody has seen. The Family Theme (Descending Variation) gives way to new melody containing strings that hint at the Love Theme as Joe sees a bloody piece of wreckage which he stares at quietly, until Alice reveals herself and Joe realizes it was just his movie prop blood. 6. "Dr. Woodward" - 4:14 - OST 5 [1:41-end] The kids notice a bunch of odd white cubes, as the Alien Theme is introduced in the score proper, building to a lengthy version on strings as the kids climb on top of a train car and Joe tells the others that the truck he saw deliberately drove onto the train tracks and hit the train. They approach the truck and realize it is the Honors Biology teacher, Dr. Woodward. As Alice gets closer to the truck the music gets quiet, until she touches his arm and a map he was clutching falls set to a loud "stinger". The kids examine the map, which shows the course the train took across the contiguous states. Another stinger is used for when Dr Woodward grabs at the map from behind and is revealed to be alive. The kids introduce themselves to Dr Woodward to quiet music, which gets tense again as he pulls out his gun. The Alien Theme 4-note version plays a few times in succession as he tells the kids not to tell anyone that they were here or they, and their parents, will all die. Just then the Air Force arrives, and Nelec's Theme is introduced as the kids collect all their film equipment and run to Alice's car. The Alien Theme returns as they drive away, which reaches a climax as the Colonel Nelec and his men are revealed. He sees the car drive away, but nobody got the plates. He picks up a box of Super 8 film, and Nelec's Theme returns briefly before the cue concludes with the Alien Theme. 7. Thoughts of Cubism - 0:48 - OST 6 Back at Joe's house, the kids get their equipment out of the trunk. Alice holds out the one of the alien's cubes Joe had left in the car, as the Alien Theme briefly returns. Then the first few notes of the Love Theme play as Alice drives away. The Alien Theme and the same introductory notes of the Love Theme now alternate as Joe is seen at home, taking a bath while holding the cube, lost in thought. The town is seen from a distance, and the alien can be heard rummaging around. 8 (Original version). We'll Fix It In Post-Haste - 0:44 - OST 7 8 (Revised version). "We'll Fix It In Post-Haste" - 0:32 - Unreleased The next morning, Joe and Charles rides their bikes into town to see about getting Charles' camera fixed. On the way they discuss getting Alice to return to film more scenes as the Love Theme plays plays in full for the first time in a lengthy, straight-forward arrangement for strings and piano. In the final film, the original cue (as heard on the OST) was dropped, replaced by a shorter alternate featuring a more subdued version of the Love Theme on lower strings.. 9. Production Woes - 0:34 - OST 8 Alice's father decrees that Joe isn't allowed to see Alice, after which she agrees to return to be in Charles' movie for new scenes as the Love Theme is hinted at. 10 (Original version). Air Force Train Cars - 0:55 - Available here 10 (Revised version). Train Of Thought - 0:35 - OST 9 The Mystery Theme is introduced as Alice and Joe look at the wreckage from a distance, and Alice asks Joe what he thinks happened. This quickly gives way to the Wreckage Theme as Joe notices something, and takes Charles’ camera to zoom in on the wreckage. As he realizes the train was a military train, 3 notes of the Alien theme quickly play. Peter Boyer made an mp3 called "Air Force Train Cars available on his website. WIth no other information provided, it sounds to me to be an alternate to "Train of Thought". It likewise features the Mystery Theme giving way to the Wreckage Theme, though both are orchestrated differently, and the overall cue is longer. -. Wings - Silly Love Songs At the diner, the kids discuss the train crash and figure that Dr. Woodward probably wanted to destroy something on one of the military train cars. 11. Circle Gets The Cube - 1:06 - OST 10 Back at the crash site, Nelec's men are dusting off cubes and placing them into padded containers. Nelec's Theme returns as he is seen exiting a tent, talking to Jack, who is asking for a manifest showing what was on the train because he wants to assure the people of Lillians that things will be OK. The cue reaches a conclusion as Jack observes one of Nelec's men dusting off a piece of debris. In the final film, a small amount of introductory music, possibly tracked, precedes the drum introduction heard on the album. -. Blondie - Heart of Glass That night the sheriff of Lillian arrives at a gas station, where the attendant (Breen) is listening to “Heart Of Glass” on his Walk Man. The sheriff is attacked by the alien, and Breen notices the lights go out. 12. Breen There, Ate That - 1:12 - OST 11 Breen walks outside and discovers the sheriff's smashed up car. He sees the alien and runs into the store, but the alien follows him inside, and drags him away. 13. Dead Over Heels - 0:48 - OST 12 Alice acts like a zombie for Joe to show she knows how to play one in the movie as the Love Theme plays slowly on harp. Joe watches in awe, and Charles is seen observing as well. 14. Gas And Go - 1:34 - OST 13 Jack investigates the gas station the morning after the attack. He radios into the police station to ask if the Sheriff has been heard from, and after being informed he hasn’t, the Mystery Theme returns as Jack asks for a crime scene unit and and APB on the Sheriff before he is informed of unusual calls come in, which makes him return to town. The Mystery Theme continues as he fields complaints from a car lot owner who shows him that his cars have had parts of their engines removed. The music continues to build as other townsfolk try to issue complaints to him, before he turns around and sees Nelec's men entering town as Nelec's Theme is heard, with the 3-note version of the Alien Theme quickly interspersed. 15. Looking For Lucy - 0:49 - OST 14 Joe is seen in a field looking for his dog, Lucy and the Family Theme (Descending Variation) plays on organ. He then puts a Missing Dog sign up on a wall, as strings and then piano join to reveal many, many other Missing Dog signs on the wall. 16. Radio Haze - 1:08 - OST 15 The alien’s next victim is a worker for the power company, but the scene is completely unscored. At a town meeting run by Jack, a man lets Jack know about military chatter he's heard on his radio frequencies as the Mystery Theme returns. A new militaristic melody enters as Jack exits the town hall. Back at the police station, Jack has some officers collect radio equipment so that they can listen in. Louis warns Jack that Joe better stay away from his house and from Alice. 17. Mom's Necklace - 1:33 - OST 16 Joe is showing Alice the model train of his that Charles wants to blow up for his film. The Love Theme enters as Alice asks him about the necklace she saw him holding at the crash. Joe tells her that it was a necklace his dad gave to her the day he was born. The Family Theme is also used in a tender setting. In the final film, this entire cue was completely dropped. It appears the scene was shortened as well compared to the album version of the cue. 18. Shootus Interuptus - 2:35 - OST 17 The Mystery Theme returns as an officer shows Jack a map of the local area, and how lost dog calls have been coming in from everywhere. Air Force chatter comes in on the radio, mentioning an "Operation Walking Distance". The gang is filming new scenes for Charles’ movie on the street as Nelec’s men rummage around behind them (Production values!). The pounding drums of the score possibly reflect the movie in Charles’ head. Nelec oversees men in Woodward’s house looking for something as the score quiets down... but then Jack arrives and the Mystery Theme returns as you see the determination in his face. He takes his camera back from Charles and tells Joe to get in the car. Alice worries that it’s because of her, but then Jack confronts Nelec, who refuses to answer any of Jack’s questions, even when he brings up Operation Walking Distance. As Jack turns away, the Alien Theme is quickly heard, and Nelec decides to make plans to talk to Jack. In the final film, the cue is partially dialed out (for the scenes of the kids shooting the movie in the street). The original intended music can be heard on the OST from 0:40-1:14 19. Thoughts Of Mom - 1:41 - OST 18 Joe cries after a conversation with his Dad about being banned from seeing Alice. He then rides his bike to the cemetery as the Family Theme returns in a subdued arrangement. As he sits by his mom’s tombstone, he looks at the necklace, but then hears commotion in the distance. The Alien Theme plays as he shines his flashlight on a garage nearby. Jack approaches the Lillian Air Force Base, and Nelec's Theme plays backed by ominous strings as his men surround him and tell him to drop his weapons. In the final cut of the film, the ending coda for the scene with Jack and Nelec's men is completely dialed out. 20. Woodward Bites It - 1:54 - OST 19 A menacing version of Nelec's Theme plays as he interrogates Dr. Woodward. He asks Woodward to tell him who was shooting the train crash and where his research is, but Woodward refuses. The Alien theme is hinted at as Nelec explains how the alien is in him, and he is in the alien. Nelec's Theme returns as he has a man insert a chemical into Woodward's IV that kills him. 21. Alice Projects On Joe - 2:29 - OST 20 While watching Super 8 footage from Joe's childhood in Joe’s bedroom, including footage of his mother, Alice and Joe discuss his mom's accident. Alice says that her dad had been drinking that morning and missed his shift, causing her to take it. A solemn version of the Family Theme enters as Alice begins crying and says that she knows her dad wishes it would have been him, and she sometimes wishes that too. The final film version of the cue is slightly longer than the album version. 22. Neighborhood Watch - Fail - 4:45 - OST 21 The cube on Joe’s desk begins vibrating, and the Alien Theme returns as Joe and Alice investigate. It suddenly flies off Joe’s desk, through his wall, and they can see it has made a b-line for the town’s Water Tower as a new variation of the Alien Theme plays. Alice returns home as the variation of the Alien Theme continues on plucked strings. The Alien Theme variation continues playing as Louis confronts Alice in the living room, clearly drunk. It continues playing as Alice, and she gets on her bike as Louis drunkenly gets into his car and follows. The Love Theme is heard as Alice pedals, possibly to indicate Alice is thinking about Joe, as she turns around, Louis passes her, and then crashes into a parked car. As Alice stares at the wreckage, the Alien Theme variation returns on delicate strings, but a new action motif quickly enters as she is taken by the Alien, and Louis exits his ca. The first 3 notes of Alien Theme is used as Louis looks around and then screams her name. The Wreckage Theme is interspersed with the same repetition of the first 3 notes of the Alien Theme as we cut to a field where Nelec’s men are setting fire to everything, as an excuse to evacuate the town of Lillian. Charles and Joe are arguing in the photo store about the cube and how Charles wants to blow up Joe’s train. As Donny places the Super 8 footage filmed at the train station on the counter, a quick version of the Alien Theme similar to the ones used under the opening logos is used. The Alien Theme repeats as they ride their bikes under the water tower and the camera pans up to show the cube vibrating next to it. In the final film, the cue is edited down dramatically around the area of the field-burning scene, probably indicated footage was deleted. 23. The Evacuation Of Lillian - 3:40 - OST 22 Back at Charles’ house, Charles and Joe argue as Charles indicates he likes Alice as well, and they begin to watch the Super 8 footage. These scenes are all unscored. The music enters as Joe notices they filmed the Alien exiting from the wreckage. The Alien Theme is used, but quickly gives way to Nelec’s Theme as evacuation alarms are heard, and outside the military has arrived to facilitate everyone leaving town. The Evacuation Theme enters over a tracking wide shot of townspeople boarding buses, including Joe and Charles. The Wreckage Theme returns as the buses and military vehicles pull away, interspersed with the Evacuation Theme. The Evacuation Theme continues as Joe and Charles find Charles’ family in the evacuation camp, and Joe leaves them to find Jack. Instead he finds Louis, who tells Joe that the alien took Alice. A new militaristic melody amps up the tension as Joe informs his friends he intends to return to town to rescue her, the Love Theme making a brief cameo as well as Charles asks his sister to help them out by asking Donny to give them a ride. 24. A Truckload Of Trouble - 0:57 - OST 23 The first 3 notes of the Alien Theme play as she asks Donny, then a new sneaking-around melody is used as the kids make their way to Donny’s car outside in the parking lot. The second half of the cue, featuring the Evacuation Theme and the Alien Theme, is not used in the film, as the scene it corresponds with was deleted. Also in the final film, the opening iteration of the Alien Theme is dialed out. 25. Lambs on the Lam - 2:40 - OST 24 Jack gets ones of Nelec’s men to take him to the bathroom, and the next cue begins as he elbows him in the face and gets his weapon. Jack’s Action Theme takes him outside, now dressed in the unconscious guard’s uniform, where he shoots a truck carrying something flammable, blowing it up to create a distraction. Jack’s Action Theme continues as he steals a vehicle and takes off, stopping when he sees the evacuation vehicles in the distance. He gets back in his jeep and continues driving, and ends up driving right past the boys in Donny’s car. The boys avoid the road block and make their way to the middle school, and Jack’s Action Theme continues as they find Woodward’s movies and break into a classroom to watch them. 26. Woodward's Home Movies - 1:58 - OST 25 [0:00-1:58] The boys watch footage and listen to recordings from Woodward’s stash. A repeating 2-note plucked string pattern is used at first, until the Alien Theme comes in as Woodward mentions the creature is subterranean, which makes Joe think. The Alien Theme continues as the footage shows the Alien’s ship falling apart into the white cubes due to something they did. The Alien Theme plays as the recording talks about how all the Alien wants to do is to rebuild his ship and leave, and that Nelec’s men have been torturing him for years. Footage shows Woodward feeding the alien, who is able to pick him up, which the recording tells us created a physical link with Woodward allowing him to know everything he does about the alien. The Alien Theme returns as the boys realize Woodward wasn’t trying to harm the alien, he was trying to help him escape. A noise is heard, and the music gets tense and they are scared what it might be. -. Alan O’Day - “Undercover Angel” Donny is smoking pot outside and doesn’t even notice that the Nelec’s men have arrived as he listens to “Undercover Angel” by Alan O’Day. 27. “The Boys Are Captured” - 0:42 - OST 25 [1:58-end] A timpani roll introduces a sinister version of Nelec’s Theme as he and his men approach the boys in the hallway and take their possessions, including Cary’s M80s and Joe’s Mother’s necklace. 28. Spotted Lambs - 1:37 - OST 26 Outside, the boys are shuttled onto a bus as Donny realizes what is going on. He calls the police station on his CB as Nelec’s Theme is heard. Back at the evacuation building, Jack finds one of his police officers who tells him that they got the message, and that Nelec’s men have Joe. Jack finds Preston who has the Super 8 footage from the train station. A militaristic version of Nelec’s Theme is used for a shot of the bus with the boys on it driving away, which settles into subdued music as one of Nelec’s men hands him a report and the boys are seen in the back of the bus in a caged-off section. In the final film, the final 25 seconds of the cue, starting with Nelec’s Theme, is completely dialed out. The boys discuss what might happen to them when the alien attacks the bus, almost knocking it over before it comes to a stop. Nelec’s men load rifles with tracking darts, and Nelec asks of them to tag it. He approaches the open front door of the bus; All of these scenes are unscored. 29. Air Force HQ or Bust - 1:04 - OST 27 The score enters as the alien reaches in and grabs him, slamming him around the bus until finally taking him outside as loud pounding action music plays, which continues until the alien knocks over the bus. 30. World's Worst Field Trip - 3:36 - OST 28 String-based action music plays as everyone tries to gather themselves and get out of the bus, with Nelec’s Theme playing for the last time as he gets up off the ground. The alien is attacking the front of the bus, while the kids are locked in the cage in the back. Nelec attempts to open for them, but he doesn’t have the keys. The officer who does is crushed by the alien. Joe realizes they can escape through a broken window, which they do and run away as Nelec shoots at the alien with normal weaponry before being killed himself. The boys witness the alien leaving the bus and going back into the woods. Back at the evacuation building, Jack’s Action Theme returns as Jack saves Louis from being taken away by military men. Back at the bus, Cary finds his M80s and Joe finds his mom’s necklace. In the final film, this cue is edited down by about 40 seconds, due to deleted footage. -. Chic - “Le Freak” Donny finds the boys by the bus as Le Freak by Chic plays on his radio (As he is now getting back into disco to impress Charles’ sister.) 31. The Siege Of Lillian - 2:57 - OST 29 Joe drives Donny’s car into Lillian, only to find it has become a warzone, as the military’s weaponry is all firing on its own, uncontrollably. They make their way through suburbia, and the Alien Theme 3-note variation plays as as they hear the alien yelling as it knocks over a tank. Joe leads the boys through some yards as Alien Theme 3-note variation repeats. They make it into a random house to hide, and a portion of the Love Theme is hinted at twice as Joe is seen looking out a window, thinking. The house is soon hit with an explosion which injures Martin. Charles stays with him as Joe and Cary leave for the cemetery, since Joe knows that’s where the alien likely is. The Family Theme (Descending Variation) plays as they make their way through the streets towards the cemetery. 32. “Entering The Garage” - 1:02 - OST 30 [0:00-1:02] The Finale Theme is introduced as Joe and Cary arrive at the cemetery and Joe finds the garage he had seen before. They break the door down to get in, and the Alien Theme 3-note variation is used as an entrance to the alien’s underground tunnels is revealed. A new action melody plays as Cary takes out his sparklers to light up the tunnel, and Joe says “Alice is down there” as the Finale Theme plays briefly. 33. Creature Comforts - 5:43 - OST 30 [1:02-6:45] Jack and Louis are in a military vehicle, and Louis apologizes to Jack about what happened to his wife. Jack says it was an accident as a subdued version of the Family Theme plays. Joe and Cary make their way down the tunnel. The Alien Theme is interspersed with the Finale Theme as Joe and Cary make their way through the aliens tunnels using sparklers to light their way. The Finale Theme is used again as they find the creature’s lair, full of electronics and other things stolen from around town. Tense strings lead into a short brass fanfare Cary realizes they are next to a hanging body. More bodies are seen, and they witness the alien eating one of them. As the alien moves away, Joe sees Alice. The Finale Theme returns as he comes up with the plan: He asks Cary to set off an explosion with his firecrackers to create a distraction so he can get Alice. Bouncing strings underscore Joe making his way to Alice and Cary setting up his firecrackers, then the Finale Theme returns as the music builds and builds as the alien picks up Alice, but Cary cannot start his lighter... Finally he gets a flame, and the music quickly stops! Cary sets his fuse on fire and runs down a tunnel to get away. When the explosion goes off, the alien drops Alice gently on the ground and runs towards it to see what it is. The Finale Theme plays as Joe tries to wake Alice, but quickly stops as he realized he has to slap her, which works and she wakes up. Warm music enters, and then the Love Theme is hinted at as they embrace and Joe tells Alice his dad is worried about her. In the final film, the music is completely dialed out as Joe and Cary make their initial trek through the tunnels and arrive at the creature’s lair. This music is on the OST from 1:37-3:16, however it is about 30 seconds longer than the film counterpart, indicating some footage was deleted. The music is also shortened considerably around the area where the alien runs to see what the explosion is. 34. 6m55 Tunnel of Love - 3:25 - OST 30 [6:45-end] After a brief unscored scene where another body wakes up and Joe and Alice free the sheriff, the music returns suddenly as the alien is seen running down a tunnel. The Sheriff leads the kids through the alien’s lair to another tunnel to get out, where they run into Cary. The Sheriff is taken by the alien and they run in another direction, before the alien grabs the woman who had recently woken up as well. A variation of the Finale Theme leads them down a tunnel which they soon realize is a dead end. The alien approaches and Joe tells the alien to go, that he knows he doesn’t want to be here. The alien picks Joe up, and after some moments of terror, the score quiets down as Joe tells him that bad things happen, but you can still live. As the alien studies Joe, his machinery suddenly activates. The alien puts Joe down and leaves them. This cue was shortened by about 20 seconds in the final film due to deleted footage. 35. Letting Go - 5:18 - OST 31 Outside, trashcans and other metal objects from around town are seen floating towards the watertower as the Alien Theme 3-note version plays. Joe, Alice and Cary observe, when suddenly a military truck containing the alien’s white cubs bursts open, and all the cues fly to the water tower. A new fanfare is mixed with the Alien Theme as his ship is assembled. Jack arrives and sees Joe. The Family Theme is heard as them embrace and Jack tells Joe “I’ve got you”. Louis embraces Alice and the Family Theme segues to the Love Theme. The alien enters his ship and one last piece of metal ends up flying towards it: Joe’s mother’s necklace. The Family Theme receives several variations as Joe studies it before a sweeping romantic version takes over as he lets it go and it flies to the ship, now complete. It takes off, knocking over the legs of the water tower as people have to flee; However almost all sound effects are dialed out to let the long, sweeping version of the Family Theme play. The music quiets down as the ship enters the atmosphere, and Alice and Joe hold hands, and we fade out. 36. 1m00 Super 8 Suite - 5:54 - OST 32 This suite was possibly written to be a candidate for the end credits. However in the final film, first “Don't Bring Me Down” by Electric Light Orchestra is reprised over the initial credits, which are soon pushed to the side of the screen so that Charles’ film “The Case” is shown in its entirety. After that is over, the credits resume taking over the full screen, and portion of “My Sharona” by The Knack is played until they end. Over the closing Paramount and Bad Robot logos, a short 11 seconds of Giacchino’s score containing the Alien Theme is played. Since the suite is about 2 minutes shorter than the full end credits, it was probably always intended that they would start with the reprise of the ELO song. 37. The Case - 3:28 - OST 33 The score to Charles’ film is by Giacchino, though in the universe of the film it was done by Charles himself (at least according to the back of the CD cover. The version on CD is arranged as a suite that doesn’t exactly line up with the version shown in the film’s end credits. Thanks for reading! I find this to be not only one of the best scores of 2011, but one of Giacchino’s best of all. It doesn’t have the variety some of his other scores have, but its perfectly suited for the film it scores. The sheer number of themes is pretty impressive, especially considering how strong they all are. The Evacuation Theme in particular is good enough to be the main theme of another movie!
  21. I finally published the review of a score thats been talked about quite a bit around here http://musicmusekk.wordpress.com/2012/03/13/john-carter-michael-giacchino/ Enjoy! - KK
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