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The Big Bad Star Trek XI Thread


BLUMENKOHL

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Exactly. The score works wonders for the film, and it never pretends to be anything other than an homage to what came before it. It's not supposed to be a vehicle for revolutionary creative expression, and that's fine, because it does what it sets out to do very well, and it serves the film in a brilliant and fun way.

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The rhythm is the same, but the pitches and overall feel are different, based on a brief online listening of Barry's theme. And again...I happen to like the Giacchino pastiche better than the original!

:lol:

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Sometimes the inspiration is surpassed by what it inspired. Shoulders of giants, right? (Not that I would try to make any "objective" value judgment on these scores. I simply like Giacchino's take on the spy score stereotypes.)

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Exactly. The score works wonders for the film, and it never pretends to be anything other than an homage to what came before it. It's not supposed to be a vehicle for revolutionary creative expression, and that's fine, because it does what it sets out to do very well, and it serves the film in a brilliant and fun way.

And even so, he ends up doing some very creative stuff in the score. Fun stuff. Have I mentioned I love this score?

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I think The Incredibles is a fantastic film score. It works marvelously with the film AND it's fun to listen to on its own although I do find the music is very much tied to the narrative source ( I could not get into the music until I saw the film). It's not fair to compare Williams with Giacchino (I know, I declared he was the "new John Williams" a while back) because he's still not at the level where he can write music that works equally well on its own as well as in the film. I would submit that MOST film composers' work needs a visual reference to be fully enjoyed. Williams is the aberration rather than the norm. Herrmann was another musical composer whose work you could listen to on its own and it made sense.

As I said in another thread, it's really a gift to be able to do this. It's partly skill level (c'mon- Herrmann and Williams are compositional giants even if you don't want to admit it).

I will say that Giacchino is a very rare commodity these days because he is so passionate about holding on to traditional scoring ideologies. I just wish he was allowed to fully express himself because what I have heard lately seems to be a little bit of a regression rather than a progression. Not the same harmonic daring (or breadth) that we heard on Secret Weapons Over Normandy or MOH, or even the same ability to explore cross-pollination of styles (ALIAS). I've been a huge proponent of Giacchino since his Alias days so I'm not trying to knock the guy. I own more of his CDs than probably any other new composer out there save for John Powell. I do hope he continues working with Brad Bird because I think his strongest efforts come from collaborating with him and not Abrams (who's a bit of a hack IMO).

My thoughts. (still love ROAR mind you)

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I too miss when Trek was going for (sort of spoiler I guess, if you haven't read anything ever about this film)

actual sf ideas instead of space battles and revenge, a pattern I feel KHAN was generally responsible for, despite having some of the best in there in the Genesis device

. Not that I mind, as I love that film with every fiber of my existence.

With the good reviews coming in from the UK premiere, I'm very excited. UK critic Jonathan Ross tweeted to say it was the best Trek ever, but then again, he did say BATMAN FOREVER was the best movie he'd ever seen.

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Here are a couple of glowing reviews as well. And to those many across the net decrying this to be a dumbed-down Trek I have to say... You know what? None of the movies were ever that smart. The only one to approach any level of conceptual Sci-Fi was TMP and even at that it was just a rehash of The Changeling and The Doomsday Machine. In fact the vast majority of Star Trek TOS episodes were not so much about ideas as they were the interplay of the characters. Most of the stories were pretty absurd and vacuous when you really think about them.

http://www.dailymail.co.uk/tvshowbiz/revie...Trek-movie.html

http://entertainment.timesonline.co.uk/tol...icle6135968.ece

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According to Varese via Trekmovie.com there's going to be a Giacchino signing event for the new CD:

Date: 4/18/2009 Varèse Sarabande Records and Best Buy present a special in-store appearance and autograph event by Michael Giacchino, celebrating the release of his new score for STAR TREK! Be the film to hear and own the new soundtrack, on its release day, May 5, 2009!

Visit us on May 5 at 7:00 pm.

Best Buy

West Hollywood CA (Store 393)

1015 N. La Brea Ave

West Hollywood, CA 90038

Hope to see you there!

Will this event produce that most unthinkable of all scenarios: getting Neil to walk into a Best Buy? :P

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If Neil's in Philly, and that shindig's in California, is Michael G's signature on a 45 minute soundtrack worth the several hundred dollars for an airplane ticket? Especially if we have members in California nearby to help him out.

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If Neil's in Philly, and that shindig's in California, is Michael G's signature on a 45 minute soundtrack worth the several hundred dollars for an airplane ticket? Especially if we have members in California nearby to help him out.

Neil lives in LA.

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Generash*t.

Dennis McCarthy couldn't write to save his life.

I agree with Steef. While he might not write as memorable themes as Goldsmith and co. you have to remember that the dictate for his scores for Next Generation and the film was to keep it subtle and under the radar. I always found Yesterday's Enterprise episode quite well done.

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Well, he sucks compared to Giacchino. That much is certain. I'm really digging everything I've heard so far, except for that kind of generic Nero theme.

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the Hollywood Reporter trade paper referred to Giacchino's score as disappointing.

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the Hollywood Reporter trade paper referred to Giacchino's score as disappointing.

So far, based on what I've heard of it, I would have to agree with what someone in the FSM podcast said: it's a very modern (not modernist) sounding Hollywood orchestral blockbuster score. It's not "bad" by means, and I'm sure it'll suit the film quite well, but it's not an aesthetic that much appeals to me.

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the Hollywood Reporter trade paper referred to Giacchino's score as disappointing.

Why would you listen to someone else's opinion? Why not just make a judgment for yourself when you listen to it? That's what I end up doing with scores.

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I've only listened to the samples once, I don't want to overexpose myself. I'm still debating on when to listen to the CD, especially as I plan, for the first time for any movie, to go to a midnight showing.

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If not for the event with Giacchino at Best Buy, I'm sure I'd just wait till after I see the movie. But...it's happening, and I'd really like to go, so I may end up just taking a leap of faith with this score and going on Tuesday to buy it and get it signed. 8O (Maybe if I get the opportunity and if I'm feeling REALLY adventurous, I'll even casually mention the Lostpedia article I started about his themes...)

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I with Trent. I know I'll like it no matter what, because it's Giacchino. I haven't even listened to the samples.

So you're openly admitting to being a biased fanboy.

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You could buy it and not listen to it if you want to wait until you see the film. If I lived in California, I'd be there.

I'm sure that's what I'll end up doing, but my point is that I don't even know for sure if I'll like the music. Realistically, I probably will, quite a bit. But I've avoided listening to the samples too much, and I know that I've never found a composer who has ONLY written stuff I like.

But yeah, considering it's Giacchino and Trek, I'd say the chances of me regretting the purchase are gonna be slim. 8O

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