Let Me In by Michael Giacchino

[Jay 37,369]

Let Me In front and back cover art, and track list:

Let Me In

By Michael Giacchino

An alienated 12-year-old boy befriends a mysterious young newcomer in his small New Mexico town, and discovers an unconventional path to adulthood in Let Me In, a haunting and provocative thriller.

Twelve-year old Owen (Kodi Smit-McPhee, The Road) is viciously bullied by his classmates and neglected by his divorcing parents. His only friend is his new neighbor Abby (Chloe Moretz, Kick-Ass), an eerily self-possessed young girl who lives next door with her silent father (Oscar nominee Richard Jenkins, The Visitor). Recognizing a fellow outcast, Owen opens up to her and before long, the two have formed a unique bond. When a string of grisly murders puts the town on high alert, Abby's father disappears, and the terrified girl is left to fend for herself. Still, she repeatedly rebuffs Owen’s efforts to help her and her increasingly bizarre behavior leads the imaginative Owen to suspect she’s hiding an unthinkable secret.

Academy Award-winning composer Michael Giacchino (Up) provides a suitably unsettling score, laced with melancholy and intrigue.

Overture Films opens LET ME IN nationwide on October 1.

Varèse Sarabande Catalog #: 302 067 053 2

Release Date: 10/12/10

Track List:

1. Hammertime (:57)

2. Los Alamos (2:18)

3. Sins Of The Father (2:15)

4. Peeping Owen (4:03)

5. Bully Thy Name (1:35)

6. The Back Seat Killer (1:39)

7. The Blood Flood (1:39)

8. The Asphalt Jungle Gym (5:37)

9. At Your Disposal (4:39)

10. Neighbors Of Love (3:05)

11. First Date Jitters (2:52)

12. Killer In-Stinks (2:20)

13. Acid Test Dummy (1:03)

14. Visitation Rights (5:08)

15. New Day On An Old Lake (1:37)

16. Polling For Owen (2:36)

17. Owen Remember Thy Swashing Blow (1:16)

18. Blood By Any Other Name (1:37)

19. Regarding Evil (3:46)

20. Let Me Out (1:16)

21. Virginia Territory (1:42)

22. Invitation Only (2:13)

23. Dread On Arrival (6:14)

24. Parting Sorrows (2:54)

25. The Weakest Goes To The Pool (3:44)

26. Trained And Steady (Film Version) (2:16)

27. End Credits (5:57)

28. Trained And Steady (Original Track) (2:16)

http://www.varesesarabande.com/details.asp?pid=vsd-302-067-053-2

[Luke Skywalker 1,795]

The inclusion of alternates, like in Family stone and Land of the lost could mean that the score is complete

[Jay 37,369]

Yea, considering the CD is 78 minutes long, it probably is!

Strange there's so few punny titles

[Charlie Brigden 7]

They're probably not really appropriate to the subject material. I hope the cover isn't indicative of what the film is like.

[Jay 37,369]

Let Me In samples

http://www.cinemamusica.de/1550/musik-fuer-eine-unheimliche-nachbarin-let-me-in-von-michael-giacchino

[King Mark 3,631]

ok,now that's more like it. The softer reflective cues sound really touching and the End Credits clip sound like something of Williams caliber.

This might be the first great film score by MG

The film also seems to be getting great reviews.

[MattyO 62]

Yeah, I'm already loving MG in this mode. Can't wait to get my hands on the CD!

[Chris.Tilton 0]

...and the End Credits clip sound like something of Williams caliber.

Glad to hear you say that. I arranged the end credits!

[King Mark 3,631]

Does this mean Giacchino only writes vague sketches and let others do full orchestrations or arrange it to make it sound good? Because it wouldn't really be his music then.

Williams writes his sketches already orchestrated so the music is going to sound exactly like he wants it to no matter who works it later. And then makes final corrections when conducting

[Datameister 2,044]

Chris would know better than I would, but I just want to point out that Giacchino has orchestrated his own work before. He's certainly capable.

[Jay 37,369]

KM, do you not know what arranging is?

I interpreted what Mr. Tilton said to mean that he took the written sheet music from various cues (that Giacchino wrote) and assembled an end credits medley out of them. (I'm sure Chris will correct me if I am wrong!!) To posit that Giacchino doesn't write his own music is ludicrous.

Arranging and Orchestrating are two completely different things.

[King Mark 3,631]

ah ok...sorry .I'm not very music literate .Maybe I was thinking of "adapting" . I was thinking of Cinema Serenade , The Color Purple "arr" Williams means Williams made it sound like he composed the music by adding his fingerprints all over it.

So that means I couldn't really tell the work Chris did in that 30 second clip then,right?

[Jay 37,369]

No, you couldn't

[BLUMENKOHL 1,068]

I'm not sure it's gonna be one of my favorites...

But it's good to see Giacchino stretching beyond his normal style of late a bit.

Oh and "Neighbors of Love" is not just like "Labor of Love" in name.

[King Mark 3,631]

Oh and "Neighbors of Love" is not just like "Labor of Love" in name.

well the music is a bit similar-ish. Since Labor of Love is the only cue I really like in Star Trek, I don't mind that he he used that style as a basis for another score.

[Chris.Tilton 0]

Does this mean Giacchino only writes vague sketches and let others do full orchestrations or arrange it to make it sound good? Because it wouldn't really be his music then.

No, this was a specific occasion. He asked me if I'd want to write an arrangement of his themes for the End Credits. He basically sent me cues that had the themes he wanted to appear, we discussed the approach, and then I wrote it from scratch utilizing his thematic material, while also remaining true to the tone and instrumentation/orchestration of rest of his score for the film.

[Jay 37,369]

Thanks Chris!

[King Mark 3,631]

The clip sounds impressive because of the sting arrangement, but if that's not from Giacchino...

[Jay 37,369]

He wrote it using Giacchino's Themes, Mark. There's no reason here to be less impressed by Giacchino or any other aspect of this score. Maybe you should hold further comments until you've heard the entire CD

[King Mark 3,631]

I like the other clips as well. I just want to know who's doing what.

Some guy could take the credit of composer by whistling or humming his themes and let other people arrange it for an orchestra then. Then who would be responsible for me liking the music in the end?

[Datameister 2,044]

Is that really what you heard Chris saying?

[Jay 37,369]

Maybe the 30 second clip you heard from the End Credits is note for note taken from another cue in the score. Hold your comments until you have more information.

[King Mark 3,631]

Is that really what you heard Chris saying?

What I heard him say is that he did a lot more than someone working on ,let say, a Williams score

[Jay 37,369]

you're hopeless

[Charlie Brigden 7]

you're hopeless

I agree. KM, there's no point you listening to any of MG's work further because he will never be John Williams and you will just be disappointed. He will only ever be Michael Giacchino, and so far, that's fine with me.

[King Mark 3,631]

No I'll tell you what the problem is.

I hear a 30 second clip that sounds very promising (I even said Williams caliber) , and someone else shows up and says, yeah, I wrote that .

[Taikomochi 1,136]

This might be the first great film score by MG

Film score humor! I love it!

[Datameister 2,044]

No, he said he adapted it from other cues that Giacchino wrote, KM. That takes considerable skill, but that doesn't mean that Mr. Tilton wrote it all from scratch, or that MG whistled a five-second ditty to him and said, "Here, do something with that."

You've said you're not very musically literate. That's fine. Just don't try to pass judgment in an area you don't know anything about. If you enjoy some music, that's great! Don't worry so much about who was responsible for each aspect of your enjoyment. Music is always a collaborative process, and although the composer is always the one whose creative voice has the most impact on the final product, it takes a lot of people to make it all come together, and all of them can add or subtract a lot.

[King Mark 3,631]

Fine ,but he did say:

and then I wrote it from scratch utilizing his thematic material

But I already said I like all the clips and look forward to hearing the whole c.d. so it kind of cancels my criticism here...

[Muad'Dib 1,802]

So not only Zimmer and company use additional composers, eh? Just kidding guys! The clips sound really impressive, Giacchino seems to be having a great time! Also, can't wait to hear his John Carter of Mars score.

And I remember reading somewhere that he's gonna score Captain America. If true, I hope that he goes for his full over the top sound from Medal of Honor and the other war games!

[Taikomochi 1,136]

I'm not complaining. Too many composers just throw together random pieces of music. Zimmer always does this. Giacchino did it to an extent for Star Trek. I hate this approach. If this is what it takes to get something nice and new for the credits, I am perfectly fine with that.

[Demondm810 399]

These clips have me VERY excited. I can't wait.

[King Mark 3,631]

Did Alexandre Desplat help out for "New Day On An Old Lake"?

[Luke Skywalker 1,795]

Mark has a point, regardless.

I think the Star spangled banner anthem is nice, but the Williams arrangement is great, to my ears.

John took the melody and arranged it in his own way with his 'mannerisms'.

If chris tilton has done a similar thing, then, congratulations to him as the main feeling of the piece is his, he is making a version of giacchino's music.

As i congratulate Giacchino for his arrangement of the M:I theme for the trailer. it's the same piece, but giacchinoesqued.

Anyway i dont have a problem with that, here, giacchino just asked a colaborator to compose a nice end credit suite, much better than cut and paste or a pop song...

And BTW, the incredits were also arranged by other person than giacchino.

[Taikomochi 1,136]

I actually don't like Giacchino's arrangement of the M:I theme

[Chris.Tilton 0]

Is that really what you heard Chris saying?

What I heard him say is that he did a lot more than someone working on ,let say, a Williams score

I don't understand what your issue is. This is not new. Gordon Goodwin arranged the end credits for The Incredibles. Tim Simonec arranged the end credits for Ratatouille. It seems like you are marginalizing all the hard work Michael put into this score because I arranged one piece of music using his thematic and instrumentation ideas that isn't even part of the film itself. It's the credits!

[Taikomochi 1,136]

Is that really what you heard Chris saying?

What I heard him say is that he did a lot more than someone working on ,let say, a Williams score

I don't understand what your issue is. This is not new. Gordon Goodwin arranged the end credits for The Incredibles. Tim Simonec arranged the end credits for Ratatouille. It seems like you are marginalizing all the hard work Michael put into this score because I arranged one piece of music using his thematic and instrumentation ideas that isn't even part of the film itself. It's the credits!

The best possible person said the best possible thing!

[Datameister 2,044]

Gordon Goodwin arranged the end credits for The Incredibles. Tim Simonec arranged the end credits for Ratatouille.

Interesting, I didn't realize this - thanks for the info!

It seems like you are marginalizing all the hard work Michael put into this score because I arranged one piece of music using his thematic and instrumentation ideas that isn't even part of the film itself. It's the credits!

I second what Taikomochi said about this! However...

Too many composers just throw together random pieces of music....Giacchino did it to an extent for Star Trek.

I don't understand this comment. The end credits music for Star Trek is very well structured and most of it isn't really taken from the score at all. It starts with the Alexander Courage theme - a perfect choice - with new arrangements of Giacchino's own theme thrown into the mix in appropriate counterpoint. After the reprise of the Courage theme, it quiets down to present another major theme from the score - Spock's theme - in a lush, new arrangement, again with the main theme making little cameos that are unique to the credits. Then Nero's theme makes an obligatory appearance, and this is indeed taken almost verbatim from the score, but it's a short (and delicious!) passage anyway. Then it's all the main theme out to the end, based on "Enterprising Young Men", but with plenty of new material as well, and bits of Courage's material toward the end.

Some people may not like this piece, which is fine, but from a creative standpoint, it's no less original than, say, the end credits of ESB, which borrows music written for the first film, then adapts music from two concert suites (which are adapted from the score itself), then presents a somewhat new statement of another theme, and then has a new ending. End credits usually are like this, and as long as they have a good emotional arc and feel like credits music, I have no problem with borrowing bits and pieces surrounded by new material.

[Trent B 337]

Well said Mr. Tilton.

I wonder if KM criticizes Joel McNeely for writing some of the cues for Air Force One, when Jerry called in for help. Or if he criticizes Jerry's son Joel for writing some cues for Star Trek: First Contact.

Honestly KM it isn't that big of a damn deal, you're the only one who is making it a big deal.

[BLUMENKOHL 1,068]

King Mark,

Before elevating any composers too high, and any other composers lower by comparison, do remember that a lot of the older composers worked during much less transparent times.

In this day and age we have better access, and we're more likely to find out who did what where. Back in the day, both as a result of the way industry worked and because of the lack of the "internets" these things happened all the time and no one knew.

Even our beloved Goldsmith and Williams were once ghost writers in a music factory, and I have no doubt at some point had someone write a bit for them.

[Marian Schedenig 8,200]

What I heard him say is that he did a lot more than someone working on ,let say, a Williams score

Except for ROTJ of course.

[Jay 37,369]

Is that really what you heard Chris saying?

What I heard him say is that he did a lot more than someone working on ,let say, a Williams score

I don't understand what your issue is. This is not new. Gordon Goodwin arranged the end credits for The Incredibles. Tim Simonec arranged the end credits for Ratatouille. It seems like you are marginalizing all the hard work Michael put into this score because I arranged one piece of music using his thematic and instrumentation ideas that isn't even part of the film itself. It's the credits!

Tilton 1, King Mark 0

Seriously KM, when you read CT's first comment, why did you go to "zomg Giacchino is a hackkkk" mode, instead of "Oh cool, Chris Tilton wrote that piece of music I really liked? Why don't I go download some other Tilton scores, maybe he's written other stuff I might really like" mode?

[King Mark 3,631]

Fine then, good work Chris Tildon.

Like I said I'm still eager to hear the rest of the c.d.

[BLUMENKOHL 1,068]

I don't think it's so necessary to be a jerk towards King Mark.

He has a legitimate concern. I remember when I found out "The Starship Chase" music in First Contact wasn't written by Goldsmith himself. You're gonna be a little disappointed.

[Taikomochi 1,136]

I don't understand this comment.......

I guess so. To me, it's just kind of a restatement of other pieces on the album(Enterprising Young Men, That New Car Smell). It's not really that way, but I don't like that score very much anyways, so I'm less inclined to appreciate the differences from the original pieces... Whatever. You're right anyways

[Koray Savas 2,251]

Seriously KM, when you read CT's first comment, why did you go to "zomg Giacchino is a hackkkk" mode, instead of "Oh cool, Chris Tilton wrote that piece of music I really liked? Why don't I go download some other Tilton scores, maybe he's written other stuff I might really like" mode?

I'd recommend Mercernaries 2: World In Flames and Black for anyone looking for a great action score. You should check 'em out, KM.

[fommes 153]

...and the End Credits clip sound like something of Williams caliber.

Glad to hear you say that. I arranged the end credits!

Oops sorry, in that case the statement should read 'the End Credits clip sounds like something of Tilton caliber'.

I have a question though that popped up when I was reading the discussion here: why do you say it's "just" the credits? In particular: why doesn't Giacchino let you and others do other cues instead? I mean if I was a composer myself, the last cue I would give up the arrangement & orchestration to others is the end credits, because it is imo the place par excellence to showcase the score.

Oh, and it came as a surprise to me too that somebody else arranged The Incredits. It's my favourite track on the CD! That said, I am really not someone that is in any way interested in knowing who wrote what exactly (and that goes for books, films, etc., too), as long as the CD itself is good.

[Luke Skywalker 1,795]

Gordon Goodwin arranged the end credits for The Incredibles. Tim Simonec arranged the end credits for Ratatouille.

Interesting, I didn't realize this - thanks for the info!

the 1st is credited on the cd.

I would like tim simonec had been credited on the second and tilton in let me in, but i suppose that it would be redundant if there is already an 'orchestration' credit.

[Koray Savas 2,251]

Well none of us even have the Let Me In CD, so it's impossible to say that he's not credited.

[Luke Skywalker 1,795]

you dont have the CD already? i must be lucky then.....

JUst kidding.

Yes, we cannot know yet...