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Michael Giacchino posts Clip from Spider-Man Homecoming OST -> Classic Theme
- Thread starter GAMEPROFF
- Start date
to be clear the only thing using the pizza theme is that twitter reply, not the original video that giachinno posted. i think it's extremely unlikely that this stupid ass meme will get referenced in any way but i would totally lose my shit if it did.
Guy with 8 hands. Sounds hot
NHarmonic.
Member
That was amazing,
I got a little bit more interested in this movie.
I got a little bit more interested in this movie.
DangerMouse
Member
YES. That was awesome.
Fluffernutter Pancake
Member
Rogue One had serviceable moments, but many painfully blown ones. Terribly awkward transition into the main theme when the title of the movie was shown onscreen is one example. The other example that comes to mind right away is
at the end after the Vader massacre,
when Vader looks at the Corellian Corvette cruising away
when Vader looks at the Corellian Corvette cruising away
the Death Star is revealed after Tarkin's first scene
Actual track parts, for reference: https://www.youtube.com/watch?v=RaEzKRngCyY&list=PLVD09Y3FXZaODg4xYk7KHUf1RZeANfj-C&index=18
1) 0:50 in "Hope" , with the parody Dr Evil rif occurring again between 0:58 to 1:02
2) Just after 3:30 in "A Long Ride Ahead"
3) Beginning of "When Has Become Now" and also after 1:35 to 2:00......the section from 1:50 to 1:55 sounds like a parody again, like Dr Evil should be in the background.
The one part that stands out to me from Rogue One OST that Mike Giacchino got right was the section on Scarif with the underlying drum beat, as they are sneaking around. Also, the stealing plans part --- some pretty good stuff in there. Maybe with more time, he could have smoothed out the rough edges like I mention above --- he definitely was pressed for time since he was hired very late in the game.
Bubble Metropolis
Member
I haven't watched any of the Spider-Man films since the first, and I don't care to watch any of the current stream of comic book films, but it was preeeetty cool to hear that nostalgic refrain.
On a side note: after all my years of life, I'm still unsure of what a orchestra conductor is actually doing. I know I've been told they control the tempo or whatever, but dude's hand movements in the clip don't appear related to the song's tempo, volume, or anything as far as I can tell.
On a side note: after all my years of life, I'm still unsure of what a orchestra conductor is actually doing. I know I've been told they control the tempo or whatever, but dude's hand movements in the clip don't appear related to the song's tempo, volume, or anything as far as I can tell.
CloudyTuba
Member
Woah woah woah woah woah. Hold up.
Nobody told me Giacchino was all up in this shit.
That 37 second clip just bought my ticket, I'm in.
Nobody told me Giacchino was all up in this shit.
That 37 second clip just bought my ticket, I'm in.
Refund if only in the credits?
brandonh83
Banned
Editors also have an impact on score integration and to be frank the editing at the end of Rogue was bad in general.
I give Giacchino a pass on the elements of Rogue One I didn't like (some of which Pancake listed) because of the pressures of the assignment (lots of cooks, I imagine) and the very limited time he had to compose that much music (being a replacement for Desplat).
Bobby Roberts
Banned
DID YOU KNOW:
The entirety of that first half of hope, the half that culminates in what you called the "over-the-top parody" version of Imperial March
is all Imperial March?
Bet you didn't know that, huh.
(the piece is built on the harmonic skeleton of Imperial March. It does its own thing, but you're basically hearing it for the entirety of the scene, if you don't realize that's what you're hearing)
Also, he didn't play the Episode IV imperial motif when the Death Star is revealed because he was playing The Death Star's actual theme in those moments. The scene is intro'd and outro'd with it.
(he saved the original Imperial Motif for Vader's first appearance because it was originally supposed to be Vader's theme, so he thought that was an appropriate place to reference it, and then blend it with the actual Imperial March)
I would pick Elfman's work over this any day. The clip in the OP is not even an accurate rendition of the show theme (it changes the notes from the 9th onwards.)
If we wanna' get nitpicky, I'd say they shouldn't have used the Imperial March at all since it doesn't actually appear until Ep V.
brandonh83
Banned
I mean there's an argument to be made in relation to how well integrated a score is into a film, but a composer isn't an editor and once they provide the score it's still put through the editing motions. The score in Attack of the Clones was edited into the film like a total jackass but the score itself is fantastic.
I guess I can look at a score separate from a film while agreeing it's not edited in well all the time and I generally don't blame the composer for that. If you listen to Rogue's score on it's own, it's pretty fantastic and still has plenty of good stretches in the movie.
Bobby Roberts
Banned
That wouldn't be nitpicky, that'd just be wrong.
Or rather, I don't see how that reasoning would make any sense at all.
They went through the effort of trying to make the film stylistically fit to Ep IV as much as possible, even downgrading Vader's costume accordingly, so I don't really think it's that much of a stretch.
Desplat is easily the worst composer in the Harry Potter series, though. Compared to old heavyweights like Williams and Doyle, and even Hooper, it just doesn't compare.
Fluffernutter Pancake
Member
Cool analysis --- thanks for the link.
If he was told to make a new Death Star theme by the Director or Disney, then so be it, but IMO, the Death Star didn't need a new theme, considering the classic themes that John Williams laid out in his classics, which Rogue One was striving to seamlessly merge into. Not a big deal, but the music of a Star Wars film is at least as important as the visuals, and moments like that pulled me out of the movie. I'd like Giacchino to get another crack at a Star Wars film in the future, after some other composers get a chance, and it would be great for him to get more than 6 weeks to write the score.
I would have preferred this as well, but the only pass that I give them for this film is that George Lucas had John Williams incorporate the Imperial March into Episodes II and III at some moments. I disagreed with those moments at the time as well, for musical continuity, but since that was thrown out the window 15 years ago, its use in Rogue One doesn't really break continuity .
CloudyTuba
Member
I absolutely loved that he brought back the often forgotten Death Star/Empire theme from A New Hope and expanded it into a fuller melody.
I guess most people forgot that one the moment Imperial March stole the show but Giacchino's efforts were not lost on me. I really didn't expect it to show up in R1, or in any media again really.
disappeared
Banned
That's pretty awesome!
Bobby Roberts
Banned
Still doesn't really make any sense to me.
You have the music, use it if you think you can make it fit.
That this movie was the first since 77 to even include the Imperial motif (outside of the few times it was tracked in for Jedi - same w/ the Death Star theme) and that a new motif was created, to bridge all three together - I think that was a very good approach, and executed very well.
I'm sorta surprised some enterprising young Youtuber hasn't written their own medley merging all three into a single concert piece.
He didn't make the Death Star a new theme. The Death Star has the same theme it always had.
He created a new Imperial theme, to go along with the new Imperials as introduced in the film (Krennic/Death Troopers) and that's what you're hearing before the Death Star theme kicks in. But that isn't the Death Star's "new theme."
He created a similar new bit of music to associate with The Force because of the Guardians of the Whills as introduced in the movie. Doesn't mean he wrote a "new Force theme." The Force Theme/Ben's Theme is still in the movie as well. Along with the Rebel Fanfare and even, in a couple instances, Luke's Theme/Main Theme.
brandonh83
Banned
Fuck all that.
Fluffernutter Pancake
Member
Great to hear someone else call this out! Episode II score was amazing and the editors butchered it terribly. They even cut one of the finest Star Wars moments John Williams ever composed at the end of the OST end credits track. The entire tale of Anakin Skywalker is told musically, starting with a whimsical, lazy version of young Anakin's theme, transitioning to the Episode II love theme, and then seemingly about to resolve with a flute line like in the end of Leia's theme, but then it goes minor key and there is the very subtle Imperial March in low strings before ending with a harp. The editors cut that completely out and it never played in the actual movie end credits. Would love to find out whose brilliant decision that was
Yeah, without having the sheet music in front of me, it's basically impossible to tell what the composer intended for a scene and what actually ended up on there.
I guess you can argue on taste but in terms of sheer technical skill, Desplat is a significantly better composer than Hooper (at the very least).
brandonh83
Banned
When I watch Clones, the whole climax and the music editing drives me goddamned BONKERS. It's like you have all this epic shit and ZERO ORIGINAL MUSIC. it's all literally from TPM. There's even a track on the soundtrack called The Arena that wasn't used-- just the first part with the swelling love theme. And guess what? They used THAT track in ROTS.
Film score GAF knows no boundaries, haha.
brandonh83
Banned
Not sure I like the idea of having a conversation where we are upset that Giachinno made new themes and music for Rogue One, or more accurately, didn't reuse popular Williams themes enough.
Anyway, just like with Rogue One, Speed Racer, Jurassic World and Star Trek, although the original themes from previous incarnations might show up at some point, I expect the vast majority of the music to be original themes made by himself.
Anyway, just like with Rogue One, Speed Racer, Jurassic World and Star Trek, although the original themes from previous incarnations might show up at some point, I expect the vast majority of the music to be original themes made by himself.
Fluffernutter Pancake
Member
Film Score GAFers don't get too many thread opportunities to vent --- we take what we can get
Yeah, and of all scenes, they used it for the storming of the Jedi Temple ---- WTF??? I can't bring myself to believe that John Williams signed off on that creative decision.
gutter_trash
Banned
Venom: "Hey, Spidey, could you get us Captain America's autograph?"
He probably didn't have a say in it. Composers aren't generally a part of the editing process. I can't imagine the look on his face when he showed up for the Phantom Menace premiere and heard what they did to his score throughout the entire climax.
brandonh83
Banned
And that's my point, composers give music but in instances it's down to the editors to mesh it well. That music also played during the Separatist assault on Kashyyyk.
Composer gets a cut of the film, they score, then it's tweaked until theatrical release. If a track doesn't flow or work too well it's not all the time the fault of the composer as the film is WELL out of their hands.
The prequel movies were edited heavily in post production after John Williams made their scores. The most infamous example is the entire last act of The Phantom Menace, where most of his score had to be re-edited and cut to fit the entirely new cut of the movie. For example, the vast majority of Duel of the Fates as written for the movie was cut out of the film, instead the concert-style CD version was used to finish the cut.
The original Duel of the Fates written for the film, for example, is far more intense.
Great details but where was the Death Star theme or Imperial theme from ANH tracked into Jedi? It's been a long time since I've watched Jedi and I can't recall.
Fancyarcher
Member
I love him in both. I'm a fan of Giacchino, but I won't deny that Desplat is the far superior / more versatile composer. It helps that he does a variety of films whereas Giacchino seems content with mostly doing blockbusters, not that there's necessarily anything wrong with that.
Yeah sorry I guess I wasn't necessarily trying to explain it to you as you seemed to have been saying the same thing, just... expanding on it I guess? Anyway sorry if the tone felt belittling or something, we're on the same page.
It's fine. I didn't assume you were trying to insult me or anything.
Fancyarcher
Member
I can't recall either myself. I think the death-star theme may have shown up when the new death star first introduced, but it doesn't appear to be on any of the album releases.
Desplat was following the obvious Zimmer temptracking though. There were some very good non action cues, and I'd say Sky Attack was up until The Monuments Men, some of the most Williamseque writing of his career.
He's nowhere near as versatile as either as well I'll admit, which can probably be explained by the fact that he didn't have exactly have the same kind of classical training. For example he'll probably never a year like Goldsmith in 78, who scored five films (Coma, Damien Omen II, The Swarm, The Boys From Brazil, Magic), and while these scores all share similar ideas, they are very distinguishable from each other.
If I have any issues with Giacchino (and I've pointed this out before), it's that I think he does way too many blockbusters. He'd be better served by something smaller. The last film of his that would count as that would be This Is Where I Leave You and much like 50 / 50, that was a fairly sparse score.
Yep. Another miss.
I don't understand the praise for this guy.
Giacchino ain't no James Horner. Yeesh.
shira
Member
Yeah that's garbage-tier awful.
Why would you orchestrate the show intro from the 60's?
That would be like orchestrating the Na-na-na-na-na-na-na Batman song
Yeah, Desplat has the greater chops, for sure. A lot of people think that his music sounds cold and clinical and I couldn't disagree more. Some of his best dramatic scores ache with emotion (like The Light Between Oceans and The Painted Vale). He's just very precise with his orchestrations and that seems to rub some the wrong way. But I come from a classical music background so I'm used to that shit, haha.
thecosmicfly
Banned
It's good, but it doesn't top the best version.
Fancyarcher
Member
His music isn't for very everyone I'll admit, and I can't say I love it all, but there's something great about a modern film composer who knows how to compose "quiet" & creates very beautiful melodies at the same, without feeling the need to make everything seemingly sound "epic" all the time. Most of the greatest film composers of the past were also masters at same kind of thing.
BTW some of my favorites from Desplat include The Grand Budapest Hotel, The Monuments Men, The Golden Compass, Godzilla, Birth, The Light Between The Oceans, and so on.
Look like this is where it will be, maybe during the movie as well. Hyped.
Yeah, I like most of those quite a bit. Also, The Ghost Writer, Cheri, Rise of the Guardians and The Imitation Game. Crap, now I'll have to do a Desplat Spotify binge!
Fancyarcher
Member
Rise of The Guardians & The Monuments Men show a lot of versatility too, and are probably among his easiest scores to get into I'd say. Now that you mentioned that I'm off to do some Desplat listening myself. Cheers!
IlGialloMondadori
Member
Yep. Another miss.
I don't understand the praise for this guy.
Giacchino ain't no James Horner. Yeesh.
Yeah, in no way at all.
I don't get the praise either. Like compared to the greats like Horner or Goldsmith or Zimmer or Morricone or Williams or Shore or...really anyone, I just never get it. It just sounds like background, never enough to really grab onto, nothing really memorable. I know people praise his Trek score, but ehh....compare that to Wrath of Khan or Motion Picture score, it doesn't even register.
Oh man, I'm really going to be disappointed if this doesn't happen now.
Yep. Another miss.
I don't understand the praise for this guy.
Giacchino ain't no James Horner. Yeesh.
I wasn't comparing Horner to Giacchino just responding to the surprise over how scores are finished late in the development of a film.