[Closed] Now Playing - Part XXII

Yes, but it was veeeery far from his videogames achievements. MI3 was ok, but nothing memorable. In the other hand, all he has done for videogames is memorable. Star Trek is THE chance to make a memorable film score.

Come on, try to be a bit objective
MI:3 was above the average, and a good action score. But nothing even close to any of his videogames scores. So,

NP Medal of Honor - Frontline (M. Giacchino)

M:I:III above average? Man are you high? The score absolutely ruled and believe me, film music of today would be at a much higher rate had more and more composers had the knowledge and balls to write like that!

I am being objective.

Let's begin with the awesome suspense cue "Factory Rescue" There is a great motif in there that is quite memorable and the underlining orchestrations adds to the tension of that scene. Michael then jump kicks that motif in the following track"Evacuation." Some wicked music there.

The fan favorite section of the score is the Vatican sequences which channel Schifin's sensibilities with Giacchino own voice. It's the best scored sequence of the film and without it the scene probably wouldn't have works so well. ""Humpty Dumpty Sat On A Wall" is near perfect scoring!

I don't know about you but the rapid fire french horns and trumpets in "Bride Battle" is incredibly exciting and is one of Giacchino finest action cues.

We also get a new IMF theme the weaves itself throughout the score. Quite memoriable.

And the Creme de la Creme cue is "Hunting For Jules" The latter half contains an AWESOME motif as Ethan searches the streets for his girlfriend. The one and only moment in the film where the score was allowed to breath and I couldn't have picked a better cue to show case the power of Giacchino score. How can you NOT get pumped up by this piece or the score as a whole. Sure, this isn't a MOHesque score but them again this isn't a film that would suit a score of that sort.

-Erik-

Hunting For Jules is the most badass Giacchino piece there is in my opinion. I can't get enough of this.

Some of the music in MI3 is just too raw. ''Bridge Battle'' I find to be a tough listen. I've grown to appreciate more aggressive music (I didn't originally like ''Evacuation''), but clasing brass notes, repeatedly =

(Edit: The smilie didn't work!)

Just so you know that I'm being objective I don't think that M:I3 is the best thing Michael has ever written. Actually, I don't even think it's the best M:I film score. That award goes to Elfman.

-Erik-

My best to worst would probably go Silvestri's rejected, Elfman's, Giacchino's and Zimmer's. Sorry, but Elfman's just nails the ''heist'' sort of nature of the movie. Giacchino's fits the accompanying movie fine, but don't you hear the genericness of a Beltrami action score in it?

*prepares to get flamed big time*

Yes.F.Way!

-Erik-

No.F.Way 'cause Elfman's possible superiority on the said matter in some people's minds is because it was the first of those m:i movie scores; other than that, it's overall sound and energy are nowhere even near what Michael Giacchino wrote for the third movie; some parts of the Elfman score are performed so underwhelming that sound almost dead; not to mention the sheer energy and unstoppable force that's spread throughout the M:I:III score or the level of arrangements in the latter which are miles away from the Elfman's original. I don't think in order to be objective, you have to acknowledge Elfman's score as the best of the three; who says that?

If we can't agree on whether Danny's or Michael's score is the best, can we at least all agree that Zimmer's (and co) is the worst?

ABSOLUTERLY!

You really have to let go of this Elfman hate you have because it's blinding you from hearing a damn fine score by Elfman. And M:I and M:I3 are two TOTALLY different films. Elfman's score didn't need that HIGH energy because the film wasn't the action packed film the third one was. Depalma's film stayed true to the TV series feel with only a few moments of action... and how can you begin to tell me that Zoom A and B aren't incredible action cues... two of the most impressive cues of Elfman's career, and IMHO, the best use of Schifrin's theme in all three scores.

Elfman's arrangements and orchestrations are just fine. The musical colours in Elfman's score are quite impressive perfectly combining Elfman's quirkiness and patented orchestrations with Schifrin's already established sound from the TV series. And I absolutely love Elfman's anti-love theme. And IMHO, Elfman's use of The Plot is masterful... especially during the tension filled "Red Handed" and "Mole Hunt."



Who has said this? That's an absolutely weak accusation!

-Erik-

But D, I don't think people are saying it's the best of the three just because it came first, that's an unfair thing to say about other people's taste, it's said because it is their favourite!

I don't like Elfman's MI : I score at all but to each their own.

NP: Mission: Impossible - Danny Elfman



I love it!

-Erik-