MICHAEL GIACCHINO

Up won the Best Score award at the Chicago Film Critics Awards - http://www.variety.com/index.asp?layout … 0&cs=1

It's taken 172 days (that's five and a half months), but (hopefully) all the themes and motifs from seasons 1-5 of Lost are now listed. 36 main themes and 176 minor motifs in all. That's got to be a record, if not only for a TV series but maybe a composer (maybe?). With the sheer number of "suspense motifs" or "love themes" listed, I've put in brackets their common associations or characters they are usually linked with, which should hopefully give a better idea of their relation to things.

Just to give you a better idea of what counts as a motif, I am only including things that consist of two notes at a very minimum. There are many other textures and dynamics Giacchino uses for certain situations, but simply playing a note on the strings in a particular way is not contributing to the total here.

Season 6 airs on 2nd February however I'll likely keep updates to a minimum (with the nature of new material in later episodes it might seem rather blank until further down the road in the season.) Keep your eyes and ears peeled.

Mission Accomplished

*accepts lunatic award* *applauds* *thank you*

Not that I'd want to suggest that 'more of everything is (intrinsically) better', but take that sort of talk to Wagner.
Well done on the site though!

Very impressive work Anthony, congratulations and thanks for sharing!

Hello, first post. Just wanted to describe my growing Giacchino fandom.

I've never been a film score nut in general, although I have a long history with music and I do compose for films. But I work as a film editor. Part of the job, of course, is temping scores. The post house I worked at last year had a massive library of scores, and I found myself dipping into Lost (season 1) for temp cues, even though I've never seen Lost. That's when I heard the track "Departing Sun." It's just an incredibly beautiful piece of music, and it made me remember the name Giacchino. I was also really impressed by the sinister mood and weird percussion of "World's Worst Beach Party." It just sounded fresh.

Then I saw Star Trek - good film, great score. In particular, the cue "Labor of Love." It summoned so much more emotion than the film itself earned - very impressive. The new theme is good, too, but the best thing is the elusive 'freshness' that seems inherent in Michael's scores.

Most recently, I saw Up, and again found myself emotionally kidnapped by the score. Who knew a 3d animation could pull my heartstrings so well? In fact, the music does the heavy lifting in that department. "Married Life" is a fantastic piece. The rest of the score is fun, if less memorable.

I feel that he is continuously proving himself in new styles, each time surpassing expectations. I also enjoy the 'dry' recording style he uses (no big hall reverb). And from reading interviews, it seems, oddly enough, that we shared a childhood enthusiasm for Benny Goodman (though I was born in a later decade). So, now I'm paying attention.

Haha... well, theoretically I agree. But so many 3D movies are really obnoxious, full of stock characters and false sentimentality. I suppose Up just took me by surprise.

Never mind my opinions on animations... I came here to praise the G dog.

And that is different from the rest of Hollywood how?

-Erik-

By the way, favorite cue title: "Hella Bar Talk"

Well done

One totally deserved award! Congrats, Mr. G.

Well, well, well. Guess big G's up for all the golds this year, the way this is going. And how ironic this is going to be if he picks up the Oscars for a score that Disney couldn't even be bothered to release on CD?

Hear what our man has to say.

Congratulations, Michael.

But doesn't the whole Hollywood thing just make you want to


Yeah! I almost didn't recognise him!