On Monday night, it was my pleasure to lead a Q&A with composer Michael Giacchino after a Society of Composers & Lyricists screening of his latest film, War for the Planet of the Apes, on the 20th Century-Fox lot. It is Giacchino’s second film in the Apes series (after Dawn, in 2014) and his fourth film with director Matt Reeves (the Apes movies, Let Me In and Cloverfield). The composer reported that 90% of the score — played by a massive orchestra and choir on the Fox scoring stage — was original, and he even came with props: the mixing bowl used by percussionist Emil Richards on Jerry Goldsmith’s original 1968 Planet of the Apes, and a ram’s horn that he played himself on both of his Apes scores.
Let’s face it, there is no more famous Spider-Man music than the cartoon theme everybody remembers from the 1960s. (“Is he strong? Listen, bud: he’s got radioactive blood!”) Composer Michael Giacchino, commissioned to score the new Spider-Man: Homecoming film for Marvel/Sony, knew this and decided to replace his own Marvel logo music at the start of the movie with a 38-second version that — as played by a 90-piece orchestra — is probably the biggest sound it’s ever had! I decided to look into this, and interviewed both Giacchino and Guy Webster, the son of the Oscar-winning lyricist who penned those immortal words and who cut the original, very lucrative, business deal for the song in 1967.
One of my favorite stories of the past year concerns Michael Giacchino — the composer of Ratatouille, Up and the Star Trek films — who, exhausted from scoring four major films in 2016, was all set to go on vacation when the phone rang, asking him if he might squeeze in a Star Wars film before the end of the year. How he got to do Rogue One, and how he went about it, is the subject of a story I wrote for this week’s Music section of Variety. Along the way I also mention two of my other favorites of his this year: Marvel’s Doctor Strange and Disney’s Zootopia.
I have interviewed composer Michael Giacchino for The New York Times, the Los Angeles Times and, most often, for Variety. Yesterday was a rare instance of me doing so in a public forum. Giacchino (whose 2016 films already included Star Trek Beyond, Zootopia and Doctor Strange) joined me onstage at the Linwood Dunn theater in Hollywood for a Society of Composers & Lyricists screening of Rogue One: A Star Wars Story. As always, he was candid and funny, talking about the rushed schedule, finding the right John Williams-style sound for the film, and his plans for next year (which include Spider Man: Homecoming and War for the Planet of the Apes).
Oscar- and Emmy-winning composer Michael Giacchino conducted selections from his music for the TV series Lost over two nights last week at the Ford Theatre in Los Angeles. “Tonight is for you guys,” he told the crowd of Lost fans — who had flown from all over the world to attend (Friday night’s concert sold out so quickly that the producers added a second concert, Thursday night). Series producer Carlton Cuse co-hosted the event, which also featured a fun Q&A with composer and producer before the three-hour concert (whose musicians, Giacchino noted, consisted mostly of the same performers who played on the 121 episodes of the ABC series). The crowd was wildly enthusiastic and gave Giacchino and the musicians standing ovations both nights. Here is a review of Thursday’s concert.
My editor at Variety came up with an interesting angle, and one especially relevant in today’s world of sequels, spinoffs and reboots: what’s the role of music, and how do composers decide when and where to apply themes from previous films or TV shows? For this final story in our pre-nominations Oscar-music series, I received fascinating answers from John Williams (Star Wars: The Force Awakens), Thomas Newman (Spectre), Michael Giacchino (Jurassic World), Christophe Beck (The Peanuts Movie), Ludwig Goransson (Creed) and Joe Kraemer (Mission: Impossible – Rogue Nation).
For Variety‘s second installment in our series on potential Oscar nominees in the music categories, I interviewed five composers, seven songwriters, a music supervisor and a director. Our main story features John Williams, in his first interview offering details of his new Star Wars score, as well as Hateful Eight music supervisor Mary Ramos talking about Ennio Morricone’s music; and The 33 director Patricia Riggen discussing the late James Horner’s contributions to her film. I also wrote four of the six composer profiles (on Thomas Newman, Michael Giacchino, Carter Burwell and Brian Tyler) and half of the song story (including interviews with Spectre singer-songwriter Sam Smith and The Hunting Ground songwriters Diane Warren and Lady Gaga). And there’s still more to come!
I have hosted American Youth Symphony film-music concerts for seven years now, but rarely has one been so much fun as Sunday’s live-to-picture performance of Michael Giacchino’s score for Star Trek: Into Darkness, conducted by (the, let’s face it, phenomenal) David Newman. The Oscar-winning composer came out at the beginning, for an interview about the challenges of scoring the Trek films (and confirming that he’ll score the next one, Beyond); and again at the end, to conduct the premier performance of his suite from this year’s delightful Pixar film Inside Out. The sellout crowd at UCLA’s Royce Hall loved it.
The fastest-growing trend for major orchestras — both here and in Europe — is the advent of the “live to picture” concert, in which full movies are shown with live musical accompaniment. I explore this arena in a story for this week’s Variety, along with a sidebar on an upcoming Los Angeles concert of live-to-film Disney cartoons — and a fun story about composer Michael Giacchino‘s three big summer pictures: Inside Out, Tomorrowland and Jurassic World.
Every year we try and assess who has the best shot at a nomination for the original-score Oscar. Eight of the 12 profiles in this year’s Variety Oscar-music section are mine: Marco Beltrami, Danny Elfman, Michael Giacchino, Jonny Greenwood, Henry Jackman, Clint Mansell, Thomas Newman and Steven Price. (Colleague Tim Greiving penned the other four: Hans Zimmer, James Newton Howard, Gary Yershon, Mark Mothersbaugh.) Tim and I also collaborated on this year’s overview of Best Song possibilities.