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As much as I like Michael Giacchino, I would go for JOEL MC NEELY!
His "Shadow of the Empire " score was in the same league as Williams "prequel scores" in my opinion.
And I think he is one of the most underrated composers today! A shame with all those wannabees
"scoring" big blockbusters out there.
It really is great, the McNeely score. It's just below Revenge Of The Sith in my estimation, though next time I hear "Duel Of The Fates," The Phantom Menace will be the best score in the history of all the land again. Talk about setting the bar way too high for the rest of the score, right?
Anyway, I like the Giacchino quote. His head's in the right place, at least.
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Doing STAR WARS without John Williams' music would be akin to doing DER RING DES NIBELUNGEN without Richard Wagner's music. In other words, the narrative and the music are inseperable. Both works are "music drama", to use Wagner's preferred phrase.
You could hire any number of composers to "adapt" Williams' music. It won't change the fact that Williams, at one time, was talented enough to be the prime dramatic "force" that propelled this franchise to super-success.
Personally, I cringe when I hear Giacchino's STAR TREK music, because it attempts to score spectacle, rather than character, and the best TREK music has always scored the weird, wild and the inter-personal, augmented with a periodical Enterprise fanfare.
Goldsmith and Horner completely got It. So did the best of the Original Series composers. Michael Giacchino is better off scoring Pixar movies and TV shows.
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Erik Woods, I agree that Giacchino is a competant composer, entirely suited to big-movie scoring. But working within a J.J. Abrams conceptual framework, which is about as pulpy and weird as an episode of GREY'S ANATOMY, won't inspire Giacchino to write anything fresh, original or, yes, downright weird.
J.J. Abrams conceptual framework is, frankly, too staid and bourgeois for pulp sci-fi, of which STAR WARS and STAR TREK are the most successful corporate franchise versions. Then again, that's the problem in a nutshell phrase: "corporate franchise". These properties won't have any chance of being what they used to be unless the money honchos let a maverick or two push them into new territory.
"Maverick" and J.J. Abrams: compatible concepts? No. "Maverick" and Michael Giacchino: compatible concepts? Decidedly possible, provided he gets enough creative freedom, which John Lasseter allowed him.
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And you think that JJ doesn't give Giacchino any creative freedom? You can't be serious?
-Erik-
J.J. Abrams can't very well give Giacchino any creative freedom if he doesn't posess any himself, wouldn't you say?
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Giacchino's STAR TREK is great!
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Will it be STAR TREK: INTO DARKNESS? Or will it simply be yet another pastiche of STAR TREK II: THE WRATH OF KHAN? You do realize that most STAR TREK movies since 1982 have been, in large part, structurally based on that one movie, J.J. Abrams movie included.
What the heck is a Romulan Eric Bana but yet another Khan rehash? With another warmed-over regurgitation of Khan, I wouldn't expect Giacchino to be inspired.
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Original Material = Original Compositions.
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That might be true but are you saying that a film based on previous material will NOT inspire an "original composition?"
I can't wait to read your answer.
If scriptwriters Kurtzmann and Orci were truly serious about giving us a movie that delivers on the promise of "...we want to also blaze our own trail here. The idea of just kind of playing cover songs and classics again—we feel like there has to be a little more of that, but there has to be a lot of original music in the set list to be worthy of your time and attention. You don’t want to see a remake, you want to see a new movie.” then we'll probably hear Giacchino writing music worthy of truly original writing.
I'm not holding my breath.
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Posted: |
Apr 8, 2013 - 11:07 AM
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By: |
LeHah
(Member)
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I'm with BornOfAJackal on this, actually. JJ Abrams has a career because of his father's good name, not because he's especially talented. He's a producer by trade (as was his father) - he sets up franchises and "tent poles" them into existence like Alias and Lost - and basically pushes money and talent around to form something.
The thing is is that his work is nothing but self-affirming (how many nods to his previous works and his own family were in Super 8 again?) and bad pastiche. Admittedly, Star Trek as a franchise is very guilty of this as a whole but mostly because of the fans: the most popular Trek movies (II, IV, VI and First Contact) are the least like Trek while unpopular ones (TMP, III, V and Insurrection... *maybe* Generations) are much more in line with the Roddenberry ideal. Arguably, the "dumbing down" that a lot of people complained about the 2009 movie has been a long-form thing. (Nemesis anyone?)
Now the good thing here about Star Wars VII is that Abrams is a director-for-hire and someone else is writing the screenplay and Disney holds all the cards. They want him, but on their terms, so to speak - which gives me some comfort that there will be "quality control" from The Mouse. On the other hand, as Super 8 showed us, Abrams can do pastiche.
And to be honest, pastiche is safe and easy and will make a lot of people happy.
It also won't be anything new or original or even creative. I'm not saying it'll be dead on arrival but when you hire the guy who makes an entire film based on tone and doesn't care about the plot, you're in for some empty commercialism, kids.
Giacchino is a fine artist and I'd be interested in him doing Star Wars with anyone else at the helm. Abrams has boxed him into a musical square where the orchestra comments on the special effects and says nothing about the character, save when they make an entrance. Admittedly, that might say more about the director than the composer ... but one follows the other's directions.
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Personally, I cringe when I hear Giacchino's STAR TREK music, because it attempts to score spectacle, rather than character, and the best TREK music has always scored the weird, wild and the inter-personal, augmented with a periodical Enterprise fanfare.
Here's my counterargument to the statement above...
Truly. I watched that a couple of weeks ago. The music carries the whole thing, quite at odds with the 'splosions.
OTOH, (I felt this way about Lord of the Rings, too) when your whole movie is dialed to 11, the only way to call attention is to shut up.
I haven't read the whole thread but I can't imagine it not being Giacchino. The only way it won't be is if Williams demands to score it. And I can't see that happening.
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