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I hate them too. Always have. Spend more time learning how to write a progressive theme and less time writing unfunny puns. This. Those puns take some effort to come up with, however silly they are. but wouldn't that effort be better applied to fleshing out his themes a bit? And does it have to be nearly every single one of his track titles? They are not that funny at all, even on a groan-worthy level.
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Regardless of who writes them, I find them annoying AND distracting. I know not everyone cares what a cue is called but for those of us who do, the CONSTANT puns on EVERY release are a major turn-off from a composer who is already pretty musically milquetoast.
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He (or his team) made a Simpsons reference in the STAR TREK BEYOND cue titles, so I am, and will forever remain, pro-pun.
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I prefer them to the uber pretentious Titanic cues titles or some of John Williams' "gee whiz" apple pie titles. And thankfully none of them them have reel numbers.
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milquetoast. Now there's a word you don't hear enough of.
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I do rather prefer bald, basic Bernard Herrmann-style track titles like The Car, The Murder, The House etc. Giacchino's titles - and some of Christopher Young's - do give the impression it's all a bit of a lark and, yes, not to be taken very seriously.
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I agree with those who mentioned composers like Herrmann, who succinctly summarized the cue briefly. And though I understand his music team or music editor's choices, having to name an endless list of cues, and be somewhat creative in that endeavor, I prefer simplicity to creative. The cue title should give an indication of what it was for, the scene, the moment, the experience. Reading Giacchino's music titles sounds like an episode of MST3K or Rifftrax.
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I notice that some of the critics here of Mr Giacchino’s track titles have user names which are themselves plays on words. Hmmmm It’s pundemonium, I tells ya! Ah, the irony. As I said, Giacchino writes lots of music for big blockbuster stuff... I have no problem with punny-funny track titles for movies like THE BATMAN. Sure, in movies like SCHINDLER'S LIST or SAVING PRIVATE RYAN, they might be out of place, but not in Star Trek or Jurrasic-Park movies. If it was truly matter of factly, you could just do what many classical composers have done, and call all tracks according to their function, without any reference to anything specific. (As in: Movement I. - Allegro). In fact, there are Ennio Morricone scores that are titled like that (like in THE PROFESSIONEL, where the Main theme is called "Le Vent, Le Cri", and other track titles simply called "Le Vent, Le Cri first Variation", "Le Vent, Le Cri second Variation", and, and. There are quite a few Morricone soundtracks where track titles are basically just called "Theme One" and "Theme Two" and then "Theme One, Variation 3". etc. I got no problem with that either. The Giacchino puns are eye-winking, "don't be so serious" types of titles, and I generally don't mind taking a lot of things not so seriously. :-)
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Everyone always prefers that scores are presented as the composer intended. Why does the composer's "vision" only apply to the music and not the track titles?
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Right, well, the default position with those that are expanded with the composer's approval is that it presents the music as they intended. Giachhino wants to present his music with goofy pun track titles. And I'm sorry, but "Keep Calm and Baryonyx" is genius.
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