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 Posted:   Jan 18, 2024 - 7:25 AM   
 By:   Jason LeBlanc   (Member)


… I think I found my IF. @m_giacchino @ifmovie




https://www.instagram.com/p/C2NOyeer-s6/

 
 
 Posted:   Jan 21, 2024 - 2:01 AM   
 By:   Hurdy Gurdy   (Member)

I played SPEED RACER, JOHN CARTER and JUPITER ASCENDING yesterday.
Man, how I wish to have THAT Michael Giacchino being heard on this one.

 
 Posted:   Jan 21, 2024 - 3:35 AM   
 By:   SBD   (Member)

I played SPEED RACER, JOHN CARTER and JUPITER ASCENDING yesterday.
Man, how I wish to have THAT Michael Giacchino being heard on this one.


How do you know he won't be there?

He seems an apt choice given that this looks like a live-action Pixar movie, but how amazing a scoring opportunity would this have been for A Quiet Place's Marco Beltrami? It could've been one of his best scores.

 
 
 Posted:   Jan 21, 2024 - 6:19 AM   
 By:   Hurdy Gurdy   (Member)

There was a spark, vibrancy, enthusiasm... call it what you will...in those 3 scores I replayed that seems largely missing from his more recent efforts.
Yes, composers develop and mature and grow, but I missed that exhuberance I heard within them.

 
 
 Posted:   May 5, 2024 - 3:47 PM   
 By:   LB Makes Stuff   (Member)

Video with some music

https://youtu.be/H-Lp5ygQLoA?si=BQ-ZHcw0gRAoMQAl

 
 Posted:   May 6, 2024 - 2:09 AM   
 By:   CindyLover   (Member)


Will this be included?

 
 Posted:   May 16, 2024 - 5:26 AM   
 By:   Jason LeBlanc   (Member)



1 The IF Suite 7:20
2 A Blaze of Stories 3:07
3 Trepidation Down Memory Lane 1:33
4 One Man's Hospital is Another Girl's Pain 1:40
5 Stairing Down Your Fears 1:52
6 Don't Get Imaginaried Away 2:52
7 Bide and Reminisce 0:50
8 A Room with a Blue 3:20
9 An Imaginary Home Companion 2:51
10 The Balance of Flower 1:10
11 One Blue Over the Cuckoo's Nest 1:31
12 Advanced Placement Therapy 2:28
13 Magical M-IF-tery Tour 6:08
14 Flowers for Benjamin 1:15
15 Brief Interviews with Fastidious Friends 6:44
16 Remembrance of Things Outcast 2:21
17 Granny Get Your Fun 2:25
18 Blue-min' Human 1:41
19 He Totally Blue It 2:57
20 Croissants and Croissants-ability 2:56
21 IF-Win Statement 1:33
22 The Lost City of Bea 6:29
23 Calvin and Jobs 4:36
24 The ALTERNATIVE IF Suite 6:40
Total: 1:16:19

https://music.apple.com/nz/album/thelma-the-unicorn-soundtrack-from-the-netflix-film/1743466045
https://www.qobuz.com/nz-en/album/if-music-from-the-motion-picture-michael-giacchino/k4ciqekzwv6ga

 
 Posted:   May 17, 2024 - 11:15 AM   
 By:   SchiffyM   (Member)

For what it's worth, the NY Times review references…

"…a film where Michael Giacchino’s misty violins never stop insisting how to feel…"

I expect more than a few people here will take exception to this. But there you have it.

 
 Posted:   May 17, 2024 - 4:48 PM   
 By:   Mr. Jack   (Member)

For what it's worth, the NY Times review references…

"…a film where Michael Giacchino’s misty violins never stop insisting how to feel…"

I expect more than a few people here will take exception to this. But there you have it.


Movie critics refer to a movie's score as being intrusive, button-pushing or saccharine = one of the best of the year.

 
 
 Posted:   May 17, 2024 - 5:07 PM   
 By:   Hurdy Gurdy   (Member)

Yes.
I believe they praised the Oppenheimer score to the hilt and rewarded it with garlands.
So there you have it.
I have found myself enjoying, more often than not, a score that is generally reviled by modern day critics.

 
 Posted:   May 17, 2024 - 5:43 PM   
 By:   Mr. Jack   (Member)

Personally, I loved the score AND movie. It's like a live-action version of a Studio Ghibli daydream, and if you get on its benign wavelength, you will be utterly charmed. There's admittedly a bit too MUCH music (a common problem with Giacchino...if even 25% of the cues had been left out or truncated, it would have been better for the film), but it's undeniably tender and melodic music that you rarely hear in contemporary movies. I hope the movie finds an audience, but with a Garfield movie coming out in just a week, family audiences will likely skip this in favor of a recognizable IP, and that's a shame. This is something that will find an appreciative audience over time.

 
 
 Posted:   May 17, 2024 - 7:05 PM   
 By:   TJ   (Member)

I have no complaints about it so far! Very melodic. smile

 
 Posted:   May 17, 2024 - 8:49 PM   
 By:   SchiffyM   (Member)

Movie critics refer to a movie's score as being intrusive, button-pushing or saccharine = one of the best of the year.

Personally, I think that’s an oversimplification. If the score is trying to sell you something you’re not buying, the music may be great music, but not a great film score.

I haven’t seen IF (and I never will), but to me, Hook is a prime example of this. The music tries very hard to sell you magic, but the movie is so leaden, the music in the film lands with a thud. I love the album(s) but I can’t defend the music in the movie.

 
 
 Posted:   May 18, 2024 - 12:03 AM   
 By:   keky   (Member)

I haven’t seen IF (and I never will), but to me, Hook is a prime example of this. The music tries very hard to sell you magic, but the movie is so leaden, the music in the film lands with a thud. I love the album(s) but I can’t defend the music in the movie.

I disagree. For me the score in Hook worked wonders. It managed to lift up the entire movie to a much higher level and while I love the movie as well I have to admit that without Williams' magical score it would be less enjoyable.

 
 
 Posted:   May 18, 2024 - 12:51 AM   
 By:   Willgoldnewtonbarrygrusin   (Member)

For what it's worth, the NY Times review references…

"…a film where Michael Giacchino’s misty violins never stop insisting how to feel…"

I expect more than a few people here will take exception to this. But there you have it.


Reviewers who use those cheap shot criticisms just cater to that particular feeling of superiority which arose after the 90‘s.

However, they completely forget that every single bit of a movie is designed to make the audience feel the way the filmmakers intend.

What’s next: oh, the editing is so manipulative - and the cinematography just did not let me imagine the setting as I wanted to, and those actors behaving as if I did not understand the story without them…

 
 
 Posted:   May 18, 2024 - 9:53 AM   
 By:   Hurdy Gurdy   (Member)

Yes, I wonder how that critic deals with scores like JAWS and E.T, which are continuously telling the audience how to feel.

Oh wait, they're two of the greatest Hollywood scores ever written.

 
 Posted:   May 18, 2024 - 10:19 AM   
 By:   SchiffyM   (Member)

Yes, I wonder how that critic deals with scores like JAWS and E.T, which are continuously telling the audience how to feel.

Oh wait, they're two of the greatest Hollywood scores ever written.


Though I do recall Pauline Kael carping about the E.T. score, by and large critics applauded it.

But again, they were buying what the music was selling.

Surely nobody here would suggest that there are never films where the music is too pushy, right?

So then it just comes down to which ones. And of course we won't all agree, any more than we all agree on whether pancakes are better than waffles. But it's not like all critics agree, either.

 
 
 Posted:   May 18, 2024 - 1:16 PM   
 By:   Willgoldnewtonbarrygrusin   (Member)

Yes, I wonder how that critic deals with scores like JAWS and E.T, which are continuously telling the audience how to feel.

Oh wait, they're two of the greatest Hollywood scores ever written.


Though I do recall Pauline Kael carping about the E.T. score, by and large critics applauded it.

But again, they were buying what the music was selling.

Surely nobody here would suggest that there are never films where the music is too pushy, right?

So then it just comes down to which ones. And of course we won't all agree, any more than we all agree on whether pancakes are better than waffles. But it's not like all critics agree, either.


True. It often seems, however, that a reviewer jumps on every noticeable score just because it is using recognizable themes and motifs.

And on the other hand these reviewers praise scores which don’t have themes but, to my ears, are very noticeable, too.

 
 
 Posted:   May 19, 2024 - 10:48 AM   
 By:   Mephariel   (Member)

For what it's worth, the NY Times review references…

"…a film where Michael Giacchino’s misty violins never stop insisting how to feel…"

I expect more than a few people here will take exception to this. But there you have it.


Reviewers who use those cheap shot criticisms just cater to that particular feeling of superiority which arose after the 90‘s.

However, they completely forget that every single bit of a movie is designed to make the audience feel the way the filmmakers intend.

What’s next: oh, the editing is so manipulative - and the cinematography just did not let me imagine the setting as I wanted to, and those actors behaving as if I did not understand the story without them…


To be fair, the editing can be manipulative though. Especially during fight scenes and action scenes. Like how the camera constantly shakes to cover up the fact that the actors can't fight or the scene is shot in a certain way to makes you think the set is bigger than it or hide a small budget. Acting can be manipulative as well. Like I get what Scott is trying to do with Napoleon, but at times I feel like Phoenix spent every scene trying to convince me he is this loner, asshole leader.

 
 Posted:   May 28, 2024 - 6:18 AM   
 By:   Jason LeBlanc   (Member)

Composer Michael Giacchino Talks ‘IF’

https://www.thewrap.com/michael-giacchino-if-music-directing-the-batman-2-interview/

 
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