Odds are if you visited a movie theater recently, you might have been there to see Mission: Impossible – Ghost Protocol or War Horse. The former has been deservedly sitting atop the box office charts since its release and the latter is the latest, tear-jerker live-action drama from one of our most beloved filmmakers, Steven Spielberg. And while the fact they’re both currently playing in theaters is more or less the only thing the films have in common, both are undoubtedly improved by their sound and score.
John Williams‘ score to War Horse is one of his best in many years. It perfectly compliments the sweeping story of how a single animal can bring out the best in people at the worst of times. With Mission: Impossible – Ghost Protocol, director Brad Bird and his team use not only Michael Giacchino‘s score, but a steady barrage of sound, to amp up the drama surrounding Ethan Hunt and his disavowed IMF agents.
After the jump, watch in-depth videos and interviews regarding the sound and music from both Brad Bird’s Mission: Impossible – Ghost Protocol and Steven Spielberg’s War Horse. Read More »
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Of the 265 films eligible for Oscars at the 84th Annual Academy Awards in February, 97 of them have been deemed worthy to be nominated for Best Original Score. Thomas Newman (The Adjustment Bureau, The Debt, The Help, The Iron Lady) and Michael Giacchino (Cars 2, Mission: Impossible – Ghost Protocol, Monte Carlo, Super 8) lead all eligible composers with four films this year while Alexandre Desplat (Extremely Loud & Incredibly Close, Harry Potter and the Deathly Hallows Part 2, The Ides of March), Tyler Bates (Conan the Barbarian, The Darkest Hour, The Way), Mark Isham (The Conspirator, Dolphin Tale, Warrior) and Henry Jackman (Puss in Boots, Winnie the Pooh, X-Men First Class) all have three.
Other familiar names are on the list too such as John Williams (The Adventures of Tintin, War Horse), James Newton Howard (Green Lantern, Water for Elephants) and Danny Elfman (Real Steel, Restless) who along with Alberto Iglesias (The Skin I Live In, Tinker Tailor Solider Spy), Patrick Doyle (Rise of the Planet of the Apes, Thor), John Powell (Happy Feet Two, Rio) and Brian Tyler (Battle: Los Angeles, Fast Five) each have two eligible films
Read the full list and some analysis after the jump. Read More »
Posted on Tuesday, December 20th, 2011 by Angie Han
Yup, that’s Michael Giacchino striking the goofy pose in the header image, but don’t let the silliness fool you — he’s one of the hottest film and TV composers working today, and one of the main reasons you should be excited about the rest of this post. After the jump:
- Listen to ten minutes of Michael Giacchino’s score for John Carter
- Quentin Tarantino’s Django Unchained could be getting an unusual take on Frank Sinatra’s “My Way”
- Wes Anderson reunites with Fantastic Mr. Fox composer Alexandre Desplat for Moonrise Kingdom
- The Artist ponders a concert tour with live orchestra
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Over the years, we’ve learned a lot about how Pixar develops and produces their feature animated films, but we’ve learned very little about how the beloved short films get created. So I decided it was time we find out. I shot a message over to Enrico Casarosa, the director of Pixar’s next short film La Luna, who was happy to shed some light on the process. “How Does A Pixar Short Film Get Made?” Find out, after the jump.
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Here’s the first reliable news we’ve had in some time on the sequel to Paramount’s 2009 Star Trek. Studios have been doing some release date shifting today and with Sony pushing Roland Emmerich’s delayed Singularity back to November 2013, Paramount has moved to grab the vacated May 17 2013 date for Star Trek 2.
So the movie that J.J. Abrams will direct based on a script by Abrams, Damon Lindelof, Alex Kurtzman and Roberto Orci will be in prime tentpole position for the summer season in 2013. And the report is that the film will be made in 3D, though we’ve got no other real info on that point just yet. Just imagine all the lens flare with an added visual dimension!
We’ve got another tidbit about the sequel, after the break. Read More »
Cool Posts From Around the Web:
Going to big conventions is a lot of fun until a few days later and you hear what you missed. Recently, this happened at Comic Con when I heard what happened at the Lost panel. Speaking of Lost, that show’s composer, Michael Giacchino, apparently had an amazing panel at the D23 Expo. Which we missed. Giacchino’s panel, The Music of Pixar, unfortunately ran up against Disney’s epic movie panel but, thanks to the magic of YouTube, we can now all watch the Oscar-winning composer talk about his inspiration, and music for, the Pixar films The Incredibles, Ratatouille, Up and Cars 2. We’ve got the full panel embedded after the jump. Read More »
In June 2011, I attended a discussion between filmmaker JJ Abrams (Lost, Alias, Super 8, Star Trek, MI3) and composer Michael Giacchino (Lost, Up, The Incredibles, Star Trek, Let Me In) at the Hammer Museum. The event was actually pretty cool, part of the museum’s “Hammer Conversation” series which pairs two artists together to talk to each other about their careers and art without a moderator. The hour and a half long conversation is interesting and entertaining, and brings new light to the collaboration of these two filmmakers. Watch the video embedded after the jump.
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JJ Abrams is obsessed with mystery, and often hides a lot of easter eggs in his films and tv shows. In the past we’ve chronicled easter eggs in the Pixar movies Toy Story 3, WALL-E, and Up, as well as some other films. So it should come as no surprise that his latest movie, Super 8, is also packed with fun hidden bits.
For example: Did you know that Leonard Nimoy appars in the movie? How about that another one of JJ’s Star Trek stars plays “the monster”? Did you spot the references to Lost, Alias and The Twilight Zone? After the jump I’ve compiled 16 hidden easter eggs which can be found in the movie.
Be warned: for those of you who havent seen the film yet, the following article may contain spoilers.
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FixiousMaximus decided to replace the original score in Toy Story 3‘s climactic junk yard scene with Michael Giacchino‘s music from the television series Lost. You might be surprised at just how well Giacchino’s compositions work within the scene. Watch it now embedded after the jump. (Of course, if you have yet to see the movie, this climactic scene contains obvious spoilers – you have been warned.)
When I screened an early cut of Toy Story 3 at ShoWest, Pixar still had temp music in this sequence from Terminator 2. More times than not, ideas from temp score end up making it into the final cut of the film. You may have noticed that tT\he metal clashing sounds from that film actually influenced the final score in the film.
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