Posted on Wednesday, December 16th, 2020 by Jack Giroux
Michael Giacchino has a swanky workplace.
Due to the pandemic, the Oscar-winning film composer is working from his personal studio, which looks straight out of the 1950s at first glance – it’s filled with instruments, warm colors, and nostalgia. Childhood toys from Spider-Man, Star Trek, Speed Racer, and Planet of the Apes are present in his cabinets, which help keep the composer inspired.
Earlier this year, Giacchino went into his studio to produce his debut album, “Travelogue Vol 1,” along with the Nouvelle Modernica Orchestra. For his long-awaited debut, the composer crafted a throwback to old radio shows, mixing together a science-fiction narrative and lively lounge music. The album is melancholic fun. During our conversation with Giacchino, who recently released a holiday single, we talked about the album. But he also told us about his listening habits, concert experiences, the music he relaxes to, dances to, and draws inspiration from. It’s now time to share that latter part.
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On stage, St. Vincent is sexy, mysterious, and seemingly all-powerful. Offstage, though, she’s Annie Clark – and Annie Clark is a bit of a boring nerd. Or so says The Nowhere Inn, a surreal meta-comedy about fame – and what we demand from the famous people we idolize. Framed as both a faux documentary and a narrative film, The Nowhere Inn finds Clark’s best friend Carrie Brownstein, of Sleater-Kinney and Portlandia fame, setting out to make a documentary about St. Vincent on tour. But as Clark tells us right from the start, in a Blair Witch Project-style warning, things don’t go according to plan, and the documentary was never finished.
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I was watching Gone Girl for the fourth time and admiring how David Fincher (and his cinematographer Jeff Cronenweth) majestically shot Ben Affleck‘s character Nick Dunne’s cat and I began to wonder about the cat’s true role in the story. The cat is featured too prominently to be just a background prop. What did the cat mean?
As I thought about this I began to realize that there had been a lot of big screen kitties this year. The New York Times notes in their review that “cats are the new dogs,” and judging from the list of animals in this article, they might be right. But as I started to think about it more, it wasn’t just cats but dogs and some actually amazing performances by other animals in this past year of film. So the list of best animal performances of 2014 grew and grew. After the jump you will find my examination of why 2014 was the year of animal movie performances and what it all means. Read More »
Bill Murray makes a return of sorts to the sort of character he played decades ago, in St. Vincent. The film casts Murray as a grouchy old dude whose life is invaded by new neighbors: Maggie (Melissa McCarthy) and her young son Oliver. Murray ends up babysitting for the kid, and teaches him the rules of life. Or his character’s own version of the rules of life, anyway. He dispenses pearls of wisdom such as ” You work, you get paid, and you drink.” And then there’s his association with a Russian “lady of the night” played by Naomi Watts. Check out the St. Vincent trailer below.
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It’s been quite a while since Walter Hill directed a film that could be called a total success, but I never stop pulling for the guy who directed The Warriors, 48 Hrs. and Streets of Fire. (Even if he also directed Another 48 Hrs. — nasty stuff.) So I’ll take any shred of positive news about his upcoming work, and this news is seriously positive. Hill is working on a film called St. Vincent that will reunite him with his Johnny Handsome star Mickey Rourke. Now he’s added another Johnny Handsome alum, Forest Whitaker, and some other great cast members that should push the film up on my watch list. Read More »
With the right material, Walter Hill can play a blinder. Very often, however, the scripts he choses just aren’t up to the job – and I suppose the same can be said of Mickey Rourke. I’m definitely rooting for him in the Oscars and, before that, tonight’s BAFTAs.
They worked together in the late 80s, before each suffered a sad commercial and artistic struggle in the 90s. That time around they gave us the undervalued Johnny Handsome, a gangster fable about redemption, revenge and plastic surgery – somewhat prophetic, I feel. This time around they’ll bring us St. Vincent – another gangster fable about redemption and revenge, though apparently not this time tackling cosmetic operations.
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