When scoring a movie, composer Michael Giacchino always asks himself, "How I would feel in this moment?" It's a question that led to introspective, somber, and often thundering music in Matt Reeves' "The Batman." All scores are inherently personal to Giacchino, of course, but even when he scores a man in a cape chasing a mobster called the Penguin, he puts himself in the characters' shoes.
"The Werewolf By Night" director has repeatedly collaborated with "The Batman" director, Matt Reeves. On their two "Planet of the Apes" films, they also created atmospheres driven more by internal conflict than set-pieces. With "The Batman," the score struck a nice balance between the quiet and the operatic.
When we talked to the composer about his Marvel special, we couldn't help but ask a few questions about his experience on the DC Comics film, and how his score came to be.
'He's Desecrating The...
"The Werewolf By Night" director has repeatedly collaborated with "The Batman" director, Matt Reeves. On their two "Planet of the Apes" films, they also created atmospheres driven more by internal conflict than set-pieces. With "The Batman," the score struck a nice balance between the quiet and the operatic.
When we talked to the composer about his Marvel special, we couldn't help but ask a few questions about his experience on the DC Comics film, and how his score came to be.
'He's Desecrating The...
- 10/14/2022
- by Jack Giroux
- Slash Film
The only thing better than Michael Giacchino's film and TV scores might be his title tracks. At a certain point in his career, the ultra-busy composer decided he was done giving his musical themes standard (read: boring) names like "[Name of Character]'s Suite" or those describing the scene they accompany in plain terms. This, in turn, is how we ended up with such golden dad joke track titles as "Suite, Suite Dino Revenge" from the "Jurassic World Dominion" soundtrack or "Foster? I Barely Know Her!" from "Thor: Love and Thunder" (to cite two recent examples), and the world is a much improved place for it.
Even in the case of Matt Reeves' Very Serious comic book film "The Batman," Giacchino filled his soundtrack with pun-y track titles like "Collar ID" and "Are You a Kenzie or a Can't-zie?" Naturally, he and his musical collaborators used Catwoman's presence in the movie as...
Even in the case of Matt Reeves' Very Serious comic book film "The Batman," Giacchino filled his soundtrack with pun-y track titles like "Collar ID" and "Are You a Kenzie or a Can't-zie?" Naturally, he and his musical collaborators used Catwoman's presence in the movie as...
- 10/14/2022
- by Sandy Schaefer
- Slash Film
“1917” and “Ford v Ferrari” split the top sound editing prizes Sunday night at the 67th annual Mpse Golden Reel Awards at the Westin Bonaventure Hotel. “1917” took Dialogue/Adr and “Ford v Ferrari” scored for Effects/Foley. The Elton John musical fantasy, “Rocketman,” earned Musical honors and “Jojo Rabbit” topped Music Underscore.
The other Feature awards went to “Parasite” (Foreign Language), “Toy Story 4” (Animation), and “Echo in the Canyon” (Documentary).
This sets up a competitive sound editing Oscar race between Sam Mendes’ innovative, continuous-shot World War I drama and James Mangold’s thrilling race car biopic. “The absence of visible edits meant it would have been easy to be overwhelmed with sound at times, never being able to cut to a different location to reset,” said Oliver Tarney, supervising sound editor of “1917.” “We worked hard at making sure there were always multiple layers of detail in the work we were doing.
The other Feature awards went to “Parasite” (Foreign Language), “Toy Story 4” (Animation), and “Echo in the Canyon” (Documentary).
This sets up a competitive sound editing Oscar race between Sam Mendes’ innovative, continuous-shot World War I drama and James Mangold’s thrilling race car biopic. “The absence of visible edits meant it would have been easy to be overwhelmed with sound at times, never being able to cut to a different location to reset,” said Oliver Tarney, supervising sound editor of “1917.” “We worked hard at making sure there were always multiple layers of detail in the work we were doing.
- 1/20/2020
- by Bill Desowitz
- Indiewire
It's all about the sound! The Motion Picture Sound Editors unveiled the winners of the 2016 Golden Reel Awards and "Mad Max: Fury Road" and "The Revenant" tied for the Best Sound Editing: Feature English Language . FX/Foley. For my Oscar predictions, I chose "Mad Max" for both Sound Editing and Mixing! See my full Oscar predictions here.
Here's the full list of winners of the Golden Reel Awards:
Feature Film
Best Sound Editing in Feature Film: Music Score
Star Wars: The Force Awakens (Walt Disney Studios Motion Pictures)
Supervising Music Editor: Ramiro Belgardt
Music Editor: Paul Apelgren
Best Sound Editing in Feature Film: Music in a Musical
Love & Mercy (Roadside Attractions)
Music Editor: Nicholas Renbeck
Best Sound Editing: Feature English Language . Dialogue/Adr
Bridge Of Spies (Walt Disney Studios Motion Pictures)
Supervising Sound Editors: Richard Hymns, Gary Rydstrom
Supervising Dialogue Editor: Brian Chumney
Supervising Adr Editor: Steve Slanec
Best Sound...
Here's the full list of winners of the Golden Reel Awards:
Feature Film
Best Sound Editing in Feature Film: Music Score
Star Wars: The Force Awakens (Walt Disney Studios Motion Pictures)
Supervising Music Editor: Ramiro Belgardt
Music Editor: Paul Apelgren
Best Sound Editing in Feature Film: Music in a Musical
Love & Mercy (Roadside Attractions)
Music Editor: Nicholas Renbeck
Best Sound Editing: Feature English Language . Dialogue/Adr
Bridge Of Spies (Walt Disney Studios Motion Pictures)
Supervising Sound Editors: Richard Hymns, Gary Rydstrom
Supervising Dialogue Editor: Brian Chumney
Supervising Adr Editor: Steve Slanec
Best Sound...
- 2/28/2016
- by Manny
- Manny the Movie Guy
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To mark Pixar's Ratatouille being scored by a live orchestra at the Royal Albert Hall, we chat to film composer Michael Giacchino...
Ratatouille returns to the big screen this Wednesday - with an orchestra in tow. Brad Bird's 2007 Pixar animation is showing at the Royal Albert Hall, accompanied by a full orchestra.
If you're one of the 12 people who haven't seen it, the film follows food-loving rat Remy as he secretly teams up with a hapless kitchen boy in Paris to create beautiful dishes. But that alchemy of ingredients takes place place off-screen too: between the visuals and Michael Giacchino's Grammy-winning and Oscar-nominated score.
As life-long fans of his work, from Jurassic World and Mission: Impossible to Inside Out and J.J. Abrams' Star Trek reboot, we dropped him a note to quiz him on how he composes, why he names his tracks with such bad puns - and,...
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To mark Pixar's Ratatouille being scored by a live orchestra at the Royal Albert Hall, we chat to film composer Michael Giacchino...
Ratatouille returns to the big screen this Wednesday - with an orchestra in tow. Brad Bird's 2007 Pixar animation is showing at the Royal Albert Hall, accompanied by a full orchestra.
If you're one of the 12 people who haven't seen it, the film follows food-loving rat Remy as he secretly teams up with a hapless kitchen boy in Paris to create beautiful dishes. But that alchemy of ingredients takes place place off-screen too: between the visuals and Michael Giacchino's Grammy-winning and Oscar-nominated score.
As life-long fans of his work, from Jurassic World and Mission: Impossible to Inside Out and J.J. Abrams' Star Trek reboot, we dropped him a note to quiz him on how he composes, why he names his tracks with such bad puns - and,...
- 10/26/2015
- by simonbrew
- Den of Geek
Hollywood’s sound pros nominated Birdman and Dawn of the Planet of the Apes for three awards apiece as the Motion Picture Sound Editors unveiled nods for its 62nd Mpse Golden Reel Awards, honoring the best feature film, television, animation and computer entertainment work of the year.
“2014 was a fantastic year for sound,” said Mpse president Frank Morrone. “The advent of new distribution channels, streaming services and gaming platforms is creating additional opportunities for sound artists to practice their craft beyond the traditional venues of film and television. This year’s nominations reflect that change, spanning an amazing diversity of mediums and genres, all executed at the highest level of creativity. We are truly inspired and impressed by the work of our colleagues.”
This year’s Golden Reels will additionally honor Noah director Darren Aronofsky with the Mpse’s annual Filmmaker Award. Oscar winner Skip Lievsay, known for his work...
“2014 was a fantastic year for sound,” said Mpse president Frank Morrone. “The advent of new distribution channels, streaming services and gaming platforms is creating additional opportunities for sound artists to practice their craft beyond the traditional venues of film and television. This year’s nominations reflect that change, spanning an amazing diversity of mediums and genres, all executed at the highest level of creativity. We are truly inspired and impressed by the work of our colleagues.”
This year’s Golden Reels will additionally honor Noah director Darren Aronofsky with the Mpse’s annual Filmmaker Award. Oscar winner Skip Lievsay, known for his work...
- 1/14/2015
- by Jen Yamato
- Deadline
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