Personal quote If you want to clone John Williams, do it right and make sure it counts. At least that prospect worked for a long time with Michael Giacchino, a composer that seemed stuck for a very long time in the video game business. But in several years he has risen from sheer obscurtity to stardom Hollywood. A simple meeting with J.J. Abrams was needed to get him there. And now he's known as the composer of The Incredibles, Lost, Mission: Impossible III and who knows the next Star Trek film. Before that he was known as the composer of the terrific Medal of Honor series. In those series he captivated most if not all music fans and now he's doing on the big screen or your small Television chamber. Whether we're lost, feeling incredible or doing the impossible, somehow Michael Giacchino is there to inspire his creative vision upon us, and he's most definitely one of the most inspiring choices Hollywood has to offer. And when he's called to duty, you'll know the effect, the wizardry, the brilliance and any other alias' you can use for that effect. Biography Michael Giacchino was one of the many persons that was captivated by the magic of Star Wars. Especially Williams' classic scores was the reason why Giacchino went to study music. He studied at The School of Visual Arts in New York where he majored in Film production, he also scored smaller independent films. Graduating to composition studies at Juliard, he started seeking out for jobs. He was transferred to Disney and he was scoring full length independent features. When Dreamworks was started, Giacchino felt that he was in the right place. This allowed Giacchino to work with Hollywood director Steven Spielberg, he was asked to score music for the Playstation game The Lost World. This became the first orchestral score (along with Small Soldiers) written for a console video game, and was brought to life by the Northwest Sinfonia. Since that day Michael Giacchino became famous for his orchestral scores for video games such as Medal of Honor and its sequels Medal of Honor Underground and Medal of Honor: Allied Assault. Sadly, his brilliant Medal of Honor: Frontline is his last score for the series, hopefully giving him more room in the bigger business. After that he and many other creators of the Medal of Honor series dropped out and moved to other production houses. There, Giacchino wrote the music for the video games Call of Duty and Secret Weapons over Normandy. Giacchino also scored the project of Steven Spielberg, the network movie Semper Fi, the series Alias and the movie Sin. The Incredibles (Pixar) was the big breakthrough for Michael Giacchino in the A-list of composers. 2004 was the breakthrough year (especially due to the success of Lost), 2005 the confirmation with none other then 6 movie projects, amongst them Sky High, The Family Stone and Looking for Comedy in the Muslin World. His biggest score to date is, J.J. Abrams' M:I-3. But that soon will change because he keeps breathing emotion in every Lost episode, scored Ratatouille and is bound to score more Abrams material, such as the new Star Trek movie. In between he returned to his most beloved genre with another winner namely Medal of Honor: Airborne.
(on Medal of Honor) 2000 It's not like a film where you come up with a theme or two and then are able to work those themes in and out of your music for the next forty minutes. On Medal of Honor everything had to have its own specific music or theme, so if you pull out the CD and listen to a track you'd know exactly what part of the game this was from. (on Medal of Honor) 2000 In the past, the only interview you would find anywhere would be a John Williams interview, but now you can find out about so many different composers. The perfect example is that people are interviewing me and I'm just a nobody. (on the progress of film music) November 11, 2004 The greatest score in the world might be great on a CD, but it's really not going to help your movie be better! Which is why you see a lot of scores thrown out, because they see that the movie isn't working, and the last thing they can do to change the movie is to throw out the score and put a new one in. It’s sad, actually. (overall impression)
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