“For me, when starts to float away, it’s about getting as quiet as possible,” he says. Whereas Williams in the eighties may have gone big and bold with symphonic orchestra, Giacchino opted for the opposite effect. Take “Letting Go,” the emotional finale of the film, which plays when the alien makes it to his ship and beckons the young hero’s locket that contains a picture of his late mother. Yet he was committed to scoring the movie with his own voice. and I both were sitting on the scoring stage saying, ‘Can you believe we’re here with Steven Spielberg?!’” Working on an Amblin film, in the footsteps of Spielberg composer John Williams, was a dream come true for Giacchino. Lesson: Do the Opposite of What You’re “Supposed” to Do Whatever I put down, I want it to be a reflection of whatever I felt at that moment,” Giacchino says.
Like Lost, nothing in the beginning was planned to make a return by the end. His work on Up began with “Married Life” and exploded into the carnival of sounds that frequent the later scenes. On Up and in most of his projects, Giacchino has the distinct advantage of composing chronologically. As the two age, the music slows down, ending with Ellie’s funeral and a long bit of piano playing. So it was about building an idea and theme that kept coming back in different ways.” The key was repeating the melody over and over, each time altering its orchestration and key to echo the mood. “But by doing so, you’re setting people up to be completely sad when the inevitable happens. “What you have to do is spend time celebrating this couple’s life together,” he says. It was an expectedly delicate process for the composer. Giacchino won an Oscar for his work on Pixar’s Up, thanks in no small part to the film’s four-minute opening sequence, depicting the marriage of Carl Fredericksen and his wife Ellie. (Oh and one small-screen lesson from Lost because … well, Lost.) How did he know that arrangement at that moment would work that well? Here’s a look back at Giacchino’s finest big-screen moments and the composing lessons they each illustrate.
Vulture talked to Giacchino about the instincts, inspirations, and instrumentals that helped him discover the sounds of his feature film work.
They’re the culmination of the composer’s vast pop culture memory, and when Giacchino starts banging out the notes that will eventually comprise the score to a movie like The Incredibles, he’s tapping into his affection for film and letting it pour. Be it the forties French jazz of Ratatouille, the hyperactive pulsation of Speed Racer, the retro-futuristic adventure ballads of Star Trek, or the unexpected melancholia of Up, Giacchino’s orchestral sounds aren’t just logical responses to a picture. Each one of composer Michael Giacchino’s movie scores took a lifetime to write.
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