A double dip with the great Michael Giacchino, who scored The Incredibles and Ratatouille for Brad Bird, The Family Stone for Tom Bezucha, and The Full JJ (Abrams) with Alias, Lost, Six Degrees, Mission: Impossible III, and soon-to-come, Star Trek: The Next Iteration.
MikeG is one of Hollywood’s good guys. See him work in this MCN Exclusive Disney behind the scenes on scoring The Rat. And then…
amit on: Review: Frozen 2 (spoiler-free)
movieman on: BYOB Fall Back, Film Forward
Christian on: BYOB Fall Back, Film Forward
movieman on: Review: Marriage Story (spoilers only in the broadest sense)
movieman on: BYOB Fall Back, Film Forward
movieman on: Review: Frozen 2 (spoiler-free)
YancySkancy on: Review: Little Women (no spoilers)
Hcat on: Why You Should Be Afraid Of The End Of The Paramount Decree
movieman on: BYOB Fall Back, Film Forward
movieman on: I Should Be Doing Box Office
Review: Little Women (no spoilers)
Why You Should Be Afraid Of The End Of The Paramount Decree
Review: Frozen 2 (spoiler-free)
Review: Marriage Story (spoilers only in the broadest sense)
see all »
[twitter-widget username="DavidPoland" hiderss="true" hidereplies="true" hidefrom="true" items="3" showts="60" title=" " targetBlank="true"][twitter-widget username="MCNTweets" hiderss="true" hidereplies="true" hidefrom="true" items="3" showts="60" title=" " targetBlank="true"]
It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
As I said in another thread:
Poland, I just watched your lunchg with Michaerl Giacchino. Good interview. He’s a hell of a guy who’s written some of my favorite music recently. Ratatouille is my favorite soundtrack of the year. Thanks for asking him about Lost even though you don’t watch it.
His scoring work for “Lost” really is peerless in television – especially in this day and age, where so many shows rely on pop songs.
^ Or rely on “sweetened” synth music. Giacchino’s insistence on using live orchestration on TV is to be strongly commended.
Agreed wholeheartedly… his Lost work is gorgeous. I gulped down the first two seasons on Netflix over the past two months. Can’t wait to jump into the 3rd.
Take a listen…
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=168411015
INCREDIBLES of course is a classic, but I also love his work on LOST (Season 3 was excellent).
I’m looking forward to hearing his score for STAR TREK.
And Crow, you’re in for a treat Season 3-wise.
Pity we need to wait til Feb 2008 for Season 4.
Season 3 of LOST takes patience, but man…when it gets going….wow.
Giacchino makes an interesting comment in Poland’s interview. At the beginning of season 3 the ending date for the series was still open-ended. Consequently Lindelof and Cuse and to block the storyline in a holding pattern until negotiations with ABC could conclude. It wasn’t until everyone agreed to a final 48 episode arc that they could move the plot along.
This would definitely account for the meandering lackadaisical structure of the first 6-8 episodes of season 3.
The first 6 episodes of season 3 have their share of problems (there are still some memorable moments), but any LOST fan will tell you that when you’re done with the season as a whole it feels very satisfying. I’m sure for some the fantastic turnaround was actually quite shocking, and with this new announcement of an end date and only 16 episodes per season (the pacing will be better not to mention the extra time the powers that be will have to put into the show), well, I think it’s going to continue to kick ass.
OK OK, that’s enough season 3 talk here!
(sticking fingers in ears, shutting eyes and singing)
“Sha la la la la la la la la la la te da”
“the pacing will be better not to mention the extra time the powers that be will have to put into the show”
Well, once the guilds are all on strike next summer, the powewrs that be will have an extra, extra long time to work on the show.
i couldn’t get that clip to play, but i had to laugh cuz David Poland totally looks like he’s toking a choice doob in that still picture