11 MAY 2008
iTUNES TO RELEASE MUSIC WRITTEN BY MICHAEL GIACCHINO FROM PARAMOUNT PICTURES’ “CLOVERFIELD”
HOLLYWOOD, CA – April 23, 2008 – On April 29th, iTunes will release the end credits overture from "Cloverfield" by Michael Giacchino. For the first time, the full length orchestral piece, entitled "ROAR!", will be available exclusively from iTunes paralleling the release of the film for download. Giacchino’s “ROAR!” showcases an epic monster movie style, one that captivated audience members throughout the end credits. The film version of “ROAR!” totaled 9:45. The iTunes release finally makes available the full length, unedited piece that runs 12:15.
“Cloverfield” released theatrically on January 18, 2008. Directed by Matt Reeves, produced by J.J. Abrams and Bryan Burk, and written by Drew Goddard, it stars Lizzy Caplan, T.J. Miller, Michael Stahl-David, Odette Yustman and Jessica Lucas. The film follows five young New Yorkers who throw their friend a going-away party on the same night a gigantic monster attacks the city. The film broke box office records on its opening weekend, totaling over $40 million.
Michael Giacchino recently garnered an Academy Award nomination, and won a Grammy for his score for Pixar’s “Ratatouille”. His previous film scores include “Mission Impossible III”, “The Family Stone” and Pixar’s “The Incredibles.” His work has been enjoyed on television in the shows Alias and LOST, for which he won an Emmy in 2006. In addition to film and television work, he is well known for his scores for video games such as “Medal of Honor”, “Call of Duty”, and Steven Spielberg’s “Lost World.”
Upcoming projects include May’s release of The Wachowski Brothers’ “Speed Racer” and “Star Trek” directed by JJ Abrams.
So, Michael, please may you tell us: how, when and why did you come on the project CLOVERFIELD?
Michael GIACCHINO - When JJ Abrams told me he was making a monster movie - I basically said, “There is no way on earth you are making a monster movie without me!” He pointed out that the film was to have no score, being that it was to be from the point of view of a hand held video camera. I suggested that perhaps we should do an Overture that plays AFTER the film - during the end credits. A sort of suite that retells the story of the film through music. He and producer Bryan Burk and Director Matt Reeves all agreed, and that’s how it all happened.
What were the requests you got from the crew?
There were no real requests other then it should sound epic and huge.
How did you treat the aspect “end title”? Did you see the film before composing?
Yes - I had seen the film, which made me want to sit down and write something even more. As a kid I loved monster movies, and in particular, a Japanese show called ULTRAMAN. After seeing CLOVERFIELD for the first time, I felt that familiar chill down my spine - the same chill I got as a kid watching all those shows.
How would you describe your score (atmospheric, thematic, orchestral...)
I think I’d like to describe the music as an aural story. Something you can listen to and relive the film in your mind.
Can you explain your stylistic and thematic choices?
Hard to say really - I just wanted the music to sound like the experience of the film. For me the film was scary, sad, tragic, adventurous and epic. What it came down to was that I simply tried to convey all those emotional ideas, all of which I felt while watching the film.
What are your sources of inspiration when you’ve composed this music: styles of music, composers, films…? For example, "Have you heard about, or did you listen to Michael Nyman's "Memorial"? The musical structure seams very close to "Roar"'s.
I have never head “Memorial”, so I’m not sure if it compares. The only real inspiration came from both CLOVERFIELD itself, and all the old Japanese Monster movies I watched as a kid such as Godzilla, which Akira Ifukube scored so brilliantly.
How much time did you have to compose ROAR!? Did you choose the name “ROAR!”? What does it mean?
I wrote it in about 4 days, I guess. I had such fun with it, so it went pretty quick. I decided to call it ROAR! myself. It just felt like the right name for it. I think it means exactly what it sounds like - a giant monster heading your way!
Will "ROAR!" be release on CD or any other (un)material? When? Why?
RIght now it’s available on iTunes, and perhaps someday there will be a CD release.
What orchestra and what size did you choose for the recording session? Did you use some electronic sounds in your score with live music? If yes how? If no, why? Did you choose special instruments for this score?
We used an eastern European orchestra for the recording of ROAR!. They did a fantastic job. Other then the three female vocalists used, the ROAR! orchestra is fairly traditional. There were no electronics used. I wanted a completely organic feel to the music. I don’t use electronics that often, unless there’s a really specific reason to do so. I really try to find organic ways to express strange ideas. The orchestra is extremely capable of creating sounds that SOUND synthetic and it’s fun to play with that. Having said that - if a synth or electronic device better helps convey the musical story - I’m happy to explore it. It all depends on the project. Music should fit the story.
Many thanks for Michael who's really busy, for the precious time he took for this interview.
Merci à Jérémy " Grammata" Defrere, pour sa contribution.
Interview réalisée par Christine BLANC pour Inter-Activities. Tous droits réservés.
