Spider-Man: Homecoming Suite
Michael Giacchino
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Browse piano sheets by Michael Giacchino on Zen Virtual Piano. Michael Giacchino began combining images and music at age ten, when he began creating stop-motion animation with homemade soundtracks in his basement. A child who made his own soundtracks for his own animations was already treating music as part of how a story is told. He was born in Riverside Township, New Jersey, to an Italian family: his father’s ancestors were from Sicily, and his mother’s emigrated from Abruzzo. He enrolled at the School of Visual Arts in New York City, majoring in film production and minoring in history, and in his final year his instructor announced an unpaid internship at Universal Pictures. After graduation he took a marketing position at Disney while pursuing music composition studies at Juilliard and UCLA, then joined Disney’s newly formed Interactive Division, where he discovered opportunities to compose for video games. A film-school degree followed by composition studies suggests a composer who approached music from the screen side. At DreamWorks Interactive he was asked to create a temporary score for the video game adaptation of The Lost World: Jurassic Park. His work so impressed Steven Spielberg that the director hired him as the official composer, resulting in the first PlayStation game to feature a live orchestral score, performed by members of the Seattle Symphony. A live orchestra on a PlayStation game suggests an ambition for games to sound like films. A stand-in score that persuaded Spielberg to hire its author suggests how a sketch can serve as an audition. His approach to game music caught the attention of J. J. Abrams, beginning a partnership that produced scores for the television series Alias and Lost and for the films Mission: Impossible III, the reimagined Star Trek trilogy and Super 8. Giacchino says he sees his job as that of a musical storyteller working closely with the director, and that when he talks with directors about a film they do not talk about music but about story. His goal is to create the musical landscape that best serves the story being told and to relay the emotion of the characters. Talking with directors about story rather than music suggests that, for him, a score begins as a reading of the film. On franchise films, he says, the director and composer have to approach the project as something new: you may pay homage and work with famous themes, but the score has to be about the film being made. Homage balanced against a score that belongs to its own film shows a composer who treats inherited themes as material, not as a template. Werewolf By Night marked his feature directorial debut, following his earlier directing work on the Star Trek short Ephraim and Dot and the comedy short Monster Challenge.
Browse piano sheets by Michael Giacchino on Zen Virtual Piano.
Michael Giacchino began combining images and music at age ten, when he began creating stop-motion animation with homemade soundtracks in his basement. A child who made his own soundtracks for his own animations was already treating music as part of how a story is told. He was born in Riverside Township, New Jersey, to an Italian family: his father’s ancestors were from Sicily, and his mother’s emigrated from Abruzzo.
He enrolled at the School of Visual Arts in New York City, majoring in film production and minoring in history, and in his final year his instructor announced an unpaid internship at Universal Pictures. After graduation he took a marketing position at Disney while pursuing music composition studies at Juilliard and UCLA, then joined Disney’s newly formed Interactive Division, where he discovered opportunities to compose for video games. A film-school degree followed by composition studies suggests a composer who approached music from the screen side.
At DreamWorks Interactive he was asked to create a temporary score for the video game adaptation of The Lost World: Jurassic Park. His work so impressed Steven Spielberg that the director hired him as the official composer, resulting in the first PlayStation game to feature a live orchestral score, performed by members of the Seattle Symphony. A live orchestra on a PlayStation game suggests an ambition for games to sound like films. A stand-in score that persuaded Spielberg to hire its author suggests how a sketch can serve as an audition. His approach to game music caught the attention of J. J. Abrams, beginning a partnership that produced scores for the television series Alias and Lost and for the films Mission: Impossible III, the reimagined Star Trek trilogy and Super 8.
Giacchino says he sees his job as that of a musical storyteller working closely with the director, and that when he talks with directors about a film they do not talk about music but about story. His goal is to create the musical landscape that best serves the story being told and to relay the emotion of the characters. Talking with directors about story rather than music suggests that, for him, a score begins as a reading of the film. On franchise films, he says, the director and composer have to approach the project as something new: you may pay homage and work with famous themes, but the score has to be about the film being made. Homage balanced against a score that belongs to its own film shows a composer who treats inherited themes as material, not as a template. Werewolf By Night marked his feature directorial debut, following his earlier directing work on the Star Trek short Ephraim and Dot and the comedy short Monster Challenge.
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Michael Giacchino
Michael Giacchino
Michael Giacchino
Common questions
At ten he made stop-motion animation with homemade soundtracks in his basement; later he studied filmmaking at the School of Visual Arts and worked in Disney’s Interactive Division.
He was asked to create a temporary score at DreamWorks Interactive, and it impressed Steven Spielberg so much that he was hired as official composer; it was the first PlayStation game with a live orchestral score.
As a musical storyteller working closely with the director, creating the musical landscape that best serves the story and relaying the emotion of the characters.