manu/mldr-zoomed-100char-total-queries-documents

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61_20	Giacchino recommended to his parents that he attend the School of Visual Arts in New York City.
61_21	Giacchino describes visiting the school with his parents thus:
61_22	I thought, wow, this is fantastic. They actually have colleges like this? Where I can do the things
61_23	that I am really interested in doing? That was amazing to me. I loved SVA. I loved the kind of
61_24	freedom that it provided. It was kind of like this great experiment—okay, you're here because you
61_25	like something. So let's see how much you like it. We're not going to regulate you too much. We're
61_26	going to see how passionate and driven you are, and how much you want this thing.
61_27	Giacchino enrolled at SVA, majoring in film production and minoring in history. During his final
61_28	year at SVA, his instructor in film publicity announced an unpaid internship was available at
61_29	Universal Pictures. Giacchino, who was the only one interested, obtained the six-month position,
61_30	which he filled at night while attending school during the day and working at Macy's to pay his
61_31	rent. He graduated from SVA in 1990 with a Bachelor of Fine Arts, after which he took music classes
61_32	at the Juilliard School, and then at UCLA.
61_33	Career
61_34	Video games
61_35	When Giacchino's internship ended, Universal hired him, giving him a job upon graduation from
61_36	college. He later moved to Disney, and when Disney relocated to Los Angeles, Giacchino moved with
61_37	them, working in publicity, while taking night classes in instrumentation and orchestration at
61_38	UCLA. His work for Disney had him interacting with the various personnel who worked in films, such
61_39	as the producers who hired composers, so when a job at Disney Interactive opened for a producer,
61_40	Giacchino obtained the job, thinking he could hire himself to write music for the games he
61_41	produced.
61_42	Giacchino's composition work for Disney Interactive during the 16-bit era included the Sega Genesis
61_43	game Gargoyles, the SNES game Maui Mallard in Cold Shadow and the various console versions of The
61_44	Lion King. However his first major composition was for the DreamWorks video game adaptation of the
61_45	1997 movie, The Lost World: Jurassic Park. The video game was one of the first PlayStation (also on
61_46	Sega Saturn) console titles to be recorded with an original live orchestral score. Giacchino has
61_47	since continued his relationship with DreamWorks which also included composing the score for the
61_48	Small Soldiers video game in 1998, providing full orchestral scores for many of their popular
61_49	videogames. He also worked with Pandemic studios to create the theme for Mercenaries: Playground of
61_50	Destruction. Giacchino's award-winning compositions covers the first four installments of the Medal
61_51	of Honor series, (Medal of Honor, Underground, Allied Assault and Frontline), Heroes: 2, and also
61_52	the scores for several other World War II-related video games like Secret Weapons Over Normandy,
61_53	Call of Duty and Call of Duty: Finest Hour. Additionally, Giacchino composed themes for The
61_54	Incredibles: Rise of the Underminer, and co-wrote the theme of Black with composer Chris Tilton. He
61_55	also composed the score for Alias, which was based on the television series of the same name. In
61_56	2008 Giacchino wrote music for Turning Point: Fall of Liberty. In 2007, he returned to the Medal of
61_57	Honor franchise as he composed the music for Medal of Honor: Airborne.
61_58	Film and television Giacchino's work on various video games led to his entrance into television.
61_59	In 2001, J. J. Abrams, producer of the television series Alias, discovered Giacchino through his
61_60	video game work and asked him to provide the new show's soundtrack. The soundtrack featured a mix
61_61	of full orchestral pieces frequently intermingled with upbeat electronic music, a departure from
61_62	much of his previous work. Giacchino would go on to provide the score for J. J. Abrams's 2004
61_63	television series Lost, creating an acclaimed score which employed a unique process of using spare
61_64	pieces of a plane fuselage for percussion parts. The score for Lost is also notable for a signature
61_65	thematic motif: a brass fall-off at the end of certain themes. Just like his counterpart Stu
61_66	Phillips, he worked with the television show creator Abrams on his shows with his music scores
61_67	while Abrams supplied the show's main themes on certain series such as Alias.
61_68	In 2004, Giacchino received his first big feature film commission. Brad Bird, director of Pixar's
61_69	The Incredibles, asked Giacchino to provide the soundtrack for the film after having heard his work
61_70	on Alias. The upbeat jazz orchestral sound was a departure in style not only for Giacchino but for
61_71	Pixar, which had previously relied on Randy and Thomas Newman for all of its films. Director Brad
61_72	Bird had originally sought out John Barry – perhaps best known for his work on the early James Bond
61_73	films—but Barry was reportedly unwilling to repeat the styles of his earlier works.
61_74	Giacchino was nominated for two Grammy Awards in 2005 for The Incredibles: Best Score Soundtrack
61_75	Album for Motion Picture, Television or Other Visual Media and Best Instrumental Composition.
61_76	Like his other counterparts Joel McNeely, J. A. C. Redford and Frank DeVol, Giacchino mostly
61_77	associated with Disney from early in his career up to most recently, ranging from video games such
61_78	as Mickey Mania and Gargoyles to films such as The Incredibles and eventually collaborated with
61_79	Walt Disney Imagineering in creating two new soundtracks for the updated versions of Space Mountain
61_80	at Disneyland, Space Mountain: Mission 2 at Disneyland Paris, and Space Mountain at Hong Kong
61_81	Disneyland.
61_82	Giacchino also composed scores for the 2005 films Sky High and The Family Stone, and the television
61_83	movie The Muppets' Wizard of Oz. Additionally, he wrote the music for Joseph Barbera's final
61_84	theatrical Tom and Jerry cartoon The Karate Guard, and scored the Abrams-directed 2006 film
61_85	Mission: Impossible III. Giacchino's next musical achievement was his Paris-inspired score for the
61_86	Disney-Pixar film Ratatouille, which includes the theme song "Le Festin", performed by French
61_87	artist Camille. He received his first Academy Award nomination for this score. He also created the
61_88	score for Abrams' 2009 Star Trek film.
61_89	Giacchino scored the Pixar film Up (and its accompanying animated short Partly Cloudy), for which
61_90	he collaborated with director Pete Docter. This marked the first time Giacchino worked with a Pixar
61_91	director other than Brad Bird. This work gained Giacchino his first Academy Award for Best Original
61_92	Score: the first-ever win for Pixar in that category. Giacchino notes that he won on the same night
61_93	as his SVA classmate Joel Harlow won for Best Makeup Oscar for Star Trek.
61_94	Giacchino has continued his collaboration with J. J. Abrams. For the Abrams-produced monster film
61_95	Cloverfield, Giacchino wrote an homage to Japanese monster scores in an overture titled "ROAR!",
61_96	which played over the credits, and constituted the only original music for the film. He composed
61_97	the score for J. J. Abrams' feature Super 8 in 2011. He also composed for the pilot of the
61_98	Abrams-produced American television series Fringe, after which Giacchino gave scoring duties to his
61_99	assistant Chad Seiter, who scored the first half of season one. The task was then passed on to
61_100	Chris Tilton, who scored the latter half of season one and all subsequent seasons.
61_101	In 2016, Giacchino composed the score for the Marvel film Doctor Strange, as well as the score for
61_102	the Disney film Zootopia. Giacchino also composed the fanfare for the new Marvel Studios logo,
61_103	which debuted with Doctor Strange. In September 2016, it was announced that Giacchino had been
61_104	chosen to replace composer Alexandre Desplat as the composer for the Star Wars anthology film Rogue
61_105	One after Desplat was unavailable following reshoots. Giacchino then scored three more Marvel
61_106	films, 2017's Spider-Man: Homecoming and its two sequels, 2019's Spider-Man: Far From Home and
61_107	Spider Man: No Way Home, and is set to score a fifth in Thor: Love and Thunder.
61_108	Giacchino returned to Pixar to score Coco (2017) and Incredibles 2 (2018).
61_109	He also composed the score for Taika Waititi's Jojo Rabbit. In 2022, Giacchino will re-team with
61_110	Matt Reeves to score The Batman.
61_111	In 2018, Giacchino wrote, directed and scored Monster Challenge. The short film is a satirical take
61_112	on Japanese game shows, starring Patton Oswalt, Ben Schwartz, Dermot Mulroney, Amy Brenneman,
61_113	Taishi Mizuno, Ann Madox, and Teruko Nakajima. Monster Challenge originally premiered at Fantastic
61_114	Fest in 2018 and premiered on YouTube on March 20, 2020. He continued with his directorial efforts
61_115	with a Star Trek: Short Treks episode "Ephraim and Dot" in 2019.
61_116	Additional compositions
61_117	In addition to his long list of soundtracks, in 2005 Giacchino collaborated with Walt Disney
61_118	Imagineering in creating two new soundtracks for the updated versions of Space Mountain at
61_119	Disneyland, Space Mountain: Mission 2 at Disneyland Paris, and Space Mountain at Hong Kong

61_20

Giacchino recommended to his parents that he attend the School of Visual Arts in New York City.

61_21

Giacchino describes visiting the school with his parents thus:

61_22

I thought, wow, this is fantastic. They actually have colleges like this? Where I can do the things

61_23

that I am really interested in doing? That was amazing to me. I loved SVA. I loved the kind of

61_24

freedom that it provided. It was kind of like this great experiment—okay, you're here because you

61_25

like something. So let's see how much you like it. We're not going to regulate you too much. We're

61_26

going to see how passionate and driven you are, and how much you want this thing.

61_27

Giacchino enrolled at SVA, majoring in film production and minoring in history. During his final

61_28

year at SVA, his instructor in film publicity announced an unpaid internship was available at

61_29

Universal Pictures. Giacchino, who was the only one interested, obtained the six-month position,

61_30

which he filled at night while attending school during the day and working at Macy's to pay his

61_31

rent. He graduated from SVA in 1990 with a Bachelor of Fine Arts, after which he took music classes

61_32

at the Juilliard School, and then at UCLA.

61_33

Career

61_34

Video games

61_35

When Giacchino's internship ended, Universal hired him, giving him a job upon graduation from

61_36

college. He later moved to Disney, and when Disney relocated to Los Angeles, Giacchino moved with

61_37

them, working in publicity, while taking night classes in instrumentation and orchestration at

61_38

UCLA. His work for Disney had him interacting with the various personnel who worked in films, such

61_39

as the producers who hired composers, so when a job at Disney Interactive opened for a producer,

61_40

Giacchino obtained the job, thinking he could hire himself to write music for the games he

61_41

produced.

61_42

Giacchino's composition work for Disney Interactive during the 16-bit era included the Sega Genesis

61_43

game Gargoyles, the SNES game Maui Mallard in Cold Shadow and the various console versions of The

61_44

Lion King. However his first major composition was for the DreamWorks video game adaptation of the

61_45

1997 movie, The Lost World: Jurassic Park. The video game was one of the first PlayStation (also on

61_46

Sega Saturn) console titles to be recorded with an original live orchestral score. Giacchino has

61_47

since continued his relationship with DreamWorks which also included composing the score for the

61_48

Small Soldiers video game in 1998, providing full orchestral scores for many of their popular

61_49

videogames. He also worked with Pandemic studios to create the theme for Mercenaries: Playground of

61_50

Destruction. Giacchino's award-winning compositions covers the first four installments of the Medal

61_51

of Honor series, (Medal of Honor, Underground, Allied Assault and Frontline), Heroes: 2, and also

61_52

the scores for several other World War II-related video games like Secret Weapons Over Normandy,

61_53

Call of Duty and Call of Duty: Finest Hour. Additionally, Giacchino composed themes for The

61_54

Incredibles: Rise of the Underminer, and co-wrote the theme of Black with composer Chris Tilton. He

61_55

also composed the score for Alias, which was based on the television series of the same name. In

61_56

2008 Giacchino wrote music for Turning Point: Fall of Liberty. In 2007, he returned to the Medal of

61_57

Honor franchise as he composed the music for Medal of Honor: Airborne.

61_58

Film and television Giacchino's work on various video games led to his entrance into television.

61_59

In 2001, J. J. Abrams, producer of the television series Alias, discovered Giacchino through his

61_60

video game work and asked him to provide the new show's soundtrack. The soundtrack featured a mix

61_61

of full orchestral pieces frequently intermingled with upbeat electronic music, a departure from

61_62

much of his previous work. Giacchino would go on to provide the score for J. J. Abrams's 2004

61_63

television series Lost, creating an acclaimed score which employed a unique process of using spare

61_64

pieces of a plane fuselage for percussion parts. The score for Lost is also notable for a signature

61_65

thematic motif: a brass fall-off at the end of certain themes. Just like his counterpart Stu

61_66

Phillips, he worked with the television show creator Abrams on his shows with his music scores

61_67

while Abrams supplied the show's main themes on certain series such as Alias.

61_68

In 2004, Giacchino received his first big feature film commission. Brad Bird, director of Pixar's

61_69

The Incredibles, asked Giacchino to provide the soundtrack for the film after having heard his work

61_70

on Alias. The upbeat jazz orchestral sound was a departure in style not only for Giacchino but for

61_71

Pixar, which had previously relied on Randy and Thomas Newman for all of its films. Director Brad

61_72

Bird had originally sought out John Barry – perhaps best known for his work on the early James Bond

61_73

films—but Barry was reportedly unwilling to repeat the styles of his earlier works.

61_74

Giacchino was nominated for two Grammy Awards in 2005 for The Incredibles: Best Score Soundtrack

61_75

Album for Motion Picture, Television or Other Visual Media and Best Instrumental Composition.

61_76

Like his other counterparts Joel McNeely, J. A. C. Redford and Frank DeVol, Giacchino mostly

61_77

associated with Disney from early in his career up to most recently, ranging from video games such

61_78

as Mickey Mania and Gargoyles to films such as The Incredibles and eventually collaborated with

61_79

Walt Disney Imagineering in creating two new soundtracks for the updated versions of Space Mountain

61_80

at Disneyland, Space Mountain: Mission 2 at Disneyland Paris, and Space Mountain at Hong Kong

61_81

Disneyland.

61_82

Giacchino also composed scores for the 2005 films Sky High and The Family Stone, and the television

61_83

movie The Muppets' Wizard of Oz. Additionally, he wrote the music for Joseph Barbera's final

61_84

theatrical Tom and Jerry cartoon The Karate Guard, and scored the Abrams-directed 2006 film

61_85

Mission: Impossible III. Giacchino's next musical achievement was his Paris-inspired score for the

61_86

Disney-Pixar film Ratatouille, which includes the theme song "Le Festin", performed by French

61_87

artist Camille. He received his first Academy Award nomination for this score. He also created the

61_88

score for Abrams' 2009 Star Trek film.

61_89

Giacchino scored the Pixar film Up (and its accompanying animated short Partly Cloudy), for which

61_90

he collaborated with director Pete Docter. This marked the first time Giacchino worked with a Pixar

61_91

director other than Brad Bird. This work gained Giacchino his first Academy Award for Best Original

61_92

Score: the first-ever win for Pixar in that category. Giacchino notes that he won on the same night

61_93

as his SVA classmate Joel Harlow won for Best Makeup Oscar for Star Trek.

61_94

Giacchino has continued his collaboration with J. J. Abrams. For the Abrams-produced monster film

61_95

Cloverfield, Giacchino wrote an homage to Japanese monster scores in an overture titled "ROAR!",

61_96

which played over the credits, and constituted the only original music for the film. He composed

61_97

the score for J. J. Abrams' feature Super 8 in 2011. He also composed for the pilot of the

61_98

Abrams-produced American television series Fringe, after which Giacchino gave scoring duties to his

61_99

assistant Chad Seiter, who scored the first half of season one. The task was then passed on to

61_100

Chris Tilton, who scored the latter half of season one and all subsequent seasons.

61_101

In 2016, Giacchino composed the score for the Marvel film Doctor Strange, as well as the score for

61_102

the Disney film Zootopia. Giacchino also composed the fanfare for the new Marvel Studios logo,

61_103

which debuted with Doctor Strange. In September 2016, it was announced that Giacchino had been

61_104

chosen to replace composer Alexandre Desplat as the composer for the Star Wars anthology film Rogue

61_105

One after Desplat was unavailable following reshoots. Giacchino then scored three more Marvel

61_106

films, 2017's Spider-Man: Homecoming and its two sequels, 2019's Spider-Man: Far From Home and

61_107

Spider Man: No Way Home, and is set to score a fifth in Thor: Love and Thunder.

61_108

Giacchino returned to Pixar to score Coco (2017) and Incredibles 2 (2018).

61_109

He also composed the score for Taika Waititi's Jojo Rabbit. In 2022, Giacchino will re-team with

61_110

Matt Reeves to score The Batman.

61_111

In 2018, Giacchino wrote, directed and scored Monster Challenge. The short film is a satirical take

61_112

on Japanese game shows, starring Patton Oswalt, Ben Schwartz, Dermot Mulroney, Amy Brenneman,

61_113

Taishi Mizuno, Ann Madox, and Teruko Nakajima. Monster Challenge originally premiered at Fantastic

61_114

Fest in 2018 and premiered on YouTube on March 20, 2020. He continued with his directorial efforts

61_115

with a Star Trek: Short Treks episode "Ephraim and Dot" in 2019.

61_116

Additional compositions

61_117

In addition to his long list of soundtracks, in 2005 Giacchino collaborated with Walt Disney

61_118

Imagineering in creating two new soundtracks for the updated versions of Space Mountain at

61_119

Disneyland, Space Mountain: Mission 2 at Disneyland Paris, and Space Mountain at Hong Kong