A Quote by Michael Giacchino

Many film scores try to force an emotion into a story that inherently is not there in the first place. — © Michael Giacchino
Many film scores try to force an emotion into a story that inherently is not there in the first place.
There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.
'Neerja' is such a solid film. Everything about the film has substance, be it sound, writing, story, background scores, or direction.
I'm fascinated by film scores, especially film scores for children's movies because they have to be able to entertain an audience that isn't interested in music yet.
Everybody comes to film differently; everybody has different backgrounds. Just find whatever your lane is naturally. Don't try to force yourself into someone else's vision or try to tell a story that you're not passionate about.
Though it may not seem like it, I never try to write about a place, per se; it's always, first and last, about story. Story is everything. Story and a bit of attitude.
I'll probably always write film scores. It's the one place where a composer has almost unlimited resources at his beck and call. When music you have written works well in a film, nothing can beat it.
Feeling of an emotion is a process that is distinct from having the emotion in the first place. So it helps to understand what is an emotion, what is a feeling, we need to understand what is an emotion.
When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.
Whatever film it is, the geography has to be right. If I cannot establish it, I'll get lost. I wouldn't even understand it in the first place! I hence visit a place and decide what can be conveyed from where; how that can be incorporated in the story.
I grew up on film scores and scores from films.
I look at the film without any music or sound. I try to grasp the story from the screenplay. I try to write to the novel or book if there is one. I try to create music that's honest and true to my heart for the story.
The focus on just thinking about standardized test scores as being synonymous with achievement for teenagers is ridiculous, right? There are so many things that kids care about, where they excel, where they try hard, where they learn important life lessons, that are not picked up by test scores.
Honestly, there are so many things about structuring a story for film and telling a story for film that are really different from doing radio.
'Bubba Ho-Tep' was an accidental story that turned out to be my first film adaptation, and it's still going strong in story and film.
I just try to tell a story with a song, and be able to try to transmit the emotion to you. That's all I'm really trying to do.
In film, it's very important to not allow yourself to get sentimental, which, being British, I try to avoid. People sometimes regard sentimentality as emotion. It is not. Sentimentality is unearned emotion.
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