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Music From The Motion Picture

Music by

MICHAEL GIACCHINO

A NOTE FROM THE DIRECTOR


We had each lived our lives, for nearly three decades, as strangers. But when I met Michael Giacchino, there was an odd feeling that we had shared a childhood. The year was 2000 (which still sounds futuristic to me, but is now eleven years past). I was about to direct the pilot episode of Alias, the script for which I had written, blasting the synth score from Run Lola Run in my headphones alternating that awesome soundtrack with works of iconic composers like John Williams and Ennio Morricone. So who in the world was going to write a score to give the pilot the scope and energy and emotion it needed? A score that was, at turns, synthetic and orchestral? It was around this time that I came across some brilliant music written for a video game called Medal of Honor; the score was as engrossing as the game itself. I emailed the composer, one Mr. Michael Giacchino, and asked if he was at all interested in scoring for TV. I later learned that Michael had been hired for Medal of Honor by the games creator (and our mutual hero) Steven Spielberg. At the time, I could have only dreamed that one day we might all collaborate on a project. When Michael and I met, we hit it off instantly. But it was more than a friendly meeting there was that uncanny feeling that we had somehow grown up together. Though we had been raised on opposite coasts of the United States, he in New Jersey, me in Los Angeles, in different cultures and climates, it was as if we had been friends, as boys, all along. There were many points of similarity, but possibly the most profound was that of Super 8 film; Michael and I had both grown up making movies as kids. We both shared dreams of epic adventures that we attempted (and, of course, consistently failed) to realize on screen. We recruited friends. We blew things up, applied monster makeup, choreographed fight and battle scenes, and filmed it all. We found many of our happiest younger days behind those cameras. Michael scored the Alias pilot and, luckily for me, everything I have directed since. Those scores and his work on a number of other films represent some of the most affecting, compelling and moving music I have ever heard. But I had never been so excited to collaborate with Michael than I was with Super 8. I knew this was going to be a revisiting, for both of us, to a time and place that we both treasured. Of course Michael wasnt the only collaborator here who shared this early love of making films; Steven Spielberg famously made movies on 8mm film as a boy. Our Director of Photography, Larry Fong, made Super 8 films when he was a teen in fact I met Larry when I was thirteen years old, both of us making movies in the neighborhood. But what I was aching to hear was the score that Michael would create as he recalled those early years. I knew this soundtrack would be especially personal for him. Not just because of the subject matter, but because of

the spirit with which the movie was being made; Super 8 was not just a film in love with the idea of being a kid, it was a film in love with the idea of being a kid in love with movies. It was as much about the influence of the films of our youth as it was about being young and geeky. It was a reminder of why we were inspired to try and get into the movie business in the first place. As always, Michael is a storyteller. He writes his scores from the inside out; he understands the math of the structure of the story (often suggesting notes which greatly improve it), but then finds the brilliant inspiration to create musical themes and motifs which emphasize or illuminate the heart of the moment. He turns scenes into emotional experiences, making them more exciting or heartbreaking or suspenseful or terrifying. And there are some scary bits (after all, theres a monster in this movie too; it is a cocktail of many genres and Michael handles them all with his usual flair and artistry). But, with this score, Michael did something else. He remembered that time. The purity of the age. The sense of optimism, curiosity and fear and uncertainty and romanticism of being a boy and looking forward to all that is ahead. He remembered that time, felt it, and found a way, using his remarkable gift, to turn it into music. Im grateful to Michael for so much here. The foreboding theme of the mysterious creature, the glorious evacuation theme, the bus attack and tunnel sequences wonderful, powerful cues and just what the doctor ordered. But it was always Joes family theme and the Alice love theme that mattered most. This was the heart of the movie. This was the kids point of view and, if that didnt work, nothing else would have mattered. When we were on the scoring stage, listening to the one-hundred-plus piece orchestra (extraordinary musicians, all) perform the suite to Super 8, I was standing beside Michael. The music was beautiful and transportive and emotional as hell and, just about mid-way through, my eyes started to fill with tears and I was so embarrassed I just kept looking forward. I wasnt going to cry! I wasnt going to cry! But the score just mercilessly continued and, as one of the passages swelled, I couldnt help but turn to my friend, the composer, in gratitude. he was, eyes wet. And there And he laughed.

Doesnt that sound like our childhood? he asked. And it certainly did. It was. A childhood shared, three thousand miles apart. J.J. Abrams, Paris, 2011

Music by

HOLLYWOOD STUDIO SYMPHONY


Violin Clayton Haslop (concertmaster) Ken Yerke (principal 2nd) Belinda Broughton Vladimir Polimatidi Tiffany Hu Jim Sitterly Rebecca Bunnell Joel Derouin John Wittenberg Peter Kent Mark Robertson Ron Clark Charles Bisharat Sid Page Tereza Stanislav Barbra Porter Alan Grunfeld Josefina Vergara Cameron Patrick Darius Campo Alexandr Shlifer Shalini Vijayan Shari Zippert Norman Hughes Alyssa Park Haim Shtrum Terry Glenny Sungil Lee Galina Golovin Miran Kojian Anatoly Rosinsky Larry Greenfield Carolyn Osborn Razdan Kuyumjian Rafael Rishik Armen Anassian Marina Manukian Viola Darrin McCann (principal) Karie Prescott Harry Shirinian Richard Rintoul Marda Todd Caroline Buckman Evan Wilson Jorge Moraga Pam Goldsmith Alan Busteed Karen Elaine Maria Newman Jennie Hansen Denyse Buffum Cello Steve Richards (principal) Victor Lawrence Alexander Zhiroff Suzie Katayama Timothy Landauer Stefanie Fife Richard Naill Kevan Torfeh Vahe Hayrikyan Dane Little John Acosta String Bass Dave Stone (principal) Karl Vincent Norman Ludwin Charles Nenneker Peter Doubrovsky Tim Emmons Richard Feves Nick Rosen Flute Bobby Shulgold (principal) Dick Mitchell Steve Kujala Oboe John Yoakum (principal) Joseph Stone Clarinet Michael Vaccaro (principal) Don Markese John Mitchell Bassoon Rose Corrigan (principal) Andrew Radford Allen Savedoff French Horn Rick Todd (principal) Brian OConnor John Reynolds Joe Meyer Steven Becknell Steven Durnin Brad Warnaar Mark Adams Trumpet Rick Baptist (principal) Jeff Bunnell Jon Lewis Paul Salvo Larry Hall Trombone Alex Iles (principal) Alan Kaplan Steven Holtman Bill Reichenbach Tuba John Van Houten (principal) Douglas Tornquist Harp Gayle Levant (principal) Eleanor Choate Guitar George Doering Piano/Celeste Mark Gasbarro B3 Organ/Synth Mark Le Vang Percussion Dan Greco (principal) Emil Radocchia Alex Neciosup-Acuna Bernie Dresel Walter Rodriguez Timpani Don Williams

MICHAEL GIACCHINO
Soundtrack Album Produced by Michael Giacchino Executive Soundtrack Album Producers: Steven Spielberg, J.J. Abrams & Bryan Burk Executive in Charge of Music for Paramount Pictures: Randy Spendlove Executive Soundtrack Album Producer for Varse Sarabande: Robert Townson Soundtrack Album Coordinator: Jason Richmond Music Performed by The Hollywood Studio Symphony Music Orchestrated and Conducted by Tim Simonec Music Recorded & Mixed by Dan Wallin Score Coordinator: Andrea Datzman Orchestra Contractor: Reggie Wilson Music Preparation: Booker White Additional Orchestrations by Ira Hearshen, Brad Dechter, Cameron Patrick, Chris Tilton, Andrea Datzman, Larry Kenton, Mark Gasbarro, Norman Ludwin, Peter Boyer, Marshall Bowen Music Mixer Assistant: Michael Aarvold Assistant to Michael Giacchino: Dave Martina Supervising Music Editor: Alex Levy, M.P.S.E. Music Editor: Paul Apelgren, M.P.S.E. Music Supervisor: George Drakoulias Music Recorded and Mixed at Eastwood Scoring Stage, Warner Bros. Studio and Newman Scoring Stage, 20th Century Fox Studios Recordists: Tim Lauber, Tom Hardisty Protools Operator: Vincent Cirilli Scoring Stage Engineers: Denis St. Armand and Ryan Robinson Scoring Stage Managers: Tom Steel, Greg Dennen, Jamie Olvera, Richard Wheeler Scoring Stage Assistant: Mick Giacchino Mastered by Erick Labson
Music Published by Paramount Allegra Music (ASCAP) Projecting Super Special Thanks to: My Music Crew and Orchestra, your talent, professionalism and friendship are no small part of the contents of this and every score I write. Bryan Burk, your unerring support, honesty and friendship is appreciated more then you know. Steven Spielberg, you gave me my start and for that there are not enough thank yous in the world. J.J. Abrams, making movies with you is like being 10 years old again. Best gift in the world. Thank you! My Mick, Gracie and Griffy, you guys keep me sane through insanity. Paramount thanks: Dasmarie Alvino, Mary Jo Braun, Julie Butchko, Dan Butler, Eric Caldwell, Sheryl Carlin, Denise Carver, Jennifer Cornett, Jayne Edwards, Adam Ehrlich, Robert Gasper, Jeremy Geltzer, David Gueringer, Sonia Jauregui, Denise Luiso, Steven Lundy, Elise Mann, Liz McNicoll, Aron Pinsky, Jeannie Pool, Jennifer Schiller, Kim Seiniger, Susan Siering, Linda Springer, Hallie Volman, Linda Wohl, Eric Ybanez

www.VareseSarabande.com

Super 8 (1:44) 2. Family Matters (:28) 3. Model Painting (:39) 4. Acting Chops (:40) 5. Aftermath Class (5:52) 6. Thoughts Of Cubism (:48) 7. Well Fix It In Post-Haste (:43) 8. Productions Woes (:34) 9. Train Of Thought (:35) 10. Circle Gets The Cube (1:05) 11. Breen There, Ate That (1:11) 12. Dead Over Heels (:48) 13. Gas And Go (1:33) 14. Looking For Lucy (:48) 15. Radio Haze (1:06) 16. Moms Necklace* (1:33) 17. Shootus Interuptus (2:33) 18. Thoughts Of Mom (1:40) 19. Woodward Bites It (1:53) 20. Alice Projects On Joe (2:28) 21. Neighborhood Watch - Fail (4:44) 22. The Evacuation Of Lillian (3:39) 23. A Truckload Of Trouble (:57) 24. Lambs On The Lam (2:39) 25. Woodwards Home Movies (2:39) 26. Spotted Lambs (1:35) 27. Air Force HQ Or Bust (1:03) 28. Worlds Worst Field Trip (3:35) 29. The Seige Of Lillian (2:56) 30. Creature Comforts (10:07) 31. Letting Go (5:15) 32. Super 8 Suite (5:51) Bonus Track: 33. THE CASE Original music from the film by Charles Kaznyk (3:28)
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Music by

MICHAEL GIACCHINO

Soundtrack Album Produced by Michael Giacchino Executive Soundtrack Album Producers: Steven Spielberg, J.J. Abrams & Bryan Burk Executive in Charge of Music for Paramount Pictures: Randy Spendlove Executive Soundtrack Album Producer for Varse Sarabande: Robert Townson Performed by The Hollywood Studio Symphony
*Not contained in film
2011 Paramount Pictures. All Rights Reserved. Motion Picture Artwork & Photos 2011 Paramount Pictures. All Rights Reserved. Manufactured by Varse Sarabande Records, Inc., 11846 Ventura Blvd., Suite 130, Studio City, CA 91604. Unauthorized duplication is a violation of applicable laws. 0 302 067 101 2 0