michael giacchino star trek beyond

Star Trek Beyond (Music From The Original Motion Picture / Deluxe Edition)

January 1, 2016 47 Songs, 2 hours, 6 minutes ℗ 2016 Paramount Pictures, Under exclusive license to Varèse Sarabande. Distributed by Concord.

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Star Trek Beyond (Music From The Original Motion Picture / Deluxe Edition)

Michael Giacchino

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Discography

Find all of Michael Giacchino's titles

IF (Music from the Motion Picture)

by Michael Giacchino

Society of the Snow (Soundtrack from the Netflix Film)

Next Goal Wins (Original Motion Picture Soundtrack)

Marvel Studios' Werewolf By Night (Original Soundtrack)

Thor: Love and Thunder (Original Motion Picture Soundtrack)

Lightyear (Original Motion Picture Soundtrack)

Jurassic World Dominion (Original Motion Picture Soundtrack)

The Batman (Original Motion Picture Soundtrack)

Spider-Man: No Way Home (Original Motion Picture Soundtrack)

Let Him Go (Original Motion Picture Soundtrack)

Travelogue Volume 1

by Michael Giacchino , Nouvelle Modernica Orchestra

An American Pickle (Original Motion Picture Soundtrack)

by Michael Giacchino , Nami Melumad

We Have to Go Back: The LOST Concert (Live from National Concert Hall, Dublin / June 2019)

Jojo Rabbit (Original Score)

Spider-Man: Far from Home (Original Motion Picture Soundtrack)

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Star Trek Beyond: The Deluxe Edition (Digital Album)

Deliverable via email in your choice of MP3, ALAC, FLAC or WAV.

Resolution is 16 bit / 44.1kHz CD quality.

Continuing our series of Deluxe Editions of our Star Trek releases and celebrating the 50th anniversary of the entire Star Trek universe, we are excited to present Michael Giacchino’s epic STAR TREK BEYOND – now expanded for this digital Deluxe Edition. Featuring over two hours of music, this is the one everybody has been waiting for.

"Star Trek Beyond," the highly anticipated next installment in the globally popular Star Trek franchise, created by Gene Roddenberry and reintroduced by J.J. Abrams in 2009, returns with director Justin Lin (“The Fast and the Furious” franchise) at the helm of this epic voyage of the U.S.S. Enterprise and her intrepid crew. In “Beyond," the Enterprise crew explores the furthest reaches of uncharted space, where they encounter a mysterious new enemy who puts them and everything the Federation stands for to the test.  It opened on July 22, 2016 and was immediately acclaimed as a thrilling action film. Chris Pine, Zachary Quinto, Karl Urban, Zoe Saldana, Simon Pegg, John Cho and Anton Yelchin were all back. Luckily, so was Michael Giacchino! Idris Elba was a new addition as Krall.

1. Logo And Prosper (1:47) 2. Trick Or Treaty (:45) 3. We Come In Pieces (1:17) 4. Thank Your Lucky Star Date (2:14) 5. Night On The Yorktown (5:36) 6. To Thine Own Death Be True (3:32) 7. We Make A Good Team (:22) 8. The Dance Of The Nebula (2:22) 9. A Swarm Reception (2:30) 10. Krall Hell Breaks Loose (3:04) 11. The Evacuation Variations (2:47) 12. Hitting The Saucer A Little Hard (6:10) 13. Scotland’s Worst Cliffhanger (:23) 14. A Hive And Kicking (3:30) 15. Port Of Krall (:52) 16. Jaylah Damage (2:50) 17. No Enterprise For Guessing (:37) 18. In Artifacts As In Life (1:51) 19. She’s One Hell Of A Dish (1:26) 20. Make No Escape About It (2:04) 21. Eat My Thrusters (3:56) 22. The Krall Of The Wild (2:10) 23. Spock’s Vulcan Grip On Death (1:31) 24. Captain On Ice (:42) 25. Franklin, My Dear (2:50) 26. T ransporting Good Time (3:43) 27. Krall Work And No Play (:37) 28. A Lesson in Vulcan Mineralogy (5:17) 29. The Cost Of Abronath (2:35) 30. MotorCycles Of Relief (3:18) 31. Mocking Jaylah (3:27) 32. Jaylah House Rock (3:18) 33. Bright Lights Big Velocity (Part 1) (:57) 34. Bright Lights Big Velocity (Part 2) (2:59) 35. Spock Speaks Hive (3:10) 36. Crash Decisions (3:16) 37. Krall-y Krall-y Oxen Free (4:23) 38. Shutdown Happens (4:35) 39. The Root Of Krall Evil (1:31) 40. Cater-Krall In Zero G (2:17) 41. The Dreaded Rear Admiral (2:02) 42. Par-tay For The Course (2:46) 43. Space, The Final Frontier (2:42) 44. Jaylah’s Theme (2:36) 45. Yorktown Theme (4:32) 46. Star Trek Main Theme* (3:44) 47. Krall Things Being Equal (4:25)

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• Music as Written for the Film:   ***
• Music as Heard on the Varèse Regular Album:   ***
• Music as Heard on the Varèse Deluxe Album:   ****
• Overall:   ***

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Published Oct 14, 2022

Michael Giacchino on Scoring and Directing Star Trek

The prolific composer's career spans many beloved franchises, from Pixar to Star Trek to Marvel and beyond.

Getty Images / StarTrek.com - Rob DeHart

Michael Giacchino is having a fantastic week. In addition to celebrating his birthday earlier in the week, the prolific composer just recently released the wildly refreshing and thrilling Werewolf by Night , a Marvel Studios presentation which sees him helming both directing and composing duties.

While Werewolf by Night may be Giacchino’s feature directorial debut, StarTrek.com has decided to look back at his illustrious contributions to the Star Trek universe, from scoring the 2009 Star Trek film with longtime collaborator J.J. Abrams, to directing the Star Trek: Short Treks episode, “Ephraim and Dot,” to the full theme score for Star Trek: Prodigy , which returns with new episodes for his premiere season next week.

Prior to directing Werewolf by Night , Giacchino directed an episode of Star Trek: Short Treks , “Ephraim and Dot.” In the bonus content, “Inside Short Treks: Ephraim and Dot,” Giacchino revealed how he got involved with the project, specifically coming on as a director.

Giacchino noted that executive producer Alex Kurtzman reached out to him one day, gauging his interest in directing Star Trek: Short Treks , presenting both live action and animated options. “[Alex] goes, ‘We have two different animated ones; I’ll let you choose which one you want because I know already which one you’re going to pick,’” shared Giacchino.

As to why he leapt at the chance on working on the short that featured a tardigrade and a DOT-7, he revealed, "I would love to do an emotional Tom and Jerry that takes place on the Enterprise ," honing in on the core of the story. "It's about sort of their relationship, and Dot trying to get Ephraim off the ship because that's his job. As a robot, he has one job; he sees something, get rid of it. That's it."

In addition to telling a story full of emotion and heart, what also drew Giacchino to the project was its scope, "We were able to bridge the entire Star Trek history from the beginning of TOS to the destruction of the Enterprise over the Genesis planet."

Episode Preview | Star Trek: Short Treks - Ephraim and Dot

Giacchino has had an incredible career spanning multiple decades and beloved franchises, including Pixar's Incredibles , Ratatouille , Up , and Coco ; Lost , Star Wars , Jurassic World , The Batman , and Marvel Studios' Doctor Strange, Spider-Man, and Werewolf by Night , to name a few.

He delights in the projects he takes on, last sharing what consistently pulls him back into the Star Trek universe, "It's always fun when you get to play in the Star Trek canon. To recreate any of those original moments and to revisit those things, it's always very exciting and very scary at the same time because you want to make sure that you're doing them justice, and that there's something that the passionate fan base is going to be happy with."

"I love Star Trek because it is about inclusion," continued Giacchino. "And it's about discovery, and it's about reaching out to new things that you don't know anything about but yet accepting them. To have a popular show that is based around those ideals, that's so important. And I think that's why we still have Star Trek in our lives."

Michael Giacchino's Musical Journey On Star Trek: Short Treks

Giacchino himself upholds those ideals by inviting others to go on the musical journey across the universe with him. When presented with the opportunity to score all the shorts for Star Trek: Short Treks , due to bandwidth and timing, Giacchino wanted to "take a real sort of Star Trek approach" and enlist as many collaborators as possible and give them a shot at scoring a Trek project. "It was a huge learning experience for me," reflected Giacchino. "We are so lucky to do what we do, and that we've been able to do what we've been doing for so long, and for us not to sort of reach out to the community to bring that next generation in to do this, that would be wrong if we didn't do that."

Star Trek: Prodigy is the franchise's first foray into creating content geared towards a much younger audience.

Giacchino previously shared, “I am excited that I had the opportunity to write the main theme for Kevin and Dan [Hageman's] latest project, and as always am thrilled to be a part of the Star Trek family."

Star Trek: Prodigy Opening Title Sequence

While he only scored the opening theme, Giacchino expressed excitement for the series' composer, "I'm especially looking forward to everyone hearing the incredible work of composer Nami Melumad, who will take the reins of scoring the episodes," citing her extreme talent.

Speaking to StarTrek.com back in 2013 , Giacchino explained whether he viewed music in the lead actor or a supporting player role.

"I tend to think of the music as one of the characters," he stated. "It’s another character in the movie. It’s sort of that character that sits there and gently nudges you and says, 'You need to feel this' or 'You need to notice this.'”

"It’s sort of the subtext of everything that is going on," continued Giacchino. "I can take a picture of you starting at me, and I can score that any number of ways, and I could show those versions to people, and they would think either, 'You’re plotting to kill me' or 'You’re really happy right now.' There are so many different things involved, but it’s all within how you play the scene, how you score it. It’s actually a very dangerous tool to have."

Recalling an exchange with one his longtime collaborators during the scoring of The Incredibles , Giacchino shared the responsibility of his own role in the storytelling process, "Brad Bird once told me, 'Now, you’re going to have to be very careful....Your music can ruin my movie.' And he was right. What he meant was that, if you’re not totally right on target, then the audience will be thinking something that he doesn’t want them thinking. So you’ve got to be careful."

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Star Trek: Prodigy Season 1 is available to stream on Netflix outside of markets including Canada where it is available on CTV.ca and the CTV App, France on France Televisions channels and Okoo, in Iceland on Sjonvarp Simans Premium, as well as on SkyShowtime in the Nordics, the Netherlands, Portugal, Spain, and Central and Eastern Europe. Star Trek: Prodigy is distributed by Paramount Global Content Distribution.

Composer Michael Giacchino Talks 'IF,' Balancing Music With His Directing Career and 'The Batman 2'

Prolific Oscar-winning composer Michael Giacchino isn't slowing down. He's just being picky.

The man behind the music for "Lost," "Up," "Star Trek," "Spider-Man" and countless other beloved films and shows is finally moving into directing (a long-held passion of his), which means when he agrees to score a new movie, he really has to click with it. That's what happened with "IF," John Krasinski's latest directorial effort. It's an emotional story of inner joy that follows a young girl befriending various imaginary friends (or IFs), with Ryan Reynolds guiding her along.

Giacchino was first connected to Krasinski through mutual friend J.J. Abrams, who told his "Star Trek" composer that Krasinski wanted his number. Giacchino said he took the call because he admired Krasinski's work on "A Quiet Place" and was curious to hear about this new idea.

"He was so enthusiastic. He was so much in love with the idea of moviemaking, and the thing that really sold me on working with John was the fact that he is out there making original films," Giacchino told TheWrap.

And yes, he acknowledges he's worked on plenty of IP, but he wants to be part of pushing through original films as well.

"I love 'Star Trek,' I would probably never say no to 'Star Trek.' I love 'Star Wars,' I love playing with the IPs, I love all these things that I have been a part of, and all the Marvel stuff, everything DC, I love them. But I also feel like there needs to be a balance of pushing the new out into the world as well," he said. "So if we can do both, and if I can be a part of doing both, I'm definitely going to do that. So that was, for me, the big selling point, not to mention the fact that I just fell in love with the film because it was so sweet and the subject matter was just right."

Giacchino is readying his next directorial effort, a remake of the horror movie "Them!," after making his debut with the Marvel Disney+ short "Werewolf by Night." Work is continuing on the screenplay, and Giacchino noted that he's still getting used to the slower timetable of directing a movie vs. composing a score, but he's eager to get back in the director's chair ASAP.

Read on for our full chat with Giacchino about how he intends to balance directing and composing (including if he's returning for "The Batman II"), how he approached the score for "IF" and his new hula album (you read that right):

How are you doing? I feel like you score absolutely everything. Are you tired? Are you finding a good balance with the directing?

It's good, it's good. I mean, the last couple of years have been a weird transition for me after finishing "Werewolf by Night" and doing a couple scores while I'm trying to get the next film started, so it's this whole learning curve of like, "Alright, how do I balance both of these things?" It's really about just being very picky about the films I choose to write music for, because that takes up time. I want to be able to do that, but I need to get these other things moving forward too. So it's a bit of an interesting time, but fun for sure.

What is your threshold now for scoring a film? Because I know you've always wanted to direct movies and you're now finally fulfilling that dream. But you're also this incredible composer, and I know you love music. What gets you to a "yes?"

If the subject matter seems interesting to me, I always at least want to meet the director and see what their thoughts are and where they're at with the film. On this one, it was funny because J.J. Abrams called me and said, "Hey, Krasinski is trying to get your phone number. Do I give it to him?" I was like, "Why?" and he goes, "I don't know, I think maybe for a movie he's working on" and I was like, "Sure, why not? It can't hurt to talk." So he and I got on a Zoom together and he explained everything he wanted to do, and he was going to let me see the film as it was in its rough cut form and just see what I thought.

He was so enthusiastic. He was so much in love with the idea of moviemaking, and the thing that really sold me on working with John was the fact that he is out there making original films. He is putting together movies that have original stories to them. I was a huge fan of "A Quiet Place," and then when he told me about this movie, I was like, "You know what, yes, I want to be a part of the team that is supporting new ideas and putting new films out into the world for people." I love the things I get to work on. I love "Star Trek," I would probably never say no to "Star Trek." I love "Star Wars," I love playing with the IPs, I love all these things that I have been a part of, and all the Marvel stuff, everything DC, I love them. But I also feel like there needs to be a balance of pushing the new out into the world as well. So if we can do both, and if I can be a part of doing both, I'm definitely going to do that. So that was for me the big selling point, not to mention the fact that I just fell in love with the film because it was so sweet and the subject matter was just right.

John is incredible with emotion. I think that's what knocked me out with "A Quiet Place." Like yes, it was terrifying. But it also made me cry.

Exactly. He feels deeply the things that he's working on, and I related to him in that way. Because as a composer, that's how I have to work. I have to embody whatever these emotions are that are going on in order to kind of give you an honest version of what that music reflects.

What were your early conversations like? What were those nascent ideas?

You know, we talked about story most of the time. There weren't many music conversations right up front. It was more about story and feelings, and how did we want to feel and what are the core emotional markers of the film that we need to pay attention to? Then I went and watched the movie and, in a day or two, I wrote a suite that felt like the movie to me. I just gave that to him and said, "Look, I don't know if this is what you're thinking, but this is what I'm feeling. Tell me if I'm on track with what you're feeling," because the most important thing is that he and I are together; that the director and composer are on the same page. Otherwise, the movie can be ruined by music. He immediately jumped on board and was like, "Yes, this is my movie, this is exactly what I was hoping for." And from that, it was just right to the races and I just started writing.

It was a really interesting experience because I don't think he had ever been at the orchestra sessions before for his previous films. The schedules were so crazy. To stand in front of an orchestra is an incredibly emotional experience. When you're standing on that scoring stage, that's the moment of no return. That's the moment where you feel like, "Wow, I am just about at the top of the mountain and this journey is almost over," and that's a very emotional feeling. It hits you right in the chest and you can't help but get teary eyed. So I think we had a really great time together working on this. There was a lot of joy put into bringing this idea together and bringing it to the screen.

Sonically, what was the main thing you hit upon for your approach to this score?

It was about creating a timelessness in what the music was saying and entering into sort of a magical place, a place where anything can happen. I find that a lot of times when I listen to more serene, classical music, it always makes me feel like I'm in this place where anything could happen. I wanted to try and capture that feeling for this film. It's an emotional movie, but it's also a very funny movie. It's got a lot of humor to balance the heart. So it was finding a melody that I could use in a few ways.

I don't want to say it came easy, because nothing ever is easy when you're making it, but I just connected to the movie very quickly. So hopefully, you'll hear something that feels somewhat timeless and somewhat catchy. I'm always looking for that thing in a movie, how can I help tell this story in the best way possible?

I have a toddler and he's obsessed with "Up," he's obsessed with "Zootopia," he's obsessed with "The Incredibles." I know I am far from the first person to tell you that, so what I'm curious about is as someone who grew up loving movies, has it registered in your brain yet that you're soundtracking the childhood of millions of kids? What John Williams or Jerry Goldsmith was to you, you now are to them.

Well, yes. It took a while to understand that. I will say just in the last five years, maybe it started coming clear to me as I would meet people who would go, "I grew up listening to 'Medal of Honor' or 'The Lost World' video game," and I'm like, huh? And they're like, "That's my childhood." And then of course you get into "Up," "Alias," "Lost," all these things. Even "Star Trek," which was a little later and people grew up with that.

But where it really hit me was when I was at Disneyland one time with the kids and walking down Main Street, and we're just doing whatever and all of a sudden I hear "Up" being played at Disneyland. That makes you go, "Oh, OK, I guess this is now something that's going to last and be around for a while, if we don't destroy ourselves as humans." But yeah, that was the thing that sort of really hit the nail on the head going, "OK, something happened and I didn't even realize it, that now I am one of those people that I so looked up to, for better or worse." I'm there and it's interesting. And it does make the work all worth it, because it's so hard, it can be frustrating and it's not easy to make movies by any stretch. But there's a great reward in knowing that people feel that way and that the thing that you're doing and the thing that you're working so hard on actually is appreciated.

So you are also a very talented director. When are you directing again? Is "THEM!" coming together?

It's coming together. We're in the process of writing it at the moment, so that's moving forward nicely. These things are giant boulders that slowly get pushed up hills. Everyone loves to announce a movie that's gonna get made, and then it disappears for a couple of years. It just takes time, and it's such a different time schedule than composing where it'd be one film after the other boom, boom, boom . This is now like one film for a long time. But it's moving ahead really nicely, we just keep pushing it, keep pushing it, but I love it. In the meantime, I can kind of hopscotch back and forth and figure out, "OK, well, I have time to do this score," or "I have time to do that score." It's always finding the ones that are interesting and feel like they're going to be fun to be a part of, and more importantly, that I get to work with interesting and kind people if I can do that.

You've worked with some of the best filmmakers in your music career, I assume that gives you some confidence in directing abilities.

It was the best masterclass you could ever have, all those years of not just with the directors, but I would also say with the editors that I got to work with over time. Jeff Ford, who edited "Werewolf by Night," we've done five movies together where I was a composer and he was the editor, so I learned so much from him over the years. And the producers I've gotten to work with, all that time when I was hoping to kind of leap into the next phase of what I want to do, I was actually learning so much. Your impatience at the time -- you know when you're in school and you're like, "Just get me out of this. I don't want to do school anymore. I want to get to here ." Later on, you always realize, "Oh, that time spent really taught me things that I needed to know." I feel like going through the amount of movies that I've done with the great directors, editors and producers that I have, I have learned an incredible amount, which has put me ahead of so many people in terms of what I know. It doesn't mean it's going to be great, but it certainly gives me a leg up in terms of process and understanding of what's ahead, that is for sure.

I heard there was maybe a longer, feature-length cut of "Werewolf by Night," is there any truth to that?

There were a couple of extra scenes that I suppose would make it into a semi-feature kind of realm, but I don't know if we'll ever see that or not. I feel like the reason those scenes ended up being lost was because the story ended up being a better story without them. Longer versions of movies to me, when they come out, I'm always wary of that. There's a reason you cut things from a movie. Adding things in doesn't make it better, and it usually makes it worse. It's very rare that it makes it better.

Have you had talks with Marvel about doing a feature over there? I know you're friends with those guys. You've worked on a lot of those Marvel movies.

We're always talking about that stuff. It's just about like, "OK, what is the right thing at the right time?" And as you know better than anyone, the industry is going through an incredible change right now. So, when we were making "Werewolf" that was at a time where so many things were being made and everything was being tried. Now we're in a much more conservative timeline in our industry. So I think it's sort of working itself out right now, trying to figure out what are the next steps? How much can we push? Where can we experiment? All of that is now back to square one.

It's kind of like, "Get in line and we'll decide if we want to make this."

Exactly. Yes. A lot of things need to be figured out first now. But you know, there's no less enthusiasm for doing something. It's just waiting for the right time.

How do you balance something like "The Batman II," which your score for the first film was so incredible and you've worked with Matt Reeves for so long. When that production gets pushed and you're trying to get "THEM!" off the ground, are you able to do both?

You hope for the best. The people that I'm working with are people that I've worked with a long time, so people tend to -- we all work it out and we'll figure out our schedules, and everyone is always like, "Don't worry about it, we'll deal with it when it comes up. We'll make it work." I've had multiple studios really go out of their way to help me make sure my schedules are working for them in order to be able to do what I need to do. So that's really nice to have that kind of relationship with the various studios and the various filmmakers. Without that, I wouldn't be able to do it.

Well thank God, because I can't imagine "The Batman" without you.

I'm excited for that. We'll see.

Speaking of other collaborators, you're working with Brad Bird on "Ray Gunn." Have you started work on that yet?

Some. Very little. But yes, there are a couple of ideas I floated by which we're really excited about and things like that. But the bulk of the work hasn't really started yet and he's hard at work. He's pleased. He's doing what Brad does, which is make great things. That's why he's here on Earth. I'm excited about that one.

I hear there is a hula album in the works. Tell me about that because it sounds very exciting.

[Laughs] I feel like this is an album I'm putting out that was literally just for me that I want to do. Nobody asked for this. I'm a huge fan of Martin Denny, Arthur Lyman, all of these guys that were doing this sort of quasi-exotic music in the '60s. It was a mishmash of a lot of different elements, it's from all over the world, but it has this sort of tropical vibe to it. I love that music so much and so I did an album that had every theme I've ever written, but in that style. Make it feel like one of those old RCA stereo records, and I was just so happy I got the chance to do it. That is coming out from Mutant Records, I think it's July, but we just released the single that has two tracks from "Lost" on it.

It just literally came out of this dumb thing that I was like, "Oh, it'd be fun to do this. Anyone want to do this?" And they were like, "Yep, let's do it." So we did and it was a really exciting thing to do, because it really had nothing to do with anything other than just wanting to have fun. You'll be hearing more about that in the coming weeks. I guess we're going to do something at Comic-Con. It's just another fun way to kind of look at all the work that was done and present it in a different way. We'll see what happens.

"IF" is now playing in theaters everywhere.

The post Composer Michael Giacchino Talks 'IF,' Balancing Music With His Directing Career and 'The Batman 2' appeared first on TheWrap .

IF (Music from the Motion Picture)

Michael Giacchino

24 SONGS • 1 HOUR AND 16 MINUTES • MAY 17 2024

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Composer and director Michael Giacchino grew up fascinated with both movies and music, and he's gone on to an ideal career writing acclaimed scores for numerous films and television series. Best known for scoring many Pixar animated films plus latter-day installments of franchises spanning Mission: Impossible and Marvel, Giacchino has also scored video games and done pivotal work for the television series Lost and Alias. After building his résumé with work on a few low-budget films alongside prestige DreamWorks video games with fully orchestrated scores in the late '90s, Giacchino had his box-office-topping big-screen breakthrough with 2004's The Incredibles, his first collaboration with Pixar. He received his first Academy Award nomination and Grammy win for the animation studio's Ratatouille (2007). His first Emmy win followed in 2008, for Lost, before he took home an Oscar and a BAFTA for Pixar's Up (2009). Some of Hollywood's biggest film franchises soon came calling, and throughout the 2010s, Giacchino worked on the likes of Mission: Impossible - Ghost Protocol (2011), Star Trek: Into Darkness (2013), Jurassic World (2015), Rogue One: A Star Wars Story (2016), and Spider-Man: Homecoming (2017). In the meantime, he continued his relationship with Pixar, scoring 2017's Coco and 2018's Incredibles 2. In 2022 alone, Giacchino provided music for The Batman, Jurassic World Dominion, Lightyear (for Pixar), and the Marvel entry Thor: Love and Thunder. He also made is full-length directorial debut, helming the Marvel Studios Halloween special Werewolf by Night.

Giacchino was born in Riverside Township, New Jersey, on October 10, 1967, and grew up in nearby Edgewater Park. As a child, he developed an interest in animation and began making stop-motion cartoons, but discovered his favorite part was selecting the music that would match the action. After high school, Giacchino received a degree in film production at New York's School of Visual Arts and then went on to study music at Lincoln Center's Juilliard School. Giacchino supported himself as a publicist for the New York offices of Universal Pictures and Disney, and after completing his studies, he relocated to Burbank, California, where he worked for Disney's feature film publicity department. He moved on to Disney Interactive, assisting with production on video game projects as he continued to hone his craft in music.

After contributing music to several Disney games, he took a position with DreamWorks Interactive in 1997 and scored the video game The Lost World: Jurassic Park, released as a tie-in with the sci-fi blockbuster; the same year, he also scored a low-budget live-action thriller, Legal Deceit. Giacchino composed scores for a number of other video games, including the Medal of Honor and Call of Duty franchises, and in 2001, when producer J.J. Abrams was assembling his creative team for the television series Alias, he invited Giacchino to write music for the show, having been impressed with his video game work.

After working together successfully on Alias, Abrams hired Giacchino to compose music for the cult favorite series Lost, which earned him an Emmy Award for outstanding dramatic score in 2005; Giacchino also wrote music for Abrams' short-lived but critically acclaimed show Fringe. In 2004, he was part of a team credited with music for Star Trek: The Final Darkness, and Brad Bird invited Giacchino to write the music for the Pixar animated feature The Incredibles. It was the first of several projects he scored for Pixar. Following work on Abrams' Mission: Impossible 3 (2006), his second Pixar film, 2007's Ratatouille, made Giacchino an Oscar nominee and a Grammy winner (Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media). He worked on films including 2008's Cloverfield (produced by Abrams) and Speed Racer, and 2009's Star Trek (directed by Abrams), before winning an Academy Award in 2010 for the Pixar release Up (2009). It also garnered a Grammy for Best Score Soundtrack Album.

After Lost ended its six-season run in May 2010, Giacchino's music could be heard in films including Let Me In (2010), Pixar's Cars 2 (2011), Abrams' Super 8 (2011), and the Brad Bird-directed Mission: Impossible – Ghost Protocol (2011). The action fare continued in the form of Star Trek: Into Darkness (Abrams, 2013), Dawn of the Planet of the Apes (2014), and 2015's Tomorrowland, a collaboration between Bird and Lost creator Damon Lindelof. That year brought another Jurassic Park sequel, Jurassic World, and Giacchino's fifth Pixar movie, Inside Out. His stock only continued to increase as 2016 saw the release of Disney's Zootopia, Star Trek Beyond, Marvel's Doctor Strange, and Rogue One: A Star Wars Story, all with scores by Giacchino. Spider-Man: Homecoming followed in 2017, as did another Planet of the Apes series entry, War for the Planet of the Apes, and another Pixar film, Coco, which featured songs by Germaine Franco, Adrian Molina, Robert Lopez, and Kristen Anderson-Lopez, and a Grammy-nominated score by Giacchino. Among his film work to finish out the decade were Pixar's Incredibles 2, Jurassic World: Fallen Kingdom, Spider-Man: Far from Home, and the World War II satire Jojo Rabbit.

The composer branched out to another animation studio, Montreal's Cinesite Animation, to pen music with his son, Mick Giacchino, for 2021's Extinct. That year, he also had sole credit on Spider-Man: No Way Home. Giacchino kicked off 2022 with The Batman in March and both Jurassic World Dominion and Toy Story spin-off Lightyear in June. Marvel Studios' Thor: Love and Thunder followed a month later. Having previously directed the short film, Monster Challenge starring Patton Oswalt, Giacchino also made his full-length directorial debut with the Marvel Studios Disney Plus Halloween special Werewolf by Night, which he also scored. ~ Mark Deming & Marcy Donelson

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03 jun 2:30 pm Star Trek Beyond - London Royal Philharmonic Concert Orchestra 2:30 pm

Event Details

As part of a Star Trek weekend, Star Trek Beyond – In Concert will be screened in the Royal Albert Hall, with Michael Giacchino’s score performed live by the Royal Philharmonic Concert Orchestra conducted

As part of a Star Trek weekend,  Star Trek Beyond – In Concert  will be screened in the Royal Albert Hall, with Michael Giacchino’s score performed live by the  Royal Philharmonic Concert Orchestra  conducted by  Ernst Van Tiel .

From director Justin Lin,  Star Trek Beyond  (2016) is the third installment in the reboot series, starring Idris Elba, Chris Pine, Simon Pegg, Zach Quinto, Zoe Saldana, John Cho, Anton Yelchin and Karl Urban.

Acclaimed by critics and fans alike,  Star Trek Beyond  was universally hailed as an epic sci-fi adventure that honors the series’ roots while delivering the mind-blowing action expected of today’s hottest movie blockbusters. Its soaring new orchestral score by Oscar®-winning composer Michael Giacchino not only breaks new ground, but also reprises many of the beloved musical themes he created for the prior  Star Trek  installments.

(Sunday) 2:30 pm

Royal Albert Hall

Royal Albert Hall, Kensington Gore, London SW7 2AP

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