Top 45 Michael Giacchino Quotes

There was a time that I did ‘Up,’ ‘Star Trek’ and ‘Land of the Lost,’ and I was working on ‘Lost,’ at the same time, and that was really hard.

Without my experiences on the likes of ‘Lost’ and ‘Alias,’ I don’t know if I would have survived ‘Rogue One.’

‘Lost’ is such a thematic show that I’m always afraid that if I know something’s going to happen at the end, I’ll subconsciously write something in where someone who’s astute will go, ‘Oh, he used so-and-so’s theme: that must mean so-and-so is coming back!’

If you look at my credits, most of them are the same directors over and over.

I grew up listening to ‘Planet of the Apes’ and other scores, and it was fun for me because you weren’t just listening to those scores, but you were also questioning what you were listening to. What are those sounds?

I think that to capture food in music, you really are capturing an emotional response to food.

Many film scores try to force an emotion into a story that inherently is not there in the first place.

Filmmaking is hard enough as it is. If you can find a group you love working with, it makes it just a little bit easier.

The very first game I worked on was for DreamWorks Interactive’s ‘The Lost World: Jurassic Park.’

I’ve always, always, always listened to music since I was, like, 7 years old and made up stories in my head based on what I was hearing.

I used to do puppet shows as a kid – me and my brother would do them – and then any poor soul who came into the house had to sit and watch our puppet shows.

I watched ‘Land of the Lost’ as a kid, you know, incessantly. I loved it. Me and my brother watched it every Saturday.

Sometimes people do things because they are sad or because they are upset or were hurt by other people.

People on ‘The Incredibles’ would ask me if I listened to a lot of spy scores, but no, I don’t.

I even went to film school at School of Visual Arts in New York City. And then, after that, I got a day job at Universal publicity department, then moved over to Disney publicity department. So I had this day job, and at night I would study music.

When you write for an orchestra, the sky’s the limit.

For me, the music is always speaking from the point of view of the characters. Rarely do you score an event.

When I was 9, I saw ‘Star Wars,’ and it set me on a path to where I am today.

Most television, the music is very much the same from show to show.

I loved ‘Planet of the Apes,’ and I loved ‘Star Wars,’ and I loved ‘Raiders of the Lost Ark,’ and to me, the goal always was to work on something as cool as that.

As a kid, I would listen to anything that had a live orchestra or ensemble playing, so that covered everything from show tunes to eclectic jazz things to film soundtracks to classical music. They’re all inspiring to me.

I grew up listening to every style of music you can imagine, and I have a love for all of it.

As an audience member, everyone I talk to is like, ‘I’m so excited to see ‘Super 8.’ I’m so excited to see it.’ And part of that is because of his drive to make sure that it stays hidden until the last minute.

I’ve been pretty lucky in that I’m not a big writer’s block kind of person.

Because of John Williams, I began collecting all kinds of film scores. I listened to them when I fell asleep, and it was through my obsessive listening that I learned what all the different parts of the orchestra were. I learnt a great deal from him by just simply listening.

My entire life was making movies.

There’s so much fun you can have with your instruments that no one ever taught you.

I’m not the kind of person who works 24 hours a day, mostly out of laziness; I don’t know.

I started out as a producer. and I used to work at Disney. and I worked with a lot of the animators and went on to become great friends with a lot of these guys and worked on a lot of projects together.

My dad gave me his camera, so I spent my childhood making movies with the kids in the neighborhood as actors.

That’s the time I remember as a kid, being so excited to go to the movies. To be part of that now is really an amazing gift.

I don’t like working all hours of the night and having an unreliable working pattern.

Music helps immensely with math skills, and math skills help immensely with music skills.

Hopefully, by the time I do a project, I already have a true understanding and love of what I’m about to do because if I don’t, I’m not going to work on that project. I really want to have those connections so I can be truthful to the emotional aspect of what I have to deliver for the story.

For some reason, as a kid, I felt outwardly embarrassed to say that I liked rock music. I don’t know where that came from. For me, it just wasn’t cool – orchestral music was cool.

I was obsessed with ‘The Twilight Zone’ as a kid, and one of those things I didn’t realize until I was in college was that I had been listening to Bernard Herrmann all my life.

I’ve always looked at guys who I’ve admired, like John Williams and Lalo Schifrin and Max Steiner, and looked at the choices they made and always try to take a cue from that.

I was pretty lucky to have grown up during the ‘Star Wars,’ ‘Indiana Jones’ and ‘E.T.’ years.

I love Glenn Gould. Max Steiner. John Williams. Louis Prima. Benny Goodman. Miles Davis. John Philip Sousa.

I think Mozart, with all his impatience in writing, would have loved it. It would have allowed him to write twice as much. He would have loved a Mac. If he’d had a laptop, he would have been unstoppable.

I love Batman.

I think I learned everything about comedy and timing and drama from watching ‘The Muppet Show,’ which was one of the best shows ever produced.

When you’re starting out in this business, it’s very easy to want to say yes to everything that’s offered to you.

I like the sounds of real, living, breathing musicians. When a real person plays something, there’s a soul. They’re giving you their emotions.

As a kid I was obsessed with monster movies.