I’m going to put my cards on the table, folks: even as someone who’s feeling a certain degree of superhero fatigue, it’s hard not to look forward to "The Fantastic Four: First Steps." The upcoming Marvel movie reintroduces Marvel's First Family in a story that’s starting to sound like a retrofuturist’s dream come true. So of course, I’m deeply invested in where this goes, as that particular label is one I hold dear.
What we know about the MCU’s "Fantastic Four" reboot has also freshly clued us into the fact that veteran Marvel composer/geek at large Michael Giacchino will be scoring this new project. Thanks to a recent conversation with Giacchino, we have the knowledge of three key influences he’s drawn from for the project’s score; as well as how much has already been recorded.
What we know about the MCU’s "Fantastic Four" reboot has also freshly clued us into the fact that veteran Marvel composer/geek at large Michael Giacchino will be scoring this new project. Thanks to a recent conversation with Giacchino, we have the knowledge of three key influences he’s drawn from for the project’s score; as well as how much has already been recorded.
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Short filmTranscript
00:00during the Hall H presentation. I was supposed to have been there for the presentation, but
00:06I was moderating a panel for NASA. They had asked if I would moderate their Search for Exoplanets
00:13panel. And I was like, yes, of course, because I love NASA and everything they do. So I early on
00:21said yes to that. And then when I found out that, oh, Hall H is going to interfere, but I heard the
00:25announcement through the walls, because we were on the other side. And that Hall H is really loud.
00:33But we had a blast at the NASA. And even Kevin, I think, on stage mentioned that, you know,
00:38because he announced it on stage that that was my music and the teaser and everything. And he said,
00:45but he's not here because he's hosting a NASA panel. But actually, it makes sense. It's the
00:50Fantastic Four and NASA. It all works together. Did you come on when John Watts was still on the
00:55project? No, we never really talked about it. I knew he was going to be on it. And we just
01:04talked loosely about it. But it wasn't really solidified until after that. Then Matt came on.
01:11And Matt's an incredible person. And he's going to do a great job. I'm really excited for what he's
01:15going to bring to the table on this, because it's going to be a breath of fresh air in a really fun
01:19way. But I guess it's been over a year, maybe, I don't know, that just sitting around going,
01:27yeah, that's in my future. That's in my future. I mean, just waiting and waiting patiently. And then
01:33it was great, because we got to record the main theme. We got to record several other
01:37cues for the film and different themes ahead of time. And that's what we used in all of those
01:41in the teaser. And that's what we used for the drum show and all of that stuff. So it was such
01:47a fun thing. Leading up to Comic-Con got really fun, because it was just like, oh, this is going
01:52to be fun, because now it's all coming out. And it's not only just coming out, but we're actually
01:56going to play the main theme, too, as well, so far in advance, a year ahead of the film coming
02:01out. And it's very rare you get to do that. It's funny. I like to describe the score as,
02:06it's the right stuff meets Marvel meets the Disneyland Electric Light Parade. That's how
02:15I pitched it to them. And they were like, yes, let's do that. So that was my target,
02:25what I wanted, those feelings from all those things. So yeah, that's where we're headed.