I thought I reconized it, Michael Kamen was great, I loved everything that he did. Also, interesting note is that Michael Kamen was the composer of The Iron Giant, which was directed by Brad Bird, who has now used Michael Giacchino on the other two films he directed. Too bad that Mr. Kamen is no longer with us, he would have done an awesome job! 
But as I was saying, Giacchino has been a great succesor to Kamen with working with Brad Bird, I still hope he’ll do the score for Wall-E. Giacchino really is the one Pixar composer who’s scores really stand out to me (Just look at how much Pixar stuff he’s scored- The Incredibles, Ratatouille, One Man Band, Lifted). And the next film he’s 100% confimed for doesn’t come out till the end of next year, so he has a clean slate in front of him, only logical for him to score Wall-E).
Remember that scoring a picture is one of the last post prod duties so maybe it’s a little bit early for any announcement. Wall-e will be released next june: the scoring assignement deadline will be (in theory) untill next (early) march.Anyway I love every composer mentioned before.
Ratatouille’s composer (Michael Giacchino) was announced back in 2005 I think. I’m going all in on Thomas Newman. John Lasseter has stuck with Randy Newman, Randy suits his films; Brad Bird has stuck with Michael Giacchino, Michael Giacchino suits Brad’s films; It just seems like Andrew Stanton will go with Thomas Newman because they kind of music will fit the film, I mean the score will have to emit a lot of emotion due to the lack of speaking as far as we know. This is going to be a very physical film and the score will play a very important role, and I think Thomas Newman can deliver in terms of emotion. Finding Nemo was a very emotional film and Thomas Newman executed the score for it brilliantly. It just seems logical that Thomas Newman will be the composer for the film. I would guess he will be shwon shown story reels for the film towards the end of the year, as he will probably have to start at the start of next year laying down little concepts for the film.
I agree with bawpcwpn whole-heartedly here. Directors will typically stick with their scorer and Andrew and Thomas are a perfect fit. The only outside possibility I see is since it is so driven by sound (since there’s not much in the form of dialogue) then Gary Rydstrom may get some say in it since he will be so heavily involved in this film. In that case it could go to Giacchino. But I’m putting my money T. Newman as well.
Ok Thomas Newman is confirmed as Wall*e composer!!!
Clabot
Well, he’s not confirmed yet. He just seems like the most likely person to score the film.
Bill - Coming Soon say Thomas Newman is composer!
JV - Okay then, that’s good enough for me. I guess my prediction came true. 
JV - Aha! There ya’ go! I’m not surprised…
Yeah, Andrew Stanton at Comic-Con, said Thomas Newman was scoring it.
Ah, nice to know! It will be a great score. I can’t wait to hear it in the movies.
Thomas Newman is the composer for Wall-E. There’s already been some scoring done for it. Animated films often start their scoring much earlier than live-action films.
Really now? I would usually think that the scoring for an animated project would start at the same time as a live action one. That is cool to know.
Welcome to Pixar Planet miafka!
For a typical live-action movie, music is often recorded at the very end, when the picture is finished and the final edit has (hopefully) been decided upon. Normally it works fine, but it can occasionally make things interesting if events happen (such as a composer being changed and all the old music being thrown out within weeks of the film’s release date). Two examples of this would be King Kong (James Newton Howard taking over for Howard Shore) and the original Pirates of the Carribbean (Klaus Badelt taking over for Alan Silvestri – where the music was still being recorded the weekend before the film’s premiere). For animation – especially because traditionally Disney films have had songs, music recording generally starts earlier (songs aren’t just background music, but are an important part of the story, moving the plot along – and thus are done early on). For instance, “Part of your World” from “Little Mermaid” or “Reflection” from Mulan would be done much earlier on than the rest of the score. If there are no songs or music-plot devices then the score can be recorded later on, but especially where you have a company that only releases one film at a time (Pixar) instead of “oh, it’s just one of our 12 summer films” and takes a lot of care in their films, the music recording starts early. Ratatouille was this way (there were a few days early on, then the bulk was recorded in April) and Wall-E is following this pattern. One day has been done already, and a couple more days are coming up. It gives everyone time to see how everything is working together instead of being in a rush at the last second. Remember, making a film is a creative process, and things are constantly being changed to make the film better. Often even after all the music is recorded on a film, there will still be an additional “fix day” to make last second changes. An example I could use would be for Ratatouille. Originally the end of Ratatouille didn’t end with the song, but rather ended with just music (the snappy, swung second theme as the story ends). But there was a decision made to end with this new song, so a couple weeks after all the music had been recorded, a fix day was called for the orchestra to come in and re-record a new ending (ie, the song) and fix a few minor things, and it really made the ending sweet. It shows you the care that Pixar takes on their films. Wall-E is being composed by Thomas Newman, who as many have pointed out, did a great job on Nemo. Only 10 more months…
miafka - Welcome to Pixar Planet! I hope you enjoy your stay here.
Haha! That made me laugh. 
That’s interesting. I’m glad that they made the decision to end the film in that manner rather than the previous one.
– Mitch
Thanks.
Ratatouille 24 times? Wow. Though I can certainly understand why. 
miafka - You’re welcome.
Heheh. Yep. Twenty-four times. Not to get off-topic or anything, but feel free to read this if you want:
To get back on-topic, I would absolutely love it if John Williams had been chosen to compose the score for WALL-E. Don’t get me wrong; I think that Thomas Newman is an excellent choice, as I loved his work on Finding Nemo, but I would like to see a change…
– Mitch
Just me personally, but while I like John Williams, and he’s adept at composing in just about any style, I can recognize a Williams score as a Williams score. Thomas Newman hasn’t traditionally been known for “cartoon music” yet he did a great job on Nemo. I’m glad he’s doing it.
(Another space movie with a Willaims score? Hey, that wouldn’t be a change! 
)
miafka - Alright, so I’ll admit that I’m a little biased when it comes to John Williams. I love his stuff and, well, he’s one of the first persons I think of when I hear the word “composer”. Ya’ can’t blame me, but I do get your point. Eheh.
– Mitch
John Williams in da man. I love his scores for ET, Star Wars, and the Land Before Time. But I’m glad that Thomas Newman did the Wall.E music. He seems like the perfect fit - Finding Nemo with its vast ocean and Wall.E with its vast realms of space, seem very similar in that way at least. I hope Thomas Newman can inject humour into the Wall.E story, though with his music.