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Michael Giacchino's Jupiter Ascending (2015)


luke905

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Well going by that comparison, maybe if Giacchino leaned heavily on Prokofiev or someone and just riffed on that for two hours, he'd be more to your liking. He has shown himself to be an ace arranger....

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Well going by that comparison, maybe if Giacchino leaned heavily on Prokofiev or someone and just riffed on that for two hours, he'd be more to your liking. He has shown himself to be an ace arranger....

If that would help him writing less depressingly simple thematic material, i'm all for it.

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Super 8 leaned on Williams?

Are you serious? The film is clearly an homage to Spielberg and the score is clearly an homage to Williams

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Yes, I'm aware of that. But aside from one of the themes (which wasn't the main one), the score did not sound very Williams-ey to me.

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But he's still young, and he's learning (as you can hear in the stronger parts of JA). Just don't expect unconditional love on my part.

I dunno, he's been composing for a long time. James Horner composed his classic scores early by comparison

Yeah, but . . . Williams didn't. JW had been composing for television and film for more than 20 years before he reached the period for which he's so adored. At this point, Gia's been at it just about as long, and is just now about the age John was when he started penning his classics. What has he done in the time leading up to now? Super 8, The Incredibles, Up, the two Star Trek scores, John Carter, and now Jupiter Ascending. What was John doing in the time leading up to his Golden Age? A Guide for the Married Man, John Goldfarb, Penelope, Diamond Head, Valley of the Dolls, and the like—and with far more formal musical training and experience.

My point is simply that there's huge precedence for thinking Gia's best years could still be ahead. If people expect him to be the next John Williams, he should at least be given the chance to become the next John Williams in the same fashion and time frame the last John Williams became the current John Williams.

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Not exactly sure what's going on in the passage at 2:06-2:13 of House of Abrasax, but I love that orchestral combo/texture. It sounds very...naval! That's the word.

More importantly it sounds filled out and grown up. It's not a sound signature I expect out of Giacchino. Sadly, the immediate next track gets back to being more goofy.

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That's one of the more disposable cues. At least the cue after it has more colour and life to it. The good action stuff though, doesn't start until "The Shadow Chase".

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occasionally Marcus when he is really sipping the JW Kool-Aid out of a wine glass.

More than a few people reach this level, and it's not limited to Giacchino either. Shame, that.

Yeah but there's a difference between not liking it (which I don't sometimes) and foaming at the mouth when he's mentioned....

Does anyone (paging Jim Ware?) know where this score was recorded?

Abbey Road and Newman Scoring Stage.

Karol

I ask because on closer listening, it seems a little anemic. Should have been an AIR affair.

AIR Lyndhurst? Yuck.

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Not exactly sure what's going on in the passage at 2:06-2:13 of House of Abrasax, but I love that orchestral combo/texture. It sounds very...naval! That's the word.

More importantly it sounds filled out and grown up. It's not a sound signature I expect out of Giacchino. Sadly, the immediate next track gets back to being more goofy.

I think I figured out why it sounds...naval and grown up.

Sounds very similar to 5:39-6:05 from this:

Guess woodwinds, big drums and the rest of the orchestra blasting percussively together sounds very...Naval/Militaristic. ;)

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Great? What does that have to do with liking the orchestration and texture of those six seconds? ;)

Fair enough. I like that bit too, though I don't quite follow with the naval description. The woodwinds really do it for me there though.

And love that Trevor Jones cue you posted. Man, that guy used to give us some real enjoyable action stuff.

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Great? What does that have to do with liking the orchestration and texture of those six seconds? ;)

Fair enough. I like that bit too, though I don't quite get the naval bit. The woodwinds really do it for me there though.

And love that Trevor Jones cue you posted. Man, that guy used to give us some real enjoyable action stuff.

I think the naval-ness just comes from the woodwinds. There's a mental big association between Navy and woodwinds (or just traditional military), at least in the US. Military bands tend to be winds and percussion.

Goldsmith does it as well here (1:53-2:00):

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Peter Hackman says

And now....

We WILL have 100 signed by Michael Giacchino and we are getting CLOSE to that number so if you want an autographed copy of this score which includes a longer CD booklet with notes from Michael and photos from the scoring session at Abbey Road Studios in London ORDER THIS IMMEDIATELY!!

Those that have ordered already will get an autograph, so rest assured. Order now and order quickly for a signed copy!

And thank you Michael for signing these for us fans, it means the world to us!

http://www.varesesarabande.com/release/jupiter-ascending/

This is NOW expected to ship earlier, around March 17th!!

ONE PER CUSTOMER!

If you do NOT want an autographed copy order here http://www.varesesarabande.com/release/jupiter-ascending-2/

Wow, it's been on sale for 5 days and they hadn't even sold 100 copies yet? That's pretty sad.

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I can't believe when it went up for sale on Friday, they didn't sell out of their 100 autographed copies until the following Tuesday. I mean, this is a major new Giacchino score. LLL must be happy now they didn't sublicense this. Will this even sell 500 units altogether?

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They're a non-exclusive mid-March CD release contending with a current digital release and a current import CD release which is available domestically at a similar pricepoint. Presales were bound to be soft, and I'd wager that's why they asked MG to sign them in the first place. They also launched the presale with little to no promotion (a few message board posts buried, maybe a Tweet or a Facebook message that would disappear quickly from the feed when new content is offered up). An autograph is a nice perk, but unless you specifically seek those things out, having the same music over a month earlier is probably a bigger perk.

Their direct business (on VS.com) has never been their strong suit, but Varese, more than any of the other labels, has the means to sell soundtrack CDs. They have the online connections and they have the (albeit in a shrinking space) retail connections. If they only ship 1-2 units per brick and mortar store that carries Varese releases, they would ship much, much more than 500 units. I wouldn't call this a doomsday scenario.

Chances are that Varese knew the obstacles to sell through on this release, and will run their first pressing accordingly.

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Well, I'm happy I'll be getting an autographed copy. Will go nice with my autographed Varese Deluxe Edition of Star Trek Into Darkness.

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After watching the film, it turns out I was right about many themes. Well, at least close enough.

Jupiter's theme - main theme and the main portion of of 1st movement

Ascension theme (aka Jupiter the Planet) - finale of 1st movement

Love theme (aka Caine's theme?) - 3rd and 4th Movement

Caine's action theme (animal theme) - the action motif that appears several times in the score and is sung by soprano towards the end of 4th movement

Chanting action theme - heard several times in the score (another Caine aciton motif?)

Titus' theme (John Barry tune used only briefly)

Family/Earth/home theme (2nd movement)

Abrasax Family theme

I'm not sure whether we can count the light scherzo material in 'I Hate My Life'. It appears twice in the film, in different versions, to accompany two montage sequences.

There might be a few more, to be honest.

Does it seem accurate to you guys?

Karol

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That I Hate My Life track is pretty great, imo, one of my favorites on the CD.

Hopefully I will see the film in theaters and can comment on what else you said

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That I Hate My Life track is pretty great, imo, one of my favorites on the.

You'll be glad then that it appears twice. Funnily enough, the statement in 'I hate my life' montage is actually slightly different to the one on album. That version (or one very similar to this version) can be heard much later in the film (leading up to Terry Gilliam's cameo scene).

Karol

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Yeah, pretty much. It sounds like they're mocking the story by summing up it this way. But the truth is... that's exactly the plot of Jupiter Ascending. Unlike the majority of reviewers I actually think the Wachowskis knew exactly what they were making.

Karol

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Wow, it's been on sale for 5 days and they hadn't even sold 100 copies yet? That's pretty sad.

I didn't order specifically because I thought they were all gone. Sad, indeed. Anyway, just got my CD from the UK. Diving into my first listen...

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Wow, it's been on sale for 5 days and they hadn't even sold 100 copies yet? That's pretty sad.

I didn't order specifically because I thought they were all gone. Sad, indeed.

Me too :(

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Titus Clipper reminds me of John Barry's Out of Africa Theme. I love the cue Giacchino wrote for JA but I was hoping it would be used or explored further.

I found out about the signed copies here a few days ago and in one solitary facebook post. It wasn't advertised anywhere which is strange. I bought it immediately thinking it would sell out as others did on the first day. Strange it didn't get any further marketing for the autographed edition...

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Wait, why did you both think they were gone?

What KK said. I hadn't even bothered to check the site. The release was announced several days ago and then they came out and said 100 copies will get an autograph, and in my head I just thought there was no way that was still available and didn't want to rebuy for a booklet.
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The last 2 and half minutes of Commitment is absolutely brilliant. One of the finest wrap ups in MG's discography for me. I only wish they had used the same soprano for the First Movement suite.

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I'm having trouble warming to this album, even as an ardent fan of Giacchino. It's earlier parts, the 'symphony' included, are attention grabbing, but I don't feel it develops enough for warrant the album length. I will cut down a playlist for further enjoyment, if I want this one to be a 'grower'.

In inevitable comparisons with John Carter (which wasn't a grower at all, it jumped right out and got its claws in me!), I don't think Jupiter Ascending compares on any front, except possible orchestration gimmicks or flourishes. John Carter is so much more handsome, rounded and organic in its stylings, and its themes more compelling.

I do need to see the film, and that usually helps, though I don't have high hopes for it to hold anything but aesthetic merit. Perhaps seeing the visuals marry with the music well will enamour me to this work more. I was disappointed to here that so much music is cut and chopped, especially the wonderful Titus Clipper (Barry-esque indeed!), so that may just make this an awkward album in the Giacchino collection.

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John Carter was easy to like right away, it has a strong narrative through-line and doesn't jump around as much between various styles. Plus, it has a clear beginning, middle, and end, with a strong finish.

Jupiter Ascending is a lot coming at you to take in all at once, and doesn't really end. It just stops. Perhaps the symphony should have ended the presentation rather than start it.

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