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Michael Giacchino's Jupiter Ascending (2015)


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Sounds like trailer music... Karol

Actually, apart from that last track, this is probably the best sequence you'll ever get. It makes more sense once you watch the film. Unless they release the complete film version (with pre-film stuf

Exactly. There just hasn't been an "official" confirmation yet...has there?

I was actually hopeful that he would score Dawn of the Planet of the Apes, given his past history with Matt Reeves (Cloverfield and Let Me In), but with this and Tomorrowland, he would have a pretty busy 2014.

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It's not like he hasn't done a bunch of stuff before. The whole reason why he sort of receded for the past year and a half is because he did 4 scores back to back. He's done all of Bird's films sans The Iron Giant, I have no doubt he'll do Tomorrowland. Apes is another story. It seems likely since it's Reeve but it also seems like the most likely he'd drop if he had to choose between that and Bird.

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So:

-Star Trek Into Darkness (2013) (Abrams)

-Jupiter Ascending (2014) (Wachowskis)

Hypothetical scores:

-Tomorrowland (2014) (Bird)

-Dawn of the Planet of the Apes (2014) (Reeves), or Patrick Doyle.

-The Good Dinosaur (2014) (Bob Peterson)

-Inside Out (2015) (Pete Docter)

-Star Wars Episode VII (2015) (Abrams)

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Here are the release dates for all the 2014 confirmed/potential Giacchino scores

May 23 - Dawn of the Planet of the Apes

May 30 - The Good Dinosaur

? - Jupiter Ascending

Dec 19 - Tomorrowland

Could be tough squeezing all that in. Good Dinosaur seems the least likely

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Here are the release dates for all the 2014 confirmed/potential Giacchino scores

May 23 - Dawn of the Planet of the Apes

May 30 - The Good Dinosaur

? - Jupiter Ascending

Dec 19 - Tomorrowland

Could be tough squeezing all that in. Good Dinosaur seems the least likely

Don't composers usually record the scores for animated films well ahead of time, then do pick-up sessions for the finished product? I think he could fit in The Good Dinosaur...

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I think if Jupiter Ascending is a summer release, it'd be pretty hard to complete 3 scores in time, even with an animated one allowing him to do it earlier than the other too. If Jupiter Ascending is a Nov/Dec release, it's possible he'd have time to do both it and Tomorrowland, but he'd likely have to work on both at the same time, and start as soon as he was done with the summer scores.

I dunno, this is a schedule Williams has done before more than once, and Giacchino has an even larger team at his disposal, so who knows!

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Here are the release dates for all the 2014 confirmed/potential Giacchino scores

May 23 - Dawn of the Planet of the Apes

May 30 - The Good Dinosaur

? - Jupiter Ascending

Dec 19 - Tomorrowland

Could be tough squeezing all that in. Good Dinosaur seems the least likely

I don't think it's been confirmed or anything, but a Google search seems to indicate that John Powell is doing The Good Dinosaur. If that's the case, then I think three films, spread out across 2014, is totally doable for Giacchino. It's really just a matter of if he wants to do it, I suppose. As Koray mentioned above, he receded after doing so many scores in 2011. He might not want to be that busy again.

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Hypothetical scores:

-Tomorrowland (2014) (Bird)

-Dawn of the Planet of the Apes (2014) (Reeves), or Patrick Doyle.

-The Good Dinosaur (2014) (Bob Peterson)

-Inside Out (2015) (Pete Docter)

-Star Wars Episode VII (2015) (Abrams)

I think two or three of those films will be scored by Gia.

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Well, that means it's unlikely Giacchino will be able to do The Good Dinosaur or Dawn of the POTA, but opens up the possibility he'll be able to do Tomorrowland!

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It will be very hard to score both Dawn Of The POTA (May) and Jupiter Ascending (July). Yes, I know he's done it before, but I think it's more likely he'll score Jupiter Ascending (July) and Tomorrowland (Dec) before focusing on Star Wars 7 for May 2015.

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Odd. Not to long ago, I read an interview where the composer (don't remember who) said he only starts composing when everything is finished so that he fully connects with the texture and atmosphere of the film. That made sense to me. I guess the Hollywood system doesn't care for that anymore.

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The film is still a year away from its release, a lot of post-production still needs to be done, and the composer is already recording his score?!

Morricone and Zimmer have been doing it for decades...

It's kind of a double-edged sword. On the one hand, recording or at least mocking-up music early on during the production might eliminate the filmmakers' desire to use other temp music, which might allow for a more original and organic score. But you also run the risk of forming a totally wrong concpet for the score because you haven't actually seen and experienced the film and neither has the director.

That being said, Morricone and Zimmer obviously have the method down, and the Wachowskis do as well. I know that's how they worked on Cloud Atlas; not sure about The Matrix.

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But with Cloud Atlas, the music was integral to the plot, so they needed it beforehand. Giacchino is probably providing music that's needed in context and will record the underscore stuff later. Corigliano did the same thing with The Red Violin.

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Yea, what are you talking about?



EDIT: Just grabbed the CD off my shelf, the Pale 3 song says "Written by Tom Twyker, Johnny Kilmek, and Reinhold Heil"

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Everyone works differently.

Really, I think most film composers want to see the finished scene. Not only does it contain the right emotion, it also tells them the exact length the cues need to be, so that the music perfectly matches the film. I'm going to presume that the Wachowskis needed a few tracks for specific reasons.

Alex

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