Michael Giacchino's Tomorrowland (2015)

[Jay 37,355]

Yes, I know. Was going to point that out to you earlier, as something I noticed that wasn't on your FOW review, but then I didn't

I am pretty sure its a theme for Hugh Laurie's character, who is obviously the villain in the film.

[crocodile 8,012]

I just noticed that, actually. Didn't know that before.

And Unidentified Theme #2 is basically the same thing, isn't it?

Karol

[Jay 37,355]

I think so, yea. I was planning on updating my theme list today with both of these changes, but then didn't.

[crocodile 8,012]

Well, there is no rush. It's a good list to start with.

Karol

[Jay 37,355]

I kinda figured I'd just wait until after I see the film

Its clear most of the ostinatos I listed have nothing to do with the robots, too. You can hear a minute of Edge of Tomorrowland and a minute of All House Assault in the film in the clips posted on a previous page

[Dixon Hill 4,234]

The opening harmonies are lovely and polyphonic wind writing is a refreshing change of pace in the score. This score would have benefitted from more of that eccentricity.

Yeah. Lovely string/synth texture that's right up my alley. But as you say, it's all too little. More of the truly free moments that Karol pointed out are needed, in all of his work.

[crocodile 8,012]

By the way, I can't recall you hearing anything about themes in Jupiter Ascending and what they represent. Were you ever planning on doing some breakdown of those?

Karol

[Jay 37,355]

Oh, I don't know if the themes are Jupiter Ascending are really used in such a strict way like that. Some of them I think are only used in the pre-filming music and might have been written inspired by one then but got tied to different footage in the final cut.

There is clearly a main theme for Jupiter, one for her family, and one for Tatum's character, though.

And of course the big theme for the Abrasax family.

[crocodile 8,012]

Oh, I don't know if the themes are Jupiter Ascending are really used in such a strict way like that. Some of them I think are only used in the pre-filming music and might have been written inspired by one then but got tied to different footage in the final cut.

There is clearly a main theme for Jupiter, one for her family, and one for Tatum's character, though.

And of course the big theme for the Abrasax family.

What about the the second theme that appears in the first movement. I always thought it was associated with Jupiter the planet.

Family theme is the second movement, right?

There's the love theme of sorts and Tatum gets aditionally several other motifs (this one and this one):

Karol

[Jay 37,355]

Yea, that all sounds about right. To be honest, I haven't studied it all that much.

A score like Tomorrowland is much easier to break down.

[crocodile 8,012]

True. But I like both, can't say which is better.

Karol

[Jay 37,355]

And just think Inside Out and Jurassic World are right around the corner

[crocodile 8,012]

Karol

[Hlao-roo 389]

It should be fun tracking Giacchino's growth from The Lost World to Jurassic World.

[Jay 37,355]

I'm expecting great things from the 3rd part of his trilogy, Lost Park.

[Hlao-roo 389]

[#SnowyVernalSpringsEternal 10,265]

Puns?

[karelm 2,913]

I can't describe the musical methods. And if I think about it's probably a buch of different musical emotions in the music, instead of just a specific one.

JNH is good at it. John Powell too, depending on the score. Zimmer sometimes. Horner. Elfman.

Gia feels dryer, but sometimes he does this:

https://www.youtube.com/watch?v=RXE4y0BnT60

Describe it emotionally - I am very interested in this topic. It is something I aspire towards and it is illusive.

[Miz 139]

This may be a grower, but on first listen I'm finding this score quite generic. The few themes and overall structure don't really go anywhere. Of course the exciting 'free' passages are fun to listen to, but the action music doesn't stand out, and the whole score seems to have a single tone (possibly befitting the film). After Jupiter Ascending, this is simply...alright.

[crocodile 8,012]

Giacchino might not be the next Williams. But this score,along with some of his previous ones, convince me that he could be the next James Horner. And not just because he lifts the wondrous chords straight from Cocoon.

Karol

[publicist 4,643]

The man is almost 50. Horner had done STAR TREK, KRULL, NAME OF THE ROSE, FIEVEL, WILLOW, ROCKETEER, BRAVEHEART before even reaching that age. I mean, come on.

[crocodile 8,012]

All I'm saying is that there are more similarities between the two than there are between Gia and Williams.

Karol

[publicist 4,643]

Well...musically they're not. Though if we must go on with the pointless comparisons, i'd say Giacchino is more like a modern David Newman or Dennis McCarthy: a competent writer that somehow made it to the top without being all that distinctive or adding much in terms of musical heritage.

[leeallen01 2,136]

UP has become a Score that people, not even interested in film music, talk about. His Star Trek scores are great. His John Carter is one of my favourite sci-fi scores of all time. His work on LOST is easily some of the best thematic development work around. He is becoming noticed by the every day person. I have had 4 separate friends ask me who did the music for many of his films, and none of them listen to film music, they simply loved what they heard. People shouldn't compare Giacchino to Williams or anyone, because he isn't trying to be them. He wants to be himself. And himself is a pretty damn good composer who writes interesting, fun, big thematic, orchestral scores that makes almost all the other composers of his generation look like amateurs.

[TownerFan 4,983]

Though if we must go on with the pointless comparisons, i'd say Giacchino is more like a modern David Newman or Dennis McCarthy: a competent writer that somehow made it to the top without being all that distinctive or adding much in terms of musical heritage.

That's a bit too harsh of a judgement, imho. I mean, the guy definitely HAS chops and mostly a very good dramatic instinct. He sees film music first and foremost as a tool that should aid storytelling. He has very clear role models and surely aspires to carry the torch of classical Hollywood film scoring style during a time where the overall approach is much more oriented toward a pulse/ambient/sound design kind of one.

[BloodBoal 7,538]

[leeallen01 2,136]

I can only think of about 5 composers around his age that interest me. Most are either 60+ or less than 40.

[#SnowyVernalSpringsEternal 10,265]

Up is remembered?

[BloodBoal 7,538]

[#SnowyVernalSpringsEternal 10,265]

Well its a fun score to be sure.

[BloodBoal 7,538]

[leeallen01 2,136]

It is a big successful score. As well as being brilliant. I heard it on a coffee advert the other day... It has a life outside of the film

[TownerFan 4,983]

But is it really a score people not even interested in film music would talk about? Allow me to doubt that.

General audiences surely remember the main theme, thanks mostly to the heart-wrenching, dialogue-free sequence at the beginning.

[BloodBoal 7,538]

[leeallen01 2,136]

But is it really a score people not even interested in film music would talk about? Allow me to doubt that.

General audiences surely remember the main theme, thanks mostly to the heart-wrenching, dialogue-free sequence at the beginning.

If general audiences remember the main theme, then it's a strong indication of the music's popularity and success. No one outside of film score fans can hum any piece of music from Star Wars, Indiana Jones, Superman, etc other than the main theme.

[publicist 4,643]

It is a big successful score. As well as being brilliant. I heard it on a coffee advert the other day... It has a life outside of the film

Like 5 million other things that come out of successful movies. It's all perfectly serviceable and i never would label this guy 'bad' but what isn't an anmalgam of older, better stuff just seems not very distinctive.

That or people here have a low yardstick for 'brilliance' nowadays. Attachement to successful movies is no knightly accolade.

[TownerFan 4,983]

I heard it on a coffee advert the other day...

Wow...

But is it really a score people not even interested in film music would talk about? Allow me to doubt that.

General audiences surely remember the main theme

So do people who have seen POTC. Now what does that tell us?

It tells us that tunes still matter for the success of a film and its music!

[publicist 4,643]

If general audiences remember the main theme, then it's a strong indication of the music's popularity and success.

'General audiences' usually give a shit.

[leeallen01 2,136]

I heard it on a coffee advert the other day...

Wow...

But is it really a score people not even interested in film music would talk about? Allow me to doubt that.

General audiences surely remember the main theme

So do people who have seen POTC. Now what does that tell us?

It tells us that the music is popular and successful. We're not debating the quality of UP. Anyone who says UP is bad music is lying to themselves. We're debating Giacchino as a composer who has made an impact. He definitely has done that. UP's score is remembered outside of the film.

[BloodBoal 7,538]

[publicist 4,643]

Obviously he would.

[leeallen01 2,136]

If Star Wars would have made $20 at the box office, then barely anyone would remember Williams score. Quality is sometimes lost in unsuccessful films. Just look at Jupiter Ascending and John Carter. Both good scores, both wont be remembered outside of film score fans. The success of film music is almost completely determined by the success of the film. Williams chose films that eventually were hugely successful. Ask someone to hum Amistad, they would stand no chance. Ask someone to hum E.T. they most likely could.

[TownerFan 4,983]

He definitely has done that. UP's score is remembered outside of the film.

I just doubt it'll be remembered in years to come. Would you call that theme a classic?

Well, the film is already 5-6 years old and people remember the main tune and its association with the film (again, thanks mainly to the masterful vignette at the beginning which made the entire world cry). It's already an accomplishment, imho. I bet a lot of film composers would kill to have that kind of recognition. Will it be remembered 20 years from now? Who knows, but I think it has good potential to be.

Of course I do not overestimate "general audiences" (if such a thing exists) when it comes for film music true appreciation, but I don't know how it could be a bad thing when people who usually don't notice film scores are suddenly touched/impressed/moved by an orchestral piece of film music and take notice.

[leeallen01 2,136]

It isn't a coincidence that the most loved film music by non film score fans is from hugely successful blockbusters.

[TownerFan 4,983]

It isn't a coincidence that the most loved film music by non film score fans is from hugely successful blockbusters.

Once in a while could happen that a film's music takes a life of its own and surpass the memory of the film itself. Morricone's The Mission is a very good example. A lot of people know the music very well (and love it), but very likely never saw the film.

[#SnowyVernalSpringsEternal 10,265]

No one ever becomes a household name scoring unsuccessful films.

Jerry came closest

[KK 3,307]

I heard it on a coffee advert the other day...

Wow...

But is it really a score people not even interested in film music would talk about? Allow me to doubt that.

General audiences surely remember the main theme

So do people who have seen POTC. Now what does that tell us?

It tells us that the music is popular and successful. We're not debating the quality of UP. Anyone who says UP is bad music is lying to themselves. We're debating Giacchino as a composer who has made an impact. He definitely has done that. UP's score is remembered outside of the film.

That's largely due to the impact of the film and that sequence though.

Other than that, Giacchino's music hasn't really thrived in mass pop culture.

[TownerFan 4,983]

No one ever becomes a household name scoring unsuccessful films.

Jerry came closest

Jerry scored both plenty of successful films and turkeys.

[publicist 4,643]

I am not sure what we are talking about here. leeallen01 claims Giacchino makes many other composers look like amateurs and backs this (he hopes) up with the longevity of a simple swing number that really is just a little vignette impersonating old dancehall classics. This isn't the new Star trek theme or something (which isn't bad, just for balance).

I think he just gets by because a lot of Hollywood decisionmakers today just don't have higher standards. He's just about right for this day and age. I don't see that as legitimation of his middlebrow composing abilities.

[leeallen01 2,136]

The sequence 'Married Life' cannot be judged without the music. The music is part of that sequence. You can't say that the music is remembered because the scene was remembered. The music is part of the scene. It adds to it hugely.