Jump to content

Michael Giacchino's Tomorrowland (2015)


Jay

Recommended Posts

Well, each one of those scores has different strengths. If one could take the main theme from Tomorrowland, the epic cheesy chutzpah of Jupiter Ascending, Jurassic World's more refined orchestration and Inside Out's heart, we would have a perfect Giacchino score.

Karol

Link to comment
Share on other sites

I like it too, but I think I prefer Jurassic World over that one.

It's funny: before these scores were released, I was expecting me to rank them like that:

01. Jupiter Ascending

02. Tomorrowland

03. Jurassic World

But in the end, I think it might turn out like that:

01. Jurassic World

02. Tomorrowland

03. Jupiter Ascending

Though I'm not sure about Tomorrowland and Jupiter Ascending.

For me...

01. Jurassic World

02. Jupiter Ascending

03. Tomorrowland

Link to comment
Share on other sites

  • 1 month later...

The man's ratings and reviews used to be more closer to the mark.

Renouncing your old god, KK?

The man's ratings and reviews used to be more closer to the mark.

Renouncing your old god, KK?

I've been falling out of the faith too. I used to hold Clemmensen's opinions in very high regard but I now see them as just another opinion, and not a deal-breaker on a score's worth. His reviews still provide a good jumping off point for younger film score collectors though.

Link to comment
Share on other sites

No they don't. Since CC has almost no interest or appriciation for "modern" film music by the likes of Zimmer ect.

Anything that isn't orchestral or overtly thematic is inferior according to him.

His tastes are far to narrow to be a valuable reviewer.

Link to comment
Share on other sites

Filmtracks has earned a huge amount of goodwill from me - it was my primary source of score/composer information when I started collecting back in 1997; and I basically started my collection by buying as many scores as possible that were awarded 4 or 5 starts.

I still think CC writing quality is very high even if it is tainted by his personal tastes and prejudices. That being said, some of his more recent reviews have been disappointing. Giving Zimmer's The Amazing Spider-Man only 1 star was absolute lunacy. His Horner-esque brassy main theme and the woodwinds for Max's characters, together with some fun robust and thematic action cues , were enough to warrant at least 3 stars without even taking into consideration the controversial Pharrell chanting. (which conceptually worked well to convey Max's motivations and conflicted personality, if it satisfies musically depends on tastes).

On the other end of the scale, i'm a big Giachinno fan and Tomorrowland is a fun entertaining score, but it really doesn't deserve 5 stars.

I think Jonathan Broxton is a more rounded reviewer who writes very high quality reviews.

Link to comment
Share on other sites

I think Tomorrowland is a wonderful score and CC can give it five stars if he so pleases. I actually expected him to shit all over this score, so it was surprising that it wasn't a negative overtone like many of his reviews of contemporary scores are.

Link to comment
Share on other sites

I still think CC writing quality is very high even if it is tainted by his personal tastes and prejudices. That being said, some of his more recent reviews have been disappointing. Giving Zimmer's The Amazing Spider-Man only 1 star was absolute lunacy.

That review never bothered me as that score was basically a train wreck, despite some promising highlights. The 2 star Interstellar review was a travesty though.

Link to comment
Share on other sites

The man's ratings and reviews used to be more closer to the mark.

Renouncing your old god, KK?

His reviews don't interest me as much as anymore. Largely because I'm becoming less and less convinced by the arguments he makes and the kind of scores he gives 5 stars.

I think he still makes insightful comments in his reviews, and I think his site is a great platform for beginners to start. I's argue it's one of the the most extensive database on composer info, detailed reviews and so forth. And while its perspective is rather limited, it is a great gateway for people getting into film scores. Heck that's how I got here.

And I think the whole "Anything that isn't orchestral or overtly thematic is inferior according to him." argument is a bit of a generalization. Though he has his prejudices, he certainly has sung praise of electronic/semi-orchestral scores, or less thematic ventures.

Link to comment
Share on other sites

In a world of Wordpress domination, I love that Filmtracks, even in its latest design iteration, remains steeped in the aesthetic of the late nineties, early naughts—particularly with the ScoreBoard still running an amped-up version of Darryl Burgdorf's WebBBS. Broxton and Southall can write circles around Clemmensen, but there's a time capsule element to Filmtracks' idiosyncracies that I continue to appreciate.

Link to comment
Share on other sites

In a world of Wordpress domination, I love that Filmtracks, even in its latest design iteration, remains steeped in the aesthetic of the late nineties, early naughtsparticularly with the ScoreBoard still running an amped-up version of Darryl Burgdorf's WebBBS. Broxton and Southall can write circles around Clemmensen, but there's a time capsule element to Filmtracks' idiosyncracies that I continue to appreciate.

Yeah...thats like....yeah...

Link to comment
Share on other sites

In a world of Wordpress domination, I love that Filmtracks, even in its latest design iteration, remains steeped in the aesthetic of the late nineties, early naughtsparticularly with the ScoreBoard still running an amped-up version of Darryl Burgdorf's WebBBS. Broxton and Southall can write circles around Clemmensen, but there's a time capsule element to Filmtracks' idiosyncracies that I continue to appreciate.

Yeah...thats like....yeah...

Not to mention the periodic satisfaction we get from lobbing tomatoes at his featured reviews.

Link to comment
Share on other sites

Guys, CC's Rings and Hobbits reviews are the longest writeups he's done for any filmscore. At least on that point we can agree we share the same respect for those scores?

Link to comment
Share on other sites

  • 1 month later...
  • 4 weeks later...

I don't know how long before the film the clip I shared was released and I can't recall what music was actually used in that scene, it just sounds like a variation of the theme from the latter half of the end credits. How much and what exactly is still missing from this score?

Link to comment
Share on other sites

OK, I just got done analyzing the music in the film. I was right - there's a ton of unreleased music! Interestingly, it's almost all in the first half of hte film

Basically, I counted about 1:36:00 of score in the film (not counting the potentially tracked middle of the end credits), and with 1:13:24 of it on the OST, that leaves about 22:36 unreleased; However, we know Giacchino also scored that Origins of Plus Ultra video, so that's really about 26:03 of unreleased music.

So this grand total number of about 1:39:27 of total score makes sense, which Giacchino saying on that radio program he recorded about 104 minutes of score (maybe there are some alternates or unused cues recorded we haven't heard yet)

But the interesting thing wasn't the length of music, but the number of cues: I count 51 total cues of music, and we have 24 of them on the OST, leaving 27 unreleased cues!

Also interesting is that the film's halfway point is basically the start of "All House Assault". Prior to that point, there are 35 cues of music in the film, and only 13 of them are on the OST! (Tracks 1-13). So that's 22 unreleased cues just from the first half! Then second half of the film has 15 cues, and we have 11 of them on the OST, with only 4 unreleased. (Then the 51st cue is the Plus Ultra thing).

And there is indeed some really GREAT music among these 26 unreleased minutes, including the introduction of Athena's Theme (other than the opening logos), a terrific action riff, some great choir work, lots of variations on Athena's theme and the End of the World theme, and all kinds of other stuff.

A session leak or 2CD expanded score would be a boon to have!

Oh, and here's my quick listing of the unreleased music and other info!

https://docs.google.com/spreadsheets/d/1t0UuYZLqk_O3eWpS9bvobA6Okj7I4JIl6rVcQoVEcDo/pubhtml

(All unreleased cue titles are made up by me; I have no clue what any actual titles are)

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.