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Alan Silvestri's PINOCCHIO (2022)


Jay
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Just now, Tom Guernsey said:

I'm equally excited for both scores.

 

Right!?  I barely care about either movie, but can't wait to hear both score albums!

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2 minutes ago, Jay said:

 

Right!?  I barely care about either movie, but can't wait to hear both score albums!

They will be my 5th and 6th Pinocchio scores (and I don't even have the original Disney one...).

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I don't think I've ever listened to any score album to any Pinocchio movie, nor seen any adaptation other than Disney's

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I have the Disney Legacy Collection, and I also have the pretty Rachel Portman score with absolutely cheesy Stevie Wonder songs from the mid-90s.  I’ll pick up the Silvestri for sure.  I’m unlikely to buy the Desplat, but am willing to be surprised.

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I barely fought myself through 'Dumbo' (for a wholly mediocre Elfman, but there was some hope that it might be hipper than it turned out to be, given the LSD trip of the old movie's pink elephant sequence) and will not do it for a wholly mediocre new Silvestri.

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  • 2 weeks later...

 

 

 

 

 

 

 

 

 

 

 

 

https://music.apple.com/nz/album/pinocchio-original-soundtrack/1642381675

 

Here’s the album track list:

 

1. When You Wish Upon a Star – Cynthia Erivo (1:58)
2. Jiminy Cricket’s the Name (1:26)
3. When He Was Here With Me – Tom Hanks (3:26)
4. You Should Have a Name of Your Own (1:51)
5. Pinocchio, Pinocchio – Tom Hanks (1:10)
6. He’s Alive (3:02)
7. Am I Real (2:54)
8. I Can Talk and So Can You (2:03)
9. Off to School (1:21)
10. Famous! (3:09)
11. Hi-Diddle-Dee-Dee (An Actor’s Life for Me) – Keegan-Michael Key (1:09)
12. Get Me Outta’ Here (3:11)
13. I’ve Got No Strings – Benjamin Evan Ainsworth (1:39)
14. Sabina’s Waltz (0:31)
15. I Will Always Dance – Kyanne Lamaya (1:54)
16. This Will Be Your Home (5:10)
17. A Lie Can Really Change a Person (3:14)
18. The Collection (2:28)
19. The Coachman to Pleasure Island – Luke Evans (1:32)
20. Pleasure Island (4:44)
21. I Wonder Where Everybody Is (1:38)
22. Somebody Help Me (3:04)
23. He Sold His Clocks To Find Me (2:09)
24. I Have An Idea (3:28)
25. Monstro Attacks (3:45)
26. Here He Comes (1:23)
27. I Have to Help Him (1:08)
28. We’re All Here (1:54)
29. Pinocchio Main Title (1:14)

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I don't really care that much about the songs, but the score sounds nice! Pretty much standard Silvestri in fantasy mode, but it works great.

 

The Main Title is beautiful, and I love the reprises of that theme in I Have an Idea, which by the way reminds me of Ready Player One in some of its action sections.

 

Looking forward to it, although I expect something much more interesting and different from the Del Toro/Desplat version coming later this year.

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Both film & score are wonderfully charming.

 

It's a lovely remake of the classic film. The CGI of Pinocchio and all the animals are very good.

The production design is also great. On par with the remake of Beauty And The Beast. (The clocks contain a lot of Easter Eggs)

 

Zemickis' direction and co-credit on the script are both also very good. There are some new things added to the script which make it moderm while still being the story we know.

 

Tom Hanks is very well cast as Gepetto.

Joseph-Gordon Lovett is terrific as Jiminy. The standout of the film for me.

Keegan Michael Key is also strong as Honest John.

And Luke Evans & Giuseppe Battiston are great villains.

 

The songs are not really anything to go by. But Silvestri's score is very much in the same vein as The Witches, Welcome To Marwen & Forrest Gump.

It's a wel produced album. The only thing missing is the beautifully newly recorded orchestral version of When You Wish Upon A Star at the end of the film. Don't understand why they left that of the album.

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I'll be giving the album a listen later today, and the movie a watch tomorrow evening.

 

3 minutes ago, JNHFan2000 said:

Both film & score are wonderfully charming.

 

You like everything!

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The film is just okay; soulless and far too reliant on CGI. Parts remind me of Burton's Alice in Wonderland.

 

The edginess of the original is mostly lost. The donkey transformation scenes have no real bite; they're mostly glossed over and confusing more than anything.

 

Zemeckis is making a habit of churning out these sanitized, dulled down remakes. Pretty disappointing considering how much promise he showed in his early career.

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I don't really think it's fair to frame Zemeckis' career as "showed promise early on" or whatever.  He showed promise, then fulfilled that promise by making classic films for 15-20 years, then fizzled.

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3 minutes ago, Bespin said:

We don't care about the movie... so, the music?

 

It's fine, above average Silvestri.

 

The music sounds weirdly mixed in the film, borderline monaural. Not sure what the deal is there.

 

Wondered if it was a COVID striped recording issue but it sounds fine in the uploads on YouTube ¯\_(ツ)_/¯

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2 hours ago, JNHFan2000 said:

Don't understand why they left that of the album.

 

That's an Oscar thing about reusing old material. Maybe they don't plan to release a FYC album, so they managed for the "Album" to be "Oscarisable".

 

@crumbsPlease never quote me on a brand new post.

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41 minutes ago, crumbs said:

The donkey transformation scenes have no real bite

That I do agree with. The transformation scene in the original still is frightening.

With the new one it did look like they only showed the shadow so that it would be more PG

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On 24/08/2022 at 3:17 PM, Jay said:

I don't think I've ever listened to any score album to any Pinocchio movie, nor seen any adaptation other than Disney's

 Well you've got Williams rendition of the theme on the Ce3K special edition end credits  ...that's all you need

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Just finished watching it, first thoughts are that it continues the live action remakes tradition of trying to fix things from the original but those fixes creating new problems.

 

Agreed the whole pleasure island parts were lacking, well firstly cutting the scenes with honest John and the coachman, then honest John tricking pinocchio once again, turned into pinocchio getting picked up in a net suddenly just felt clunky. On pleasure island changing Jiminy finding the cave with the kids that had turned to donkeys into Jiminy falls down a drain that leads directly from the pool hall instead was weird, Lampwicks transformation being toned down was fine but having pinocchio stop drinking when Lampwick grows ears for no reason, compared to the original where Lampwick takes a drink first causing pinocchio to think that might be what caused it instead was again a weird choice.

 

And for other changes, replacing the pinocchio walking underwater scenes would have been fine, but instead it was him water skiing to get to Geppetto, by seagull, a seagull that had just explained she couldn't carry him but is somehow able to fly fast enough so he can water-ski, so how does that work? Also why does monstro now have tentacles?

 

Something that might have been an interesting change could have been using Mel Blanc's recordings for Gideon, assuming they're in a usable condition.

 

Silvestri's score was fine, didn't particularly care for the new songs, and hearing that the album doesn't have the final version of When You Wish Upon A Star makes it an easy pass for me.

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11 hours ago, Edmilson said:

This is modern Disney, where everything is safe and sanitised, with a focus on how much can they profit out of reamking their classics with a lot of CGI

 

Well what do you expect. This is the new era of soulless ,sanitised cinema, where every aspect of a film is supervised by comities and scrutinised to remove any element that might cause a microaggression in someone.

 

Time to hand over my film geek membership card.

 

 

 

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15 hours ago, Edmilson said:

This is modern Disney, where everything is safe and sanitised, with a focus on how much can they profit out of reamking their classics with a lot of CGI

I’ve never seen Pinocchio and probably won’t watch this new one either but what about the original animated movie was not sanitized?
 

Aren’t those old Disney movies rather family friendly (excluding issues relating to the time period when they were released)?

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I am curious when it became common for people to describe Disney films as kids film's? Those first ones certainly had scenes that while by today's standards might be tame but for the time were quite intense. Walt himself said "I do not make films primarily for children. I make them for the child in all of us, whether he be six or sixty." So even he didn't think that was the target audience.

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Hold up — given that "When You Wish Upon a Star" is rendered here in ABA form, does anybody else hear the A section being played in alternating bars of 4/4 & 5/4?

 

EDIT: Well, I definitely stink at counting, because the original with Cliff Edwards does something pretty similar. I'm a bit ashamed to have missed that for the better part of a decade.

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7 minutes ago, j39m said:

Hold up — given that "When You Wish Upon a Star" is rendered here in ABA form, does anybody else hear the A section being played in alternating bars of 4/4 & 5/4?

 

Yeah I can hear that maybe, just as a way to force something that sounds like a ritard or a breath/pause at the end of every 2 measure phrase.  I have to say I don't enjoy this version personally.  I'll stick with Cliff Edwards.

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3 minutes ago, Disco Stu said:

I have to say I don't enjoy this version personally.  I'll stick with Cliff Edwards.

 

Fair enough. I am easy prey for clean recordings of lush orchestrations — but of course the OG is fantastic.

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16 minutes ago, j39m said:

 

Fair enough. I am easy prey for clean recordings of lush orchestrations — but of course the OG is fantastic.

 

 

I enjoy the orchestration!  But it's the way the melody is rephrased to be sort of stretchy/gooey (to use a technical term :P) that just doesn't sit right with me.

 

Side note: the wonderful B section (also known as the "release" by the pop songwriters of the time) doesn't ever get enough love.  I adore the way Williams arranged it in CE3K.

 

 

And of course one of the main motifs he uses throughout the film is itself an allusion to the "Fate is kind" melody (sing those words to the opening of "The Mountain" to see how)

 

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2 minutes ago, Disco Stu said:

I enjoy the orchestration!  But it's the way the melody is rephrased to be sort of stretchy/gooey (to use a technical term :P) that just doesn't sit right with me.

 

I think I get what you mean, but I have the opposite takeaway. Cliff & co are flouting the metronome all throughout (on top of the time changes), and I'm currently very taken with how the time changes here could almost sneak past you if you don't pay attention (or you might mistake them for rubato etc.).

 

4 minutes ago, Disco Stu said:

And of course one of the main motifs he uses throughout the film is itself an allusion to the "Fate is kind" melody

 

Oh, glad to hear I wasn't imagining this one. I've always thought this too, but the hair-raising reharmonization makes a huge impact. (The ginormous mothership taking to the skies over the end titles roll helps, too.)

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Silvestri still write complex and subtle music, yet less and less thematic, as he tend to score more complex actions movies. It's a matter of survival.

 

But I think he's old and wise enough to know when to send all the goods and when not.

 

But, that's only my perception of Alan Silvestri, I love his music, it can't be compared to any other composers. But he's certainly not the type like John Williams, who always produces AAA scores even for very average movies.

 

I don't think Silvestri approach the scoring of a movie thinking to himself: OK I'll save the day, again. :P

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Just listened to the score (and skipped the songs). It is mostly a mix between The Polar Express sense of wonder and Infinity War action music. It's not amazing or anything, but it's more entertaining than his forgettable The Witches. If you like Silvestri's expansive orchestral music, you'll surely enjoy this one.

 

 

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There are some really, really gorgeous passages here. 

 

While some of the action writing gets a little boring, the lush thematic passages are top-tier as usual from Silvestri. Terrific stuff, recalling his great scores like Parent Trap.

 

This practically defines heartwarming/wholesome:

 

 

The unbridled joy at the start of "Off to School" also recalls The Parent Trap:

 

 

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The score sounds like a mix of everything he’s written in the past 5 years. I heard Infinity War, The Witches, Welcome to Marwen, Ready Player One. Pretty meh to be honest.

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5 hours ago, Alex said:

The score sounds like a mix of everything he’s written in the past 5 years. I heard Infinity War, The Witches, Welcome to Marwen, Ready Player One. Pretty meh to be honest.

 

Agreed. The main title is the only thing that's playlist worthy.

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On 23/08/2022 at 4:11 AM, JNHFan2000 said:

 

 which is kinda important, is that he doesn't look very much like he's made of wood. More like he's plastic.

 

 

He's not recyclable!

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I like this score. The main theme is catchy and the action music is very classic Alan Silvestri style. :) And the "Pleasure Island" cue deserves a special mention. The way the music plays back and forth between deceptive innocence and bursts of darkness representing the reality of Pleasure Island is awesome.

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On 09/09/2022 at 10:06 PM, Will said:

Terrific stuff, recalling his great scores like Parent Trap.


Interesting that Parent Trap is your baseline for that sound.  I like that score but maybe it's a generational thing, because my baseline for that Silvestri lush sentimental mode is the early 90s of Father of the Bride or Richie Rich

 

like here

 

 

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Was this score recorded with the Hollywood Studio Symphony or a totally anonymous session ensemble? I'm looking to purchase from Presto Music and I'm not keen on keeping "Disney" as the primary artist.

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