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ScoreKeeper Talks About Michael Giacchino's SPEED RACER Music!!
Greetings! ScoreKeeper here gunning the car around the track in order bring you a glimpse of the musical kaleidoscope that is SPEED RACER (2008).
Being a die hard SPEED RACER fan since I was boy, I had been looking forward to seeing this film since the moment I learned Andy and Larry Wachowski entered pre-production.
When Michael Giacchino was signed to score, I celebrated the choice and my expectations for the movie skyrocketed. Giacchino was already responsible for composing my favorite score of 2004, THE INCREDIBLES, and my favorite score of 2007, RATATOUILLE. I couldn’t wait to hear Giacchino jam the pedal of the perennially cool Mach Five for a little joyride of his own.
SPEED RACER is a gluttonous, sensorial feast for the eyes, ears, and most importantly, the heart. This is not merely a spectacle. It’s a tale steadfast with emotion, exhilaration, and gusto, making it by far one of the more entertaining movies I’ve seen this year.
One of the catalyzing ingredients of its success is the superiorly crafted scoring by Michael Giacchino. While many scores unnecessarily relegate themselves to sonic wallpaper, Giacchino skillfully contours each peak and valley of the narrative, action, and editing style. The score is both retro and curiously futuristic; a unique trait exhibited in the visual elements of the film as well. It’s composed of an extensive musical vocabulary cloaked in revolving stylistic disguises and traverses a comprehensive catalog of human emotion. The music takes on an enormous plate of responsibility and it doesn’t disappoint.
The world of SPEED RACER is one chock-full of dynamic personalities. From a composer’s vantage point, capturing each individual characterization can be a daunting and intimidating mission. From the unassuming intensity of Speed, the mischievous japery of Spritle and Chim Chim, the loving compassion of Mom Racer, the gruff guardianship of Pops Racer, onward to Racer X, Snake Oiler, and all the colorful baddies peppered throughout the film, the music effectively reflects them all with distinct and unique mannerisms.
While the hypnotic visuals of the film is undoubtedly an asset to the picture, for many, it’s idiosyncratic nature makes it a potential liability as well. By using the music to infuse the audience into the arena of SPEED RACER, it accomplishes another Herculean task by assuring we’re not left abandoned to merely observe. By the waning moments of the film we, the audience, have connected and evolved with Speed. We feel his plight and think his thoughts. This does not happen without effective scoring.
What I appreciate most about Giacchino’s compositional prowess is how he is able to effectively weave in the key motifs and phrases of the mega-popular theme song throughout the score. Instead of constantly quoting it verbatim… and risking its inevitable endurance limitations…he chops it up into small fragments using them as building blocks for larger quantities of material.
Much like Beethoven generated an hour of material from the famed four-note “fate-knocking-at-the-door” motif of his 5th Symphony (Op. 67), Giacchino too flexes his developmental muscles by incorporating the more recognizable SPEED RACER fragments into tireless strains of seemingly endless music. There are several cues which dovetail the “Here he comes…” motive from the theme song, while yet another churns relentlessly incorporating the “he’s a demon on (wheels)…” rhythmic cell.
It’s not just the melody of the theme song he draws from either. He often massages in the chromatic sixteenth-note serpentine run found in the song’s introduction, which is also used in an augmented form during the song’s bridge.
Leaning on orchestrational suggestions from the title song, Giacchino installs a high-powered rhythm section into the heart of his massive orchestra while often featuring trumpet and flute in featured roles. A gargantuan percussion section lubes the chassis and keeps it all running fluidly for many miles.
Only through his skill in compositional development do the motivic fragments remain fresh with each passing measure - while preserving the characteristic sound of SPEED RACER.
Finally, there is the thrilling climax which throttles toward the film’s ultimate resolution. No need for spoilers here. The music is just flat out awesome! Utilizing a cornucopia of SPEED RACER motivic fragments, Giacchino propels the music to its inevitable zenith using choir and orchestra to fashion a finale which caused my heart to palpitate wildly with fists clinched to the edge of my seat.
It was the type of moment I often lament missing from my typical cinematic experience.
I’ve been patient while assessing the work of Michael Giacchino over the years. Two fantastic scores does not a fantastic film composer make (even though each were my favorites of their respective years). With the addition of SPEED RACER to his filmography Giacchino now moves into my personal list of declared favorites.
Now, it’s time to start anxiously awaiting his score for STAR TREK!
Adventure’s waiting just ahead. Go! SPEED RACER Go!
ScoreKeeper!!!
ScoreKeeper!!!
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I'm looking forward to.
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....just waiting on the usual morons to come in and say "boring"...but the score ( as represented on the Varese CD and the complete score streamed on RR.com) is maybe the best thing Giacchino has done, and a really fun score to listen to. It goes from the cartoon retro feel to the huge orchestral assault of the "Grand Ol' Prix" cue...outstanding stuff.
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it's MOTIF. Everyone at AICN needs to go back to elementary school and learn basic spelling, grammar and vocabulary. Harry...needs...to...stop...using....elipses...incorrectly... Seriously.
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I will be the first to say it. What has Williams done lately?
Nothing. And the 30 second samples from his latest Indiana Jones score on Amazon are subpar. Giacchino has taken the throne. Even ScoreKeeper points out that Giacchino's techniques are comparable to Beethoven on Speedracer. It's time for Williams fans to accept the truth: Giacchino has an extensive musical vocabulary cloaked in stylistic disguises. -
the choral-ladies in 'Roar!'.
Laaa laa laaa la la la laaaa!!! -
Congratulations on fixing a common typo and saving all of mankind, you fucking douchebag.
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But DAMN, he deserves it!
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May 08, 2008 10:14:06 AM CDT
Giacchino: A GLORIFIED ARRANGER!!!!!!!!!!!!!!!
by suckinsomegiacchinodick
MWAAH-HAAAAAAA-HAAAAAAAAAA-HAAAAAAAAAAAAAA-HAAAAAAAA-HAAAAAAAAAAAAAA-HAAAAAAAAA!!!!!!!!!!!!!!!!!!!!!!!!!
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Giacchino is the man. I love his stuff from Lost, too.
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He was robbed of that Oscar this year, though to be fair all of the Best Score nominees were pretty damn good. Still, Ratatouille hits my ears (and inner dreamer) in ways Atonement never did. I hope he does well with Star Trek, and in my opinion Williams is still a fine composer, it's just hard to do much new when most of your work is repeating themes you've already written. Though, if he's offered HP7, I'm sure he'll wow us all.
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It's so deliciously different than most of the stuff here, and I love hearing from someone who's both knowledgable and enthusiastic. Thanks.
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