Tracklist for Michael Giacchino’s ‘Rogue One’ Score Revealed

The tracklist for the soundtrack to the upcoming Star Wars spin-off has hit the web. The score was composed by Michael Giacchino after he was added last minute to the project upon the exit of composer Alexandre Desplat due to scheduling conflicts. Giacchino, a long time Star Wars fan, will be the first ever composer to score a Star Wars film other than John Williams.

The soundtrack released for Episode I: The Phantom Menace is notorious for revealing the death of Qui-Gon Jinn via the track title “Qui-Gon’s Noble End”, but don’t worry, the tracklist is descriptive, however. It does not contain any spoilers.

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  1. He’s Here For Us (From “Rogue One: A Star Wars Story”/Score)
  2. A Long Ride Ahead (From “Rogue One: A Star Wars Story”/Score)
  3. Wobani Imperial Labor Camp (From “Rogue One: A Star Wars Story”/Score)
  4. Trust Goes Both Ways (From “Rogue One: A Star Wars Story”/Score)
  5. When Has Become Now (From “Rogue One: A Star Wars Story”/Score)
  6. Jedha Arrival (From “Rogue One: A Star Wars Story”/Score)
  7. Jedha City Ambush (From “Rogue One: A Star Wars Story”/Score)
  8. Star-Dust (From “Rogue One: A Star Wars Story”/Score)
  9. Confrontation on Eadu (From “Rogue One: A Star Wars Story”/Score)
  10. Krennic’s Aspirations (From “Rogue One: A Star Wars Story”/Score)
  11. Rebellions Are Built on Hope (From “Rogue One: A Star Wars Story”/Score)
  12. Rogue One (From “Rogue One: A Star Wars Story”/Score)
  13. Cargo Shuttle SW-0608 (From “Rogue One: A Star Wars Story”/Score)
  14. Scrambling the Rebel Fleet (From “Rogue One: A Star Wars Story”/Score)
  15. AT-ACT Assault (From “Rogue One: A Star Wars Story”/Score)
  16. The Master Switch (From “Rogue One: A Star Wars Story”/Score)
  17. Your Father Would Be Proud (From “Rogue One: A Star Wars Story”/Score)
  18. Hope (From “Rogue One: A Star Wars Story”/Score)
  19. Jyn Erso & Hope Suite (From “Rogue One: A Star Wars Story”/Score)
  20. The Imperial Suite (From “Rogue One: A Star Wars Story”/Score)
  21. Guardians of the Whills Suite (From “Rogue One: A Star Wars Story”/Score)

What’s remarkable about the tracklist is the final track titled “Guardians of the Whills”. For those who don’t know, George Lucas had originally written a journal that referenced the Jedi known as The Journal of the Whills. The Journal featured the first ever mention of Jedi Master Mace Windu. It was officially brought into canon in the novelization of Star Wars Episode VII: The Force Awakens.

The novel opened with a verse from the journal containing a poem about the light and dark sides of the force:

First comes the day
Then comes the night.
After the darkness
Shines through the light.
The difference, they say,
Is only made right
By the resolving of gray
Through refined Jedi sight.
―Journal of the Whills, 7:477

(via SWNN)

‘Rogue One’ Soundtrack Cover Revealed

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The cover for the soundtrack of the upcoming Star Wars spin-off Rogue One: A Star Wars Story has hit the web. The score for Rogue One has been composed by Academy Award-winner Michael Giacchino with brief moments featuring the original themes written by legendary composer John Williams. The soundtrack which will officially release on December 16th along with the film is now available for pre-order on Amazon. If you can’t wait to hear it like me, you can check out the two clips from the below which will give you a small taste of what to expect. Hint: it’s Star Wars music.

Produced by Lucasfilm, the film stars Felicity Jones, Diego Luna, Ben Mendelsohn, Mads Mikkelson, Donnie Yen, Alan Tudyk, Jiang Wen and Forest Whitaker. Written by Chris Weitz and Tony Gilroy. Directed by Gareth Edwards.

From Lucasfilm comes the first of the Star Wars standalone films, “Rogue One: A Star Wars Story,” an all-new epic adventure. In a time of conflict, a group of unlikely heroes band together on a mission to steal the plans to the Death Star, the Empire’s ultimate weapon of destruction. This key event in the Star Wars timeline brings together ordinary people who choose to do extraordinary things, and in doing so, become part of something greater than themselves. In theaters December 2016.

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SOURCESWNN

‘Escape From New York’ Reboot Details Emerge

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Snake Plissken might be returning to the silver screen. But chances are he won’t be played by Kurt Russell this time around. John Carpenter’s Escape From New York first introduced the former-Special Forces operator turned criminal as he was sentenced to New York maximum security prison, which was the entire island of Manhatten surrounded by an impenetrable wall. The prison itself had fallen into anarchy with the inmates led by the Duke of New York (Isaac Hayes). At the same time, Air Force One was hijacked and crashed into Manhatten. The president himself, played by Donald Pleasance, survived but was then captured by the Duke. Snake was offered a full pardon if he rescued the President who was in possession of technical information that would solidify the United States position as the dominant world power, however. After 24 hours the technical information would become useless. To crank up the tension another notch, Snake was implanted with a microscopic device that would detonate at the end of the 24 hour period.

Snake later returned in Escape From LA, which was basically a rehash of the first film that saw snake sent to the island of Los Angeles which had broken off from the coast of California after a major earthquake. The city then became a haven for criminals and the vilest people of society. Snake was sent in to retrieve a disk which controlled several EMP satellites from the First Daughter who had betrayed her country and sought refuge in Los Angeles. The film itself was horrible and the character of Snake dwindled in popularity after the film’s release.

According to The Wrap, Fox is looking to hit the reset button offering Snake a chance at redemption. Fox has brought on Luther creator Neal Cross to pen the script with John Carpenter serving as an executive producer. The film will be a major departure from the original as it will swap the dystopian setting of New York for a futuristic New York that is automated by an artificial intelligence who appears as a young ethnically ambiguous woman named April. The reboot also takes the concept of a criminal-controlled city and turns it on its head, putting the world outside of New York in chaos. In this version, one out of every seventy-five people is either a refugee, internally displaced, or seeking asylum.

Rather than having a defacto leader of prisoners serve as the villain, instead, there will be the character of Thomas Newton, the heir to an agrochemical and biotech corporation. And rather than having 24 hours, Snake will have 11 hours to infiltrate New York and bring in Newton alive. But an Escape film needs another element to crank up the tension and drive the plot. Instead of Snake being implanted with a microscopic explosive, this time a major hurricane called Superstorm Ellery is headed for New York.

The film will also give Snake the first name of Robert, becoming Robert “Snake” Pliskin. But that’s just a bit too much exposition no one will care about in the end.

The reboot itself does sound promising in that it’s not a total rehash of the original. Having a talented writer such as Neal Cross on board signals Fox actually cares about the quality of the film and isn’t only concerned about making a disingenuous cash grab.

Who will play Snake remains a mystery but Charlie Hunnam is rumored to be attached.

Currently, the reboot does not have a release date.

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SOURCE: THE WRAP

Michael Giacchino Confirmed for ‘Spider-Man: Homecoming’

After a Reddit moderater started the rumor that Michael Giacchino would be scoring the upcoming Spider-Man: Homecoming, the composer himself took to twitter to confirm that he will indeed be scoring the web-slingers first feature in the MCU.

 

After a Reddit moderater started the rumor that Michael Giacchino would be scoring the upcoming Spider-Man: Homecoming, the composer himself took to twitter to confirm that he will indeed be scoring the web-slingers first feature in the MCU.

Marvel films have for the most part suffered when it comes to the music featuring some pretty forgettable scores except for Alan Silvestri’s fantastic theme composed for The Avengers. With Giacchino now in the Marvel sandbox, I was hoping he would help to elevate things to the next level, however. That was not the case for me with Doctor Strange. I recognize the talent is an oscar winning composer for 2009’s Up, but I don’t understand all the love for the guy. Other than his theme for JJ Abrams‘ rebooted Star Trek, as well as his main theme for Super 8, I have never once enjoyed his music. I find his music to be generic, uninspiring, and completely forgettable. Which is exactly the case that was Doctor Strange for me  in one ear and out the other. His music doesn’t ever manage to amount to anything. Maybe I’m just salty for the fact that talented composers such as Bear McCreary are still stuck in the trenches cranking out scores for television.

Giacchino is on a roll, though, as Doctor Strange was just released this weekend and he is currently composing for the score for Rogue One: A Star Wars Story set to release next month on December 16th.

Spider-Man: Homecoming hits theaters July 7, 2017.

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‘Doctor Strange’: Score by Composer Michael Giacchino Mystifies

Thanks to Collider for bringing this aural peek into what will be the score of Doctor Strange to my attention. This track comes to us by way of an ‘audio only’ YouTube video and is titled, ‘The Master of the Mystic,’ noting that it appears in the end credits. Marvel has brought Oscar Award-winning composer Michael Giacchino into its cinematic scoring fold, possibly hoping to add more ambient touches to the overall mood of the film.

Thanks to Collider for bringing this aural peek into what will be the score of Doctor Strange to my attention. This track comes to us by way of an ‘audio only’ YouTube video and is titled, ‘The Master of the Mystic,’ noting that it appears in the end credits. Marvel has brought Oscar Award-winning composer Michael Giacchino into its cinematic scoring fold, possibly hoping to add more ambient touches to the overall mood of the film.

The piece itself holds a kind of meandering, other-worldly choice of instruments, ranging from sitar and electric guitar to the bright, light chop of the harpsichord. The blend of the arrangement works well, and though I thought the intro was a little lackluster, the rest of the actual piece is really great stuff. Can’t wait to hear the rest of what’s to come, put to some incredible visuals.

While I typically love the action in Marvel films on the big screen, and the themes on their small screen Netflix offerings, sometimes I struggle to find the cohesion in the task of the composers they’ve recruited and the overall blend of the sequences. The music can get lost in the background of explosions, sound effects, and even in mixing. A lot of factors make for an outstanding score. I’m incredibly optimistic in the potential backdrop this latest composer will bring, given his extensive career in what I would consider mood-driven, esoteric composition.

Giacchino, who’s also providing the score for Rogue One: A Star Wars Story has composed for television series such as Lost, Fringe, and Alias, to only name a few, and for more recent films, Star Trek Beyond, and Jurassic World. I know that at a certain point during  ‘Lost’s’ run, I had to take a break from the series because the score and the story together kept making me consistently cry. ‘Fringe’s’ music had me constantly on edge. But that’s the kind of effect I want music to have (either television or film) on me, without being drowned into the background by the action. Since Giacchino scored Star Trek: Into Darkness, which also starred Benedict Cumberbatch, it’ll be fun to hear whether there are any throwbacks to that broader sense of orchestral size that the big screen tends to encourage composers to take.

SOURCES: MARVEL, COLLIDER

‘Rogue One’ Final Trailer Music

In case you loved the music in the final Rogue One trailer as much as I did, you’ve probably been trying to find it on the internet. The track is titled “Machinations” and was created by a trailer music company called Ninja Tracks. It doesn’t include the force theme vocals heard in the final trailer but it’s still great. Enjoy!

In case you loved the music in the final Rogue One trailer as much as I did, you’ve probably been trying to find it on the internet. The track is titled “Machinations” and was created by a trailer music company called Ninja Tracks. It doesn’t include the force theme vocals heard in the final trailer but it’s still great. Enjoy!