The track ebbs and flows as it mirrors the ups and downs of the couple's life. The theme is engrained in the phenomenal cue "Married Life" which accompanies a pantomime retelling Carl and Ellie's life. It first appears in "We're in a Club Now" as a simple, bumbling piano theme, representing Carl and Ellie's first acquaintance. The Adventure theme becomes aggressive in "He's Got The Bird" and "Seizing the Spirit of Adventure." While this theme takes on the role of a dream gone sour, Ellie's theme represents the spirit to carry on.Įllie's theme is the main theme of the film. The theme takes a turn for the eerie with "Explorer Motel" as it underscores Muntz's relentless hunt for a rare bird. This theme returns again when Carl finally meets Muntz with "The Nickel Tour". The theme pays homage to old adventure films of the 1930s and 1940s, giving a nostalgic feel. The Adventure theme is used first in the film and is presented on the album in "Up with Titles." The theme represents main character Carl's aspirations to become a world famous explorer, epitomized in the character Charles Muntz. There are other filler cues in between, but the score revolves these two contrasting yet interlocking themes. Two main themes dominate the soundtrack: the Adventure theme and Ellie's theme. Giacchino's themes and cues enhance the story of an elderly man fulfilling a lifelong promise as well as finding himself along the way.
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The score is as important to the film as the characters, story, and its breathtaking animation.
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You’re going to enjoy it because we were like, “I love that song.” And then we looked it up and were like, “Oh, this might be a problem.Michael Giacchino's Oscar winning score for Disney/Pixar's Up is one that will stay with you long after the movie is over. And it gets even more complicated because the original is connected to the civil rights movement if I’m not mistaken.Īnd was like, that girl, she stole my man, and now I’m going to … She was a very scolding lover. That sometimes will make your decision for you because you’re like “Someone is going to look up the lyrics.” It might be a little strange. But some of the lyrics are a little violent. She was talking about using the hammer, and there was jealously involved, which we did like, because we had a jealous Alberto. A runner-up to “Pappa col Pomodoro,” the same artist and very unusual. We opted to go actually with “Pappa Pomodoro,” but that one was really fun: “ Datemi Un Martello,” which is a wonderfully strange cover of … what is it? Give me a hammer or something like that? There was also another one by Rita Pavone that I absolutely loved and it was very quirky. We had a couple that were a little hard to get. What’s Really Going on With West Side Story’s Unsubtitled Spanish-and What It Misses Why Our Fantasy of a Dark and Bloody Middle Ages Is So Hard to Shake
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Two Critics Debate Power of the Dog’s Surprising, Sneaky Ending
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Were there songs you wanted and couldn’t get or couldn’t find a place for? I remember having conversations like, “Well, if I had exactly that feeling in a song that talks about friendship, even better,” but the ones that had that were either more modern or didn’t quite give me the same emotion. But it always gave me this little bit of a melancholic, sweet but sad feeling. The lyrics are not really connected thematically: They’re more about being lonely because of a romantic connection. I think the reason is that there’s the right feeling here. I really wanted something that speaks about friendship and thought it would be great if there’s some thematic connection, but I kept on coming back to this one. When we considered it and we started putting the visuals together, which was one of the last things we did, we tried a few different ones. There’s just something about that felt like the ending of something. I remember thinking that was a really good walkout sound. When we have a screening at Pixar, they come and ask you, “Do you want any walkout song?” I remember choosing that song as a walkout song at one of our screenings.