Jacinta Filiaci

MUS 380

April 11th, 2016

Score Review: Inside Out

Renowned composer Michael Giacchino illustrates the significance of a great

score through his work in Pete Docter and Ronnie del Carmens Inside Out. With the

films already quite difficult and unconventional subject matter of mental health,

Giacchino composes a score modest enough not to overshadow or overcomplicate

the plot yet grand enough to enrich it. He achieves this balance through meticulous

timing and the use of a great variety of instruments. Bundle of Joy or fundamentally

Rileys theme, excels among his other pieces in the film because of its distinctive and

omnipresent sound.

Audiences are introduced to the tune immediately into the film as it makes

its reveal before the film even starts. The song goes against conventional film tropes

by playing over the familiar Walt Disney and Pixar opening credits, somewhat

foreshadowing that the movie itself goes against Hollywood conventions. The

prompt presence of the score also subconsciously prepares audiences for the

emotional weight of the film. Audiences are introduced early on of the significance

of Bundle of Joy, as it continues to exist in some shape or form throughout the film.

The song consists of initially a bare piano tune and grows with the gradual

addition of guitars, strings, woodwinds, harp and glass bowls (Broxton, Movie

Music). The bare piano is used to open the story, starting with Rileys birth and the
character Joy in a vacant headquarters, with her parents plainly uttering, Arent

you a little bundle of joy? The piece then grows simultaneously with the physical

growth of the protagonist, Riley. As she grows older and audiences, as well as Riley,

are introduced to the other emotions, the song grows more complex, adopting a

quicker melody and a greater abundance of instruments. The score, the content of

the film and Riley collide with their progressing levels of complexity. The great

variety of instruments or even simply the less common inclusion of glass bowls

creates a very unique, dreamy and childlike sound (Manduteunu, Film Scores). The

devolvement of the youthful innocence of a solo piano throughout the film is very

reflective of the film as audiences watch Riley grow up and become exposed to very

adult themes such as loneliness, apathy and to a certain extent, depression (Savas,

Film Music Media).

The tracks significance is further depicted with its constant presence. The

films official score is divided into approximately twenty different titles and

segments though they all share the same spine: Bundle of Joy (Rileys theme). This

spine is simply altered or expanded with the use of additional instruments and

overlaying melodies. This aspect is crucial, as it not only generates a dynamic score

reflective of each scene yet one that remains consistent to the main themes of the

film. The undertones of Rileys theme ground the film especially with the

exploration of such abstract concepts and characters of human behavior.

And finally, at the very end when Riley, Joy and Sadness return, the film

brings back Bundle of Joy in its purest form (as a solo piano). The stripped down

version of the song intensifies Rileys vulnerable state as she reconciles with her
parents. Moreover, the repetition of the song from the beginning of the film to the

end gives audiences a sense of closure and nostalgia.

Citation

Broxton, Jonathon. "INSIDE OUT Michael Giacchino." MOVIE MUSIC UK. N.p., 20
Aug. 2015. Web. 12 Apr. 2016.

Manduteunu, Minhea. "Soundtrack Review : Inside out Michael Giacchino -2015)." A

Small Measure of Peace. Film Music Critics, June 2015. Web. 12 Apr. 2016.

Savas, Kaya. "Inside Out by Michael Giacchino (Review)." Film.Music.Media. N.p., 31

May 2015. Web. 12 Apr. 2016.