It was a continual translation between the two worlds and hopefully we put something together that will be something different because of that. We were just together working throughout the whole process and there was never a point where the orchestra was not in their minds and the electronics were not in my mind. I was locked in a room with robots for almost two years and it was simply a lot of hard work. It seems complicated at the end of the day, but it’s actually quite simple. Trapanese cited the collaboration between the different genres to work out well in the end, stating: The orchestra was conducted by Gavin Greenaway. The band collaborated with him for two years on the score, from pre-production to completion. Daft Punk's score was arranged and orchestrated by Joseph Trapanese, who stated he is a fan of Daft Punk as a duo and as solo artists. Kosinski stated that the score is intended to be a mixture of orchestral and electronic music. The score of Tron: Legacy features an 85-piece orchestra, recorded at AIR Lyndhurst Studios in London. Noé had asked Bangalter to compose the soundtrack to the film Enter the Void, but Bangalter was working on Tron: Legacy at the time and instead served as sound effects director.
Thomas Bangalter of Daft Punk had previously produced the soundtrack to Gaspar Noé's 2002 film Irréversible. When asked why he wished to work with the duo, Kosinski replied, "How could you not at least go to those guys?" The film producers initially attempted to reach Daft Punk in 2007, but the duo had been unavailable due to their Alive 2006/2007 tour. well, Daft Punk with the theme.Tron: Legacy director Joseph Kosinski and music supervisor Jason Bentley approached Daft Punk and requested that the duo compose the film score. The End Titles is a particularly enjoyable arrangement, allowing Daft Punk to go all. But boy, what an anthem the four tracks that feature the theme - Overture, The Grid, Flynn Lives, TRON Legacy (End Titles) (and to a lesser extent, Finale) - are spectacularly tailored variations, and they are glorious. As such, the main theme feels like something more of an anthem. " Father and Son" is the exception, and it's the perfect example of how the theme could've made for a sturdy thematic foundation had it been further utilized. it goes almost entirely unused for the rest of the score. My only complaint is that, despite its strong use during the first and last few tracks ('bookends', as Filmtracks puts it). The dream-like " Solar Sailer" and " Sea of Simulation" are a refreshing change of pace from an otherwise aggressive score, and " End of Line" boasts some slick chiptune instrumentation throwbacks.Īnd then there's that main theme. I love the strings ensemble featured on the " Outlands Part I" & " Part II" tracks. The variety is surprisingly strong, ranging from straight-up Daft Punk like " Castor" and " Derezzed", to songs with a bolder orchestral blend like " Recognizer" and " Rectifier". Despite some familiarity in certain facets of the recording of Tron: Legacy, the result of Daft Punk's efforts is far more creative than what you'd usually hear from a Zimmer clone using the Remote Control library alone." Fortunately, the orchestration is competent, so the driving harmonic rhythms and the major thematic performances are easy on the ears and will satisfy the masses in theaters.
Again, to quote Filmtracks: " The handling of the ensemble isn't spectacular, with the orchestrations rather simplistic, the progressions predictable, and techniques like counterpoint and dissonance applied without complexity. There's a strong RC-inspired sound, made fresh by the overlaying of Daft Punk's electronic flair. After all, what appeals as trance and techno dance material in Europe would likely not alone carry a blockbuster motion picture even as well suited to them as this one."
As Filmtracks states: " The key to success for them was to extend as much of their club-worthy techno style as possible without relegating their work for Tron: Legacy to classification as simple fetish music. The electronica elements are reined back a bit to give way to a prominent, orchestral-cinematic feel, which was probably a good call. (Which includes my disdain for the record company's decision to spread the score out over so many releases.)Īs said, I believe many will agree that it's less Daft Punk sounding than initially expected.
Filmtracks has their review up, and it echoes most of my sentiments. I'm reserving final judgment for contextual purposes, but as a standalone, Legacy has been an excellent listen.
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