| Cars 2 (Original Motion Picture Soundtrack) | |
| Type: | Soundtrack |
| Artist: | Michael Giacchino |
| Cover: | Cars 2 (Original Motion Picture Soundtrack).jpg |
| Released: | June 14, 2011 |
| Recorded: | 2010–2011 |
| Genre: | Soundtrack |
| Length: | 63:24 |
| Label: | Walt Disney |
Cars 2 (Original Motion Picture Soundtrack) is the soundtrack album to the 2011 Disney/Pixar film of the same name composed by Michael Giacchino. It was directed by John Lasseter, a sequel to Cars (2006) and the second film in the Cars franchise. The film is scored by Michael Giacchino in his first and only collaboration with Lasseter. The film marked Giacchino's fourth Pixar film after The Incredibles, Ratatouille and Up, which was also by Lasseter and also the fourth Pixar film not to be scored by Randy Newman or Thomas Newman. The score was recorded at the Eastwood Scoring Stage for over six to seven weeks, whereas the orchestra recording happened for six to eight days.[1] The album was released by Walt Disney Records on June 14, 2011, ten days ahead of the film's release, and featured songs performed by Weezer, Robbie Williams, Brad Paisley and Perfume, with Giacchino's score accompanying the remainder of it.[2]
Cars 2 is John Lasseter's only film not to be scored by his frequent collaborator Randy Newman, who also scored the predecessor. In October 2010, Michael Giacchino was hired to score music for the film, after previously working on Pixar's The Incredibles (2004), Ratatouille (2007) and Up (2009).[3] [4] He initially liked the music of the first film scored by Newman, and whenever he watched the film he felt that "he was in the middle of something important or big or something adventurous" and seeing the film, he felt it as a perfect fit. On watching several iterations of the final edit, he said "I've watched the film go through different phases, you know it changes, it evolves. you go through several versions of it to try and get to the best possible version of the story. So I've seen like four iterations of it as it goes."[5]
The score had international flavors as most of it does center around Finn McMissile (Michael Caine), and the music echoes of Radiator Springs and other elements from the first film he did not want to lose. He admitted that there is a thematic element to the film that does develop as the film progresses.[6] Especially to match McMissile's character, a successful spy in the 1960s in London, and he thought of the kind of music he listened for the film, which was surf music that became the centrepiece of the film as well as his identity. On the racing sequences, it had more showcasing racing and no guitar used in the film, if being used it is a combination of the "racing and something else is going on story-wise. So it all depends on what's happening with the story, how much or how little you use of that element."
He said that the score is really that surf thing, at its core and had elements such as "fun, action, emotion and friendship" which he liked, saying "You know with these movies, especially at Pixar, the core of the film is usually something very emotional and something that feels really real that you can relate to, it's not like done in a false way. You know a lot of films will treat emotion falsely and you can sense that very quickly, but these films have a way of pulling you in and making you care about these characters because they're treating them like real people, not like a cartoon or something to make fun of, they actually treat them as if they're real people, and I think that's great." As the film featured several cars, he did not want the music to be too overt with the film as it becomes more about the music than it does about the film, as he felt that he want the music to follow the characters.
The Newsboys song “City to City” was featured in the film albeit not credited in the soundtrack.
James Southall of Movie Wave wrote "Nothing here is without merit – it’s by a composer of serious talent and a knack of delivering what a film needs – but as an album, there’s just something about it which means the whole seems rather less than the sum of its parts. It’s reasonably entertaining, but I doubt anyone would consider it amongst the composer’s finer efforts and it is left trailing in the dust of Newman’s far superior music for the first instalment, which was never given the kind of release it deserved."[7] Filmtracks.com wrote "the songs are fine and the score is merely average, Giacchino's music broader in scope and obviously longer in length than Newman's but lacking in any distinctive highlights or convincing emotional connection. It's simply parody music from start to finish, and it's tough to really become engaged with it when other composers have done it before and arguably done it better."[8]
Bill Graham of Collider wrote "the score by Michael Giacchino lacks a focused, recognizable theme".[9] James Christopher Monger of AllMusic wrote "The film’s soundtrack reflects these changes, swapping out previous maestro Randy Newman with the extremely capable Michael Giacchino, and front-loading the collection with five very different pop songs." Todd McCarthy of The Hollywood Reporter wrote "Michael Giacchino’s score has the effect of a super-charger on the film, as if it needed one".[10]
| Chart (2011) | Peakposition | |
|---|---|---|
| Mexican Albums (AMPROFON)[11] | 25 | |
| US Billboard 200[12] | 150 | |
| US Soundtrack Albums (Billboard)[13] | 7 |
Credits adapted from CD liner notes.