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Culminating Experience
Tess Stabb
Ratatouille: A Narrative Analysis
Between the Gutter and the Dream
Written by Tess Tyler
July 2014
Culminating Experience
Tess Stabb
July 2014
Ratatouille – A Narrative Analysis
The Music Between the Gutter and The Dream.
The success of all Pixar animations is due to their infallible ability to emotionally stir their
audiences, both young and old. There are many different elements and artistic
departments that come together that make Pixar movies so incredibly entertaining:
innovative animation, exceptional story development, impressive voice acting and in this
particular case of Ratatouille - a magically intelligent score. It is known that director Brad
Bird, and composer Michael Giacchino worked very closely together on Ratatouille,
carefully discussing the emotional content of each character, as well as the definite moral
content of the story. Brad Bird confidently explains why he chose Giacchino for this
project thusly: ‘One of the reasons I picked Michael was that he had tremendous range,
and he had a whole bunch of different sounds on his palette.’1 After close analysis, it is
unquestionable that the musical score contributes significantly to getting these vital
components across to its audience, and furthermore contributing to the film’s
monumental success.
1
Ratatouille
–
Behind
the
Music
with
Michael
Giacchino,
https://www.youtube.com/watch?v=u2WQdR7Ti-‐o,
Interview
with
Brad
Bird
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July 2014
To divulge further into how the music contributes so generously to the film, we must
define the key themes of the story. Similarly to the majority of other Pixar productions, the
main themes of a Pixar story always touch upon cleverly disguised, serious and socially
advanced subject matters. In regards to Ratatouille, the story touches upon issues such as
dysfunction within the family (here reflected in Remy’s relationship with his father),
financial difficulty (Linguini’s desperation to find and keep a job), grief (the death of
Linguini’s mother), power struggle within the workplace (Chef Skinner) and lastly, yet
perhaps most crucial to the film’s overall moral compass – the struggle in persevering to
follow ambitions and dreams, despite all the obstacles one finds along the way. I will be
discussing all of these subjects, and how the musical score enhances them. Furthermore, I
will be discussing what kind of impact this has on the emotional content of the film, and
how this affects the audience. To understand how the key subjects are enriched by the
music, it is important to familiarise ourselves with the musical themes that are linked to
each of the main characters. Michael Giacchino has skillfully associated musical themes to
the characters of Remy, Linguini, Gusteau and Chef Skinner. This is not a new film scoring
technique for Giacchino: ‘I really love working thematically, because if you’re going to tell
a story with music you need themes to represent the characters; so as you’re listening to
the soundtrack you can kind of follow along with what’s happening in the story’. These
themes are the backbone of the musical score, effortlessly and succinctly introducing us to
each character. Giacchino expertly manipulates, develops and bends these themes in
order to alter how the audience perceives two key things: the inner emotions of the
character in focus, or the environment in which the scene is taking place. Giacchino
achieves this so successfully within this film, that the audience can’t help but feel a deep
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July 2014
understanding of both Remy and Linguini’s characters. This is what I believe, to be the key
to unlocking the secret of a great animation picture.
French Music Influence
Randy Thom, Supervising Sound Designer / Mixer:
‘For Ratatouille we certainly needed to tip our hats to the authenticity of Paris and being
in Paris, France. ‘2
Brad Bird has chosen to inform his audience of the French setting of Ratatouille before the
film even begins to start! Like any other Disney Pixar production, the screening begins
with the iconic Disney Castle and Pixar lamp production logos. Bird has decided to
include music as soon as the Disney castle appears and before the feature commences.
Giacchino overlays the ethereal musings of popular French singer, Camille, accompanied
by glockenspiel and accordion. This captures the spirit of the film perfectly, as Camille’s
voice instantly exudes an ambience of playfulness and magic. The voice mirrors Remy’s
character, which is also playful, yet ambitious and always determined in working towards
his dream of being a chef. The use of the accordion is simple, yet incredibly effective. Its
inclusion instantly informs the audience of the French setting of the film, and also gives
light to the French music theme that runs throughout the movie. When we hear the
glockenspiel, are senses are heightened to the magical and wondrous quality of the film;
letting us know that we, the audience are about to go on an adventure. As the Disney
castle fades out, the Pixar lamp icon comes to screen and we begin to hear the vocal
2
VIDEO:
http://soundworkscollection.com/videos/ratatouille,
The
Sound
of
Ratatouille,
Randy
Thom
Interview
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July 2014
melody of the French national anthem being played on the flute. As I will discuss in further
detail later, the flute is the instrument that Giacchino employs to represent Remy within
the score. We are already being introduced to the protagonist’s character without even
seeing him! The same melody is then transferred over to the clarinet – an instrument that
was an integral instrument in gypsy jazz bands in France from the 1930s. Furthermore, this
highlights the peasant culture in Paris – a theme that is embedded into the morals of this
film’s story. Once the film begins we hear a narrator (with a French accent) describing
Gusteau, and the food culture in Paris. The music accompanying this is typical of French
folk music. The waltz-like time signature on the plucked double bass and accordion
playing the melody noticeably reminisces of French peasant music. The accordion was
introduced to France by Italian immigrants in the 19th century, and was often thought of as
an exotic, romantic and sophisticated instrument when it first arrived in Paris. However,
the portability of the instrument brought its sound to the streets, where it ‘became the
music of the working class and the middle-class slummers; and was subsequently
appropriated by French Gypsy culture.’3 The accordion is also a historical marker and
symbol for the ‘outcast’. Once so popular, it fell out of favour with the public in the 1960s
where rock n’ roll and guitar music took its place. Interestingly, we can compare these
historical facts to Remy’s character. Remy is indeed part of a lower class and lower species
in accordance to society. He is also made to feel an outcast by his family for not wanting
the same life as the rest of his kind. Gusteau’s motto, ‘Anyone can cook’, indicates that he
is a man of the people and a spokesperson for those of the lower classes who have
ambitions and dreams. He is Remy’s mentor, always encouraging him to aim for his goals
3
The
Fabulous
Destiny
of
the
Accordion
in
French
Cinema,
Author:
Phil
Powry,
pg
137,
Ashgate
Publishing,
2006
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July 2014
despite of his species and the prejudice he faces from society. This is why Giacchino has
accompanied Gusteau’s introduction with music that is reminiscent of gypsy folk music because it is music of the people.
Le Festin, the title track of Ratatouille’s OST, is written and sung by the French popular
artist, Camille. Michael Giacchino specifically chose Camille as the leading artist of this
soundtrack because of her unique sound: ‘There was nobody else I wanted to sing the
song than her. I started listening to her music and I was like, that’s it! That’s who I want!
…The song was reflective of the story in the film of somebody who wants something, and
how they’re going to get it.’4
The dreams of lovers are like good wine
They bring joy or also sorrow
Weakened by hunger I am unhappy
Flying on the street all that I can
Because nothing is for free in life
Hope is a plate far too quickly consumed
I am used to skipping the meal
A solitary thief is sad to eat
In a game so bitter I can't succeed
Because nothing is for free in...
Life... Never will they tell me
That the course of the stars: it's not for me
Let me amaze you and and take my flight
We can finally be happy
The celebration will finally begin
Get out the bottles; end the strife
I lay the table of my new life
I am glad about the idea of this new fate
A life of hiding and then finally free
The feast is on my way
A life of hiding and then finally free
The feast is on my way
4
Ratatouille
–
Behind
the
Music
with
Michael
Giacchino,
https://www.youtube.com/watch?v=u2WQdR7Ti-‐o,
Interview
with
Michael
Giacchino
Culminating Experience
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July 2014
‘Le Festin’ translates as ‘The Feast’, and after close analysis of the lyrics, it becomes
apparent that the title of this song has two different meanings. On a shallow level, we can
assume that the song is primarily about food. However, when we delve a little deeper, we
understand that the lyrics explore the idea of ambition and dreams. The song succinctly
represents Remy’s character, and his determination to achieve his goal of becoming a
cook, and consequently his overall happiness. The first stanza of lyrics highlight the need
to have money in order to survive: ‘Weakened by hunger I am unhappy, Flying on the
street all that I can, Because nothing is for free in life’. These words underline the life of
Remy when we first meet him in the film. His father, and the leader of the rat colony tells
him, that he must blend in with the others and do what is necessary in order to be fed. In
other words, Remy must steal in order to survive. The second stanza is about how
challenging it is to keep your hopes up when the odds aren’t in your favour. ‘Hope is a
plate far too quickly consumed, I am used to skipping the meal, A solitary thief is sad to
eat, In a game so bitter I can't succeed.’ Cleverly tying the lyrics together with the subject
of food, Camille explains with these words that it is sometimes easier to not hope so you
are not disappointed when your efforts don’t result in what you hoped for. The third
stanza is a revolt against the notion of fear, and portrays the stamina and determination
that lies within Remy’s character. It marks a turning point in attitude of Remy’s character,
and of the story itself. Le Festin is played during the turning point of the film, where
Linguini finds out that he is the rightful owner of Gusteau’s. There is a montage to
describe the many happy events at this point in the story: Linguini and Colette fall in love,
Chef Skinner leaves the restaurant, Remy can cook in peace and feed his family and
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Linguini buys a home, being financially secure for the first time. The last two lines of the
stanza, A life of hiding and then finally free, The feast is on my way, summarizes the whole
story, marking how far both Remy and Linguini have come in their journey to happiness
and success.
Django Reinhardt & Linguini’s Theme
Linguini ties into this idea very succinctly, as his character also represents the working
classes and being an outcast. The significant differences being, that unlike Remy, he is a
human and has no desire to be a chef. Immediately after the ‘Wall Rat’ cue, we are
presented with the music for ‘Cast of Cooks’. This is where we meet Linguini for the first
time. In contrast to the orchestral cue of ‘Wall Rat’, the audience is now met with a jazzinfluenced piece of music. This suits the hustle and bustle of the kitchen, however, more
importantly, it signifies that we are in a real-life, hard-working environment. Jazz music is
often used to represent the working classes as the subject matters within often touch
upon real-life and everyday struggle. Historically however, jazz was played in public in
order to help the people put aside their problems and try to enjoy life. This mirrors
Linguini’s character incredibly well. Although he is poor, without friends, without a mother
and a job, he still remains positive despite all of the hardship in his life. ‘Remy Drives a
Linguini’ is an incredibly fun cue that can be compared directly to Gypsy Jazz music of the
1930s. The guitar work is reminiscent to that of Django Reinhardt – the founder of the Jazz
Manouche genre. ‘Manouche’ is a term for a Gypsy; the name comes from the small town
of the same name in the south of France. Being a Gypsy himself, Reinhardt was familiar
with the struggles of being poor in France. Michael Dregni, a specialist in the life of
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July 2014
Django’s and his works, comments on what it was like for the Gypsy society in France
during his youth: ‘Gyspies are outsiders. It was difficult tracking down some of the Gypsy
guitarists for interviews – you don’t find them listed in the phonebook. From the accounts
I have heard, Django had a difficult time even getting a gig because cabaret owners were
afraid he would steal the silverware. Being a Gypsy put him in the third layer down in
French society, beneath the French and the African-Americans come to play jazz. Gypsies
were really down in the basement.’5 Seeing the similarities between Reinhardt’s life and
Linguini’s life is unavoidable. They both come from poor backgrounds and have been
ostracised by others because of where they come from. Chef Skinner immediately looks
down upon Linguini and refuses to give him a job because he isn’t a cook. Even though
Linguini luckily slips through the net and manages to work at the kitchen, Skinner still
describes him as ‘just a garbage boy’. Django was also refused gigs because people were
fearful that he was a criminal due to his Gypsy heritage. Both characters are not strangers
to prejudice, yet they both, however, seem to get on with their lives regardless. Django
became an incredibly famous guitarist despite all the obstacles that were thrown in his
way. The story is the same for Linguini. It is important to acknowledge the similarities
between the two characters, as I’m certain that Giacchino has chosen to use manouche
guitar music in order to channel the spirit of Django; not only emulating a typically French
style, but also a historical sound that conveys a sense of struggle and overcoming it. We
can even go further to say that Remy also shares social traits with Django. Remy must
overcome many social boundaries in order to carry out his ambitions. Firstly, he must gain
the strength to rise above his family’s negativity towards his ambition of being a chef, and
5
Chasing
Django,
‘The
legacy
of
one
man
who
had
become
an
emblem
of
the
people’,
Anonymous,
http://www.thebluegrassspecial.com/archive/2010/march10/django-‐reinhardt-‐michael-‐dregni.php,
Publisher:
David
McGee
Culminating Experience
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July 2014
secondly, overcome the obstacle of getting humans to primarily not be afraid of him, and
furthermore believe in his ability to cook! The physical problem of Remy not being large
enough to work in a kitchen is a huge obstacle in the way of him achieving his dream. If
one weren’t ambitious enough, then it would seem like an impossible feat. When Django
was nineteen, he was involved in a house fire where he suffered from severe burns down
his left hand side. The result left his third and fourth fingers paralyzed. Instead of giving up
the guitar, he practiced for eighteen months solid in order to relearn the guitar on just two
fingers – his index and little finger. His determination and perseverance resulted in an
incredibly positive outcome: ‘Amazingly, several of the Gypsy guitarists that came along
after Django played with just two fingers in an effort to get the tone he had – guitarists
like Jacques Montagne. Even today players like John Jorgenson or Sam Miltich in
Minnesota will every now and then play a song with two fingers for fun.’6 Here is a
comparison of one of Django’s guitar melodies with the guitar line that is featured during
the Remy Drives A Linguine cue.
Another great example of Django Reinhardt’s influence within the score is in the cue,
Special Order. The fast guitar strumming and hand percussion that begins the cue is
reminiscent of samba. The strong beat in 4 strongly emulates the feeling of a dance.
During this scene, Remy is controlling Linguini’s every move, directing him around the
kitchen. Just like a samba, Remy leads Linguini in a choreographed dance around the
kitchen, completely in control. Although the beat of this cue is Spanish, all of the
instrumentation we hear is has more of a French influence. The melody is played on an
6
Chasing
Django,
‘The
legacy
of
one
man
who
had
become
an
emblem
of
the
people’,
Anonymous,
http://www.thebluegrassspecial.com/archive/2010/march10/django-‐reinhardt-‐michael-‐dregni.php,
Publisher:
David
McGee
Culminating Experience
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July 2014
accordion, similarly to earlier cues in the film. Once we have reached this cue when
watching the movie, Remy is starting to gain more control over Linguini’s body, and
because of this Remy is succeeding in realising his dream of being a chef. The more that
this happens, the more we hear classical instrumentation. This is exactly what happens
when we reach the end of the cue. Remy is fighting Colette over which recipe should be
used for the special order, and once it becomes apparent that Remy is going to win the
battle, the classical music becomes prevalent, overbearing the popular and folky, French
influenced music. When Linguini says frustrated, ‘I should listen to you’, and slaps his hat
in order to jolt Remy, Giacchino slowly filters in horns that blend very subtly with the
already existing instrumentation of the cue. The presence of the horns reflect the
presence of Remy, and how he is not going to give up an opportunity that could get him
closer to his dream. Once we hear Colette exclaim at Linguini, ‘Don’t. You. Dare.’, a short
passage of tremolo string ensemble is played. This creates an instant moment of
suspense, however, it is logical to also think that Giacchino uses the strings as a symbol
for Remy’s authority over the situation. I conclude this idea by stating that the end of the
cue comprises of a single note played on both string and woodwind sections. This is
synced exactly when Remy folds his arms and grins in a smug and self-satisfied way. The
orchestra has won, and so has Remy.
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Remy’s Theme
Remy has two main themes associated to his character. The first theme can be described
as ‘rodent-like’, using very quick and sporadic rhythms that can be linked to Remy’s
scampering physicality. Giacchino has chosen to represent this theme by using folk style
and instrumentation. The second theme resembles Remy’s hopes and dreams, and is
often portrayed by the orchestra. The best example of both of these themes can be found
in the ‘Wall Rat’ cue. The melody of this theme directly addresses Remy’s physical state,
and is expertly synced to the picture. The music of this cue, however, begins by
addressing Remy’s mental state. Feeling utterly hopeless, Remy’s mood is portrayed by
slow, legato and minor chords played by a small string ensemble with a solo cello. The
cello solo is incredibly morose, highlighting Remy’s feeling of hopelessness. There is a
sudden change in colour and mood when Gusteau appears from the cookbook and says
to Remy: ‘If you are hungry, go up and look around, Remy’. This is because we hear a
mystical glissando of glockenspiel with harp in combination with a thickening texture
within the string ensemble. The time signature also changes for an ambiguous 4/4 to an
obvious 3/4. The change in time signature enhances the French folk atmosphere, and
makes the ambience of the scene instantly more light-hearted. Here, it is important to
notice that the very mention of hunger or food, Remy’s state of mind changes. He starts to
become more hopeful; as does the sound of the score. The music tells the audience that
there has been a drastic change in Remy’s state of mind, and therefore consequently
informs us that we are going to immediately experience a development in the story. Next,
we hear an accordion playing a repeated 8th note (E4), which is then quickly followed by
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the flute melody. The accordion promptly lets us know that, not only are we experiencing
French culture, but we are experiencing peasant French culture. The accordion sound
informs the viewer that Remy’s life is by no means sophisticated; and this is obviously
reflected in the picture, where we can see Remy scampering between the floorboards of a
building. The flute, however, is the perfect choice of instrument to represent Remy’s
character. It is quick, versatile and nimble, just like a Rat. However, it is also pure and
bright sounding, flawlessly resembling Remy’s innocence, inquisitiveness and passion for
life. To emphasize the rat-like way that Remy is moving through the building, pizzicato
strings are introduced to the flute and accordion at the beginning of this cue. Although,
the use of strings highlight Remy’s rodent species, it also brings a sense of orchestral
sophistication to the music, successfully reminding the audience that Remy is not just any
ordinary rat, but a refined character. The idea of peasantry against sophistication and
orchestral against folk is constantly present whenever we hear Remy’s theme. The music
highlights the constant duality of Remy’s character, and therefore his struggle to fit in
wherever he finds himself within the story. In the first half of the cue there is a brief
interlude to the protagonist’s theme, where Remy finds a small chunk of bread, and
attempts to eat it. Gusteau appears yet again, and urges Remy not to eat it, as it would be
stealing. This teaches the children of the audience a basic moral principle, when actually
this touches a subject matter far more severe. Remy is starving, and has no means of
obtaining food other than stealing. The more mature members of the audience
understand the true difficulties of this in regards to real life. On a shallow level, children
will understand that this is wrong, however the adults will perceive this as an emotional
struggle. The music manages to enhance this notion by introducing a small section that
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contrasts massively to that which comes before and after it. The music is extremely thin in
texture, using only a solo bassoon accompanied by a solo clarinet counter melody. The
melody resembles sad French folk music, dragging the audience away from the previous
theme that brought a sense of hope and wonderment. However, reminiscent of a minute
before, we hear the glissando of glockenspiel and harp. This is because Gusteau mentions
food to Remy once again. Giacchino uses the word ‘food’ as a catalyst to develop the
music from one emotion to the next. This works wonderfully, as it creates a sense of unity
between the score and Remy’s inner thoughts. After the glissando, strings are
reintroduced into the score, making the texture thicker yet again, and more sophisticated
in its style. Giacchino uses this technique to gracefully lead back into Remy’s theme. It is
becoming apparent at this point within the score that food is an essential in triggering
Remy’s emotions. Whenever it is mentioned, we begin to experience the determination of
Remy’s character, which is what makes the story so relatable and effective to its audience.
Bird and Giacchino have work together in order to highlight this, and therefore translate
this idea over to a completely oblivious audience.
Once we return to listen to the theme once again, Remy is launched into action. The
audience’s attention appears to have been subtly switched from the emotional content of
the character, to what is physically happening on the screen. The ‘Wall Rat’ cue achieves
this in a seamless, yet entertaining way. Giacchino has dissected this scene with such an
acute sense of detail that he has managed to utilise all of the dramatic events (including
the very minor ones) to their fullest potential. Reminiscent of Carl Stalling’s work with
Warner Brothers, each hit point is accented, except the result is not that of farce, but of
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sophistication, maintaining the unfailingly consistent quality of Disney Pixar’s animations.
Carl Stalling’s composition method for animation was similar to that of Giacchino’s when
scoring high action scenes: ‘When scoring a chase sequence (for example, the Coyote
chasing the Road Runner), Stalling normally chose a piece that reinforced the
pre=conceived rhythm of the scene. If the chase moved quickly, the music would keep
pace, calculated so that the regular beats of the underscore emphasized the visual and
aural synchronicities.’7 When Remy runs back over the floorboards to investigate the
gunshot coming from the turbulent couple’s apartment, the music drastically reduces in
texture and instrumentation, leaving acoustic guitar with the melody. This musical segway
steers our attention away from Remy’s journey, and towards the couple. A repeating
pattern is starting to emerge where the reduction in orchestral instrumentation often
results in the audience’s focus being drawn away from Remy’s inner thoughts. Once the
audience returns to Remy and the orchestra, there is a delightful moment where Remy
rolls his eyes in reaction to the couple’s ordeal below. Giacchino accentuates this in the
music by making the Violin 1 melody swell in exact unison with the movement of Remy’s
eyes, as they roll around his sockets.
It is a very subtle technique, however, the result is remarkably effective. We are brought
inside Remy’s head where we are able to explore his thoughts. As Remy continues to run
7
Tunes
for
Toons
–
Music
and
the
Hollywood
Cartoon,
Daniel
Goldmark,
pg.
52,
University
of
California
Press,
2005
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around inside the floorboards, the flute melody has been written in order to imitate the
way in which he moves. A great example of this is when Remy skirts past the mousetrap.
When Remy does this, he slows down his pace and contorts his body in order to get past.
Giacchino mirrors this in his score by using an uncharacteristically long dotted half note in
the flute melody. Amidst the quicker 16th notes, this draws our attention to what is
happening on the screen, and at the same time enhances the image of Remy slowing
down in order to get past. The articulation in the flute also transforms from quick staccato
notes, into a flutter tongue. The sound of this particular technique helps to augment what
we’re seeing, and that Remy is slowing down. The unusual timbre of flutter tongue
technique draws attention to the change in pace, and also signifies a certain element of
danger. It is important to note, that at this point the instrumentation is very minimal. There
is only electric bass, pizzicato strings and flute. I believe that Giacchino restricts the
instrumentation here, so there is more of an impact when the environment changes from
inside the house and under the floorboards, to being outside the house. When the scene
moves from inside to outside, the score becomes thicker in its texture and
instrumentation. A string ensemble and an acoustic guitar are introduced to the score,
immediately changing the sound. The articulation of the score also changes. Giacchino
moves from pizzicato to legato strings and removes the flute melody from the cue. This
accompanies the change in atmosphere exceedingly well. The overall effect of this makes
the audience feel the contrast between the run-down environment of the floorboards and
the beautiful outdoors of Paris. Typical of music for traditional animation, the direction of
pitch is linked with what we are seeing on the screen. When Remy enters the outdoors
and starts to ascend the building, the melody in the upper strings also start to ascend.
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July 2014
Not only does this much-used technique manage to satisfyingly match what hearing with
what we are seeing, but also builds tension the more and more we hear the melody
ascend. It is worth noting that all of these stylistic changes within the articulation, melody
and instrumentation are a way of the composer indicating that there has been a switch
between environments. It is these two different environments (the floorboards and the
streets of Paris) that symbolize Remy’s two different states of mind; hopelessness and
defeat in contrast with ambition, determination and happiness. When Remy reaches the
roof of the building, the cue reaches its musical climax. This is where the music is at its
most orchestral and sophisticated in its instrumentation. A full woodwind section is
introduced to accompany the legato string melody.
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This thickens the texture, giving a sense of richness and warmth. We no longer hear the
acoustic or bass guitar, so inevitably, the folk influenced sound disappears and makes the
score’s instrumentation solely orchestral. Again, Giacchino has successfully made a distinct
separation between Remy’s two worlds through the use of his music. The musical climax is
synced to the magnificent view over Paris, cleverly symbolizing that the city is where Remy
will find his happiness and achieve his hopes and dreams.
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From The Gutter To The Dream
To fully realise Brad Bird’s principal moral intention in Ratatouille, we must focus on the
climax of the film. Throughout the film, all the characters battle against the food critic,
Anton Ego. He resembles the fear and obstacles one comes across when we try to achieve
are seemingly impossible dreams. When it is finally time to present the famous French
dish, Ratatouille to Ego, the audience is fully aware that this is going to be a pivotal
moment of the film. Either Remy and Linguini, and the restaurant will succeed or fail – this
is crunch time. We can clearly hear at this point in the story, that the music is solely
orchestral in its instrumentation and structure. Continuing the idea of Remy’s ‘dream
theme’, we can now hear that he has never been closer to his goal. The strings vigorously
and quickly swell over a majestic horn melody and thick woodwind harmonies. The texture
is full and reminiscent of such orchestration that we may find in Elgar’s ‘Enigma’. There is
not any French influence to be heard at this moment of the film. Once the dish has been
placed in front of Ego, the music delicately refrains, leaving a sustained, single note in the
flute. I can’t help but feel that Giacchino does this deliberately in order to signal Remy’s
presence within the dish. The note resonates delicately into silence as if the music were
emulating Remy’s hopeful character. When Ego goes to taste the food, however, there is
no music to be heard. Brad Bird has left this event in the story to speak for itself - in
silence. This is distinctive of the classic Pixar moment. Towards the end of the story, the
audience is so emotionally invested with the characters that silence can be even more
moving than a dramatic score. This magnificent score compliments the picture so
successfully, that when it is removed it creates an incredible amount of tension and
Culminating Experience
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July 2014
suspense when the audience is plunged into silence. Ratatouille’s score is almost constant
throughout the film; therefore, it is difficult for the watcher to not take it for granted.
Importantly, immediately after this moment we are taken back to Ego’s childhood where
his mother is feeding him ratatouille. We are immediately presented with French folk
music to accompany this in-depth insight into Ego’s past. Back before Ego was a critic, he
was much like Remy before he became a cook – full of hope and excitement for the
future. Pixar manages to tug at our heartstrings when we realise this is the case, having
only seen Ego as the villain up until this critical moment of the story. This Pixar moment
concisely depicts the key message of the film with extraordinary success. ‘It is a
perceptive, wise, and clever look at the struggles of the creative process, a full-length
explanation of how difficult it is to make art and get that art to be accepted by the few or
the many.’8 In a very intelligent fashion, Giacchino manages to enhance the journey that
Remy experiences through the use of character associated themes and musical genre. It is
a certainty that Giacchino is a master of conveying emotion and character development.
The mastery in, which this is executed in Ratatouille, provides a concrete explanation as to
why both Brad Bird and Michael Giacchino have worked on many Pixar films together
before and since.
8
The
Pixar
Perspective
on
the
Pixar
Moment
and
‘Ratatouille’,
http://pixartimes.com/2013/04/02/the-‐pixar-‐perspective-‐on-‐the-‐
pixar-‐moment-‐and-‐ratatouille/,
Written
by
Josh
Spiegel
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Tess Stabb
July 2014
BIBLIO GRAPHY
- Ratatouille – Behind the Music with Michael Giacchino,
https://www.youtube.com/watch?v=u2WQdR7Ti-o, Interview with Brad Bird
- VIDEO: http://soundworkscollection.com/videos/ratatouille, The Sound of Ratatouille,
Randy Thom Interview
- The Fabulous Destiny of the Accordion in French Cinema, Author: Phil Powry, pg 137,
Ashgate Publishing, 2006
- VIDEO: Ratatouille – Behind the Music with Michael Giacchino,
https://www.youtube.com/watch?v=u2WQdR7Ti-o, Interview with Michael Giacchino
- Chasing Django, ‘The legacy of one man who had become an emblem of the people’,
Anonymous,
- http://www.thebluegrassspecial.com/archive/2010/march10/django-reinhardt-michaeldregni.php, Publisher: David McGee
- Tunes for Toons – Music and the Hollywood Cartoon, Daniel Goldmark, pg. 52,
University of California Press, 2005
- The Pixar Perspective on the Pixar Moment and ‘Ratatouille’,
http://pixartimes.com/2013/04/02/the-pixar-perspective-on-the-pixar-moment-andratatouille/, Written by Josh Spiegel
Tess Stabb
Ratatouille: A Narrative Analysis
Between the Gutter and the Dream
Written by Tess Tyler
July 2014
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July 2014
Ratatouille – A Narrative Analysis
The Music Between the Gutter and The Dream.
The success of all Pixar animations is due to their infallible ability to emotionally stir their
audiences, both young and old. There are many different elements and artistic
departments that come together that make Pixar movies so incredibly entertaining:
innovative animation, exceptional story development, impressive voice acting and in this
particular case of Ratatouille - a magically intelligent score. It is known that director Brad
Bird, and composer Michael Giacchino worked very closely together on Ratatouille,
carefully discussing the emotional content of each character, as well as the definite moral
content of the story. Brad Bird confidently explains why he chose Giacchino for this
project thusly: ‘One of the reasons I picked Michael was that he had tremendous range,
and he had a whole bunch of different sounds on his palette.’1 After close analysis, it is
unquestionable that the musical score contributes significantly to getting these vital
components across to its audience, and furthermore contributing to the film’s
monumental success.
1
Ratatouille
–
Behind
the
Music
with
Michael
Giacchino,
https://www.youtube.com/watch?v=u2WQdR7Ti-‐o,
Interview
with
Brad
Bird
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July 2014
To divulge further into how the music contributes so generously to the film, we must
define the key themes of the story. Similarly to the majority of other Pixar productions, the
main themes of a Pixar story always touch upon cleverly disguised, serious and socially
advanced subject matters. In regards to Ratatouille, the story touches upon issues such as
dysfunction within the family (here reflected in Remy’s relationship with his father),
financial difficulty (Linguini’s desperation to find and keep a job), grief (the death of
Linguini’s mother), power struggle within the workplace (Chef Skinner) and lastly, yet
perhaps most crucial to the film’s overall moral compass – the struggle in persevering to
follow ambitions and dreams, despite all the obstacles one finds along the way. I will be
discussing all of these subjects, and how the musical score enhances them. Furthermore, I
will be discussing what kind of impact this has on the emotional content of the film, and
how this affects the audience. To understand how the key subjects are enriched by the
music, it is important to familiarise ourselves with the musical themes that are linked to
each of the main characters. Michael Giacchino has skillfully associated musical themes to
the characters of Remy, Linguini, Gusteau and Chef Skinner. This is not a new film scoring
technique for Giacchino: ‘I really love working thematically, because if you’re going to tell
a story with music you need themes to represent the characters; so as you’re listening to
the soundtrack you can kind of follow along with what’s happening in the story’. These
themes are the backbone of the musical score, effortlessly and succinctly introducing us to
each character. Giacchino expertly manipulates, develops and bends these themes in
order to alter how the audience perceives two key things: the inner emotions of the
character in focus, or the environment in which the scene is taking place. Giacchino
achieves this so successfully within this film, that the audience can’t help but feel a deep
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July 2014
understanding of both Remy and Linguini’s characters. This is what I believe, to be the key
to unlocking the secret of a great animation picture.
French Music Influence
Randy Thom, Supervising Sound Designer / Mixer:
‘For Ratatouille we certainly needed to tip our hats to the authenticity of Paris and being
in Paris, France. ‘2
Brad Bird has chosen to inform his audience of the French setting of Ratatouille before the
film even begins to start! Like any other Disney Pixar production, the screening begins
with the iconic Disney Castle and Pixar lamp production logos. Bird has decided to
include music as soon as the Disney castle appears and before the feature commences.
Giacchino overlays the ethereal musings of popular French singer, Camille, accompanied
by glockenspiel and accordion. This captures the spirit of the film perfectly, as Camille’s
voice instantly exudes an ambience of playfulness and magic. The voice mirrors Remy’s
character, which is also playful, yet ambitious and always determined in working towards
his dream of being a chef. The use of the accordion is simple, yet incredibly effective. Its
inclusion instantly informs the audience of the French setting of the film, and also gives
light to the French music theme that runs throughout the movie. When we hear the
glockenspiel, are senses are heightened to the magical and wondrous quality of the film;
letting us know that we, the audience are about to go on an adventure. As the Disney
castle fades out, the Pixar lamp icon comes to screen and we begin to hear the vocal
2
VIDEO:
http://soundworkscollection.com/videos/ratatouille,
The
Sound
of
Ratatouille,
Randy
Thom
Interview
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July 2014
melody of the French national anthem being played on the flute. As I will discuss in further
detail later, the flute is the instrument that Giacchino employs to represent Remy within
the score. We are already being introduced to the protagonist’s character without even
seeing him! The same melody is then transferred over to the clarinet – an instrument that
was an integral instrument in gypsy jazz bands in France from the 1930s. Furthermore, this
highlights the peasant culture in Paris – a theme that is embedded into the morals of this
film’s story. Once the film begins we hear a narrator (with a French accent) describing
Gusteau, and the food culture in Paris. The music accompanying this is typical of French
folk music. The waltz-like time signature on the plucked double bass and accordion
playing the melody noticeably reminisces of French peasant music. The accordion was
introduced to France by Italian immigrants in the 19th century, and was often thought of as
an exotic, romantic and sophisticated instrument when it first arrived in Paris. However,
the portability of the instrument brought its sound to the streets, where it ‘became the
music of the working class and the middle-class slummers; and was subsequently
appropriated by French Gypsy culture.’3 The accordion is also a historical marker and
symbol for the ‘outcast’. Once so popular, it fell out of favour with the public in the 1960s
where rock n’ roll and guitar music took its place. Interestingly, we can compare these
historical facts to Remy’s character. Remy is indeed part of a lower class and lower species
in accordance to society. He is also made to feel an outcast by his family for not wanting
the same life as the rest of his kind. Gusteau’s motto, ‘Anyone can cook’, indicates that he
is a man of the people and a spokesperson for those of the lower classes who have
ambitions and dreams. He is Remy’s mentor, always encouraging him to aim for his goals
3
The
Fabulous
Destiny
of
the
Accordion
in
French
Cinema,
Author:
Phil
Powry,
pg
137,
Ashgate
Publishing,
2006
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July 2014
despite of his species and the prejudice he faces from society. This is why Giacchino has
accompanied Gusteau’s introduction with music that is reminiscent of gypsy folk music because it is music of the people.
Le Festin, the title track of Ratatouille’s OST, is written and sung by the French popular
artist, Camille. Michael Giacchino specifically chose Camille as the leading artist of this
soundtrack because of her unique sound: ‘There was nobody else I wanted to sing the
song than her. I started listening to her music and I was like, that’s it! That’s who I want!
…The song was reflective of the story in the film of somebody who wants something, and
how they’re going to get it.’4
The dreams of lovers are like good wine
They bring joy or also sorrow
Weakened by hunger I am unhappy
Flying on the street all that I can
Because nothing is for free in life
Hope is a plate far too quickly consumed
I am used to skipping the meal
A solitary thief is sad to eat
In a game so bitter I can't succeed
Because nothing is for free in...
Life... Never will they tell me
That the course of the stars: it's not for me
Let me amaze you and and take my flight
We can finally be happy
The celebration will finally begin
Get out the bottles; end the strife
I lay the table of my new life
I am glad about the idea of this new fate
A life of hiding and then finally free
The feast is on my way
A life of hiding and then finally free
The feast is on my way
4
Ratatouille
–
Behind
the
Music
with
Michael
Giacchino,
https://www.youtube.com/watch?v=u2WQdR7Ti-‐o,
Interview
with
Michael
Giacchino
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July 2014
‘Le Festin’ translates as ‘The Feast’, and after close analysis of the lyrics, it becomes
apparent that the title of this song has two different meanings. On a shallow level, we can
assume that the song is primarily about food. However, when we delve a little deeper, we
understand that the lyrics explore the idea of ambition and dreams. The song succinctly
represents Remy’s character, and his determination to achieve his goal of becoming a
cook, and consequently his overall happiness. The first stanza of lyrics highlight the need
to have money in order to survive: ‘Weakened by hunger I am unhappy, Flying on the
street all that I can, Because nothing is for free in life’. These words underline the life of
Remy when we first meet him in the film. His father, and the leader of the rat colony tells
him, that he must blend in with the others and do what is necessary in order to be fed. In
other words, Remy must steal in order to survive. The second stanza is about how
challenging it is to keep your hopes up when the odds aren’t in your favour. ‘Hope is a
plate far too quickly consumed, I am used to skipping the meal, A solitary thief is sad to
eat, In a game so bitter I can't succeed.’ Cleverly tying the lyrics together with the subject
of food, Camille explains with these words that it is sometimes easier to not hope so you
are not disappointed when your efforts don’t result in what you hoped for. The third
stanza is a revolt against the notion of fear, and portrays the stamina and determination
that lies within Remy’s character. It marks a turning point in attitude of Remy’s character,
and of the story itself. Le Festin is played during the turning point of the film, where
Linguini finds out that he is the rightful owner of Gusteau’s. There is a montage to
describe the many happy events at this point in the story: Linguini and Colette fall in love,
Chef Skinner leaves the restaurant, Remy can cook in peace and feed his family and
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Linguini buys a home, being financially secure for the first time. The last two lines of the
stanza, A life of hiding and then finally free, The feast is on my way, summarizes the whole
story, marking how far both Remy and Linguini have come in their journey to happiness
and success.
Django Reinhardt & Linguini’s Theme
Linguini ties into this idea very succinctly, as his character also represents the working
classes and being an outcast. The significant differences being, that unlike Remy, he is a
human and has no desire to be a chef. Immediately after the ‘Wall Rat’ cue, we are
presented with the music for ‘Cast of Cooks’. This is where we meet Linguini for the first
time. In contrast to the orchestral cue of ‘Wall Rat’, the audience is now met with a jazzinfluenced piece of music. This suits the hustle and bustle of the kitchen, however, more
importantly, it signifies that we are in a real-life, hard-working environment. Jazz music is
often used to represent the working classes as the subject matters within often touch
upon real-life and everyday struggle. Historically however, jazz was played in public in
order to help the people put aside their problems and try to enjoy life. This mirrors
Linguini’s character incredibly well. Although he is poor, without friends, without a mother
and a job, he still remains positive despite all of the hardship in his life. ‘Remy Drives a
Linguini’ is an incredibly fun cue that can be compared directly to Gypsy Jazz music of the
1930s. The guitar work is reminiscent to that of Django Reinhardt – the founder of the Jazz
Manouche genre. ‘Manouche’ is a term for a Gypsy; the name comes from the small town
of the same name in the south of France. Being a Gypsy himself, Reinhardt was familiar
with the struggles of being poor in France. Michael Dregni, a specialist in the life of
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July 2014
Django’s and his works, comments on what it was like for the Gypsy society in France
during his youth: ‘Gyspies are outsiders. It was difficult tracking down some of the Gypsy
guitarists for interviews – you don’t find them listed in the phonebook. From the accounts
I have heard, Django had a difficult time even getting a gig because cabaret owners were
afraid he would steal the silverware. Being a Gypsy put him in the third layer down in
French society, beneath the French and the African-Americans come to play jazz. Gypsies
were really down in the basement.’5 Seeing the similarities between Reinhardt’s life and
Linguini’s life is unavoidable. They both come from poor backgrounds and have been
ostracised by others because of where they come from. Chef Skinner immediately looks
down upon Linguini and refuses to give him a job because he isn’t a cook. Even though
Linguini luckily slips through the net and manages to work at the kitchen, Skinner still
describes him as ‘just a garbage boy’. Django was also refused gigs because people were
fearful that he was a criminal due to his Gypsy heritage. Both characters are not strangers
to prejudice, yet they both, however, seem to get on with their lives regardless. Django
became an incredibly famous guitarist despite all the obstacles that were thrown in his
way. The story is the same for Linguini. It is important to acknowledge the similarities
between the two characters, as I’m certain that Giacchino has chosen to use manouche
guitar music in order to channel the spirit of Django; not only emulating a typically French
style, but also a historical sound that conveys a sense of struggle and overcoming it. We
can even go further to say that Remy also shares social traits with Django. Remy must
overcome many social boundaries in order to carry out his ambitions. Firstly, he must gain
the strength to rise above his family’s negativity towards his ambition of being a chef, and
5
Chasing
Django,
‘The
legacy
of
one
man
who
had
become
an
emblem
of
the
people’,
Anonymous,
http://www.thebluegrassspecial.com/archive/2010/march10/django-‐reinhardt-‐michael-‐dregni.php,
Publisher:
David
McGee
Culminating Experience
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July 2014
secondly, overcome the obstacle of getting humans to primarily not be afraid of him, and
furthermore believe in his ability to cook! The physical problem of Remy not being large
enough to work in a kitchen is a huge obstacle in the way of him achieving his dream. If
one weren’t ambitious enough, then it would seem like an impossible feat. When Django
was nineteen, he was involved in a house fire where he suffered from severe burns down
his left hand side. The result left his third and fourth fingers paralyzed. Instead of giving up
the guitar, he practiced for eighteen months solid in order to relearn the guitar on just two
fingers – his index and little finger. His determination and perseverance resulted in an
incredibly positive outcome: ‘Amazingly, several of the Gypsy guitarists that came along
after Django played with just two fingers in an effort to get the tone he had – guitarists
like Jacques Montagne. Even today players like John Jorgenson or Sam Miltich in
Minnesota will every now and then play a song with two fingers for fun.’6 Here is a
comparison of one of Django’s guitar melodies with the guitar line that is featured during
the Remy Drives A Linguine cue.
Another great example of Django Reinhardt’s influence within the score is in the cue,
Special Order. The fast guitar strumming and hand percussion that begins the cue is
reminiscent of samba. The strong beat in 4 strongly emulates the feeling of a dance.
During this scene, Remy is controlling Linguini’s every move, directing him around the
kitchen. Just like a samba, Remy leads Linguini in a choreographed dance around the
kitchen, completely in control. Although the beat of this cue is Spanish, all of the
instrumentation we hear is has more of a French influence. The melody is played on an
6
Chasing
Django,
‘The
legacy
of
one
man
who
had
become
an
emblem
of
the
people’,
Anonymous,
http://www.thebluegrassspecial.com/archive/2010/march10/django-‐reinhardt-‐michael-‐dregni.php,
Publisher:
David
McGee
Culminating Experience
Tess Stabb
July 2014
accordion, similarly to earlier cues in the film. Once we have reached this cue when
watching the movie, Remy is starting to gain more control over Linguini’s body, and
because of this Remy is succeeding in realising his dream of being a chef. The more that
this happens, the more we hear classical instrumentation. This is exactly what happens
when we reach the end of the cue. Remy is fighting Colette over which recipe should be
used for the special order, and once it becomes apparent that Remy is going to win the
battle, the classical music becomes prevalent, overbearing the popular and folky, French
influenced music. When Linguini says frustrated, ‘I should listen to you’, and slaps his hat
in order to jolt Remy, Giacchino slowly filters in horns that blend very subtly with the
already existing instrumentation of the cue. The presence of the horns reflect the
presence of Remy, and how he is not going to give up an opportunity that could get him
closer to his dream. Once we hear Colette exclaim at Linguini, ‘Don’t. You. Dare.’, a short
passage of tremolo string ensemble is played. This creates an instant moment of
suspense, however, it is logical to also think that Giacchino uses the strings as a symbol
for Remy’s authority over the situation. I conclude this idea by stating that the end of the
cue comprises of a single note played on both string and woodwind sections. This is
synced exactly when Remy folds his arms and grins in a smug and self-satisfied way. The
orchestra has won, and so has Remy.
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Remy’s Theme
Remy has two main themes associated to his character. The first theme can be described
as ‘rodent-like’, using very quick and sporadic rhythms that can be linked to Remy’s
scampering physicality. Giacchino has chosen to represent this theme by using folk style
and instrumentation. The second theme resembles Remy’s hopes and dreams, and is
often portrayed by the orchestra. The best example of both of these themes can be found
in the ‘Wall Rat’ cue. The melody of this theme directly addresses Remy’s physical state,
and is expertly synced to the picture. The music of this cue, however, begins by
addressing Remy’s mental state. Feeling utterly hopeless, Remy’s mood is portrayed by
slow, legato and minor chords played by a small string ensemble with a solo cello. The
cello solo is incredibly morose, highlighting Remy’s feeling of hopelessness. There is a
sudden change in colour and mood when Gusteau appears from the cookbook and says
to Remy: ‘If you are hungry, go up and look around, Remy’. This is because we hear a
mystical glissando of glockenspiel with harp in combination with a thickening texture
within the string ensemble. The time signature also changes for an ambiguous 4/4 to an
obvious 3/4. The change in time signature enhances the French folk atmosphere, and
makes the ambience of the scene instantly more light-hearted. Here, it is important to
notice that the very mention of hunger or food, Remy’s state of mind changes. He starts to
become more hopeful; as does the sound of the score. The music tells the audience that
there has been a drastic change in Remy’s state of mind, and therefore consequently
informs us that we are going to immediately experience a development in the story. Next,
we hear an accordion playing a repeated 8th note (E4), which is then quickly followed by
Culminating Experience
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the flute melody. The accordion promptly lets us know that, not only are we experiencing
French culture, but we are experiencing peasant French culture. The accordion sound
informs the viewer that Remy’s life is by no means sophisticated; and this is obviously
reflected in the picture, where we can see Remy scampering between the floorboards of a
building. The flute, however, is the perfect choice of instrument to represent Remy’s
character. It is quick, versatile and nimble, just like a Rat. However, it is also pure and
bright sounding, flawlessly resembling Remy’s innocence, inquisitiveness and passion for
life. To emphasize the rat-like way that Remy is moving through the building, pizzicato
strings are introduced to the flute and accordion at the beginning of this cue. Although,
the use of strings highlight Remy’s rodent species, it also brings a sense of orchestral
sophistication to the music, successfully reminding the audience that Remy is not just any
ordinary rat, but a refined character. The idea of peasantry against sophistication and
orchestral against folk is constantly present whenever we hear Remy’s theme. The music
highlights the constant duality of Remy’s character, and therefore his struggle to fit in
wherever he finds himself within the story. In the first half of the cue there is a brief
interlude to the protagonist’s theme, where Remy finds a small chunk of bread, and
attempts to eat it. Gusteau appears yet again, and urges Remy not to eat it, as it would be
stealing. This teaches the children of the audience a basic moral principle, when actually
this touches a subject matter far more severe. Remy is starving, and has no means of
obtaining food other than stealing. The more mature members of the audience
understand the true difficulties of this in regards to real life. On a shallow level, children
will understand that this is wrong, however the adults will perceive this as an emotional
struggle. The music manages to enhance this notion by introducing a small section that
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contrasts massively to that which comes before and after it. The music is extremely thin in
texture, using only a solo bassoon accompanied by a solo clarinet counter melody. The
melody resembles sad French folk music, dragging the audience away from the previous
theme that brought a sense of hope and wonderment. However, reminiscent of a minute
before, we hear the glissando of glockenspiel and harp. This is because Gusteau mentions
food to Remy once again. Giacchino uses the word ‘food’ as a catalyst to develop the
music from one emotion to the next. This works wonderfully, as it creates a sense of unity
between the score and Remy’s inner thoughts. After the glissando, strings are
reintroduced into the score, making the texture thicker yet again, and more sophisticated
in its style. Giacchino uses this technique to gracefully lead back into Remy’s theme. It is
becoming apparent at this point within the score that food is an essential in triggering
Remy’s emotions. Whenever it is mentioned, we begin to experience the determination of
Remy’s character, which is what makes the story so relatable and effective to its audience.
Bird and Giacchino have work together in order to highlight this, and therefore translate
this idea over to a completely oblivious audience.
Once we return to listen to the theme once again, Remy is launched into action. The
audience’s attention appears to have been subtly switched from the emotional content of
the character, to what is physically happening on the screen. The ‘Wall Rat’ cue achieves
this in a seamless, yet entertaining way. Giacchino has dissected this scene with such an
acute sense of detail that he has managed to utilise all of the dramatic events (including
the very minor ones) to their fullest potential. Reminiscent of Carl Stalling’s work with
Warner Brothers, each hit point is accented, except the result is not that of farce, but of
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July 2014
sophistication, maintaining the unfailingly consistent quality of Disney Pixar’s animations.
Carl Stalling’s composition method for animation was similar to that of Giacchino’s when
scoring high action scenes: ‘When scoring a chase sequence (for example, the Coyote
chasing the Road Runner), Stalling normally chose a piece that reinforced the
pre=conceived rhythm of the scene. If the chase moved quickly, the music would keep
pace, calculated so that the regular beats of the underscore emphasized the visual and
aural synchronicities.’7 When Remy runs back over the floorboards to investigate the
gunshot coming from the turbulent couple’s apartment, the music drastically reduces in
texture and instrumentation, leaving acoustic guitar with the melody. This musical segway
steers our attention away from Remy’s journey, and towards the couple. A repeating
pattern is starting to emerge where the reduction in orchestral instrumentation often
results in the audience’s focus being drawn away from Remy’s inner thoughts. Once the
audience returns to Remy and the orchestra, there is a delightful moment where Remy
rolls his eyes in reaction to the couple’s ordeal below. Giacchino accentuates this in the
music by making the Violin 1 melody swell in exact unison with the movement of Remy’s
eyes, as they roll around his sockets.
It is a very subtle technique, however, the result is remarkably effective. We are brought
inside Remy’s head where we are able to explore his thoughts. As Remy continues to run
7
Tunes
for
Toons
–
Music
and
the
Hollywood
Cartoon,
Daniel
Goldmark,
pg.
52,
University
of
California
Press,
2005
Culminating Experience
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July 2014
around inside the floorboards, the flute melody has been written in order to imitate the
way in which he moves. A great example of this is when Remy skirts past the mousetrap.
When Remy does this, he slows down his pace and contorts his body in order to get past.
Giacchino mirrors this in his score by using an uncharacteristically long dotted half note in
the flute melody. Amidst the quicker 16th notes, this draws our attention to what is
happening on the screen, and at the same time enhances the image of Remy slowing
down in order to get past. The articulation in the flute also transforms from quick staccato
notes, into a flutter tongue. The sound of this particular technique helps to augment what
we’re seeing, and that Remy is slowing down. The unusual timbre of flutter tongue
technique draws attention to the change in pace, and also signifies a certain element of
danger. It is important to note, that at this point the instrumentation is very minimal. There
is only electric bass, pizzicato strings and flute. I believe that Giacchino restricts the
instrumentation here, so there is more of an impact when the environment changes from
inside the house and under the floorboards, to being outside the house. When the scene
moves from inside to outside, the score becomes thicker in its texture and
instrumentation. A string ensemble and an acoustic guitar are introduced to the score,
immediately changing the sound. The articulation of the score also changes. Giacchino
moves from pizzicato to legato strings and removes the flute melody from the cue. This
accompanies the change in atmosphere exceedingly well. The overall effect of this makes
the audience feel the contrast between the run-down environment of the floorboards and
the beautiful outdoors of Paris. Typical of music for traditional animation, the direction of
pitch is linked with what we are seeing on the screen. When Remy enters the outdoors
and starts to ascend the building, the melody in the upper strings also start to ascend.
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July 2014
Not only does this much-used technique manage to satisfyingly match what hearing with
what we are seeing, but also builds tension the more and more we hear the melody
ascend. It is worth noting that all of these stylistic changes within the articulation, melody
and instrumentation are a way of the composer indicating that there has been a switch
between environments. It is these two different environments (the floorboards and the
streets of Paris) that symbolize Remy’s two different states of mind; hopelessness and
defeat in contrast with ambition, determination and happiness. When Remy reaches the
roof of the building, the cue reaches its musical climax. This is where the music is at its
most orchestral and sophisticated in its instrumentation. A full woodwind section is
introduced to accompany the legato string melody.
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Tess Stabb
July 2014
This thickens the texture, giving a sense of richness and warmth. We no longer hear the
acoustic or bass guitar, so inevitably, the folk influenced sound disappears and makes the
score’s instrumentation solely orchestral. Again, Giacchino has successfully made a distinct
separation between Remy’s two worlds through the use of his music. The musical climax is
synced to the magnificent view over Paris, cleverly symbolizing that the city is where Remy
will find his happiness and achieve his hopes and dreams.
Culminating Experience
Tess Stabb
July 2014
From The Gutter To The Dream
To fully realise Brad Bird’s principal moral intention in Ratatouille, we must focus on the
climax of the film. Throughout the film, all the characters battle against the food critic,
Anton Ego. He resembles the fear and obstacles one comes across when we try to achieve
are seemingly impossible dreams. When it is finally time to present the famous French
dish, Ratatouille to Ego, the audience is fully aware that this is going to be a pivotal
moment of the film. Either Remy and Linguini, and the restaurant will succeed or fail – this
is crunch time. We can clearly hear at this point in the story, that the music is solely
orchestral in its instrumentation and structure. Continuing the idea of Remy’s ‘dream
theme’, we can now hear that he has never been closer to his goal. The strings vigorously
and quickly swell over a majestic horn melody and thick woodwind harmonies. The texture
is full and reminiscent of such orchestration that we may find in Elgar’s ‘Enigma’. There is
not any French influence to be heard at this moment of the film. Once the dish has been
placed in front of Ego, the music delicately refrains, leaving a sustained, single note in the
flute. I can’t help but feel that Giacchino does this deliberately in order to signal Remy’s
presence within the dish. The note resonates delicately into silence as if the music were
emulating Remy’s hopeful character. When Ego goes to taste the food, however, there is
no music to be heard. Brad Bird has left this event in the story to speak for itself - in
silence. This is distinctive of the classic Pixar moment. Towards the end of the story, the
audience is so emotionally invested with the characters that silence can be even more
moving than a dramatic score. This magnificent score compliments the picture so
successfully, that when it is removed it creates an incredible amount of tension and
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July 2014
suspense when the audience is plunged into silence. Ratatouille’s score is almost constant
throughout the film; therefore, it is difficult for the watcher to not take it for granted.
Importantly, immediately after this moment we are taken back to Ego’s childhood where
his mother is feeding him ratatouille. We are immediately presented with French folk
music to accompany this in-depth insight into Ego’s past. Back before Ego was a critic, he
was much like Remy before he became a cook – full of hope and excitement for the
future. Pixar manages to tug at our heartstrings when we realise this is the case, having
only seen Ego as the villain up until this critical moment of the story. This Pixar moment
concisely depicts the key message of the film with extraordinary success. ‘It is a
perceptive, wise, and clever look at the struggles of the creative process, a full-length
explanation of how difficult it is to make art and get that art to be accepted by the few or
the many.’8 In a very intelligent fashion, Giacchino manages to enhance the journey that
Remy experiences through the use of character associated themes and musical genre. It is
a certainty that Giacchino is a master of conveying emotion and character development.
The mastery in, which this is executed in Ratatouille, provides a concrete explanation as to
why both Brad Bird and Michael Giacchino have worked on many Pixar films together
before and since.
8
The
Pixar
Perspective
on
the
Pixar
Moment
and
‘Ratatouille’,
http://pixartimes.com/2013/04/02/the-‐pixar-‐perspective-‐on-‐the-‐
pixar-‐moment-‐and-‐ratatouille/,
Written
by
Josh
Spiegel
Culminating Experience
Tess Stabb
July 2014
BIBLIO GRAPHY
- Ratatouille – Behind the Music with Michael Giacchino,
https://www.youtube.com/watch?v=u2WQdR7Ti-o, Interview with Brad Bird
- VIDEO: http://soundworkscollection.com/videos/ratatouille, The Sound of Ratatouille,
Randy Thom Interview
- The Fabulous Destiny of the Accordion in French Cinema, Author: Phil Powry, pg 137,
Ashgate Publishing, 2006
- VIDEO: Ratatouille – Behind the Music with Michael Giacchino,
https://www.youtube.com/watch?v=u2WQdR7Ti-o, Interview with Michael Giacchino
- Chasing Django, ‘The legacy of one man who had become an emblem of the people’,
Anonymous,
- http://www.thebluegrassspecial.com/archive/2010/march10/django-reinhardt-michaeldregni.php, Publisher: David McGee
- Tunes for Toons – Music and the Hollywood Cartoon, Daniel Goldmark, pg. 52,
University of California Press, 2005
- The Pixar Perspective on the Pixar Moment and ‘Ratatouille’,
http://pixartimes.com/2013/04/02/the-pixar-perspective-on-the-pixar-moment-andratatouille/, Written by Josh Spiegel
