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ELLIOT GOLDENTHAL

General Discussions » ELLIOT GOLDENTHAL (Posts 121 to 150 of 474)

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    •  
      CommentAuthorTalos
    • CommentTimeDec 17th 2008
    Timmer wrote
    Christodoulides wrote
    Score. Film is brilliant in its own terms as well.


    It's an enjoyable score for sure but a masterpiece???


    If the score for Gladiator is a master piece than I am Mickey Mouse.
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    •  
      CommentAuthorTalos
    • CommentTimeDec 17th 2008
    One more comment... Gladiator's score tries to sound to cool... a typical issue that I always have with Zimmer's music. (recently I watched the Prince of Egypt again, and that movie has a superb Zimmer score and very very good songs/lyrics... quite deep)
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    •  
      CommentAuthorHeeroJF
    • CommentTimeDec 17th 2008
    Southall wrote
    I have to say though that I wasn't the only person in the cinema who laughed out loud at the sheer awfulness of the music in Gladiator, which must be one of the ultimate examples of a score which makes a great CD but is truly, indescribably dire as a film score.

    At least we do seem to agree that it makes a great CD. I actually give very little care whether it enhanced the film or not, when the music is of such an entertaining quality. It is by far my favourite Zimmer score, with no competition whatsoever. A masterpiece? If a masterpiece simply means "more entertaining than any of its contemporaries" then heck yeah a masterpiece. Why not?

    And Bladerunner? Anyone feel free to call it a three-dimensional masterpiece of its own, I won't argue. This is yet another case where a score essentially bores me way too much for me to invest the attention required to pick apart and analyze such a vast amount of music. I'm basically leaving myself out of this argument altogether because I have way too little interest in it to even care.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
  4. I don't really enjoy listening to scores that have too much mickey-mousing but I do think that what Scott Bradley did in Tom and Jerry was remarkable. Very listenable as individual episodes but I just can't listen to the FSM discs from start to finish.

    As far as Vangelis and ZImmer's Gladiator are concerned, I think that Vangelis' style of music suits Blade Runner well but his music in other movies just doesn't work for me. It just seems so out of place. Zimmer's Gladiator is a bit like this too. I'm not saying that period movies should have period music, but Zimmer's music here just pulls me out of the whole experience of the film.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  5. Quote from a review from someone who has seen he film:

    The playing of music in most two shots and close-ups and then suddenly stopping in wide shots overly emphasized a weak musical score.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorDom
    • CommentTimeMay 18th 2009
    Public Enemies - Original Motion Picture Soundtrack

    http://www.deccarecords-us.com/artist/r … ;aid=96822
    •  
      CommentAuthorDemetris
    • CommentTimeMay 18th 2009
    Dom wrote
    Public Enemies - Original Motion Picture Soundtrack

    http://www.deccarecords-us.com/artist/r … ;aid=96822


    Can't wait!
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSteven
    • CommentTimeMay 18th 2009
    Not sure what to expect with this one, but all I know is I'm looking forward to it! Let's hope this is the re-start of Goldenthal's career.
    • CommentAuthorTimmer
    • CommentTimeMay 18th 2009 edited
    Steven wrote
    Not sure what to expect with this one, but all I know is I'm looking forward to it! Let's hope this is the re-start of Goldenthal's career.


    I always got the impression that if Goldenthal could make a living doing "serious" music he'd not bother with scoring films.

    Either way, I'm looking forward to this score.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeMay 18th 2009
    Dom wrote
    Public Enemies - Original Motion Picture Soundtrack

    http://www.deccarecords-us.com/artist/r … ;aid=96822


    EXCITED!!!
    I am extremely serious.
    •  
      CommentAuthorBobdH
    • CommentTimeMay 18th 2009 edited
    Michael Mann is infamous for his habit of throwing songs on his soundtracks, with inbetween tracks of score. The credit of 'music by Elliot Goldenthal' on the cover is encouraging that this will mainly be score, but I'm still holding my breath. I hate it when the flow of the score is interrupted by the songs, that may remind listeners to the film, but disrupt the experience of a score that's on itself. Especially with this digishit-shooted film, which I'm still boycotting by the way, I do not want to be reminded by the film! tongue

    However, this return from Goldenthal in itself is the most exciting thing of the moment, so I can't wait... for the tracklisting!
    • CommentAuthorTimmer
    • CommentTimeMay 18th 2009
    BobdH wrote
    Michael Mann is infamous for his habit of throwing songs on his soundtracks, with inbetween tracks of score. The credit of 'music by Elliot Goldenthal' on the cover is encouraging that this will mainly be score, but I'm still holding my breath. I hate it when the flow of the score is interrupted by the songs, that may remind listeners to the film, but disrupt the experience of a score that's on itself. Especially with this digishit-shooted film, which I'm still boycotting by the way, I do not want to be reminded by the film! tongue

    However, this return from Goldenthal in itself is the most exciting thing of the moment, so I can't wait... for the tracklisting!


    Digishit? Boycotting? confused

    Tell me more...
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorBobdH
    • CommentTimeMay 18th 2009 edited
    Oh, I just hate the amateurish look of digital camera's. It's, for me, enough to boycot this film: it clashes with the period feel Mann is trying to achieve and it's just downright ugly. smile

    Same happened to me with Apocalypto; it just felt wrong to have it digital. It did work in 28 Days Later... and Collateral, however, and to a certain extent in Miami Vice, yet this is a wrong choice for Mann.
    •  
      CommentAuthorBobdH
    • CommentTimeMay 18th 2009
    Things are looking up: there's another clue we might not get the irritating songs!

    http://www.amazon.com/Public-Enemies-Sc … amp;sr=8-2

    Amazon is listing the soundtrack as: Public Enemies (Score) punk
    • CommentAuthorTimmer
    • CommentTimeMay 18th 2009
    BobdH wrote
    Oh, I just hate the amateurish look of digital camera's. It's, for me, enough to boycot this film: it clashes with the period feel Mann is trying to achieve and it's just downright ugly. smile

    Same happened to me with Apocalypto; it just felt wrong to have it digital. It did work in 28 Days Later... and Collateral, however, and to a certain extent in Miami Vice, yet this is a wrong choice for Mann.


    I see. I'm not sure what I think? I may well go and see it at the flicks though.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorSteven
    • CommentTimeMay 18th 2009
    I think he's trying to do away with preconceived notions that the 1920s were seen through a 35mm camera with a sepia filter on the lens for all that lived in that era. Personally I'm quite curious to see such a stylised era through a digital camera, but can more than understand why this will leave most cold.
    •  
      CommentAuthorDemetris
    • CommentTimeMay 18th 2009
    Steven wrote
    I think he's trying to do away with preconceived notions that the 1920s were seen through a 35mm camera with a sepia filter on the lens for all that lived in that era. Personally I'm quite curious to see such a stylised era through a digital camera, but can more than understand why this will leave most cold.


    I don't care about such technicalities in this case; i think if you pay too much attention to those, you'll unavoidably going to get it spoiled for you.

    For me:

    Michael Mann
    Christian Bale
    Johnny Depp
    ELLIOT GOLDENTHAL.

    You're kidding me? SOLD!
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSteven
    • CommentTimeMay 18th 2009
    Christodoulides wrote
    Steven wrote
    I think he's trying to do away with preconceived notions that the 1920s were seen through a 35mm camera with a sepia filter on the lens for all that lived in that era. Personally I'm quite curious to see such a stylised era through a digital camera, but can more than understand why this will leave most cold.


    I don't care about such technicalities in this case; i think if you pay too much attention to those, you'll unavoidably going to get it spoiled for you.


    Well, it's not often you see a gangster film set in the 1920s shot through a digital camera. For some it may be welcomed, for others it may not.

    (Imagine if Star Trek was shot in black in white? I don't think discussing that would be considered 'dwelling on the technicalities too much'. wink)
    •  
      CommentAuthorDemetris
    • CommentTimeMay 18th 2009
    Hey; i feel you.

    But it's MICHAEL MANN; i think the man (no pun) has adequately proven himself so far beyond doubts wink
    Love Maintitles. It's full of Wanders.
    • CommentAuthorTimmer
    • CommentTimeMay 18th 2009
    Christodoulides wrote
    Steven wrote
    I think he's trying to do away with preconceived notions that the 1920s were seen through a 35mm camera with a sepia filter on the lens for all that lived in that era. Personally I'm quite curious to see such a stylised era through a digital camera, but can more than understand why this will leave most cold.


    I don't care about such technicalities in this case; i think if you pay too much attention to those, you'll unavoidably going to get it spoiled for you.

    For me:

    Michael Mann
    Christian Bale
    Johnny Depp
    ELLIOT GOLDENTHAL.

    You're kidding me? SOLD!


    D has a point, I'd rather have not heard about any of that technical shit because now I'll be looking out for it.

    I like Steven's point that the director is maybe trying to move away from the usual pseudo film-noir look of films set in a certain era.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorSteven
    • CommentTimeMay 18th 2009
    Timmer wrote

    D has a point, I'd rather have not heard about any of that technical shit because now I'll be looking out for it.


    It'll be kind of hard to miss when you see the film, trust me. So hearing about it now will make no difference!
    •  
      CommentAuthorBobdH
    • CommentTimeMay 18th 2009 edited
    Oh, if no-one had told me it's shot digital, believe me, I would have seen it. It's obvious to me, and it feels different; the 'magic' is completely gone. During Benjamin Button, only a few moments in, I said: "wait a minute... it's digital, right?". Not only that, it was also projected digitally, which totally got me annoyed; it ruined the experience for me, even though Fincher handled it quite well with the additional lenses he used. No fooling me, though, it will get me annoyed.
    •  
      CommentAuthorThor
    • CommentTimeMay 18th 2009
    I'm surprised that people are so negative towards Mann's habit of including songs on his soundtracks. In my opinion, he is one of the few people who KNOWS his shit when it comes to film music, and the albums that combine score and songs flow unusually well for the most part, HEAT being the prime example; an excellent "concept album" with seamless integration of the two.
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeMay 18th 2009
    Songs don't fit anywhere; especially not on a score CD. (see how open-minded we are? wink )

    As for digital vs film, i really don't care as long as the visuals and the film is good; it's just a technical mean, nothing else and to be frank, it reminds me of the VINYL LPs vs the CD silly arguments.
    Love Maintitles. It's full of Wanders.
  25. Christodoulides wrote
    Dom wrote
    Public Enemies - Original Motion Picture Soundtrack

    http://www.deccarecords-us.com/artist/r … ;aid=96822


    Can't wait!


    It will not be what we would expect, meaning this could be very good. Goldenthal has always been an original voice
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  26. God knows we've been waiting forever for some new shit by the master of the macabre.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorThor
    • CommentTimeMay 18th 2009
    DreamTheater wrote
    God knows we've been waiting forever for some new shit by the master of the macabre.


    Elfman would IMO be the current "master of the macabre", but yeah - I see your point. smile
    I am extremely serious.
  28. BobdH wrote
    Oh, I just hate the amateurish look of digital camera's. It's, for me, enough to boycot this film: it clashes with the period feel Mann is trying to achieve and it's just downright ugly. smile

    Same happened to me with Apocalypto; it just felt wrong to have it digital. It did work in 28 Days Later... and Collateral, however, and to a certain extent in Miami Vice, yet this is a wrong choice for Mann.


    We say these things clash with the look of the period, but that's only because our vision of the period has been established by fictional films that shot on celluloid and photographers who did the same. How could there be digital footage of the period, to tell us what the blacks and the shadows and grain and the skin tones really looked like, when the cameras weren't invented yet? If anything, digital cameras in the 1920s should give you a clearer, unvarnished look at what life looked like, in the same way digital de-romanticises more contemporary films.

    Strangely enough, we do not hold the same grudge against films shot on celluloid, and there have been many set in years prior to 1896. The truth is, we just don't like the status quo look to be messed with, and it has nothing to do with the reality of things. wink
    A butterfly thinks therefore I am
  29. Thor wrote
    I'm surprised that people are so negative towards Mann's habit of including songs on his soundtracks. In my opinion, he is one of the few people who KNOWS his shit when it comes to film music, and the albums that combine score and songs flow unusually well for the most part, HEAT being the prime example; an excellent "concept album" with seamless integration of the two.


    I agree.
    A butterfly thinks therefore I am
    •  
      CommentAuthorDemetris
    • CommentTimeMay 18th 2009
    Exactly, like no 35mm film existed back then, it's the same with digital photography / video; it's just that we've been used to film for so many years, anything else still looks new and odd to us. Relax. People will be discussion the same stuff 20-30 years from now (or sooner) when the next technology kicks in. "Damn this whole holographic 3D image looks so fake to me, where are the good old days of the digital HD video? cry"
    Love Maintitles. It's full of Wanders.

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