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      CommentAuthorDemetris
    • CommentTimeDec 28th 2009
    Ah yeah, Michael Collins is such a powerful score too. But it's very hard to compare Goldenthal works, really. Even his lesser known works like IN DREAMS are top-notch in their category, not to mention his masterful concert works.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorThor
    • CommentTimeDec 28th 2009
    Christodoulides wrote
    Ah yeah, Michael Collins is such a powerful score too. But it's very hard to compare Goldenthal works, really. Even his lesser known works like IN DREAMS are top-notch in their category, not to mention his masterful concert works.


    Yes, I agree. The only lackluster score I've heard from him is ROSWELL. There are also bits of the FRIDA soundtrack that I have a hard time getting through, but that has more to do with personal taste than any fault in the compositions. And PET SEMATARY is too damn scary for me, so I hardly play it!

    Among his concert works (that have been released), the toughest piece is probably his "Brass Quintet No. 2".
    I am extremely serious.
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      CommentAuthorDemetris
    • CommentTimeDec 28th 2009 edited
    Thor wrote
    There are also bits of the FRIDA soundtrack that I have a hard time getting through, but that has more to do with personal taste than any fault in the compositions.


    Indeed. I never quite managed to like any of the music contained in there, but then again i thought that i don't listen to any of that music as a style anyway so it's clearly my own problem and not the music's, which made for a very coherent and generally likeable album.
    Love Maintitles. It's full of Wanders.
  1. To me his masterpiece is Heat.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorBobdH
    • CommentTimeDec 28th 2009 edited
    I agree with the comments on Titus; it's a brilliant score, but it uses jazz in 2 ways. First of all incorporated with the orchestra, like the first flourishes early on in Tribute & Suffrage that blends in very well and gives the score much of its unique quality. Secondly as stand alone tracks with Big Band type of jazz, that seems to be detached from the rest of the score. I usually programme these out.
    • CommentAuthorKevinSmith
    • CommentTimeDec 28th 2009
    You can't programme these parts of a score you don't like. That affects your judgment of the score as a whole.
    Revenge is sweet... Revenge is best served cold... Revenge is ice cream.
  2. It's the age of self-programming. Of course you can find your favourite score within a longer album that isn't your favourite.
    A butterfly thinks therefore I am
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      CommentAuthorDemonStar
    • CommentTimeJan 29th 2010
    It's being reported that Miramax studio has been shut down. Does that mean Tempest is going to be shelved? I was looking forward to Goldenthal's score...
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      CommentAuthorThor
    • CommentTimeJan 29th 2010
    DemonStar wrote
    It's being reported that Miramax studio has been shut down. Does that mean Tempest is going to be shelved? I was looking forward to Goldenthal's score...


    Yeah, disconcerting news. We'll just have to wait and see.
    I am extremely serious.
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      CommentAuthorThor
    • CommentTimeMay 15th 2010 edited
    I doubt that many are familiar with the 1980 punk/art film BLANK GENERATION by Ulli Lommel, chronicling the punk band scene in New York at the time.

    Richard Hell plays the struggling punker, the lovely Caroline Bouquet as TV interviewer-turned-love interest, Howard Grant as apathetic manager and a weird cameo by Andy Warhol playing himself towards the end! It's not really a bad film; I love the artsy approach and the deliberate lack of emphasis on storytelling, but the characters leave a little to be desired: they're schizophrenic, a bit superficial and without much development. Performances are not too good either.

    However, the music is pretty interesting. There's obviously the punk songs, several of which are performed in full and live as source music on stage (by Richard Hell and the Voidoids). Goldenthal's music is also quite eclectic. There's some strange, exotic percussive stuff for the agitated part of the couple's relationship, then some melancholic piano/string-based theme for their more intimate moments and sultry jazz sax for their time alone. Much of it has a definite film noir vibe.

    I really think it deserves a release, obscure as the film may be, perhaps coupled with his other Lommel score for COCAINE COWBOYS (1979).

    -----------

    Youtube is your friend! It doesn't have many clips from the film, but I found two, and as it just happens, both of them showcase Goldenthal's music without much else! The first is the sultry jazz sax stuff:

    http://www.youtube.com/watch?v=mIoLVlELwqk

    The second is a type of montage towards the end (before the end credits) that kinda sums up some of the film's events. It has this very avantgarde music with an undulating, repeating piano figure running in the background:

    http://www.youtube.com/watch?v=oIiXMc1Z … re=related

    What do you think? Interesting or not?
    I am extremely serious.
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      CommentAuthorBobdH
    • CommentTimeAug 12th 2010 edited
    The theatrical poster for Julie Taymor's THE TEMPEST just premiered online, and it looks to be a really cool project for Goldenthal. All I hope is that it won't be something as eclectic as TITUS. Nothing against that score (though I didn't really care for the big band portions) but I really hope for a new grand, dramatic and darkly orchestral work from him again.
    • CommentAuthorTimmer
    • CommentTimeAug 13th 2010
    we'll get what we get. ( said Captain Obvious )
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  3. Beautiful poster. Maybe it be pure, unadulterated Goldenthal.
    A butterfly thinks therefore I am
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      CommentAuthorDemetris
    • CommentTimeAug 13th 2010
    BobdH wrote
    The theatrical poster for Julie Taymor's THE TEMPEST just premiered online, and it looks to be a really cool project for Goldenthal. All I hope is that it won't be something as eclectic as TITUS. Nothing against that score (though I didn't really care for the big band portions) but I really hope for a new grand, dramatic and darkly orchestral work from him again.


    You're out of your mind clearly 'cause TITUS was perhaps his most marvellous and certainly his most musically magnificent and colorful score to date. If FINAL FANTASY : the spirits within is no.1, this is naturally no.2
    Love Maintitles. It's full of Wanders.
    • CommentAuthorMatt C
    • CommentTimeAug 13th 2010
    Christodoulides wrote

    You're out of your mind clearly 'cause TITUS was perhaps his most marvellous and certainly his most musically magnificent and colorful score to date.


    Colorful? Absolutely. Magnificent... eh, parts of it are but the rest I prefer to forget.
    http://unsungfilmscores.blogspot.com/ -- My film/TV/game score review blog
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      CommentAuthorErik Woods
    • CommentTimeAug 13th 2010
    I like Titus a lot and I too think that it's one of his finest (even if the change in musical styles is a bit jarring) but I would put Alien3 or Michael Collins in the number 2 spot. Sphere in 4th and then probably Titus 5th. That's just my preference.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorSouthall
    • CommentTimeAug 13th 2010
    Titus is my favourite Goldenthal and I adore the film.

    From what I've read about tihs version of The Tempest, anyone hoping that it's not eclectic is likely to be rather disappointed.
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      CommentAuthorSteven
    • CommentTimeAug 13th 2010
    Although he's probably done better scores, Interview With The Vampire is my favourite. To me, it's the ultimate Vampire score... I love every note of it.
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      CommentAuthorDemetris
    • CommentTimeAug 14th 2010
    Well, if we're talking vamp scores, you're right.
    Love Maintitles. It's full of Wanders.
  4. Cobb & Heat are my favourites. One has everything good he does, and the other has something he's only ever done once. And the finale from Alien 3 is my favourite piece by Goldenthal.
    A butterfly thinks therefore I am
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      CommentAuthorMartijn
    • CommentTimeAug 16th 2010
    S.W.A.T. for the win!
    I'd say Michael Collins and Cobb following closely after.

    I absolutely adore his score to Titus, but it's sometyhing I do need to be in the mood for.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorMatt C
    • CommentTimeAug 17th 2010
    Southall wrote

    From what I've read about tihs version of The Tempest, anyone hoping that it's not eclectic is likely to be rather disappointed.


    I can't see hip-hop rhythms and carnival music underscoring the madcap buffoonery of the Stephano/Trinculo/Caliban subplot, or Prospera's anger. Maybe ukeleles and tribal chanting, since it was shot in Hawaii? biggrin

    Titus was an interesting movie. The visual style was great, but the mixture of ancient and modern costumes was jarring. I'm much more excited for The Tempest, since it looks like a much lighter and romantic film for Taymor.
    http://unsungfilmscores.blogspot.com/ -- My film/TV/game score review blog
    • CommentAuthorAnthony
    • CommentTimeAug 17th 2010
    Martijn wrote
    S.W.A.T. for the win!


    punk
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      CommentAuthorBobdH
    • CommentTimeOct 12th 2010 edited
    For those hoping for a new coherent and orchestral approach from Goldenthal towards THE TEMPEST, here's some bad news. However, those hoping for another eclectic effort like TITUS will probably delight in these first reactions to his latest score:

    Filmsite Incontention mentions in its review of the film that the score contains '80s prog-rock' that is sadly 'off-target'. Elsewhere, they have the following quote:

    Goldenthal’s now finalizing the score for Taymor’s demi-musical “The Tempest,” starring Helen Mirren as Prospera and Ben Whishaw as a singing Ariel. The movie uses Shakespeare’s own songs. “It’s a challenge to find something mysterious and not arcane, and not Elizabethan sounding,” he says. “It has to sound like something you’ve never heard or can categorize. I have to compose around the Shakespeare meter.”


    ...in this article: http://incontention.com/2009/07/23/gold … t-enemies/

    Of course, 'prog-rock' doesn't necissarily have to be loud, it can still be beautiful and tasteful, and it could still be mixed with an orchestra (what did he use, does anyone know?). However, better not to hope for something conventional. But, then again, what Goldenthal score is?

    First reactions to the film are not exclusively positive, but a British reviewer who saw the film in Venice says:
    "Both the music from Elliot Goldenthal and Stuart Dryburgh’s cinematography add to the pleasures of the piece."

    The Hollywood Reporter, meanwhile, says:
    "But this attractive and easy-to-digest production, full of music, special effects and musical dialogue, likely will fulfill many viewers' expectations and ring up more business than a revolutionary version" (...) "True to her musical origins, Taymor injects several haunting sung interludes, most notably Whishaw's performance of "Full fathom five thy father lies" set to music by Elliot Goldenthal.".
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      CommentAuthorDemetris
    • CommentTimeOct 12th 2010
    We'll wait and see, he's a grand composer.











    Damn musicals.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorThor
    • CommentTimeOct 12th 2010
    I think it sounds very interesting! (then again, I'm a prog rock fan).
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeOct 12th 2010
    I await with much trepidation.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorDemetris
    • CommentTimeOct 17th 2010
    THE TEMPEST
    trailer

    http://www.rottentomatoes.com/m/tempest … s/11123402
    Love Maintitles. It's full of Wanders.
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      CommentAuthorBregt
    • CommentTimeOct 17th 2010
    It doesn't make much sense!

    Trailer ends with music from Sigur Ros. love
    Kazoo
  5. There's been some posts recently on Facebook related to all things Goldenthal:

    http://www.facebook.com/pages/Elliot-Go … 0591818053

    Apparently Goldenthal's involved with a new label Zarathustra Music that "...is gearing up to eventually make some of these past soundtrack gems available..." when mention was made of Batman and Robin.

    And on the subject of The Tempest: Recently completed mastering 12 tracks for The Tempest soundtrack album at the aptly named Sterling Sound with Greg Calbi in NYC. He will be releasing the album on his Zarathustra Music label this December. And "...Goldenthal's indie-rock driven original score album features vocals by Beth Gibbons (Portishead) and Reeve Carney (Carney, Spiderman on Broadway) and musicians Benjamin Curtis (Secret Machines), Page Hamilton (Helmet), Mark Stewart (Steve Reich, Ornette Coleman) as well as the composer himself on keyboards...to bring the surreal world of the film alive. Haunting ballads, psychedelic up-tempo instrumentals and orchestral electronica round out this unique listening experience."
    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