ELLIOT GOLDENTHAL

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".

To me his masterpiece is Heat.

You can't programme these parts of a score you don't like. That affects your judgment of the score as a whole.

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...

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).

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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?

we'll get what we get. ( said Captain Obvious )

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

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-

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.

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.

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?

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.

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:



...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:

The Hollywood Reporter, meanwhile, says:

I think it sounds very interesting! (then again, I'm a prog rock fan).

THE TEMPEST
trailer
http://www.rottentomatoes.com/m/tempest … s/11123402

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."