For Jerry's score? As always, it worked wonderfully with the images on the screen. The cd, as far as I can tell, it for the most part complete. There were probably 2 or 3 cues (1 outstanding) that I regret not being on the cd. Other than that, Varese scored another winner here (as far as a lengthy Goldsmith release goes (which isn't very far, mind you)).

I do have one complaint, and it didn't have anything to do with the film or the score, but with a phone call I received on my cell phone during the film. Yes, the ringer on the phone was off, but it lit up like crazy when the call came through. Guess who it was? None other than the graceful Aaron Collins!

AC: "Hey, what are you doing?"
JM: "Oh, hey! I'm in a movie..."
AC: "Who is this?"
JM: "It's Jeron..."
AC: "Oh yeah, I knew that. What movie?"
JM: "Hollow Man."
AC: "Oooohhh... ok, I'll talk to you later tonight."
JM: "Alright man, see you online."

That was about a 30 second phone call... and to tell you the truth, I do NOT know what in the heck happened in the movie during those 30 seconds. So who knows? Perhaps there was a REALLY COOL (but brief) Goldsmith passage that I missed. Ah well... it's ok Aaron! I was pleasantly surprised that you'd call me long distance, on my cell, during a movie, all the way from Florida!

Jeron

bad form, old chum!

Hollow Man (as heard in film) ***
Hollow Man (On CD) **

Oh I found Space Cowboys interesting. I don't know who scored it, but I hope it gets a score release.

Chris,
I'm with you. Cell phones were manufactured in Hell. No, really. Check under the battery chamber.

TimT,
I have to strongly disagree about Space Cowboys, even though you only wrote that you hoped for a score release. The opening guitar piece was nice, but the rest of the score sounded like a Wheaties commercial. I'd say a release of this score is about as likely as a man walking on the moon. Hah! Man on the moon! Feh!

Shaun

As for Nudity ...I don't mind it, if it's in a non-sexual manner. If I were making a movie, and I needed some nudity I would not be thinking "I want this to look sexy."

Shaun

I am marginally intrigued by the mentality of someone who prefers the nudity not to look sexy. Short of something like the chilly masses of imprisoned nudes in SCHINDLER'S LIST, it's a difficult proposition at best.

Universal Logo appears in B/W, then

DIGITAL GLITCHES, followed by a burst of color, igniting the Universal logo.

(loud techno music, seizure flashes, similar to what was used in the Strange Days trailer)

(color shots of nude women taking showers together)

title cards read:

LIAM NEESON

BEN KINGSLEY

THE SEXIEST MOVIE OF THE YEAR

SCHINDLER'S LIST

A FILM BY STEVEN SPIELBERG

loud techno music fades out, credits appear...then the a BRIGHT RED FLASHED TITLE CARD reads:

GUESS WHO'S BEEN NAUGHTY?

(flash to black)

Needless to say, come that December, I was quite upset with the marketing department at Universal. The film went on to gross around $100 domestically.

What???

After so much bruhaahaaaaa over the reactions to the score outside of the film, here now is the chance to talk about the score as heard in the movie... and? Ehhhh. Maybe I should go back to sleep.

PeterK

Hollow Man's score in the film was much better than Cats. I will see it again and again.

Even though I'd heard the music times before, I was gripped with fear. The music takes on a bit more of its identity in the film. Apart from it, it's easy to say something like, "Oh, that sounds like--" In the film the music sounds much more unique. It's yet another great example of how wonderful main titles can be and how their appearances can inspire composers for film.

The score throughout the film was outstanding. PARTICULARLY WHEN SHUE'S CHARACTER OPENED THE DOOR. (I was ready to hop out of my chair, I loved the music here so much!!!) The film was well-done on all fronts. (But I similarly wish the side-action could have been a little bit more family-friendly.)

the music as good as Pokeman music? What in the world have you been drinking? Or should I say sniffing?

Anyway,

I have to agree with my buddy Jeron. The music was...well, as always, fitting, inspiring and well crafted. I didn't find anyhing that distrubing about the break out scene (the, you know, freezer theme), then again I love bombastic, scary semi-atonal pieces, the kind Goldsmith is a master in.

Two rock songs finally integrated in a way that makes sense. The scene at the beginning when Kevin Bacon is in his office and the familiar theme starts (right after the scene with the rat), and the music turns semi-romantic when he looked accross the street watching the lady. Very subtle, but right on cue. That ladies and gentelmen is genius.

Anyway people, I am having a very ruff time lately and might have to disapear for a while. No, not like the Hollowman, I just won't be visiting this board for a while (well, probably won't if things don't change).

Anywhoo, good listening...

and TimT, stop sniffing that stuff...lol

H'ness, didn't know a lot of your information about Niehaus. Gracias.
So he orchestrated for Fielding which is superb training. As I said before, he has never impressed me, but at least in Space Cowboys, I actually noticed the music and themes and enjoyed them.

quote:

---

Originally posted by joan hue:
Scott, I hope things work out and that you don't wander from the Board for too long.
You would be greatly missed.

---

Joan,

it is people like you in this world who make life worthwhile.

Thanks,

Scotty

NP The Quiet Man

Exactly. Such a GREAT sound mix in the film featuring this terrific score, and when it gets to the "Big Climb" cue with my favorite part--the insane string flurries you mentioned--it's buried by the sound of the elevator falling. Of all places and moments to put the music into the backseat...

Still, it was a powerful score in the film. It added much to the brutal twist that the movie takes.

And as for the nudity... it doesn't belong with the plot? I thought it made much sense with the context of the film, especially the brutal person that Bacon's character transforms into, and I was glad Verhoeven took advantage of it.

NP: Goldsmith's "Mephisto Waltz/The Other"

The film itself was a popcorn movie all the way.Enjoyable but ultimately forgettable. But I am a sucker for those films that are so bad they're good.Goldsmith's score definately heightened the suspense and action.I felt my heart pumping pretty damn hard a few times thanks for the most part to the musical genius that is Jerry Goldsmith.I have to salute the technical crew also,the effects were first rate.Mark Goldblatt edited the film very tight and smooth,and not too fast and uncomfortable.Like the way he cut Armageddon, which personally made me dizzy.Jost Vacano's cinematography was great.He chose to light the film very bright as opposed to making it as dark as the typical confined underground setting which I think helped accentuate Allan Cameron's bright white and cold production design.
It is basically a B movie with a big budget and an underdeveloped script.That with a little more effort could have been a really good film and not considered just a guilty pleasure.But it is entertaining.These film critics really need to lighten up and realize that a film need not be great or even good to entertain.This is one of those films.It had action,suspense,and even a few funny lines.It succeeds because of these things,yet it could have been so much more in my opinion.Also there were a large number of graphic scenes cut from the final version of the film,which I think would have helped to show what a disturbed person Caine had become,and a few scenes that showed in more graphic detail the invisible animals.Plus an alternate ending.They were obviously cut to please the rating board and avoid an NC-17 rating,also i'm sure for time consideration.Hopefully these scenes and an isolated score will be included on the DVD version.

Ok i've strayed way off topic on this one.I'd better be quiet now.

I wasn't going to mention it, but I got those same chilling goosebumps during the main titles as well. Very effective.

Must be something to that "birds of a feather" thing both here and over there. And just to prove where I think I belong I think the reviewer there who gave the score 2 stars is all washed up.

I was thinking that when I listened to Mephisto Waltz myself. How would that type of score have worked in the film? Indeed, it would have been freaky. I don't know if the demonic brass growls would have been fit, but just think if Jerry'd tied in those "hooting ape" sounds from Planet of The Apes for "Isabelle." Just a thought...