Quite simply, it's one of those scores that "fills the page with notes", but you hear EVERY ONE OF THEM. There's no "padding" whatsoever in this score, a la Hannibal (which I'm currently trying to listen to---sounds like a string quartet overdubbed fifty (50) times). As I'm sure everyone has said in the past, they don't make 'em like Total Recall anymore.

Shaun

Although I'm a great admirer of Goldsmith's score to TOTAL RECALL, I cannot really call myself a 'die-hard Goldsmith fan'....although I do have an unnatural and nerdish interest in his output...so, I may be a Goldsmith freak, and a freak in general, but not a Goldsmith fan.

I guess my nerdish enthusiasm for cataloguing manhole covers, counting telegraph poles and appreciating film music is proof of my weirdness.

Indeed, I my dream is to add James Coburn's dentures to my growing collection of human teeth (false or otherwise), although such is the luminescence of Coburn's 'tombstone grin', such a set of dentures would necessarily have to be kept in a secure lead compartment, for health reasons.

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Originally posted by TimT:
I just saw this movie for the first time today, and I must admit even in context, there is nothing overly special about this score. It worked pretty well but nothing about it made me say wow like I did when I saw two particular scenes from [b]On the Beach. :-D

I suppose I just have to be a die-hard Goldsmith fan to get ecxited on this one.
What did I miss?

NP- The Golden Voyage of Sinbad - Miklos Rozsa ****½ /*****
[/B]

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