Now when I first gave these a listen I didn't care for it at all, I thought they sounded like an excuse for noise with no themeatic substance whatsoever, but for some strange reason I couldn't stop listning and actually developed a really strong liking for his work and could even pick up some amazing themeatic material, more so in score to Alien³ a score which at first sounded like 'orchestral dribble' became a score that was overwhelmingly sad, sometimes VERY frightening and of course not without beauty, it's quickly become one of my favorite scores.

Now I'm looking to pick up some more work by him but am not really sure where to begin. I was thinking of picking up Sphere and will be for sure picking up Micheal Collins but several not so stellar reviews of Sphere are starting to make me think twice. What about In Dreams or Batman Forever? What do you guys suggest?

In Dreams is a challenge- it's probably Goldenthal's loudest and most agressive score. There's tons of electric guitar used in a really heavy metal-like way. But it's really interesting how he balances the electronic world he creates with the strictly acoustic world. The songs interspersed with the score ruin the mood- but the Goldenthal-composed song at the end "Dream Baby" is pretty cool- even if it's a little stagnant. Some of the action cues are incredible- like "Scytheoplicity" (I think that's the title- I'm too lazy to go check!)

Batman Forever is a lot easier to take and is probably Goldenthal's most accessible score. It's quite heavy and wayyyy over-the-top- but that's part of its charm. He delved into many many different genres of music in the score- from the heavy Wagner sound to circus music to ballroom dancing music. It's actually a bit more complex of a score than what most people dismiss it as. BF contains probably the most clever use of thematic material that I've ever heard. The entire score is practically built entirely on his themes- but he does such a great job of masking them and creating variations that it's hard to notice upon the first few listens. There's some fantastic madcap Goldenthal in that score- and some (in my opinion) classic Goldenthal cues. My very favorite being "Spank Me Overture" complete with tons of Goldenthal's trademark horn and trumpet shakes.

A good Goldenthal score to get your hands on if you want to hear a nice compilation of Goldenthal's sound (besides Titus which is probably the best demonstration) is Cobb. Cobb's a fantastic score- with beautiful themes and some raucous action. Plus, there's some minimalism and experimentation (a technique he uses called "composition by collision"- kindof a nod to Charles Ives) thrown in for good measure.

Well, I've babbled enough. I hope I've helped!

Tim

Glad you discovered Goldenthal's talent! He is definitely one of the top composers working right now!

Aaron Collins

Get it while you can - it just went out of print!

On this subject, can anyone enlighten me about the iso score on the Titus DVD? I haven't seen the film and don't know the score, but I'm interesting in checking it out. So, the question is: Should I get the score album or the DVD, depending on if the music on the DVD is not cut in some way.

Here's to good hunting!

--Kyp
Writer & Film/Video Editor

NP: Remember the Titans (Promo): Trevor Rabin (****)

I highly recommend "Demolition Man", although its a short album, as is "Sphere", a score I don't understand why it is bashed so much.

"Batman Forever" is also good. As Tim said, its way over the top but thats part of the charm.

There are other highlights--such as the "Variations on an Old Baptist Hymn", which is *gasp* based on an old baptist hymn. It is 3 minutes and 5 seconds long and has an interesting beginning featuring an odd vocal by Goldenthal himself. An orchestra does take over though and turns it into a nice track.

"Reno Ho", 2 minutes and 37 seconds, features an energetic and tense theme much in the Goldenthal style.

These are mainly what I listen to when I put in this disc, if not just the "Cooperstown Aria" alone. I bought it used for 3.99, so it was a good deal. But seeing that I don't listen to it much, you may want to search for it used as well.

But I have to agree with Al that the two Cooperstown Aria parts and the two Reno Ho parts are the best tracks in the score. The six minute "The Homecoming" is also noteworthy. One of Goldenthal's more breathtakingly beautiful cues.

I think the score is quite underrated- probably because it's out-of-print and hard to find. Goldenthal's a baseball fanatic and Cobb I think is a very personal film score for him that he really put his heart into.

Also, in regards to the other titles mentioned, I think The Butcher Boy and Golden Gate are more "Advanced" Goldenthal. Pet Semetary is also a bit hard to take. I agree that it's a little bland too- although a few of the tracks are TRULY horrifying. I'd also advise all Goldenthal newbies to stay far far far away from Drugstore Cowboy!!

Lastly, (I feel like I'm writing a book here) Marian, I'd get the Titus DVD first if you're interested in more than just the music. The Region 1 contains an ISO score with Goldenthal commentary (his commentary is kindof dry but he does say a few interesting and funny things) There's also a lengthy segment where he talks about the score and shows the scoring session and the recording of the big choral opening. That DVD is chocked full of other stuff too. I'd say, if you like the music in the film after watching it- go buy the soundtrack as its a good representation of the full score.

I think I'm going to give Batman Forever a try. I gave the 'Overture' track a listen to from Napster and although I thought it sounded like a mutation of Danny Elfman's theme from the previous two, the orchestrations are flawless and is vintage Goldenthal, good stuff

NP: Black Beauty -Danny Elfman

All you need is love, a film directed by his wife Julie Taimor (Frida, Titus) is the new project for composer Elliot Goldenthal and It will be released in 2006.

More info on
http://www.scoremagacine.com/Noticias_eng_det.php?Codigo=15

What do you think about it? I personally love his music (especially his scores for Final Fantasy : the spirits within, the bombastic S.w.a.t, the dark and ominous Sphere, the flawless Interview with a vampire, the sad and emotional The good thief, Heat, Titus and Michael Collins) and I’ll have no doubt that he’ll simply deliver. The only score I cannot quite get is his work for Frida, I hope he won’t move into that territory again.