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 Posted:   Dec 14, 2008 - 9:23 AM   
 By:   Thor   (Member)

I've never really seen the point in talking about film scores as if it were a sporting event. Both Kilar and Goldenthal are excellent scores in the film they support, and both are excellent albums as well.

My personal favourite is obviously Goldenthal, but I like the "sleazy romanticism" of Kilar (and Williams too, for that matter).

 
 
 Posted:   Dec 14, 2008 - 1:37 PM   
 By:   Pedestrian Wolf   (Member)

I think both scores offer very unique and moving musical solutions to the films they accompany. I'm sort of surprised to see so many people complaining about the lack of thematic material in Goldenthal's score, as the entire thing is built on a fairly long-lined theme that's hidden in early every other measure of the score. I do think that the album is poorly arranged though, for in mixing up the chronology of the pieces, it loses the gradual progression through musical history that Goldenthal builds into the score - Baroque music for Lestat gives way to Romantic music for Louis, which gives way to Impressionism for Claudia, etc. all. More than any of that though, I think it's an emotionally riveting score, one that perfectly captures the slow melancholy loss of humanity on the part of the protagonist.

Kilar's score works on more of an abstract and less a specifically character-driven level. It is in many respects the best Dracula score for me, as it breaks down the various components of the character - Slavic roots, Gothic Romance, animal depravity - without attempting to bind them all into one concrete identity. And I love the way it enhances the constant fracturing of identity that plays out in the film. For example, there's a point in the film when the same yearning/romantic theme plays as the film cuts between Dracula and Mina's lovemaking and Jonathan Harker's escape from Dracula's caste - it's as though the music is drawing all the characters together in something that's bigger than all of them, and keeping us pigeonholing any of them with ONE theme or ONE identity marker. The way music reshapes the content in that film never ceases to fascinate me. But both Kilar and Goldenthal's efforts are amongst my very very favorites.

Paul

 
 Posted:   Dec 15, 2008 - 12:04 AM   
 By:   ZapBrannigan   (Member)

I'm sort of surprised to see so many people complaining about the lack of thematic material in Goldenthal's score, as the entire thing is built on a fairly long-lined theme that's hidden in early every other measure of the score. I do think that the album is poorly arranged though, for in mixing up the chronology of the pieces, it loses the gradual progression through musical history that Goldenthal builds into the score - Baroque music for Lestat gives way to Romantic music for Louis, which gives way to Impressionism for Claudia, etc. all. More than any of that though, I think it's an emotionally riveting score, one that perfectly captures the slow melancholy loss of humanity on the part of the protagonist.
Paul


Well, that's interesting. Do you know the film sequence to rearrange the INTERVIEW cues into? I recently put THE WRATH OF KHAN into film order and it became twice the score it was.

 
 
 Posted:   Dec 15, 2008 - 12:51 AM   
 By:   Tall Guy   (Member)

I've never really seen the point in talking about film scores as if it were a sporting event.

Me neither.

So that's 2-0 to us.

 
 Posted:   Dec 15, 2008 - 3:27 AM   
 By:   mastadge   (Member)

Maybe we could collaborate on an ongoing FSM column for film order arrangements of scores. . .

 
 
 Posted:   Dec 15, 2008 - 5:29 AM   
 By:   Les Jepson   (Member)



"I think he said Dracula movie, not horror one in general. Still though."

"It was Dracula rather than horror (as mentioned above) and you saw it on the back of the LP sleeve!"


It's not very often I'm right, but this time...I'm wrong again.

While you good folks with better memories than mine are here, here's one that haunts me: vampire movie, in colour, ends with a long shot of the Van Helsing type horse-riding off into the distance, my favourite bit of Gounod's St Cecilia Mass on the soundtrack. What picture was that?

 
 Posted:   Jun 6, 2012 - 2:09 AM   
 By:   ZapBrannigan   (Member)

Does anybody want to weigh in on re-seqencing INTERVIEW to improve the experience?

 
 
 Posted:   Jun 6, 2012 - 2:27 AM   
 By:   JSWalsh   (Member)

I grab every Goldenthal I can find and love his horror scores. INTERVIEW has an edge of hysteria about it that I love. STOKER`S DRACULA has more orchestral weight, like it`s instrumental selections from an opera while Goldenthal`s is definitely movie music. .... I`m not sure if it`s true that Fenton`s rejected or never-started INTERVIEW material ended up as MARY REILLY, but I urge fans of these scores to grab that one. REILLY is a Jeckyl/Hyde flick but the music could be for a movie about a tragic vampire. .....Love Williams`s DRACULA and the repetitions of the theme aren`t even the best part, the horror and action moments are stunning, like his take on a Hammer horror approach, including one of Williams`s greatest chase cues--sitting here THINKING about it has the back of my neck tingling.

 
 
 Posted:   Jun 6, 2012 - 2:37 AM   
 By:   JSWalsh   (Member)

Les Jepson, I believe the movie you`re thinking of is the Herzog NOSFERATU but I`m too lazy to put on the soundtrack album [Popol Vuh] to check. ZapBrannigan, What a fun way to get us talking about these scores, terrific idea. I haven`t listened to the Kilar lately--I prefer his NINTH GATE and PORTRAIT OF A LADY as listens--so thanks for getting me to pop STOKER`S DRACULA on this morning. big grin

 
 
 Posted:   Jun 6, 2012 - 2:38 AM   
 By:   Thor   (Member)

Funny this should be ressurected now, as both of these were played live in Krakow this year (with the composers present).

 
 Posted:   Jun 6, 2012 - 2:46 AM   
 By:   Francis   (Member)

Goldenthal was asked by someone during a Q&A in Krakow if his "Interview with the Vampire" was influenced by Kilar, he responded "NO". He did go on and say he liked the score when he saw the movie.

Regarding "Interview with the Vampire", Goldenthal also explained that the music as the movie goes from one time period to another is sort of a tour through musical history with it ending up to modern music (rock) with "sympathy for the devil". I never caught that before. It's an impressive score if you consider he only had two weeks to score it.

For me personally I'd have to go with Goldenthal here, Kilar's score is epic but wears me out every time I listen to it. (Though I'd have to pick Ninth Gate over Interview but that's a whole different discussion smile)

 
 
 Posted:   Jun 6, 2012 - 3:05 AM   
 By:   JSWalsh   (Member)

Zap, As an additional listen, since you mention INTERVIEW I want to suggest QUEEN OF THE DAMNED by Richard Gibbs and Jonathan Davis. Stylistically much different from those two, and one of the most listenable vampire scores, with a most cool use of violin.

 
 
 Posted:   Jun 6, 2012 - 3:28 AM   
 By:   Thor   (Member)

Regarding "Interview with the Vampire", Goldenthal also explained that the music as the movie goes from one time period to another is sort of a tour through musical history with it ending up to modern music (rock) with "sympathy for the devil". I never caught that before.

Me neither, which is mostly attributable to the fact that it's been many years since I saw the film. A bit like Corigliano's THE RED VIOLIN in approach, then.

 
 Posted:   Jun 6, 2012 - 3:47 AM   
 By:   ZapBrannigan   (Member)

Zap, As an additional listen, since you mention INTERVIEW I want to suggest QUEEN OF THE DAMNED by Richard Gibbs and Jonathan Davis. Stylistically much different from those two, and one of the most listenable vampire scores, with a most cool use of violin.


Thanks, JS. I'll keep that one in mind. I recall thinking that the movie didn't capture the flavor of the book, and the casting was off, but if it comes around on cable again I'll pay special attention to the score.

 
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