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As a fan of Goldenthal, I've never been able to warm up to his Forever score. I just feel like it's pummeling me for 44 minutes or 2½ hours (depending on which release it is). It's one of those scores that I wanted to like, acted like I was one listen away from liking, tried to convince myself I liked… but I don't.
Summed it up well. Key word, pummeled.
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Once Upon A Bat....
I saw BF, day one, with my pa and brah.
It was such a good day, yet, I was perplexed as to what to make of the thing, coming off the Burton Hi.
I scrambled to acquire the 44min. Atlantic score album. It was headache inducing, yet....
Something special was there!
I was/am a Goldenthal booster from Drugstore Cowboy to The Glorias, to infinity...
"We" were so very lucky to have this genius, scoring pablum, junk action and latex. Peeved EG approved the Big Top sequence to be backwards on the album from the L. It makes no sense dramatically or listenable.
Playing the full L score now, and it's an incredible kaleidoscope of avant/tonal leanings, a truly berzerk-garde symphony of ideas (the Chase music starting at track 10, respite found), brilliant orchestration, passionate playing, just a whirlwind of orchestral colour pitted to a 90s big budget mainstream glamour puss. How can WE NOT support this?!?!
I felt what some of you have shared, this score is AN EFFING HEADACHE!!!
I found that the Atlantic album was a headache.
The full L score was a migraine.
Yet, as I age, the years I return to this complex, beautiful work....i appreciate it more.
Tough one, this. Good luck mates, if your heart is true, you'll breach this.
If you measure to the yum yum drums of Dm Doom.....you'll appreciate this tenfold.
I saw Deadpool v Wolverine this week and EVERYTHING about that project, contradicts this one. Speaking to the score.
"We" haha, were so very lucky to have the brief span where a musician as sound and educated as EG, breached garbage cinema, Goldsmith-style, making it better.
This will not happen again in my short life left....but I'm thankful I was THERE in the 80s and (Goldenthal) 90s to hear such complex passion oft scoring junk....
Respect and fist bump to THOR, cos I know you are seeing this....I just don't read what you post. Sorry mate. Expanded albums are NOT the devil's homey. Get over it, relax, and respect your community.
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Posted: |
Aug 2, 2024 - 6:32 AM
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By: |
Thor
(Member)
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GoblinScore is drunk again... 
But back on-topic, since I missed this topic the first time around, I'm also surprised by VeronicaMars' contentions. Who are these 'insiders' you speak of that tell a very different story than what's generally accepted? As Ryan, John Mullin and other Elfman experts have already mentioned, the general story is that the falling-out happened on THE NIGHTMARE BEFORE CHRISTMAS, for reasons that are not clear, but one can speculate, given Elfman's higher degree of involvement (composer, singer, producer).
So that Elfman was out isn't that surprising. How Schumacher decided on Goldenthal, I do not know. Would like to know from someone in the production, as Schumacher has sadly passed away. I'm one of the few that quite liked Schumacher's take on the superhero. He took things back to the 60s series, with focus on camp and kitch. I think Goldenthal solved that brilliantly by counterpointing the dark, gothic style that Elfman had established, with all these weird and "acidic" musical styles, pointing nose at the very concept itself.
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But BATMAN FOREVER came before A TIME TO KILL, right?
By release year, yes. Maybe he's still delirious over Batnipples.
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Posted: |
Aug 4, 2024 - 6:05 AM
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By: |
Smaug
(Member)
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As a fan of Goldenthal, I've never been able to warm up to his Forever score. I just feel like it's pummeling me for 44 minutes or 2½ hours (depending on which release it is). It's one of those scores that I wanted to like, acted like I was one listen away from liking, tried to convince myself I liked… but I don't.
I definitely can understand where you're coming from. The perfect word I would use to describe it upon my first listen would be...bombastic? There are a few instances in the score where I think it borders on grating even today. But not frequently enough for me to dislike it. I remember opening night I was sooo disappointed that they didn't re-use Elfman's theme at all. I was only 16 when it came out, was just barely starting to really get into scores and didn't have much knowledge, so I had no idea Elfman wasn't scoring it until that night. If I recall correctly, I think the trailers all used Elfman's music, so my 16-year-old mind felt as though I had been tricked when the film began and Elfman was nowhere to be heard, let alone his themes!
But I really learned to appreciate Goldenthal's score on its own merits and have come to love it now.
You should hear it in concert as his Grand Gothic Suite, at 20 minutes…it is at the human limit of bombast and it just wooorks. It’s amazing to hear. It’s more than just a suite of film music.
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Posted: |
Aug 4, 2024 - 6:58 AM
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By: |
Smaug
(Member)
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Once Upon A Bat....
I saw BF, day one, with my pa and brah.
It was such a good day, yet, I was perplexed as to what to make of the thing, coming off the Burton Hi.
I scrambled to acquire the 44min. Atlantic score album. It was headache inducing, yet....
Something special was there!
I was/am a Goldenthal booster from Drugstore Cowboy to The Glorias, to infinity...
"We" were so very lucky to have this genius, scoring pablum, junk action and latex. Peeved EG approved the Big Top sequence to be backwards on the album from the L. It makes no sense dramatically or listenable.
Playing the full L score now, and it's an incredible kaleidoscope of avant/tonal leanings, a truly berzerk-garde symphony of ideas (the Chase music starting at track 10, respite found), brilliant orchestration, passionate playing, just a whirlwind of orchestral colour pitted to a 90s big budget mainstream glamour puss. How can WE NOT support this?!?!
I felt what some of you have shared, this score is AN EFFING HEADACHE!!!
I found that the Atlantic album was a headache.
The full L score was a migraine.
Yet, as I age, the years I return to this complex, beautiful work....i appreciate it more.
Tough one, this. Good luck mates, if your heart is true, you'll breach this.
If you measure to the yum yum drums of Dm Doom.....you'll appreciate this tenfold.
I saw Deadpool v Wolverine this week and EVERYTHING about that project, contradicts this one. Speaking to the score.
"We" haha, were so very lucky to have the brief span where a musician as sound and educated as EG, breached garbage cinema, Goldsmith-style, making it better.
This will not happen again in my short life left....but I'm thankful I was THERE in the 80s and (Goldenthal) 90s to hear such complex passion oft scoring junk....
Respect and fist bump to THOR, cos I know you are seeing this....I just don't read what you post. Sorry mate. Expanded albums are NOT the devil's homey. Get over it, relax, and respect your community.
I read somewhere Goldenthal saying that Schumacher told him that “I will never say anything in the music is ‘too over the top’” … this explains a lot about the intensity of the whole thing. I love it.
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