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 Posted:   Oct 20, 2003 - 6:18 PM   
 By:   NowhereMan   (Member)

I was perusing my CDs last night and noticed 'Cobb' was in my collection. I saw this years ago in a cutout bin for a couple dollars and picked it up and must have instantly forgot about it because last night was my first time listening to it. Just wanted to know other peoples thoughts on the score and to ask a Goldenthal question... 'Cobb' is the only score of his I own, are any other of Goldenthal's scores worth owning? How is 'Interview with a Vampire'?

 
 Posted:   Oct 20, 2003 - 6:21 PM   
 By:   Southall   (Member)

Well, this depends on what you think of Cobb. It's a pretty typical Goldenthal score - I love it. Barely any of his scores are less than interesting, and if you like Cobb, I'm sure you would like Alien 3, Demolition Man, Final Fantasy, In Dreams, Interview with the Vampire, Michael Collins, Othello, Sphere, A Time to Kill and Titus and probably the few I've not mentioned as well!

He's one of those composers where if you like one of his scores, you probably like them all (and vice versa).

Shameless plug for Cobb review: www.movie-wave.net/titles/cobb.html

James

 
 
 Posted:   Oct 20, 2003 - 6:42 PM   
 By:   Michael_McMahan   (Member)

It's one of my favorite Goldenthal scores, "The Homecoming" is such a heart wrenching piece. I love the frenetic violin solos on Reno Ho (Part One, I think). I agree with the previous comment that if you enjoy Goldenthal's scores, this one's sure to please.

n.p. Man In The Moon (James Newton Howard)

 
 
 Posted:   Oct 20, 2003 - 7:19 PM   
 By:   Joe E.   (Member)

Alien3 is widely regarded as an excellent score to what is perhaps equally widely regarded as a decidedly less-than-excellent film (though I personally enjoyed it the last couple times I saw it, though it's been a while since then; I'm going to watch it again in the very near future, in fact, having recently watched the first two); there's a recent thread on it here, in fact:

http://www.filmscoremonthly.com/board/posts.asp?threadID=15930&forumID=1

I love the soundtrack to Frida, both score and songs (and enjoy the film as well, for that matter).

 
 
 Posted:   Oct 21, 2003 - 9:15 AM   
 By:   Thor   (Member)

COBB is an underrated gem that adds a whole other dramatic layer to the film (the music is the only thing that truly mirrors Ty Cobb's mental state). On CD, it flows beautifully, as is always the case with Goldenthal.

As for other recommendations, I urge you to try out the search engine on this site and type in things like "goldenthal" or any of his films. This is a composer that we frequently talk about.

 
 
 Posted:   Oct 21, 2003 - 10:52 AM   
 By:   dave coscina   (Member)

I would say that COBB along with GOLDEN GATE is my favorite Goldenthal score. It seems to have aged better than some of his other works although his Vietnam Oratorio is pretty impressive too.

 
 
 Posted:   Oct 22, 2003 - 3:08 AM   
 By:   OZ.   (Member)

Truely underrated score and underrappreciated movie. Definitely worth getting the new DVD with commentary by Tommy Lee Jones and Robert Wuhl along with director Ron Shelton and some terrific extras.

Goldenthal's score is the very heart of this film without it, it definitely wouldn't be as good as it should be.

 
 
 Posted:   May 12, 2004 - 12:55 PM   
 By:   Thor   (Member)

Yeah, just relistened to this one yesterday. The "Reno Ho" cues really sound like a John Williams scherzo on acid! And I really like the "composition of collision"-approach that Goldenthal took.

 
 
 Posted:   May 13, 2004 - 1:33 AM   
 By:   DavidOC   (Member)

I would've thought this CD, being out of print, would be quite a collectible on the secondhand market. It was one of the only Goldenthal scores I didn't have and I was able to buy it on E-bay for $5 recently to my surprise thinking beforehand that I might have to pay some ridiculous price for it. Another copy at $4.25 went by a couple of days later without a single bid. I guess everyone who's ever wanted a copy of it has already got one.
Around the same time somebody else on E-bay was buying a copy of Mark Mancina's promo for Fair Game for $182!!!!! The world's gone mad.

 
 
 Posted:   Jan 17, 2007 - 6:29 PM   
 By:   KeV McG   (Member)

I picked this CD up cheap in Basle last weekend (12 swiss francs - just over five quid). WOW!!! This is great!!
I've never seen the film (I'm not a fan of American sports movies or Ron Shelton - who only seems to make US sports movies, they're lost on us Brits) but this score is fantastic. I agree with Thor, that scherzo is so John Williams, but with Goldenthal's manic bent. Some lovely, sad Americana cues as well. If nothing else, I'm diggin' out all my Goldenthal CD's this week and having a fest!
It's been awhile.

 
 
 Posted:   Jan 17, 2007 - 7:06 PM   
 By:   franz_conrad   (Member)

When you think that the magnificent Elliot could be applying his "lite touch" to dramas like these today, it really is unfortunate he's been silent on the film music front for so long...

 
 
 Posted:   Jan 17, 2007 - 8:05 PM   
 By:   Oblicno   (Member)

It's great! Never seen the film, like. The opneing track, Variation on an Old Baptist Hymn is outstanding, with great raw vocals (Golders hisself, reet?). The entire thing is ace. Interview With The Vampire is great too. Any Goldenthal is good value for me.

 
 Posted:   Jan 17, 2007 - 8:06 PM   
 By:   LeHah   (Member)

If you had to get three Goldenthal scores, Id recommend Final Fantasy, Titus and Alien3.

If you can find it - Michael Collins is stellar but OOP.

 
 
 Posted:   Jan 17, 2007 - 8:21 PM   
 By:   Morlock1   (Member)

I love COBB. My favorite Goldenthal album after MICHAEL COLLINS.

 
 
 Posted:   Jan 17, 2007 - 8:50 PM   
 By:   patrick_runkle   (Member)

Goldenthal's bag of tricks got repetitive rather quickly in my opinion, but when those tricks were fresh, they were so great. I haven't seen "Demolition Man" discussed much on this thread, I think it is one of the great action scores of the 90s: The breakneck action pieces, the spooky metallic sci-fi moments, all wrapped in a (then) completely fresh sound. The opening track on "Cobb" is a masterpiece, as is a good deal of the rest of the score.

 
 Posted:   Jan 17, 2007 - 9:51 PM   
 By:   LeHah   (Member)

Goldenthal's bag of tricks got repetitive rather quickly in my opinion, but when those tricks were fresh, they were so great.

Statements like this have always driven me nuts. No one ever complained about Goldsmith sounding like Goldsmith - why would anyone complain about Goldenthal being Goldenthal?

"Whadda ya mean Williams is doing *another* Spielberg movie?!" wink

 
 
 Posted:   Jan 17, 2007 - 10:28 PM   
 By:   Ford A. Thaxton   (Member)



Statements like this have always driven me nuts. No one ever complained about Goldsmith sounding like Goldsmith - why would anyone complain about Goldenthal being Goldenthal?

"Whadda ya mean Williams is doing *another* Spielberg movie?!" wink



Sadly, your logic is lost on the likes of Runkle.

His opinions haven't changed much since he used to post on rec.music.movies under the name MR CAIRO.

Ford A. Thaxton


 
 Posted:   Jan 17, 2007 - 10:42 PM   
 By:   Southall   (Member)

Wow! I remember Mr Cairo!

As for Goldenthal... sure, he reuses ideas. But here's the thing - any composer worth his salt reuses ideas. It's what gives him a personality, makes him stand out from the generic gloop which makes so much of today's film music so dispiriting. Goldenthal has a wonderful talent and I have deeply missed him writing new music over the past couple of years.

My recommendation for one Goldenthal soundtrack that sums up everything so wonderful about him: Titus.

 
 
 Posted:   Jan 18, 2007 - 2:35 AM   
 By:   patrick_runkle   (Member)



Statements like this have always driven me nuts. No one ever complained about Goldsmith sounding like Goldsmith - why would anyone complain about Goldenthal being Goldenthal?

"Whadda ya mean Williams is doing *another* Spielberg movie?!" wink


Interesting point, perhaps I should have been more precise. Although I love all of the work of Goldenthal, even the non-film stuff like the Vietnam oratorio, it is in my view undeniable that scores like "Sphere" and a lot of his later work are pretty weak imitations of what people (and indeed, filmmakers) liked about his earlier work, with diminishing returns for the listener. This is of course my opinion, but it seems to me that there are a limited number of ideas there. Goldenthal himself may have a limitless number of ideas, but in his film work he has painted himself into a corner I believe.

What I meant for the original poster on this thread was that he should skip the middleman and go back to the scores that established Goldenthal as Goldenthal... Alien 3 and Demolition Man.

As for the Goldsmith comment ... Maybe in 30 years Goldenthal will have 150 scores under his belt, many in every genre, with certain stylistic similarities but an amazing diversity in thematic material and approach, but I don't see it happening.

And with Goldsmith there's that special quality that he would score "Baby" or "Magic" and write perfect, unique and brilliant scores for all these bizarre and/or bad movies. Goldenthal is also a great composer, yes, but I feel that his high-art aspirations may inform some of the pretentions that would prevent him from writing, for instance, brilliant dinosaur music.

As for Mr. Thaxton, I'm delighted that his boundless love for me hasn't changed either!

 
 Posted:   Jan 18, 2007 - 2:40 AM   
 By:   LeHah   (Member)

Goldenthal himself may have a limitless number of ideas, but in his film work he has painted himself into a corner I believe.


What strikes me as so strange about your whole arguement is that you cite that Goldenthal is "out of tricks" - yet you cite his most boring, stale work (Demolition Man) as one of your favorites? One only needs to read the MFTM interview about his utter lack of enthusiasm on the assignment.

 
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