> Obviously, Clemmensen values unity and consistency far more than you
> people do -- it's called grading on different criteria.

Exactly. If he simply dislikes this style of composing, then it is okay.

> Believe it or not, your ideas on what a film score should do are not > more valid than his...

Those poor bastards will probably die of cardial arrest when they read this!

> Also, you guys can send in your own reviews. Frankly, I think it'd be
> great to have reviews with contrasting opinions for the albums on this
> site; it'd make things a lot more interesting. As it stands, though, your
> comments are merely spiteful.

If their reviews are anything like their comments here, I don't want to see them.

> Myself, I feel a composer should attempt some semblance of overarching
> unity in composing a film score -- in most cases, I think it shows the
> film a lot more respect. In the case of TITUS, I think the score amounts
> to a hodgepodge of cues that sound as thought they could've come from
> anywhere, could've been applied to any film, don't have a strong identity.
> Nonetheless, I appreciate Goldenthal's great versatility.

If Goldenthal thought this approach to be good for the movie, no problem. It is NOT his primary task to compose a score that is a good listening experience. While Titus does have some brilliant parts, it does lack cohesiveness on the other side. You won't notice that in the movie, but on the album.

N^