SUPPORT FILMTRACKS! CLICK HERE FIRST:
Amazon.com
Amazon.co.uk
iTunes (U.S.)
Amazon.ca
Amazon.fr
eBay (U.S.)
Amazon.de
Amazon.es
Half.com
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
Composers
Awards
   NEWEST MAJOR REVIEWS:
     1. Jurassic World
    2. Tomorrowland
   3. San Andreas
  4. Mad Max: Fury Road
 5. Avengers: Age of Ultron
6. Cinderella
   BEST OF JAMES HORNER (1953-2015):
         1. Star Trek II: Wrath of Khan
        2. Willow
       3. The Land Before Time
      4. Glory
     5. Legends of the Fall
    6. Apollo 13
   7. Titanic
  8. The Legend of Zorro
 9. Avatar
10. The Amazing Spider-Man
Home Page
Elliot Goldenthal
(1954-)
$composer Photo
Filmtracks Statistics:
Average Filmtracks Rating: 3.13
Average Viewer Rating: 3.08
Number of Reviews: 16
Number of Votes: 15,630
Number of Comments: 556
Reviews in Filmtracks'
Top 100 Traffic Ranks:
#100. Final Fantasy: The Spirits Within
Filmtracks Editor's Recommendations:
Frida
Additional Quotes:
"I've discovered that I don't have that much talent, really. If I work on something for ten years or three weeks it's not going to make a difference. It's not going to get any better. No matter how many years I work on something I'm never going to get to Beethoven's level." - 1997, on preferring a short deadline

"I love working with English musicians, especially the strings. They don't play with excessive vibrato. Strings use too much vibrato in the States" - 1997, on recording in London

"I think every film score that I do is the best film score that I've ever composed. I will say that in terms of strong film scores that I've composed that Cobb, Michael Collins, The Butcher Boy, Drugstore Cowboy, Alien 3, and Titus are the ones that stand out." - 1999, on his own perception of his best score

"In any professional relationship you develop a trust with the person you're working with. Trust meaning that they'll give you at least the option of recording what you're doing and letting your ideas come alive. But at the same time, you're working with a director who has a particular vision, like any other director, and you have to yield to the directors vision. You can not say: this is what I want to do in your film." - 2000, on working with Julie Taymor as opposed to other directors

"It was not very difficult in terms of conception, in that it's very clear that the hero is the hero, the villain is the villain, the zany is the zany, the love interest is the love interest. There wasn't much subtlety there so it made the music pretty easy." - 2001, on the Batman scores

"I say we've spent 20 years being happily unmarried. Julie's late father used to refer to me as his 'son-out-law.' Actually, I think of us as Ozzie and Harriet." - 2002, on his marriage after collaborating with Taymor on Frida

Decorative Nonsense
Primary Composer Picture
Julie Taymor and Elliot Goldenthal, 2003

"Bring Fellini back from the dead, and let me work with him!"
- Elliot Goldenthal in 2000

Elliot Goldenthal was born in Brooklyn, New York, in May 1954 and, as a child, studied piano. His interests included jazz and rock, and once he reached his teenage years, he played piano and trumpet and also sang in a touring blues band. He composed a ballet at age 14 that was given a full performance at his high school. In 1972, Goldenthal came under the influence of Aaron Copland through an introduction by Leonard Bernstein. He stayed at Copland's house and they would play four hands on the piano. Goldenthal, in his learning process, would continuously ask Copland questions of every musical kind. Encouraging him in music were his house-painter father and seamstress mother. He would lock himself in his room and listen to everything from Jimi Hendrix to Charlie Parker to Gustav Mahler. Citing the many classical composers who indulged in considerably varied outputs, he claimed that it is a healthy thing for a composer to be skilled in eclectic and dynamic styles.

Reviews Icon
FILMOGRAPHY & REVIEWS AT FILMTRACKS
(see legend below for abbreviations and codes)
 TitleFR VRVTCT RD TRDates Notes
2015:
(none)
2014:
A Midsummer Night's Dream
2011-2013:
(none)
2010:
The Tempest
2009:
Public Enemies
2008:
(none)
2007:
Across the Universe
2004-2006:
(none)
2003:
S.W.A.T.***2.3294156|||35609/03 - 03/09
Othello (Ballet)***3.1416716|1,15207/03 - 03/09
2002:
Frida (AW)*****3.302,25574||15212/02 - 03/09
The Good Thief
2001:
Final Fantasy: The Spirits Within****3.925,438157|||10006/01 - 01/09
2000:
(none)
1999:
Titus***2.9849953||96906/03 - 03/09
In Dreams***3.061646||1,26907/03 - 03/09
1998:
Sphere**2.516143||78903/98 - 07/07
1997:
The Butcher Boy
Batman & Robin***2.8574733||25605/03 - 03/09bootlegs
1996:
Michael Collins (AW)****3.535490||63710/96 - 09/08
A Time to Kill
1995:
Heat****3.2026826||76208/03 - 07/08
Batman Forever (AW)**2.9279050|||25104/03 - 01/12all albums
1994:
Cobb****2.961011||1,76702/12
Interview with the Vampire (AW)***3.921,02637||51306/03 - 03/09
Roswell (TV)
1993:
Golden Gate***2.781261|1,39707/03 - 03/09
Demolition Man**2.882016||68310/96 - 02/06
1992:
Alien 3**2.971,74437||24407/98 - 08/06
Fool's Fire (TV)
1991:
Grand Isle
1990:
Criminal Justice (TV)
1989:
Drugstore Cowboy
Pet Sematary
1981-1988:
(none)
1980:
Blank Generation
1979:
Cocaine Cowboys
Legend:
Status:
N
- indicates a new review that has been published in the last 90 days
R
- indicates an older review that has been significantly revised in the last 90 days
Awards: AW - or a golden year indicates that the music won or was nominated for a major award
Ratings: FR - Filmtracks Rating ("Varied" indicates a split rating with no overall designation)
VR - Viewer Rating (overall average)
VT - Vote Total (for viewer ratings)
Comments: Comment Total (the number of messages posted in the review's comment area)
Review Depth: ||||| - Massive Review (over 4,000 words)
|||| - Very Long Review (between 2,200 and 4,000 words)
||| - Long Review (between 1,200 and 2,200 words)
|| - Average Review (between 800 and 1,200 words)
| - Short Review (under 800 words)
Traffic Rank: Popularity Rank (lower numbers indicate more cumulative reads; new reviews take time to climb the ranks)
Dates: 1st - indicates the month and year during which the review was first published
2nd - indicates the month and year of the review's most recent significant revision (if any)
Copyright © 2003-2015, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast,
rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. Page created 7/27/03 and last updated 5/30/15.
This is approximately the 53,018th load of this page since 2003.
Reviews Preload Scoreboard decoration Ratings Preload Composers Preload Awards Preload Home Preload Search Preload