Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
     1. Star Wars: Rise of Skywalker
    2. Maleficent: Mistress of Evil
   3. The Addams Family
  4. Joker
 5. It: Chapter Two
6. The Lion King (2019)
         1. Gladiator
        2. Batman
       3. Nightmare Before Christmas
      4. Titanic
     5. Justice League
    6. Star Wars: The Last Jedi
   7. Harry Potter: Sorcerer's Stone
  8. Maleficent
 9. Star Wars: The Force Awakens
10. Edward Scissorhands
Home Page
Menu Options ▼
Comments about the soundtrack for Crimson Tide (Hans Zimmer)

Edit | Delete
sphere soundtrack
• Posted by: Kyri   <Send E-Mail>
• Date: Friday, July 26, 2002, at 10:22 a.m.
• IP Address:
• In Response to: Re: don't waste your money. (Lee)

> I gotta go, but before I do, tell me how the Sphere soundtrack is, what's
> the overall mood/feel, and sound? I seriously want to know, because it
> might be my next purchase

First of all; Don't pay attention to the review of Sphere here at Filmtracks.
"Sphere" is very dark in mood (most of Goldenthal's scores are) and this is what i particularly like in him. He is very much like Beethoven: Very programmatic in writing (each note is there for a reason) and very non-optimistic.
Goldenthal's great abilities in orchestration techniques can show very easily in Sphere. Have you seen the film? You might know by now it's an "underwater" kind of film and Goldenthal's orchestration feels exactly like that. He produces that watery effect without making an extensive use of synthesizers(for example in the "Main Titles" cue where he merely makes use of orchestra sounds).
The rest of the score is appropriately atonal in style (like Alien 3). If you purchase this CD, don't even make the mistake of thinking that this is "an abundance of noise without substance" (quoted from the Filmtracks review).
This is contemporary music writing at it's best! And if anyone tells you that this score is utilizing the same techniques found in previous Goldenthal scores (like Alien 3) they are wrong. Sure; some things HAVE to be there-after all, it's Goldenthal's trademark style. This score is hugely original in sound and one of the great pleasures when listening to it is trying to figure out why every note, technique(minimalism, atonalism etc) and sound is put there in relationship with the film (story, unique place, mood etc). You have to listen to this score plenty of times (just like every Goldenthal score) to discover all the beautiful details hidden in there. Definetely a recommendation unless you are not a fan of atonal music. If you want something more along the lines of tonalism, then try "Michael Collins" where you can experience the true nature of drama.


Comments in this Thread:     Expand >>

Copyright © 1998-2020, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the site may not be published, broadcast,
rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. Scoreboard created 7/24/98 and last updated 4/25/15.