I am immediately struck by Goldsmith's seriousness in attacking this assignment. Maybe it's just Goldsmith, maybe it's that Paul Verhoeven is a terrific inspiration or maybe it's that Goldsmith had, for once, generous time to ponder over this material and interact with his director, or maybe it's all the above.

At any rate this is a score that at first matched my expectations and then handily proceeded to exceed them.

Forget the simplified romance of mid 90s Jerry and the straight ahead adrenal devices of other less imaginative composers. This is a bristling and angry work that returns Goldsmith to his modernist roots of the 60s and early 70's while being refined to a sleekness and form that is the result of over 40 years of evolution.

His slinky Hollow Man theme is as melodious as things get for this entire album but the piece is in itself a haunting mix of mystery and forboding.

The theme makes scant few appearance for the rest of the score which is a bubbling cauldron of suspense and unsympathetic sci-fi, action scoring. Think Total Recall's mercenary brutality combined with Basic Instinct's cool, psychological neutrality and you begin to get what this score is like.

Gradually morphing from a sense of cautious exploration in the first few cues to explosive violence and horror in the last this score is a showcase of what Goldsmith seems to do best despite his own admissions that he prefers quieter, more introspective material.

Musically advanced and surprising, Hollow man leapfrogs to the best score spot on my list. Just ahead of Gladiator (I truly dug this score, but those who disapprove try not to hold it against me),
but leaving things like The Perfect Storm and John Williams' handsome yet somehow bland The Patriot in the dust.

Gotta go listen again. It's calling me.

nice cut and pasting there.

Hal,

agree, with the exception of your comments of 'Williams and the Patriot. Ehm,,...where did you say you live again?

The very nature of the disc itself hints at the eloquent mystery and horror that lies digitally underneath.

HOLLOW MAN will be, not long from now, recognized as perhaps the Master's finest score of its type that he has written--at least to this point. If I was going to play a musical practical joke this autumn on someone I know, HOLLOW MAN would be what I would want at the heart of it. It is every bit as terrifying and even a little more than ALIEN, BASIC INSTINCT, and THE HAUNTING...despite that the imprints of each of these can be heard in the new score.

It draws its power primarily from this abrasive elegance to which I have alluded. More so than when the music evokes a reaction that is uncompromisingly sinister (and even though this is by no means comfort-inducing), the music creates the most fear in its ambience. The most unnerving aspect of the score is that the music seems to be searching for a voice--its melody--during so much of the album length--even during "The Hollow Man." When the music seems to find this voice, it is anything but reassuring. It is as if the ugly duckling had never really been a swan.

Goldsmith with brilliance crafts his music this way, creating suspense and disillusionment at once...followed by fear.

My favorite cues are, as of now, "Linda & Sebastian" and "What Went Wrong?" Both testify to the discomfort that the composer produces with an emphasis on cerebral depth rather than orchestral complexity in compositional mapping.

One can also detect, without having seen the picture, that HM also displays Goldsmith's uncanny knack for masterfully and recognizably developing a score from a strong foundation.

I should add that, while many comparisons have been made between this score's melody and that of the collaboration's previous installment, there are just as many differences that I can detect as there are similarities. Compositionally, the only noteworthy similarity between HM and BASIC INSTINCT/THE HAUNTING is in tone. The duplicated electronic orchestration for the melody in HM's score surely is intended for some purpose; the reason is anyone's guess at this time, mine being that Verhoeven and Goldsmith must have seen HOLLOW MAN as displaying an evolution or culmination of their work together, in addition to a pyschological relationship between films. But without this orchestrational replication the melodies are rather dissimilar--at least as much as two pieces of similarly-themed music written by the same composer could sound.

NOTE TO THE VIRGIN EARS: Make sure of a few things when first listening to this score, apart from the film and without having seen the picture. Surely the music is as accessible as good film music should be within the context of the film. On album in advance of the production's release is something different altogether.

FIRST: Goldsmith's music requires an active listen. DON'T BE DISTRACTED!!! Absorb this music. Thankfully on its own, the music--particularly the melody--isn't something that could be dismissed as "tuney." It's--the melody--a bit obtuse and maze-like. The first listen in "The Hollow Man" is difficult to follow. Absorb it. Feel it.

SECOND: Try to hear it in the best sound environment possible. There are a lot of intricacies I didn't hear the first time through because I was listening to it at the office with poor speakers. Hearing it the second time through for me was like hearing it the first time.

Now, I also want to take this time to address that my favorite Goldsmith scores are still scores like HOOSIERS and LEGEND--spiritual and triumphant, highly accessible efforts.

Perhaps the HOLLOW MAN genre was fashioned for Goldsmith's modernist shadow.

To the extent of Goldsmith's capability in the macabre, the composer is equally talented in writing in a very Romantic style. HM, coupled with THE MUMMY and THE 13th WARRIOR (good examples as each is well-recorded, orchestrated, etc. in addition to being well-written as all Goldsmith scores are), displays his versatility quite nicely.

At the heart of this egdy score is still a stirring melody, one typical of the Master of Melody.

HOLLOW MAN is not a score with which to exalt Goldsmith as the champion of the sci-fi genre....

Officer:You called sir?[/b]

Scott:Yes, find out the whereabouts of Hal2000; immedeately.

Officer:[i]Yes sir.

Scott:Once you know the info, I want him gone. Do you understant me soldier? Hal2000 has done a terrible, terrible crime. No one disrespects John Williams. Not on my watch. Drop the bomb on him. Gas him. Shoot him. I don't care. That's all.

Note

I appreciate the vote of support. I've got to give credit to HAL and others, though, who had already written thoroughly about the score before I. It helped.

Scott, that was pretty funny...um, you were joking right? (Oh, and sorry for the seemingly personal attack in THE PATRIOT thread a while back. I didn't mean for it to sound as blunt as it did.)

One last note: regarding the melody again, even in tone there are a few differences. There is a sense of sensuality in the BASIC INSTINCT theme that is not by any means to be found in the straightforward rendition of "The Hollow Man." HM is not a warm composition in the least.

yes you are right. I was joking. I would never disrespect any member on this board by posting something like that and being serious.

Scott

Officer: Sir, you called?

Scott: Yes, you know that assignment about Hal 2000?

Officer: Yes, sir...we have established some contacts. His current ad...

Scott: Stop it right there soldier.

Officer: Yes sir..

Scott: Abandon the mission.

Officer: Sir?

Scott: What part of abandon do you not understand?

Officer: ehm..

Scott: Let me put it this way. All efforts regarding Hal 2000 are suspended. In fact, they are permanetly canceled. He is not to be harmed in any way. Do I make myself clear?

Officer: Yes sir!

Scott: Good...you may leave.

Officer: Thank you sir!

Hal gets to collect, and collect and collect and he lived happily ever after...

Jeron: Private Scott!!! Come here at once! Now!!!

The sound of fast-paced footsteps draw nearer and nearer. The door slowly opens, creaking all the while. A man, young, goofy looking yet well groomed, approaches Jeron's desk.

Scott: Yes sir?! (he says nervously)

Jeron: One of my officers has reported you playing in my chair again. When was this, yesterday?

Scott: Ummm... (looking a bit embarrassed) Yes sir. I was playing in your chair yesterday.

Jeron: And what were you DOING in my chair, private??? We've had this discussion before!!

Scott: Yes, I know... I was... I was... playing Commander, as you said, sir. I gave a couple orders. They were harmle---

Jeron: Stop! I don't want to hear it! They were harmless?? I don't think so! This is a highly classified military compound and I don't need pestering privates running around the place as if they have nothing better to do than act as if they are important!! I won't stand for it!

Scott: ......

Jeron: What exactly were you doing yesterday? What were these orders you gave? And who was the idiot that took them?

Scott: ......

Jeron: Private Scott! I asked you a question!

Scott: Uhhh... uhhh... I ordered Officer Aaron Collins to locate and destroy one HAL 2000.

Jeron: What in the heck?? Why would you do such a thing?! HAL 2000 is a classified project in itself!

Scott: What? HAL... Project? Uhhh?

Jeron: The HAL 2000 project is an advanced computer system that can interact as a unique individual via the internet w/ other unique individuals, unlike yourself. HAL 2000 is nothing more than an advanced piece of computer technology capable of unbelievable things. It's what will win us the war!! Why would you dare destroy it and put the future of our nation at risk?!?!

Scott: I, I... HAL... he, he sad bad things about my favorite composer, John Williams! I wouldn't stand for it! I won't stand for it! Not now, not ever!

Jeron: John Williams? What? What exactly did he say?

Scott: He said Williams' score for "The Patriot" wasn't anything special. That it was bland and uninspired.

Jeron: Do you know WHY he said those things?

Scott: No... why?

Jeron: It's obvious you ninkompoop! He said that because David Arnold would have composed a much more original and exciting score! HAL 2000, as I said earlier, is an advanced computer entity. He is programmed to place top priority on only two composers: Jerry Goldsmith and David Arnold (I designed HAL 2000, myself). HAHAHAHAHA!!! John Williams, Basil Poledouris, James Horner, etc... they come secondary! If the HAL 2000 project succeeds, this is how the New World Order will function!

Scott: I don't like the sound of that...

Jeron: Private, you're dismissed. I'm grow weary discussing a topic with you with which you have no effect on. Leave immediately. NOW!

Private Scott wimpers out of the room, thinking of how he could stop this mad man, this... this... Commander Jeron and his HAL 2000 device. He can hear Jeron's evil laugh echoing throughout the corridors in which he is walking. The sound surrounds him, he cannot escape it. Little does Scott know, outside the compound lies a destiny which has been prefabricated to suit his musical tastes and composer preferences.

(cue dark, triumphant, Dr. Evil music)

...to be continued...

FADE IN:

EXT. SOUTHERN CALIFORNIA DESERT - DAY

The sun stares heavily down onto san dunes that stretch to the horizon. A MAN, SHERIFF JOE, wanders across the sand. His hair is bleached blonde (by the sun and Miss Clairol), four days of heavy growth covers his face and sweat streams down his forehead like rivers of lava flowing over melted rock. He is HUMMING a tune.

SHERIFF JOE
Dum-dum-dum-de-dum...

He looks up at the sun and sitcks his tonuge out at it and resumes his tune.

SHERIFF JOE
Dum-de-dum-dum-dum-dum-
de-dum.

His bare feet, red and blistered from both the sun above and the burning soil beneath, slither across the sand. He suddenly stops and drops to his knees. A strong BREEZE whips through his hair and over his dehydrated body. He looks around and sees nothing but sand and scrub-brush.

SHERIFF JOE
Where are you? I know
you're here. I can SMELL
you!

The wind BELLOWS, SCREAMS around him, coalescing into a solid form. A form belonging to a MAN. This is WIND SPIRIT.

SHERIFF JOE
Get it over with already.

WIND SPIRIT
It's not your time yet.

SHERIFF JOE
I have nowhere to go.
I've been deposed. My town
is gone. Buried underneath
a beurocracy of sand and
waste.

WIND SPIRIT
Your town may be gone, but
you still have a job to do
and a mission to perform.

Sheriff Joe looks up.

SHERIFF JOE
A mission?

WIND SPIRIT
Someone is coming to Los
Angeles. Someone who is
going to impersonate the
great John Williams.

SHERIFF JOE
What does that have to do
with me? Everyone knows
I'm a Goldsmith fan first
and foremost.

WIND SPIRIT
THAT is what they are
counting on. You must be
ready for the imposter.

Sheriff Joe looks down.

SHERIFF JOE
How? I can't even stand
up, let alone walk to LA.

The wind begins again, funnelling into a dust devil.

WIND SPIRIT (V.O.)
Others come as well. Use
them in your mission. GO!

The wind-wall hits SHERIFF JOE, lifting him up off the desert floor and flinging him skyward.

CUT TO:

INT. SHERIFF JOE'S BEDROOM - NIGHT

Joe bolts upright, beads of sweat retreating down his face.

SHERIFF JOE
Imposter. Have to get the
gang together.

He reaches for the phone and spies the alarm clock sitting next to it. 2:18am.

SHERIFF JOE
Maybe in a few hours.

He lies back down, the music to HOLLOW MAN by Jerry Goldsmith still coming across his speakers and, amazingly enough, lulling him back to sleep...

TO BE CONTINUED?

INT. EXTERIOR OF A FADING IN TELEVISION SCREEN

On the television is a bleak, desert landscape. Four round, bristly TUMBLEWEEDS appear from opposite directions and are blown into each other by the harsh, dusty wind. They joyously greet each other.

TUMBLEWEED #1
Jerry Goldsmith!

TUMBLEWEED #2
Jerry Goldsmith!

TUMBLEWEED #3
Jerry Goldsmith!

TUMBLEWEED #1
Jerry Goldsmith!

TUMBLEWEED #3
Jerry Goldsmith!

TUMBLEWEED #4
Eric Serra!

The dusty, HOWLING wind stops abruptly and there is complete silence. The tumbleweeds are motionless and confused.

TUMBLEWEED #1
Jerry... Goldsmith?

TUMBLEWEED #4
Eric... Serra?

There is a silent pause between the tumbleweeds. Suddenly, the wind HOWLS ferociously. TUMBLEWEED #4 is smashed viciously by the other tumbleweeds rolling in the wind.

TUMBLEWEEDS #1-3
Jerry Goldsmith! Jerry Goldsmith! Jerry Goldsmith! Jerry Goldsmith! Jerry Goldsmith!

The harsh wind softens, and the three tumbleweeds roll off of the mutilated remains of TUMBLEWEED #4. They begin to converse with each other once again.

TUMBLEWEED #2
Jerry Goldsmith.

TUMBLEWEED #1
Jerry Goldsmith.

A small WHISTLING breeze rolls TUMBLEWEED #5 into the others. It happily greets them.

TUMBLEWEED #5
Tony Danza!

There is another silent pause among the tumbleweeds. A strong, HOWLING wind begins to build...

(TO BE CONTINUED???)

MOVIEMUSIC.COM MESSAGE BOARD MEMBERS
(all together)
If there is a supreme divine being, then NO.

NP: Broughton's "Young Sherlock Holmes recording sessions"

Scott: He is getting worse.

Doctor: That much I told you sir.

Scott: You didn't tell me he was this bad.

Doctor: Well, he has good days and bad days.

Scott: He believes he is my superior.

Doctor: Aha...

Scott: He believes Hal 2000 is a computer.

Doctor: Hal?

Scott: Never mind that. How long will he be in this condition?

Doctor: Who can tell.

Scott: Wrong answer. You are the doctor. You must know.

Doctor: I am a physician. Not God.

Scott: Well, I guess I should increase security around him. He could be a danger to himself and ultimately to the mission. To the nation.

Doctor: You're the boss.

Scott: Well, keep 'em loked up. Pretend he is the commander. If he calls for me again, sent Andre Lux. Hehe, he won't know the difference anymore.

Doctor: If you say so.

Scott: Good night doctor.

Doctor: Auf wiedersehn Herr General.

Jeron sits behind the desk. He doesn't notice the white, padded walls.

Jeron: Incompetent people. Privates acting as if in charge. This is unaceptable. This is terrible. Need to call the president.

Dials the phone.

Jeron: Mr. President...

Acroos the whole, another cell. A man sitting in front of a typewriter. He answers the phone.

Daniel2: Yes.

Jeron: We have a situation here.

Daniel2: What is it now?

Jeron: Private Scott was impersonating me and Private Collins didn't notice. What shall I do.

Daniel2: I will write you the answer.

Two days later. A delivery truck arrives. A large volume of books get dropped off at Jeron's cell.

Jeron: Gosh darn it. Why does he always have to write a darn book...

Credits roll. Music plays.

quote:

---

Originally posted by Jeron:
Oh my goodness. Scott, look what you started.

Jeron

---

Lol,

my gosh. I, I , don't know what to say...

Scott

FADE IN:

INT. COMPUTER ROOM

A man sits in front of his computer thinking of another absurd, short screenplay to write on the Moviemusic.com message board. Rubbing his eyes after staring at the screen for a long amount of time, he discovers that he cannot think of one single idea for a short, senseless screenplay. The man admits his failure and gives up.

I finally have The Hollow Man, and yes, it's terrific Goldsmith suspense. "The Big Climb" is jaw-droppingly good. I just wish that the intense, original action music that graced the first of the track could have been longer and more developed. And yes... my jaw did actually drop when I first heard the beginning of that track.

This Goldsmithite is pleased.