Elliot Goldenthal Interview Directory

  Review of Goldenthal's 'Jabberwocky' piece.

  Julie Taymor and Goldenthal reach the final stages of rehearsal for The Transposed Heads. It adapts a Thomas Mann story and incorporates a magical realism in its design. Goldenthal wants the music to harken to India, the story's setting, but also pay tribute to Mann's Germanic disposition.

  Goldenthal and Taymor rehearse Juan Darien. It incorporates all manner of foreign instruments along with songs from the Catholic Mass. Goldenthal discusses the play's theme of bigotry.

  Review of Goldenthal's 'Shadow Play Scherzo' piece for a Leonard Bernstein tribute.

  Brief discussion of Juan Darien's Obie win and its championing by producer Lyn Austin.

  Goldenthal and Taymor discuss their work, which is often derived from existing stories. They discuss how they collaborate and how they address various strengths and weaknesses. Talk about the multicultural bent of their plays. Explain the frustrations of doing small-time theater work.

  Extended article about Julie Taymor's career and current project, "Fool's Fire" which will air on PBS. The production features puppets, a magical realism, and interest of myth. Explains how Taymor and Goldenthal live and work together. They anticipate producing an opera based on the Beowulf story.

  Taymor-centric article notable for its mention of 'Grendel', which would gestate for nearly 15 years.

  The Pacific Symphony commissions a work commemorating the Vietnam Work, to be premiered in 1995. Exec. director Spisto describes the costs and the difficulties of funding the work. Goldenthal describes what he intends to draw on for inspiration, and what he plans to avoid.

  Goldenthal plans to use children's voices in the Vietnam work. Goldenthal emphasizes that he wants to avoid politics and focus only on the human toll of the war. The Pacific Symphony's music director St. Clair discusses the origin of the project and why he wanted a film composer to write it.

  Goldenthal discusses his early childhood, student films, and tutelage under John Corigliano and Aaron Copland. He cites Polish avant-garde as an influence. He discusses how "Alien 3" changed during post-productions and some of the alterations in the music which resulted. He explains his choices for the "Alien 3" and "Demolition Man" CDs. He discusses the Dies Irae in "Demolition Man" and regrets the sound mix on the film. Talks MIDI vs. live performance and how his orchestrator and sound designers assist him. Explains his brass clusters.

  Khoa Le joins Goldenthal and a handful of musicians to explore the combination of Eastern and Western music.

  Longer account of the same jam session in Duncan's article. Khoa Le explains the philosophy behind Vietnamese music and the prevalence of the pentatonic scale. Goldenthal notes the scale's use in prominent Western songs like 'Take Me Out to the Ballgame'.

  Goldenthal begins to conceive his Vietnam Oratorio by listening to the experiences of war veterans and their families. Several men share poetry inspired by their memories. Some sharp differences in perspective arise.

  Initial report of Goldenthal's employ on "Interview with the Vampire".

  Covers a last-minute "Interview with the Vampire" scoring session at The Hit Factory recording studio with Jonathan Sheffer conducting.

  Goldenthal explains why George Fenton's score to "Interview with the Vampire" was rejected and what his own approach to the film was. He comments on his three-week deadline.

  Goldenthal briefly describes his mantra for the film - "composition as collision".

  Goldenthal is asked about the tight deadline on "Interview with the Vampire". He also talks about "Cobb" and the upcoming "Batman Forever". Compares MIDI to sketching on piano. Disparages over-reliance on sound effects. Shares his thoughts on film music as an art form, and what aspiring film composers should consider.

  Hans Zimmer, Thomas Newman, and Elliot Goldenthal list their favorite film scores.

  Oscar nominees Goldenthal, Thomas Newman, Alan Silvestri, and Hans Zimmer discuss the state of movie-scoring. Goldenthal saw value in "Interview with the Vampire's" impending deadline, as he had no time to second-guess himself artistically. Uninterested in movie tie-in song albums.

  Ahead of the Vietnam oratorio's premiere in Orange County, the local paper's music critic spends a morning with Goldenthal discussing his Oscar nomination.

  Sony Classical president Peter Gelb sees film composers as a solution to declining classical music sales, and plans to record Goldenthal's Vietnam oratorio.

  Goldenthal discusses various inspirations for his Vietnam oratorio, including a nun's self-immolation, poetry by veterans, religious texts, and Vietnamese traditional music. Carl St. Clair asked several other prominent film composers to assume the project before Goldenthal agreed to.

  Fire, Water, Paper premieres. Goldenthal discusses the perspectives he took, the texts he incorporated, and the structure he used. He discusses how a Buddhist nun's self-immolation sparked his imagination for the piece. He discusses the amount of time spent composing the work.

  Talks about scoring "Batman Forever". Mentions his unusual work schedule. Miss Dean apparently asks him whether he can "make love" with music playing.

  Goldenthal emphasizes the importance of experimentation. He discusses some early ideas for "Batman Forever", his "Interview with the Vampire" deadline, and his disappointment with "Alien 3's" final cut. Explains the role Bob Elhai and Richard Martinez play in creating the music. Compares theater and film work.

  Discusses differentiating his Batman music from Danny Elfman's. Talks about the jazz and synth in "Batman Forever", and the difficulty of scoring action pictures due to bad dubbing. Talks about "Interview" deadline. Explains the differences between writing music for film, theatre, and concert hall. Mentions that he often does not use the leitmotif method and prefers experimentation. Disparages "Demoltion Man". Cites John Corigliano as both his teacher and an influence. Talks about how only a small percentage of artistic output is worthwhile.

  Goldenthal, Michael Kamen, and Mark Isham discuss how their scores compete with 'music from and inspired by' soundtrack albums.

  Many film composers are quoted for their thoughts on the art. Goldenthal comments on "Interview with the Vampire" and the distaste for film music in classical circles.

  Talks about how he has approached films such as "Alien 3", "Interview", and "Batman". Explains how his agent helps him find appropriate assignments. Explains the lyrics of 'Libera Me' from "Interview". Discusses Shirley Walker and other orchestrators on "Batman", and how he used the theremin for Jim Carrey's character. Explains how Richard Martinez and Matthias Gohl help in sound sampling. Sounds off on classical music versus film music, and the perceptions of each.

  Goldenthal reports on the rough cut of Neil Jordan's "Michael Collins". While scoring that film, he will work on a broadway musical called The Green Bird. He complains about 'music from and inspired by' CDs and sound effects.

  Goldenthal, John Debney, and others are asked about how their music is being represented on modern digital sound systems. Goldenthal says the music is mixed poorly regardless of the equipment.

  Goldenthal and other composers discuss shrinking time-tables for scoring films, and the relatively small amount of money budgeted for music.

  Oscar-nominated composers of 1996 (Thomas Newman, Randy Newman, James Horner, Patrick Doyle) talk about their work. Goldenthal, nominated in 1995, talks about the exposure one gets through the movies.

  The Boston Symphony presents the Vietnam oratorio. Seiji Ozawa takes interest in it and prepares to tour it along the east coast. Carl St. Davis heard radio interviews featuring Goldenthal and was interested in his theater work. Goldenthal discusses the structures of and inspirations for the oratorio. Mentions his time with Leonard Bernstein, Aaron Copland, and John Corigliano, and his theater work with Julie Taymor

  Goldenthal discusses the textual inspirations of Fire, Water, Paper. Talks about his use of language to address historical circumstances. Denies cribbing from Orff but did adapt sounds from Mahler.

  Goldenthal is interviewed ahead of the Vietnam oratorio's D.C. premiere. Goldenthal cites a Vietnamese girl's self-immolation as a key inspiration. He explains his disinterest in composing for Hollywood films as a career. He recalls some of his earliest work as a student in the Manhattan School of Music.

  Various Hollywood composers are interviewed, including Michael Kamen, Randy Edelman, and Goldenthal. The artistic value of film scores is debated. Goldenthal recalls Aaron Copland's belief in writing music for the masses, and shares his dislike of academic music.

  Discusses "Michael Collins" and balancing an Irish sound in the music which the general drama. He discusses his mythological perspective on movies like "Batman". Also discusses his compositions for Wynton Marsalis and Lar Lubovitch.

  Various film composers are interviewed about their philosophies regarding directors, sound mixes, and music: Angelo Badalamenti, John Lurie, James Horner, Jerry Goldsmith, Goldenthal, Michael Convertino, and Ryuichi Sakamoto. Goldental comments on his relationships with Aaron Copland and John Corigliano.

  Relates the importance of using a film composer for a precisely-timed ballet like "Othello". Goldenthal explains how he conceives each act.

  Goldenthal talks about his love for jazz and its influence on his writing. He discusses his youth and how he came into the good graces of Copland and Bernstein as a young man. He explains his orchestration and how he suffuses instruments with electronics. He says that a theatre background is essential to film composition. Compares UK and US musicians.

  Interview for "Batman and Robin". One of the most technical interviews Goldenthal ever gave. Talks about different reed fingerings, orchestrational combinations, and his inspirations for them. Cites John Corigliano's Oboe Concerto. He discusses both the themes for new characters and those reused from "Batman Forever".

  Plans to evoke paranoia and suspicion in his music for "Sphere", and to use a 1960s pop sound in "The Butcher Boy".

  "Othello" premieres with the San Francisco Ballet. Goldenthal says he enjoys writing music for different types of art. He calls "Heat" the worst project he's ever been on.

  "Othello" is Goldenthal's first classical ballet. He discusses how he interpreted the characters of Shakespeare's play. Goldenthal worked on a very tight schedule.

  An old classmate of Goldenthal's shares an anecdote.

  After the "Titanic" soundtrack album is a major hit, composers and record producers discuss how they decide whether to release a score album. Goldenthal is frustrated that "Batman and Robin" received a song album but not a score one.

  Brief comments about the upcoming "In Dreams".

  Bennett attends recording of the film's first cue. Goldenthal plans to incorporate a mix of styles, not unlike the modern sights to be seen among ancient Rome's ruins. He compares Shakespeare to Batman in terms of their mythic appeal. Explains how he divides his time between different musical pursuits but still holds respect for film scores. Describes the difference between writing on paper and writing through MIDI. Mentions his particular affinity for Abbey Road.

  Compares "Titus" and "Batman", how one is eternal and the other 'disposable culture'. Both, however, boil down to the struggle of good and evil.

  Burlingame talks to Goldenthal, Howard Shore, and Carter Burwell about their preference for New York to L.A. Goldenthal appreciates the diverse music scene.

  Enormous three-part interview spanning Goldenthal's entire career in theater, film, and the concert hall. With commentary from his orchestrator, conductors, producer, et al. Not to be missed!

  Director Taymor explains Titus Andronicus's unusual place in Shakespeare's work, and her emphasis on juxtaposition. Goldenthal shares observations of Shakespeare's comic brilliance and the music of Rome today.

  Ahead of the year's Best Score nominations, Bennett interviews composers rumored to be finalists: R. Newman, Iglesias, Davis, Yared, Kamen, Pook, Debney, Einaudi, Doyle, Kaczmarek, Daring, E. Bernstein, Barber, Shore, Portman, Corigliano, Powell, and Goldenthal ("Titus").

  A number of New York-based film composers talk about the benefits compared to Los Angeles. Goldenthal feels that NY musicians understand difficult pieces more easily. He appreciates how non-commercial the music world is compared to in Hollywood. He takes note of the work leaving L.A. as the musicians' union demands more royalties.

  Goldenthal calls "Titus" a culmination of all his film-scoring work.

  Talks Rota and Fellini influences for "Titus". Preferred recording locations and directors.

  Goldenthal calls "Titus" a culmination of all his film-scoring work.

  Talks about his 'triple life' divided between film, concert work, and theater. Talks about pulling all the threads together for The Green Bird.

  Transcript of brief Green Bird segment.

  L.A. musicians price themselves out by demanding high royalty payments, leading bean counters to opt for other locations like Seattle or London. Composers, agents, and producers discuss the wisom and folley of taking the scoring sessions outside of L.A. Goldenthal says that "Titus" was recorded in London to save money.

  On the heels of The Green Bird, a look back at Goldenthal and Taymor's previous theater productions. The article compares Goldenthal to Leonard Bernstein.

  Talks a bit on his musical philosophy - 'dark' versus 'light' music.

  On his way to the Flanders Film Music Festival, Goldenthal stops to talk about his working relationship with Taymor, his thoughts on Grendel, light and dark music, and the difficulties which arise when movies are recut.

  Interviews on "The Butcher Boy" and "Titus". Talks the origin of the "Butcher Boy" ballad and his struggles to get into the film; the director nearly let him go after a couple bad attempts at scoring the film. For "Titus", Goldenthal considers the murkiness of who the good and bad characters are. He shares an insightful observation on how Shakespeare gets audiences to laugh at horror.

  Looks into how some composers are attempting to work in film as well as other areas, citing Shostakovich, Copland, and Korngold as predecessors. Goldenthal likens his work outside of film to Beethoven writing popular waltzes and other incidental tunes. He makes it known that film music goes on the computer and concert music goes on paper. Special mention is made of Peter Gelb, who works to cross-fertilize film music with other musical disciplines.

  Compares "Final Fantasy's" CGI effects to the Harryhausen animation of old. Describes experimental orchestration choices. Explains the construction of 'Toccata and Dreamscapes'.

  Miscellaneous "Final Fantasy" questions. Goes through his filmography.

  Brief article on "Final Fantasy". He praises the theme song's singer, Lara Fabian.

  How he worked with director Sakaguchi. Needed a large brass section which led to the LSO. Makes a rare acknowledgement of "Roswell".

  Writes briely on how he wanted to bring a human touch to the computer-generated world. Mentions some of orchestrational influences.

  What the hot film composers of the day are listening to. Goldenthal likes whatever he can get his hands on.

  A reader relates how abruptly "Interview with the Vampire pivoted from Fenton to Goldenthal.

  Talks about his adherence to simplicity, his perspective on Mexican music, and the stories behind the various songs selected for the film.

  Focuses on Teese Gohl and Steve McLaughlin, who handle much of the paperwork and business obligations so Goldenthal can focus on composition.

  At the Hollywood Reporter/Billboard conference, Taymor and Goldenthal talk "Frida". Goldenthal explains how he focused on acoustic guitar rather than his usual orchestral force. They wanted to avoid a 'white' perspective and be authentic to Mexican musical tradition.

  On Taymor and Goldenthal as a power couple. Different approaches for "Titus" and "Frida". Neil Jordan comments on Goldenthal's ability to see from the characters' perspectives.

  On Mexican influences; how the songs were applied to the soundtrack; the isolated score for "Final Fantasy".

  Goldenthal explains his use of tango in "Frida", as well as pairing songs to certain situations or characters.

  Goldenthal mined a biography of Kahlo for references to her favorite music. Besides existing music, Goldenthal used contemporary instruments for an intimate sound.

  The biggest scores of the year are profiled. Goldenthal speaks a little about "Frida".

  Extended interview. Topics include: early influences and teachers; composing for movies vs. the concert hall; how players respond to unusual aleatoric music; his approaches to various film and theatre projects; and a special diatribe against music critics.

  Following Goldenthal's Oscar win, a little context for his tongue-in-cheek comment about "the gentle folks at Miramax."

  Discusses his early life, how he became interested in filmmaking, how he combines acoustic instruments with electronics, MIDI and sequencing, his orchestrational process, and his love of experimentation.

  Conversation with Richard Martinez, Goldenthal's electronic music assistant. Discusses Martinez's musical background and his gear for creating new sounds.

  Notes that Goldenthal has not gotten any special offers even after winning an Oscar. Focuses on Othello, and the director's orders for more percussion.

  Profile on Clark Johnson, director of "S.W.A.T.", on the day of a recording session. Like Goldenthal, he is more comfortable in New York City.

  Small article on "S.W.A.T.'s" recording facility and the privilege of recording a Hollywood movie in New York.

  On what makes a long-lasting relationship between director and composer. Goldenthal gives some advice on how to mitigate a professional dispute in a personal relationship.

  Gossip-y profile on Goldenthal and his wife.

  Goldenthal is interviewed at the Ghent music festival. He enjoys the variety of music he is given the chance to write. He still regrets that "Batman and Robin" never was sold on CD. He offers advice for speaking with directors about music.

  Discusses the character of Grendel. He avoided fifths in Grendel's singing, and discusses other musical tricks he uses to confuse the audience.

  The 'Grendel' opera is full of stunts, puppets, and Old English. Discusses the crew's working history with Julie Taymor. Goldenthal suffered a head injury during production.

  'Grendel' took decades of thought to come to fruition. Taymor and Goldenthal talk their relationship, the political context the story was written in, and the effects work involved.

  'Grendel' discusses the two-way street of heroes and villains. Goldenthal reaffirms his belief in film music as a respectable art.

  Goldenthal's high-school teacher recalls introducing his student to the Beowulf myth.

  Goldenthal, Taymor, and T-Bone Burnett create a film based around Beatles songs. For Goldenthal, the goal is to remain true to the spirit of the songs without twisting them.

  Article on the recent spate of musicals. Goldenthal explains how, even if the "Across the Universe" arrangements are different, the essence of the Beatles songs are preserved as much as possible.

  "Across the Universe" has a 1960s backdrop, a turbulent time which director Taymor was witness to as a girl. In featuring numerous hit Beatles songs, Goldenthal sought ways to incorporate them in a fresh way rather than compete with the power of the music itself. A number of A-list stars cameo in the film.

  On his musical escapades as a boy in Brooklyn. Talks about the importance of experimentation and how to identify the primary motivator of a given scene or moment.

  Brief interview on "Public Enemies", Michael Mann's new film. Goldenthal sees a duality in the picture between grandness and poverty, as well as between organized crime and solo rackets. Some discussion on "Othello's" Chicago premiere, and comparisons to "Heat".

  Notes the prominent feature of music in Michael Mann's films. After a dreadful experience on "Heat", Goldenthal came to "Public Enemies" prepared for Mann to be fickle about his musical choices. The film's needle-drops set the time period while Goldenthal scores it straight.

  Article on how film composers get into the industry and stay there long enough to make their marks. Goldenthal advises artistic humility: "Accept that you're not Mozart."

  Fluff piece on how film composers are approaching their latest movies. Goldenthal avoided being pinned down to the time period of "Public Enemies" in favor of evoking the character more.

  Bond talks to the composers of the year's biggest films. Goldenthal on "Public Enemies". He talks about an importance scene the music had to emphasize.

  On how Wagner's musical devices and orchestration are heard in movie music today. Goldenthal compares Wagner's interest in mythic proportions with the superhero craze of today.

  Lists the lineup for the 2010 Soundtrack Awards in Ghent. Goldenthal can't help but mention the great beer you can find there.

  Taymor and Goldenthal produce "The Tempest". Like "Titus", liberties are taken with the setting, characters, and musical approach. Goldenthal uses samples and sparse instrumentation rather than constant orchestra. Talks how he combines jazz, rock 'n' roll, et al. in the score.

  Goldenthal discusses underscoring Shakespeare's already-melodious dialogue. Describes the ethnic instrumentation he used. He recalls using a John Coltrane trick for the pipes in "Michael Collins". Compares the qualities of film versus theater.

  "Tempest" was recorded in New York. Goldenthal discusses how he avoids tripping over Shakespeare's language in favor of "musical punctuation". Uses one of his favorite instruments, the glass harmonica, along with didgeridoo.

  Imparts a life lesson from Copland and Corigliano: Go where you are wanted. Talks underscoring Shakespearean dialogue and pop songs. A film he would have liked to score is "Giant". Explains his aversion to action films.

  The 10 big scores of the year are profiled. For Goldenthal's "Tempest", where Shakespeare might have called for a lute in the 16th century, the 21st century calls for its popular equivalent: the electric guitar.

  Goldenthal joins a chorus of film composers who discuss publicist Ronni Chasen's relationships with them. Chasen was murdered the year before.

  Says glass harmonica is a favorite instrument. Notes the importance of technique over inspiration. Explains the detail with which Shakespeare included musical direction in some plays. He makes an interesting observation about how composers ought not change their 'voice' when writing between media. Says his Hollywood blockbuster days are over. Great story about Bob Elhai. Talks about 'composition as collision' and believes it began with growing up around such cultural diversity.

  Talks about the artistic independence which comes from having your own record label. Explains the humanistic consideration he put into "Frida's" orchestration (or lack thereof). Compares the bank robbers in "Heat" to jihadis. Shares plans for a film version of "The Transposed Heads".

  A performance of Goldenthal's work will be held in Krakow. He arranged suites of "Titus", "Batman Forever", and others for the event. He discusses the artistic challenges of revisiting old work like that, and the considerations of posterity as one gets older. Recalls the behind-the-scenes chaos of "Alien 3".

  Interview during Goldenthal's Krakow concert. Talks "Fool's Fire", "Alien 3", and "Titus" (stage vs. screen). He talks about rearranging film scores for CD. He plans to sell recordings of 'Grendel'.

  The Foundation honors successful artists for whom "NYFA provided critical support early in their careers". Goldenthal was a NYFA fellow in 1989.

  Goldenthal demonstrates his preference for remaining left of Hollywood by ignoring the question and talking about his own theater music.

  Brief report on Goldenthal's recording session for 'A Midsummer Night's Dream'.

  The Pacific Symphony will play a series of film composers' concert works. Goldenthal's Symphony in G# Minor will premiere... but does it have a hidden message for music critics?

  Goldenthal discusses his new symphony in G# minor. He explains how it sounds off-tune in relation to the tones we ordinarily hear from both orchestras and machines. He mentions the musical diversity which he experienced as a boy.

  Goldenthal says he is planning for filmed versions of 'A Midsummer Night's Dream' and 'The Transposed Heads'. His recently-written Symphony in G# minor was written in a month. As he gets older, Goldenthal thinks more about his productivity and what he wants to preserve for posterity. He complains of critics' dislike of film music; it is worth noting that his symphony, which received strong critical reviews, was quietly adapted from "Sphere" and "Final Fantasy".

  Goldenthal receives an ASCAP award along with Deborah Lurie.

  'Othello' remains in high demand, which pleases Goldenthal. The author lists many of Goldenthal's award nominations, including an Oscar and a Pulitzer.

  An anyonymous poster relates witnessing several of Goldenthal's recording sessions first-hand, and alcohol concerns.

  Discusses the challenges of composing around Shakespeare's own lyricism. Cites "Breaking Bad" as an example of good modern television scoring, and doesn't necessarily bemoan the lack of melody in today's soundtracks. He looks back and sees Herrmann doing the same thing as people do today. Discusses a scene in "Heat" which he wrote under an Americana influence.

  Cites "Across the Universe" as his biggest challenge in film. For him, nothing is worse than seeing his name on a movie poster before he's even finished writing the score.

  Goldenthal changed some of music for the film version of "Midsummer Night's Dream". His music had to hit cues more often in the film. Goldenthal offers thoughts about how composers incorporate styles of the past yet still sound of their own time. He mentions the importance of diversifying artistic pursuits.

  Do you still have the recordings you made for that film, for a Zarathustra release someday? I saw this film on Youtube once - your music was lovely and blend so well with Shostakovich's String Quartet No. 8. Alas no. Unable to find the original tapes.

  Goldenthal discusses how he approaches different genres of film. In concert works, like his trumpet concerto, he has the liberty to be more concerned with the piece's own architecture rather than the film's. He says that this world has too much noise and fingers techno/EDM as the problem. He notes that winning an Oscar hurts your career because people assume you're too expensive. He discusses his teen years and how he was witness to many musical legends, and saw the growth of hip-hop firsthand.

  In this Irish publication, Goldenthal discusses his Neil Jordan films. The occasion for his visit to the Emerald Isle is a special performance of his film works. As a teen, he saw many films coming out of the New York art circles, allowing him to see movies from more than a commerical viewpoint.

  Goldenthal thinks back to his childhood and how music blossomed from a private to public aspect of his life. He talks about his lessons with Aaron Copland and John Corigliano, and the ways they challenged him artistically. He discusses his inclinations for certain key signatures. Talks recent projects such as 'M. Butterfly', his Trumpet Concerto, and "Our Souls at Night".

  Goldenthal discusses the usual stories behind "Interview with the Vampire", "Alien 3", and "Michael Collins". Talks his early film ventures like "Cocaine Cowboy". Talks about the "300" situation and how that affected his relationship with Warners. Explains why he does not conduct his own work.

  "Alien" fanboy asks Goldenthal about his score. Goldenthal shares his horror stories about the film's post-production, the effect of the L.A. riots, and the regrettable mixing decisions on the final cut. In a rare acknowledgement of his proclivity in the '90s, he discusses the intent behind his "Batman" films compared to the ones made today.

  Goldenthal logs onto the pre-show for the Pacific Symphony's performance of his new 'October Light' piece. He talks about the piece's inspiration by the death of the Symphony's violinist and by a John Gardner novel.

  Four actresses play the same character, so Goldenthal wove them together through music. As the film travels through he 20th century, Goldenthal incorporated different styles of the periods. He describes a change Taymor encouraged him to make in one scene, an alteration from darkness to comedy. He describes the difficulty of mixing an album remotely due to Covid restrictions.

  For continuity throughout the time-traveling film, Goldenthal used an electric guitar.

  Explains how the electric guitar is the seminal instrument of America from the 1930s on. Talks his youthful inspiration for music. Some discussion of "Batman" and "Demolition Man".

  Goldenthal wanted to avoid making Steinem a titanic figure through the music and preferred to leave big orchestral swells for situations rather than people. Talks about Indian percussion for one scene.

  Discusses the feminist thinking by Frida Kahlo and Gloria Steinem. Explains how Mexico has dozens of different musical styles and that he did not approach the film's music authentically, but rather as a traveler. Discusses the imagery of the Greyhound bus on "The Glorias" and the tornado sequence. Describes his dark inspiration for a sony cycle about totalitarianism.

  On the connection of the electric guitar with the film's timeless Greyhound bus.

  Goldenthal had the privilege of spending time with Penderecki not long before his death. He talks about Penderecki's techniques, the influence his work had throughout his life, the complexity of his orchestration, and the characteristics of certain pieces.

  Discussion of relationships with Aaron Copland, Julie Taymor, and John Corigliano. He goes over the same old stories regarding "Interview" and "Michael Collins". He describes the fun but stringent time recording "Frida".