After boldly leaving Disney during the latter’s late-70s doldrums, animator Don Bluth and his compatriots made a series of well-regarded films in the 1980s, from The Secret of NIMH to An American Tail to The Land Before Time. But Bluth was unable to capitalize on the films’ success, and his output in the 1990s was a series of box office bombs and creative compromises that eventually led to the bankruptcy of his studio. Hired by Fox to head its new Fox Animation Studios, Bluth’s Anastasia was a Disney-size hit in 1997, with a bevy of Oscar nominations to boot, but Bluth’s second feature for Fox, 2000’s Titan A.E., was not. Despite an innovative visual style combining cel and 3D animation, the talents of a diverse group of collaborators including Joss Whedon and Matt Damon, and an eye-popping trailer before The Phantom Menace, the ambitious science fiction animation never found an audience. Perhaps parents were put off by the violent destruction of Earth in the film’s trailer and opening; in any case, the film was the first in a series of high-profile cel animation adventures to underperform in the 2000s which led studios to move toward 3D as “the format people wanted to see.” Bluth never made another movie, and Fox Animation was dissolved.
Bluth had collaborated with a diverse array of composers in his earlier animation work, from Jerry Goldsmith and James Horner in his 1980s salad days to Robert Folk and David Newman in the 1990s. For Titan A.E., though, New Zelander Graeme Revell was signed to score. Revell had an incredibly diverse career since making his mark with Child’s Play 2 in 1990, dabbling in everything from popcorn fantasy (Power Rangers) to horror (From Dusk Till Dawn) to superheroes (The Crow). In 2000, though, Revell was primarily known as an action composer on the back of efforts like The Negotiator, and it’s likely for that reason Bluth chose him for Titan A.E.. Unlike Bluth’s earlier efforts, though, there was a definite attempt to appeal to a youth demographic from Fox, so Revell’s score was forced to jostle for screen time with an array of banal late-90s rock songs. To help add an electronic edge to the work, Revell also brought on former Tangerine Dream member (and future film composer in his own right) Paul Haslinger as an arranger and synthesizer performer.
With a palette including Haslinger’s electronics and a full orchestra with choir, Revell’s approach to the score is grounded in an overarching theme that he holds to through much of the music. First heard on gentle piano in “Prologue/Drej Attack” and wistful Star Trek brass in “Wow,” Revell puts his Titan theme through plenty of variations similar to the way Jerry Goldsmith often played with his main themes at the time, but none is more satisfying than its massive statements for the film’s biggest triumphs. The first hint of choral majesty in “The Broken Moon” gives way to the film and score’s stunning finale in “Creation/Bob” when Revell lets his theme rip in all its glory with full brassy orchestra, chorus, and Haslinger’s electronic pulses. It’s a stunning statement of sci-fi awe, and one of the finest and most satisfying moments of the composer’s career, finishing out with a tender love-theme rendition of the primary motif for the film’s denouement (and its funniest Whedon-scripted line).
There’s solid orchestral writing throughout the score even when Revell isn’t developing his primary theme as well, like the mournful vocals of “Recovery” or the sci-fi wonder of “Don’t Lose ‘Em.” But, unfortunately, there is also material that’s much less compelling: for many of the movie’s big action setpieces, Revell and Haslinger resort to a pounding series of repetitive and simplistic drum beats (“Hydrogen Forest Chase,” “The Dreaded Drej”) that’s deeply out of sync with the more orchestral parts of the score; perhaps a need to make room and/or fit in with the dreadful 90s-style rock songs led to that approach. Worse still is the music for the alien Drej antagonists and their queen; beings of pure energy, they are represented by Haslinger’s electronics at their harshest and most unrestrained (“Start Running, Keep Running,” “Mother Drej,” parts of “Power Struggle”). The simplistic action and temple-pounding Drej synths simply don’t play nice with the rest of what is otherwise a superior score, dragging significant portions of it down to near-unlistenable levels.
Titan A.E.‘s failure has made it, to date, Graeme Revell’s only animated feature. But his career prospered in the 2000s with a number of science fiction and horror films from Pitch Black to Daredevil before gradually petering out in the 2010s. Thanks to Fox’s ill-fated marketing attempts there was a Titan soundtrack, but it was strictly composed of songs without a note of Revell’s score. Good-quality bootlegs abounded but it wasn’t until 2014 that La-La Land Records put out the complete score as part of a limited edition. While the music isn’t perfect, with an overreliance on harsh electronic textures and being forced to tiptoe around songs, Revell’s grand main theme and especially its outings in the first and last cues make the album worth the effort. Like the film it accompanies, the music isn’t Oscar caliber but remains sorely underrated.