Horner Corner

Compiled by Lukas Kendall

First off, sorry about the delay in loading yesterday's column, an interesting report and speculation by Jeffrey Wheeler on a little movie coming up called Star Wars: Episode One. The column was blank until I finally uploaded the thing around mid-day.

I got the 2CD set of Star Trek: The Motion Picture (Goldsmith, expanded) coupled with Inside Star Trek. Wow... ST:TMP is so unbelievably great. The movie is getting better with age too, as subsequent Trek movies get more and more cartoonish. Something I've always loved about TMP is the way it depicts an entire future universe in which Goldsmith's main title melody is the anthem for all of humanity in this utopian organization: questing, and forceful, but also optimistic and non-military. It never sounded better than in the main title for TMP, or in the cut from Vulcan to San Francisco as Kirk's shuttle arrives. When that shuttle lands, and all the people in their trippy '70s sci-fi outfits go by, I'm always thinking, what a cool world. There's a certain quality to the playing in the trumpets that has not been matched in any of the sequels or recordings of the theme -- just the way the notes are connected and sustained. In subsequent recordings it always sounds punchy and percussive, but in TMP it really sings.

The following are in response to last week's column regarding James Horner:

From: AFREEET@aol.com

In reply to the letter about Horner improving his writing after winning the Oscar, I must say a couple of things... I believe, and correct me if I'm wrong, that both Zoro and Mighty Joe Young were written before Horner had actually won the oscar. It was to my understanding that MJY was delayed from last Christmas to this year or such. They were just relaesed after the oscars.

But the more interesting thing is that, as much as I love Horner's score for Zorro, I found out that even the spanish suporting themes were actually taken from existing works. Specifically, the pizzicato triplets all over the movie, are in an existing famous piece of spanish music. But I was never able to find out what it was called. And someone said that Mighty Joe Young sounded a lot like project X, so how original is that? But I love how Horner fits the music to support the film, and I think that he is an absolute craftsman at supporting the drama on the screen. I am very anxious to actually hear his next score, because I think that that one will be the actually first score composed by post-Oscar Horner.

From: Christian LAULIAC, CLauliac@aol.com

I must admit that James Horner's music is a blessing in a certain way. One must admit that no composer ever stirred such a controversy, at least as far as film music is concerned. We have to be thankful have to be thankful for that.

But I do not think that James Horner is really making a comeback; I think he is merely writing the same music he used to before colliding with an iceberg. His scores are mostly pleasant, well-crafted. Sometimes they are quite mundane . For instance I do not think that "The Mask of Zorro" is such a great score. I think Horner relies too heavily on that whole flamenco-type / big orchestral mix. In fact I think this is one of his most predictable scores of last year, with its main theme completely stolen from Miklos Rozsa's El Cid, not to mention a very odd similarity with the "River lullaby"'s song from The Prince of Egypt !

And while Rozsa was integrating medieval spanish music within his own harmonic and melodic language, Horner just relies on the same predictable musical scales. He uses that whole spanish languages ad nauseam; I even think the music went against the movie : "It's O.K. we know the movie is set in California ! Give us a break"! It was a bit heavy-handed.

I find Horner to be more comfortable with his brave and noble Americana musical side, as displayed in Field of Dreams, In Country, Courage Under Fire or Deep Impact. I think his music is much more effective when he writes in this fully orchestral idiom. We grow tired of his easy-listening use of ethnic music. Don't you think this approach has now become a bit obvious ? In fact, I could guess the type of score he was going to write for Titanic, The Mask of Zorro or even Mighty Joe Young before seeing the movies!

I do not mean to state that ethnic music must be avoided in film music. But I do believe that Horner's approach is not that innovative. Just think of the way Ennio Morricone integrates South American harmonies in The Mission, not to mention Jerry Goldsmith's brilliant use of the same language in Under Fire or Medicine Man....

I was therefore quite appaled to read in Dreams to Dream...s (the Horner Appreciation / preservation society) that Mr. Horner considers himself a more innovative composer than John Williams. Horner goes on, saying that Williams is brilliant but writes in a "more conventional way". Truly schocking if you pay a close listen to Titanic or The Mask of Zorro. Both form and content follow the Hollywood type score : a very thematic approach, lots of underscoring. I think John Williams approaches african music much more convincingly in Amistad. But Williams belongs to the heavy-weight category, doesn't he ?

James Horner, as far as I am concerned, is a traditionalist. He may think he is not by resorting to ethnic/electronic colorings, but he is not fooling anyone. He is thoroughly conventional, not to say that he lacks talent. In fact he is quite gifted and doess possess a knack for melody. I just do not think he will ever write scores as brilliant as Chinatown, Alien or The Butcher Boy...

From: Terry Hartzell, ARK3FAN@aol.com

First, I have to clarify I am not a Horner-basher. I agree with many of the criticisms aimed against him. On the other hand, I thoroughly enjoy his scores to "Field of Dreams", "Mask of Zorro", and parts of "The Rocketeer" and "Braveheart".

However, I find the following theory disconcerting: ", isn't it possible that Horner could've been resentful about his losses--feeling that his talent wasn't ever rewarded--causing him to not "put his all" into the work? "

If anyone has the right to be resentful about not winning Oscars, it's Jerry Goldsmith. How could he not have won for "Patton", "Planet of the Apes" and "The Sand Pebbles"? And yet, in his recent concert appearance at Carnegie Hall, he mentioned the losses with an almost amused attitude of acceptance and was resigned to accept his fate as being one of Oscar's most talented bridesmaids. Thank goodness he didn't let his disappointments affect the quality of his work.

Hopefully, Horner is above the attitude expressed by theory.

From: Abdiel Salazar Jr., Piping77@aol.com

I just read the Horner Comeback article and found it rather interesting. I agree that Horner's music of the 80's is a lot better than his music for the 90's, but I think the turning point was in 1989.

The mid-80's(1982-85) heard his interesting and inspired scores to films like Star Trek II, Krull, Brainstorm, Cocoon. Even his scores to 48hrs, and Commando were interesting and innovative(think pounded steel drums).

By about 1986 his productivity was high, but quality gradually began to decline. The late 80's(1986-89) still had great scores like Willow, Field of Dreams, Land Before Time, and Batteries Not Included(a very sentimental score), but these are only a few in an increasing amount of work. They are just not as inventive and interesting as his mid-80's output.

I don't think he became totally apathetic. Perhaps he "burned out." He was working too much and needed a rest to gain new ideas (something he really needs-remember '93). I agree that a lot of his 90's scores have the mix of his usual orchestration and themes, but his scores to Mask of Zorro and Mighty Joe Young do sound like a slight comeback. We actually need to hear perhaps a couple more scores to be sure(he was a wee bit unoriginal in Mighty Joe Young- remember Legends of the Fall).

The thing is, he is too young to burn out. He is only in his mid-40's. Goldsmith and Williams were in their 40's in the 1960-70's and they were just starting!

Perhaps James Horner could use a more than decent movie to score. I don't know.

From: Timothy Kurkoski <kurkoskt@oit.edu>

Can anyone validate my theory? Every, EVERY Horner score I've ever heard, has bells in it. Sometimes they're warranted and can have a certain dramatic effect, such as in Glory. Sometimes though, they just seem out of nowhere.

Example: In Sneakers, towards the middle of "Whistler's Rescue" there is a chime of bells. No where else in the score are bells used (at least not on the cues on the CD). It seems a little odd to me. They sound totally out of place for the otherwise jazzy style.

Deep Impact, C&P Danger, Braveheart, every Horner score I've heard has bells in it somewhere. Some more than others, some more appropriate sounding. Has anyone else been struck by this unusual aspect of Horner's writing?

From: Chris Kinsinger <76263.2355@compuserve.com>

Since Jason Foster's article on "Horner's Comeback" throws out so many ideas that are born of mere opinion, I would like to toss MY hat into that ring. . .

Consider This Scenario:

In the early 1980's, James Horner was a budding young, UNKNOWN talent. He was, in short, HUNGRY.

Hungry for success, and hungry for recognition.

Hungry also for the Big Money that the studios are willing to spend.

On his earliest assignments, Horner was giving everything he had to make a mark in the industry.

He succeeded magnificently!

Then, he rested upon his Laurels.

Jason's article cites TEN "interchangeable" film scores during the calendar year of 1993!

Sounds to me like an artist who bought a new car & a new house and DESPERATELY NEEDS to PAY THOSE BILLS!!!

Now that the bills are paid, and the Oscars have been secured, James Horner has entered Stage Three of his career. . .

I hope it includes some ORIGINAL music!

Here's my opinion, in case anyone cares. I liked Horner's Zorro and Mighty Joe Young scores last year. I think a lot of the speculation as to what's going on inside his head is interesting, but probably wrong, just because here's a guy with talent and experiences that we, as fans, really have no way of understanding. So anyone reading this column who knows Horner, or, um, IS Horner, probably thinks we're all idiots. Thank you for tuning in for another day; go enjoy your Star Trek: The Motion Picture CD. By the way, did you know that Joel Goldsmith, Jerry's son, worked on that movie on the sound designing team? See, you learn stuff at FSM every day!

MailBag@filmscoremonthly.com