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I have the original album, and honestly, I’m content with that. Don’t get me wrong, I think it’s a good film, but don’t like that the main theme is blatantly “derived” (to put it politely) from Prokofiev’s Ivan the Terrible (as well as his War and Peace Opera).
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Insta-buy.
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Dear MV,
Will the OST be remastered as well on Disc 2,? The ost did win a Grammy Award for best Instrumental track. Was this a criteria to be part of the deal with the studio to reissue the ost Program in addition to the film program on disc 1?
You'll find out in 12 days
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That would be nice, we need to see if this comes to frution but becuase ZORRO is TriStar / Sony thing which makes it it complicated. The 25th Anniversary is due in July, 2023.
Why does TriStar/Sony make it complicated?
Yavar
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Posted: |
Sep 9, 2021 - 2:09 AM
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By: |
Amer Zahid
(Member)
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We all know how much 'Charging Fort Wagner' cue sounds so similar to the famous Classcial Piece Carmina Burana and how James Horner ripped it off for GLORY.
But the actually truth is how much he was forced if not influenced by the director to use the piece in the tapestry of the score. In 1992 James Horner did a 1 Hour Master Class Seminar for UCLA students. The entire session is taped and available on youtube. You can see that Horner explain in detail how the whole thing about the cue came to being and how he saved the film makers from being sued becuase the director were literally obsessed with the cue. Its a classical case of temp tracking and falling in love with it.
Ive just painstakingly transcribed the entire GLORY segment for you to read and relfect.
The actual discussion starts around 16 minutes.
https://youtu.be/gHIsCsXTBFM
Enjoy:
JAMES HORNER: [In] the last scene of GLORY.. The storming of Fort Wagner in the end, the director had put in temporary music: ‘Carmina Burana’ which most of you all know and is certainly a big classical 'Warhorse' so to speak, its been used everywhere on movies, in concerts. And it’s a very popular piece.
JAMES HORNER: “ He put it in for the sequence and he fell in love with it. He knew he couldn’t get it. He knew he couldn’t license it, he knew he couldn’t have it literally, but he asked me to write it sideways.
JAMES HORNER: And as an composer..
(Class Audience starts Giggling)
JAMES HORNER: …as an artist You say: Right, well, It’s over here ; you start over here. I know what he wants, I know what HE is after. It has to be done with a chorus and orchestra; it has to have a drive. And I would play for him and gradually over the course of the 3 weeks prior to the scoring sessions, he wasn’t happy, he wasn’t happy, he wasn’t happy, he wasn’t happy [indicating the sequences visually] until he was very close to where I was uncomfortable with it legally. That I felt, that he forced me into a position that I could either refuse to do the piece of music or apprise everybody that we had a legal problem and do it anyway. Which I did. But, its a .. when you know how to work the system, I knew this if I got too close to it legally he will be really screwed because he wouldn’t be able to not only use my piece of music that I recorded. He wouldn’t, he still wouldn’t be able to use Carmina Burana. What would happen is that (legally) I‘ll be forced to record a third piece of music for the sequence. And the lawyers would be telling him: you can’t have what you want that James do the score; but legally he has to do this. Okay?. And .. Ed Zwick, the director, left me alone. I did a new sequence that was original music and put it in and he ended it up liking it much better than any of the stuff that we’ve done before.
JAMES HORNER: But we never would have gone to that point unless I forced the issue by actually going legally to close the Carmina Burana or we would be sued by the Estate. All of those things happened. It’s fascinating. Sometimes, sometimes.. directors, you know, put temporary mood.. music in a movie ..and they would fall in love with it. And no composer alive can get him out of that way of thinking. That’s .. how he starts thinking. He edits the movie with that music in it, he dreams about it, he thinks about it, or she thinks about it ..
JAMES HORNER: Then they come to hire the poor composer….
[Class Audience starts laughing]
JAMES HORNER: …and they say: “the slate is clean I don’t have a preconception in my mind” You know.. all it takes is 20 minutes worth of him to find out…”No I don’t like that”, "No I don’t like that, ”No I don’t Like that” “ Well the temporary score we did this and it works very well for me” And you find that all of the directors do that. That’s part of working in Hollywood.
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GLORY alleluia a must buy for this excellent score.
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I've been previewing a lot lately!
