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I know him for his action cues pretty well, actually!
We should just make a list of the ones that he hasn't re-used elsewhere. Here are some.
A Far Off Place has some great action cues that oddly, he's never referenced since. Check out "The Slaughter" and "The Swamp" (which at least sounds like Horner).
A few of the absolutely essential to life unreleased cues from Sneakers have never been referenced EVER again (the sequence where Carl goes into Playtronics is just great).
"Hot Pursuit" from We're Back is lighthearted, and almost sounds more like Silvestri, but it's worthy of a mention here.
"Manual Burn" from Apollo 13 is intense.
The first forty seconds or so from "The Comet's Sunrise" from Deep Impact (before the incredibly boring rest of the cue).
"The Hit" from Patriot Games, especially in the film, where the shakuhachi blasts are crazy effective.
"Al Bathra" from Courage Under Fire was great, until Titanic quoted it note-for-note and sullied its good name.
"Falkirk" from Braveheart is also very exciting.
If you can look past the Star Trek-isms in it, "The Flying Circus" from The Rocketeer is a tour de force with amazing orchestration that you just don't hear nowadays. Everything he does nowadays sounds like the gluten-free version of his earlier work.
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"The Hit" from Patriot Games, especially in the film, where the shakuhachi blasts are crazy effective.
I always feel like I'm the only person who loves the PATRIOT GAMES score. Some of it meanders, but on the whole I find it to be a great listen, and one of the best examples of Horner marrying his early 90's avant garde synthesized sound with some emotional heft. The main titles are beautifully evocative.
Sticking with the Jack Ryan franchise, mention must be made of "The Ambush" from CLEAR AND PRESENT DANGER, probably my favorite long-form Horner cue. A total marvel of musical construction.
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"The Hit" from Patriot Games, especially in the film, where the shakuhachi blasts are crazy effective.
I always feel like I'm the only person who loves the PATRIOT GAMES score. Some of it meanders, but on the whole I find it to be a great listen, and one of the best examples of Horner marrying his early 90's avant garde synthesized sound with some emotional heft. The main titles are beautifully evocative.
Sticking with the Jack Ryan franchise, mention must be made of "The Ambush" from CLEAR AND PRESENT DANGER, probably my favorite long-form Horner cue. A total marvel of musical construction.
That's a good choice, too. The film version is slightly different, and I'd like to hear that version (that hair-raising piano/xylophone? before another missle is fired at the convoy). Also great is his 1994 update of the 1993 Pelican Brief update of his 1992 Sneakers score, for the helicopter rescue finale (another unreleased cue).
Patriot Games is a great score!
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QUEST FOR THE GLAIVE - KRULL
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It's not that inconceivable, is it? Action music makes people feel excited; excited people tend to drive faster and more recklessly. The music elicits an emotional reaction and the emotions affect performance in a complicated task.
I'm totally one of those people. Listening to the all-action CDr I made from "Aliens" is a good recipe for a speeding ticket, especially during "Bishop's Countdown."
Then you shouldn't be on the road! I've listened to hours of action music in the car and it never leads me to pressing harder on the gas pedal. You are responsible for piloting a 2 ton machine where any type of reckless behavior could cost someone's life. Sorry to say but that's incredibly irresponsible!
-Erik-
Yeah, man. Let's have a serious discussion about driver's education right now!
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It is in my top 5 favorite Horner scores. "The Hit" is my favorite cue from that score, and a tremendous action piece. As is "The Ambush" from Clear and Present Danger.
