Jean-Baptiste Martin

@JayI only did the first three pieces from memory. I had stopped because I didn't have enough time to do it before the review was published. @Tallguy Yes! It is the culmination of ten years of research and four years of writing. The source material comprises 400 referenced sources, including 70 exclusive interviews with directors, producers, and musicians, as well as 30 hours of recorded interviews with James Horner’s family and close associates.

@Jay@WampaRat Thank you for the positive comments. I have achieved my goal if it helps you enjoy the album. The first time I did this style of chart was for Collage (2015), I had started doing it for The Rocketeer in 2016 when Intrada released the full score. But I didn't put them online. Maybe one day when the book will be finished.

Thank you for the comments on my theme analysis. This is the first time I've read them. I wrote this seven years ago now... And in 2020 I had updated the text when the expanded edition came out: http://jameshorner-filmmusic.com/legends-of-the-fall-expanded-edition-our-exclusive-review/ I had fun to put logos for each theme and also I had made a commented tracklist which is visible here and downloadable in PDF format: https://www.patreon.com/posts/36204977 The B theme is indeed heard 10 times during the first hour of the movie. But it is completely absent during the second hour. It comes back only during the very last scene.

Eric Rigler, uilleann pipe Tony Hinnigan, pipe, penny whistle, flutes Eileen Ivers, violin Zan McLeod, bouzouki Tommy Hayes, bodhrân Finally the LLL edition is coherent because it includes only the recordings made for the film and excludes all the recordings from July 1998 made for Back to Titanic.

Yes the absence in the Omni Book is really curious because all the other alternative versions are in there. I only said "rule" to refer to Amer's message. I don't think that rules prevented the publication of the alternate version because I actually find it less close to Carmina Burana.

But I want to make it clear again that these are my interpretations from all the data I have. I could be wrong. When you will hear "The Battle of Grimball's Landing" and the alternate version of Charging Fort Wagner in a few days, you may understand better why I think this.

I don't claim to know the truth. You probably know that James Horner wrote some tracks twice because Zwick didn't like a theme (The 54th Regiment Theme - C on my infographic.). Upon hearing it on the piano, Zwick thought it was a Love Theme. So James Horner wrote alternate versions that he didn't use because Edward Zwick finally loved the "love theme" played by the orchestra. I think the process was the same for Charging Fort Wagner. James Horner explained how Zwick forced him to get closer and closer to Carmina Burana in a legally dangerous way. James Horner wrote a first version (Alternate of the 2021 edition) which is an extension of "The Battle of Grimball's Landing" but also a second one closer to Carmina Burana to satisfy Ed Zwick, the version we know since 1990. For the book, I interviewed Horner's closest collaborators and it was clear that Zwick knew exactly what he wanted and that it was difficult to negotiate.That's why the number of collaborations ended up being three films.

In this case I still need to improve my English because I thought Amer was talking about the version we can finally hear in 2021 because some rules have changed.

Sorry if I misunderstood but when I read "The 2nd version of Charging Fort Wagner was probably excluded" I think of the alternate version.

As I explain in my article, I think it's the other way around. The alternate seems to be the version intended by James Horner because some elements are in the continuity of "The Battle of Grimball's Landing"

@Jay Thank you for sharing the articles. Writing and putting them online takes so much time that sometimes I need to do something else before I come here to share the links.

Yes I remember her daughter telling us about this tattoo at the Zoom meeting with her on Patreon. The recording is visible on the page. I will check it. @Marian Schedenig Thanks for the pictures! I will contact you when the time comes to get the Raw files of 2 or 3 pictures.

I couldn't have the same experience as you because I was 3 years old in 1981. People like Douglass Trumbull, Nicholas Meyer told us about Wolfen. This music impressed them.

@bruce marshall Michael Wadleigh is still alive but he had already left the project when James Horner arrived. For Wolfen we have collected the memories of music editor Robert Badami.

It would be great to add some pictures taken by Marian indeed! The goal is to have as many pictures as possible. I'll keep myself 6 months after the writing for the layout and the negotiation of the rights to use the photos.

Thank you Thor. Regarding Jim Cameron, you're right, he is very busy. I think he's making movies right now. And then he's already talked a lot about James Horner on many occasions. It's the same for Ron Howard and Mel Gibson. So I already have in the database a lot of quotes from these three directors. I'll just have a few questions about The Missing to Ron Howard, and Apocalypto to Mel Gibson. So I concentrated on the other collaborators to get new information on as many films as possible. Yes Kim helps me a lot. Our team is international!

I had started to talk about it on the previous page. Yes, even in France we listen to film music.

As the topic is active these last days, I take the opportunity to give some news about the writing of the book. The chapters on the 80's and 90's are written. There are about 600 pages so far. And there is still the whole 2000-2015 period to do! As an example, the chapter on Titanic has pages of description of the process of creating the music, week-by-week. This is not 40 pages of commentary and musical analysis, but the behind the scenes of the creation of the music. None of this would be possible without James Horner’s collaborators, who shared their memories in dozens of hours of interviews and archival material as we endeavor to be as accurate as possible. James Horner’s close collaborators and his family are not the only ones to participate. Here the list of directors, producers, and assistants interviewed for the book: Lewis Teague (Lady in Red) Roger Corman (Lady in Red, Up From The Depths, Humanoids from the Deep, Battle Beyond The Stars) Nicholas Meyer (Star Trek II, Volunteers, The Pied Piper of Hamelin) Lynne Littman (Testament, In Her Own Time) Douglas Trumbull (Brainstorm, Let’s Go) Walter Hill (48 Hrs. Streets of Fire, Red Heat, Cutting Cards, Another 48Hrs.) Christopher Cain (The Stone Boy, Where the River Runs Black, Young Guns) Michael Dinner (Heaven Help Us, Off Beat) Jeremy Kagan (The Journey of Natty Gann) Don Bluth (An American Tail, The Land Before Time) Gary Goldman (An American Tail, The Land Before Time) Jean-Jacques Annaud (The Name of the Rose, Enemy at the Gates,Black Gold, Wolf Totem) Matthew Robbins (Batteries Not Included) Phil Alden Robinson (Field of Dreams, Sneakers, Freedom Song) David Kirschner (An American Tail 1 & 2, Fish Police / Hocus Pocus, 
Once Upon A Forest, The Pagemaster) Charles Grosvenor (Once Upon A Forest) Marshall Herskovitz (Extreme Close-Up, Jack The Bear, Legends of the Fall) Mikael Salomon (A Far Off Place) Philip Noyce (Patriot Games, Clear and Present Danger) Simon Wells (An American Tail 2, We're Back!: A Dinosaur's Story, Balto) Bonnie Curtis (We're Back!: A Dinosaur's Story, Casper, The Chumscrubber) Brad Silberling (Casper) Michael Pressman (To Gillian on Her 37th Birthday) Jonathan Dana (The Spitfire Grill) Ron Underwood (Mighty Joe Young) Shekhar Kapur (The Four Feathers) Vadim Perelman (House of Sand and Fog, 
The Life Before Her Eyes) Rowdy Herrington (Bobby Jones: Stroke of Genius) Arie Posin (The Chumscrubber) Mark Herman (The Boy in the Striped Pajamas) Harald Zwart (The Karate Kid) Brian J. Terwilliger (Living in the Age of Airplanes) I regularly share the progress of the work in writing or in video format on the Patreon page: https://www.patreon.com/jhfm Patrons benefit from exclusive content. For example, since the beginning of the year, they have been able to discuss with the daughter and the wife of the composer. Donations are used for research and for the rights to use the images in the book. We are also working on an album and a documentary. If there are any patrons on this forum, I would like to tell them: Thank you for your support. You can be proud because without you, none of this would be possible.

For the past six months, James Horner Film Music has embarked on an exciting new phase in its charter to celebrate and preserve the legacy of James Horner's career that I've been reluctant to share here, being somewhat apprehensive of the varied responses it might yield. However, not presenting it here denies a potential audience important news and opportunities that I think is worthy of your consideration. James Horner’s disappearance has left a void. Yes, his music remains but the problem is that we no longer have his new music that used to rock our lives month after month, year after year. We no longer have the excitement of new projects. We don’t have the interviews that revealed the other side of the story and the creative process. James Horner Film Music has been trying since 2015 to solve this problem, to fill this void by bringing the composer’s work to life. We want to relive the excitement, the joy of discovery. Since 2018, following our visit to his studio, we have embarked on several ambitious projects: Organize a concert with several rare and almost unknown concert works on 7 May 2021 in Sczecin, Poland. Collaborating on a new video documentary short about James Horner, which will premiere as part of the concert experience in Szczecin. Recording and releasing an album featuring the rare, almost unheard concert works. Write a reference book on the composer to be published in English and French. The book is being written after two years of data collection. All living directors have been contacted for an interview. Thus the book will present the unpublished testimonies of Roger Corman, Walter Hill, Nicholas Meyer, Christopher Cain, Jean-Jacques Annaud and many others. Numerous correspondences have been made with the composer’s closest collaborators and family in order to tell the story of his career in the most accurate way possible. 150 interviews of the composer (including about fifteen unpublished or rare ones) have been collected in order to offer the most complete description of his career. For several months now, many people have been supporting the projects and following their progress, while benefiting from new and exclusive content. If you're interested in joining them, please visit: https://www.patreon.com/jhfm James Horner Film Music is offering an opportunity to dive into the heart of our projects, see what goes on behind the scenes, get to know us better, experience our news live and access exclusive digital content. For our part, we want to deepen our relationship with you and offer you more and more content. If you, too, want to be more familair with our endeavors and who we are, if you believe in our work and want to nurture and foster it in the long term, then please join us on Patreon. We have already published on our Patreon page about forty articles with images, unpublished videos, audio excerpts from A Forest Passage, the table of contents and excerpts from our book... And our patrons have come together on Discord (a modern voice & text chat app), which is a place of sharing for fans of James Horner’s music. In the nine years since James Horner Film Music was established, we've accomplished a great deal, having shared nearly 300 articles about the music of James Horner. But there is still so much more to do in the service of properly honoring our beloved maestro's legacy. The contributions of our patrons will be used to finance our projects: rights to use images for the book, filming and editing costs for the documentary, developing the concert events, and an uncountable host of other activities necessary to continue this work. If you have enjoyed our work in the past and want to contribute to its future, we hope you will consider becoming a patron. Visit https://www.patreon.com/jhfm; with your help, we'd love to see you at a concert, CD release, or book event!

http://jameshorner-filmmusic.com/wolf-totem-north-american-release/

THE NORWEGIAN PREMIERE OF PAS DE DEUX: THE MUSICIANS’ PERSPECTIVE PAS DE DEUX: A DANCE CONCERTO THE NORWEGIAN PREMIERE OF PAS DE DEUX: A CONVERSATION WITH JAMES HORNER, MARI AND HÅKON SAMUELSEN

THE 33: FIRST SCORE SAMPLES 20th Century Fox has released two clips, each containing footage from The 33, providing us with the first samples of James Horner's music. http://jameshorner-filmmusic.com/the-33-first-score-samples/

eDIT FILMMAKER’S FESTIVAL: MASTER CLASS WITH JAMES HORNER CINEMA MUSICA: INTERVIEW WITH JAMES HORNER THE NAME OF THE ROSE: JAMES HORNER’S POETICS BAFTA GURU: A CONVERSATION WITH JAMES HORNER WOLF TOTEM: JAMES AND THE WOLF SOUTHPAW: FIRST LISTEN ANTOINE FUQUA: “JAMES HORNER WROTE THE MUSIC FOR MAGNIFICENT SEVEN” ALLEGRETTO: JAMES HORNER FILM MUSIC MAGAZINE AVATAR, HACKSAW RIDGE, 12TH MAN: AN UNWRITTEN FUTURE

SEARCHING FOR BOBBY FISCHER EXPANDED RELEASE REVIEWED James Horner Film Music reviews La-La Land Records’ expanded and re-mastered release of Searching for Bobby Fischer http://jameshorner-filmmusic.com/searching-for-bobby-fischer-expanded-release-reviewed/ SEARCHING FOR BOBBY FISCHER: AN EXPLORATION IN RHYTHM His article analyzes the compositional elements surrounding rhythm that Horner uses in Searching for Bobby Fischer's "Josh and Vinnie". http://jameshorner-filmmusic.com/searching-for-bobby-fischer-an-exploration-in-rhythm/

WOLF TOTEM: CONTEST AND AUDIO EXCERPT In partnership with Milan Music, we offer a chance to win the new album by James Horner. Five copies are up for grabs. Exclusively we share with you a listen of the first track. http://jameshorner-filmmusic.com/wolf-totem-a-contest-and-a-audio-excerpt/