Edmilson

I'm going to dig out an old infographic I made a few years ago for a meeting with the project's patrons.
 

One decade = one volume
The number of projects is decreasing, but the number of pages is almost identical for each volume. Why is this? Because the more time passes, the more information is available... And also, part of volume 4 is devoted to independent chapters: the man and his passions, the 1046 appearances of the 4 notes...

Well this one is at least better than KOTCS. 

It's interesting to hear, because when I interviewed Gabriel Yared, were were discussing TROY and he never once said anything derogatory about Horner or his score. Of course that doesn't necessarily mean that he couldn't have, just that he was polite enough not to. His beef wasn't with Horner after all, but the producers. Too bad that Horner went public with his thoughts on Yared's score that people couldn't judge for themselves or Yared couldn't defend himself. 
 
@EdmilsonDo you by any chance have a link to the interview? I would love to listen to that bit. 

Fuck the AFM.
 
Buncha cunts.

He certainly seemed to have a certain level of autism judging by his interviews and videos and etc. Also, he didn't seem to have too many "social awareness" or whatever the way it's called, considering incidents like his infamous Troy interview where he gratuitously bashed Yared and his rejected score. I wouldn't be surprised to learn that Horner was the "weird kid" during his school years.
 
OTOH I remember reading somewhere that he dated Jerry Goldsmith's daughter in high school, so even in school he wasn't a complete Sheldon Cooper-like type.

As much as I tried, every time I watched the Shrek sequels the only times I noticed the scores were... when it played themes/cues from the first one. Still, I'd like to give them a chance on album one of these days.
 
But I think we can all agree that
HGW's best animated solo score is Sinbad; and His work has become significantly less interesting since the 2010s, animated or otherwise (though I like The Martian).

The Williams has to be The Patriot, right? Right?
 
And even if it's not, then it's probably Nixon, which features even more unreleased music.

Two Horners? Two Youngs? Barry? JNH? Williams?!?
 
OMG OMG OMG OMG OMG OMG  

This just reminded me of probably the most unintentionally homoerotic scene in movie history. 

Here's the reason why I didn't like her or why I didn't find her plausible. I never got to see (or better, feel) why the mother of Paul Atreides would've ever have been a Sister of the Bene Gesserit Order. All I saw was a plain, timid, soft-hearted, everyday mother, completely unaffected and unharmed by her Sisterhood ancestry. It's not the fault of the actress. It's the way the character has been written for the movie and it resulted in a safe, uninteresting, one-dimensional character with no depth. It's the only character in Villeneuve's Dune that I didn't believe in. Besides of her being just 'nice and caring' I should have felt there was also something dangerous or dark beneath the surface. It wasn't there. 

I am still waiting for Powell to give the information, like he usually always did, but having listened the score many times already (and seen the movie, not officially; as the movie still hasn’t bern released in my country), here are all the themes and motifs I have found from this score:
 
1. The Migration main theme - this theme also represents ‘freedom’
 
2. Mack’s theme/Mallard's Family theme, A section (maybe) - this theme represents more on the ‘cowardice’ or ‘Karen-ness’ of the father Mack, which will evolve into a more general ‘hero’ theme for the whole familly (as Powell explained in the interview)
 
3. Mack’s theme/Mallard's Family theme, B section (maybe) - this section represents more on the ‘soul that wants to be free’/‘the joyful part’ of the whole group. 
 
4. The Villain/Chef motif - this is not a spoiler as the Chef already portrayed as such in the trailer
 
5. The ‘danger’ motif (maybe)
 
6. Delroy the parrot motif
 
7. Chump the pigeon motif
 
And there is also a woodwind motif to represent “the alien world” aka New York, but I don’t know whether it needs to be classified into its own category due to its rarity 

NTTD is shit, from beginning to end.

As much as I tried, every time I watched the Shrek sequels the only times I noticed the scores were... when it played themes/cues from the first one. Still, I'd like to give them a chance on album one of these days.
 
But I think we can all agree that
HGW's best animated solo score is Sinbad; and His work has become significantly less interesting since the 2010s, animated or otherwise (though I like The Martian).

As much as I tried, every time I watched the Shrek sequels the only times I noticed the scores were... when it played themes/cues from the first one. Still, I'd like to give them a chance on album one of these days.
 
But I think we can all agree that
HGW's best animated solo score is Sinbad; and His work has become significantly less interesting since the 2010s, animated or otherwise (though I like The Martian).

As much as I tried, every time I watched the Shrek sequels the only times I noticed the scores were... when it played themes/cues from the first one. Still, I'd like to give them a chance on album one of these days.
 
But I think we can all agree that
HGW's best animated solo score is Sinbad; and His work has become significantly less interesting since the 2010s, animated or otherwise (though I like The Martian).

Roger Feigelson on Facebook:
 

https://www.facebook.com/share/svVtbHz3wuqRQhTB/?mibextid=K35XfP

I absolutely adore this score. It was my second album from Horner after Titanic and the first one from him that really enchanted me. I played the original album to death when I first got it and it will always hold special place in my heart. It was also the last film I watched with my whole family at the cinema. We all really liked it. It was interesting sequencing for Horner who usually arranges very chronological  programmes. But The Mask of Zorro felt more like a John Williams album with cues combined and out of sequence. It's very cool to hear the entire thing after so many years. Similarly to Willow, the majority of the new material comes from the earlier parts of the film and consists mostly of smaller moments which help to flesh out the narrative and the world of the story. There's actually way more previously unreleased stuff than I realised and it all flows beautifully from start to finish. Wonderful collection of themes and beautiful recording. Horner really embodied the character perfectly and created one of his absolutely best. Classy and charming. I am absolutely over the moon.
 
I really hope there is a way to release the sequel which had a score just as good (and occasionally better). But I also understand it might be more tricky to license.
 
Horner fans were really spoiled this year.
 
Karol

Yes, it's the project of a lifetime.
 
I can't wait to share all this work.
 
As for this first volume, I'm particularly proud of the work on James Horner's youth. What takes 6 lines on Wikipedia makes 20 pages in the book, thanks to the memories of his brother and his high school music teacher. And I've got about 30 pages on his university career.
 

 
 

Zimmer can't write music either.
 

Recently, Mozart's grave was dug up. When the coffin was opened, people found Mozart erasing all his manuscripts. They asked him what he was doing, and he said: "I'm decomposing" 

Saw this on social media, I think it fits here:
 
 

A couple of timeless themes, and you have one of the better Horner soundtracks.
I may be in the minority, but I simply LOVE the song too!

OHMSS is a funny way to spell The Spy Who Loved Me.

The word 'masterpiece' gets thrown around here way too often.