James Horner Appreciation Thread

[David Coscina 3]

I think Horner's Sneakers minimalist theme has been developed over the course of various scores. I can see the bridge between A Beautiful Mind and Bobby Fischer as both dealt with mathematic genius'. The automated machine-like rhythm of this piece also served Bicentennial Man well too. Is this a rationalization for Horner quoting himself ad nauseum. Maybe a little.

Not really. I really like symphonic Horner (some of it, anyway), but i'm simply bored to tears by this very device you're describing. Horner doesn't 'explore' it, he just recycles it and it becomes a joke in the process.

You don't have to agree but I'm wondering how much you know about the principles of theme and variation. It's a valid question? Do you know the criteria that would encompass would this technique actually is.

I'm not saying Horner is wholly original nor completely virtuous. But I do think he employs these similar themes because of his classical roots.

[Ray Barnsbury 8]

One other thing about Horner. Put on the track "Jenny" from The Rocketeer and tell me that anyone else has ever written something more beautiful or moving in the last 30 years. There are comparable pieces to be sure but this track has got to be Horner's most ambitious love theme. It is beautifully written with some excellent harmonic progressions and a soaring melody that he develops throughout the arc of the piece. Like I said, it's the THE BEST ever but to my mind it ranks up there with anything else written in the idiom.

It's a great love theme, but it's fairly similar to Princess Leia's theme in a couple of the chord progressions and contours of the melody. Nothing plagiaristic though, and as I said, it's a lovely piece.

[publicist 4,643]

You don't have to agree but I'm wondering how much you know about the principles of theme and variation. It's a valid question? Do you know the criteria that would encompass would this technique actually is.

I'm not saying Horner is wholly original nor completely virtuous. But I do think he employs these similar themes because of his classical roots.

Well, this is rather old news, actually spreaded by Horner himself on numerous occasions. The so-called 'principle-of-theme-and-variation' doesn't really apply here, though. More often than not there simply is no variation - it's just a thinly disguised copy, made to fit the frame of another movie. Throwing academic terms at it doesn't make it any better...and when i think of Rozsa's 'Themes and Variations', i know how varied a 'variation' can sound.

It's an interesting discussion, though, since some of Horner's works fit this bill (let's say the infamous love theme from 'Enemy at the Gates' and a theme in 'Balto' and so on).

But more often than not, letting every action scene passing by with square drum meters and passing it off as 'variation' is just nutty.

[David Coscina 3]

You don't have to agree but I'm wondering how much you know about the principles of theme and variation. It's a valid question? Do you know the criteria that would encompass would this technique actually is.

I'm not saying Horner is wholly original nor completely virtuous. But I do think he employs these similar themes because of his classical roots.

Well, this is rather old news, actually spreaded by Horner himself on numerous occasions. The so-called 'principle-of-theme-and-variation' doesn't really apply here, though. More often than not there simply is no variation - it's just a thinly disguised copy, made to fit the frame of another movie. Throwing academic terms at it doesn't make it any better...and when i think of Rozsa's 'Themes and Variations', i know how varied a 'variation' can sound.

It's an interesting discussion, though, since some of Horner's works fit this bill (let's say the infamous love theme from 'Enemy at the Gates' and a theme in 'Balto' and so on).

But more often than not, letting every action scene passing by with square drum meters and passing it off as 'variation' is just nutty.

I agree with you to a point. I'm probably just rationalizing my bias towards Horner right now anyhow. In a couple months, I'll probably be back to calling him a soulless plagiarist. For now though, I enjoy listening to his music.

And for all his kleptomaniacal tendencies, he still can write circles around half of the Hollywood film score community at the moment. Save for Williams of course.

[publicist 4,643]

I agree with you to a point. I'm probably just rationalizing my bias towards Horner right now anyhow. In a couple months, I'll probably be back to calling him a soulless plagiarist. For now though, I enjoy listening to his music.

And for all his kleptomaniacal tendencies, he still can write circles around half of the Hollywood film score community at the moment. Save for Williams of course.

I guess i'm more pragmatic, i doesn't interest me per se - when i like the 'variation' of 'Beautiful Mind' more than 'Sneakers', i'll just take the latest thievery for my pleasure and delete the 'Sneakers' tracks. But if too many works have common traits, i'll run out of spots to cut out for my iPod...and that's bad, because i run out of new material.

[ASW 0]

I lost touch with Horner's stuff around the late '90s but Spiderwick Chronicles actually got me back interested in his music. Even though some of his recent offerings recall his exciting material from his earlier scores, I was bowled over by the SKILL that he has for orchestrating. Aside from Williams, I honestly think he's the best composer for orchestral scores out there now. One has but to listen to how he works with the orchestral choirs to hear how adept he is. He's also the only composer who can write a 15 minute cue and make it sound musical and a development from a single idea rather than a mash of unrelated musical ideas like so many posers with a bunch of bright shiny MIDI toys who know little to nothing about how a real orchestra operates.

It wasn't until I was able to hear Horner's music again that I was startled by the vast gulf that separates him from, oh, let's say the John Ottman's or Brian Tyler's of the film score world. Sorry but there really isn't much to debate on this one as I'm sure fellow musicians like Marcus and Jesse would agree.

Yeah, creativity debates aside, on a technical level Horner writes at a very high standard.

Seriously as much as you criticize Williams for his musical changes you can honestly tell me Horner's music is not stale and bland.

I mean it sounds like he's composing in his sleep, a few sections from this score, a few from this score and put them in a pot an there you have a new Horner score. You may want to hear it but not me.

A score doesn't have to be dissonat or atonal for one to call it unlistenable.

Well see, the reason I think that composing in sleep mode is so listenable is because I'm always interested by different iteration of the same idea. I sort of think of it as a pan-career thematic development, and that aspect of it makes it an almost comfort food like thing to me. The basis for his works are very sound.

It's the same reason I think Love Pledge and the Arena is the best of AotC. Yes it's one more stylistic derivative of Belly of the Steel Beast, but it's still good, because it's based on more than just solid material.

It's why I think Insurrection, pastoral and action, is one of Goldsmith's top end scores. He finally takes that damn motif/theme he'd been using and using every score for the end of the 90s, and makes it work. He gives it what it should always have had.

No, they don't blow me away with shock value, nor do they end up being very challenging, but they are still intriguing. Those familiar phrases will never be as magnificent as something newly discovered, but mom's chicken soup will always win over the wife's.

Human's are naturally inclined to enjoy and find comfort in what they are familiar with.

So no, Horner's music isn't stale and bland quite yet, because his foundation is sound. I still felt that familiar tingle when I heard that tension Apollo 13/Titanic piece in Chronicles "Desperate Run Through..."

Soundly argued. I agree to a certain degree as this does apply to a fair amount of Hornerisms. But to go on what publicist was saying, at times it still seems like it's more regurgitation than exploration of existing material, like that piano motif in "The Wedding" in Deep Impact that resurfaces throughout Bicentennial Man

[David Coscina 3]

It is conceivable that Horner does see these films as one of the same and thus scores them with similar thematic material. Otherwise he's just coasting on his previous laurels. If we eliminate that part of the argument though, I would ask someone to bring up someone in the same age bracket that is as good with the orchestra as he is. Frankly, and I won't admit to this often, Horner is a better orchestral writer to my mind than:

Howard Shore

James Newton Howard

Alan Silvestri

Thomas Newman

David Newman

Carter Burwell (by a mile)

Elliot Goldenthal is as competent but he also regurgitates stuff verbatum from score-to-score. Sorry, I like the dude but he did after Cobb and even in Cobb.

[Hitch 57]

To add insult to injury, in an old 'Soundtrack' issue Horner and Ron Howard joke about other composers and how they just use old music to phone it in. Horner, on the other hand, always tries something new. Since Howard now refuses to use Horner as his composer, i guess the joke's now on him...

Have Ronnie and Jimmy fallen out with each other???

[Trent B 337]

James Horner is pretty good...but he quit being original about the 90's I think. Lately all he seems to do is just repeat himself in scores...kind of tiring after a while.

[Hitch 57]

Only tiring for the new kids on the block who don't appreciate good music when they hear it.

[JoeinAR 1,949]

I like Horner better than the two most talked about composers at this site.

[David Coscina 3]

I like Horner better than the two most talked about composers at this site.

Joe and I agree. For once.

[Trent Hoyt 13]

It seems like people really respect Horner and recognize that he is immensely talented. You got no argument from me.

[Hitch 57]

Except Gale Ann Hurd who is a cold, ruthless, calculating bitch

[Trent B 337]

Only tiring for the new kids on the block who don't appreciate good music when they hear it.

Was that supposed to be aimed at me?

[Trent Hoyt 13]

The New Kids on The Block are reuniting for a tour!! Look for the announcement tomorrow.

[indy4 155]

Just listened to "The Place Where Dreams Come True" from Field of Dreams, and I really like it. It's very similiar to Elfman's "Finale" from Big Fish, though I don't think it's quite as good.

What you really meant to say was "Elfman is a hack and just tries to imitate Horner's style but falls flats on his face because he can't do syrupy very well"

From what I've heard, Elfman is a hundred times better than Horner (though I do enjoy Horner's music).

[BurgaFlippinMan 7]

I like Horner better than the two most talked about composers at this site.

Zimmer and Giacchino aren't hard to beat, though Giacchino needs more time.

[David Coscina 3]

Just listened to "The Place Where Dreams Come True" from Field of Dreams, and I really like it. It's very similiar to Elfman's "Finale" from Big Fish, though I don't think it's quite as good.

What you really meant to say was "Elfman is a hack and just tries to imitate Horner's style but falls flats on his face because he can't do syrupy very well"

From what I've heard, Elfman is a hundred times better than Horner (though I do enjoy Horner's music).

Elfman might be more quirky and original, although even that can be debated, but the man is not in the same league of orchestral composing as Horner. If you left both to their own devices for composing, orchestrating, and conducting, Horner would easily prevail while Elfman would be looking around for Steve Bartek and Shirley Walker (now probably Pete Anthony). I love Elfman a lot. Don't get me wrong. But Horner just knows the orchestra better. And Rocketeer is a better superhero score than Batman to my ears. Although I do like HULK a lot.

[ASW 0]

Doesn't Horner have a doctorate or something in theory and composition? I suppose that kind of training would account for his being so adept with the orchestra, again on a technical level.

[indy4 155]

Just listened to "The Place Where Dreams Come True" from Field of Dreams, and I really like it. It's very similiar to Elfman's "Finale" from Big Fish, though I don't think it's quite as good.

What you really meant to say was "Elfman is a hack and just tries to imitate Horner's style but falls flats on his face because he can't do syrupy very well"

From what I've heard, Elfman is a hundred times better than Horner (though I do enjoy Horner's music).

Elfman might be more quirky and original, although even that can be debated, but the man is not in the same league of orchestral composing as Horner. If you left both to their own devices for composing, orchestrating, and conducting, Horner would easily prevail while Elfman would be looking around for Steve Bartek and Shirley Walker (now probably Pete Anthony). I love Elfman a lot. Don't get me wrong. But Horner just knows the orchestra better. And Rocketeer is a better superhero score than Batman to my ears. Although I do like HULK a lot.

I have no clue about orchestrations, so you may be right there.

But IMO, not only is Elfman more original than Horner, his music is just plain better in general.

indy4 - who thinks Batman is one of Elfman's worst scores

[Trent Hoyt 13]

Doesn't Horner have a doctorate or something in theory and composition? I suppose that kind of training would account for his being so adept with the orchestra, again on a technical level.

From Filmtracks:

He began studying piano at the age of 5 and spent his formative years in London, where he attended the Royal Academy of Music. After moving to California in the early 1970s he gained a Bachelor's Degree in music from the University of Southern California. He went on to earn his master's degree and a PhD in music composition and theory at UCLA.

[Delorean90 42]

indy4: My memory's a bit hazy but I think we've been around this mulberry bush before. Nonetheless...what's so bad about Batman? Every track has something interesting in it. There's some great material missing from the CD also. If you hate Batman, then I find it hard to believe you'd like much of any late 80's-early 90's Elfman.

[David Coscina 3]

But IMO, not only is Elfman more original than Horner, his music is just plain better in general.

I would like you to qualify this statement since you earlier admit to not knowing that much about orchestration. Elfman's music is quirky to me because he's not necessarily employing voice-leading correctly nor are his orchestrations all that unique. While I like HULK a lot, it's basically Herrmann. In fact, his attempt at writing larger scale cues to me sounds like patchwork. Which is not his fault. Horner is unique in his ability to develop a 20 minute cue as he did with Willow.

[indy4 155]

indy4: My memory's a bit hazy but I think we've been around this mulberry bush before. Nonetheless...what's so bad about Batman? Every track has something interesting in it. There's some great material missing from the CD also. If you hate Batman, then I find it hard to believe you'd like much of any late 80's-early 90's Elfman.

Well, I do enjoy the main theme. But other than that, nothing jumps out at me. It's not that it's a bad score, I just think that out of my pitiful collection of DE, that would not be in the top 5. And I only have 13 Elfman soundtracks, so my knowledge of all his works is not spectacular. Here are all the 80s and 90s Elfman scores I own:

1988 - Beetlejuice - A very fun score, though the only really amazing track is the "Main Titles," IMO

1989 - Batman

1992 - Edward Scissorhands - This is my favorite Elfman score, and one of my favorite scores entirely. Every track is stunning.

1992 - Batman Returns - Superior to the original (in terms of score), and I love "Birth of a Penguin" as well as several other cues. A good soundtrack, but still not spectacular.

1993 - The Nightmare Before Christmas - My second favorite Elfman score, and one of my favorite scores of all time. Every single track is brilliant.

1996 - Mission: Impossible - Eh, probably my second-to-last Elfman score. "Betrayal" is quite good, as well as a few other cues. But nothing great. The only DE score worse is Planet of the Apes, but even that is debatable in my mind. Though it's nice to hear a non-Burtonesque Elfman score.

1999 - Sleepy Hollow - Excellent, excellent soundtrack. Love almost all of it.

The rest of the scores I own are from the 2000s (Big Fish, Charlie and the Chocolate Factory, Corpse Bride, Spider-man, Planet of the Apes, and Serenada Schizophrana, all of which I think are excellent [except for Planet of the Apes]).

But IMO, not only is Elfman more original than Horner, his music is just plain better in general.

I would like you to qualify this statement since you earlier admit to not knowing that much about orchestration. Elfman's music is quirky to me because he's not necessarily employing voice-leading correctly nor are his orchestrations all that unique. While I like HULK a lot, it's basically Herrmann. In fact, his attempt at writing larger scale cues to me sounds like patchwork. Which is not his fault. Horner is unique in his ability to develop a 20 minute cue as he did with Willow.

I have no musical justification for my statement, all I know is I'd rather listen to Elfman than Horner.

[JoeinAR 1,949]

I like Horner better than the two most talked about composers at this site.

Zimmer and Giacchino aren't hard to beat, though Giacchino needs more time.

you are as wise as you are far

[David Coscina 3]

I like Horner better than the two most talked about composers at this site.

Zimmer and Giacchino aren't hard to beat, though Giacchino needs more time.

you are as wise as you are far

I'm as big a fan of Giacchino as anyone, but I do see Joe's point on this. Horner's background solidified his skill at writing for orchestra in the manner and ability that he does. To try to get to that point after the fact is a difficult chore as we all know scoring films isn't necessarily going to make you a better composer. A better film composer, yes. So, while I do think Giacchino has a great future and will keep getting better and better, I'm not quite sure he'll ever be at the level of Horner for orchestral writing. Just like I don't think anyone will ever quite reach the heights of John Williams' skill. Some people are just naturally gifted AND have had a lot of training, Williams and Horner have both. Zimmer has some talent but not much skill. Giacchino has talent and skills but the latter will be developed more as time goes by.

[Unlucky Bastard 7,782]

To add insult to injury, in an old 'Soundtrack' issue Horner and Ron Howard joke about other composers and how they just use old music to phone it in. Horner, on the other hand, always tries something new. Since Howard now refuses to use Horner as his composer, i guess the joke's now on him...

Have Ronnie and Jimmy fallen out with each other???

I've been wondering the same thing. We could have had people praising a score to the The Da Vinci Code by Horner instead of canonizing one by McZimmer.

[Hitch 57]

I wouldn't go so far as to canonize anything done by Zimmer.

[Unlucky Bastard 7,782]

I wouldn't go so far as to canonize anything done by Zimmer.

I mean those uninitiated to the greatness of Horner.

[JoeinAR 1,949]

I like Horner better than the two most talked about composers at this site.

Zimmer and Giacchino aren't hard to beat, though Giacchino needs more time.

you are as wise as you are far

I'm as big a fan of Giacchino as anyone, but I do see Joe's point on this. Horner's background solidified his skill at writing for orchestra in the manner and ability that he does. To try to get to that point after the fact is a difficult chore as we all know scoring films isn't necessarily going to make you a better composer. A better film composer, yes. So, while I do think Giacchino has a great future and will keep getting better and better, I'm not quite sure he'll ever be at the level of Horner for orchestral writing. Just like I don't think anyone will ever quite reach the heights of John Williams' skill. Some people are just naturally gifted AND have had a lot of training, Williams and Horner have both. Zimmer has some talent but not much skill. Giacchino has talent and skills but the latter will be developed more as time goes by.

Giacchino has much more potential in the long run than HZ, but I still think JH can, when he really wants to, out score just about anyone working today, JW accepted.

[David Coscina 3]

I like Horner better than the two most talked about composers at this site.

Zimmer and Giacchino aren't hard to beat, though Giacchino needs more time.

you are as wise as you are far

I'm as big a fan of Giacchino as anyone, but I do see Joe's point on this. Horner's background solidified his skill at writing for orchestra in the manner and ability that he does. To try to get to that point after the fact is a difficult chore as we all know scoring films isn't necessarily going to make you a better composer. A better film composer, yes. So, while I do think Giacchino has a great future and will keep getting better and better, I'm not quite sure he'll ever be at the level of Horner for orchestral writing. Just like I don't think anyone will ever quite reach the heights of John Williams' skill. Some people are just naturally gifted AND have had a lot of training, Williams and Horner have both. Zimmer has some talent but not much skill. Giacchino has talent and skills but the latter will be developed more as time goes by.

Giacchino has much more potential in the long run than HZ, but I still think JH can, when he really wants to, out score just about anyone working today, JW accepted.

Joe, for the second time in two days, I am in complete agreement. Horner has the chops, no question. It's a matter of whether he wants to do an amazing job or whether he wants to coast. I'm glad you do see that Giacchino has the potential to be a great film composer. I really like his stuff although I would concede he's not where Horner was at the same age. By the time Jimmy was 40, he had scored Brainstorm, Willow, Aliens, Cocoon, 48hrs, Commando, Star Trek 3 & 4, among many others. Glory and Field of Dreams also were in that bunch.

I've been listening to A Beautiful Mind quite a bit over the past few days and Horner, like Williams, is able to write music that is fun and listenable away from the film as much as it functions well within the film. This is a separate talent and ability, one that not many composers these days possesses. I can buy a Horner score and listen to it without having seen the film and still enjoy it for its melody and harmonic content, just like John Williams. With other composers, I HAVE to see the film to better appreciate the music. Of course, this is not a requirement of a film composer but it does show who has their stuff together in pure compositional terms and who does not. Williams and Horner do.

[publicist 4,643]

I've been listening to A Beautiful Mind quite a bit over the past few days and Horner, like Williams, is able to write music that is fun and listenable away from the film as much as it functions well within the film.

Although i find it debatable if 'A Beautiful Mind' really functions well in the movie - the music makes the film even more sappy, but what do i know, it got Academy Awards...

[Ollie 1,059]

Elliot Goldenthal is as competent but he also regurgitates stuff verbatum from score-to-score. Sorry, I like the dude but he did after Cobb and even in Cobb.

I'm glad someone other than myself has finally admitted it.

Still, his romantic melodies remain absolutely the best in Hollywood, with something like Cocoon's touching main theme being amongst his cream of the crop. His action stuff is none to shabby either.

But that was then. He's pretty much a none entity nowadays as far as I'm concerned, which is a lazy shame.

I agree 100%. I personally think he's gotten either lazy or has used up his magic. His scores lack the spark that used to drive his music before Titanic.

I can't believe anyone would like Deep Impact unless they suffered from insomnia.

Some of you may like the same regurgitated stuff but for me I tire of hearing the same notes, orchestrations, cues replayed over and over in different films. Now if they are for the same subject matter or sequel, that's one thing.

It's almost to the point that I can actually guess what notes are coming up next when I give Horner a listen on newer stuff to see if it's worthwhile.

Give me pre 1991 Horner, he may have been copying then but his music had a fresh and exciting sound to it.

[David Coscina 3]

Mark, I do agree to a point. Yeah, it can be frustrating hearing the exact same passages from Sneakers in Bicentennial Man or A Beautiful Mind, but I do find Spiderwick pretty fresh sounding. It's not as defined melodically as what we've come to expect from Horner but texturally it's really interesting.

I read somewhere that Horner had studied with Ligeti for a while. this would explain his penchant towards describing orchestrating in terms of colors.

also, I like Goldenthal but I honestly think he started coasting after Heat in 1995. Titus is a schizoid listen because it draws from the composer's canon from his earlier stuff. I think we're always looking to new composers as the next great hope in film scoring because Williams' output is diminishing as he ages, Goldsmith, North, Bernstein, and that like have passed away, and Barry, Broughton, Schifrin, and Conti barely get work any longer.

I remember when many of us lauded Horner as the next great composer. After 1992, he stopped getting those accolades due to his predisposition to reference other works he'd composed or else classical pieces.

I would say that if Horner does an about-face in terms of his klepto tendencies, he could be the greatest composer of the bunch once Williams finally retires.

[BLUMENKOHL 1,068]

I will wait until Avatar comes out to deliver a final verdict on James Horner.

In the mean time, I agree with myself and Mark Olivarez, and Joey.

Everyone is making solid points, and everything is true. I hate him and appreciate him depending on the time of month.

As for Giacchino, I think he's scoring on the same level as John Williams was in the late 60's/early 70s. In fact, he is scoring like films were scored in the 60s. Just listen to Lost and tell me you don't hear the 60's and 70s. I wouldn't be surprised if he could match Goldsmith or Williams in the coming years.

But then I have maintained that since I played the horrendous and frustating "The Lost World" back when it first came out.

[publicist 4,643]

I would say that if Horner does an about-face in terms of his klepto tendencies, he could be the greatest composer of the bunch once Williams finally retires.

Just forget it.

[Tallguy 3,399]

Listening to Sneakers this morning. I tend to divide this score into two parts: The spooky and haunting tracks that I adore and the happy bouncy tracks that are kind of Horner being Horner (only with a world famous clarinet player). Seriously I only NEED Main Title and Too Many Secrets. The rest is gravy. I like Cosmo... Old Friend a lot too.

 

This morning I realized while listening to The Escape / Whistler's Rescue that while this is certainly textbook Horner it's one of the best versions of this particular Horner "groove". And I've been mostly overlooking it for 30 years!

[Jay 37,369]

It feels like Sneakers is the most requested Horner expansion that hasn't happened yet outside of Brainstorm

[crocodile 8,017]

It's up there, sure. Although, I'd like to hear the rest of The Mask of Zorro more. While typing this, I realised it turns 25 this year. Does it mean...? 🤔

 

Karol

[ymenard 54]

My guess is that since Sneakers leaked pretty much entirely, I would rather have stuff that we haven't had the chance to listen completely (Zorro, etc...).  

[Naïve Old Fart 9,544]

I'm happy with most Horner OSTs, but I'd sell my own grandmother, for a C&C BRAINSTORM.

[Tallguy 3,399]

33 minutes ago, Jay said:

It feels like Sneakers is the most requested Horner expansion that hasn't happened yet outside of Brainstorm

 

14 minutes ago, Naïve Old Fart said:

I'm happy with most Horner OSTs, but I'd sell my own grandmother, for a C&C BRAINSTORM.

 

I don't know what I'm missing with both Brainstorm and Sneakers. Although I've been revisiting Brainstorm rather often the last couple of months.

 

I think the last Horner where I knew the score in the film at least as well as what was on the OST was The Rocketeer. And of course before that his Star Treks. Even though Field of Dreams was an instant buy for me it wasn't like I said "And now I'll finally have THAT track!"

[Naïve Old Fart 9,544]

3 hours ago, Tallguy said:

I don't know what I'm missing with both Brainstorm and Sneakers.

 

I wouldn't know about SNEAKERS. I'm content with the OST.

BRAINSTORM is a complete rerecording, so that's an entire score, right there.

Also, there are some source cues (the "party" music, for one) which are missing.

Granted, there's not a lot of missing music, but to have the remastered OST (recorded, magnificently, direct to two-track!),  is worth the price of admission, alone.

[Edmilson 7,466]

Sneakers OST has great listening experience, and maybe there isn't much missing? I don't know, I never saw the movie.

 

Brainstorm and The Mask of Zorro are the Horner scores that I think an expanded release is more immediately needed. Actually, any post-Titanic and pre-2005 Horner score could use an expansion: Deep Impact, The Perfect Storm, A Beautiful Mind, etc.

[JTN 2,031]

7 minutes ago, Edmilson said:

A Beautiful Mind

Now that’s a fine Horner-score. And the film is great too. 

[Tallguy 3,399]

13 minutes ago, Edmilson said:

A Beautiful Mind

 

I love A Beautiful Mind but I have a hard enough time getting through all of what we have.

[Edmilson 7,466]

A Beautiful Mind is great, it's honestly one of the first scores that made me love Horner's music. And yeah, there probably ain't much missing. Judging by an awful-sounding bootleg that I've heard a few months ago, there's only minor cues missing.

 

Mask of Zorro, on the other hand, really needs to be expanded. I believe it is one of the most asked-for Horner titles.

[filmmusic 1,836]

2 minutes ago, Edmilson said:

Mask of Zorro, on the other hand, really needs to be expanded. I believe it is one of the most asked-for Horner titles.

I think Omni, or someone else will be publishing the complete sheet music, so, yeah, a complete score release would be welcomed by me too.

[Tom Guernsey 2,286]

Another year without James Horner.... :-(