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James Horner - Wolf Totem (2015)


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Still no sign of a US release of the score on physical CD, and Sony still hasn't announced if/when they'll release the film in the US.

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http://filmmusicreporter.com/2015/02/10/wolf-totem-soundtrack-details/ Can't wait for this, and his other three 2015 scores!

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 t

Milan Records posted the following to the FSM thread for this score

  • 1 month later...

Horner worked a lot with the LSO, right?

Krull, Brainstorm (album), The Dresser, Aliens, An American Tail, Willow, The Land Before Time, Honey I Shrunk The Kids, Fievel Goes West, Once Upon A Forest, The Man Without A Face, We're Back, Legends of the Fall, The Pagemaster, Braveheart and Balto.

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Horner worked a lot with the LSO, right? His mixing always sounded so much different than Williams.

Much softer, like you would hear more in a concert recording I think.

Abbey Road's Simon Rhodes has a background in classical music engineer. He said that both Horner and Williams prefer that kind of recording, with little or no mixing afterwards (especially with Williams). As he put it, they "both achieve their levels at the podium". And no click track, either (for the most part).

Karol

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Horner worked a lot with the LSO, right?

Krull, Brainstorm (album), The Dresser, Aliens, An American Tail, Willow, The Land Before Time, Honey I Shrunk The Kids, Fievel Goes West, Once Upon A Forest, The Man Without A Face, We're Back, Legends of the Fall, The Pagemaster, Braveheart and Balto.

And Back To Titanic

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Just got this CD (along with Pas de deux) yesterday, and although it's nothing really new, I find it quite enjoyable to listen to - the main theme is nice, some of the action material is quite engaging, and the ethnic elements are somewhat subdued, but add a nice character to the whole. The only short things that I found really jarring were the wailing Troy woman in track 1, and the Apollo 13 lift in track 4 (possibly further lifted from Aliens? I don't really know that one).

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I can't believe that high E in the horns during "the frozen lake". Very impressive and gorgeous sounds. So this isn't LSO, Jim Ware? If this is LA, its an amazing job and the room sounds better than ToddAO ever did.

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Wow I've seen lots of Horner-scored films in the cinema

Honey, I Shrunk The Kids

The Rocketeer

Apollo 13

Jumanji

Titanic

Deep Impact

The Mask of Zorro

Bicentennial Man

The Perfect Storm

Enemy at the Gates

A Beautiful Mind

Windtalkers

The Four Feathers

The Missing

House of Sand and Fog

Troy

The Forgotten

Flightplan

The New World

Avatar

The Amazing Spider-man

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I haven't listened to Wolf Totem much yet. Got a deal on it at amazon mp3 so for the price I couldn't resist a new Horner score, even though I'm big on buying cds for any film score. I'm not hearing a lot of repetition--maybe I'm not listening hard enough to look for the "danger motif" or something like that. Currently I really enjoy "The Wolves Attack the Horses" and "A Red Ribbon".

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Milan posted in the FSM thread

The American release has the same tracklist as the European edition.

The only change is the artwork which features the US key art.

MILAN RECORDS release soundtracks in conjunction with film's theatrical release. As explained earlier, the American edition of Wold Totem was meant to be released when the film will hit the screens in the US. The film and soundtrack are both coming out on September 11. Soundtrack will feature US key art.

Tracklist of US version is the same as European version. The only difference is the artwork.

I hope this clarifies things.

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Wow. Jean-Jacques Annaud speaks about James Horner at the end of this nice interview

http://moveablefest.com/moveable_fest/2015/09/interview-jean-jacques-annaud-heeds-the-call-of-the-wild-for-wolf-totem-and-remembering-james-horner.html

Here, I'll quote the Horner part.

Finally, the score is extraordinary and sadly one of the last we’ll get from the great composer James Horner. What was your collaboration with him like?

This breaks my heart because not only was James an essential artistic partner, but over the years, he became an intimate friend. We were very shy, both of us, to tell about our life or experiences. I’ve been working with him for 30 years. The first time was on “The Name of The Rose” a long, long time ago and then we did the “Enemy of the Gates” as well. We spent a lot of time going to concerts together. Here as well, he was the first person to see the movie and the only person to give me comments at this early stage. I always trusted him because we are friends. I remember I said, “James, we know each other so well that is now your movie.” He called me a few days later and played on the piano of the theme, and he was spot on. I said, “Don’t even try it. Anything else, I love this.”

We recorded in London, spent three weeks together in a studio at Abbey Road. Unfortunately, he had this thing of flying in the morning with an old jet from the Korean War and I spoke to him about it. I said, “It’s dangerous what you do with the airplane,” and he said, “Yes. But I need it. I need to escape from this world of Hollywood. I need to be close to the sky,” which I understood. He said, “If something happened, it would be fate.” Unfortunately, fate happened, sooner than I expected. I was in Moscow when this happened a few weeks ago. It’s a big loss for me, both on personal and professional level. H‎e was so shy, so modest, so humble. This man is a miracle. The way he was playing the piano all the time…in a way, he was an alien. He was living here [pointing to the sky], not in the woods. There were a lot of tinkling little bells in his garden. A very, very unique person.

What’s interesting is when we were in London, he said to me, “Jean-Jacques, where are the studio people? Don’t they need to hear the theme?” I said to him, “There’s no studio people, James. What I need is your heart. Just go ahead. I know you won’t be wrong.” He loved music from Mongolia, which is very, very special and his producer Simon Franklin came to me in Beijing and we recorded for 15 days with a lot of musicians from Mongolia, It’s one of those things where you didn’t have to make many notes. You just tell a person with such talent to do their best. Don’t even think about the audience. Just give me your heart in the images you’ve seen, and this is what you hear. When we recorded, James would always have the orchestra rehearse it once and would come to the booth and say, “So, what do you think?” I said, “James, the only comment I have is I love your music and I love you.” It’s a rare relationship. That’s why it’s a huge loss for me.

So sad......

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