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James Horner 1953-2015


Not Mr. Big

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I'm not insinuating that his assistant is the type to make a sick joke.

However, it is very possible that she (or the media outlets) could be mistaken. Not to diminish their sorrow or anything.

After 24 hours, we would have heard from him by now. It's likely his assistant would have been one of the first people to find out. She was obviously very close to him. His family asking for privacy is also telling. My heart breaks for them.

Good point.

I'm still wondering how his assistant first heard about it.

I imagine the local authorities notified his family and they told his assistant. It may be at the point where the family is preparing a statement and making funeral arrangements. But I'm not really sure... only speculating.

Oh, then it might be a fraud after all! :lol:

*Sigh* How I wish this whole thing was a hoax. :(

I'd forgive him if it was all one big joke. There's no point of going down that road of denial, though.

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Has James Cameron said anything yet? I can imagine him to be pretty devastated at the shock death of his friend, they clearly had a lot of respect and admiration for one another.

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I'm shocked there's been no statement from Cameron yet. If there's anyone in Hollywood who should say something asap...

EDIT: Wow, Quintus. Great minds. lol

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Found this update at http://deadline.com/2015/06/james-horner-plane-crash-1201452028/

It will take several days before the coroner will be able to identify the body of the pilot killed in the small plane crash near Santa Barbara, according to the Ventura County Sheriff Adjunct as the body is “in bad shape.” He said that the coroner is still on the scene this morning with investigators from the FAA and the NTSB and samples are being sent to the lab for processing. The body is presumed to be that of Oscar-winning composer James Horner, a much beloved man in the entertainment industry.

But most likely, it's him. -_-

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"In bad shape"

This feels like the shuttle disasters, and what I imagine the Apollo 1 fire must have felt like for those alive when it happened. Truly awful.

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Well since we can assume Horner hasnt been seen or heard of all this time, and the fact that his plane crashed and there was a bodsy inside.

It's not 100% official yet, but 2 + 2 = 4

I know. More wishful thinking on my end. -_-

But on the brighter side, not only does 2 + 2 = 4, but 2 + 2 = 10 (in base 4)

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Any news yet regarding an investigation that is sure to follow?

Way too early but there will certainly be a FAA and NTSB crash review and analysis but it can take a long while (like a year).

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Any news yet regarding an investigation that is sure to follow?

Way too early but there will certainly be a FAA and NTSB crash review and analysis but it can take a long while (like a year).

Those investigations sure have a way of piling up.

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Has James Cameron said anything yet? I can imagine him to be pretty devastated at the shock death of his friend, they clearly had a lot of respect and admiration for one another.

I'm shocked there's been no statement from Cameron yet. If there's anyone in Hollywood who should say something asap...

I'm sure he's still in mourning. I can't imagine he won't say something within the week, whether it's a small statement or a full obituary.

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Has James Cameron said anything yet? I can imagine him to be pretty devastated at the shock death of his friend, they clearly had a lot of respect and admiration for one another.

I'm shocked there's been no statement from Cameron yet. If there's anyone in Hollywood who should say something asap...

I'm sure he's still in mourning. I can't imagine he won't say something within the week, whether it's a small statement or a full obituary.

Give him time. He'll open up when he's comfortable with doing so.

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11536497_10153131091824064_2537242227445The Avatar community has lost one of our great creative lights with the passing of James Horner. James’ music was the air under the banshees’ wings, the ancient song of the forest, and the heartbeat of Eywa. We have lost not only a great team-mate and collaborator, but a good friend. James’ music affected the heart because his heart was so big, it infused every cue with deep emotional resonance, whether soaring in majesty through the floating mountains, or crying for the loss of nature’s innocence under bulldozer treads. The beauty and power of Avatar lay not just in the superb performances and the visual splendor, but in the music that made us cry and exult along with our characters.

Irayo, James. Fly brother.

Jim and Jon

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I wish Jim released a personal statement on Horner and his relationship with him over the years, rather than just on Avatar. But it was still poignantly done.

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I agree, it's strange that it's just about Avatar. Maybe there'll be a more personal statement later on?

It's only natural to connect a film composer with the films he scored for.

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Statement from Sissel, the amazing vocalist from "Titanic":

It’s with great sadness I was informed that my dear friend James Horner passed away in a tragic airplane crash on Monday. Only a few weeks ago we were on stage together in Royal Albert Hall. It’s just unbelievable that he is gone and it’s a great loss for everyone who loves music – his wonderful music will live forever. My deepest thoughts goes to James’ family and loved ones. - S

https://www.facebook.com/pages/Sissel/63522676875?fref=ts

I sent a message to her through her website last night as the news was breaking, thanking her for being such a key part of the score. She only posted that statement six hours ago. I hope I wasn't the one to break the news to her, that'd be strange/awkward.

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I was doing a lot of thinking about James when I heard the news and I checked online. The beginning and end of his filmography are films that he did, or would have done, with me. It’s a curious bookend. We both started out on the same film in 1980, and his last listed films are the Avatar sequels, which he would have begun later this year.

We only worked together three times, and each time it was a decade apart — Aliens in the mid-eighties, Titanic in the mid-90s and Avatar in ‘08 and ‘09.

I met him on Battle Beyond the Stars, which was my first film getting a paycheck. I entered as a junior model builder and ended up three months later as production designer, which could only happen on a Roger Corman production. The score was absolutely the best thing about the film. It was a full-on orchestral score, not some rinky-dink synth score. After that I ran into him a few times and Gale Hurd and I, being Corman alums, watched him skyrocketing.

He was the obvious choice to do Aliens but we got off to a bad start. It was a time in his career when he was overbooking himself. He recorded the whole score in a day and a half in London and then he was gone. We wound up editing the score ourselves. He got an Academy Award nomination, so he thanked me afterwards but we both allowed that was not the best way to do things.

When I was doing Titanic, he had just done Apollo 13 and Braveheart. I thought, “I don’t care what happened, I want to work with James.” We had this very cautious meeting where we were falling all over ourselves to be polite. We laughed about it so much in subsequent years. But we developed a very transparent means of communication which made for a great working relationship. He totally committed himself to the movie. He blocked out his schedule and sat down and watched maybe 30 hours of raw dailies to absorb the feeling of the film.

I asked if he could write some melodies. I believe that a great score really consists of something you can whistle. If that melody gets embedded in your mind, it takes the score to a different level. I drove over to his house and he sat at the piano and said, “I see this as the main theme for the ship." He played it once through and I was crying. Then he played Rose’s theme and I was crying again. They were so bittersweet and emotionally resonant. He hadn’t orchestrated a thing and I knew it was going to be one of cinema’s great scores. No matter how the movie turned out, and no one knew at that point — it could have been a dog — I knew it would be a great score. He thought he had done only five percent of the work but I knew he had cracked the heart and soul.

My one regret after that production — or the one I remember in this context — is that I didn’t get to go to most of the orchestral scoring sessions. I made it to one. But the orchestra loved him. He always worked with a lot of the same players. Unlike most composers, he also conducted. He was classically trained. It was his room and they were sure to make something great. If I thought maybe there was something that wasn’t supporting the picture, he could turn on a dime and make it work.

Avatar was in some ways the trickier film. It didn’t lend itself to big, sweeping themes the way Titanic did. He did a lot of research with an ethnomusicologist to find different sounds. He did an awful lot of experimentation. The score is a bit richer than maybe people perceive. You start layering in all the sound design and some of the texture of the score gets lost in the mix. I wound up having to fight for the score, as you typically do. Composers always think the score should be more prominent.

A couple of months ago, in April, they did a night at the Royal Albert Hall where the orchestra did the entire Titanic score live to the movie. James was there to take his bows. [Producer] Jon Landau and I went to London just for the concert, and we had a kind of reunion. It was emotional and I'm glad that was my last personal memory of James. They had to subtitle the film because when the orchestra was playing, you couldn’t hear the words. I thought, “This is how James would have imagined it.”

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I really recommend taking 20 minutes to watch this interview with Horner when he was in London in April 2015 (just a few months ago :crymore: )

He talks at length about his collaboration with James Cameron and his thoughts on the Avatar sequels.

I must say, listening to him speak candidly about his craft really shows how much of a musical and emotional intellect he was, the absolute passion he had for his job, and therefore the massive hole he was left in the scoring industry. I get the impression from hearing him talk about the Avatar sequels that those scores would have been phenomenal :(

A huge loss.

(His quip at 15:49 takes on a new meaning in light of events)

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I really recommend taking 20 minutes to watch this interview with Horner when he was in London in April 2015 (just a few months ago :crymore: )

He talks at length about his collaboration with James Cameron and his thoughts on the Avatar sequels.

I must say, listening to him speak candidly about his craft really shows how much of a musical and emotional intellect he was, the absolute passion he had for his job, and therefore the massive hole he was left in the scoring industry. I get the impression from hearing him talk about the Avatar sequels that those scores would have been phenomenal :(

A huge loss.

(His quip at 15:49 takes on a new meaning in light of events)

I had already seen this, but hearing him talk, NOW, was hard... especially with that little remark he made. :shakehead:

My god the worst day of my life is almost over, but on the upside, I have been filling it with as much meaning as possible... Horner's timeless tunes.

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Yeah. Doesnt mention Titanic or Aliens at all though.

Both scores I value over Avatar

The cynic in me saw it as a bit of a promo obituary.

It's because it was posted on the AVATAR Fb page. The TITANIC page on Fb has a similar tribute by Cameron, but refers directly to TITANIC.

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I was shocked when I heard the news this morning. I thought it was somebody playing a sick joke.

I, like many on here, have had the odd joke about his penchant for reusing material, especially the danger motif, and while he wasn't be favourite composer he was largely responsible for getting me into film music. The Titanic OST was the first film score I ever owned. I had it on cassette (along with Back to Titanic) at 6 or 7 years of age. Just going through his filmography and I noticed how many of his scores that I love but had forgotten were his (THE LAND BEFORE TIME!). He wrote some brilliant themes and his action music was very enjoyable. There aren't many composers left with his sensibilities (or talent).

Braveheart and Titanic are just perfect though. Two scores which compliment each other very well and contain just tender and beautiful melodies. I listened to them both today and have had phrases from them stuck in my head since.

R.I.P and thanks for the great music.

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Naturally the news has been on mind all my shift at work, kept hearing "Amazing Grace" and the start of "Epilogue" from TWOK when I thought about his music. Feels the place to put this for it feels confessional.

I've cited before or maybe I have about how much his Trek music shaped things for me at least Trekwise but alongside the Bond movies and even Thunderbirds, his Trek music got me off on that road to here, that of film music fandom. Dad had John Barry and it was suggested I plough my own furrow taste-wise. Based on the Trek fandom I became a big Horner fan, buying what CDs I could.

But as I got older, my taste broadened to Barry/Goldsmith/Williams and Horner sort of get left in the dirt, I suppose I listened to what people said about him in a critical manner and after a while I picked up on the same-ness of certain tunes and what have you. The last CD I got was Enemy at the Gates and that was eons ago. So, when the news came today -and what I've dwelt on- is how bad I feel that in a way I somehow let him down by virtually abandoning his music but for certain tracks or scores. I still like his music but it lessened over time. Deep saddened at his loss all the same and will cherish what music I have of his.

I'm sure this is scoff-worthy but it's on my mind and feels much more as I listen now to "Re-entry/Splashdown" from Apollo 13.

As the man said: "He's not gone, so long as we remember him."

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James Horner must have been one of the first composers I actively noticed after I'd consciously discovered film music (and orchestral music in general) with Williams. I surely was a Horner fan before I started liking Goldsmith. Later, my thoughts about Horner became more ambivalent. For one thing, his frequent obvious borrowings began to annoy me (sometimes considerably). Also, his later scores often failed to really grab my attention, and a few downright annoyed me, though I'm sure those are a minority. In interview snippets on the web, he often seemed to come off as arrogant, which I thought matched what bugged me about his music.

When he was in Vienna to receive the Max Steiner Award in 2013 and had a lengthy public interview/talk with Robert Townson, I warmed up to him again. What seemed arrogant at first turned out to be just his shyness combined with a sometimes peculiar way of looking at things. He certainly had a lot of passion and enthusiasm for creating music and emphasised that to him, it was all about colours, not about themes.

As a result, I became more interested again in at least some of his scores that I had neglected (though there have always been at least a few that I held in high regard), and I found a few new favourites, although I still barely know his 2000+ output.

During his few days in Vienna, Thor managed to get an interview appointment and asked me to bring a camera and take some pictures. I felt awkwardly out of place, trying to pose as a somewhat professional photographer, but I did manage to get a handful of nice shots. And I did finally get the opportunity to have him quickly sign my Sneakers CD afterwards - that was the day after the Townson interview, after which he was surrounded by fans requesting autographs. Horner himself seemed genuinely grateful and eager to sign, but was quickly shielded off by the organisers before I could get to him that day. I did manage to stammer that Sneakers was my favourite score of his when he did sign it.

That Townson interview took place on an orchestra stage, by the way - it was part of the film music symposium usually associated with the award and gala convert, and that day they also had a demo "fake" recording session scheduled to show the audience how film scores are actually recoded (hosted by Dennis Sands, who was full of fascinating stories). Townson and Horner were sitting on a couch on that very stage, surrounded by music stands and a couple of instruments. At one point, when Townson asked about the origin of a specific theme, Horner turned around and asked if there was a piano somewhere. There wasn't - what a missed opportunity!

Here are my photos from those sessions.

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He wrote some brilliant themes and his action music was very enjoyable. There aren't many composers left with his sensibilities (or talent).

As long as there are composers like him who made music like him, there will always be emerging composers (myself amongst them) who will strive to follow in his footsteps and write beautiful and moving scores for films.

Dammit at all, I WILL make it as a film composer!

I WILL!

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