James Horner
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James Horner
Biography
One of the most popular and prolific film composers of the 1980s and 1990s, James Horner has displayed a gift for writing scores on the epic scale of such composers as Jerry Goldsmith, but has also shown a knack for bolder and more contemporary sounds as well as subtle and contemplative fare. Born in Los Angeles, California, in 1953, James Horner developed a precocious interest in piano at the age of five when he began learning the instrument. After graduating high school, Horner decided to study music, and he attended the Royal Academy of Music in London, England, before returning to the United States to receive a degree at the University of Southern California. Horner went on to earn a graduate degree in Composition at University of California, Los Angeles, and he wrote a contemporary classical piece entitled Spectral Shimmers, which was given its world premier by the Indianapolis Symphony Orchestra. Eager to find a larger audience for his work, Horner began seeking out commissions to write film music, and scored several short films for the American Film Institute. Horner's entry into commercial film music came courtesy of legendary exploitation filmmaker Roger Corman, who hired Horner to write music for several early-'80s releases for his production company New World Pictures, including Humanoids From the Deep and The Lady in Red (the latter scripted by another Corman discovery, John Sayles). Horner's breakthrough came in 1982, when he scored both Star Trek II: The Wrath of Khan and 48 Hrs. After composing for two of that year's biggest films, Horner found himself in great demand, and he had written 36 scores by the time he received his first two Academy Award nominations in 1986, having been cited for the animated children's feature An American Tail and the action-packed sci-fi thriller Aliens in the same year. Through the 1990s, Horner continued to work on a large number of prestigious productions, including Apollo 13, Braveheart, and Legends of the Fall, before finally winning an Oscar in 1997 for the score to James Cameron's blockbuster Titanic, as well as the music to the film's theme song, "My Heart Will Go On," which became an international hit for Celine Dion. ~ RoviFilmography:
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James Horner
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James Horner
| For The Record... |
| Born on August 14, 1953, in Los Angeles, CA; married Sarah; children: two daughters. Education: Bachelor’s degree, University of Southern California; master’s degree and Ph.D., music composition and theory, University of California at Los Angeles. Film composer, 1982–; feature-film debut Star Trek II: The Wrath of Khan; has composed scores and songs for more than 75 films, including Aliens, Cocoon, Glory, Legends of the Fall, Braveheart, Apollo 13, and The Perfect Storm; composer of orchestral scores Spectral Shimmers, 1978, and Titanic symphony; has toured with symphony orchestras. Awards: Academy Awards, Original Dramatic Score for Titanic and Original Song for “My Heart Will Go On” from Titanic, 1997; Golden Globes, Best Original Score for Titanic and Best Original Song for “My Heart Will Go On” from Titanic, 1997; Grammy Awards, Song of the Year and Best Song Written for a Motion Picture for “Somewhere Out There” from An American Tail, 1987, Best Instrumental Composition Written for a Motion Picture for Glory, 1990, Song of the Year, Record of the Year, and Best Song Written for a Motion Picture for “My Heart Will Go On” from Titanic, 1998. Addresses: Agent—c/o Gorfaine-Schwartz Agency, 3301 Barham Blvd., Suite 201, Los Angeles, CA 90068. |
Film composer
Beginning in the 1980s, James Horner has composed music for some of Hollywood’s most successful films. He was a pioneer in the use of synthesizers along with traditional orchestras to great effect in his early projects like Star Trek II: The Wrath of Khan, Krull, Wolfen, and Brainstorm. Later in his career, Horner became identified with Celtic themes, which culminated in his multiplatinum soundtrack album for the blockbuster Titanic and several Academy Award nominations. But his talent has not gone unquestioned. According to Filmtracks online, Horner is "at the center of many soundtrack fans’ controversies and discussions. His styles and techniques have been questioned again and again about repetition and attribution."
A native of the United States, Horner grew up in England and began studying piano at London’s Royal College of Music. He moved to the United States in the early 1970s to earn his music degree from the University of Southern California, then took his master’s from the University of California at Los Angeles. By the late 1970s Horner had begun to compose for the American Film Institute, a stepping stone to assignments on small, independent films. "It was like lightning," he told Los Angeles Times reporter Steven Smith in 1995. "I suddenly realized that I could be as expressive as I wanted. Each film was completely different. To me it was no different [than eighteenth-century composer Franz Joseph] Haydn being kept as a court composer, being paid, having the piece performed and given an orchestra." For a while Horner was associated with the legendary "B" movie producer Roger Corman, scoring low-budget science fiction and fantasy tales.
But even in those early days, there was talk of the influences of the young composer. In a 1982 interview by Randall Larson of Cinemascore, Horner acknowledged that some critics had compared his work to that of the established Hollywood composer Jerry Goldsmith. "I’m influenced by a lot of people," Horner remarked. "A lot of people say that they hear Jerry Goldsmith [in my music], but that’s only because they know Jerry Goldsmith’s music. I mean, other people think they hear Debussy’s music or Mahler’s music or Strauss’s music or Beethoven, it just depends on who one talks to."
Feature Film Scores Propelled Popularity
Horner’s high-profile feature debut came in 1982 with Star Trek II. His soaring orchestrations for that film led producers to hire him for such archetypical 1980s Hollywood fare as Field of Dreams, Cocoon, and Glory. With the animated feature An American Tail, Horner added songwriter to his credentials, penning the award-winning single "Somewhere Out There."
Horner continued to rack up movie credits into the 1990s, combining big-budget scores with work for smaller, more serious films. In 1995 he "burst back into
the national spotlight with an amazing streak of impressive scores," noted the Filmtracks website. "Hot off the success of Legends of the Fall, Horner was nominated [for Academy Awards] for both Braveheart and Apollo 13— two ethnically opposite, but stylistically elevated scores." But it was one 1997 project that would propel Horner from industry figure to household name. As the composer recalled in a 1998 Entertainment Weekly article, he knew his life had changed when, at a checkout counter in Woodland Hills, California, a clerk recognized Horner’s name on his credit card. People began flocking around the musician, who thought he was being accused of shoplifting. But his new fans were merely seeking the autograph of the man who scored the record-breaking hit film Titanic.
Earned Acclaim for Titanic Score
Titanic, based on the true story of the doomed ocean liner, was the second teaming of Horner and director James Cameron. The two had worked together on Cameron’s feature debut, Aliens. "It was a very difficult experience for both of us," Horner recounted in a Hollywood Reporter article by Ray Bennett, "because there was so little time for such a mammoth job. I wasn’t able to give him every thing he wanted." The two didn’t work together again until Titanic. "I got a script and I realized that this was a movie I really wanted to do," Horner told Bennett. As it turned out, Cameron loved Horner’s work on Braveheart. "When we finally communicated, we went in for a meeting and the past lasted for about a minute. We just started talking about Titanic"
The composer and the director agreed on some salient points: "Jim and I both did not want a Hollywood 1940s type big-drama score," said Horner. "I also desperately wanted to avoid that precious 1912 English sound, which has also been done many times. The voice, or the color, that I decided to go with was primarily [synthesizers] and vocals because I could do so much with them." Titanic notably employed the Celtic sounds that Horner had developed in Braveheart and other films. "I’m a fanatic about Irish music," he was quoted on the Filmtracks website. "I love its moody, modal and timeless quality." As for his use of vocals, Horner revealed in a 1997 interview for National Public Radio that he preferred voices for their "tremendous human quality.… I wanted, in Titanic, to give the sense of voices without being a choir. I was scared to death of it becoming like the Mormon Tabernacle Choir and a sort of holier-than-thou type of church sound." He synthesized the voices to achieve a "sort of quasi-electronic [sound]," noting that in the scenes of the ship’s sinking, "there’s this whole sort of wailing … moaning like a wind, this weird thing. It was sort of the culmination of all of this human quality that I wanted to give it."
The film’s three-hour-plus length necessitated a long score of 138 minutes, minus the period music played by the ship’s onboard combo. Still, Horner was compelled to add an original song—a "lullaby," as he put it in Hollywood Reporter— for the end credits. "It was more of a compositional decision than a commercial one," he remarked. "I never really thought of the commercial side of it." Horner’s tune, set to the lyrics of Will Jennings, became the ballad "My Heart Will Go On," a hit for singer Celine Dion. The Titanic soundtrack, featuring the single, hit record stores in time for Christmas 1997 and quickly soared to the top of the Billboard 200 list. By February of 1998 the Titanic album had gone triple-platinum and became the best-selling film score to that date after ten weeks in stores.
Continued Feature Film Success
Horner released a follow-up album, Back to Titanic, in 1998. This collection featured new orchestrations on the Titanic themes arranged for the London Symphony Orchestra, plus previously unreleased songs from the film. John Puccio of Sensible Sound listened to the collection and pronounced Horner a success. "I can’t remember when I last sat through and reviewed a movie soundtrack recording. I usually find them repetitive and dull. But I thoroughly enjoyed this second album." Horner returned to watery themes in 2000 with his score for the fishing-boat disaster epic, The Perfect Storm. With the new millennium came new films for Horner to score. Director Ron Howard, who had worked with Horner in Apollo 13, called on him again for How the Grinch Stole Christmas and A Beautiful Mind. Horner also scored the acclaimed sleeper hit, Iris.
Asked by Smith about the secret behind his continuing popularity with directors, Horner replied, "I think people hire me for the slightly weird angle that I bring. Part of the trick is keeping it sort of simple; you have to give the impression of not that much music playing when there’s really a lot."
Selected discography
Soundtracks
Star Trek II: The Wrath of Khan, Crescendo, 1982.
Cocoon, Polydor, 1985.
An American Tail, MCA, 1986.
Aliens, Varese Sarabande, 1987.
Field of Dreams, BMG Novus, 1989.
Glory, Virgin, 1989.
Legends of the Fall, Epic Soundtrax, 1994.
Apollo 13, MCA, 1995.
Braveheart, Polygram, 1995.
Titanic, Sony Classical/Sony Music Soundtrax, 1997.
Deep Impact, Sony Classical, 1998.
The Mask of Zorro, Sony Classical, 1998.
Back to Titanic, Sony Classical, 1999.
The Perfect Storm, Sony Classical, 2000.
How the Grinch Stole Christmas, Interscope, 2000.
A Beautiful Mind, Decca, 2001.
Enemy at the Gates, Sony Classical, 2001.
Iris, Sony Classical, 2001.
Sources
Periodicals
Entertainment Weekly, January 9, 1998, p. 67; February 6, 1998, p. 60; July 14, 2000, p. 51.
Hollywood Reporter, January 1998.
Los Angeles Times, February 13, 1995.
People, February 16, 1998, p. 26.
Sensible Sound, January 1999, p. 103.
Online
Academy of Motion Picture Arts and Sciences, http://www.oscar.com/legacy (April 28, 2002).
"A Conversation with James Horner," James Horner, http://www.hornershrine.com/interviews/interview1.html (April 15, 2002).
Filmtracks, http://www.filmtracks.com/composers/horner.html (April 28, 2002).
"James Horner," Internet Movie Database, http://us.imdb.com (April 15, 2002).
"National Public Radio Interview 12/97," James Horner, http://www.hornershrine.com/interviews/NPR.html (July 29, 2002).
Sony Classical, http://www.sonyclassical.com (April 28, 2002).
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James Horner
- Genres: Soundtrack
Biography
Famed for his lush, sweeping scores for films including Braveheart, Apollo 13, and Titanic, the prolific composer James Horner was born in Los Angeles on August 14, 1953. Educated at London's Royal College of Music as well as local universities USC and UCLA, he landed his first motion picture assignments during the 1970s, scoring B-movies like The Lady in Red, Humanoids of the Deep, and Battle Beyond the Stars for producer Roger Corman's New World organization. By 1982, Horner had moved on to major studio fare including 48 Hrs. and Star Trek II: The Wrath of Khan, and four years later he notched his first Academy Award nominations for his score to the science fiction classic Aliens as well as for the song "Somewhere Out There," from the animated picture An American Tail. In 1989, Horner earned a second Oscar nomination for his score to Field of Dreams, that same year winning a Grammy for his work on the Civil War drama Glory; in 1995 he was honored with two more Academy Award noms, for Braveheart and Apollo 13. Horner finally struck Oscar gold in 1997, taking home statuettes for his score to the blockbuster Titanic as well as the film's original song "My Heart Will Go On," a hit for Celine Dion. After writing scores for movies like Commando and New World, Film Music Masterworks: Original Soundtracks, which contained pieces from some of Horner's best-known work (Apollo 13, Braveheart, Willow, and of course, Titanic, among others), was issued in 2006. ~ Jason Ankeny, RoviWikipedia on Answers.com:
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James Horner
| James Horner | |
|---|---|
| Birth name | James Roy Horner |
| Born | August 14, 1953 |
| Origin | Los Angeles, U.S. |
| Genres | Film score |
| Occupations | Composer |
| Instruments | piano |
| Years active | 1979–present |
| Associated acts | Will Jennings, Celine Dion, Sissel Kyrkjebø, Ian Underwood, Randy Kerber, Faith Hill, Josh Groban, Linda Ronstadt, Charlotte Church, Rahat Nusrat Fateh Ali Khan, Leona Lewis, Michael Jackson, London Philharmonic Orchestra |
James Roy Horner (born August 14, 1953)[1] is an American composer, orchestrator, and conductor of orchestral and film music. He is noted for the integration of choral and electronic elements in many of his film scores, and for frequent use of Celtic musical elements. His score to the 1997 film Titanic remains the best selling orchestral film soundtrack of all time.[2][3]
In addition, Horner has scored over 100 films, frequently collaborating with acclaimed directors such as James Cameron and Ron Howard. Some of his most noteworthy works include Star Trek II: The Wrath of Khan (1982), Star Trek III: The Search for Spock (1984), Cocoon (1985), An American Tail (1986), Aliens (1986), The Land Before Time (1988), Willow (1988), Glory (1989), Field of Dreams (1989), The Rocketeer (1991), Legends of the Fall (1994), Apollo 13 (1995), Braveheart (1995), The Mask of Zorro (1998), A Beautiful Mind (2001), Troy (2004), and Avatar (2009).
Horner has won two Academy Awards, two Golden Globe Awards, three Satellite Awards, three Saturn Awards, and has been nominated for three BAFTA Awards. His body of work is also notable for including the scores to the two highest-grossing films of all time; Titanic (1997) and Avatar (2009), both of which were directed by James Cameron.
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Early life
Horner was born in Los Angeles, the son of Austrian immigrants Joan (née Frankel) and Harry Horner, who was a production designer, set designer and occasional film director.[4]
Horner started playing piano at the age of five. His early years were spent in London, where he attended the Royal College of Music. He subsequently attended Verde Valley High School in Sedona, Arizona. He received his bachelor's degree in music from the University of Southern California, and eventually earned a master's and started working on his doctorate at the University of California, Los Angeles where he studied with Paul Chihara, among others. After several scoring assignments with the American Film Institute in the 1970s, he finished his teaching of music theory at UCLA and turned to film scoring.[5]
Film and television scoring
Horner's first major film score was for the 1979 film, The Lady in Red. He began his film scoring career by working for B film director and producer Roger Corman, with his first composer credit for Corman's big-budget Battle Beyond the Stars. His works steadily gained notice in Hollywood, which led him to take on larger projects. Horner made a breakthrough in 1982, when he had the chance to score for Star Trek II: The Wrath of Khan, establishing himself as a mainstream composer.
Horner continued composing music for high-profile releases during the 1980s, including 48 Hrs. (1982), Krull (1983), Star Trek III: The Search for Spock (1984), Commando (1985), Cocoon (1985), Aliens (1986), *batteries not included, Willow (1988), Glory and Field of Dreams (both 1989).
Aliens earned Horner his first Academy Award nomination. He has been nominated an additional nine times since. Horner's scores have been sampled in film trailers for other films. The climax of the track Bishop's Countdown from his score for Aliens ranks fifth in the most commonly-used soundtrack cues for film trailers.[6] Also, an unused fragment from Aliens was featured in a scene from Die Hard. Several films whose scores were composed by Michael Kamen have had trailers featuring Horner's music; most notably, the music from Willow is substituted for the theme Kamen wrote for the 1993 remake of The Three Musketeers. Horner also added his nominated Braveheart "For the Love of a Princess" single for Robert Zemeckis's Theatrical Trailer of Cast Away.
Throughout the 1980s and early 1990s, Horner also wrote orchestral scores for children's films (particularly those produced by Amblin Entertainment), with credits for An American Tail (1986), The Land Before Time (1988), An American Tail: Fievel Goes West (1991), We're Back! A Dinosaur's Story (1993), and Casper, Jumanji, and Balto (all from 1995).
1995 saw Horner produce no fewer than six scores, including his commercially successful and critically acclaimed works for Braveheart and Apollo 13, both of which earned him Academy Award nominations. Horner's greatest financial and critical success would come in 1997, with the score to the motion picture, Titanic. The album became the best-selling primarily orchestral soundtrack in history, selling over 27 million copies worldwide.[7]
At the 70th Academy Awards, Horner won Oscars for Best Original Dramatic Score and Best Original Song for "My Heart Will Go On" (which he co-wrote with Will Jennings). In addition, Horner and Jennings won three Grammy Awards and two Golden Globe Awards for the soundtrack and My Heart Will Go On.[8][9] Titanic also marked the first time in ten years that Horner worked with director James Cameron (following the highly stressful scoring sessions for Aliens, Horner declared that he would never work with Cameron again and described the experience of scoring the film Aliens as "a nightmare").[citation needed]
Since Titanic, Horner has continued to score for major productions (including The Perfect Storm, A Beautiful Mind, Enemy At The Gates, The Mask of Zorro, The Legend of Zorro, House of Sand and Fog and Bicentennial Man).[1]
Aside from scoring major productions, Horner periodically works on smaller projects such as Iris, Radio and Bobby Jones: A Stroke of Genius. He received his eighth and ninth Academy Award nominations for A Beautiful Mind (2001) and House of Sand and Fog (2003), but lost on both occasions to Howard Shore. He frequently collaborates with film director Ron Howard, a partnership that began with Cocoon in 1985. Coincidentally, Horner's end title music from Glory can be heard in the trailer for Howard's Backdraft.
Horner composed the 2006-2011 theme music for the CBS Evening News. The theme was introduced as part of the debut of Katie Couric as anchor on September 5, 2006. It has since been adopted by most other CBS News programs as well.[citation needed]
Horner recollaborated with James Cameron on the 2009 film Avatar, which was released in December 2009 and has since become the highest grossing film of all time, surpassing Titanic (also directed by Cameron and scored by Horner).
Horner spent over two years working on the score for Avatar, and did not take on any other projects during that time. Horner's work on Avatar earned him numerous award nominations, including his tenth Oscar nomination, a Golden Globe nomination, a BAFTA nomination, and a Grammy Award nomination, all of which he lost to Michael Giacchino for Up.[10]
Regarding the experience of scoring Avatar, Horner said, "Avatar has been the most difficult film I have worked on and the biggest job I have undertaken... I work from four in the morning to about ten at night and that’s been my way of life since March. That's the world I'm in now and it makes you feel estranged from everything. I'll have to recover from that and get my head out of Avatar."[11] It is currently unknown whether or not Horner will return as composer for the sequel(s) to Avatar.
Horner recently composed the score for the film The Karate Kid replacing Atli Örvarsson. This is the first film Horner has worked on since Avatar.[12] The film was released in 2010.
Horner has recently scored The Song of Names (2011)[13], as well as The Amazing Spider-Man, which stars Andrew Garfield and is set for release in July 2012.
Critical debate
Horner has been criticised for transposing hooks, orchestral motifs, or larger passages from other scores of his own or of other composers.[14][15] These contentions are points of fierce debates between supporters of Horner and his detractors.[16]
List of scores
Film
1970s
- 1978 The Drought (for the American Film Institute)
- 1978 Fantasies (for the American Film Institute)
- 1978 Gist and Evans (for the American Film Institute)
- 1978 Landscapes (for the American Film Institute)
- 1978 Just for a Laugh (for the American Film Institute)
- 1978 The Watcher (for the American Film Institute)
- 1979 The Lady in Red
- 1979 Up from the Depths
1980s
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1990s
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2000s
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2010s
- 2010 The Karate Kid
- 2011 Black Gold[17]
- 2012 Cristiada
- 2012 The Amazing Spider-Man
- 2013 The Song of Names[13]
Television
- 1981 A Few Days in Weasel Creek
- 1982 A Piano for Mrs. Cimino
- 1983 Between Friends
- 1985 Amazing Stories (Episode: "Alamo Jobe")
- 1985 Faerie Tale Theatre (Episode: "The Pied Piper of Hamelin")
- 1985 Surviving
- 1990 Tales from the Crypt (Episode: "Cutting Cards")
- 1990 Extreme Close-Up
- 1992 Crossroads (theme)
- 1992 Fish Police (theme and pilot episode)
- 2000 Freedom Song
- 2006 CBS Evening News
Short films
- 1985 Let's Go
- 1986 Captain EO (shown at Walt Disney theme parks worldwide)
- 1989 Tummy Trouble
- 1991 Norman and the Killer
Concert works
- 1976: "Conversations"
- 1977: "Spectral Shimmers"
- 1998: "Titanic Suite"
- 2000: "A Forest Passage"
Miscellaneous works
- Logo music for Universal Pictures (1990–1997), Lionsgate, Icon Productions and CBS Films.
- THX trailer "Cimarron"
- Music for the P-51 aerobatic flight team "The Horsemen"[18][19]
Awards and nominations
Horner has won two Academy Awards for Best Original Score (Titanic) and Best Original Song ("My Heart Will Go On") in 1998, and has been nominated for Oscars an additional eight times. He has also won two Golden Globe Awards, three Satellite Awards, three Saturn Awards, and has been nominated for three BAFTA Awards.
AFI
In 2005, the American Film Institute unveiled their list of America's top twenty-five film scores. Five of Horner's scores were among 250 nominees, making him the most nominated composer to not make the top twenty-five:[20]
- Apollo 13 (1995)
- Braveheart (1995)
- Field of Dreams (1989)
- Glory (1989)
- Titanic (1997)
List of accolades
- 1988: An American Tail
- 1988: "Somewhere Out There" (from: An American Tail, Winner)
- 1990: Field of Dreams
- 1991: Glory (Winner)
- 1996: "Whatever You Imagine" (from: The Pagemaster)
- 1999: "My Heart Will Go On" (from: Titanic, Winner)
- 2003: A Beautiful Mind
References
- ^ a b Clemmensen, Christian. "James Horner (1953-)". Filmtracks.com. http://www.filmtracks.com/composers/horner.shtml. Retrieved 21 May 2012.
- ^ USA Today coverage of Horner's work
- ^ Clemmensen, Christian (18 November 1997, Revised 16 April 2012). "Titanic (James Horner)". Filmtracks.com. http://www.filmtracks.com/titles/titanic.html. Retrieved 21 May 2012.
- ^ , also known as "Big balls Johnson" Harry Horner's films as art director
- ^ MacDonald, Laurence E. The invisible art of film music: a comprehensive history. Ardsley House Publishers, 1998: p. 328 [1]
- ^ "Top 100 Frequently Used Cues". soundtrack.net. http://www.soundtrack.net/trailers/frequent. Retrieved December 19, 2007.
- ^ New mom Dion back with new album, Vegas deal
- ^ Horner's win at the 70th annual Oscar telecast
- ^ HFPA – Awards Search
- ^ Clemmensen, Christian (25 January 2010, revised 2 August 2011). "Up: (Michael Giacchino)". Filmtracks.com. http://www.filmtracks.com/titles/up.html. Retrieved 25 May 2012.
- ^ Times Online
- ^ Horner assigned to The Karate Kid film remake
- ^ a b The Song of Names (2011) – Full cast and crew
- ^ Thomas Muething, "Wen immer es angeht" (To Whom It May Concern), in: Der Deutsche Film Musik-Dienst, Nr.30/1995 (in German)
- ^ Alex Ross, "Oscar Scores", in The New Yorker, March 9, 1998.
- ^ Lukas Kendall & Jeff Bond, "Letters about James Horner's Titanic," in Film Score Monthly, 1997.
- ^ – filmmusicreporter.com
- ^ [2][dead link]
- ^ [3][dead link]
- ^ "AFI's 100 Years Of Film Scores". American Film Institute. 2005. http://connect.afi.com/site/DocServer/scores250.pdf?docID=221. Retrieved 24 May 2012.
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(1996 Album by Original Soundtrack)
Freedom Song [Original Television Soundtrack]
(2000 Album by James Horner/Sweet Honey in the Rock)
Cocoon [1985 Score]
(1985 Album by James Horner)
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