Pitch sounds different.
Was this Wrath Of Khan music?
- Thread starter Gingerbread Demon
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That's the infamous danger motif. Horner's is notorious for using it in a bunch of his scores. He went overboard one time and made almost an entire cue the DM over and over again:
It's kind of like of frequently Rosenman would use the ascending tone pyramid, both inside scores (like a good deal in his "Lord of the Rings"[/b] animated film score) and/or to end films. It's usually four or five notes, sometiems a little more.
It's kind of like of frequently Rosenman would use the ascending tone pyramid, both inside scores (like a good deal in his "Lord of the Rings"[/b] animated film score) and/or to end films. It's usually four or five notes, sometiems a little more.
A
Amaris
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It reminds me of the music from Robin Hood: Men In Tights, in the scene where Robin picks the right rope to swing across the great hall. The background music always reminds me of something from Wrath of Khan, though the composers are completely different (RH:MIT was composed by Hummie Mann).
I uploaded a clip so you can see it and hear it for yourself:
I uploaded a clip so you can see it and hear it for yourself:
Horner's score for Honey, I Shrunk the Kids uses Themes from Raymond Scott's Powerhouse B and Nino Rota's Amarcord. Hints of Khan's melody can also be heard in the score too. It's pretty good.
Aha! Someone finally mentioned Krull in this thread (three pages to do it) Yeh listening to the Krull soundtrack is like Horner put the Wrath of Khan soundtrack, stuck it in a blender for 15 seconds, and then printed it.
Seriously. Listen to it.
)
Source? I know they had a falling out for a while after Aliens, but I thought that was mainly due to the way Cameron pushed Horner and then ended up cutting a lot of his score from the finished movie, anyway.
I think the Cameron/Horner fall-out may have been due to the fact that this was the first time Cameron was totally in charge of a movie that had a major orchestral score, and just didn't realise how much work was truly involved. Cameron certainly had a reputation for being a complete perfectionist (see the footage where he berates his effects guys for not yanking a face-hugger hard enough, and I remember hearing about him taking over the Queen puppet as he felt the puppeteers weren't slamming her into the closed bulkhead hard enough).
This falling out though may have given Cameron a better respect for composers though as I personally haven't heard any stories of other projects with similar problems in this regard. Not saying they don't exist of course, just that I haven't heard of them.
This falling out though may have given Cameron a better respect for composers though as I personally haven't heard any stories of other projects with similar problems in this regard. Not saying they don't exist of course, just that I haven't heard of them.
Much of Alan Silvestri's score to The Abyss was moved around and cut up as well. The major action set piece (the under water sub battle) was never even scored, just filled in with tracked music.
Neil
Yeah the score used for the Special Edition scenes that never appeared in the cinema release were pretty jarring if I recall - not watched the movie for a couple of years, gonna have to dig it out again.
I don't remember right now where I read about Cameron's objections to the familiarity of Horner's work on Aliens, but a fast Google does turn up the director's acknowledgment in a general way of the difficulty he found in working with the composer on the movie:
http://www.people.com/article/james-cameron-pays-tribute-james-horner
The two were friends, and it's not surprising that in a memorial tribute many years later Cameron wouldn't be so specific as to say "Horner recycled too much from Star Trek." Horner's tendency to borrow both from himself and others (there are elements of Goldsmith's ST:TMP score in Battle Beyond The Stars, not to mention the more obvious "homage" to Bernstein) was a common knock on him early in his career.
http://www.people.com/article/james-cameron-pays-tribute-james-horner
The two were friends, and it's not surprising that in a memorial tribute many years later Cameron wouldn't be so specific as to say "Horner recycled too much from Star Trek." Horner's tendency to borrow both from himself and others (there are elements of Goldsmith's ST:TMP score in Battle Beyond The Stars, not to mention the more obvious "homage" to Bernstein) was a common knock on him early in his career.
Aha! Someone finally mentioned Krull in this thread (three pages to do it) Yeh listening to the Krull soundtrack is like Horner put the Wrath of Khan soundtrack, stuck it in a blender for 15 seconds, and then printed it.
Seriously. Listen to it.
Except he did Krull first.
And then Joseph LoDuca liberally borrowed from the Krull soundtrack for the score to one of the first Kevin Sorbo Hercules movies. And another cribbed from Clash of the Titans, and there was a big fight-scene cue that was uncannily similar to a track from Demolition Man, and basically LoDuca makes Horner seem like a paragon of originality.
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