Yeah I remember the story about the orb thingy. Never saw all the episodes so I always wondered how that all turned out.
Was this Wrath Of Khan music?
- Thread starter Gingerbread Demon
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Yeah I remember the story about the orb thingy. Never saw all the episodes so I always wondered how that all turned out.
Well, it sounded the ame, but it wasn't the Brisco County, Jr. theme. Same composer, Randy Edelman. He apparently was too inspired to make something wholly original.
That would be the "Final Fight" cue, right? I just listened to the end of it, and I didn't hear anything distinctly Hornerish. A bit of Stravinsky Rite of Spring influence, maybe, and the big sting at the end reminded me of Holst's "Mars, the Bringer of War." If there's a similarity, it's probably both composers drawing on earlier classical influences. That's usually the case when two recent works resemble each other -- after all, two different artists working in the same field at the same time are likely to have learned from some of the same precedents.
And really, given the lengths of their respective careers, I think it's far more likely that Horner would try to imitate Goldsmith than the reverse. Listen to Horner's seminal sci-fi score, Battle Beyond the Stars, and it's pretty blatant how much he cribbed from Goldsmith there.
No its the next track - 'Firing Sequence'
Yeah but don't a lot of composers borrow from each other?
Good artists copy while the great ones steal
Good artists copy while the great ones steal
I don't have that one. It must be on the extended album.
Of course they borrow, but they're more likely to borrow from their elders than their contemporaries or juniors (and Horner's career started a quarter-century after Goldsmith's). There are clear instances of Horner copying Goldsmith, but I don't see the reverse happening. And of course any orchestral composer's style is going to be influenced by classical composers from previous generations. Russian composers like Prokofiev, Shostakovich, and Stravinsky had a huge influence on John Williams and many other film composers. Of course, Prokofiev actually was one of the early film composers, so he had a huge influence on the whole medium. Goldsmith's own acknowledged influences include Stravinsky, Bartok, Copland, Bernard Herrmann, and Miklos Rozsa. And so on. Horner himself acknowledged Goldsmith as one of his influences, so anything you hear in Goldsmith that sounds "Horner-like" to you was probably Goldsmith's first, or was from one of the earlier composers they both drew on.
When I finally watched the film Wolfen, I thought I heard a lot of Star Trek in the score. Sure enough, it was Horner.
I enjoy the similarities between Williams' Duel of the Fates and Dvorak's Symphony #9 "From The New World"
I recall being at Uni, listening to a lot of classical music to study to, when, on seeing TPM, I was utterly enamoured by DotF but had a nagging feeling I had heard it before. A few weeks later with the classical discs on cycle, I came back to the 9th. Brought a grin to my face.
Hugo - badadah badadah bum bah da dadadah
I recall being at Uni, listening to a lot of classical music to study to, when, on seeing TPM, I was utterly enamoured by DotF but had a nagging feeling I had heard it before. A few weeks later with the classical discs on cycle, I came back to the 9th. Brought a grin to my face.
Hugo - badadah badadah bum bah da dadadah
Here's a lovely piece. 99% of people though turn it off after the first bit and don't listen all the way through... it's amazing music.
From what I recall, Horner had some issues with Cameron while composing for Aliens. Seems the latter kept changing his mind when it came to the score. You can see it in the album version of "The Drop", quite different from the movie´s. In the end, I guess Horner just decided to copy his previous work.
The rift between them was so big that they vowed to never work together again, which they didn't, until Titanic.
However, Horner never was innocent when it came to reusing previous queues of his.
In the end, I always enjoyed his scores, rehashed or not, and I shall miss his work deeply.
The rift between them was so big that they vowed to never work together again, which they didn't, until Titanic.
However, Horner never was innocent when it came to reusing previous queues of his.
In the end, I always enjoyed his scores, rehashed or not, and I shall miss his work deeply.
As a long-time fan of Horner certainly in his early career he tended to rehash cues a lot. Krull's music in the widow's web is almost identical to Trek, the boat chase in Cocoon is Spock in engineering in TWOK. As someone mentioned some of Battle Beyond the Stars seems to have been ahem 'influenced' by Goldsmith's TMP score. He even copied from himself in Aliens due to time pressure constraints (Ripley's dream on Gateway Station, when Dietrich is grabbed by an alien in the atmosphere processor, and when Bishop is impaled by the queen are the same cues). Strangely enough, and unused part of Horner's Aliens score that is on the soundtrack album was used for the finally on Die Hard when Karl gets shot.
In later years however, you can hear an entire score from Horner with very little recognisable. My personal opinion is that he may have been a little insecure in his abilities so relied a little more on what he knew worked, but grew in confidence as he went along.
In later years however, you can hear an entire score from Horner with very little recognisable. My personal opinion is that he may have been a little insecure in his abilities so relied a little more on what he knew worked, but grew in confidence as he went along.
You missed the escape from LV-426 and Ripley throwing the Queen out the airlock being the exact same piece of music. Nice music, though.
I don't blame Horner at all. He undoubtedly scored separate themes for both sequences. Then someone, probably Cameron, decided that the other theme wasn't punchy enough and reused the same theme for both. Honestly, I wonder if Cameron wanted a build-up type of theme, like the "Kirk's explosive reply" from TWOK, to be used there, and Horner, due to the time constraints, just reworked that theme to get it done with.
Wow has it really been a whole year? Hardly seems that long since I heard the news.
I was watching Enemy at the Gates and recognized a recurring theme (basically whenever someone looks down a rifle scope) immediately from TWOK, both Horner films. Tha was before I knew who the composer was. The first four notes from when Enterprise first encounters Reliant are slowed down and used as the main suspense them in that movie. It's a bit disappointing to hear something recycled, but TWOK and TSFS are two of the most amazing film scores of all time, so much can be forgiven after that.
4:53 of this clip starts the TWOK theme:
4:53 of this clip starts the TWOK theme:
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