Aug. 17, 2025

The Music of James Horner: Our Top 5 Favorite Scores

The Music of James Horner: Our Top 5 Favorite Scores
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Season 6A Film By...

This week, we celebrate the career of another film composer we absolutely love. Wayne and David join Jeff to discuss the life and music of award-winning film composer James Horner, and offer their picks for our Top 5 Favorite Scores. 

For exclusive episodes and content, check out A Film By... Podcast on our Patreon with a FREE 7-day trial. You can also sign up as a free member! 

Check out www.afilmbypodcast.com/ for more information.
Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.
Find us on Instagram, X, and Facebook @afilmbypodcast.

WEBVTT

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You guys realized yesterday Thursday was that was James Horner's birthday.

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I do.

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Yeah, it brings back who.

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Who am I talking to? Of course, you guys know,

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of course I can't. I can't believe it's already been

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ten years since he's been gone that it still breaks

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my heart. Man.

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You know, it's I call it the day of infamy

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because uh, I remember, out of nowhere, Wayne messaged me

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and let me know that James Horner had died. I

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took that one very hard, guys, because Wayne, you know

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what a huge Horner fan I've always been, and losing

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him and his brilliance was just devastating. And it breaks

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my heart to think all the scores we could have

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had over the last ten years from him.

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Yeah, it hit me hard too. I just couldn't believe it.

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So I know, I was watching it minute by minute

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when the news was coming in. That's I know. I

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had to text you immediately.

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Yep, I was thinking back. You know. Earlier this year,

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we invited our friend Chuck Bryan from the Cinematic Flashback

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podcast to join us for an episode discussing film composer

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Jerry Goldsmith. You guys offered up a top five list

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of his scores, which I thought was awesome. We received

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some incredible feedback from that episode, including some from a

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composer and orchestrator, Lee Phillips.

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Yeah, yeah, it was fantastic.

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He does such a great job, you know, in all

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the recreations he does, he hasn't done any James Horner.

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But just yesterday they went in and re recorded the

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score to The Chairman, which I am really looking forward

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to hearing that they are bringing back music back alive

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that has been lost for years. It's incredible.

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I'm glad we have somebody that does that. I really do.

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I remember how thrilling it was just to see someone

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of that magnitude. Yeah, you know, give us some feedback.

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I loved it, you know way, and I know you

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were excited when I was. Guys, we love our directors

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on this show, but it's always a treat when we

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can discuss our love for film composers. And no one

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better suited to have this conversation than you two. So

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let's talk about the music of James Horner with our

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top five favorite scores. Hello, everybody, I'm Jeff Johnson.

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I'm David Burns and I'm Wayne Whiten, and this is a.

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Film by podcast. We are taking a moment to celebrate

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the birthday of one of our favorite composers with a

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with a little Top five episode. I love when we, guys,

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I love when we do these things. We don't talk

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enough about composers. I don't.

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We don't we do well.

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And that's I mean, that's kind of changing though. This

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season we have started these what we've been calling scoring

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sessions with Wayne. You know, he he kind of pops

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into the episode and just gives us like a nice,

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you know, five six minute blurb about the composer of

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whatever film we're talking about. Wayne, I honestly don't remember

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which which one was first. I just remember it was

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a big hit. Oh what what was it?

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I do? It was Jerry Goldsmith's Alien.

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Oh well, they have, of course one of.

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His top scores. I really have a lot of fun

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doing them. It gives me a chance to really sit

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down and re listen to these scores very closely and

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break them down to what I like and how they

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were made. It's it's fascinating to me, and I hope

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it's fascinating to sell the listeners.

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Well, all I know is I thought was a nice

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addition to that film at forty five episode that you

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you and Scott did, Dave, But then everyone started raving

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about you know, thanks for like who's Wayne? Where's Wayne? Letayne?

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We want one more way? Yeah, uh so, careful listeners, listeners.

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We we are working with Wayne's schedule. He's he's pretty

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busy on phaser set to stunt, but we're working to

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get him more involved with the film by episode so

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we can get more, uh more of this information on

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some of these composers. Wayne, It's a no secret. I

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know we've got Amber and I are gonna be covering

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Wolf Kane Peterson's The Perfect Storm here very soon. And uh,

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I know you've already agreed to that because that score

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is by who Wayne.

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I wonder by James Horner of course, one of his

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great scores.

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Yeah, uh do you guys, let's go back in time

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for a quick second.

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Mm hmm.

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Do you remember the film or television score that made

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you take notice of James Horner.

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So, my very first introduction to James Horner was obviously Willow,

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but I didn't take notice of him because I really

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at that age, I wasn't into composers or who composed

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the music for movies. But the one that really made

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me fall in love with James Horner with clearly nineteen

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eighty ninth Glory.

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Okay, Wayne, what what what was it that made you

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sit up and take notice of James Horner?

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Well, I loved music scores at a very early age.

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I own the LPs to you know, Empire Strikes Back

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and Star Trek the Motion Picture, and I also had

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when we When I first saw Star Trek two, I

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begged my grandma to go out and buy me the

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record to the score I wasn't aware of. I mean,

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I saw the name on it, obviously it was James Horner,

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and I owned Star Trek three, But it wasn't until

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it wasn't until Glory came out that I really started

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taking notice to him specifically as a composer, and started

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checking out some of his other works and buying some

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of his other CDs.

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It may surprise you, guys to know that Glory was

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not what made me stand up and take notice of

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James Owner. And I get you want to take it. Yeah,

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take a guess.

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I'm gonna say, Aliens, you that's.

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A great guess. But Uh, I'm gonna go a little

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bit earlier than aliens.

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Let me take a guess. What could it have been?

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Forty eight hours?

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Wayne, you were so close, you were on the money.

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And here's why I will say you're close.

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Arnold fot Thinger is in it about guys.

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It's nineteen eighty seven. I'm eleven years old and I'm

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watching the new Arnold Schwarzenegger movie that just debuted on

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the Movie Channel. And as amazing as it is to

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see Arnold carrying a chainsaw in one hand and what

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appears to be a full sized tree on his shoulder

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down this mountain, the scene is isn't near as impressive

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without James Horner's awesome music in nineteen eighty five's Commando

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and Wayne, You're you're kind of on the money because

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his score for Commando and his score for Forty eight

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Hours are very, very similar. You know, we got those

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steel drums and those those heavy feats.

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I knew it had to be one of his electronics

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scores around that time. I knew it had to be.

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Yeah, I should have get Ronaldo doing it.

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Yeah, I think I think my mom and dad were

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wise enough to Eddie Murphy and Nick Nolty to know, Yeah,

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you're too young to watch more it out, but you know,

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Arnold just you know, running around shooting bad guys and

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saying saying one liners that he's.

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Fine, you can do that.

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Little do they know about all the violence and nudity

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and language of Commando. But I'm glad that they were

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they were looking the other way on that one, because

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I love his music. That music is just awesome, you know.

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And the tight shots of Schwarzenegger's boots, then his bicep

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holding up the log, and then the sweat on his

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brown I'm telling you, Horner's music just makes that scene.

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It's awesome. Guys.

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Let's talk a little bit about James Horner before we

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get into your top five lists. James Roy Horner was

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an American film composer known for his integration of choral

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and electronic elements alongside traditional orchestrations. Wayne was he one

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of the first to do this, maybe one of the

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more prominent ones.

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You think, Oh yeah, I think so, I really do.

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He began playing piano and violin at the age of five,

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and his love of music led him to London, where

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in his early years he attended the Royal College of

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Music to study with the influential Hungarian Austrian composer George Legidy.

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I hope I'm saying that. Wayne's nodding, So I think

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I said that right. He furthered his studies in America

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at Verde Valley School, the University of Southern California, and UCLA,

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where he completed his doctorate, and after several scoring assignments

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with the American Film Institute in the nineteen seventies, he

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taught music theory for a time at UCLA before setting

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his sites on film scoring. Now, I mean, we're talking

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such an impressive body of work, and when I found

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this out, where we all got to start somewhere?

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Right, Dave, Yes, we do.

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His first credits as a feature film composer. You guys,

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I'm sure you guys know this. Who wants to give

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our our listeners the famous B movie director and producer

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that he was working for.

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That's going to be Roger Corman.

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Roger Corman.

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That'll Beyond the Stars.

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Yeah, well so Batt'll Beyond the Store Stars in nineteen

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eighty and one of my favorite Corman movies from nineteen eighty,

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Humanoids from the Deep, The Deep.

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Yep, that's really great movie and great score.

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Yeah. Yeah, I don't know what it is. I saw

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that movie on Prime for the first time a couple

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of years ago. I was like, Oh, this looks like

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it could be cool. Man, is that is it out there?

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As surprised as I was with some of the stuff

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that's going on in that movie, I was surprised to

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hear a James Order soundtrack.

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So you got to start somewhere, and you got a

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lot of people. A lot of people started with Roger Corman.

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And we love Corman.

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Yeah, Corman's awesome.

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I mean, you know, we talked to me and David

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recently talked about Death Race two thousand.

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Man.

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The composer there, which was Paul Chahara. James Horner studied

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under him while he was at the University of California.

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Oh, I didn't know that. I also didn't know that

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you're gonna be such a fan of Death Ray two thousand, Wayne.

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I've I remember when Scott was unavailable for a Dave

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as that was the one of the more recent a

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film at fifty episodes you did for our Patreon and

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I just remember thinking, Man, Wayne, I hadn't seen it

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since I was a kid. When I was watching it

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that night on tuby, I was like, man, Wayne is

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gonna be so upset with me for making him watch this?

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And then you guys just were eating it up. I can. Yeah,

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definitely a fun one. Yep. Horner worked on more than

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one hundred and sixty film and television productions, all of

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which I'm sure it can be found in both Wayne

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and Dave's collections.

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Of course they can, especially David. Now, Dave is the big,

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big James Horner fan. He's got a lot more Horner

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scores than I do.

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I think I'm only missing a couple, to be honest

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with you, Yeah.

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I believe that. He was nominated for ten Academy of Awards,

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winning two of them nominated, they all were ripped off.

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Nominated for four BAFT Awards, ten Golden Globe Awards, of

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which he won. To guys, he won three Satellite Awards,

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three Saturn Awards, and from nineteen eighty eight through twenty

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eleven he took home twelve Grammy Awards.

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Most Impressive, Most Impressive I know.

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Yeah, and like Goldsmith. His win for the Academy Award

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was on one film, and that's Titanic both of that

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he won was on Titanic, just like Goldsmith's only award

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was on the Omen. It's it's injustice in my opinion.

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At least with his with Titanic. It's I think that's

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got to be like the I think that's the highest

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selling film score all time.

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It is, right, yeah, And I remember that was a

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rough year too, because at the Academy Awards he was

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going up against Goldsmith, Williams and Elfman at the same time.

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That's just some murderer's row Man.

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That is the super Bowl of super bowls of comparison.

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Good Lord Horner was an avid aviation fan and a

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qualified pilot who owned several small planes. Sadly, on June

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twenty second, twenty fifteen, he was killed in a single

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fatality crash while flying his short Tucano turboprop aircraft. He

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was sixty one years old. His final three film scores,

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twenty fifteen's South Paul, twenty fifteen's The thirty Three, and

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twenty sixteen's The Magnificent Seven, were all completed and released posthumously. Guys,

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I am excited to hear these picks for the For

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what you guys are going to say are the top

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five favorite, top five best. But before we get to that,

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let's say a quick break to hear from some of

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the sponsors. All right, welcome back. We are talking about

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composer James Horner and what we feel are his top

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five best, his top five favorites. I don't know how

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you guys are gonna narrow this down to just five each,

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but I'll tell you what you know. I'm not a

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fan of these, but I will offer one honorable mention

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one not four. No Hoffman's no, no, I have I

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have one pick that I'm gonna divide into four answers. No,

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we're not doing that.

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This was rough too, choosing with five. It was not easy,

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but these are my top five.

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All right, Well, Wayne, let's start with your top five.

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All right. I know everyone here knows this, but for

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those of you are listening, I am a huge comic

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book fan and a collector, so it's really no surprise

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that you know this is one of my top five

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because one of my favorite comic creators was the late

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Dave Stevens, and that makes my number five pick to

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be the Rocketeer.

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Uh.

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For me, the Rocketeer will always stand as one of

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the best superhero films ever made. It's just a it's

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a classic story, very similar to the Golden Age superhero

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comics at the time. You know, wonderful director Joe Donson, Johnson,

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great cast. I just I really love this film. I

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loved it when I saw it in theater. And James

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Horner's score is just perfect for this. I mean, I

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really really love this score and I listened to it

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very frequently. You know, It's got so many great highlights

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to it.

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You know.

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There there there's the beautiful love theme. Uh, there is

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the the exciting Q called the Flying Circus. There's this

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incredible piece called Rendezvous the Observatory, which is a really

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lengthy build up that's a lot of his great themes

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and styles. And then of course the end titles and

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in credits that highlights everything and really showcases one of

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the best themes that he created. It's a fun listen

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that never bores me. It just tells the story through

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the music without really ever overpowering the visuals that are

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on screen.

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You know.

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Fortunately there's been a CD release of this. Back when

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the film came out nineteen ninety one, it was very short,

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in my opinion, had a lot of the songs that

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I really weren't that interested in. But thankfully, back in

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twenty sixteen and Trata released the complete score to this

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with everything on there, as well as twenty minutes of

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never before released music and a two disc presentation. And

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it's a beautiful remaster because I always felt the original

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release was very muddy and very quiet, so they went

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back to the original tapes and we mastered it so

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that we can hear it exactly as Horner had prepared

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it and had intended us to hear it.

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I absolutely love the music in this. It was last

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season we actually covered The Rocket too, we did, and

301
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I've I've debated whether I should start George lucasing some

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of our older episodes to add new content, and certainly

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a Wayne White at scoring session for that movie would

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would be perfect. But well, now we have it, so

305
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I'll leave that one alone.

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That The Rocket here is always on my playlist. I

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absolutely love this and I'm not surprised Wayne that you

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picked this one. This one was a struggle for me

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to lead out of my top five, but it just

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I had to leave it out. But I mean, again,

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if we were doing a top ten, it definitely would

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be there because the themes in this that movie that

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James Horner gave us is You Are Correct, are one

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of the best themes he has given us over the years.

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And to hear that just get pumped up like it does.

316
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It really puts you in a good mood and wants

317
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you to be a superhero. There's no doubt about that.

318
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Yeah, a little surprised. I would I would have picked

319
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you to have this one on your top five. And

320
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I gotta say, with one hundred and sixty piece of

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music out there for you guys to choose from, I

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didn't expect a lot of cross pollination except for one.

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I know there's one that I'd be shocked if it's

324
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if it's not high on both your lists or the

325
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number one for both of you. But the Rocketeer, fantastic

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pick there, Wayne, Yep, David, what is your number five?

327
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This is a film that kind of surprised me with

328
00:18:48.839 --> 00:18:50.839
its music in it, and it's it's a good movie.

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It's two thousand and one's Enemy at the Gates for

330
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my number five. It's a film about a sniper at

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the Battle of Stalingrad. It's got Jude Law, Harris Rigel Wires,

332
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Ron Perlman, and Joseph Fines. There is obviously a lot

333
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of Russian vocals and sounds to the score, since this

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film entirely takes place in Russia during World War Two.

335
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But there is one particular piece in this soundtrack that

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Horner has done, and it is a rather lengthy one.

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It's over fifteen minutes long, but it is just absolutely brilliant.

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It starts off slow and dramatic, allowing the story to

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breathe like we are just fading into a lovely dream,

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and it comes crashing in with a loud thunder, waking

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us up to make it realize we are not asleep,

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but in the middle of a war. It then pulls

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us into a beautiful thematic melody that just flows, but

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we keep getting this thunderous eruption so that we do

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not fall asleep again. It perpetates through the score with

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almost frightening swells, as if we are falling and falling,

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only to catch ourselves and be joldered back into what

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is going on around us. The music continues to build

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and build, showing its raw emotional strength, giving us an

350
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incredible theme and burst of energy erupting further into Russian

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vocalist until slowing up to allow us once again catch

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our breath, but not for long, as it starts rolling again,

353
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beating drums, signaling we are moving further into the fight,

354
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and it flows into some amazing choir vocalist. It does

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slow down again, but builds into a feverish pitch crashing

356
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down on us where we are full blown fighting, until

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eventually slowing up into that beautiful choir again. And of

358
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course I'm talking about the track that's called the River

359
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crossing to Stalingrive. Beautiful piece, very very long, but man

360
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as it just hold your attention from beginning to end.

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The second piece in this is Tanya in credits, which

362
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a lot of composers use in credits to just go

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crazy with their scores and their themes, and he really

364
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does it here. He gives us it's very emotional and

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perfectly fits in what we needed at the end of

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this film. Again we get Russian music blended with Horner's

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main theme, allowing us to process everything we have heard

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and we have felt emotionally. Again, his use of choir,

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which you will see a theme and a lot of

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his scores is just hauntingly beautiful.

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Yeah, I'm not surprised. I knew this would be on

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your top five because you know, we all have this

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one score of each composer that we go back to

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all the time, that we talk about that we just

375
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absolutely love to listen to over and over again. And

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I knew this was yours, and rightfully so, because it's

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such a powerful, powerful score. That's it's it pretty much

378
00:22:07.400 --> 00:22:10.720
symbolizes James Horner in the two thousands. It's his sound

379
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that he created for that. But it's it. I mean,

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you go through so many different emotions through it makes

381
00:22:15.920 --> 00:22:20.319
you feel anxious and excited and fearful. It's just it

382
00:22:20.720 --> 00:22:22.880
for scores to be that powerful, to bring that many

383
00:22:22.920 --> 00:22:26.880
emotions out to you just listening to it. It's it's

384
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a masterpiece. And just like I said with the Rocket

385
00:22:30.039 --> 00:22:32.200
here and a lot with a lot of his scores,

386
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he really tells the story just through the music, and

387
00:22:35.480 --> 00:22:37.759
this is one of the best examples of that. So

388
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no surprise it deserves on everybody's top list.

389
00:22:41.200 --> 00:22:44.400
So frightening story about the soundtrack on this one. So

390
00:22:45.519 --> 00:22:47.720
when I bought it, I played it, played it, played it,

391
00:22:47.759 --> 00:22:50.920
played it over and over and over, and I lost it.

392
00:22:51.640 --> 00:22:54.160
I don't don't. I didn't know where it went. I

393
00:22:54.279 --> 00:22:57.119
had the case, the CD was gone, and it scared

394
00:22:57.119 --> 00:22:58.839
me because it got out of print. You couldn't find

395
00:22:58.880 --> 00:23:01.000
it anywhere. Yeah it is, and you couldn't. You couldn't

396
00:23:01.000 --> 00:23:04.119
purchase it anymore. And so I let it go and

397
00:23:04.200 --> 00:23:06.640
it bothered me so for a couple of years. And

398
00:23:06.799 --> 00:23:11.240
so one day my sony seen Walkman fell out and

399
00:23:11.359 --> 00:23:12.000
it popped up.

400
00:23:12.359 --> 00:23:17.440
And don't you love that when you when you find

401
00:23:17.480 --> 00:23:19.039
those things, Because I've had a few scores where I

402
00:23:19.119 --> 00:23:21.160
put in the wrong case or whatever over the time,

403
00:23:21.240 --> 00:23:23.680
and it's gone for years, and then you finance like,

404
00:23:23.759 --> 00:23:26.359
oh my gosh, yes, thank you, and then you put

405
00:23:26.400 --> 00:23:28.279
it right in and listen to it right away exactly.

406
00:23:29.480 --> 00:23:31.839
Meat is great as long as you can keep track

407
00:23:31.880 --> 00:23:36.640
of it right absolutely day. I'll tell you that that

408
00:23:37.400 --> 00:23:40.640
that score has so many beautiful pieces of music in it.

409
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One of them my hot take. People people ask me,

410
00:23:46.279 --> 00:23:49.559
I'll tell you I think one of the hottest and

411
00:23:50.839 --> 00:23:55.720
most tastely done sex scenes in any movie happens to

412
00:23:55.799 --> 00:23:59.480
be an enemy at the gates, which sounds weird to say,

413
00:24:00.319 --> 00:24:04.119
but his music in that moment makes that moment I

414
00:24:04.240 --> 00:24:12.079
think it's just passionate. So yeah, absolutely, Well, speaking of passion, Dave,

415
00:24:12.640 --> 00:24:14.880
why don't we hang with you here a little bit longer.

416
00:24:15.000 --> 00:24:18.839
Let's go to number four and what do you got?

417
00:24:18.880 --> 00:24:20.079
What do you got for your number four pick?

418
00:24:20.640 --> 00:24:22.519
So I was gonna leave this one off the list

419
00:24:22.920 --> 00:24:26.799
because it's just so popular, But when I really drilled

420
00:24:26.880 --> 00:24:28.960
down to it and thought about it, I had to

421
00:24:29.000 --> 00:24:31.960
put it in my top five. Wayne somebody mentioned, I

422
00:24:32.000 --> 00:24:35.119
believe it was Wayne. It won two Academy Awards for

423
00:24:35.440 --> 00:24:39.680
James Horner, who well earned those Academy awards. Of course,

424
00:24:39.680 --> 00:24:44.119
I'm talking about nineteen ninety seven's Titanic, Jeff. You mentioned

425
00:24:44.160 --> 00:24:46.440
it holds the record for the most album sold for

426
00:24:46.559 --> 00:24:50.200
a cinematic film, which is absolutely amazing. I know a

427
00:24:50.240 --> 00:24:52.119
lot of that was because of the song by Celine

428
00:24:52.160 --> 00:24:56.279
Dion My Heart Will Go On, But James Horner did

429
00:24:56.799 --> 00:25:00.240
work on that song, so he deserved every bit of

430
00:25:00.359 --> 00:25:03.759
that credit. And that song in itself just brings in

431
00:25:04.000 --> 00:25:08.400
such a sense of memories, lost passion and tragedy, and

432
00:25:08.480 --> 00:25:10.519
you immediately put you into the place in history of

433
00:25:10.640 --> 00:25:13.880
losing that kind of Titanic, losing a loved one, and

434
00:25:14.000 --> 00:25:17.359
I can see why that became so popular, so famous,

435
00:25:17.400 --> 00:25:20.599
and why it won the Academy Award, because I mean,

436
00:25:20.680 --> 00:25:23.880
it's just a beautiful song, beautifully composed and of course

437
00:25:23.880 --> 00:25:28.960
beautifully song by Celine Dionni. But further on, you know,

438
00:25:29.160 --> 00:25:32.880
you've got the track called Him to the Scene, which

439
00:25:33.039 --> 00:25:39.240
is this very sorrowful theme which truly shows the tragic

440
00:25:39.359 --> 00:25:43.359
side of what happens to the Titanic. You know, it's

441
00:25:43.400 --> 00:25:47.759
a theme that goes throughout this film, and it's something

442
00:25:47.799 --> 00:25:50.599
that we know is coming, and James Horner just did

443
00:25:50.720 --> 00:25:54.119
such an incredible job of building that through his music,

444
00:25:54.920 --> 00:25:58.519
giving you that love of the history, the heritage of

445
00:25:58.759 --> 00:26:04.319
this ship, but also allowing this fictional story romance that

446
00:26:04.440 --> 00:26:07.519
we're witnessing on the Titanic. Blending it with all of

447
00:26:07.599 --> 00:26:12.480
that just brings out such the story into his music

448
00:26:12.599 --> 00:26:15.640
and it really comes off strong. But the other one

449
00:26:15.680 --> 00:26:38.160
that I absolutely love is called Death of Titanic. This

450
00:26:38.400 --> 00:26:41.880
one the music and I'm going to use this word

451
00:26:41.880 --> 00:26:44.359
of a lot, but it really shows the brilliance of

452
00:26:44.440 --> 00:26:50.920
James Horner because his music here descends with the ship.

453
00:26:51.480 --> 00:26:54.880
If you listen to that music, it is actually, you know,

454
00:26:55.039 --> 00:26:58.079
the music is descending down as the ship is sinking

455
00:26:58.240 --> 00:27:01.839
into that water, and for a composer to pull that

456
00:27:02.000 --> 00:27:05.559
off just shows how incredibly in tune he is with

457
00:27:05.720 --> 00:27:09.039
the story he's trying to tell. And that is why

458
00:27:09.200 --> 00:27:12.319
this is one of my favorite pieces on there. And

459
00:27:13.519 --> 00:27:17.119
it's just an amazing score, which is why I had

460
00:27:17.160 --> 00:27:18.200
to put it in my top five.

461
00:27:18.400 --> 00:27:19.200
Is it a cop out?

462
00:27:19.200 --> 00:27:23.279
Absolutely, it's not, because it is a beautiful score. Yes,

463
00:27:24.319 --> 00:27:26.599
he uses the anvil a lot because as we know,

464
00:27:26.880 --> 00:27:31.039
James Horner loves that anvil and it works, it really

465
00:27:31.160 --> 00:27:33.960
does in this film, and he pulls it off extremely well.

466
00:27:34.839 --> 00:27:37.920
He deserved that Academy Award for this film. I mean,

467
00:27:38.319 --> 00:27:40.680
you know, they had no choice but give it to him.

468
00:27:41.160 --> 00:27:44.119
I mentioned earlier that he was up against Williamston, Goldsmith

469
00:27:44.839 --> 00:27:47.680
and Elfman, and they all had really good scores, if

470
00:27:47.720 --> 00:27:50.640
I remember, they were a good Will, Hunting, La Confidential,

471
00:27:50.720 --> 00:27:56.240
and Amistad. But Titanic was such a huge film, not

472
00:27:56.440 --> 00:28:00.440
just in length but in success that it changed the

473
00:28:00.519 --> 00:28:03.480
way we looked at film and film music. Again, just

474
00:28:03.559 --> 00:28:06.160
like Williams had done in Jaws and Goldsmith did the omen,

475
00:28:07.319 --> 00:28:09.440
they had to give him the award, but it was deserved.

476
00:28:09.720 --> 00:28:13.039
It was really deserved because it is an incredible score

477
00:28:13.160 --> 00:28:16.240
that you know, and it was a best selling album too.

478
00:28:16.960 --> 00:28:19.759
It has been finally it is out there to get

479
00:28:20.200 --> 00:28:24.559
as a four disc complete set, and it's monumental. It's

480
00:28:24.920 --> 00:28:27.960
it's kind of overpowering sometimes when you look at how

481
00:28:28.039 --> 00:28:30.160
much music he had to write for this film, but

482
00:28:30.279 --> 00:28:33.039
it's definitely worth getting. It's it's an incredible listen.

483
00:28:33.839 --> 00:28:35.240
So it's the Titanic of an album.

484
00:28:35.640 --> 00:28:38.240
It means, yes, exactly.

485
00:28:38.759 --> 00:28:41.640
I'll tell you one thing I like about the Titanic score,

486
00:28:41.960 --> 00:28:44.720
and we haven't really touched on it yet because you know,

487
00:28:45.640 --> 00:28:49.079
like we said, he he likes his electronic integration with

488
00:28:49.240 --> 00:28:53.720
with choral motifs, but he also I feel like a

489
00:28:53.759 --> 00:28:57.359
lot of his stuff had like a Celtic music type

490
00:28:57.359 --> 00:29:00.359
of vibe and this one's this one's definitely in there.

491
00:29:00.440 --> 00:29:01.920
So that's that's one of the things I've always loved

492
00:29:01.960 --> 00:29:08.440
about it. Well, guys, no real electronic discussion yet from

493
00:29:08.519 --> 00:29:10.559
the scores that you picked, you guys are pretty much

494
00:29:10.599 --> 00:29:15.559
staying historical at this point. But maybe Wayne I'll change

495
00:29:15.559 --> 00:29:17.240
that up with his number four pick.

496
00:29:18.000 --> 00:29:22.079
Nope, I will not, because I always felt that Horner

497
00:29:22.240 --> 00:29:24.640
was it's really at his best when he's writing for

498
00:29:25.000 --> 00:29:30.680
like sweeping, dramatic emotional films, especially historicals, and one of

499
00:29:30.759 --> 00:29:34.160
my top favorites of that genre, which I'm choosing as

500
00:29:34.160 --> 00:29:37.519
my number four pick, is nineteen ninety four's Legends of

501
00:29:37.599 --> 00:29:41.039
the Fall Oho, directed by Edward Zwick, which is a

502
00:29:41.119 --> 00:29:42.759
name you're going to hear again on my list a

503
00:29:42.839 --> 00:29:47.119
couple more times. This film started Brad Pitt, Anthony Hopkins,

504
00:29:47.400 --> 00:29:52.640
Julie Armond, and Andrew Thomas. Legends of the Fall represents

505
00:29:53.000 --> 00:29:56.359
the beginning of what, in my opinion, is a new

506
00:29:56.480 --> 00:30:00.279
musical sound of Horner's, a defining moment in his career

507
00:30:00.319 --> 00:30:03.920
where he begins to experiment with new styles and sounds

508
00:30:04.119 --> 00:30:08.119
which would develop into the sound that he would continue

509
00:30:08.160 --> 00:30:10.480
through the second half of his career. You hear it

510
00:30:10.599 --> 00:30:13.480
in films like Brave Heart Paul thirteen. Enemy at the

511
00:30:13.480 --> 00:30:15.720
Gates is another great example of it, and especially in

512
00:30:15.920 --> 00:30:20.720
Avatar and Titanic. Legends of the Fall is a huge, sprawling,

513
00:30:21.000 --> 00:30:25.279
theme filled epic. You know, it's a perfect representation of

514
00:30:25.319 --> 00:30:28.480
a score for the American West, the horrors of war,

515
00:30:29.000 --> 00:30:33.480
overwhelming love. It's just incredible the work that he put

516
00:30:33.519 --> 00:30:38.599
into it and He's created two very different themes for

517
00:30:38.759 --> 00:30:42.079
his score. The first one, which we hear in the

518
00:30:42.160 --> 00:30:45.799
opening title, you know, has an atmospheric build up before

519
00:30:45.880 --> 00:30:48.759
the main theme even kicks in, which starts as a

520
00:30:48.880 --> 00:30:54.039
solo trumpet and then expands into the full orchestra. It's

521
00:30:54.200 --> 00:30:56.359
just one of those themes that grip shift from the beginning.

522
00:30:56.400 --> 00:30:56.559
You know.

523
00:30:56.599 --> 00:31:00.559
It's romantic and just absolutely beautiful. And then there's that

524
00:31:00.680 --> 00:31:06.160
second film theme that is called Twilight mist. We first

525
00:31:06.240 --> 00:31:09.279
hear that theme in the Q called the Ludlow's and

526
00:31:09.359 --> 00:31:12.079
it's performed on solo piano, which I love the piano,

527
00:31:12.279 --> 00:31:16.319
and this is a great Horner piano piece. The theme

528
00:31:16.400 --> 00:31:19.720
is a warmer and slightly folksy feel that we hear

529
00:31:19.920 --> 00:31:22.480
as a song sung by Henry Thomas with his family

530
00:31:22.559 --> 00:31:25.839
gathered around the piano. Plus the two cues to the

531
00:31:25.920 --> 00:31:30.000
Boys and Samuel's death gives us an emotion of horrors

532
00:31:30.039 --> 00:31:33.039
of war. It's easily two of the most powerful and

533
00:31:33.119 --> 00:31:39.519
dramatic action cues of Horner's career. It's just overwhelming in emotion.

534
00:31:39.880 --> 00:31:43.480
These these pieces of music bring to you. I love

535
00:31:43.519 --> 00:31:45.279
this score. It's one of those scores that I can

536
00:31:45.359 --> 00:31:50.200
listen to over and over again, just for the great

537
00:31:50.400 --> 00:31:54.720
musical storytelling that he brings. And it's been released twice,

538
00:31:55.599 --> 00:31:57.839
back during the original release of the film in nineteen

539
00:31:57.920 --> 00:32:01.559
ninety five by Epic Records and again as a complete

540
00:32:01.599 --> 00:32:06.160
score in twenty twenty by Introtter Records, again two CD

541
00:32:06.359 --> 00:32:09.400
sets with every note that Horner wrote for this including

542
00:32:09.480 --> 00:32:11.640
music that he had to cut out of the film

543
00:32:12.039 --> 00:32:14.640
at the beginning. It's, without a doubt, one of the

544
00:32:14.680 --> 00:32:17.359
most underrated scores in the nineteen nineties in my opinion,

545
00:32:18.000 --> 00:32:21.400
and one of James Horner's finests that is often overlooked

546
00:32:22.359 --> 00:32:24.920
lost within a lot of the blockbuster films that came

547
00:32:24.960 --> 00:32:25.720
out around that time.

548
00:32:26.640 --> 00:32:31.599
Well, guys, you've got three picks to go. But before

549
00:32:31.640 --> 00:32:34.480
we get to him, I wouldn't mind talking a little

550
00:32:34.480 --> 00:32:37.839
bit about some of his other work. I'm talking about

551
00:32:37.839 --> 00:32:41.240
tell let's can we talk television for a quick minute? Sure,

552
00:32:41.440 --> 00:32:43.799
because I have to think. I know he didn't do

553
00:32:43.880 --> 00:32:46.119
a lot, but I'm guessing you guys probably have like

554
00:32:46.519 --> 00:32:48.079
a favorite television piece.

555
00:32:48.359 --> 00:32:50.200
Probably saying Wayne as Wayne, But yeah, I think we do.

556
00:32:51.440 --> 00:32:53.119
What do we talk? What do you got here, Dave?

557
00:32:53.920 --> 00:32:58.119
I'm obviously talking about nineteen eighty five Amazing Stories episode album, OJOB.

558
00:33:00.279 --> 00:33:02.920
I really like that one a lot, and I'm glad

559
00:33:02.960 --> 00:33:04.559
he's to be a part of the Amazing Stories because

560
00:33:04.559 --> 00:33:06.720
a lot of the great composers were a part of

561
00:33:07.039 --> 00:33:09.599
that TV series, almost all of them, almost all. Yeah,

562
00:33:09.759 --> 00:33:11.640
so it's very very fitting that James Horner had a

563
00:33:11.680 --> 00:33:14.200
piece of that pie. I know he did a lot

564
00:33:14.279 --> 00:33:16.759
of television made for movies and stuff like that, but

565
00:33:16.920 --> 00:33:18.759
I'm always on that Amazing Stories one.

566
00:33:19.319 --> 00:33:21.920
Yeah, he's one that didn't work too much in television

567
00:33:22.119 --> 00:33:24.240
because you know, like a lot of composers which got

568
00:33:24.279 --> 00:33:26.720
their start in television, he didn't. He got to start

569
00:33:26.759 --> 00:33:28.759
in motion pictures and kind of flew with that, but

570
00:33:28.920 --> 00:33:31.359
he did touch television every now and then, mostly for

571
00:33:31.480 --> 00:33:34.240
TV movies. There isn't really that much has been released,

572
00:33:35.240 --> 00:33:38.319
but Alamo Job is one of of my favorites too

573
00:33:38.359 --> 00:33:40.319
as well. I love Amazing Stories. It's one of my

574
00:33:40.319 --> 00:33:43.240
favorite TV series, and the musical scores, which have all

575
00:33:43.319 --> 00:33:46.720
been released on CD are just incredible. But I also

576
00:33:46.759 --> 00:33:49.839
want to talk about the only TV series that Horner

577
00:33:50.359 --> 00:33:53.880
worked on as a regular composer, and it's a series

578
00:33:53.920 --> 00:33:55.680
that none of you will remember, but I have to

579
00:33:55.720 --> 00:33:58.240
bring it up, and that's nineteen ninety two s Fish.

580
00:33:58.119 --> 00:34:02.559
Please say Fish Police, Fish Police.

581
00:34:02.599 --> 00:34:05.440
You heard me correct? You know I was going to

582
00:34:05.440 --> 00:34:07.240
ask you if you remembered it, but apparently you don't.

583
00:34:07.519 --> 00:34:10.800
I don't know, but I do. It didn't last very long.

584
00:34:10.920 --> 00:34:13.840
It was only three episodes long before they canceled it.

585
00:34:14.760 --> 00:34:17.719
But it was an animated series. It was created by

586
00:34:18.000 --> 00:34:21.239
Steve Moncouse who was a comic book writer, and it

587
00:34:21.320 --> 00:34:23.400
was based on his comic book that he created called

588
00:34:23.440 --> 00:34:30.159
fish Police. It was a it was fun but unusually

589
00:34:30.360 --> 00:34:35.199
adult series had voice of John Ritter. Tim Curry was

590
00:34:35.199 --> 00:34:38.559
in it at all. Yeah, it had a great cast.

591
00:34:38.719 --> 00:34:41.559
It just did The writing was a little bit too

592
00:34:41.679 --> 00:34:43.119
risky for that time.

593
00:34:43.159 --> 00:34:43.320
You know.

594
00:34:43.360 --> 00:34:45.440
It came out during that cartoon craze of the nineteen

595
00:34:45.480 --> 00:34:47.159
nineties after the Simpsons. You know, everybody was trying to

596
00:34:47.199 --> 00:34:51.559
do adult cartoons but quickly pulled. But Horner's music and

597
00:34:51.719 --> 00:34:54.599
his his theme that he created to it is very

598
00:34:54.639 --> 00:34:56.440
similar to the work that he did for like The

599
00:34:56.559 --> 00:34:59.719
Land Before Time and American Tale. You know, you can

600
00:34:59.719 --> 00:35:02.880
definite tell he's getting into his his his cartoon stage.

601
00:35:02.920 --> 00:35:04.800
But it's a wonderful sports about the only thing that

602
00:35:04.920 --> 00:35:08.079
is wonderful about that series, But I have to bring

603
00:35:08.159 --> 00:35:11.400
it up, just even if one person out there goes

604
00:35:11.440 --> 00:35:14.679
out and the YouTuber types fish place up. I did

605
00:35:14.760 --> 00:35:15.119
my job.

606
00:35:17.639 --> 00:35:20.320
Okay, well, i'll tell you. I know, when we did

607
00:35:20.400 --> 00:35:25.440
our Bill Paxton episode back in May, we kind of

608
00:35:25.480 --> 00:35:27.960
brought up the whole Tales from the Crypt episode that

609
00:35:28.039 --> 00:35:31.920
he did. That's just which is just mind blowing to

610
00:35:31.960 --> 00:35:33.800
see a young Bill Paxton and Tales from the Crypt.

611
00:35:34.400 --> 00:35:37.880
But Horner did some composing for Tales from the Crypt.

612
00:35:38.199 --> 00:35:40.639
He's got an episode or two, so I thought, I

613
00:35:40.880 --> 00:35:42.400
definitely am going to go back and watch that one

614
00:35:42.519 --> 00:35:46.239
just to hear it. The CBS Evening News Wayne.

615
00:35:46.559 --> 00:35:48.639
Yeah, oh that was big at the time. When was

616
00:35:48.679 --> 00:35:53.960
that two thousand and six? Yep, yeah, I think. Well, see,

617
00:35:54.000 --> 00:35:58.079
back in the nineteen eighties, NBC had wanted to change

618
00:35:58.119 --> 00:36:01.639
their sound and they hired John william to write all

619
00:36:01.679 --> 00:36:03.880
of the themes for all of their shows at their

620
00:36:03.960 --> 00:36:06.760
new shows, and he went and he wrote, oh god,

621
00:36:07.000 --> 00:36:09.280
probably I think three or four dozen different themes for them,

622
00:36:09.360 --> 00:36:12.199
and we still hear those. And I think CBS was

623
00:36:12.239 --> 00:36:14.360
looking to do the same thing, and they hired James

624
00:36:14.400 --> 00:36:16.559
Horner and it was big. I mean they even interviewed

625
00:36:16.639 --> 00:36:20.400
him in a huge, lovely interview that he did on TV.

626
00:36:20.480 --> 00:36:23.199
I remember sitting in the car dealership waiting for my

627
00:36:23.239 --> 00:36:27.000
Cardief fixed us I was watching it. But his music

628
00:36:27.079 --> 00:36:28.519
is great and it's still used today.

629
00:36:29.480 --> 00:36:33.000
Now another project I wish I could have seen. I

630
00:36:33.079 --> 00:36:36.239
could have experienced this, As you both know, sadly, I

631
00:36:36.320 --> 00:36:40.960
have never been to Disney World. But can we talk

632
00:36:41.159 --> 00:36:43.400
about Captain eo Oh.

633
00:36:43.480 --> 00:36:43.639
Yeah.

634
00:36:44.239 --> 00:36:49.119
The Disney Attraction, which premiered in nineteen eighty six, which

635
00:36:49.599 --> 00:36:55.000
we all know is a great year in film, ran

636
00:36:55.159 --> 00:36:58.559
until nineteen ninety eight. This was basically it was an

637
00:36:58.559 --> 00:37:02.880
attraction that incorporated a three D short film into the experience.

638
00:37:03.719 --> 00:37:08.000
It's directed by Francis Ford Coppola, stars Michael Jackson and

639
00:37:08.320 --> 00:37:13.159
Angelica Houston. And guys, I may not have seen or

640
00:37:13.320 --> 00:37:16.639
experienced this attraction, but I am familiar with the music.

641
00:37:17.159 --> 00:37:21.280
It features an incredible electronic fuse score by James Horner.

642
00:37:21.920 --> 00:37:24.119
So I got to ask, I have either of you

643
00:37:24.280 --> 00:37:26.519
did you ride this ride or this attraction?

644
00:37:26.679 --> 00:37:26.760
Did?

645
00:37:27.760 --> 00:37:31.760
Everyone's not? So I'm the odd man out a little bit. Sorry, Yeah,

646
00:37:31.800 --> 00:37:33.360
tell me a little bit about like what's the experience

647
00:37:33.519 --> 00:37:34.559
like or what was it like?

648
00:37:35.159 --> 00:37:37.039
Man, I was I was like a finger in high school.

649
00:37:37.039 --> 00:37:38.599
I don't know if I can remember that I.

650
00:37:38.679 --> 00:37:40.000
Was the same way I was. That would have been

651
00:37:40.039 --> 00:37:42.639
back in nineteen eighty nine. I remember really liking it.

652
00:37:43.280 --> 00:37:48.920
I remember really liking the music to it. Gosh, the

653
00:37:49.039 --> 00:37:52.719
music's not ever been released on CD or in any format.

654
00:37:53.320 --> 00:37:54.840
I know a lot of people are calling for it.

655
00:37:54.880 --> 00:37:58.400
It's such a short little piece, but Skron feel to it.

656
00:37:58.760 --> 00:38:00.199
Yeah, they can attack it on the end of one

657
00:38:00.239 --> 00:38:03.400
of the other scores or something, you know. But I

658
00:38:03.519 --> 00:38:08.280
remember enjoying it. I it wasn't the best thing, best ride,

659
00:38:08.519 --> 00:38:10.880
you know. I was looking forward more to the Haunted Mansion,

660
00:38:10.960 --> 00:38:13.880
but you know, it was still I'm glad I went

661
00:38:14.000 --> 00:38:15.880
and SAWID, but I wish I could remember more about it.

662
00:38:16.079 --> 00:38:17.960
Yes, I'm here. I don't remember too much on it.

663
00:38:18.000 --> 00:38:21.679
I just remember Michael Jackson. Do you remember the screen? Yes?

664
00:38:23.360 --> 00:38:27.840
But beyond that, yeah, yeah, one last thing and then

665
00:38:27.920 --> 00:38:30.519
we'll get back to your top five. And this is

666
00:38:30.760 --> 00:38:33.920
for a good buddy, Chuck Bryan, because it was it

667
00:38:34.000 --> 00:38:37.440
was the Goldsmith episode you guys did back in February.

668
00:38:37.480 --> 00:38:39.559
That was like that maybe's kind of God, What is that?

669
00:38:39.800 --> 00:38:42.559
Is that accurate? Is that real? Uh? Let me play

670
00:38:42.599 --> 00:38:59.079
something here for you, because I'm sure you both recognize this. Yep,

671
00:38:59.159 --> 00:39:04.000
everyone's not their heads. Universal Pictures fanfare from nineteen ninety.

672
00:39:04.559 --> 00:39:04.760
Yep.

673
00:39:05.840 --> 00:39:09.000
I just I love the fact that we've got amazing

674
00:39:09.039 --> 00:39:11.280
opposers doing this stuff, because you know, you hear these things,

675
00:39:11.320 --> 00:39:13.119
these these interests for all these movies, and you just

676
00:39:13.239 --> 00:39:16.079
never expect that. At least I never expected it. It's

677
00:39:16.960 --> 00:39:21.320
a it's a Jerry Goldsmith or a James Horner, this one,

678
00:39:21.360 --> 00:39:24.559
I really, I really enjoy it. I'll give you a

679
00:39:24.679 --> 00:39:26.719
bonus question here, though, can either can either of you

680
00:39:26.880 --> 00:39:33.360
tell me what was the first movie that Universal featured

681
00:39:33.400 --> 00:39:34.800
this fanfare in front of?

682
00:39:35.719 --> 00:39:35.840
Oh?

683
00:39:36.079 --> 00:39:38.119
Geez, it would have been in ninety.

684
00:39:38.880 --> 00:39:41.599
Yeah, you know it's nineteen ninety. And as you guys

685
00:39:41.719 --> 00:39:43.639
scratch your heads, at least the listeners are getting a

686
00:39:43.719 --> 00:39:44.760
chance to go, wait, I think I.

687
00:39:44.800 --> 00:39:48.119
Know this, so I justly I can't remember what films

688
00:39:48.159 --> 00:39:49.840
came out by Universal in nineteen ninety.

689
00:39:50.280 --> 00:39:52.719
I'm out, You're okay, Wayne, you want to take a

690
00:39:52.760 --> 00:39:53.280
stab at it.

691
00:39:54.000 --> 00:39:56.000
I can't even think of what. I can't think of

692
00:39:56.079 --> 00:39:58.719
one that came out by Universal way.

693
00:39:58.760 --> 00:40:00.719
You just go back in time. Let's see if you

694
00:40:00.760 --> 00:40:01.320
can come up with it.

695
00:40:01.519 --> 00:40:01.800
I am.

696
00:40:02.000 --> 00:40:05.039
I saw so many films, but I don't remember which

697
00:40:05.719 --> 00:40:06.760
a Universal film that.

698
00:40:06.800 --> 00:40:10.440
I h Dave did he totally missed that one of

699
00:40:10.559 --> 00:40:15.559
it flew right over his head. Uh, we're talking about

700
00:40:15.559 --> 00:40:16.760
back to the Future there.

701
00:40:18.239 --> 00:40:21.079
Oh, of course, of course.

702
00:40:23.320 --> 00:40:26.000
Start three starring our good buddy Tom Wilson.

703
00:40:26.360 --> 00:40:28.239
It's right, good buddy.

704
00:40:28.760 --> 00:40:32.920
Al right, back to the top five, Wayne, what is

705
00:40:33.000 --> 00:40:34.519
your number three pick?

706
00:40:35.360 --> 00:40:37.719
Okay, this score may sound like a bit of an

707
00:40:37.760 --> 00:40:40.239
odd ball for me to choose, but this really is

708
00:40:40.320 --> 00:40:44.239
one of my guilty pleasures. I love this score, probably

709
00:40:44.679 --> 00:40:47.400
ten times more than I love the film, and I

710
00:40:47.440 --> 00:40:49.960
can listen to it over and over again. So my

711
00:40:50.159 --> 00:40:53.920
pick for number three is Ron Howard's nineteen eighty five

712
00:40:54.039 --> 00:40:55.440
comedy drama Cocoon.

713
00:40:56.000 --> 00:40:57.840
Oh good one. All right.

714
00:40:58.519 --> 00:41:01.760
This would be Ron howard first collaboration with James Horner,

715
00:41:02.199 --> 00:41:04.280
and we all know that would blossom into a great

716
00:41:04.320 --> 00:41:07.119
friendship and bring us many, many more incredible scores in

717
00:41:07.159 --> 00:41:11.360
the years afterwards. You know, his Cocoon. His work on

718
00:41:11.440 --> 00:41:13.679
Cocoon raised the bar for him, in my opinion, set

719
00:41:13.719 --> 00:41:18.239
the standard for his future career and his definitive sounds

720
00:41:18.360 --> 00:41:20.239
in the eighties. I mentioned earlier about the sound of

721
00:41:20.280 --> 00:41:23.079
the nineties and two thousands. This was the sound of

722
00:41:23.119 --> 00:41:23.639
the eighties.

723
00:41:24.119 --> 00:41:24.280
You know.

724
00:41:24.639 --> 00:41:26.440
It's written for a full orchestra.

725
00:41:27.039 --> 00:41:27.199
You know.

726
00:41:27.280 --> 00:41:30.880
The score switches from small solo piano performances to exciting

727
00:41:30.960 --> 00:41:34.159
action sequences and concludes with some of the most soaring

728
00:41:34.239 --> 00:41:38.079
and majestic writing in the Horner's entire career. The score

729
00:41:38.199 --> 00:41:41.440
is built around a central theme, and it's called theme

730
00:41:41.440 --> 00:41:48.079
from cocun Believe It or Not, which yeah, in itself

731
00:41:48.119 --> 00:41:51.400
can be broken into three distinct melodies. First, there's a

732
00:41:51.920 --> 00:41:55.320
tingling southern note prelude theme opening it up, followed by

733
00:41:55.360 --> 00:41:58.760
an elegant horn solo similar to the style he used

734
00:41:58.800 --> 00:42:02.239
for his animated children's films later on, and concludes with

735
00:42:02.320 --> 00:42:05.559
a brass let orchestral theme showing off a dramatic side

736
00:42:05.559 --> 00:42:08.280
of the score and similar to the nineteen nineties historical

737
00:42:08.400 --> 00:42:11.079
dramas that he would become known for. And I also

738
00:42:11.159 --> 00:42:12.880
want to mention the que the Chase, which is a

739
00:42:13.039 --> 00:42:17.360
wonderful early Horner style piece of action music. It features

740
00:42:17.400 --> 00:42:20.239
echoes of his star Trek scores with wild string runs,

741
00:42:20.360 --> 00:42:23.320
dramatic brass hits. This is, without question, one of my

742
00:42:23.400 --> 00:42:27.599
favorite cues of the entire score. Just it symbolizes everything

743
00:42:27.599 --> 00:42:29.280
that I love about James Horner in the nineteen eighty

744
00:42:29.440 --> 00:42:33.719
So he let all his unbridled musical passion out with

745
00:42:33.800 --> 00:42:37.840
his score, bringing us a fun, but emotional, odd but

746
00:42:37.960 --> 00:42:42.000
sunning score to such a quirky motion picture. I mean,

747
00:42:42.000 --> 00:42:44.960
that's the best way I can describe it. The score

748
00:42:45.000 --> 00:42:48.039
has no business being this beautiful. But you know we're

749
00:42:48.039 --> 00:42:50.800
talking about a master film composer delivering, you know, a

750
00:42:51.000 --> 00:42:55.000
very heartfelt, emotional punch with this score. So you know

751
00:42:55.679 --> 00:42:56.199
another one.

752
00:42:56.320 --> 00:42:57.199
I just I love this.

753
00:42:57.320 --> 00:42:59.840
I can listen to this over and over again. Thankfully

754
00:43:00.079 --> 00:43:04.320
it's out there to listen to. Complete. It was released

755
00:43:04.320 --> 00:43:06.199
by in Trotter Records. They love James Horner and we

756
00:43:06.320 --> 00:43:09.039
love them for that. They gave us the full one

757
00:43:09.079 --> 00:43:13.320
hour and two minutes score, beautifully remastering from the original

758
00:43:13.400 --> 00:43:15.039
three track tapes.

759
00:43:16.480 --> 00:43:16.519
Just.

760
00:43:18.280 --> 00:43:20.960
Not my favorite movie, but one of my favorite scores.

761
00:43:22.800 --> 00:43:23.920
Why not film?

762
00:43:24.519 --> 00:43:26.239
No, it's not, it's not. I don't get me wrong,

763
00:43:26.280 --> 00:43:28.599
I don't hate the film, but it's it's just when

764
00:43:28.639 --> 00:43:30.119
I was watching it back in the eighties and I

765
00:43:31.119 --> 00:43:33.440
I got dragged at the theater by by my mom

766
00:43:33.679 --> 00:43:36.360
to see this this film. You know, as a kid,

767
00:43:36.400 --> 00:43:38.400
it just wasn't one that gripped me. And I've watched

768
00:43:38.440 --> 00:43:41.440
it many times since then. I appreciate it more now,

769
00:43:41.480 --> 00:43:44.599
and I appreciate Ron Howard's directing it a lot more now.

770
00:43:45.079 --> 00:43:48.360
But it's it's not one of my favorite films that

771
00:43:48.599 --> 00:43:51.400
that Horner's score, but it's one of my favorite corner scores.

772
00:43:53.840 --> 00:43:59.519
Well, speaking of favorites, you guys have yet to list

773
00:43:59.719 --> 00:44:03.239
one of my all time favorite, so, you know, starting

774
00:44:03.280 --> 00:44:07.719
a little nervous, but Dave give me your number three pick.

775
00:44:08.480 --> 00:44:10.920
So I'm going to go back in time again to

776
00:44:11.039 --> 00:44:14.639
a historical piece. I love my historical films, as you

777
00:44:14.719 --> 00:44:18.239
guys are very aware, and of course I'm talking about

778
00:44:18.639 --> 00:44:24.519
nineteen ninety five's Braveheart, directed by Mel Gibson. There it

779
00:44:24.639 --> 00:44:29.519
is James Horner's use of Celtic music throughout this film,

780
00:44:30.519 --> 00:44:35.840
blending it with a theme of love, romance and sacrifice,

781
00:44:36.840 --> 00:44:39.960
is just incredible throughout this film. It's a long film,

782
00:44:40.679 --> 00:44:43.239
but there's a lot of good music that is scattered

783
00:44:43.320 --> 00:44:47.199
throughout this film. Nominated for Best Score in nineteen ninety

784
00:44:47.239 --> 00:44:52.639
six where it was ripped off not winning the Academy Award.

785
00:44:53.280 --> 00:44:53.760
I agree.

786
00:44:54.320 --> 00:44:56.639
I think it was The Postman that won that year,

787
00:44:56.920 --> 00:44:58.719
which is ridiculous.

788
00:45:00.079 --> 00:45:03.360
Havn't cost a movie, No, the one that foreign film.

789
00:45:03.679 --> 00:45:10.480
Oh Il Postino, Yes, El Postino, Yes, it is.

790
00:45:10.679 --> 00:45:10.920
It is.

791
00:45:11.280 --> 00:45:13.559
So there's a couple of pieces in this film, and

792
00:45:13.719 --> 00:45:17.440
you know, it's a long film, a lot of music,

793
00:45:17.480 --> 00:45:19.400
but there's a couple pieces that really stand out to me.

794
00:45:20.000 --> 00:45:22.519
One of them is actually a very short piece. It's

795
00:45:22.559 --> 00:45:26.320
called a Gift of a Thistle, and this is the

796
00:45:26.400 --> 00:45:30.360
scene when William Wallace is a young boy. He lost

797
00:45:30.840 --> 00:45:33.440
his brother and his father, and it's the burial scene

798
00:45:34.079 --> 00:45:37.800
and the little girl comes up and hands him a gift,

799
00:45:38.199 --> 00:45:42.239
which is a thistle. The slow dramatic score that really

800
00:45:42.280 --> 00:45:46.079
gives this powerful performance of this young Wallace who can

801
00:45:46.199 --> 00:45:49.679
only reach out and take this flower and a tear

802
00:45:50.239 --> 00:45:53.280
rolls out of his eye. This piece of music just

803
00:45:53.480 --> 00:45:56.360
echoes the boy's feelings and the love of another who

804
00:45:56.400 --> 00:45:58.440
is handing him this gift in a time of loss.

805
00:45:59.199 --> 00:46:01.000
The build up of the main score, that is the

806
00:46:01.079 --> 00:46:04.960
theme we hear throughout, is a gut punch to us.

807
00:46:05.079 --> 00:46:08.280
Emotionally and just prepares us for the drama and horrors

808
00:46:08.280 --> 00:46:11.000
of war that lays ahead. Again, this is such a

809
00:46:11.159 --> 00:46:14.519
small piece in the film, but my god, is it

810
00:46:14.880 --> 00:46:18.840
just gut punching. There's a lot of winds, strings, violin,

811
00:46:18.920 --> 00:46:20.800
which is my favorite instrument, by the way, Wayne, I

812
00:46:20.840 --> 00:46:23.719
think you know that. But the other piece that I

813
00:46:23.800 --> 00:46:27.480
absolutely love is for the Love of a Princess. I

814
00:46:27.559 --> 00:46:30.960
don't know what orchestra it was, but this was redone

815
00:46:31.159 --> 00:46:36.280
at a concert a few years ago and I listened

816
00:46:36.360 --> 00:46:39.119
to it via YouTube, and man, I tell you that

817
00:46:39.320 --> 00:46:41.960
the tears were just flowing, not only for it's a

818
00:46:41.960 --> 00:46:44.800
beautiful piece, but the fact that we lost James Torner.

819
00:46:45.559 --> 00:46:47.679
It is just slow beating of the drums followed by

820
00:46:47.719 --> 00:46:49.840
the introduction of the winds and full blown into the

821
00:46:49.960 --> 00:46:53.679
violins and strings is just so emotional, and again it

822
00:46:53.880 --> 00:46:57.159
just brings out that thought of romance, love and wonder

823
00:46:57.639 --> 00:47:00.480
pieces that you hear in his other scores obviously, and

824
00:47:00.559 --> 00:47:03.079
you're gonna hear echoes of that a few years later

825
00:47:03.159 --> 00:47:06.880
in Titanic. You can just see that starting to come

826
00:47:06.960 --> 00:47:10.480
out in his music and getting Titanic in nineteen ninety seven,

827
00:47:10.559 --> 00:47:13.079
you can go back and just see how Horner was

828
00:47:13.119 --> 00:47:15.920
building up to getting that Academy Award. Yes, he should

829
00:47:15.920 --> 00:47:17.239
have got it for this, and I think it's a

830
00:47:17.320 --> 00:47:20.519
damn crime that he didn't. But at least he did

831
00:47:20.599 --> 00:47:23.800
get it a few late years later for Titanic. But

832
00:47:24.559 --> 00:47:27.719
the pieces throughout this film are just so beautifully done.

833
00:47:28.400 --> 00:47:30.599
I remember the scene when William Wallace is on the

834
00:47:30.639 --> 00:47:32.559
mountain and that the camera just comes in and just

835
00:47:32.719 --> 00:47:36.239
floats around and what goes around him and that Celtic

836
00:47:36.480 --> 00:48:03.360
music that James he Yes, it is so beautifully done

837
00:48:04.039 --> 00:48:06.599
and is one of the reasons why Mel Gibson won

838
00:48:07.320 --> 00:48:08.760
the Academy Award for Best Director.

839
00:48:10.079 --> 00:48:10.519
Yeah, I was.

840
00:48:10.639 --> 00:48:12.800
I was wondering, like where you know a couple couple

841
00:48:12.800 --> 00:48:14.639
of picks ago, I'm like, come on, guys, where's Brave Heart?

842
00:48:14.840 --> 00:48:17.320
So thank you. I've been wondering. You know.

843
00:48:17.559 --> 00:48:19.760
I wasn't gonna let that one flip by Jeff. It's

844
00:48:20.199 --> 00:48:23.079
that movie was so powerful to me when I thought.

845
00:48:23.079 --> 00:48:25.159
I saw this movie four times in the theater that year,

846
00:48:25.679 --> 00:48:27.400
and one of those times is that the Billy Creek

847
00:48:27.480 --> 00:48:28.519
civiol Ray Acondwayne.

848
00:48:28.559 --> 00:48:30.119
I remember that. I didn't go with you, but I

849
00:48:30.159 --> 00:48:33.119
remember you going I remember you going, yeah, I agree

850
00:48:33.159 --> 00:48:35.920
with you too that he he deserved an Academy Award

851
00:48:35.960 --> 00:48:39.400
for this score because it's so incredible. If we were

852
00:48:39.440 --> 00:48:42.639
to expand this to like top six or seven, this

853
00:48:42.760 --> 00:48:45.320
would be on my list because it's just an incredible

854
00:48:45.360 --> 00:48:47.480
score and it's it's just like I said, with Legends

855
00:48:47.480 --> 00:48:49.199
of the Fall, you know, which this came right after.

856
00:48:49.280 --> 00:48:52.960
And I believe that he worked on this really this

857
00:48:53.159 --> 00:48:55.920
and Legends of the Fall defined his the sound of

858
00:48:55.960 --> 00:48:58.480
the second part of his career. I think he when

859
00:48:58.559 --> 00:49:02.719
he composes, he was so inspired by this is just incredible.

860
00:49:02.840 --> 00:49:05.559
How how inspired? But he was he was robbed of

861
00:49:06.079 --> 00:49:07.760
the award because he deserved it.

862
00:49:08.440 --> 00:49:12.440
My nephew came over and I was watching some concerts

863
00:49:12.480 --> 00:49:16.239
on YouTube of Horner and he just sat there and

864
00:49:16.360 --> 00:49:18.079
didn't say a word when he came in, just sat

865
00:49:18.119 --> 00:49:22.679
down on the couch and just watched and listened to

866
00:49:22.800 --> 00:49:25.199
the concert that was being played, and he was just

867
00:49:25.320 --> 00:49:27.639
pulled into it. And we didn't say anything for like

868
00:49:27.800 --> 00:49:30.480
five minutes until the til they were done, and he

869
00:49:30.599 --> 00:49:33.239
looked at me and goes, what is this? And then

870
00:49:33.320 --> 00:49:34.960
I told him what it was and he was like,

871
00:49:35.119 --> 00:49:37.639
oh my god, that is beautiful. Mike, yep, welcome to

872
00:49:37.800 --> 00:49:38.320
James Horner.

873
00:49:38.599 --> 00:49:38.800
Yeah.

874
00:49:38.880 --> 00:49:42.679
See, when your pieces go beyond just being an incredible

875
00:49:42.760 --> 00:49:46.679
film score to be performed in an orchestral you know,

876
00:49:47.119 --> 00:49:52.559
in a concert setting, that that's that's something a completely

877
00:49:52.599 --> 00:49:54.519
different animal. It's you know when we see that with

878
00:49:54.599 --> 00:49:57.639
all all the composers have had this. You know, you

879
00:49:57.760 --> 00:50:00.320
and I have been to a couple of John Williams answers,

880
00:50:00.320 --> 00:50:02.920
and we know the power of just scene hearing it.

881
00:50:03.760 --> 00:50:06.480
You know, Live and Braveheart is one of those pieces

882
00:50:06.559 --> 00:50:09.440
that gets played over and over again in a concert setting.

883
00:50:09.519 --> 00:50:13.920
It's it deserves that though it's it's more than just

884
00:50:14.239 --> 00:50:18.519
a film score. It is a it's a masterpiece, an

885
00:50:18.599 --> 00:50:19.760
orchestral masterpiece.

886
00:50:20.280 --> 00:50:24.320
Agreed, listeners, If you're just now tuning in to catch

887
00:50:24.400 --> 00:50:30.400
the top three picks, these guys earlier were lamenting if

888
00:50:30.480 --> 00:50:35.480
only they had ten picks, and Wayne just said, well,

889
00:50:35.639 --> 00:50:37.440
if I had six, or if this was a six

890
00:50:37.559 --> 00:50:41.280
or top six or seven, gentlemen, I will remind you

891
00:50:41.559 --> 00:50:46.119
that coming up, you get one honorable mention and only one.

892
00:50:46.840 --> 00:50:49.480
That's why I put the suven in there, because my

893
00:50:49.639 --> 00:50:50.760
six is my honorable mention.

894
00:50:52.639 --> 00:50:55.920
Okay, Dave let's let's let's hang with you a little longer.

895
00:50:56.800 --> 00:51:00.960
Let's head to number two. We're almost there. Guys, Dave,

896
00:51:01.159 --> 00:51:06.559
what is your second favorite or your choice as second best?

897
00:51:07.280 --> 00:51:14.000
So everybody knows the name George Lucas, everybody. Yeah, everybody

898
00:51:14.119 --> 00:51:20.199
knows Star Wars. Well, that's John Williams, everybody. This is

899
00:51:20.360 --> 00:51:40.280
another fantasy film from nineteen eighty eight called Willow. This

900
00:51:40.679 --> 00:51:44.159
is a score that I immediately fell in love with

901
00:51:44.280 --> 00:51:47.119
when I was a child. Again, I mean I did

902
00:51:47.199 --> 00:51:50.519
By scores a little bit later after this, but this

903
00:51:50.679 --> 00:51:56.199
is a score that really screams fantasy epic. It is

904
00:51:56.519 --> 00:51:59.920
a swashbuckling theme which Horner did not want to do,

905
00:52:01.000 --> 00:52:05.400
but at the request of Lucas and Ron Howard. Yes,

906
00:52:05.519 --> 00:52:09.079
Ron Howard directed this. George Lucas just produced it. But

907
00:52:09.920 --> 00:52:12.519
they requested a swashbuckling theme that Horner did not want

908
00:52:12.599 --> 00:52:16.519
to do. But he listened to them, and I'm glad

909
00:52:16.559 --> 00:52:21.480
he did because this is a beautiful action piece of

910
00:52:21.719 --> 00:52:24.840
music throughout the entire film. And as we know, James

911
00:52:24.880 --> 00:52:29.239
Horner does some incredible action music and he pulls it

912
00:52:29.280 --> 00:52:32.360
off in this. Willow's theme is one of my favorites.

913
00:52:33.199 --> 00:52:34.880
This is the main theme that you're going to hear

914
00:52:34.960 --> 00:52:38.559
throughout the film. That just Beckon's epic adventure across a

915
00:52:38.639 --> 00:52:41.159
great landscape. A score that makes us want to leap

916
00:52:41.280 --> 00:52:43.039
up from our couch and go on a quest across

917
00:52:43.159 --> 00:52:47.079
snowy mountains and winding strings. This was performed by the

918
00:52:47.119 --> 00:52:49.199
London Symphony Orchestra, which I know a lot of the

919
00:52:49.280 --> 00:52:54.199
famous composers did use because obviously they are incredible at

920
00:52:54.239 --> 00:52:58.199
what they do. He used the King College Choir of

921
00:52:58.239 --> 00:53:01.800
Wimbledon to provide the women's and the boys ensemble voices,

922
00:53:02.440 --> 00:53:04.679
which again I love choir. You're gonna hear me say

923
00:53:04.719 --> 00:53:07.320
that a lot on a film by podcast, but he

924
00:53:07.519 --> 00:53:11.239
uses it so well in this film. He has oversized

925
00:53:11.280 --> 00:53:15.440
woodwind section and he uses the penny whistle, which you

926
00:53:15.559 --> 00:53:18.360
hear he likes pipes what you hear on Braveheart obviously,

927
00:53:18.440 --> 00:53:20.440
but he does love a lot. He uses the conch

928
00:53:20.599 --> 00:53:24.239
shell for crying out loud in this score, which is

929
00:53:24.440 --> 00:53:27.840
incredible because when you start using other things to make

930
00:53:27.960 --> 00:53:29.840
music in a film, that's just so cool to me. Anyway,

931
00:53:29.840 --> 00:53:32.079
as a composer, it just shows you how intelligent you are.

932
00:53:33.000 --> 00:53:38.239
But anyway, he has this percussion section that uses the

933
00:53:39.079 --> 00:53:44.000
Chinese opera gong. He uses a South American drum, an

934
00:53:44.119 --> 00:53:49.360
Irish bodron, drum bowdron. I might be pronouncing that wrong,

935
00:53:50.199 --> 00:53:55.679
and get this even a plastic cup, that's right. He

936
00:53:55.800 --> 00:54:00.519
uses a plastic cup in his score of Willow. Although

937
00:54:00.719 --> 00:54:03.559
there's some keyboard, some pianos waying there you go. He

938
00:54:03.679 --> 00:54:07.199
uses some synthesizers throughout this score, but it really is

939
00:54:07.480 --> 00:54:10.119
a lot of folk music that is added for the

940
00:54:10.199 --> 00:54:13.480
source that he uses in the score throughout the entire thing,

941
00:54:13.639 --> 00:54:18.320
using bagpipes again. And there are three themes in this

942
00:54:18.440 --> 00:54:21.119
score that I absolutely love. We talk about Willows first

943
00:54:21.159 --> 00:54:24.280
one the heroic adventure theme. His second one is the

944
00:54:24.559 --> 00:54:27.800
theme and Willow is. It's a highlight representing the inner

945
00:54:27.840 --> 00:54:30.960
strength and kindness, the will of himself. It's called Willow's

946
00:54:31.000 --> 00:54:35.559
Journey Begins. It's a very beautiful traveling scene, kind of

947
00:54:35.599 --> 00:54:37.320
like Lord of the Rings. You get some of that,

948
00:54:37.559 --> 00:54:40.360
lots of walking, but you need a powerful score to

949
00:54:40.400 --> 00:54:43.840
go along with it. His other one, his third theme

950
00:54:43.880 --> 00:54:47.679
that I absolutely love, is a Lord Dannon. It's a

951
00:54:47.760 --> 00:54:51.280
four note phrase that is just beautifully done and it

952
00:54:51.400 --> 00:54:54.760
relates to good old Lord Danon who he's trying to

953
00:54:54.840 --> 00:54:56.000
save and protect.

954
00:54:56.639 --> 00:54:59.960
You have just given me hope that I can play

955
00:55:01.079 --> 00:55:04.960
with an orchestra, because I'll tell you what I could.

956
00:55:05.239 --> 00:55:09.920
I could play a mean plastic cup, I bet and Dave,

957
00:55:10.480 --> 00:55:12.840
I gotta be honest. When you're you're teasing this up

958
00:55:12.880 --> 00:55:15.800
and you're talking about a fantasy film that's a George

959
00:55:15.880 --> 00:55:18.760
Lucas production, I was, I'm not gonna lie. I was

960
00:55:18.760 --> 00:55:21.480
a little a little excited and to think, like, are

961
00:55:21.519 --> 00:55:24.079
we about to talk about Howard the Duck did do that?

962
00:55:24.239 --> 00:55:32.400
Because and I can proudly, proudly say I got to

963
00:55:32.480 --> 00:55:36.320
tell Ron Howard that I loved this score from James Horner.

964
00:55:36.679 --> 00:55:36.920
He did.

965
00:55:37.039 --> 00:55:40.679
I even talked to Ron Howard of you know about

966
00:55:40.719 --> 00:55:43.800
the loss of James Horner, and he even told me

967
00:55:44.000 --> 00:55:46.360
in person, right to my face, that it was a

968
00:55:46.480 --> 00:55:48.920
tragic loss that we lost him, because he was an

969
00:55:49.079 --> 00:55:50.880
incredible man to work with.

970
00:55:51.559 --> 00:55:55.000
Wayne, your choice for number two.

971
00:55:56.000 --> 00:55:57.639
I had to really think about this one, and I

972
00:55:57.719 --> 00:56:01.159
think I'm very happy with my choice. My number two

973
00:56:01.280 --> 00:56:04.239
pick goes way back to the beginning of Horner's career,

974
00:56:05.079 --> 00:56:08.599
back to nineteen eighty three and to a film that

975
00:56:08.639 --> 00:56:11.880
I remember seeing and loving in theaters, one where I

976
00:56:12.079 --> 00:56:15.079
rushed out to buy the comic book adaptation, and one

977
00:56:15.800 --> 00:56:18.480
that I think should have always had a sequel, but

978
00:56:18.519 --> 00:56:21.360
it never did. The Peter Yates directed Krawl.

979
00:56:30.440 --> 00:56:31.400
Yes, good one.

980
00:56:31.480 --> 00:56:33.679
Oh what a great one? Yeah, great score.

981
00:56:33.880 --> 00:56:36.599
Yeah. I know many of you younger listeners probably have

982
00:56:36.719 --> 00:56:38.800
never even heard of this film, and that's sad because

983
00:56:38.840 --> 00:56:42.519
it's a fun and exciting adventure movie, one with the

984
00:56:42.559 --> 00:56:46.519
most incredible and rousing James Horner's score. Now, let me

985
00:56:46.559 --> 00:56:49.840
get this off my chest right away. I do acknowledge

986
00:56:49.920 --> 00:56:53.119
that Krawl sounds very similar to his scores for the

987
00:56:53.360 --> 00:56:57.119
previous year Star Trek to the Rapacon, which that one

988
00:56:57.199 --> 00:57:00.320
sounds very similar to his nineteen eighties Battle Beyond the Stars.

989
00:57:01.000 --> 00:57:03.519
But with each score it seems that Horner was like

990
00:57:03.679 --> 00:57:07.320
fine tuning his style and sound, and Krawl is the

991
00:57:07.400 --> 00:57:11.400
accumulation of that early hard work that he was doing,

992
00:57:11.880 --> 00:57:14.280
containing the best styles from both of those both of

993
00:57:14.320 --> 00:57:16.440
those earlier scores, and mixing them all together in a

994
00:57:16.480 --> 00:57:20.639
blender to create a masterpiece of musical ear candy. It

995
00:57:20.719 --> 00:57:23.639
surprised me when I was doing my research that, you know,

996
00:57:23.719 --> 00:57:28.000
with such an incredible and thrilling score like Krawl. Horner

997
00:57:28.519 --> 00:57:32.239
was tasked to write all one and ten minutes of

998
00:57:32.280 --> 00:57:37.760
this massive orchestral's music in southern weeks due to the

999
00:57:37.800 --> 00:57:39.920
fact that he was given one of the best orchestras

1000
00:57:39.960 --> 00:57:41.880
in the world to record with, as you mentioned earlier,

1001
00:57:41.920 --> 00:57:45.199
the London Symphony Orchestra, but he was forced to work

1002
00:57:45.239 --> 00:57:48.880
around their schedule, which would kept changing because of multiple

1003
00:57:48.960 --> 00:57:51.639
lays on another film that the London Symphony Orchestra was

1004
00:57:51.679 --> 00:57:54.840
working on, Return of the Jedi. So it comes to

1005
00:57:54.920 --> 00:57:57.599
me with no surprise that Horner had to use shortcuts

1006
00:57:58.599 --> 00:58:01.360
and some of his sounds are familiar during the length

1007
00:58:01.440 --> 00:58:04.599
of this score. But I have no problem with this

1008
00:58:04.719 --> 00:58:09.760
because it is an incredible, credible score. The main title

1009
00:58:10.119 --> 00:58:13.559
introduces the first of the incredible themes with a powerful

1010
00:58:14.039 --> 00:58:19.480
choral compliment, and, combined with the tracks on the soundtrack release,

1011
00:58:19.760 --> 00:58:23.280
core Win's Arrival and Slayers Attack, the first fifteen minutes

1012
00:58:23.320 --> 00:58:27.840
are explosive with dominant French horns and trumpets that just

1013
00:58:28.199 --> 00:58:30.000
blow you away as soon as you listen to it.

1014
00:58:31.119 --> 00:58:33.000
The highlight of the score for me is a love theme.

1015
00:58:33.519 --> 00:58:36.360
It's most prominently heard in the Q Corwin and Lisa's

1016
00:58:36.440 --> 00:58:40.360
love theme performed with a majestic string and singing flutes.

1017
00:58:41.000 --> 00:58:44.280
But at the end, my favorite piece really is the

1018
00:58:44.400 --> 00:58:47.320
death of the Beast and the destruction of the Black Fortress,

1019
00:58:47.360 --> 00:58:49.840
which ends the film. It's an eight and a half

1020
00:58:49.920 --> 00:58:54.280
minute piece of a masterpiece of music which these horned

1021
00:58:54.400 --> 00:58:57.320
going to his most energetic flights of fancy. It's full

1022
00:58:57.320 --> 00:59:01.239
of brassy outbursts leading right in to the choir, energetic

1023
00:59:01.400 --> 00:59:05.159
runs of strings, a bocket of woodwinds, and he even

1024
00:59:05.239 --> 00:59:07.360
uses the blaster beam, which we heard a lot in

1025
00:59:07.480 --> 00:59:09.760
Jerry Goldsmith'score for a Start Trek motion picture, and Horner

1026
00:59:09.800 --> 00:59:13.280
to use it in Star Trek two. Back in nineteen

1027
00:59:13.320 --> 00:59:17.079
eighty three when this film was released, the score to

1028
00:59:17.159 --> 00:59:20.079
Crawl never got a soundtrack release here in the United States.

1029
00:59:20.119 --> 00:59:22.360
It got one in France and Germany, which surprised me,

1030
00:59:22.480 --> 00:59:25.440
but nothing here in the United States, which would explain

1031
00:59:25.480 --> 00:59:26.760
why I had known it, because this is one of

1032
00:59:26.760 --> 00:59:28.320
the scores I would have run out and got or

1033
00:59:28.639 --> 00:59:32.119
beg my grandmother ry it. But back in the nineteen

1034
00:59:32.199 --> 00:59:35.280
nineties there were various bootlegs out there for everyone to

1035
00:59:35.320 --> 00:59:38.559
get their hands on, including one that was released by

1036
00:59:38.599 --> 00:59:41.639
a company called Supertracks, which was a two CD set

1037
00:59:41.760 --> 00:59:44.760
containing an hour and a half of music. I remember

1038
00:59:44.880 --> 00:59:48.000
David and I picking up a copy of this at

1039
00:59:48.599 --> 00:59:51.800
convention called Dragon Con in Atlanta back in nineteen ninety nine,

1040
00:59:52.239 --> 00:59:54.360
but I had no idea that that was a bootleg.

1041
00:59:55.400 --> 00:59:58.199
Spent many years listening to it. But in twenty ten

1042
00:59:58.679 --> 01:00:01.639
it did finally get an official release by Lalla Land Records,

1043
01:00:02.280 --> 01:00:05.400
Beautiful Remaster two CD set containing an hour and thirty

1044
01:00:05.480 --> 01:00:09.519
nine minutes of score. Instance sellout, but then they released

1045
01:00:09.559 --> 01:00:11.880
it again in twenty fifteen for those who didn't get

1046
01:00:11.880 --> 01:00:15.360
the first release, So it's still easily obtained if you

1047
01:00:15.400 --> 01:00:17.320
want to get a copy, and I highly recommend it.

1048
01:00:17.440 --> 01:00:20.920
It's a work of genius. From what you could call

1049
01:00:21.039 --> 01:00:23.119
the time a rising star in the film business.

1050
01:00:23.320 --> 01:00:24.400
Dave was a very good pick.

1051
01:00:25.000 --> 01:00:28.760
Dave. What was the name of that that badass boomerang

1052
01:00:28.880 --> 01:00:30.039
weapon that Corwyn used?

1053
01:00:30.719 --> 01:00:36.599
Oh, I forget the glade, glade, the glade, the glade

1054
01:00:36.679 --> 01:00:37.320
or something like that.

1055
01:00:37.440 --> 01:00:38.039
Yeah, something like that.

1056
01:00:38.199 --> 01:00:39.360
Yeah, that was something like that.

1057
01:00:39.519 --> 01:00:41.840
Yeah, yep, I gotta I gotta tell you you know

1058
01:00:43.119 --> 01:00:45.159
this past, you know, coming up on an hour here

1059
01:00:45.800 --> 01:00:47.519
we've been I've been listening to you guys. I've been

1060
01:00:47.559 --> 01:00:50.079
thinking I'm gonna watch this movie when we're done, I'm

1061
01:00:50.079 --> 01:00:52.800
gonna watch that movie. You know, I've changed my mind

1062
01:00:52.800 --> 01:00:55.920
a couple of times. But Wayne, I'm I'm certain right

1063
01:00:56.039 --> 01:00:58.639
now that when we wrap this up, I'm putting in

1064
01:00:58.719 --> 01:01:01.719
my DVD of Krawl, like, hell yeah, I'm ready for

1065
01:01:01.800 --> 01:01:05.320
Crawl now. But uh, guys, let's take one more break,

1066
01:01:06.280 --> 01:01:09.199
and when we come back, we will conclude the top

1067
01:01:09.320 --> 01:01:13.199
five with a few honorable mentions and your number one picks.

1068
01:01:16.920 --> 01:01:21.440
Welcome back, everybody. It is that time. We are about

1069
01:01:21.519 --> 01:01:25.599
to talk about the number one picks for our James

1070
01:01:25.840 --> 01:01:30.840
Horner Top five. But before we do, Dave, do you

1071
01:01:31.000 --> 01:01:34.280
have an honorable mention that you'd like to something that

1072
01:01:35.320 --> 01:01:37.320
it broke your heart to keep off the list, but

1073
01:01:37.880 --> 01:01:40.039
you just you just couldn't do it, and but you

1074
01:01:40.079 --> 01:01:41.159
want to. You want to give a little bit of

1075
01:01:41.199 --> 01:01:43.320
love to you right now, briefly, I do.

1076
01:01:43.599 --> 01:01:45.079
I've got four No, I kiddy, I'm kidding.

1077
01:01:47.800 --> 01:01:49.719
Yeah, mute the mic now.

1078
01:01:50.719 --> 01:01:53.039
It was it was tough to really narrow this one

1079
01:01:53.159 --> 01:01:55.360
down because there's some other ones I wish I would

1080
01:01:55.400 --> 01:01:57.239
have put here, but I've got to give it to

1081
01:01:57.280 --> 01:02:01.639
another Ron Howard film and that's nineteen twenty fives Apollo thirteen.

1082
01:02:03.039 --> 01:02:05.400
There's such incredible music in here, but there's one piece

1083
01:02:06.079 --> 01:02:08.400
that I have listened to quite a bit because it's

1084
01:02:08.480 --> 01:02:11.719
very emotional, very dramatic, and just makes you feel so

1085
01:02:11.800 --> 01:02:14.400
good about yourself. But it's the re Entry and Splash

1086
01:02:14.519 --> 01:02:18.480
down track, which is, you know, again, my favorite piece

1087
01:02:18.519 --> 01:02:20.719
in the score. It does an incredible job of representing

1088
01:02:20.800 --> 01:02:23.280
the feeling we as an audience in the cast get

1089
01:02:23.320 --> 01:02:25.000
as the crew of the Apollo are coming back to

1090
01:02:25.079 --> 01:02:28.000
Earth and getting that satisfaction that they made it. Remember

1091
01:02:28.039 --> 01:02:31.519
the scene when it all went quiet. Remember they were

1092
01:02:31.519 --> 01:02:35.519
coming back down to Earth. They lost communication, they didn't

1093
01:02:35.559 --> 01:02:37.599
know what was going on, and we were focused on

1094
01:02:37.880 --> 01:02:40.400
the crew there, the NASA crew. We didn't know what

1095
01:02:40.559 --> 01:02:44.119
was going on until you got that crackle that they

1096
01:02:44.159 --> 01:02:47.400
were there and they everybody jumped up started cheering. Even

1097
01:02:47.440 --> 01:02:49.920
the audience was jumping up and cheering. That's exactly what

1098
01:02:50.159 --> 01:02:53.400
this track represented, and every time I listened to it,

1099
01:02:53.480 --> 01:02:56.360
I go back to that scene because it's just so

1100
01:02:56.519 --> 01:02:59.280
incredibly well done and pose the emotions out of you

1101
01:03:00.119 --> 01:03:01.719
that should to represent this scene.

1102
01:03:02.159 --> 01:03:06.119
We don't get Horner's amazing score for Paul thirteen without

1103
01:03:06.639 --> 01:03:10.360
Ron Howard's incredible film, and we don't get that film

1104
01:03:11.079 --> 01:03:16.280
without a guy like Jim Lovell, right, sadly, we just

1105
01:03:17.199 --> 01:03:20.239
he just passed away at ninety three years old. I believe.

1106
01:03:21.400 --> 01:03:25.039
Is that correct? Tom Hanks did a sensational job. Everyone

1107
01:03:25.079 --> 01:03:27.119
involved did a sensational job in that. That is not

1108
01:03:27.960 --> 01:03:30.239
That is not a bad honorable mention as far as

1109
01:03:30.320 --> 01:03:34.440
I'm concerned, Wayne, I've got a hunch on what yours

1110
01:03:34.559 --> 01:03:37.320
is going to be. I think you have secretly mentioned

1111
01:03:37.360 --> 01:03:40.480
it already. But one honorable mention, Wayne, what do you

1112
01:03:40.559 --> 01:03:41.039
got for us?

1113
01:03:41.960 --> 01:03:43.599
I don't know. You might not choose this one because

1114
01:03:43.599 --> 01:03:47.400
this is a very obscure film. This is it's probably

1115
01:03:47.440 --> 01:03:49.039
a film that no one's even heard of, which is

1116
01:03:49.119 --> 01:03:52.400
a shame, because it's a beautiful film with a magnificent

1117
01:03:52.440 --> 01:03:55.000
James Horner's score, and I really want to bring attention

1118
01:03:55.159 --> 01:03:57.840
to it because I love it. And it would be

1119
01:03:57.920 --> 01:04:02.159
the nineteen ninety TV film called Extreme Close Up, directed

1120
01:04:02.199 --> 01:04:05.719
by Edward's Wick. This was done right after he worked

1121
01:04:05.760 --> 01:04:08.360
with Glory, so it's it's obvious it's Wick wanted him,

1122
01:04:08.480 --> 01:04:12.519
you know, to score this extremely well received and critically

1123
01:04:12.519 --> 01:04:15.320
acclaimed TV film at the time, but it just everyone

1124
01:04:15.360 --> 01:04:16.400
has forgotten about it.

1125
01:04:17.119 --> 01:04:17.280
You know.

1126
01:04:17.400 --> 01:04:19.800
The story of this is very simple, and you know,

1127
01:04:19.920 --> 01:04:22.679
a boy falls apart after his mother dies and then

1128
01:04:22.719 --> 01:04:26.400
becomes obsessed with watching old home new movies that he

1129
01:04:26.559 --> 01:04:29.920
made of her. It's not exactly a fun movie to

1130
01:04:30.000 --> 01:04:33.519
watch because it's the subject of depression and suicide, but

1131
01:04:33.639 --> 01:04:36.559
it offered James Horner a rare opportunity to return to

1132
01:04:36.639 --> 01:04:40.440
television and write a beautiful but brief score for it.

1133
01:04:40.480 --> 01:04:43.840
It's only about forty minutes long, but the style is

1134
01:04:43.960 --> 01:04:48.360
so definitely Horner, you know, featuring instrumentation and progressions that

1135
01:04:48.559 --> 01:04:51.079
really are his trademarks for all of his films. But

1136
01:04:51.159 --> 01:04:56.440
he's using a small orchestra with piano, solo, woodwinds, harp, synthesizer,

1137
01:04:56.559 --> 01:04:59.559
and a The whole thing is concludes with a short

1138
01:04:59.599 --> 01:05:03.760
piece with a solo cello. It's a quiet, very intimate

1139
01:05:03.920 --> 01:05:06.480
sight of James Horner, one that we don't see much

1140
01:05:06.519 --> 01:05:09.679
in many of his other scores, and really showcases his

1141
01:05:09.960 --> 01:05:12.840
talent when you strip away the large orchestra in choir

1142
01:05:12.960 --> 01:05:15.079
and are left with only just a handful of instruments

1143
01:05:15.119 --> 01:05:19.239
in your raw musical ability. The score has only ever

1144
01:05:19.320 --> 01:05:22.000
been released once by Introdo Records back in two thousand

1145
01:05:22.039 --> 01:05:26.599
and nine, extremely limited CD to about fifteen hundred copies.

1146
01:05:26.639 --> 01:05:29.719
It sold out in three minutes, and I was so

1147
01:05:29.960 --> 01:05:31.599
glad that I got ahold of a copy of it,

1148
01:05:31.679 --> 01:05:34.400
because it's a side of Horner that we don't hear much,

1149
01:05:34.480 --> 01:05:36.679
and I love it, and I wish more people would

1150
01:05:36.679 --> 01:05:40.440
would see this film, listen to the score and appreciate

1151
01:05:40.480 --> 01:05:40.960
it like I do.

1152
01:05:42.159 --> 01:05:43.039
Interesting choice.

1153
01:05:43.639 --> 01:05:47.000
Yeah, absolutely, I've never heard of that one, but I'm

1154
01:05:47.079 --> 01:05:51.639
hoping I've heard of your number one picks, because you know,

1155
01:05:51.760 --> 01:05:55.119
Wayne just mentioned that film. I know what we did Goldsmith.

1156
01:05:55.159 --> 01:05:59.280
He gave us the Salamander, if I remember. I was like, yes, yes, yes,

1157
01:05:59.320 --> 01:06:00.960
it's awesome. But what's that movie about?

1158
01:06:01.280 --> 01:06:01.440
You know?

1159
01:06:02.559 --> 01:06:06.159
But all right, guys, it is time for the number

1160
01:06:06.199 --> 01:06:12.320
one picks. I would bet my life that one, or

1161
01:06:12.519 --> 01:06:15.280
maybe both of you are going to say the one

1162
01:06:15.320 --> 01:06:18.559
that I'm thinking, because it's shocking that it hasn't come

1163
01:06:18.639 --> 01:06:21.800
up yet. But David, what is the number one James

1164
01:06:21.880 --> 01:06:22.679
Horner score?

1165
01:06:23.559 --> 01:06:28.000
Blow the horn, play the fife, beat the drum, So slowly,

1166
01:06:28.639 --> 01:06:33.000
blow the horn, play the fife, Make the drum beat

1167
01:06:33.920 --> 01:07:01.039
Glory Edwards Wicks nineteen eighty nine film Glory is the

1168
01:07:01.159 --> 01:07:07.280
definitive score from James Horner. In my opinion, there are

1169
01:07:07.360 --> 01:07:09.559
three pieces that there's a lot of pieces in this

1170
01:07:09.639 --> 01:07:12.320
film that are really a standout, just blow me away.

1171
01:07:13.199 --> 01:07:16.440
First off, I'm a huge American Civil war buff history buff,

1172
01:07:17.199 --> 01:07:21.679
and this film is the best American Civil War film

1173
01:07:22.239 --> 01:07:25.960
ever made, hands down. But there are three pieces that

1174
01:07:26.119 --> 01:07:28.679
are just incredibly well done. The first one is a

1175
01:07:28.760 --> 01:07:32.639
call to arms. It's the opening piece that just clearly

1176
01:07:32.760 --> 01:07:37.280
sets the tone of war, with choir, drums and fife

1177
01:07:37.320 --> 01:07:40.320
giving us the image of battle armies moving towards one

1178
01:07:40.320 --> 01:07:44.360
another and eventually colliding. Again I've mentioned this before. We

1179
01:07:44.440 --> 01:07:49.880
get a haunting choir from James Horner, which is throughout

1180
01:07:50.159 --> 01:07:53.599
a lot of this film. I have a quote from

1181
01:07:53.679 --> 01:07:55.960
James Horner that I would like to read. It is

1182
01:07:56.039 --> 01:08:00.159
about the use of the boys Choir of Harlem he

1183
01:08:00.360 --> 01:08:05.400
used for this film. He says, we had this boy's choir,

1184
01:08:05.679 --> 01:08:08.440
the Boy's Choir of Harlem, which was a real risk

1185
01:08:08.800 --> 01:08:11.079
because I was told very nicely with a good sense

1186
01:08:11.119 --> 01:08:13.960
of humor, but you always know that there's a dagger somewhere.

1187
01:08:14.400 --> 01:08:16.720
I was told that basically, you know, I was going

1188
01:08:16.800 --> 01:08:19.119
to have my head handed to me if this didn't

1189
01:08:19.159 --> 01:08:21.760
work out, because we had to fly this Boy's choir

1190
01:08:22.159 --> 01:08:25.199
in New York with the guys that watch over the

1191
01:08:25.279 --> 01:08:27.680
kids during the day. You have to pay them as

1192
01:08:27.720 --> 01:08:29.840
though they were going to school. You have to provide

1193
01:08:29.840 --> 01:08:32.399
a tutor for them. There's a whole thing that works out.

1194
01:08:32.800 --> 01:08:34.880
You don't just send a bunch of kids in for

1195
01:08:35.000 --> 01:08:36.960
eight hours and send them back to the hotel room.

1196
01:08:37.600 --> 01:08:40.880
It's a whole thing. So it ended up costing close

1197
01:08:40.920 --> 01:08:44.039
to seventy thousand dollars just to bring them here and

1198
01:08:44.159 --> 01:08:46.760
get them back to New York before you pay them anything,

1199
01:08:47.039 --> 01:08:50.680
just airfares and hotel and food and tutor. And the

1200
01:08:50.760 --> 01:08:54.159
studio was beside themselves. They thought that if this doesn't

1201
01:08:54.199 --> 01:08:56.479
work out, this was going to be a huge disaster.

1202
01:08:57.159 --> 01:08:59.800
Mind you, On the day of the recording all this,

1203
01:09:00.159 --> 01:09:02.279
the executives were down here for taking in the magic,

1204
01:09:02.880 --> 01:09:06.079
and it was a magical experience having this Black Boy's

1205
01:09:06.159 --> 01:09:09.560
Choir there. It was great and they are great, and

1206
01:09:09.680 --> 01:09:11.800
everybody wants to be a daughter of the magic. But

1207
01:09:11.920 --> 01:09:14.560
what happens at times is no one's thinking about the

1208
01:09:14.680 --> 01:09:18.239
magic or the sound they were thinking about sheer bottom line,

1209
01:09:18.560 --> 01:09:20.640
and you get a lot of middle level management people

1210
01:09:20.640 --> 01:09:23.039
who say, well, can we do it with a choir

1211
01:09:23.079 --> 01:09:25.600
from Pasadena? Why does it have to be a black

1212
01:09:25.640 --> 01:09:28.439
boy's choir? When they say why does it have to

1213
01:09:28.520 --> 01:09:31.199
be a black boy's choir and it's Glory, you want

1214
01:09:31.239 --> 01:09:33.960
to say, hey, pal, have you even seen the movie?

1215
01:09:35.000 --> 01:09:37.600
I think that is one of the best quotes I've

1216
01:09:37.640 --> 01:09:38.760
ever seen from Horner.

1217
01:09:38.960 --> 01:09:44.000
It is Yeah, that's fantastic. It really is Wayne Dave

1218
01:09:45.000 --> 01:09:47.039
Drop throwing down the gauntlet here he says, this is

1219
01:09:47.159 --> 01:09:52.640
the definitive James Horner score, and you've got a number

1220
01:09:52.680 --> 01:09:53.359
one pick left.

1221
01:09:54.119 --> 01:09:56.399
Well, it really was no question when my top pick

1222
01:09:56.439 --> 01:09:59.119
would be, you know, my number one James Horner's score,

1223
01:09:59.159 --> 01:10:02.359
because I too, am a little biased towards the score

1224
01:10:02.439 --> 01:10:05.000
because of my love of history and specifically my love

1225
01:10:05.039 --> 01:10:08.399
of the American Civil War, so of course I had

1226
01:10:08.439 --> 01:10:13.319
to choose Glory as well. I can remember when I

1227
01:10:13.560 --> 01:10:16.319
first saw this film back in theaters in nineteen ninety.

1228
01:10:17.239 --> 01:10:19.039
You know, I had just discovered my love of the

1229
01:10:19.039 --> 01:10:21.439
Civil War through the history class that I took in

1230
01:10:21.560 --> 01:10:25.720
high school, and I was devouring everything about the war books,

1231
01:10:25.760 --> 01:10:29.239
TV shows, movies, everything. Glory was still in the theater

1232
01:10:29.279 --> 01:10:31.439
at the time, and I went up alone to see it.

1233
01:10:32.239 --> 01:10:34.439
But by the end of the film I was in tears,

1234
01:10:34.800 --> 01:10:37.640
I really was, And a lot of that had to

1235
01:10:37.760 --> 01:10:41.399
do with James Horner's beautiful score that he wrote for this.

1236
01:10:41.720 --> 01:10:44.920
You know, gosh, there's so many preparations for battle was

1237
01:10:44.960 --> 01:10:47.720
probably one of my favorite cues, one of the longest

1238
01:10:47.800 --> 01:10:50.560
cues of the score. It's where the men of the

1239
01:10:50.600 --> 01:10:53.800
fifty fourth Gatherer on the beach to launch their attack

1240
01:10:54.239 --> 01:10:57.760
on Fort Wagner. He really lays on the emotion. It's

1241
01:10:57.840 --> 01:11:02.760
full of strings and orchestral crescendos, showcases all of the

1242
01:11:02.800 --> 01:11:05.359
themes that he created for this. And then of course

1243
01:11:05.399 --> 01:11:08.520
there's the queue that comes right after that, charging Fort Wagner,

1244
01:11:08.960 --> 01:11:11.520
which is probably the score is most famous piece. It's

1245
01:11:11.520 --> 01:11:13.960
one of the most copied and imitated out of the

1246
01:11:14.000 --> 01:11:17.800
films and television productions. It's just a powerful piece of

1247
01:11:18.079 --> 01:11:25.359
relentless snare, drums and bells, trumpets, surging strings, all with

1248
01:11:25.479 --> 01:11:28.079
the choir chaining above. It all about judgment day and

1249
01:11:28.199 --> 01:11:31.520
mercy from God. That's been translated in Latin. I don't

1250
01:11:31.600 --> 01:11:34.399
think there's been a stronger or more memorable piece of

1251
01:11:34.479 --> 01:11:38.399
music ever created for a film other than that. You know,

1252
01:11:39.680 --> 01:11:41.840
I listened. I went right out and bought the score

1253
01:11:42.359 --> 01:11:45.079
back in nineteen ninety, which had about forty five minutes

1254
01:11:45.119 --> 01:11:49.000
of music, but it hit most of the major pieces

1255
01:11:49.039 --> 01:11:50.520
that were in the film that everybody want to hear.

1256
01:11:50.640 --> 01:11:54.119
But I had been begging the companies to re release

1257
01:11:54.760 --> 01:11:58.000
a full complete score of this because I always felt

1258
01:11:58.000 --> 01:12:02.159
that the original release sounded very blank and muddy and quiet,

1259
01:12:02.800 --> 01:12:05.560
as if it had no dynamics, just did not bring

1260
01:12:05.600 --> 01:12:09.520
out the brilliance of this score. But finally in twenty

1261
01:12:09.720 --> 01:12:12.640
twenty one, Lalla Land did release this as a two

1262
01:12:12.720 --> 01:12:16.880
CD set has two hours of music. It's everything's there,

1263
01:12:17.439 --> 01:12:21.439
complete score, all the source music alternated on used cues,

1264
01:12:22.319 --> 01:12:25.680
completely remastered, and it sounds like you were standing right

1265
01:12:25.760 --> 01:12:29.000
there when the orchestra was performing it. And plus it

1266
01:12:29.159 --> 01:12:32.000
also I have to point this out that on this

1267
01:12:32.199 --> 01:12:34.800
release also there's a cue on it called the Battle

1268
01:12:34.840 --> 01:12:39.880
of Grimball's Landing, which is a powerful battle charge piece

1269
01:12:39.920 --> 01:12:42.840
of music for a scene that was completely cut from

1270
01:12:42.880 --> 01:12:45.000
the film, and it's heard for the first time here.

1271
01:12:45.680 --> 01:12:48.760
It's a great piece. I'm glad that I've always heard

1272
01:12:48.760 --> 01:12:50.920
about it, but never knew what it was until this

1273
01:12:51.079 --> 01:12:53.720
came out and I finally hear it. But Glory will

1274
01:12:53.760 --> 01:12:57.880
always stand among Horner's top career works. It's no surprise

1275
01:12:58.039 --> 01:13:02.039
that it's both David and Mine's top choice. It's one

1276
01:13:02.039 --> 01:13:06.640
of the most effectively engaging, heartbreaking scores of the entire

1277
01:13:06.760 --> 01:13:10.439
era of the nineteen eighties. How could we not choose

1278
01:13:10.479 --> 01:13:10.800
this one?

1279
01:13:11.720 --> 01:13:13.399
And how did it not get an Academy award?

1280
01:13:14.439 --> 01:13:18.079
Oh my gosh, I don't know. I have my theory

1281
01:13:19.079 --> 01:13:23.920
now with a lot of it. Horner uses the style

1282
01:13:24.119 --> 01:13:26.880
of a lot of classical pieces of music, and I

1283
01:13:27.039 --> 01:13:30.840
know the Academy wrongfully turns their nose up to that.

1284
01:13:31.840 --> 01:13:33.800
So I think that's why I don't. I don't even know.

1285
01:13:33.840 --> 01:13:35.680
If it was it was nominated, I would think it

1286
01:13:35.720 --> 01:13:38.319
would have been. But it should have won. It really

1287
01:13:38.359 --> 01:13:40.039
should have won. He should have won too many times,

1288
01:13:40.279 --> 01:13:43.960
many many many times he was robbed like Goldsmith was.

1289
01:13:44.079 --> 01:13:47.319
To wait, I want to add, you talked about charging

1290
01:13:47.479 --> 01:13:50.960
Fort Wagner being an incredible piece, and it is the other.

1291
01:13:51.079 --> 01:13:53.000
The third piece that I really that stood out to

1292
01:13:53.079 --> 01:13:57.199
me is the whipping Oh gosh, yeah, first off, that

1293
01:13:57.319 --> 01:13:59.640
is an extremely powerful then and if you've not seen

1294
01:13:59.680 --> 01:14:01.439
this movie, I mean, I'm going to ask you, why

1295
01:14:01.600 --> 01:14:04.239
have you not seen this movie if you have. That

1296
01:14:04.399 --> 01:14:07.920
scene in itself is the reason why Denzel Washington got

1297
01:14:08.000 --> 01:14:10.960
the Academy Award for that, but because it just shows

1298
01:14:10.960 --> 01:14:12.920
you how intelligent of an actor he is. But the

1299
01:14:13.079 --> 01:14:19.079
music pairs with his performance incredibly well. That music just

1300
01:14:19.119 --> 01:14:20.960
how when a tear comes down his cheap but he's

1301
01:14:20.960 --> 01:14:24.560
still too strong to show anything. That music just goes

1302
01:14:24.640 --> 01:14:28.800
with it and it just echoes that film, and that

1303
01:14:28.960 --> 01:14:32.880
the meaning of that scene just absolutely mind blowing.

1304
01:14:33.439 --> 01:14:38.159
Yeah, it's an amazing performance, It's an amazing film, and

1305
01:14:38.840 --> 01:14:42.279
I am in agreement with you guys. His definitive score

1306
01:14:42.640 --> 01:14:46.960
James Horner's definitive score. I certainly think you guys both

1307
01:14:47.079 --> 01:14:50.439
have the right right choices there with your number one picks.

1308
01:14:51.279 --> 01:14:57.359
Other than that, again, more than one hundred and sixty compositions.

1309
01:14:57.880 --> 01:15:00.279
I don't know how you guys managed to pair down

1310
01:15:00.319 --> 01:15:04.399
the way you did, but very impressive list. I knew

1311
01:15:04.399 --> 01:15:07.159
it would be after listening to what you guys did

1312
01:15:07.199 --> 01:15:12.000
with Chuck and the on the Goldsmith episode. But I

1313
01:15:12.119 --> 01:15:16.159
want to thank you both, because I'll tell you what.

1314
01:15:16.399 --> 01:15:17.840
I don't know what I want to do first. I

1315
01:15:17.880 --> 01:15:19.079
don't know if I want to sit down and watch

1316
01:15:19.119 --> 01:15:21.560
some movies or if I want to I just listen

1317
01:15:21.640 --> 01:15:24.119
to some music. But I'm doing I'm doing one or

1318
01:15:24.279 --> 01:15:28.600
maybe both the rest of this evening absolutely listeners. What

1319
01:15:28.760 --> 01:15:32.000
do you think of James Horner's music? Do we mention

1320
01:15:32.119 --> 01:15:34.600
all of your favorites or any of them omitted from

1321
01:15:34.640 --> 01:15:36.960
our list? You can let us know on social media.

1322
01:15:37.000 --> 01:15:40.039
You'll find us on Facebook, Instagram, and x You can

1323
01:15:40.119 --> 01:15:42.520
check out a Film by Podcast dot com for all

1324
01:15:42.600 --> 01:15:48.399
of our episodes that are streaming free, our articles. Wayne

1325
01:15:48.800 --> 01:15:50.479
rumor has it you're going to start writing some more

1326
01:15:50.520 --> 01:15:54.199
stuff for the website, so yep, I am looking forward.

1327
01:15:54.039 --> 01:15:58.000
To that, including some soundtrack reviews. I plan on letting

1328
01:15:58.039 --> 01:16:00.000
everybody know what's coming out and what's due to because

1329
01:16:00.039 --> 01:16:01.520
about thanks heard it here.

1330
01:16:01.600 --> 01:16:03.960
First, you can write to us at a Film by

1331
01:16:04.000 --> 01:16:07.159
Podcast at gmail dot com with your questions, comments and concerns.

1332
01:16:07.840 --> 01:16:09.680
We may just read your response on the show and

1333
01:16:09.840 --> 01:16:12.720
send you some of a film by swag and guys.

1334
01:16:12.800 --> 01:16:14.800
As you can see, I'm wearing some of the new stuff.

1335
01:16:14.600 --> 01:16:16.239
Right now and it is awesome.

1336
01:16:16.720 --> 01:16:22.840
Yeah, that is Wayne quick mention phaser set to stun

1337
01:16:23.159 --> 01:16:25.319
You guys are what you're halfway through the new season

1338
01:16:25.359 --> 01:16:26.199
A Strange New Worlds?

1339
01:16:26.920 --> 01:16:30.680
Yes we are. We have five more episodes to review,

1340
01:16:30.760 --> 01:16:33.520
five more weeks of it, and then once we complete that,

1341
01:16:34.239 --> 01:16:37.760
we will be getting into one of the biggest look

1342
01:16:37.880 --> 01:16:40.640
back so that we've done, We're going to look back

1343
01:16:40.920 --> 01:16:43.800
and talk about our ten favorite episodes per season of

1344
01:16:44.439 --> 01:16:45.880
Star Trek Deep Space nine.

1345
01:16:46.680 --> 01:16:48.000
Okay, so this is gonna be like a is this

1346
01:16:48.039 --> 01:16:50.439
gonna be like the Starter Treks type of ye yeah,

1347
01:16:50.520 --> 01:16:53.039
like you guys, okay with like you guys did with TG, because.

1348
01:16:52.880 --> 01:16:55.119
We're going to tell you which one episodes you can

1349
01:16:55.199 --> 01:16:57.079
watch and which episode you can skip.

1350
01:16:57.640 --> 01:16:59.960
I'll be honest, you guys knew I had never seen

1351
01:17:00.079 --> 01:17:02.640
in a single episode of the Next Generation, and then

1352
01:17:02.720 --> 01:17:06.720
I used the starter tracks as a as a supplement,

1353
01:17:07.359 --> 01:17:10.399
and uh now I love that show. It's like, how

1354
01:17:10.439 --> 01:17:12.079
did I how did I how did I not? How

1355
01:17:12.079 --> 01:17:13.079
did I not watch it earlier?

1356
01:17:14.520 --> 01:17:14.720
Yeah?

1357
01:17:16.000 --> 01:17:17.800
One, I think that's gonna do it for us. Uh

1358
01:17:18.640 --> 01:17:21.359
to all of you listening to the show, following us

1359
01:17:21.399 --> 01:17:25.680
on social media and subscribing to our Patreon. We thank you,

1360
01:17:27.600 --> 01:17:52.800
m I think honestly, obviously we're gonna we're gonna keep

1361
01:17:52.840 --> 01:17:58.079
doing these every season, so uh, I would say, what

1362
01:17:58.159 --> 01:18:00.119
we're gonna, let we If we're not kicking off off

1363
01:18:00.199 --> 01:18:03.159
next season in February with John Williams, then we're doing

1364
01:18:03.199 --> 01:18:03.720
something wrong.

1365
01:18:04.159 --> 01:18:06.119
Yeah, we have to talk about John Williams. I mean,

1366
01:18:06.199 --> 01:18:07.239
he's just incredible.

1367
01:18:07.600 --> 01:18:09.359
Well, I mean there's some other John's too that we

1368
01:18:09.399 --> 01:18:09.960
could talk about.

1369
01:18:10.000 --> 01:18:12.239
You're right, there is, including one of our favorites.

1370
01:18:12.840 --> 01:18:18.399
Are you talking about John Carpenter? And that's a good one, John? Well,

1371
01:18:19.520 --> 01:18:21.640
all right, Well, I'll tell you what if you did

1372
01:18:21.800 --> 01:18:24.319
you did three, you did two? What two this year? Yeah,

1373
01:18:25.560 --> 01:18:28.079
let's what if we just's yeah double, yeah, you do

1374
01:18:28.239 --> 01:18:31.439
like you do like two weeks half, you know, let's

1375
01:18:31.439 --> 01:18:34.399
see Williams Carpenter. You just said, John Debney.

1376
01:18:35.359 --> 01:18:38.720
Yeah, don't forget about the other John John, Yeah, the

1377
01:18:39.920 --> 01:18:42.119
King of All James Bond, John Barry.

1378
01:18:42.319 --> 01:18:46.680
Yeah, John absolutely, all right, the Year of John, the

1379
01:18:46.840 --> 01:18:47.479
Year of John.

1380
01:18:47.760 --> 01:18:50.039
All right, Hey, let's all right, I'm writing it down.

1381
01:18:50.159 --> 01:18:51.600
We're doing it next count