The Music of James Horner: Our Top 5 Favorite Scores

0:00 You guys realized yesterday Thursday was that was James Horner's birthday. I do. Yeah, it brings back who. Who am I talking to? Of course, you guys know, of course I can't. I can't believe it's already been ten years since he's been gone that it still breaks my heart. Man. You know, it's I call it the day of infamy because uh, I remember, out of nowhere, Wayne messaged me and let me know that James Horner had died. I took that one very hard, guys, because Wayne, you know what a huge Horner fan I've always been, and losing him and his brilliance was just devastating. And it breaks my heart to think all the scores we could have had over the last ten years from him.

0:45 Yeah, it hit me hard too. I just couldn't believe it. So I know, I was watching it minute by minute when the news was coming in. That's I know. I had to text you immediately. Yep, I was thinking back. You know. Earlier this year, we invited our friend Chuck Bryan from the Cinematic Flashback podcast to join us for an episode discussing film composer Jerry Goldsmith. You guys offered up a top five list of his scores, which I thought was awesome. We received some incredible feedback from that episode, including some from a composer and orchestrator, Lee Phillips. Yeah, yeah, it was fantastic.

1:27 He does such a great job, you know, in all the recreations he does, he hasn't done any James Horner. But just yesterday they went in and re recorded the score to The Chairman, which I am really looking forward to hearing that they are bringing back music back alive that has been lost for years. It's incredible. I'm glad we have somebody that does that. I really do. I remember how thrilling it was just to see someone of that magnitude. Yeah, you know, give us some feedback. I loved it, you know way, and I know you were excited when I was. Guys, we love our directors on this show, but it's always a treat when we can discuss our love for film composers. And no one better suited to have this conversation than you two. So let's talk about the music of James Horner with our top five favorite scores. Hello, everybody, I'm Jeff Johnson.

2:47 I'm David Burns and I'm Wayne Whiten, and this is a. Film by podcast. We are taking a moment to celebrate the birthday of one of our favorite composers with a with a little Top five episode. I love when we, guys, I love when we do these things. We don't talk enough about composers. I don't. We don't we do well. And that's I mean, that's kind of changing though. This season we have started these what we've been calling scoring sessions with Wayne. You know, he he kind of pops into the episode and just gives us like a nice, you know, five six minute blurb about the composer of whatever film we're talking about. Wayne, I honestly don't remember which which one was first. I just remember it was a big hit. Oh what what was it?

3:39 I do? It was Jerry Goldsmith's Alien. Oh well, they have, of course one of. His top scores. I really have a lot of fun doing them. It gives me a chance to really sit down and re listen to these scores very closely and break them down to what I like and how they were made. It's it's fascinating to me, and I hope it's fascinating to sell the listeners. Well, all I know is I thought was a nice addition to that film at forty five episode that you you and Scott did, Dave, But then everyone started raving about you know, thanks for like who's Wayne? Where's Wayne? Letayne? We want one more way? Yeah, uh so, careful listeners, listeners.

4:24 We we are working with Wayne's schedule. He's he's pretty busy on phaser set to stunt, but we're working to get him more involved with the film by episode so we can get more, uh more of this information on some of these composers. Wayne, It's a no secret. I know we've got Amber and I are gonna be covering Wolf Kane Peterson's The Perfect Storm here very soon. And uh, I know you've already agreed to that because that score is by who Wayne. I wonder by James Horner of course, one of his great scores. Yeah, uh do you guys, let's go back in time for a quick second.

5:07 Mm hmm. Do you remember the film or television score that made you take notice of James Horner. So, my very first introduction to James Horner was obviously Willow, but I didn't take notice of him because I really at that age, I wasn't into composers or who composed the music for movies. But the one that really made me fall in love with James Horner with clearly nineteen eighty ninth Glory. Okay, Wayne, what what what was it that made you sit up and take notice of James Horner? Well, I loved music scores at a very early age. I own the LPs to you know, Empire Strikes Back and Star Trek the Motion Picture, and I also had when we When I first saw Star Trek two, I begged my grandma to go out and buy me the record to the score I wasn't aware of. I mean, I saw the name on it, obviously it was James Horner, and I owned Star Trek three, But it wasn't until it wasn't until Glory came out that I really started taking notice to him specifically as a composer, and started checking out some of his other works and buying some of his other CDs.

6:19 It may surprise you, guys to know that Glory was not what made me stand up and take notice of James Owner. And I get you want to take it. Yeah, take a guess. I'm gonna say, Aliens, you that's. A great guess. But Uh, I'm gonna go a little bit earlier than aliens. Let me take a guess. What could it have been? Forty eight hours? Wayne, you were so close, you were on the money. And here's why I will say you're close. Arnold fot Thinger is in it about guys. It's nineteen eighty seven. I'm eleven years old and I'm watching the new Arnold Schwarzenegger movie that just debuted on the Movie Channel. And as amazing as it is to see Arnold carrying a chainsaw in one hand and what appears to be a full sized tree on his shoulder down this mountain, the scene is isn't near as impressive without James Horner's awesome music in nineteen eighty five's Commando and Wayne, You're you're kind of on the money because his score for Commando and his score for Forty eight Hours are very, very similar. You know, we got those steel drums and those those heavy feats.

7:44 I knew it had to be one of his electronics scores around that time. I knew it had to be. Yeah, I should have get Ronaldo doing it. Yeah, I think I think my mom and dad were wise enough to Eddie Murphy and Nick Nolty to know, Yeah, you're too young to watch more it out, but you know, Arnold just you know, running around shooting bad guys and saying saying one liners that he's. Fine, you can do that. Little do they know about all the violence and nudity and language of Commando. But I'm glad that they were they were looking the other way on that one, because I love his music. That music is just awesome, you know. And the tight shots of Schwarzenegger's boots, then his bicep holding up the log, and then the sweat on his brown I'm telling you, Horner's music just makes that scene.

8:33 It's awesome. Guys. Let's talk a little bit about James Horner before we get into your top five lists. James Roy Horner was an American film composer known for his integration of choral and electronic elements alongside traditional orchestrations. Wayne was he one of the first to do this, maybe one of the more prominent ones. You think, Oh yeah, I think so, I really do. He began playing piano and violin at the age of five, and his love of music led him to London, where in his early years he attended the Royal College of Music to study with the influential Hungarian Austrian composer George Legidy.

9:17 I hope I'm saying that. Wayne's nodding, So I think I said that right. He furthered his studies in America at Verde Valley School, the University of Southern California, and UCLA, where he completed his doctorate, and after several scoring assignments with the American Film Institute in the nineteen seventies, he taught music theory for a time at UCLA before setting his sites on film scoring. Now, I mean, we're talking such an impressive body of work, and when I found this out, where we all got to start somewhere? Right, Dave, Yes, we do. His first credits as a feature film composer. You guys, I'm sure you guys know this. Who wants to give our our listeners the famous B movie director and producer that he was working for.

10:06 That's going to be Roger Corman. Roger Corman. That'll Beyond the Stars. Yeah, well so Batt'll Beyond the Store Stars in nineteen eighty and one of my favorite Corman movies from nineteen eighty, Humanoids from the Deep, The Deep. Yep, that's really great movie and great score. Yeah. Yeah, I don't know what it is. I saw that movie on Prime for the first time a couple of years ago. I was like, Oh, this looks like it could be cool. Man, is that is it out there? As surprised as I was with some of the stuff that's going on in that movie, I was surprised to hear a James Order soundtrack. So you got to start somewhere, and you got a lot of people. A lot of people started with Roger Corman.

10:47 And we love Corman. Yeah, Corman's awesome. I mean, you know, we talked to me and David recently talked about Death Race two thousand. Man. The composer there, which was Paul Chahara. James Horner studied under him while he was at the University of California. Oh, I didn't know that. I also didn't know that you're gonna be such a fan of Death Ray two thousand, Wayne. I've I remember when Scott was unavailable for a Dave as that was the one of the more recent a film at fifty episodes you did for our Patreon and I just remember thinking, Man, Wayne, I hadn't seen it since I was a kid. When I was watching it that night on tuby, I was like, man, Wayne is gonna be so upset with me for making him watch this?

11:29 And then you guys just were eating it up. I can. Yeah, definitely a fun one. Yep. Horner worked on more than one hundred and sixty film and television productions, all of which I'm sure it can be found in both Wayne and Dave's collections. Of course they can, especially David. Now, Dave is the big, big James Horner fan. He's got a lot more Horner scores than I do. I think I'm only missing a couple, to be honest with you, Yeah. I believe that. He was nominated for ten Academy of Awards, winning two of them nominated, they all were ripped off. Nominated for four BAFT Awards, ten Golden Globe Awards, of which he won. To guys, he won three Satellite Awards, three Saturn Awards, and from nineteen eighty eight through twenty eleven he took home twelve Grammy Awards.

12:24 Most Impressive, Most Impressive I know. Yeah, and like Goldsmith. His win for the Academy Award was on one film, and that's Titanic both of that he won was on Titanic, just like Goldsmith's only award was on the Omen. It's it's injustice in my opinion. At least with his with Titanic. It's I think that's got to be like the I think that's the highest selling film score all time. It is, right, yeah, And I remember that was a rough year too, because at the Academy Awards he was going up against Goldsmith, Williams and Elfman at the same time. That's just some murderer's row Man. That is the super Bowl of super bowls of comparison.

13:06 Good Lord Horner was an avid aviation fan and a qualified pilot who owned several small planes. Sadly, on June twenty second, twenty fifteen, he was killed in a single fatality crash while flying his short Tucano turboprop aircraft. He was sixty one years old. His final three film scores, twenty fifteen's South Paul, twenty fifteen's The thirty Three, and twenty sixteen's The Magnificent Seven, were all completed and released posthumously. Guys, I am excited to hear these picks for the For what you guys are going to say are the top five favorite, top five best. But before we get to that, let's say a quick break to hear from some of the sponsors. All right, welcome back. We are talking about composer James Horner and what we feel are his top five best, his top five favorites. I don't know how you guys are gonna narrow this down to just five each, but I'll tell you what you know. I'm not a fan of these, but I will offer one honorable mention one not four. No Hoffman's no, no, I have I have one pick that I'm gonna divide into four answers. No, we're not doing that.

14:35 This was rough too, choosing with five. It was not easy, but these are my top five. All right, Well, Wayne, let's start with your top five. All right. I know everyone here knows this, but for those of you are listening, I am a huge comic book fan and a collector, so it's really no surprise that you know this is one of my top five because one of my favorite comic creators was the late Dave Stevens, and that makes my number five pick to be the Rocketeer. Uh. For me, the Rocketeer will always stand as one of the best superhero films ever made. It's just a it's a classic story, very similar to the Golden Age superhero comics at the time. You know, wonderful director Joe Donson, Johnson, great cast. I just I really love this film. I loved it when I saw it in theater. And James Horner's score is just perfect for this. I mean, I really really love this score and I listened to it very frequently. You know, It's got so many great highlights to it.

15:44 You know. There there there's the beautiful love theme. Uh, there is the the exciting Q called the Flying Circus. There's this incredible piece called Rendezvous the Observatory, which is a really lengthy build up that's a lot of his great themes and styles. And then of course the end titles and in credits that highlights everything and really showcases one of the best themes that he created. It's a fun listen that never bores me. It just tells the story through the music without really ever overpowering the visuals that are on screen.

16:24 You know. Fortunately there's been a CD release of this. Back when the film came out nineteen ninety one, it was very short, in my opinion, had a lot of the songs that I really weren't that interested in. But thankfully, back in twenty sixteen and Trata released the complete score to this with everything on there, as well as twenty minutes of never before released music and a two disc presentation. And it's a beautiful remaster because I always felt the original release was very muddy and very quiet, so they went back to the original tapes and we mastered it so that we can hear it exactly as Horner had prepared it and had intended us to hear it.

17:14 I absolutely love the music in this. It was last season we actually covered The Rocket too, we did, and I've I've debated whether I should start George lucasing some of our older episodes to add new content, and certainly a Wayne White at scoring session for that movie would would be perfect. But well, now we have it, so I'll leave that one alone. That The Rocket here is always on my playlist. I absolutely love this and I'm not surprised Wayne that you picked this one. This one was a struggle for me to lead out of my top five, but it just I had to leave it out. But I mean, again, if we were doing a top ten, it definitely would be there because the themes in this that movie that James Horner gave us is You Are Correct, are one of the best themes he has given us over the years.

18:02 And to hear that just get pumped up like it does. It really puts you in a good mood and wants you to be a superhero. There's no doubt about that. Yeah, a little surprised. I would I would have picked you to have this one on your top five. And I gotta say, with one hundred and sixty piece of music out there for you guys to choose from, I didn't expect a lot of cross pollination except for one. I know there's one that I'd be shocked if it's if it's not high on both your lists or the number one for both of you. But the Rocketeer, fantastic pick there, Wayne, Yep, David, what is your number five?

18:45 This is a film that kind of surprised me with its music in it, and it's it's a good movie. It's two thousand and one's Enemy at the Gates for my number five. It's a film about a sniper at the Battle of Stalingrad. It's got Jude Law, Harris Rigel Wires, Ron Perlman, and Joseph Fines. There is obviously a lot of Russian vocals and sounds to the score, since this film entirely takes place in Russia during World War Two. But there is one particular piece in this soundtrack that Horner has done, and it is a rather lengthy one. It's over fifteen minutes long, but it is just absolutely brilliant. It starts off slow and dramatic, allowing the story to breathe like we are just fading into a lovely dream, and it comes crashing in with a loud thunder, waking us up to make it realize we are not asleep, but in the middle of a war. It then pulls us into a beautiful thematic melody that just flows, but we keep getting this thunderous eruption so that we do not fall asleep again. It perpetates through the score with almost frightening swells, as if we are falling and falling, only to catch ourselves and be joldered back into what is going on around us. The music continues to build and build, showing its raw emotional strength, giving us an incredible theme and burst of energy erupting further into Russian vocalist until slowing up to allow us once again catch our breath, but not for long, as it starts rolling again, beating drums, signaling we are moving further into the fight, and it flows into some amazing choir vocalist. It does

20:46 slow down again, but builds into a feverish pitch crashing down on us where we are full blown fighting, until eventually slowing up into that beautiful choir again. And of course I'm talking about the track that's called the River crossing to Stalingrive. Beautiful piece, very very long, but man as it just hold your attention from beginning to end. The second piece in this is Tanya in credits, which a lot of composers use in credits to just go crazy with their scores and their themes, and he really does it here. He gives us it's very emotional and perfectly fits in what we needed at the end of this film. Again we get Russian music blended with Horner's main theme, allowing us to process everything we have heard and we have felt emotionally. Again, his use of choir, which you will see a theme and a lot of his scores is just hauntingly beautiful.

21:43 Yeah, I'm not surprised. I knew this would be on your top five because you know, we all have this one score of each composer that we go back to all the time, that we talk about that we just absolutely love to listen to over and over again. And I knew this was yours, and rightfully so, because it's such a powerful, powerful score. That's it's it pretty much symbolizes James Horner in the two thousands. It's his sound that he created for that. But it's it. I mean, you go through so many different emotions through it makes you feel anxious and excited and fearful. It's just it for scores to be that powerful, to bring that many emotions out to you just listening to it. It's it's a masterpiece. And just like I said with the Rocket here and a lot with a lot of his scores, he really tells the story just through the music, and this is one of the best examples of that. So no surprise it deserves on everybody's top list.

22:41 So frightening story about the soundtrack on this one. So when I bought it, I played it, played it, played it, played it over and over and over, and I lost it. I don't don't. I didn't know where it went. I had the case, the CD was gone, and it scared me because it got out of print. You couldn't find it anywhere. Yeah it is, and you couldn't. You couldn't purchase it anymore. And so I let it go and it bothered me so for a couple of years. And so one day my sony seen Walkman fell out and it popped up. And don't you love that when you when you find those things, Because I've had a few scores where I put in the wrong case or whatever over the time, and it's gone for years, and then you finance like, oh my gosh, yes, thank you, and then you put it right in and listen to it right away exactly.

23:29 Meat is great as long as you can keep track of it right absolutely day. I'll tell you that that that score has so many beautiful pieces of music in it. One of them my hot take. People people ask me, I'll tell you I think one of the hottest and most tastely done sex scenes in any movie happens to be an enemy at the gates, which sounds weird to say, but his music in that moment makes that moment I think it's just passionate. So yeah, absolutely, Well, speaking of passion, Dave, why don't we hang with you here a little bit longer.

24:15 Let's go to number four and what do you got? What do you got for your number four pick? So I was gonna leave this one off the list because it's just so popular, But when I really drilled down to it and thought about it, I had to put it in my top five. Wayne somebody mentioned, I believe it was Wayne. It won two Academy Awards for James Horner, who well earned those Academy awards. Of course, I'm talking about nineteen ninety seven's Titanic, Jeff. You mentioned it holds the record for the most album sold for a cinematic film, which is absolutely amazing. I know a lot of that was because of the song by Celine Dion My Heart Will Go On, But James Horner did work on that song, so he deserved every bit of that credit. And that song in itself just brings in such a sense of memories, lost passion and tragedy, and you immediately put you into the place in history of losing that kind of Titanic, losing a loved one, and I can see why that became so popular, so famous, and why it won the Academy Award, because I mean, it's just a beautiful song, beautifully composed and of course beautifully song by Celine Dionni. But further on, you know, you've got the track called Him to the Scene, which is this very sorrowful theme which truly shows the tragic side of what happens to the Titanic. You know, it's a theme that goes throughout this film, and it's something

25:47 that we know is coming, and James Horner just did such an incredible job of building that through his music, giving you that love of the history, the heritage of this ship, but also allowing this fictional story romance that we're witnessing on the Titanic. Blending it with all of that just brings out such the story into his music and it really comes off strong. But the other one that I absolutely love is called Death of Titanic. This one the music and I'm going to use this word of a lot, but it really shows the brilliance of James Horner because his music here descends with the ship.

26:51 If you listen to that music, it is actually, you know, the music is descending down as the ship is sinking into that water, and for a composer to pull that off just shows how incredibly in tune he is with the story he's trying to tell. And that is why this is one of my favorite pieces on there. And it's just an amazing score, which is why I had to put it in my top five. Is it a cop out? Absolutely, it's not, because it is a beautiful score. Yes, he uses the anvil a lot because as we know, James Horner loves that anvil and it works, it really does in this film, and he pulls it off extremely well.

27:34 He deserved that Academy Award for this film. I mean, you know, they had no choice but give it to him. I mentioned earlier that he was up against Williamston, Goldsmith and Elfman, and they all had really good scores, if I remember, they were a good Will, Hunting, La Confidential, and Amistad. But Titanic was such a huge film, not just in length but in success that it changed the way we looked at film and film music. Again, just like Williams had done in Jaws and Goldsmith did the omen, they had to give him the award, but it was deserved. It was really deserved because it is an incredible score that you know, and it was a best selling album too.

28:16 It has been finally it is out there to get as a four disc complete set, and it's monumental. It's it's kind of overpowering sometimes when you look at how much music he had to write for this film, but it's definitely worth getting. It's it's an incredible listen. So it's the Titanic of an album. It means, yes, exactly. I'll tell you one thing I like about the Titanic score, and we haven't really touched on it yet because you know, like we said, he he likes his electronic integration with with choral motifs, but he also I feel like a lot of his stuff had like a Celtic music type of vibe and this one's this one's definitely in there.

29:00 So that's that's one of the things I've always loved about it. Well, guys, no real electronic discussion yet from the scores that you picked, you guys are pretty much staying historical at this point. But maybe Wayne I'll change that up with his number four pick. Nope, I will not, because I always felt that Horner was it's really at his best when he's writing for like sweeping, dramatic emotional films, especially historicals, and one of my top favorites of that genre, which I'm choosing as my number four pick, is nineteen ninety four's Legends of the Fall Oho, directed by Edward Zwick, which is a name you're going to hear again on my list a couple more times. This film started Brad Pitt, Anthony Hopkins, Julie Armond, and Andrew Thomas. Legends of the Fall represents the beginning of what, in my opinion, is a new musical sound of Horner's, a defining moment in his career where he begins to experiment with new styles and sounds which would develop into the sound that he would continue through the second half of his career. You hear it in films like Brave Heart Paul thirteen. Enemy at the Gates is another great example of it, and especially in Avatar and Titanic. Legends of the Fall is a huge, sprawling, theme filled epic. You know, it's a perfect representation of a score for the American West, the horrors of war, overwhelming love. It's just incredible the work that he put

30:33 into it and He's created two very different themes for his score. The first one, which we hear in the opening title, you know, has an atmospheric build up before the main theme even kicks in, which starts as a solo trumpet and then expands into the full orchestra. It's just one of those themes that grip shift from the beginning. You know. It's romantic and just absolutely beautiful. And then there's that second film theme that is called Twilight mist. We first hear that theme in the Q called the Ludlow's and it's performed on solo piano, which I love the piano, and this is a great Horner piano piece. The theme is a warmer and slightly folksy feel that we hear as a song sung by Henry Thomas with his family gathered around the piano. Plus the two cues to the Boys and Samuel's death gives us an emotion of horrors of war. It's easily two of the most powerful and dramatic action cues of Horner's career. It's just overwhelming in emotion.

31:39 These these pieces of music bring to you. I love this score. It's one of those scores that I can listen to over and over again, just for the great musical storytelling that he brings. And it's been released twice, back during the original release of the film in nineteen ninety five by Epic Records and again as a complete score in twenty twenty by Introtter Records, again two CD sets with every note that Horner wrote for this including music that he had to cut out of the film at the beginning. It's, without a doubt, one of the most underrated scores in the nineteen nineties in my opinion, and one of James Horner's finests that is often overlooked lost within a lot of the blockbuster films that came out around that time.

32:26 Well, guys, you've got three picks to go. But before we get to him, I wouldn't mind talking a little bit about some of his other work. I'm talking about tell let's can we talk television for a quick minute? Sure, because I have to think. I know he didn't do a lot, but I'm guessing you guys probably have like a favorite television piece. Probably saying Wayne as Wayne, But yeah, I think we do. What do we talk? What do you got here, Dave? I'm obviously talking about nineteen eighty five Amazing Stories episode album, OJOB. I really like that one a lot, and I'm glad he's to be a part of the Amazing Stories because a lot of the great composers were a part of that TV series, almost all of them, almost all. Yeah, so it's very very fitting that James Horner had a piece of that pie. I know he did a lot of television made for movies and stuff like that, but I'm always on that Amazing Stories one.

33:19 Yeah, he's one that didn't work too much in television because you know, like a lot of composers which got their start in television, he didn't. He got to start in motion pictures and kind of flew with that, but he did touch television every now and then, mostly for TV movies. There isn't really that much has been released, but Alamo Job is one of of my favorites too as well. I love Amazing Stories. It's one of my favorite TV series, and the musical scores, which have all been released on CD are just incredible. But I also want to talk about the only TV series that Horner worked on as a regular composer, and it's a series that none of you will remember, but I have to bring it up, and that's nineteen ninety two s Fish. Please say Fish Police, Fish Police.

34:02 You heard me correct? You know I was going to ask you if you remembered it, but apparently you don't. I don't know, but I do. It didn't last very long. It was only three episodes long before they canceled it. But it was an animated series. It was created by Steve Moncouse who was a comic book writer, and it was based on his comic book that he created called fish Police. It was a it was fun but unusually adult series had voice of John Ritter. Tim Curry was in it at all. Yeah, it had a great cast. It just did The writing was a little bit too risky for that time.

34:43 You know. It came out during that cartoon craze of the nineteen nineties after the Simpsons. You know, everybody was trying to do adult cartoons but quickly pulled. But Horner's music and his his theme that he created to it is very similar to the work that he did for like The Land Before Time and American Tale. You know, you can definite tell he's getting into his his his cartoon stage. But it's a wonderful sports about the only thing that is wonderful about that series, But I have to bring it up, just even if one person out there goes out and the YouTuber types fish place up. I did my job. Okay, well, i'll tell you. I know, when we did our Bill Paxton episode back in May, we kind of brought up the whole Tales from the Crypt episode that he did. That's just which is just mind blowing to see a young Bill Paxton and Tales from the Crypt.

35:34 But Horner did some composing for Tales from the Crypt. He's got an episode or two, so I thought, I definitely am going to go back and watch that one just to hear it. The CBS Evening News Wayne. Yeah, oh that was big at the time. When was that two thousand and six? Yep, yeah, I think. Well, see, back in the nineteen eighties, NBC had wanted to change their sound and they hired John william to write all of the themes for all of their shows at their new shows, and he went and he wrote, oh god, probably I think three or four dozen different themes for them, and we still hear those. And I think CBS was looking to do the same thing, and they hired James Horner and it was big. I mean they even interviewed him in a huge, lovely interview that he did on TV.

36:20 I remember sitting in the car dealership waiting for my Cardief fixed us I was watching it. But his music is great and it's still used today. Now another project I wish I could have seen. I could have experienced this, As you both know, sadly, I have never been to Disney World. But can we talk about Captain eo Oh. Yeah. The Disney Attraction, which premiered in nineteen eighty six, which we all know is a great year in film, ran until nineteen ninety eight. This was basically it was an attraction that incorporated a three D short film into the experience.

37:03 It's directed by Francis Ford Coppola, stars Michael Jackson and Angelica Houston. And guys, I may not have seen or experienced this attraction, but I am familiar with the music. It features an incredible electronic fuse score by James Horner. So I got to ask, I have either of you did you ride this ride or this attraction? Did? Everyone's not? So I'm the odd man out a little bit. Sorry, Yeah, tell me a little bit about like what's the experience like or what was it like? Man, I was I was like a finger in high school. I don't know if I can remember that I. Was the same way I was. That would have been back in nineteen eighty nine. I remember really liking it. I remember really liking the music to it. Gosh, the music's not ever been released on CD or in any format.

37:53 I know a lot of people are calling for it. It's such a short little piece, but Skron feel to it. Yeah, they can attack it on the end of one of the other scores or something, you know. But I remember enjoying it. I it wasn't the best thing, best ride, you know. I was looking forward more to the Haunted Mansion, but you know, it was still I'm glad I went and SAWID, but I wish I could remember more about it. Yes, I'm here. I don't remember too much on it. I just remember Michael Jackson. Do you remember the screen? Yes? But beyond that, yeah, yeah, one last thing and then we'll get back to your top five. And this is for a good buddy, Chuck Bryan, because it was it was the Goldsmith episode you guys did back in February.

38:37 That was like that maybe's kind of God, What is that? Is that accurate? Is that real? Uh? Let me play something here for you, because I'm sure you both recognize this. Yep, everyone's not their heads. Universal Pictures fanfare from nineteen ninety. Yep. I just I love the fact that we've got amazing opposers doing this stuff, because you know, you hear these things, these these interests for all these movies, and you just never expect that. At least I never expected it. It's a it's a Jerry Goldsmith or a James Horner, this one, I really, I really enjoy it. I'll give you a bonus question here, though, can either can either of you tell me what was the first movie that Universal featured this fanfare in front of?

39:35 Oh? Geez, it would have been in ninety. Yeah, you know it's nineteen ninety. And as you guys scratch your heads, at least the listeners are getting a chance to go, wait, I think I. Know this, so I justly I can't remember what films came out by Universal in nineteen ninety. I'm out, You're okay, Wayne, you want to take a stab at it. I can't even think of what. I can't think of one that came out by Universal way. You just go back in time. Let's see if you can come up with it. I am. I saw so many films, but I don't remember which a Universal film that. I h Dave did he totally missed that one of it flew right over his head. Uh, we're talking about back to the Future there.

40:18 Oh, of course, of course. Start three starring our good buddy Tom Wilson. It's right, good buddy. Al right, back to the top five, Wayne, what is your number three pick? Okay, this score may sound like a bit of an odd ball for me to choose, but this really is one of my guilty pleasures. I love this score, probably ten times more than I love the film, and I can listen to it over and over again. So my pick for number three is Ron Howard's nineteen eighty five comedy drama Cocoon. Oh good one. All right.

40:58 This would be Ron howard first collaboration with James Horner, and we all know that would blossom into a great friendship and bring us many, many more incredible scores in the years afterwards. You know, his Cocoon. His work on Cocoon raised the bar for him, in my opinion, set the standard for his future career and his definitive sounds in the eighties. I mentioned earlier about the sound of the nineties and two thousands. This was the sound of the eighties. You know. It's written for a full orchestra. You know. The score switches from small solo piano performances to exciting action sequences and concludes with some of the most soaring and majestic writing in the Horner's entire career. The score is built around a central theme, and it's called theme from cocun Believe It or Not, which yeah, in itself can be broken into three distinct melodies. First, there's a tingling southern note prelude theme opening it up, followed by an elegant horn solo similar to the style he used for his animated children's films later on, and concludes with a brass let orchestral theme showing off a dramatic side of the score and similar to the nineteen nineties historical dramas that he would become known for. And I also want to mention the que the Chase, which is a wonderful early Horner style piece of action music. It features echoes of his star Trek scores with wild string runs, dramatic brass hits. This is, without question, one of my favorite cues of the entire score. Just it symbolizes everything that I love about James Horner in the nineteen eighty

42:29 So he let all his unbridled musical passion out with his score, bringing us a fun, but emotional, odd but sunning score to such a quirky motion picture. I mean, that's the best way I can describe it. The score has no business being this beautiful. But you know we're talking about a master film composer delivering, you know, a very heartfelt, emotional punch with this score. So you know another one. I just I love this. I can listen to this over and over again. Thankfully it's out there to listen to. Complete. It was released by in Trotter Records. They love James Horner and we love them for that. They gave us the full one hour and two minutes score, beautifully remastering from the original three track tapes.

43:16 Just. Not my favorite movie, but one of my favorite scores. Why not film? No, it's not, it's not. I don't get me wrong, I don't hate the film, but it's it's just when I was watching it back in the eighties and I I got dragged at the theater by by my mom to see this this film. You know, as a kid, it just wasn't one that gripped me. And I've watched it many times since then. I appreciate it more now, and I appreciate Ron Howard's directing it a lot more now. But it's it's not one of my favorite films that that Horner's score, but it's one of my favorite corner scores. Well, speaking of favorites, you guys have yet to list one of my all time favorite, so, you know, starting a little nervous, but Dave give me your number three pick.

44:08 So I'm going to go back in time again to a historical piece. I love my historical films, as you guys are very aware, and of course I'm talking about nineteen ninety five's Braveheart, directed by Mel Gibson. There it is James Horner's use of Celtic music throughout this film, blending it with a theme of love, romance and sacrifice, is just incredible throughout this film. It's a long film, but there's a lot of good music that is scattered throughout this film. Nominated for Best Score in nineteen ninety six where it was ripped off not winning the Academy Award.

44:53 I agree. I think it was The Postman that won that year, which is ridiculous. Havn't cost a movie, No, the one that foreign film. Oh Il Postino, Yes, El Postino, Yes, it is. It is. So there's a couple of pieces in this film, and you know, it's a long film, a lot of music, but there's a couple pieces that really stand out to me. One of them is actually a very short piece. It's called a Gift of a Thistle, and this is the scene when William Wallace is a young boy. He lost his brother and his father, and it's the burial scene and the little girl comes up and hands him a gift, which is a thistle. The slow dramatic score that really gives this powerful performance of this young Wallace who can only reach out and take this flower and a tear rolls out of his eye. This piece of music just echoes the boy's feelings and the love of another who is handing him this gift in a time of loss.

45:59 The build up of the main score, that is the theme we hear throughout, is a gut punch to us. Emotionally and just prepares us for the drama and horrors of war that lays ahead. Again, this is such a small piece in the film, but my god, is it just gut punching. There's a lot of winds, strings, violin, which is my favorite instrument, by the way, Wayne, I think you know that. But the other piece that I absolutely love is for the Love of a Princess. I don't know what orchestra it was, but this was redone at a concert a few years ago and I listened to it via YouTube, and man, I tell you that the tears were just flowing, not only for it's a beautiful piece, but the fact that we lost James Torner.

46:45 It is just slow beating of the drums followed by the introduction of the winds and full blown into the violins and strings is just so emotional, and again it just brings out that thought of romance, love and wonder pieces that you hear in his other scores obviously, and you're gonna hear echoes of that a few years later in Titanic. You can just see that starting to come out in his music and getting Titanic in nineteen ninety seven, you can go back and just see how Horner was building up to getting that Academy Award. Yes, he should have got it for this, and I think it's a damn crime that he didn't. But at least he did get it a few late years later for Titanic. But the pieces throughout this film are just so beautifully done.

47:28 I remember the scene when William Wallace is on the mountain and that the camera just comes in and just floats around and what goes around him and that Celtic music that James he Yes, it is so beautifully done and is one of the reasons why Mel Gibson won the Academy Award for Best Director.

48:10 Yeah, I was. I was wondering, like where you know a couple couple of picks ago, I'm like, come on, guys, where's Brave Heart? So thank you. I've been wondering. You know. I wasn't gonna let that one flip by Jeff. It's that movie was so powerful to me when I thought. I saw this movie four times in the theater that year, and one of those times is that the Billy Creek civiol Ray Acondwayne. I remember that. I didn't go with you, but I remember you going I remember you going, yeah, I agree with you too that he he deserved an Academy Award for this score because it's so incredible. If we were to expand this to like top six or seven, this would be on my list because it's just an incredible score and it's it's just like I said, with Legends of the Fall, you know, which this came right after. And I believe that he worked on this really this and Legends of the Fall defined his the sound of the second part of his career. I think he when he composes, he was so inspired by this is just incredible.

49:02 How how inspired? But he was he was robbed of the award because he deserved it. My nephew came over and I was watching some concerts on YouTube of Horner and he just sat there and didn't say a word when he came in, just sat down on the couch and just watched and listened to the concert that was being played, and he was just pulled into it. And we didn't say anything for like five minutes until the til they were done, and he looked at me and goes, what is this? And then I told him what it was and he was like, oh my god, that is beautiful. Mike, yep, welcome to James Horner. Yeah. See, when your pieces go beyond just being an incredible film score to be performed in an orchestral you know, in a concert setting, that that's that's something a completely different animal. It's you know when we see that with all all the composers have had this. You know, you and I have been to a couple of John Williams answers, and we know the power of just scene hearing it.

50:03 You know, Live and Braveheart is one of those pieces that gets played over and over again in a concert setting. It's it deserves that though it's it's more than just a film score. It is a it's a masterpiece, an orchestral masterpiece. Agreed, listeners, If you're just now tuning in to catch the top three picks, these guys earlier were lamenting if only they had ten picks, and Wayne just said, well, if I had six, or if this was a six or top six or seven, gentlemen, I will remind you that coming up, you get one honorable mention and only one.

50:46 That's why I put the suven in there, because my six is my honorable mention. Okay, Dave let's let's let's hang with you a little longer. Let's head to number two. We're almost there. Guys, Dave, what is your second favorite or your choice as second best? So everybody knows the name George Lucas, everybody. Yeah, everybody knows Star Wars. Well, that's John Williams, everybody. This is another fantasy film from nineteen eighty eight called Willow. This is a score that I immediately fell in love with when I was a child. Again, I mean I did By scores a little bit later after this, but this is a score that really screams fantasy epic. It is a swashbuckling theme which Horner did not want to do, but at the request of Lucas and Ron Howard. Yes, Ron Howard directed this. George Lucas just produced it. But they requested a swashbuckling theme that Horner did not want to do. But he listened to them, and I'm glad he did because this is a beautiful action piece of

52:21 music throughout the entire film. And as we know, James Horner does some incredible action music and he pulls it off in this. Willow's theme is one of my favorites. This is the main theme that you're going to hear throughout the film. That just Beckon's epic adventure across a great landscape. A score that makes us want to leap up from our couch and go on a quest across snowy mountains and winding strings. This was performed by the London Symphony Orchestra, which I know a lot of the famous composers did use because obviously they are incredible at what they do. He used the King College Choir of Wimbledon to provide the women's and the boys ensemble voices, which again I love choir. You're gonna hear me say that a lot on a film by podcast, but he uses it so well in this film. He has oversized woodwind section and he uses the penny whistle, which you hear he likes pipes what you hear on Braveheart obviously, but he does love a lot. He uses the conch shell for crying out loud in this score, which is incredible because when you start using other things to make music in a film, that's just so cool to me. Anyway, as a composer, it just shows you how intelligent you are.

53:33 But anyway, he has this percussion section that uses the Chinese opera gong. He uses a South American drum, an Irish bodron, drum bowdron. I might be pronouncing that wrong, and get this even a plastic cup, that's right. He uses a plastic cup in his score of Willow. Although there's some keyboard, some pianos waying there you go. He uses some synthesizers throughout this score, but it really is a lot of folk music that is added for the source that he uses in the score throughout the entire thing, using bagpipes again. And there are three themes in this score that I absolutely love. We talk about Willows first one the heroic adventure theme. His second one is the theme and Willow is. It's a highlight representing the inner strength and kindness, the will of himself. It's called Willow's Journey Begins. It's a very beautiful traveling scene, kind of like Lord of the Rings. You get some of that, lots of walking, but you need a powerful score to go along with it. His other one, his third theme that I absolutely love, is a Lord Dannon. It's a four note phrase that is just beautifully done and it relates to good old Lord Danon who he's trying to save and protect.

54:56 You have just given me hope that I can play with an orchestra, because I'll tell you what I could. I could play a mean plastic cup, I bet and Dave, I gotta be honest. When you're you're teasing this up and you're talking about a fantasy film that's a George Lucas production, I was, I'm not gonna lie. I was a little a little excited and to think, like, are we about to talk about Howard the Duck did do that? Because and I can proudly, proudly say I got to tell Ron Howard that I loved this score from James Horner.

55:36 He did. I even talked to Ron Howard of you know about the loss of James Horner, and he even told me in person, right to my face, that it was a tragic loss that we lost him, because he was an incredible man to work with. Wayne, your choice for number two. I had to really think about this one, and I think I'm very happy with my choice. My number two pick goes way back to the beginning of Horner's career, back to nineteen eighty three and to a film that I remember seeing and loving in theaters, one where I rushed out to buy the comic book adaptation, and one that I think should have always had a sequel, but it never did. The Peter Yates directed Krawl.

56:30 Yes, good one. Oh what a great one? Yeah, great score. Yeah. I know many of you younger listeners probably have never even heard of this film, and that's sad because it's a fun and exciting adventure movie, one with the most incredible and rousing James Horner's score. Now, let me get this off my chest right away. I do acknowledge that Krawl sounds very similar to his scores for the previous year Star Trek to the Rapacon, which that one sounds very similar to his nineteen eighties Battle Beyond the Stars. But with each score it seems that Horner was like fine tuning his style and sound, and Krawl is the accumulation of that early hard work that he was doing, containing the best styles from both of those both of those earlier scores, and mixing them all together in a blender to create a masterpiece of musical ear candy. It surprised me when I was doing my research that, you know, with such an incredible and thrilling score like Krawl. Horner was tasked to write all one and ten minutes of this massive orchestral's music in southern weeks due to the fact that he was given one of the best orchestras in the world to record with, as you mentioned earlier, the London Symphony Orchestra, but he was forced to work around their schedule, which would kept changing because of multiple lays on another film that the London Symphony Orchestra was working on, Return of the Jedi. So it comes to me with no surprise that Horner had to use shortcuts and some of his sounds are familiar during the length

58:01 of this score. But I have no problem with this because it is an incredible, credible score. The main title introduces the first of the incredible themes with a powerful choral compliment, and, combined with the tracks on the soundtrack release, core Win's Arrival and Slayers Attack, the first fifteen minutes are explosive with dominant French horns and trumpets that just blow you away as soon as you listen to it. The highlight of the score for me is a love theme. It's most prominently heard in the Q Corwin and Lisa's love theme performed with a majestic string and singing flutes. But at the end, my favorite piece really is the death of the Beast and the destruction of the Black Fortress, which ends the film. It's an eight and a half minute piece of a masterpiece of music which these horned going to his most energetic flights of fancy. It's full of brassy outbursts leading right in to the choir, energetic runs of strings, a bocket of woodwinds, and he even uses the blaster beam, which we heard a lot in Jerry Goldsmith'score for a Start Trek motion picture, and Horner to use it in Star Trek two. Back in nineteen eighty three when this film was released, the score to Crawl never got a soundtrack release here in the United States.

59:20 It got one in France and Germany, which surprised me, but nothing here in the United States, which would explain why I had known it, because this is one of the scores I would have run out and got or beg my grandmother ry it. But back in the nineteen nineties there were various bootlegs out there for everyone to get their hands on, including one that was released by a company called Supertracks, which was a two CD set containing an hour and a half of music. I remember David and I picking up a copy of this at convention called Dragon Con in Atlanta back in nineteen ninety nine, but I had no idea that that was a bootleg. Spent many years listening to it. But in twenty ten it did finally get an official release by Lalla Land Records, Beautiful Remaster two CD set containing an hour and thirty nine minutes of score. Instance sellout, but then they released it again in twenty fifteen for those who didn't get the first release, So it's still easily obtained if you want to get a copy, and I highly recommend it.

1:00:17 It's a work of genius. From what you could call the time a rising star in the film business. Dave was a very good pick. Dave. What was the name of that that badass boomerang weapon that Corwyn used? Oh, I forget the glade, glade, the glade, the glade or something like that. Yeah, something like that. Yeah, that was something like that. Yeah, yep, I gotta I gotta tell you you know this past, you know, coming up on an hour here we've been I've been listening to you guys. I've been thinking I'm gonna watch this movie when we're done, I'm gonna watch that movie. You know, I've changed my mind a couple of times. But Wayne, I'm I'm certain right now that when we wrap this up, I'm putting in my DVD of Krawl, like, hell yeah, I'm ready for Crawl now. But uh, guys, let's take one more break, and when we come back, we will conclude the top five with a few honorable mentions and your number one picks.

1:01:16 Welcome back, everybody. It is that time. We are about to talk about the number one picks for our James Horner Top five. But before we do, Dave, do you have an honorable mention that you'd like to something that it broke your heart to keep off the list, but you just you just couldn't do it, and but you want to. You want to give a little bit of love to you right now, briefly, I do. I've got four No, I kiddy, I'm kidding. Yeah, mute the mic now. It was it was tough to really narrow this one down because there's some other ones I wish I would have put here, but I've got to give it to another Ron Howard film and that's nineteen twenty fives Apollo thirteen.

1:02:03 There's such incredible music in here, but there's one piece that I have listened to quite a bit because it's very emotional, very dramatic, and just makes you feel so good about yourself. But it's the re Entry and Splash down track, which is, you know, again, my favorite piece in the score. It does an incredible job of representing the feeling we as an audience in the cast get as the crew of the Apollo are coming back to Earth and getting that satisfaction that they made it. Remember the scene when it all went quiet. Remember they were coming back down to Earth. They lost communication, they didn't know what was going on, and we were focused on the crew there, the NASA crew. We didn't know what was going on until you got that crackle that they were there and they everybody jumped up started cheering. Even the audience was jumping up and cheering. That's exactly what this track represented, and every time I listened to it, I go back to that scene because it's just so incredibly well done and pose the emotions out of you that should to represent this scene.

1:03:02 We don't get Horner's amazing score for Paul thirteen without Ron Howard's incredible film, and we don't get that film without a guy like Jim Lovell, right, sadly, we just he just passed away at ninety three years old. I believe. Is that correct? Tom Hanks did a sensational job. Everyone involved did a sensational job in that. That is not That is not a bad honorable mention as far as I'm concerned, Wayne, I've got a hunch on what yours is going to be. I think you have secretly mentioned it already. But one honorable mention, Wayne, what do you got for us? I don't know. You might not choose this one because this is a very obscure film. This is it's probably a film that no one's even heard of, which is a shame, because it's a beautiful film with a magnificent James Horner's score, and I really want to bring attention to it because I love it. And it would be the nineteen ninety TV film called Extreme Close Up, directed by Edward's Wick. This was done right after he worked with Glory, so it's it's obvious it's Wick wanted him, you know, to score this extremely well received and critically acclaimed TV film at the time, but it just everyone has forgotten about it.

1:04:17 You know. The story of this is very simple, and you know, a boy falls apart after his mother dies and then becomes obsessed with watching old home new movies that he made of her. It's not exactly a fun movie to watch because it's the subject of depression and suicide, but it offered James Horner a rare opportunity to return to television and write a beautiful but brief score for it. It's only about forty minutes long, but the style is so definitely Horner, you know, featuring instrumentation and progressions that really are his trademarks for all of his films. But he's using a small orchestra with piano, solo, woodwinds, harp, synthesizer, and a The whole thing is concludes with a short piece with a solo cello. It's a quiet, very intimate sight of James Horner, one that we don't see much in many of his other scores, and really showcases his talent when you strip away the large orchestra in choir and are left with only just a handful of instruments in your raw musical ability. The score has only ever been released once by Introdo Records back in two thousand and nine, extremely limited CD to about fifteen hundred copies.

1:05:26 It sold out in three minutes, and I was so glad that I got ahold of a copy of it, because it's a side of Horner that we don't hear much, and I love it, and I wish more people would would see this film, listen to the score and appreciate it like I do. Interesting choice. Yeah, absolutely, I've never heard of that one, but I'm hoping I've heard of your number one picks, because you know, Wayne just mentioned that film. I know what we did Goldsmith. He gave us the Salamander, if I remember. I was like, yes, yes, yes, it's awesome. But what's that movie about? You know? But all right, guys, it is time for the number one picks. I would bet my life that one, or maybe both of you are going to say the one that I'm thinking, because it's shocking that it hasn't come up yet. But David, what is the number one James Horner score?

1:06:23 Blow the horn, play the fife, beat the drum, So slowly, blow the horn, play the fife, Make the drum beat Glory Edwards Wicks nineteen eighty nine film Glory is the definitive score from James Horner. In my opinion, there are three pieces that there's a lot of pieces in this film that are really a standout, just blow me away.

1:07:13 First off, I'm a huge American Civil war buff history buff, and this film is the best American Civil War film ever made, hands down. But there are three pieces that are just incredibly well done. The first one is a call to arms. It's the opening piece that just clearly sets the tone of war, with choir, drums and fife giving us the image of battle armies moving towards one another and eventually colliding. Again I've mentioned this before. We get a haunting choir from James Horner, which is throughout a lot of this film. I have a quote from James Horner that I would like to read. It is about the use of the boys Choir of Harlem he used for this film. He says, we had this boy's choir, the Boy's Choir of Harlem, which was a real risk because I was told very nicely with a good sense of humor, but you always know that there's a dagger somewhere.

1:08:14 I was told that basically, you know, I was going to have my head handed to me if this didn't work out, because we had to fly this Boy's choir in New York with the guys that watch over the kids during the day. You have to pay them as though they were going to school. You have to provide a tutor for them. There's a whole thing that works out. You don't just send a bunch of kids in for eight hours and send them back to the hotel room. It's a whole thing. So it ended up costing close to seventy thousand dollars just to bring them here and get them back to New York before you pay them anything, just airfares and hotel and food and tutor. And the studio was beside themselves. They thought that if this doesn't work out, this was going to be a huge disaster.

1:08:57 Mind you, On the day of the recording all this, the executives were down here for taking in the magic, and it was a magical experience having this Black Boy's Choir there. It was great and they are great, and everybody wants to be a daughter of the magic. But what happens at times is no one's thinking about the magic or the sound they were thinking about sheer bottom line, and you get a lot of middle level management people who say, well, can we do it with a choir from Pasadena? Why does it have to be a black boy's choir? When they say why does it have to be a black boy's choir and it's Glory, you want to say, hey, pal, have you even seen the movie? I think that is one of the best quotes I've ever seen from Horner.

1:09:38 It is Yeah, that's fantastic. It really is Wayne Dave Drop throwing down the gauntlet here he says, this is the definitive James Horner score, and you've got a number one pick left. Well, it really was no question when my top pick would be, you know, my number one James Horner's score, because I too, am a little biased towards the score because of my love of history and specifically my love of the American Civil War, so of course I had to choose Glory as well. I can remember when I first saw this film back in theaters in nineteen ninety. You know, I had just discovered my love of the Civil War through the history class that I took in high school, and I was devouring everything about the war books, TV shows, movies, everything. Glory was still in the theater at the time, and I went up alone to see it.

1:10:32 But by the end of the film I was in tears, I really was, And a lot of that had to do with James Horner's beautiful score that he wrote for this. You know, gosh, there's so many preparations for battle was probably one of my favorite cues, one of the longest cues of the score. It's where the men of the fifty fourth Gatherer on the beach to launch their attack on Fort Wagner. He really lays on the emotion. It's full of strings and orchestral crescendos, showcases all of the themes that he created for this. And then of course there's the queue that comes right after that, charging Fort Wagner, which is probably the score is most famous piece. It's one of the most copied and imitated out of the films and television productions. It's just a powerful piece of relentless snare, drums and bells, trumpets, surging strings, all with the choir chaining above. It all about judgment day and mercy from God. That's been translated in Latin. I don't think there's been a stronger or more memorable piece of music ever created for a film other than that. You know, I listened. I went right out and bought the score back in nineteen ninety, which had about forty five minutes of music, but it hit most of the major pieces that were in the film that everybody want to hear.

1:11:50 But I had been begging the companies to re release a full complete score of this because I always felt that the original release sounded very blank and muddy and quiet, as if it had no dynamics, just did not bring out the brilliance of this score. But finally in twenty twenty one, Lalla Land did release this as a two CD set has two hours of music. It's everything's there, complete score, all the source music alternated on used cues, completely remastered, and it sounds like you were standing right there when the orchestra was performing it. And plus it also I have to point this out that on this release also there's a cue on it called the Battle of Grimball's Landing, which is a powerful battle charge piece of music for a scene that was completely cut from the film, and it's heard for the first time here.

1:12:45 It's a great piece. I'm glad that I've always heard about it, but never knew what it was until this came out and I finally hear it. But Glory will always stand among Horner's top career works. It's no surprise that it's both David and Mine's top choice. It's one of the most effectively engaging, heartbreaking scores of the entire era of the nineteen eighties. How could we not choose this one? And how did it not get an Academy award? Oh my gosh, I don't know. I have my theory now with a lot of it. Horner uses the style of a lot of classical pieces of music, and I know the Academy wrongfully turns their nose up to that.

1:13:31 So I think that's why I don't. I don't even know. If it was it was nominated, I would think it would have been. But it should have won. It really should have won. He should have won too many times, many many many times he was robbed like Goldsmith was. To wait, I want to add, you talked about charging Fort Wagner being an incredible piece, and it is the other. The third piece that I really that stood out to me is the whipping Oh gosh, yeah, first off, that is an extremely powerful then and if you've not seen this movie, I mean, I'm going to ask you, why have you not seen this movie if you have. That scene in itself is the reason why Denzel Washington got the Academy Award for that, but because it just shows you how intelligent of an actor he is. But the music pairs with his performance incredibly well. That music just how when a tear comes down his cheap but he's still too strong to show anything. That music just goes with it and it just echoes that film, and that the meaning of that scene just absolutely mind blowing.

1:14:33 Yeah, it's an amazing performance, It's an amazing film, and I am in agreement with you guys. His definitive score James Horner's definitive score. I certainly think you guys both have the right right choices there with your number one picks. Other than that, again, more than one hundred and sixty compositions. I don't know how you guys managed to pair down the way you did, but very impressive list. I knew it would be after listening to what you guys did with Chuck and the on the Goldsmith episode. But I want to thank you both, because I'll tell you what.

1:15:16 I don't know what I want to do first. I don't know if I want to sit down and watch some movies or if I want to I just listen to some music. But I'm doing I'm doing one or maybe both the rest of this evening absolutely listeners. What do you think of James Horner's music? Do we mention all of your favorites or any of them omitted from our list? You can let us know on social media. You'll find us on Facebook, Instagram, and x You can check out a Film by Podcast dot com for all of our episodes that are streaming free, our articles. Wayne rumor has it you're going to start writing some more stuff for the website, so yep, I am looking forward. To that, including some soundtrack reviews. I plan on letting everybody know what's coming out and what's due to because about thanks heard it here.

1:16:01 First, you can write to us at a Film by Podcast at gmail dot com with your questions, comments and concerns. We may just read your response on the show and send you some of a film by swag and guys. As you can see, I'm wearing some of the new stuff. Right now and it is awesome. Yeah, that is Wayne quick mention phaser set to stun You guys are what you're halfway through the new season A Strange New Worlds? Yes we are. We have five more episodes to review, five more weeks of it, and then once we complete that, we will be getting into one of the biggest look back so that we've done, We're going to look back and talk about our ten favorite episodes per season of Star Trek Deep Space nine.

1:16:46 Okay, so this is gonna be like a is this gonna be like the Starter Treks type of ye yeah, like you guys, okay with like you guys did with TG, because. We're going to tell you which one episodes you can watch and which episode you can skip. I'll be honest, you guys knew I had never seen in a single episode of the Next Generation, and then I used the starter tracks as a as a supplement, and uh now I love that show. It's like, how did I how did I how did I not? How did I not watch it earlier? Yeah? One, I think that's gonna do it for us. Uh to all of you listening to the show, following us on social media and subscribing to our Patreon. We thank you, m I think honestly, obviously we're gonna we're gonna keep doing these every season, so uh, I would say, what we're gonna, let we If we're not kicking off off next season in February with John Williams, then we're doing something wrong.

1:18:04 Yeah, we have to talk about John Williams. I mean, he's just incredible. Well, I mean there's some other John's too that we could talk about. You're right, there is, including one of our favorites. Are you talking about John Carpenter? And that's a good one, John? Well, all right, Well, I'll tell you what if you did you did three, you did two? What two this year? Yeah, let's what if we just's yeah double, yeah, you do like you do like two weeks half, you know, let's see Williams Carpenter. You just said, John Debney. Yeah, don't forget about the other John John, Yeah, the King of All James Bond, John Barry. Yeah, John absolutely, all right, the Year of John, the Year of John.

1:18:47 All right, Hey, let's all right, I'm writing it down. We're doing it next count