A Conversation with Composer James Horner

David Hocquet recently got a chance to sit down with the legendary composer James Horner (Titanic, Glory, Braveheart, Avatar) for a conversation that would span back on his entire career.

James Horner

The following discussion was held on November 13, 2014. There was no predetermined course of discussion. The various topics were discussed more or less while James Horner took the time to sign assorted CD covers for Association members

JHFM: While with Hakon and Mari Samuelsen, we talked about French horns in your music; we remember in the finale of In Country, you had this wonderful finale where you can hear the powerful horns play this consonance and dissonance, it was quite wonderful.
JH: In that movie, I wrote this elegy, I think, at the end it was so emotional how this Bruce Willis guy breaks down, and touches the wall, which is sacred. And to be able to write for sequences like that is so great, it’s so rewarding. To write action sequences for a movie means nothing to me anymore. But there are so few movies like that.

JHFM: Like in Field of Dreams for example, you have electronics first and then the whole emotional Americana music at the end. This is when the audience is like ‘Okay, now you can feel it’.
JH: It’s all coloring. I think in that film it’s all of a certain world until Burt Lancaster’s character gives up his life, and the music palette changes for me at that point. It’s a very emotional movie, and those kinds of subtle things are so important.

JHFM: There is a very special score for us, which was what you composed for Brainstorm, and it’s interesting when you said you composed the score in America and then made this beautiful re-recording in London. It’s a very short piece to listen to, it’s half an hour, but for us, it was a concentration of wonderful, beautiful music because of contrasts of modernity, and ancient music, and emotional, lyrical, classical music: everything was in it.
JH: I can’t remember the score. I know that movie was such a strange movie to work on. I know Douglas Trumbull very well, and you know his history in cinema. The whole idea of having a machine that records experiences after somebody dies was such an interesting idea. It takes a filmmaker that just says “go for it”.

James Horner Film Music | Read the Full Article

The Director’s Chair: Quentin Tarantino

Robert Rodriguez explores the world of cinema with frequent collaborator Quentin Tarantino. The two discuss Tarantino’s film career through the lens of their 20-year friendship, using never-before-seen personal footage to discuss topics from screenwriting and camera placement to Spaghetti Westerns and Kung Fu. Watch them discuss Quentin’s successful directing career ranging from Reservoir Dogs to Kill Bill.


Emma Stone on Birdman – DP/30

She became a movie star with 4 movies in 4 years: Superbad, The House Bunny, Zombieland, and Easy A. The then-22-year-old followed with Crazy. Stupid. Love, The Help, 2 Amazing Spider-Man movies, and The Croods, a surprise international animated smash. And now, her most daring turn, in Birdman. What will Emma Stone do next? She spoke to David Poland in NY, 9 blocks from the Broadway theater where she has taken on the role of Sally Bowles in Cabaret, about her career, her helicopter, and living a life.


Romance Isn’t Dead…It’s Just Different

Danny Manus asks, what it takes to fall in love in film of the 21st century?

Silver Liningins Playbook

Here’s a scary thought – 40 years from now, the story many grandparents will be telling their grandkids about how they met and fell in love will include the words “fuckbuddies,” “Tinder,” and “emoji”.

Not exactly Bogey and Bacall, is it?

And I believe this newfound way of finding love, romance or sexual satisfaction is one of the reasons Romantic Comedies have not been working at the box office lately. Because present-day love stories that involve anyone under 45 that doesn’t also involve texting, tend to seem implausible and not genuine. And ones that do seem cold and pandering to youth markets.

Silver Linings Playbook was the only romantic comedy (and it’s a stretch calling it that), that has grossed over $100M since 2011. And Think Like A Man is the only other romcom to gross over $50M since 2012. That is a sad state of affairs for the comedy of love.

Romantic comedies have always been a hard sell because they don’t translate well overseas and they usually require a package (a known actor, director, or producer) to do so. What is romantic and sexual in the U.S., is not necessarily what is romantic and sexual in Europe or South America or China. There are some themes and concepts in romcoms that are universal that can make them easier to adapt to local language films in different territories, but it doesn’t mean the American movie version will sell there.

That doesn’t mean you shouldn’t write them though!

Script Mag | Read the Full Article

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