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- CommentAuthorCaptain Future
- CommentTimeAug 13th 2013
Timmer wrote
Never let history stand in the way of a good movie eh?
Shakespeare already knew that.
Bach's music is vibrant and inspired. -
- CommentAuthorTimmer
- CommentTimeAug 13th 2013 edited
lp said
In the end, it has to entertain. I liked the movie. It was epic and dramatic in the ways it had to be. I didn't pay much attention to the music though. Didn't care very much for Horner until Legends of the Fall, to be honest.
Maybe after so many years you'll enjoy it for itself? Let us know.
As for historical inaccuracies, I'm well aware it's something that bothers me much more than it does the vast majority. It's a silly though well made film and in later years I've enjoyed it a lot ( I have little choice as my girlfriend loves this film ), it's good for a laugh.
The score is in my top 10 Horner's.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorlp
- CommentTimeAug 13th 2013 edited
Timmer wrote
lp said
In the end, it has to entertain. I liked the movie. It was epic and dramatic in the ways it had to be. I didn't pay much attention to the music though. Didn't care very much for Horner until Legends of the Fall, to be honest.
Maybe after so many years you'll enjoy it for itself? Let us know.
As for historical inaccuracies, I'm well aware it's something that bothers me much more than it does the vast majority. It's a silly though well made film and in later years I've enjoyed it a lot ( I have little choice as my girlfriend loves this film ), it's good for a laugh.
The score is in my top 10 Horner's.
NP: Braveheart - James Horner
Wow, early shade of Titanic? Oh wait, I remember the main theme of this. It's taken from Holst's The Planet. Forgot which movement though. It's good regardless, and it's only the first part. I'm waiting for a good statement of the main theme. Lots of woodwind here. very nice. -
- CommentAuthorSteven
- CommentTimeAug 13th 2013 edited
lp wrote
NP: Braveheart - James Horner
Wow, early shade of Titanic? Oh wait, I remember the main theme of this. It's taken from Holst's The Planet.
Hmm, I doubt it's 'taken' from Jupiter (I know exactly which bit you mean). I think it's more of a coincidence, or, at the most, something that happened to be rattling around in Horner's mind subconsciously while he came up with the tune. (Of course, he may have indeed started with Jupiter... but I just find that unlikely given how different in tone both pieces of music feel, regardless of the similarity of the notes.)
I think when you start making comparisons of this sort, most things start to look like theft.
Not that Horner is innocent of musical theft, I just think in this particular case you might be clutching at the wrong straws. -
- CommentAuthorlp
- CommentTimeAug 13th 2013
Steven wrote
lp wrote
NP: Braveheart - James Horner
Wow, early shade of Titanic? Oh wait, I remember the main theme of this. It's taken from Holst's The Planet.
Hmm, I doubt it's 'taken' from Jupiter (I know exactly what bit you mean). I think it's more of a coincidence, or, at the most, something that happened to be rattling around in Horner's mind subconsciously while he came up with the tune. (Of course, he may have indeed started with Jupiter... but I just find that unlikely given how different in tone both pieces of music feel, regardless of the similarity of the notes.)
I think when you start making comparisons of this sort, most things start to look like theft.
Not that Horner is innocent of musical theft, I just think in this particular case you might be clutching at the wrong straws.
Been listening to the score, and I don't think he lifted it "intentionally". Probably just pure coincidence for a very sweeping melody that goes on for much longer than the Jupiter section. I hear that first part so much that the Jupiter connection stayed.
Legends of the Fall feels like the Americana version of this score, and comes with very similar dramatic trappings (i.e. pounding rhythms for long extended sections). Hornerisms, I'll take it, forgivable given that both were written within the same time period. -
- CommentAuthorSouthall
- CommentTimeAug 13th 2013
I prefer Legends of the Fall. It IS certainly in my list of top few Horners. -
- CommentAuthorTimmer
- CommentTimeAug 13th 2013
NP : THE RAINS OF RANCHIPUR - Hugo Friedhofer
A lush score, one of my favourites from the composer. This is the Morgan/Stromberg recording.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorTimmer
- CommentTimeAug 13th 2013
NP : SAMSON AND DELILAH - Victor Young
A creaky old recording but the music is top quality, I'm sure this and Sibelius FINLANDIA were large influences on Mario Nascimbene's THE VIKINGS.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorlp
- CommentTimeAug 13th 2013 edited
Southall wrote
I prefer Legends of the Fall. It IS certainly in my list of top few Horners.
I'm near the end of the Braveheart album, and my feeling toward Legends remain the same. Braveheart has a much more reserved sensibility, relative to the raw emotional outburst of Legends and thus doesn't move me in the same way. But that Holst-esque theme is EXCELLENT and the End Credits is the best track on the album, probably. I'd put both score in my Horner Top Ten list. -
- CommentAuthorSteven
- CommentTimeAug 13th 2013
My vote is for Braveheart. Gun to the head, I'd say Braveheart is Horner's finest score. (Actually I'd probably say please don't kill me, but you know what I mean.) -
- CommentAuthorlp
- CommentTimeAug 13th 2013
Steven wrote
My vote is for Braveheart. Gun to the head, I'd say Braveheart is Horner's finest score. (Actually I'd probably say please don't kill me, but you know what I mean.)
:click: I DON"T KNOW WHAT YOU MEAN. -
- CommentAuthorSteven
- CommentTimeAug 13th 2013
I'm not sure I do either. -
- CommentAuthorlp
- CommentTimeAug 13th 2013
I'm trying to decide whether I should go with another Horner "epic" score. Listening to Braveheart really makes me want to hear The Mask of Zorro. -
- CommentAuthorErik Woods
- CommentTimeAug 13th 2013
Steven wrote
My vote is for Braveheart. Gun to the head, I'd say Braveheart is Horner's finest score. (Actually I'd probably say please don't kill me, but you know what I mean.)
Fact!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorlp
- CommentTimeAug 13th 2013
NP: Titanic - James Horner
It's a very well done album. I don't mind the Enya-inspired Sissel passages. It's kinda refreshing. -
- CommentAuthorEdmund Meinerts
- CommentTimeAug 13th 2013
The one thing I really don't like about Braveheart is the weak battle material. In fact there aren't really any action cues in that score at all; "Attack on Murron" comes closest and it's an absolutely great piece but even that is more dramatic than action. Whereas Legends has some absolutely crackerjack entries in that department, especially "Samuel's Death". Emotionally and thematically they're about equal to my ears (which is to say both absolutely incredible) but the presence of great action as well as great drama gives Legends a leg up in my books. -
- CommentAuthorlp
- CommentTimeAug 13th 2013
Edmund Meinerts wrote
The one thing I really don't like about Braveheart is the weak battle material. In fact there aren't really any action cues in that score at all; "Attack on Murron" comes closest and it's an absolutely great piece but even that is more dramatic than action. Whereas Legends has some absolutely crackerjack entries in that department, especially "Samuel's Death". Emotionally and thematically they're about equal to my ears (which is to say both absolutely incredible) but the presence of great action as well as great drama gives Legends a leg up in my books.
I don't remember whether the battle scenes in Braveheart were scored at all. Legends of the Fall thrives on melodrama and even the action scenes carried much emotional weight and the score piles on further. It's a great watch (on TNT: "We Know Drama") and an even better listen. -
- CommentAuthorlp
- CommentTimeAug 13th 2013
NP: Titanic - James Horner
Some would consider this score to be one of the most romantic score. Not I. But it's a sad, wistful, forlorn romantic score that worked really well for the movie. -
- CommentAuthorEdmund Meinerts
- CommentTimeAug 13th 2013
lp wrote
I don't remember whether the battle scenes in Braveheart were scored at all.
They aren't for the most part. But that causes the score to lose a dimension IMO. -
- CommentAuthorSteven
- CommentTimeAug 13th 2013
lp wrote
NP: Titanic - James Horner
Some would consider this score to be one of the most romantic score. Not I. But it's a sad, wistful, forlorn romantic score that worked really well for the movie.
I prefer it for its action. (Even if a large part of it is pretty much lifted from his action music to Courage Under Fire.) -
- CommentAuthorSteven
- CommentTimeAug 13th 2013
Edmund Meinerts wrote
lp wrote
I don't remember whether the battle scenes in Braveheart were scored at all.
They aren't for the most part. But that causes the score to lose a dimension IMO.
How do you mean? -
- CommentAuthorSouthall
- CommentTimeAug 13th 2013
KRULL - James Horner
Again, yes, again. I'm beginning to think this might just be my favourite film score. -
- CommentAuthorlp
- CommentTimeAug 13th 2013
Steven wrote
lp wrote
NP: Titanic - James Horner
Some would consider this score to be one of the most romantic score. Not I. But it's a sad, wistful, forlorn romantic score that worked really well for the movie.
I prefer it for its action. (Even if a large part of it is pretty much lifted from his action music to Courage Under Fire.)
"Hard to Starboard" got most of it, right? -
- CommentAuthorlp
- CommentTimeAug 13th 2013
Steven wrote
Edmund Meinerts wrote
lp wrote
I don't remember whether the battle scenes in Braveheart were scored at all.
They aren't for the most part. But that causes the score to lose a dimension IMO.
How do you mean?
I think he meant that the score needed a full-on action cue. I kept waiting for one. -
- CommentAuthorSouthall
- CommentTimeAug 13th 2013
"Oiceberg, roight ahead!" -
- CommentAuthorSteven
- CommentTimeAug 13th 2013
lp wrote
"Hard to Starboard" got most of it, right?
Indeedy. And put to damn good use too! -
- CommentAuthorEdmund Meinerts
- CommentTimeAug 13th 2013
lp wrote
Steven wrote
Edmund Meinerts wrote
lp wrote
I don't remember whether the battle scenes in Braveheart were scored at all.
They aren't for the most part. But that causes the score to lose a dimension IMO.
How do you mean?
I think he meant that the score needed a full-on action cue. I kept waiting for one.
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- CommentAuthorlp
- CommentTimeAug 13th 2013
Steven wrote
lp wrote
"Hard to Starboard" got most of it, right?
Indeedy. And put to damn good use too!
That's an excellent cue. -
- CommentAuthorSteven
- CommentTimeAug 13th 2013 edited
lp wrote
Steven wrote
Edmund Meinerts wrote
lp wrote
I don't remember whether the battle scenes in Braveheart were scored at all.
They aren't for the most part. But that causes the score to lose a dimension IMO.
How do you mean?
I think he meant that the score needed a full-on action cue. I kept waiting for one.
The absence of music is sometimes just as, or nearly as, important as its presence, and in this case -as with most examples of the technique- it just adds to the impact of when music is heard. So I think Horner (and/or Gisbon?) made the right call there.
I don't remember the film that well truth be told, but I do remember the un-scored battle scene had a very raw vibe, focusing more on the brutality of the violence rather than the excitement of it all. Then, when music is introduced in other battle scenes (or the other battle scene, I can't remember how many there were?), we're more involved in the emotion. At least that's what I seem to recall? -
- CommentAuthorlp
- CommentTimeAug 13th 2013
Steven wrote
lp wrote
Steven wrote
Edmund Meinerts wrote
lp wrote
I don't remember whether the battle scenes in Braveheart were scored at all.
They aren't for the most part. But that causes the score to lose a dimension IMO.
How do you mean?
I think he meant that the score needed a full-on action cue. I kept waiting for one.
The absence of music is sometimes just as, or nearly as, important as its presence, and in this case -as with most examples of the technique- it just adds to the impact of when music is heard. So I think Horner (and/or Gisbon?) made the right call there.
I don't remember the film that well truth be told, but I do remember the un-scored battle scene had a very raw vibe, focusing more on the brutality of the violence rather than the excitement of it all. Then, when music is introduced in other battle scenes (or the other battle scene, I can't remember how many there were?), we're more involved in the emotion. At least that's what I seem to recall?
I think the absent of music can sometime be a great choice. In term of a listening experience, however, an action cue can be a necessary catalyst in expressing the auditorory emotional release that was satisfied visually.