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Comments about the soundtrack for A Beautiful Mind (James Horner)

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Re: All these anti-Hornerists, go home!
• Posted by: Dan Sartori   <Send E-Mail>
• Date: Friday, April 12, 2002, at 10:22 p.m.
• IP Address: p-proxy-1-int0.net.wisc.edu
• In Response to: All these anti-Hornerists, go home! (David Pintado)

> I am tired of large quantities of people writing posts, stating how they
> can't stand Horner and his repetitions. Fine. He's used some of his
> earlier thematic work and has incorporated it in his others. So, what? The
> point is, his music is the only music in a movie that have really created
> a lot of emotional response from. People keep praising John Williams,
> stating he's the greatest, he's the best. Sure he's good to fulfill that
> emotion where upbeat, happy type of music is needed. Adventurous and
> heroic. However, real life isn't full of the good guys always winning. I
> dunno. I just feel like Horner's music is a little more down to earth, in
> that I can find a lot of personal emotions that are supplemented with his
> music. Perhaps it is because I am an actor and roles that are created to
> express one in adventure, wonderment etc. is only a facade. Relating to
> something truly emotional and not so surface is what I find in a Horner
> score. There is something truly moving in his style, despite the is
> repetition.

I agree with you completely. I would like to point out that most of life IS repetition (one's routine) and that John Nash most likely had to struggle with repeating the same feelings and thought patterns all his life. I think that the main difference between Williams and Horner is a basic difference in style. Horner FAR outdistances Williams when it comes to more mellow, introverted scores - a major disappointment I have of Williams is that he seems to shy away from works that don't break out into full-fledged orchestral might in every other cue. Even his best attempts at this type of scoring (The Patriot, Schindler's List) fall far short of Horner's exquisite contributions. Glory is a classic example of a self-controlled soundtrack in a film which keeps the whole situation in a very small context. Williams is a wonderful composer, don't get me wrong, but he plainly lacks the ability to create a score that can move you without forcing you to be moved, if you get my drift. Williams' style of composition is much better suited to powerful and pompous movies. I think the reason why Williams is given the huge amount of praise that he is is primarily because people in America like powerful music.

Dan




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