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Comments about the soundtrack for Stargate (David Arnold)

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Re: James Horner regularly steals
• Posted by: Dood   <Send E-Mail>
• Date: Wednesday, April 11, 2007, at 1:40 p.m.
• IP Address:
• In Response to: Re: James Horner regularly steals (A dissenting voice)

Well, when he's the one who opens the door, what can you say but "way to go, stupid"? James does make a routine habit of stealing from composers who aren't alive to fight for their copyright (most notably Prokofiev in Willow and Borodin at the end of American Tale.) And the fact that he had the balls to swipe Bruce Broughton's The Boy Who Could Fly as his main chorale theme to Titanic really struck me as interesting. Also, didn't he get the pants sued off of him for stealing El Sid and puting it into Mask of Zorro? Maybe why he didn't compose a score between Titanic and Bicentenial Man. That I think isn't even so bad, but when the guy decides that he can write one or two cues and just throw them into later projects and call it new stuff, I just wanna throw a Boston Cream Pie at the guy. I mean, he writes some musical sequence in Glory, then takes that one sequence and turns it into 90% of the soundtrack for Courage Under Fire, and then what does he do with it?? Gives it to Cameron for Titanic (The Tank Battle at the beginning of Courage Under Fire and the Iceberg scene from Titanic are exactly, exactly, exactly the same.) And, of course, who could forget his famous 4-note chromatic theme that is in every dreary piece of crap he composes? y'all know what I'm talkin' about, that idiot music he put into the landing scene of Troy? I won't fault him for puting it in that movie because he was under the crunch. I understand how time constraints can really push composers to and past their limit. but, how many different movies does that really need to be in? I mean, I've heard it in Willow, Aliens, Troy, Glory, CUF, Titanic, Star Trek 2 (and I think 3, but I can't say for certain).... I don't think he has it in the Rocketeer, but it's been a while since I've heard that score. Anyhow, the point is, parlor tricks may be okay, but not doing anything to change them in the least little bit for different projects is just plain lazy. And to just take from other composers without changing anything is the same, but even worse because the composer never came up with what he/she took. And everybody is going to say that every composer does that. Well, as much as I hate to throw the name out there, I dare you to find more than 2 examples of John Williams taking a piece that belongs to somebody else and just throwing it in (and I'm talking about plagarism, not continuing somebody elses theme for a series of films or something of that sort.) And, No, I'm not trying to say that John Williams is God and that Horner is the Devil or any idiartic thing like that. The thing that I would say is that, between the 3 big J's (James Horner, Jerry Goldsmith, and John Williams) Horner is the youngest and is, by far, the earliest to burn out and treat film scoring like it's a monkey on his back. I hope he pulls out of it. I mean, I looked at Troy and Aliens and thought "Man, if the directors just give him no time at all, he writes great stuff." so, I think if he can be that "fast-working" kind of composer on a regular basis, he might truly attain greatness by the time his career is over. Despite my mild distaste for his work, I have all ten fingers crossed for the guy.

By the way, did I mention that I think this Stargate score is freakin' Amazing?

Happy listening, guys.

> Exactly. From the lack of mention that gets, I was starting to think I was
> imagining it.

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