iTunes (U.S.)
eBay (U.S.)
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
     1. Avengers: Endgame
    2. Shazam!
   3. Dumbo
  4. Captain Marvel
 5. HTTYD: The Hidden World
6. The Lego Movie 2
         1. Batman
        2. Star Wars: The Last Jedi
       3. Apollo 13
      4. Edward Scissorhands
     5. How to Train Your Dragon
    6. Jurassic World: Kingdom
   7. First Man
  8. Solo: A Star Wars Story
 9. Justice League
10. Ready Player One
Home Page
Menu Options ▼
Comments about the soundtrack for Titanic (James Horner)

Edit | Delete
A Letter from James Cameron
• Posted by: Alex   <Send E-Mail>
• Date: Sunday, June 8, 2003, at 2:17 p.m.
• IP Address:

Music was such an integral part of the dramatic and emotional impact of "Titanic", and yet so much of the music created by James Horner and otherscouldn't be included in the first album that I felt compelled to encourageJames to create a second album. And here it is.
When James and I met to discuss "Titanic" for the first time almost two yearsago, we both searched for words to express the depth of feeling we had for thesubject and how we should go about scoring the film. I felt strongly that thescore should be unconventional and not the classic period score with itssweeping orchestral stings. I wanted the film to transport the audience back intime and to make that moment in history not history but life... a moment spentwith living people like you and me. The music had to have emotional power and alife energy that could move an audience now , in the closing years of our jadedand revved-up century, without sounding gimmicky or anachronistic.

James had anticipated me, and already was hearing in his mind's ear a kind ofsoaring and transcendent sound using human voice, perhaps accompanied bysynthesized vocal textures, combined with Celtic instruments like uillean pipeand pennywhistle to create lyrical and haunting emotionalism. This would createa timeless quality, while avoiding the classic "period movie" sound. Theorchestra of course, would be integrated with these sounds as needed, to createthe grace and majesty the subject demanded.

I was tremendously excited by that initial encounter and so we embarked on whatproved to be, for both of us, the most grueling and demanding, yet ultimatelythe most rewarding, creative partnership of our careers. Early in '97, asfilming ended, James invited me to his studio where he played some initialsketches and melodies on the piano. I will never forget the moment before Jamesbegan to play... sitting there hoping and praying the themes would be good. Andrealizing minutes later that the themes were far beyond good. They wereeverything I had dreamed, perfectly capturing the aching, bittersweet heart ofthe film.

James has created a new suite of music, comprising light and dark sections fromthe score, which represents the "soul" of his remarkable music for "Titanic".Sections of the score which were not included in the first soundtrack areintegrated into this suite. In addition we have included several of the sourcenumbers from the film. From the haunting and unforgettable "Nearer My God ToThee" to the raucous pipe and drum rhythms heard in the Irish folk music playedin the lower decks, these selections recreate the most poignant moments in thelife and death of the great ship.

Let the music take you back to that moment in history, that more innocent andoptimistic time before the Twentieth Century declared itself the mad juggernautit became in later decades. "Alexander's Ragtime Band" was played on the deckby Wallace Hartley's small orchestra and lifted spirits as the ship settled,lights blazing, into black oblivion. And "Come Josephine in My Flying Machine",which Jack briefly sings for Rose, was a top hit song the year before thesinking. It is of course my favorite, since my daughter's name is Josephine.

We hope you will enjoy this continuation of Titanic's musical odyssey as much asthe first. Bon Voyage.

Jim Cameron

For more information visit

Copyright © 1998-2019, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the site may not be published, broadcast,
rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. Scoreboard created 7/24/98 and last updated 4/25/15.