It's one of the best scores Horner has written, simply by the fact the score is so filled with Hornerisms but it doesn't try to slap you in the face multiple times with them. What I mean it is you can particularly pick what is going to happen next, because you've heard it before in lives past (style wise). The main theme is underrated, lush yet darker and intimate version of Legends of the Fall. It's flushing out in the long finale is quite beautiful. The action music is also outstanding for the most part, with the metal chairs adding a percussive novelty (as opposed to drum loops). "Rescue and Breakout" and the first part of "The Long Ride Home" are some of the best action cues (if not the best) that James has written since The Perfect Storm and earlier.
However, the album is feels 10-15 minutes too long, with the brooding ethnic cues in the middle taking the blame.
However, the album is feels 10-15 minutes too long, with the brooding ethnic cues in the middle taking the blame.
Agreed. There's a lot to like about this score, but the album is just too damn long. If they had pruned it down to about 50 minutes, it would have been the perfect length (I feel the same way about David Arnold's Casino Royale on CD).
I remember being unimpressed with it when watching the film years ago, but keep meaning to give the CD a listen so I will - you've inspired me as I love 'Legends of the Fall' & 'Perfect Storm'!
Listened to 'We're Back' the other day, very underrated Horner gem! 'Transformation' is a great cue.
I remember being unimpressed with it when watching the film years ago, but keep meaning to give the CD a listen so I will - you've inspired me as I love 'Legends of the Fall' & 'Perfect Storm'!
Listened to 'We're Back' the other day, very underrated Horner gem! 'Transformation' is a great cue.
I think it's definitely up there with Braveheart and Legends of the Fall as one of Horner's best epic adventure scores. Definitely in my top 10 Horner scores. "Rescue & Breakout" is one of the finest action cues he's ever written and the main themes for this score are simply gorgeous and are absolutely perfect for sweeping cinematic landscapes and vistas, as well as the (admittedly undercooked and under-realized) drama and narrative of the film.
I've always enjoyed the featurette on this one. Nothing you haven't heard a million times from Howard for Horner but there's quite a bit of footage from the sessions
I've always assumed Horner and Howard had some kind of falling out on this project as Cinderella Man was Howard's next project and had Thomas Newman on board. Horner in particular looks like he's sitting there stewing during the interview.
This doesn't get a lot of attention. I really like it. It combines the lush romantic writing with the tense shakuhachi suspense cues and a fair bit of ethnic elements.
A highly enjoyable score which holds you in anticipation for the glorious melodic passages. I used to play this one a lot but find, to my surprise, that it has been a long time since last aired.
So thank you, Thor, for resurrecting the thread and bringing the title back to mind.
Never heard that Goldsmith quote before. Anyone know what actually caused Howard to fall out with Horner on this film?
I seem to remember Horner disagreeing with Howard on the type of film it was. Howard said it was a western. Horner disagreed and did not want to score it as such.
Never heard that Goldsmith quote before. Anyone know what actually caused Howard to fall out with Horner on this film?
I seem to remember Horner disagreeing with Howard on the type of film it was. Howard said it was a western. Horner disagreed and did not want to score it as such.
Apparently Howard and Horner never lost touch and were starting plans to work together again. Or so say the comments about the content of this full interview (to be fair, I've heard none of it--I'm going off the comments).
