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      Horner and Glass...new styles???

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    Topic:   Horner and Glass...new styles???

     scoreaholic
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    I just watched "The Forgotten," and I was suprised to learn that it was a Horner score. I didn't sound very typical of Horner at all. It got me to thinking of a cpouple of recent Philip Glass scores. "Taking Lives," and "Secret Window" I think were both composed by him. They don't sound anything like his minimalist scores of the past. Is it possible that both of them are taking a turn from what they normally compose? I would really like this. I don't own any Glass, but liked both of these scores. I also haven't bought any horner since "The Devil's Own." I am going to get this score. Might both of them continue this wonderful streak? I'm sorry to all those Glass fans. I have liked some stuff of Glass's that I've heard but not enough to buy an album. "The Truman Show" is great. Those Glass pieces work great together!!

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    posted 09-27-2004 08:54 PM PT (US)     

     James
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    I can't speak about Horner as I haven't heard a lot of his recent work, but I am very familiar with Glass's career going back to the 60's, and if you listen to a good selection of his best work going from that decade up to the present, you'll notice that his work has become progressively more romantic and far less esoteric than it used to be. And it's certainly less minimalist, too, though Glass has always maintained that he was done with minimalism after Einstein on the Beach in 1976.

    You get a lot of dissention among Glass fans about his music now. Many of them think he's run out of ideas or, even worse, that he stopped caring, "sold out," and now just writes music to please the masses. Frankly the latter position sounds ludicrous to me, since he's not nearly as popular a figure now as he was in the 70's and 80's. As to the former notion, yes, he does repeat himself a lot, perhaps even more so than Horner. But since his work is based on repetition in the first place, it generally doesn't bother me; additionally, he's also certainly the most prolific composer in the concert hall today, so things are going to tend to run together. In the past four years alone he's written (at least): one symphony, five concerti, three operas, a couple of chamber pieces, and five film scores. And that's in addition to his busy life as a performer with his ensemble.

    But anyway, on to his film scores. Now, you do have to consider that half of Secret Window was actually written by Geoff Zanelli, and neither of them ever heard any of what the other composer was doing. But even so, Glass's music in Secret Window is rather surprising. One cue in the film, in which Johnny Depp is pushing his truck off the cliff, I thought for sure must have been written by Zanelli. But later on I watched the animatics on the DVD, which contain only score on the soundtrack, and now that I could here the piece more clearly I discovered it was indeed Glass.

    I think what has happened here is that, through experience, Glass has just become a better "film composer". He was always used to having music in the foreground, or at least on equal terms with the visuals (i.e., the Qatsi trilogy), but he seems to finally be getting used to making his music subservient to a film. I doubt he'd be interested in working that way on every picture he does, but it's an interesting new side to his musical personality.

    Kirk

    [Message edited by James on 09-27-2004]

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    posted 09-27-2004 09:40 PM PT (US)     

     Bond1965
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    quote:
    Originally posted by James:
    [B

    But anyway, on to his film scores. Now, you do have to consider that half of Secret Window was actually written by Geoff Zanelli, and neither of them ever heard any of what the other composer was doing. But even so, Glass's music in Secret Window is rather surprising. One cue in the film, in which Johnny Depp is pushing his truck off the cliff, I thought for sure must have been written by Zanelli. But later on I watched the animatics on the DVD, which contain only score on the soundtrack, and now that I could here the piece more clearly I discovered it was indeed Glass.

    Kirk

    [Message edited by James on 09-27-2004][/B]



    You may want to watch the scene in the film again and then the animatic. The film version appears to be Zanelli and the animatic is what Glass did. They're totally different pieces. I noticed it right away and was really surprised.

    James

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    posted 09-27-2004 09:51 PM PT (US)     

     James
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    Really? Hmm. I would have sworn they were the same cue...I especially remember (or I especially think I remember) that bit of percussion pounding at the end as we see the truck hit the water being in both versions. I guess I'll borrow the DVD from my friend again and take a look at it. I do remember the climactic cue being very different (and I greatly preferred what Glass did, though Zanelli's cue wasn't bad).

    Thanks for the heads-up.

    Kirk

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    posted 09-27-2004 11:00 PM PT (US)     

     JoeInSanDiego
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    The Forgotten was ripped off from Unlawful Entry. Same synths, minus the sax and add a drum loop. Having said that...it worked in the film.

    The Forgotten suffered from too much music in my opinion. Oh well....

    Joe

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    posted 09-28-2004 02:02 PM PT (US)     

     Jim Ware
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    Speaking of Glass, his score for Undertow will be released by Orange Mountain Music on October 20th.

    [Message edited by Jim Ware on 09-29-2004]

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    posted 09-29-2004 01:44 AM PT (US)     
     

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