James Horner

Horner was born in 1953 in Los Angeles, California, to Jewish immigrant parents.[8][9][10][11]

His father, Harry Horner, was born in Holice, Bohemia, then a part of Austria-Hungary. He emigrated to the United States in 1935 and worked as a set designer and art director.[12][13] His mother, Joan Ruth (née Frankel), was born into a prominent Canadian family. His brother Christopher is a writer and documentary filmmaker.[11]

Horner started playing piano at the age of five. He also played violin. He spent his early years in London, where he attended the Royal College of Music. He returned to America, where he attended Verde Valley School in Sedona, Arizona, and later received his bachelor's degree in music from the University of Southern California. After earning a master's degree, he started work on his doctorate at the University of California, Los Angeles (UCLA), where he studied with Paul Chihara, among others. After several scoring assignments with the American Film Institute in the 1970s, he finished teaching a course in music theory at UCLA, then turned to film scoring.[14] Horner was also an avid pilot and owned several small airplanes.[15][16]

Horner's first credit as a feature-film composer was for B-movie director and producer Roger Corman's Battle Beyond the Stars.[17][18] As his work gained notice in Hollywood, Horner was invited to take on larger projects. One of his first major scores was for 1979's The Lady in Red.[19]

Horner's big break came in 1982 when he was asked to score Star Trek II: The Wrath of Khan. It established him as an A-list Hollywood composer. Director Nicholas Meyer quipped that Horner was hired because the studio could no longer afford the first Trek movie's composer, Jerry Goldsmith; but that by the time Meyer returned to the franchise with Star Trek VI: The Undiscovered Country, the studio could not afford Horner either.[20]

Horner continued writing high-profile film scores in the 1980s, including 48 Hrs. (1982), Krull (1983), Star Trek III: The Search for Spock (1984), Commando (1985), Cocoon (1985), Aliens (1986), *batteries not included (1987), Willow (1988), Glory and Field of Dreams (both 1989). Cocoon was the first of his many collaborations with director Ron Howard.[21]

In 1987, Horner's original score for Aliens brought him his first Academy Award nomination.[22] "Somewhere Out There," which he co-composed and co-wrote with Barry Mann and Cynthia Weil for An American Tail, was also nominated that year for Best Original Song.[23]

Throughout the 1980s, 1990s and 2000s, Horner wrote orchestral scores for family films (particularly those produced by Steven Spielberg's Amblin Entertainment), with credits for An American Tail (1986); The Land Before Time (1988); The Rocketeer and An American Tail: Fievel Goes West (1991); Once Upon a Forest and We're Back! A Dinosaur's Story (1993); The Pagemaster (1994); Casper, Jumanji and Balto (1995); Mighty Joe Young (1998); and How the Grinch Stole Christmas (2000).

Horner scored six films in 1995, including his commercially successful and critically acclaimed works for Braveheart and Apollo 13, both of which received Academy Award nominations.

Horner's biggest critical and financial success came in 1997 with his score for James Cameron's Titanic. At the 70th Academy Awards, Horner received the Oscar for Best Original Dramatic Score, and shared the Oscar for Best Original Song with co-writer Will Jennings for "My Heart Will Go On". The film's score and song also won three Grammy Awards and two Golden Globe Awards.[24][25] (Ten years earlier, Horner had vowed never to work with Cameron again, referring to the highly stressful scoring sessions for Aliens as "a nightmare".[26])

After Titanic, Horner continued to compose for major productions, including The Perfect Storm, A Beautiful Mind, Enemy at the Gates, The Mask of Zorro, The Legend of Zorro, House of Sand and Fog and Bicentennial Man.[10] He also worked on smaller projects such as Iris, Radio and Bobby Jones: Stroke of Genius. He received his eighth and ninth Academy Award nominations for A Beautiful Mind (2001) and House of Sand and Fog (2003), but lost on both occasions to composer Howard Shore.

Horner composed the 2006–2011 theme for the CBS Evening News, which was introduced during the debut of anchor Katie Couric on September 5, 2006.[27] He wrote various treatments of the theme, explaining, "One night the show might begin with the Iranians obtaining a nuclear device, and another it might be something about a flower show... The tone needs to match the news."[28]

Horner collaborated again with James Cameron on his 2009 film Avatar, which became the highest-grossing film of all time, surpassing Cameron's own Titanic.[23] Horner worked exclusively on Avatar for over two years. He said, "Avatar has been the most difficult film I have worked on, and the biggest job I have undertaken... I work from four in the morning to about ten at night, and that's been my way of life since March. That's the world I'm in now, and it makes you feel estranged from everything. I'll have to recover from that and get my head out of [it]."[29]

Avatar brought Horner his tenth Academy Award nomination, as well as nominations for the Golden Globe Award, British Academy Film Award and Grammy Award, all of which he lost to Michael Giacchino for Up.[30]

After Avatar, Horner wrote the score for the 2010 version of The Karate Kid, replacing Atli Örvarsson.[31] In 2011, he scored Cristiada (also known as For Greater Glory), which was released a year later; and Black Gold. In 2012 he scored The Amazing Spider-Man, starring Andrew Garfield. In an interview on his website, Horner revealed why he didn't return to compose the second movie; that he didn't like how the movie resulted in comparison to the first movie, and even called the movie "dreadful."[32] Upon his departure, he was replaced by Hans Zimmer.

In early 2015, after a three-year hiatus, Horner wrote the music for the adventure film Wolf Totem, his fourth collaboration with director Jean-Jacques Annaud.[33]

At the time of his death, Horner had scored two films yet to be released:[34]

In July 2015, a month after his death, it was discovered Horner had also written the score for the 2016 remake of The Magnificent Seven, planning it as a surprise.[36]

Horner's scores are also heard in trailers for other films. The climax of Bishop's Countdown, from his score for Aliens, ranks as the 5th most commonly used soundtrack cue in trailers.[37]

Horner also wrote the theme music for the Horsemen P-51 Aerobatic Team, and appears in "The Horsemen Cometh", a documentary about the team and the P-51 Mustang fighter plane. The theme is heard at the team's airshow performances.

Horner was criticized for reusing passages from his earlier compositions, and for featuring brief excerpts and reworked themes from classical composers.[5] For example, his scores from Star Trek II: The Wrath of Khan and Star Trek III: The Search for Spock include excerpts from Prokofiev's Alexander Nevsky and Romeo and Juliet;[40][41] the famous action ostinato from Aliens is originally from Wolfen[42] and the film's main title is almost identical to Aram Khachaturian's Gayane Ballet Suite (Adagio) (already used in an outer space context in 2001: A Space Odyssey); the heroic theme from Willow is based on that of Robert Schumann's Rhenish Symphony; Field of Dreams includes cues from the "Saturday Night Waltz" portion of Aaron Copland's ballet Rodeo, he deftly blended in part of an early theme from the 3rd movement of Shostakovich Symphony no. 5 into the scene of a raid on a desert IRA terrorist training camp in 1992 film Patriot Games, and the climactic battle scene in Glory includes excerpts from Wagner and Orff.[43] Some critics felt these propensities made Horner's compositions inauthentic or unoriginal.[44][45][46] In a 1997 issue of Film Score Monthly, an editorial review of Titanic said Horner was "skilled in the adaptation of existing music into films with just enough variation to avoid legal troubles".[5]

On at least one occasion, Horner's musical borrowing almost led to litigation. Horner's main title for Honey, I Shrunk the Kids (1989) incorporates cues from the score by Nino Rota from Federico Fellini's film Amarcord (1973) and Raymond Scott’s piece "Powerhouse B" (1937), the latter often referenced in Carl Stalling’s Warner Bros. cartoon scores. Scott's piece was used without payment or credit, leading his estate to threaten legal action against Disney. Disney paid an undisclosed sum in an out-of-court settlement and changed the film's cue sheets to credit Scott.[47][48]

Horner died on June 22, 2015, when his Short Tucano turboprop aircraft,[49] registration number N206PZ, crashed into the Los Padres National Forest near Ventucopa, California.[16] Horner was the only occupant of the aircraft[50] when it took off after fueling at Camarillo Airport.[51] Three days later, on June 25, the Ventura County Medical Examiner's Office ruled the crash an accident.[52] He was survived by his wife, Sara Elizabeth Horner (née Nelson), and two daughters.[53]

Horner won two Academy Awards, for Best Original Dramatic Score (Titanic) and Best Original Song ("My Heart Will Go On") in 1998, and was nominated for an additional eight Oscars.[63] He also won two Golden Globe Awards,[64] three Satellite Awards, three Saturn Awards, six Grammys and was nominated for three British Academy Film Awards.[65]

In October 2013, Horner received the Max Steiner Award at the Hollywood in Vienna Gala, an award given for extraordinary achievement in the field of film music.[66]

Wikimedia Commons has media related to James Horner.

• James Horner on IMDb
• James Horner at Film Music
• James Horner interview (1983) from CinemaScore magazine