James Horner 1953-2015

Academy Award winning composer James Horner has passed away at 61. 

Born in Los Angeles and educated in London where he was schooled at the Royal College of Music, James Roy Horner was already an accomplished concert hall composer before he moved into composing music for film, with his first works being heard in THE LADY IN RED (1979), and later dipped his baton into the science-fiction genre for the first time with BATTLE BEYOND THE STARS (1980). His breakthrough came in 1982, when he scored the second STAR TREK feature film, THE WRATH OF KHAN; often considered to be the signature theme for the original STAR TREK run. 

His success with STAR TREK enabled him to score for many high-profile releases through the 1980’s, including 48 Hrs. (1982), KRULL (1983), the third STAR TREK film subtitled THE SEARCH FOR SPOCK (1984), COMMANDO (1985), COCOON (1985), ALIENS (1986), BATTERIES NOT INCLUDED (1987), WILLOW (1988), and in 1989…GLORY and FIELD OF DREAMS. His work with James Cameron in the sci-fi thriller ALIENS earned him his first Oscar nomination for Best Original Score, and his Somewhere Out There from AN AMERICAN TAIL was also nominated that year for Best Original Song. After spending time in sci-fi, Horner moved over to children and family films, composing for THE LAND BEFORE TIME (1988), THE ROCKETEER (1991), and THE PAGEMASTER (1994). Other works in the early 1990’s included SNEAKERS (1992), PATRIOT GAMES (1992), and LEGENDS OF THE FALL (1994). 

It was in the year 1995 where Horner had one of the most successful years ever for a composer. In addition to his work in the light-hearted children’s adventures CASPER, JUMANJI, and BALTO, he would have a one-two punch with his acclaimed work in Ron Howard’s APOLLO 13, and Mel Gibson’s eventual Best Picture winner, BRAVEHEART; both of which would earn him Oscar nominations. Not to rest on his laurels, Horner would re-team with James Cameron for TITANIC in 1997, which would earn him Oscar wins for Best Original Score and Best Original Song for My Heart Will Go On. The soundtrack for TITANIC became one of the best-selling albums of all time, and the highest-selling orchestral soundtrack in history. 

He would continue working through the new millennium; scoring for notable films such as THE PERFECT STORM, ENEMY AT THE GATES, THE MASK OF ZORRO, and BICENTENNIAL MAN. He would receive Oscar nominations for A BEAUTIFUL MIND (2001), and HOUSE OF SAND AND FOG (2003). He would re-team with James Cameron again in 2009 for the sci-fi epic AVATAR and would earn his 10^th and final Oscar nomination, along with nominations in the Golden Globes, British Academy Film Awards, and Grammy Awards. He would compose the theme music for the CBS Evening News which was used from 2006-2011, which was introduced as part of Katie Couric’s debut as anchor. Other works in the 2000’s included TROY (2004), THE NEW WORLD (2005), and a reunion with Mel Gibson for APOCALYPTO (2006). His final work will be heard in this year’s SOUTHPAW in July. 

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This Blogger has grown up with the music of James Horner; from the adventurous tunes of BATTLE BEYOND THE STARS to the magnificence of his work in STAR TREK, Horner was able to churn out fun and emotional power with the simplest arrangement of notes. But it didn’t end there. If the job of a great film composer is to elevate a hard-sell, high-concept sci-fi story into true cinema, then Horner’s name belongs in the upper echelon of history. His work in GLORY, BRAVEHEART, APOLLO 13, and TITANIC is iconic and everlasting, and this Blogger cannot listen to those soundtracks with dry eyes. From the far reaches of space to the battlefields of Scotland and the deep South, James Horner tapped into the soul of it all. We have lost one of the greatest ever, but his music will never fade. 

A Reel Review: INSIDE OUT

When it comes to creating a film which works for both kids and adults, Pixar has been the leader from their beginnings. It’s a delicate balance to strike; dumb it down too much and the adults will be bored, make it too complex and the kids will be bored. In the case of Pixar’s newest, INSIDE OUT, that fine line is not only walked on…but moved. 

Riley (Kaitlyn Davis), is an 11-year old girl who has just moved to a new town with her parents (Diane Lane and Kyle MacLachlan). Her actions are controlled by her emotions; Joy (Amy Poehler), Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling), and Sadness (Phyllis Smith)…all of whom battle for control in her mind. 

INSIDE OUT is a high-concept film which takes great care to establish its universe; a universe where every element of human behavior is given a physical manifestation. Riley’s emotions are characters who reside in her brain (referred to as headquarters), memories are represented as orbs (a different color for each memory; sad, happy, etc), personality traits are seen as islands (family, friends), dreams are created in a Hollywood-like production, imagination gets its own land, and long-term memories are disposed of once no longer needed. It is a fascinating examination of how human beings work; represented on-screen as a large factory complete with (physical) trains of thought and an old imaginary friend who lives in the sub-conscious.

But building a world is one thing; knowing what to do with it is another…and this is where INSIDE OUT excels. Director Peter Docter and co-director Ronnie del Carmen utilize every inch of this world. As Riley struggles to adapt to her new home and school, Sadness “corrupts” her happy memories, which leads to Joy and Sadness getting lost in her sub-conscious area…which leaves Anger, Fear, and Disgust in charge of her behavior. As Joy and Sadness head off on a mission to return to Riley’s thoughts, the film shifts to one metaphor after another, making for a engaging storyline that fascinates by the minute. It’s a literal emotional journey. 

The design of the characters and the way they behave should be an easy sell for the kids, and the adventure they take on should be equally entertaining for young minds. The high level of sophistication of the film will likely sail over their heads, and adults will eat up the ongoing metaphors. It’s almost too high-level for the wee-lads as they likely won’t fully appreciate the film until years to come, which makes INSIDE OUT the type of film that lasts a very long time. 

From a technical standpoint, Pixar has never done better. The animation is stunning, the pacing is quick and humor is never stupid-level. Michael Giacchino’s score is perfect; sweeping when it needs to be and emotionally rewarding at all times. The voice-cast is perfect for every character, with Lewis Black’s Anger and Amy Poehler’s Joy getting the most and best work. The show is nearly stolen by the imaginary friend who lingers in Riley’s sub-conscious (voiced by Richard Kind). 

There is a lot to take in when viewing INSIDE OUT, and as time goes by both child and adult will find something new about it. The physical forms of the emotions could be used as a teaching tool to kids by teachers and parents, which gives INSIDE OUT even more staying power. Perhaps the best part about it is the (ahem), emotionally rewarding ending and the message it carries…which will have everyone’s inner-gears turning long after the film wraps. INSIDE OUT is not only a great kids’ flick, but an example of true cinema and its power. 

BOTTOM LINE: See it 

A Reel Preview: Everything You Need To Know About INSIDE OUT

Disney’s Pixar Animation Studios makes their long-awaited return to the big screen this weekend with their newest adventure, INSIDE OUT. Here is everything you need to know about the 15^th film from the famed animation studio. 

What is this about? – The little voices inside our heads become actual characters. Set in the mind of a young girl, her five emotions; Joy, Anger, Disgust, Fear, and Sadness…try to lead her through her life. 

Who is behind this? – INSIDE OUT is directed and co-written by Peter Doctor, who is a veteran of Pixar. Doctor has directed MONSTERS INC. (2001), the short-film MIKE’S NEW CAR (2002), UP (2009), and is credited with the story for WALL-E (2008), TOY STORY 2 (1999), and as a writer for MONSTERS UNIVERSITY (2013). 

Who are the actors? – Amy Poehler, Phyllis Smith, Bill Hader, Lewis Black, and Mindy Kaling provide the voices. Diane Lane and Kyle MacLachlan provide the voices of the young girl’s parents. 

Random Items – The basic storyline of INSIDE OUT came from a period of director Peter Doctor’s life, when as a child he went through a similar experience that the film’s main character goes through * INSIDE OUT is the first Pixar film without input from co-founder and former Apple CEO Steve Jobs, who passed away in 2011 * The art design of the film is intended to reflect 1950’s broadway musicals * The music is scored by Michael Giacchino, who has scored four previous Pixar films (THE INCREDIBLES, RATATOUILLE, UP, and CARS 2), and has also scored STAR TREK (2009), and this year’s JURASSIC WORLD * The personalities of the different emotions are inspired by the dwarfs from SNOW WHITE AND THE SEVEN DWARFS (1937).

What to expect? – This is Pixar’s first feature in over two years, so there is a great amount of comfort having them back on the big screen. Prior to the break, they had released one film each year since 2006, and it is fair to assume that they have used the time wisely. Having Pete Doctor at the brain is a huge positive, as Doctor has put together the most emotionally rewarding Pixar film yet (UP), and with this being a film about childhood…that sort of special touch is needed. Despite being favorited by the wee-lads, Pixar’s films have always operated on several layers of storytelling; making them suitable for adults just as much as children, and with INSIDE OUT seemingly taking place in two different arenas (inside and out of the girl’s head), there is ripe potential for multi-layered storytelling; a true thinking-man’s adventure. Overall, all the pieces seem to be in place for a strong effort from Pixar. 

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INSIDE OUT arrives in wide-release June 19th. It will be preceded by the animated short, LAVA. 

A Reel 40: JAWS - Part 3, The Legacy

This month marks the 40^th anniversary of Steven Spielberg’s JAWS. Widely regarded as one of the best films of all time, Reel Speak will celebrate this game-changing film with a three-part blog. Part One (HERE) explored The Beginnings, Part Two (HERE) examined Why It Worked, and this week’s blog explores The Legacy. 

"I think he's come back for his noon feeding..."

The Legacy of Steven Spielberg’s JAWS began even before the film swam into theatres in the early summer of 1975. Despite the film going over its allotted production budget during filming, Universal Pictures spent a then-unheard of $1.8 million in promoting the film, including another unprecedented $700K on national television advertising. And even as early as October of 1974, over eight months before release, author Peter Benchley and producers Richard D. Zanuck and David Brown made their rounds on radio talk shows to promote the film. It was an all-out media blitz which is very commonplace today, but a brand new approach back then. It was a strategy which would begin JAWS’ legacy as the very first summer “blockbuster”. Prior to JAWS, the standard for Hollywood was to release high-profile films during the winter months, while summer was put aside as a dumping ground for lousy pictures. With JAWS, a new era had risen…a new U.S. film industry with high-concept, fun-at-the-theatre films aimed at the fun summer months; the blockbuster had been born. 

And bust those blocks it did. Opening with a $7 million weekend, the film made back its production costs in two weeks of release. In just 78 days, it overtook THE GODFATHER (1972) as the highest grossing film at the North American box office. After going into international release in December of 1975, JAWS would become the highest grossing film of all time (Universal would later take out movie ads with the iconic image of the shark from the poster gobbling up box numbers), until STAR WARS would arrive two years later. And the money kept on rolling in from other avenues outside of the packed theatres. Promotional tie-ins ranging from the soundtrack album, T-shirts, a book about the making of the movie (The Jaws Log), toy sharks and various hobby kits and iron-ons…all were a first in movie marketing. 

Outside of the ocean-sized numbers that JAWS brought in, the film was a massive stepping stone for director Steven Spielberg, who not only learned many lessons from the troubled production…but as the director of the biggest money-maker of all time, earned himself some clout. Artistically, Spielberg would draw heavily on the issues generated by the troublesome mechanical shark to his benefit for years to come. The technique of not showing the shark until it was absolutely necessary was an approach that Spielberg would utilize in his future mega-hits E.T. (1982), and JURASSIC PARK (1993). 

Decades later, the impact of JAWS is still felt throughout cinema and in pop-culture as it would become a template for thrillers and horror films. Filmmakers from Bryan Singer (X-MEN) to M. Night Shyamalan (THE SIXTH SENSE) to Christopher Nolan (THE DARK KNIGHT) have mentioned JAWS as an inspiration for their works. In the late 1970’s when director Ridley Scott was pitching his idea for ALIEN, he described it as “JAWS in space”. The Jaws Log, which chronicled the making of the film, would become a bible or how-to manual for budding filmmakers. In pop-culture, the film would have an even greater impact. Much like Alfred Hitchcock’s film PSYCHO had made people afraid to be in the shower, JAWS made them afraid to swim in the ocean. John Williams’ score became a classic and as an obvious cue for pending doom, and the famous line “you’re gonna need a bigger boat”, became a war-cry for a generation for going up against impossible odds. Scholars study and teach the many themes at work in the film, and film students are often required to examine the infamous scene involving the tale of the doomed USS Indianapolis. At Martha’s Vineyard, where the film was shot, the community still celebrates the film with festivals, and loyal fans often make the pilgrimage to visit the shooting locations. The main cast, which included Roy Scheider, Robert Shaw, and Richard Dreyfuss, would forever be immortalized as Chief Brody, Sam Quint, and Matt Hooper, respectively. The iconic poster for the film is one of the most recognizable in the world, and to this day JAWS is arguably one of the most parodied (with respect) ever. Selected for preservation in the United States Film Registry in 2001 for being “culturally, historically, or aesthetically significant”, this is one big fish that will keep on swimming. 

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A Reel Review: JURASSIC WORLD

The world of JURASSIC PARK hasn’t quite figured out what to do with itself ever since Steven Spielberg’s 1993 earth-shaking dinosaur thrill ride. Its two sequels haven’t offered much other than arriving at a remote island, having characters scream and run around while becoming a hot lunch, making a daring escape and ending with the JURASSIC PARK theme on piano. The third sequel, and fourth overall entry in the series, JURASSIC WORLD, doesn’t quite follow that standard template and make those old mistakes, but it does make some new ones. 

Twenty years after founder John Hammond’s first park of genetically-created dinosaurs went south, Jurassic Park has finally become a reality and is fully operational. Attendance is dropping, and Claire Dearing (Bryce Dallas Howard), a genetic scientist, is given the task of creating a new dinosaur as a new attraction…despite the misgivings of raptor-trainer Owen Grady (Chris Pratt). 

The first thing about JURASSIC WORLD which leaps off the screen is just how self-aware the film is. The plot of the film is concerned with making dinosaurs exciting again for the public, and right away that makes JURASSIC WORLD a parody of itself as it looks to make the novelty of people interacting with dinos feel new again. Once that initial jarring effect is over, JURASSIC WORLD gets busy with its story…and here is where the film struggles to find footing. Seemingly aware of the thin plots of its predecessors, JURASSIC WORLD crams in too many characters this time…each of which don’t serve any purpose but to provide something for the film to hinge on. Claire’s young nephew (Nick Robinson and Ty Simpkins) exist only for the audience to experience the park through, Vincent D’Onofrio appears as a military contractor who exists only to…not do much at all, and Irrfan Khan appears as the new park owner with his heart in the right place but his head in another. None of these characters and subplots meshes very well, and JURASSIC WORLD often feels like three different movies. 

But where the characters are thin, the rest of the film is thick with excitement. Director Colin Trevorrow, in only his second feature film, utilizes and exploits every bit of terror and fun that he can out of the misplaced savage creatures. Trevorrow stages some fantastic and thrilling set-pieces with his beautifully rendered dinosaurs while generating some true terror. JURASSIC WORLD has an old-school monster-movie vibe to it, with pending doom and jaw-dropping chases and battles between creatures. There are many surprises and twists to behold, and the film never gets predictable other than the way the characters are supposed to act. Aside from the thrills and spills, Trevorrow dips into the nostalgia pool by bringing things back to the beginning, making for some very crowd-pleasing moments. 

The goddamn 3D is worthless. 

It’s in character where JURASSIC WORLD is very thin, so the actors are not given very much to do. Chris Pratt gets the most work and handles it well, and true to the classic feel of the film, feels very much like he rolled out of a 1950’s serial. Bryce Dallas Howard is just kind of there, and true to an old-school monster-flick, loses more clothing as the film goes on. Vincent D’Onofrio is a waste of time although he does okay work, and young Ty Simpkins manages to be the standout. 

After a breathtaking HOLY SHIT DID YOU SEE THAT finale, JURASSIC WORLD does indeed cue the piano music on the way out of the jungle, and the film does have that been-there, done-that feel to it. This time around the template is followed with a few detours, and despite some storytelling and scripting issues, is salvaged by the strong action sequences and edge-of-your-seat moments. Unlike the dinosaurs of old, it’s light and harmless fare. 

BOTTOM LINE: See it