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|Also Known As:||Died:||June 22, 2015|
|Born:||August 14, 1953||Cause of Death:||plane crash|
|Birth Place:||Los Angeles, California, USA||Profession:||Music ...|
In 1989, the estate of the late composer Nino Rota accused Horner of plagiarism, claiming that Horner's score for "Honey, I Shrunk the Kids" blatantly borrowed Rota's music composed for "Amarcord" (1973).
"Film music is this weird, demonic thing where every score has to be absolutely different from any other score--or so the legal paper says. But if you're an artist it's impossible. There's only so many ways to skin a cat. And when you actually look at 'Casper' or any adventure movie I've done or John Williams has done--when you sort of squint your eyes, they all sound the same. Maybe one's better crafted than the other or more subtle, but when you kind of look at the overview, they all sound the same." --Horner quoted in Los Angeles Times, February 13, 1995.
"People don't know where to place me. [One director] couldn't understand that I did a film like "48 Hours" and at the same time did a film like "The Dresser". ... I'm not a contemporary pop-rock guy." --James Horner in American Premiere Magazine, 1985.
"In film you can write in any style, as long as it's appropriate to the film and not be called reactionary or eclectic. For instance, doing an electronic score for "Star Trek" would be like having a misshapen Enterprise. But aside from that, in every film I try to experiment." --James Horner in American Premiere Magazine, 1985.
"As far as I'm concerned, writing for films is like writing on commission--in a certain sense it's like Mozart writing an opera for the Archduke of Austria. And it's a medium in which a composer can write something, six weeks later hear it, and get paid to do that!" --James Horner in American Premiere Magazine, 1985.
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