James Roy Horner net worth is $15 Million. Also know about James Roy Horner bio, salary, height, age weight, relationship and more …

James Roy Horner Wiki Biography

James Roy Horner was born on 14 August 1953, in Los Angeles, California, USA of Jewish descent, and was an orchestrator, composer and conductor, responsible for creating the orchestral scores for high grossing and award winning movies like “Avatar” and “Titanic”. He was well known for his use of Celtic music and his various achievements throughout his career raised his net worth to where it was before his death.

How rich was James Horner? As of early-2016, sources estimate that his net worth was at $15 million, mostly earned through a successful career as an orchestral composer in the movie industry. Horner worked with a lot of big names and famous celebrities like James Cameron, Ron Howard, Steven Spielberg, Russell Crowe and Celine Dion. He also owned several small planes as he loved to fly.

James was born into a family that mostly worked in the film industry. His father was a set designer and his brother would eventually become a writer and filmmaker. At the young age of five, Horner’s interest in music would develop as he started playing the piano. He attended various music schools like the Royal College of Music and then Verde Valley School. He graduated with a degree in music from the University of Southern California and then earned his masters and doctorate at the University of California, Los Angeles (UCLA). James started out working with the American Film Institute in the 1970s while teaching at UCLA.

Eventually, Horner moved to film scoring where he would work on films like “Battle with the Stars” and “The Lady in Red”. His breakthrough film would be “Star Trek II: Wrath of Khan” – ironically, he was hired because the studio couldn’t afford the original composer, and this movie would be responsible for putting James’ name on the main list of top composers in the industry. Horner started to work on other films like “Cocoon” in which he developed a partnership with Ron Howard. He also worked in the film “Aliens”. His net worth was growing.

He received his first Academy Award nomination for his work in the film “An American Tail”. In the late-80s up to the 90s, James continued his work, becoming a part of other popular films like “Casper” and “Jumanji”. He would receive recognition and acclaim for his work in the movies “Braveheart” and “Apollo 13”, but would have his best work by then in “Titanic”, a film that grossed over $2 billion. For his work in “Titanic” Horner won an Academy Award, three Grammys and two Golden Globes, and his net worth at this point had risen astronomically.

After “Titanic”, James worked on films like “The Perfect Storm”, “A Beautiful Mind”, and “Bicentennial Man”. According to him, the biggest project he worked on was the 2009 film “Avatar”, wherein he spent two years without taking any other jobs for the project. “Avatar” would go on to win numerous awards, including breaking the record for highest grossing film, passing another James Cameron and James Horner film “Titanic”.

After “Avatar”, Horner worked on the 2010 version of “Karate Kid”, and later “Amazing Spider-Man”. He was also working on “Southpaw” before his untimely death.

In his personal life, James is survived by his wife Sarah and two daughters. He was an avid fan of airplanes and loved to pilot the small aircrafts that he owned. By June-2015, it was reported that his plane crashed into the Los Padres National Forest and later autopsies confirmed that it was Horner. Witness accounts and investigations stated that he was the only person on board the aircraft. His funeral was attended by many celebrities who he worked with throughout his life.

IMDB Wikipedia “Pas de deux (Horner)” (2015) “Star Trek II: Wrath of Khan”(1982) $15 Million 1953 1953-8-14 1997 2003 2015-06-22 A Beautiful Mind A Beautiful Mind (2001) Academy Award (2001 Academy Award for Best Director Academy Award for Best Picture Academy Awards Academy Awards (1987 Aliens (1986) Aliens (film) An American Tail (1986) Application software Artificial intelligence Associated Press August 14 Austin Avatar Avatar (2009) BAFTA (1997) Braveheart Braveheart (1995) Braveheart (1997) British Academy Film Awards Butte California Celine Dion Christopher Nolan Cocoon (1985) College football Composer composer and conductor Grammy Award winners Grammy winner (1997) House of Sand and Fog (2003) James Horner James Horner Net Worth James Roy Horner Leo Los Angeles Montana Music Department Orchestrator Oscar Soundtrack Texas The Forgotten (2004) The Lady in Red (1979) three Satellite Awards three Saturn Awards Titanic Titanic (1997) Titanic: Music from the Motion Picture Troy (2004) two Golden Globe Awards two Golden Globe Awards (1997) U.S. University of Southern California

James Roy Horner Quick Info

James Roy Horner Trademarks

1. Frequently composes for James Cameron.
2. Frequently represents bad guys with a distinctive four-note motif.
3. Frequently uses the sakuhachi (Ex: Braveheart (1995)).
4. His scores have two or three main themes and one or two motifs.
5. Frequently uses a chorus or soloist (e.g. Glory (1989), Titanic (1997), A Beautiful Mind (2001)).

James Roy Horner Quotes

• [from an interview in 1983] I like dramatic scores. I’m not a disco person, and I’m not a rock and roll person. I guess I’d call myself more of a classical composer, and my scores tend to have more of a classical sound. Whether one calls those sounds avant garde or not doesn’t matter, they’re on the classical side of music rather than on the popular side. I haven’t written any jazz scores, there’s a possibility I may include some symphonic jazz and modern serious music, which I have an interest in, but I’m not into writing a pop score. This is where the Goldsmith [Jerry Goldsmith] analogy comes in because I find that the pictures that I’m trying to get and the pictures he gets are the same kinds of films. I’m not in his league by any means, but I enjoy doing those kinds of films — action, dramatic, that type of thing. I also like to do very tender stories that also have dramatic underscoring.
• [from an interview in 1983] I look at the film and try to assimilate what the producer and director want. Very often they don’t know exactly what they want or they know, but don’t know how to express it, so it comes out wrong. I try and find out what the director or producer feels, and I try to get them to express it to me in non-musical terms, so that there’s no misunderstanding. Then, based on what they want, I do it in my own language, in terms of putting into the score what I want it to have, certain ideas I’ll get while actually writing. You can’t talk out the whole score ahead of time, a lot of it just happens while you’re writing. Ideas come to you.
• I think for a composer coming out of the world, whether it be a school, streets or whatever, if you want to do something, it’s either for commercial use, via the radio, or visual use, in film. I think that’s the most viable outlet for a writer. But, I don’t think you have to have this crazy education to get there. I think people I’ve met [who] are brilliant have no education at all, they just had a gift.
• In all the films I work on, there’s always that “What is the heart of the film?,” and I try and nail that.
• The mood of a film dictates a certain sound in my head and that is what I try and connect with right away, way before I’m writing melodies or times or anything like that. I’m trying to find an orchestration for the film that says what I want it to say musically.
• What working for Roger [Roger Corman] did for me, was that it helped my procedural skills. How to produce music for literally nothing and how to write the best music for the films that they were.
• [about his creative process] I don’t use a computer when I write and I don’t use a piano. I’m at a desk writing and it’s very broad strokes and notes as colors on a palette. I think very abstractly when I’m writing. Then as the project moves on it becomes more like sculpting.
• [from 2009] My job — and it’s something I discuss with Jim [James Cameron] all the time — is to make sure at every turn of the film it’s something the audience can feel with their heart. When we lose a character, when somebody wins, when somebody loses, when someone disappears — at all times I’m keeping track, constantly, of what the heart is supposed to be feeling. That is my primary role.
• [from an interview in December, 2014] I’m much choosier. I don’t want to be doing these movies that now 85 or 90 composers want, as opposed to five or six. And now all these movies, action movies. I don’t get offered all the movies obviously, but I see a lot of them and I do get asked to do a lot of them, and I just know they’re not asking me to do something that I can do something original, they’re asking me to do a formula and I’m too rebellious.
• I had no idea who Jerry Goldsmith or John Williams were before I did The Hand (1981). I’m sure that I was influenced by Goldsmith’s large orchestral scores when I started out, and that was because the people who employed me wanted that kind of sound. I wasn’t in a position to say, ‘Go to Hell!’

James Roy Horner Important Facts

• $800,000 (plus $1.2$ per soundtrack CD sold)
• All three of the scores he conducted for James Cameron (Aliens (1986), Titanic (1997), and Avatar (2009)) were nominated for Best Original Score. His score for Titanic won.
• Bishop’s Countdown from Aliens (1986) is the 5th most used track for trailer cues, according to www.filmdetail.com, with a total of 24 times used (as of 2011).
• Horner was cremated. His ashes were given to his family.
• All three of his 2015 musical scores (for Southpaw (2015), Le dernier loup (2015) and The 33 (2015)) were long-listed for the Academy Award for Best Original Score.
• Served as composer on three Oscar Winners for Best Pictures: Braveheart (1995), Titanic (1997), and A Beautiful Mind (2001).
• Cited Dmitri Shostakovich as one of his main influences.
• Has received the Max Steiner Film Music Achievement Award at the 2013 Hollywood in Vienna gala, awarded for exceptional achievements in the art of film music.
• Wrote the theme for the Universal Pictures logo used between 1990 and 1997.
• Wrote and conducted a special medley at the World Premiere of ‘Titanic 3D’ at the Royal Albert Hall, London.
• His score for Titanic (1997) is reportedly the biggest-selling orchestral soundtrack in history.
• Is close friends with score engineer Simon Rhodes. Rhodes also served as album co-producer on several of Horner’s scores.
• Was nominated for Film Composer of the Year in 2009 by the International Film Music Critics Association.
• Has followed Jerry Goldsmith by composing the scores for two sequels to movies Goldsmith scored: Star Trek II: The Wrath of Khan (1982) and Aliens (1986).
• Although he studied piano, he doesn’t consider himself to be a good pianist.
• His end-title themes for Battle Beyond the Stars (1980) and Glory (1989) have been heavily reused for various movie trailers.
• Brother of Christopher Horner.
• Son of Harry Horner.
• Often uses a “crashing piano” to symbolize genius in his scores (A Beautiful Mind (2001), Searching for Bobby Fischer (1993)).
• Many of his scores contain a wordless female voice (like Ennio Morricone often does).
• Has tagged several scores with a distinctive four-note trumpet blast during an important moment in the film.
• Attended University of the Pacific in Stockton, California

James Roy Horner Filmography

James Roy Horner Awards