In 1985, James Cameron
made his groundbreaking blockbuster space horror
(a more action-oriented sequel
to the equally visionary Alien
). Cameron hired composer James Horner
to score the film, on the strength of Horner's work on films such as Star Trek II: The Wrath of Khan
. But the collaboration was immediately beset with strife and discord. Horner felt that he was given too little time, too little access to the film for which he was writing, and an obsolete studio to work from. This, combined with Cameron's penchant for obsessing over everything but
the music, and for making major changes at the last minute, led to screaming arguments and a determination by Horner that he would never, never work with Cameron again.
But time passed. About a decade
, to be exact. And then, one day, James Horner was surprised when the telephone
rang, and on the other end was James Cameron.
"James, let me cut straight to the chase here. I loved the score you composed for Braveheart
. I'm working on a new movie. It's going to be the biggest movie ever made. And you're the only one who can score it."
James Horner rubbed his chin and pursed his lips in thought for a moment. Finally, he asked, "what's it called?"
And James Cameron answered: "Titanic
James Horner thought about it for a minute more, before ever-so-slightly nodding his head and giving his response: "I'll do it."
And the rest is history -- an Oscar, the best-selling film score of all time (not to mention one of the biggest film blockbusters of all time as well).
And so it was without hesitation
that James Horner entered into their next collaboration--James Horner picked up the phone, and it was James Cameron: "I'm working on a new movie. It's going to be the biggest movie ever made. And you're the only one who can score it."
"What's it called?"
James Horner ever-so-slightly nodded his head and gave his response: "I'll do it."