Shatner, Frakes and Goldsmith

[balls]

Does anyone know why Shatner and Frakes each went to Jerry Goldsmith for TFF and FC after previous films were done by others? And in the case of TFF, who decides to use the TNG/TMP theme? I’m guessing at that time that Shatner was aware of TNG, but did he know that they were using that theme? Did somebody at Paramount make the decision? In Frakes’ case they were kind of going outside the TNG family since McCarthy did a lot of TNG and GEN. Regardless, Goldsmith’s work on all of them was outstanding.

 

[Armus]

Im sure his work speaks for itself and they wanted the best. I know Goldsmith was sidestepped in Star Trek VI for a new composer because they wanted a fresh sound.

 

[Desert Kris]

I thought I remember reading in either the Shatner Movie Memories or in The Making of Star Trek V book that William Shatner wanted to bring back Jerry Goldsmith because the music for TMP was memorable and high quality. I don't know about the decision process for bringing him back for First Contact, Insurrection, and Nemesis.

 

[X24actor]

I thought Jerry Goldsmith just liked Star Trek a lot. He did Voyager before any TNG movies. I think after First Contact, he was always first choice for music, and pretty much became Star Trek's music man for the movies. It helped that his TMP score was iconic. All his Star Trek music is iconic.

Dennis McCarthy was probably busy doing DS9 and VOY. Generations wasn't a very good score anyway.

I guess if one good thing came out of Star Trek 5, it was William Shatner bringing Jerry Goldsmith back to Star Trek. This movie introduced a lot of Jerry's trademarks that he later used in the TNG films.

 

[Allyn Gibson]

Dennis McCarthy was probably busy doing DS9 and VOY. Generations wasn't a very good score anyway.

The score, separated from the film, is fine, imho, and McCarthy's main, recurring theme is wonderful. The way the film used the score, however, was poor.

 

[Maurice]

Im sure his work speaks for itself and they wanted the best. I know Goldsmith was sidestepped in Star Trek VI for a new composer because they wanted a fresh sound.

They also couldn't afford him given how tight the budget was on TUC.

 

[Armus]

They also couldn't afford him given how tight the budget was on TUC.

Since it was the finale to the original cast I think they should have went with Goldsmith, or James Horner. The music for Star Treks 1-3 are my favorites. I think the music for TUC was serviceable not memorable.

 

[Smellmet]

Since it was the finale to the original cast I think they should have went with Goldsmith, or James Horner. The music for Star Treks 1-3 are my favorites. I think the music for TUC was serviceable not memorable.

Totally agree. I was disappointed not to hear familiar Trek theme music upon watching TUC in theatres. On it's own terms it's got a reasonable score but it's generic and forgettable compared to 1-3, 5, FC and NEM, which I feel was a let down for the 25th Anniversary movie.

 

[Ryan Thomas Riddle]

Since it was the finale to the original cast I think they should have went with Goldsmith, or James Horner. The music for Star Treks 1-3 are my favorites. I think the music for TUC was serviceable not memorable.

When Horner did the score to TWOK and TSFS, he wasn't as well know as he was when TUC was made. So like Goldsmith, Horner was out of the film's price range for scoring TUC.

 

[Smellmet]

When Horner did the score to TWOK and TSFS, he wasn't as well know as he was when TUC was made. So like Goldsmith, Horner was out of the film's price range for scoring TUC.

It's a shame. I think I'd have preferred it if Eidleman used previous themes in his score. It just seemed too jarring and militaristic compared to what came before in my view. I guess I'm a sucker for nostalgia.

 

[Ryan Thomas Riddle]

It's a shame. I think I'd have preferred it if Eidleman used previous themes in his score. It just seemed too jarring and militaristic compared to what came before in my view. I guess I'm a sucker for nostalgia.

I also think one thing to consider is Meyer instructed Eidleman on what he wanted the score to be. Some of his choices as composer were influenced by Meyer's wishes.

See this article: http://www.motionpicturescomics.com...ck-for-star-trek-vi-the-undiscovered-country/

 

[Allyn Gibson]

I also think one thing to consider is Meyer instructed Eidleman on what he wanted the score to be. Some of his choices as composer were influenced by Meyer's wishes.

See this article: http://www.motionpicturescomics.com...ck-for-star-trek-vi-the-undiscovered-country/

Meyer wanted something very similar to Gustav Holst's The Planets, and it's been pointed out that the opening credits fit Holst's "Mars" exactly.

 

[JonnyQuest037]

Meyer wanted something very similar to Gustav Holst's The Planets, and it's been pointed out that the opening credits fit Holst's "Mars" exactly.

I read that Meyer looked into actually licensing Holst's The Planets to use as the score to TUC, but Paramount wanted the rights to it in perpetuity. Since The Planets is the Holst estate's major cash cow, that obviously didn't fly.

 

[Defiler-Of-Redshirts]

There's an easy explanation: Jerry's Motion Picture score was quite simply the greatest, otherworldly Star Trek music ever written.

 

[arch101]

I've always thought that it was much more jarring that TVH, the obvious third film in a trilogy, is the only film in that trilogy to have a totally different score.
In the same light, the absence of the Goldsmith theme in Gen is VERY noticeable as it was closely associated with TNG for 7 years. I fully expected it to play at least over the closing credits and was surprised when it didn't. So, in this regard, I can appreciate that Frakes wanted Goldsmith and his familiar tunes to come back to TNG for his films.

 

[Allyn Gibson]

I've always thought that it was much more jarring that TVH, the obvious third film in a trilogy, is the only film in that trilogy to have a totally different score.

And Leonard Rosenman lifted large parts of it from his score for Ralph Bakshi's The Lord of the Rings.

 

[Lance]

In the same light, the absence of the Goldsmith theme in Gen is VERY noticeable as it was closely associated with TNG for 7 years. I fully expected it to play at least over the closing credits and was surprised when it didn't. So, in this regard, I can appreciate that Frakes wanted Goldsmith and his familiar tunes to come back to TNG for his films.

Yeah, it always seemed like an error to me that they didn't use it, or an arrangement of it, after it had become synonymous with TNG over 7 seasons. It was used on the trailer which does a lot to make it feel more epic. Missed opportunity.

 

[Defiler-Of-Redshirts]

And Leonard Rosenman lifted large parts of it from his score for Ralph Bakshi's The Lord of the Rings.

I won't mince words, Leonard Rosenman's LOATHSOME. puerile, childish, worthless score for TVH really brought down the mood of the movie, it's the most detestable Star Trek music in the franchise's history. I also won't mince words when I say I HATED EVERY NOTE that Leonard Rosenman musical horse's ass has ever composed to ANY movie. I have no idea why that fool was ever a famous Hollywood composer because I've never once heard a single note from that horse's ass I've ever liked. And Rosenman himself was such a pompous ass (as well as a horse's ass) he used to constantly condemn scores by far superior composers, like Poledouris, Williams and Goldsmith. How DARE he. He was nothing but a mouthy, orchestral punk with completely ZERO musical talent of any kind. Good riddance to the vilest Hollywood composer who ever lived.

 

[Defiler-Of-Redshirts]

You know what living composer I'd like to see score a Star Trek movie? James Newton Howard! I'll bet Mr. Newton-Howard's swirling, emotional string crescendos would fit in nicely with a deep space adventure. After Goldsmith, Newton-Howard is my second-favorite "movie music dude."
I loved his giant, epic scores for "Dinosaur" "Waterworld" and various other epic movies, it gave me the chills.

 

[Allyn Gibson]

I won't mince words, Leonard Rosenman's LOATHSOME. puerile, childish, worthless score for TVH really brought down the mood of the movie, it's the most detestable Star Trek music in the franchise's history.

II won't quote the rest, but I agree completely with "the most detestable Star Trek music in the franchise's history." It just doesn't feel like a Star Trek score. Even Cliff Eidelman, who went in a very different direction, wrote a score that feels like Star Trek. Rosenman's score, though, is deeply misguided.

One thing I've learned in recent years is that Nimoy wanted to dump Horner in favor of Rosenman on Star Trek III, but Harve Bennett insisted on rehiring Horner because it would provide continuity with Star Trek II. This may have been one of the issues behind the falling out between Nimoy and Bennett.