Well if you’re talking about the “in-credits” at the beginning of The Incredibles then you need to give some of that credit to Gordon Goodwin, of the Gordon Goodwin Big Band fame. He arranged that, from what I understand, and I believe he won an Oscar for that.

Actually, the moment I’m talking about is in the film, right at the start when, just as they fade out from the interviews to reveal The Incredibles shield. It’s on the soundtrack as “The Glory Days” (right at the start). But everything that Mr. Giacchino did for that film, M:i:III and Ratatouille has been incredibly (no pun intended) awesome! Definitly an added bonus to get him in scoring this thing. It’s already looking to be an awesome film, and this is just gonna make it better.

It’s very sad how Paramount is giving JJ a blank check to delete 42 years of canon but refused to fund Shat’s Special Director’s Edition DVD re-imagining of STV, the final TOS era adventure with the entire Enterprise crew intact (before Sulu got delusions of grandeur & defected to the Excelsior ).

Carry on.

#145—That’s one gift that I would stand in line the day after Christmas to return.

#147 – Horner din’t write anything for Sorceress. It was tracked with Battle beyond the stars, as were quite a lot of Corman’s past-BBTS films.

And although I would never dare to state that Horner never borrows (that would be ridiculous indeed), I just ask to pay attention for the circumstances in wich filmscores are sometimes written. Most of the times compesers only get a few weeks to spot, compose and record the score. In small-budget films the time will be less than most big-budget films. (With the exception of replacement scores. Horner had only two weeks on Troy, reportedly)

Back on topic, Imm very, very satisfied that Giacchino is on board so damn early! He has the time to get insipred by the subject, come up with themes and establish a musical identity for the film. Not only because it’s a new Trek score, that fact makes me looking very foreward to Michael’s work.

It be a loooooong road
Gettin’ from thar ta heeeeeeeeeeeeeeeeeeere….

Be a long time….
But me time has come at last!

And I will see me dream come alive at last
I will touch that thar sky
Anna I dunna hold them down me more

No Thar not gunna change me mind

I gots me that thar Faith in the Heart….

I count 14:

The Watcher
Up From the depths
The Lady in Red
Humanoids from the Deep
Battle Beyond the Stars
Angel Dusted
The Hand
Wolfen
Deadly Blessing
A Few Days in Weasel Creek
The Pursuit of D.B. Cooper
A Piano for Mrs. Cimino
Rascals and Robbers
Sorceress

At any rate, I consider 14 scores a far cry from “no body of work whatsoever!”

“Besides, the music budget on Wolfen (wich was bigger than TWOK, by he way) was probably biger than the rest of the12 together.”

I don’t know how this possibly factors. Work is work, a job is a job, experience is experience.

“ANd as I said, more often than not, a composer, especially one starting out, will be asked to mimic something”

Granted, a point which I acknowledged earlier. So why don’t other composers fall into the same trap to the same degree?

“Horner was asked to come-up with TMP-like music”

Yet 98% of it doesn’t sound like Goldsmith’s score.

“And besides, Horner dated Goldsmith daughter at the time, so..”

So he disposed with Goldsmith’s score to impress his girl? — “I ilke you Jimmy, ’cause my parents hate you.” ;)

I’m in full agreement with you.

John Williams has gotten *a lot* of attention, and deservedly so, but in my book, Jerry Goldsmith was the best film composer ever. Unendingly versatile, creative and sensitive. He certainly had his influences but never stooped to the equivalence of photocopying a Picasso and calling it his own.

#108 – “Again….everyone borrows.”

There’s a huge difference between borrowing and outright theft. Taking 98% of the notes and 100% of the orchestration isn’t borrowing.