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Star Trek’s Michael Giacchino Nominated For Composer of the Year August 18, 2009

by Anthony Pascale , Filed under: Music,Star Trek (2009 film) , trackback

Star Trek composer Michael Giacchino is again being recognized for his talents, this time by the World Soundtrack Academy which has just announced their nominees for for their annual Soundtrack Awards. Giacchino has been nominated for Composer of the Year, for his work on Star Trek and other films.


Giacchino’s latest nomination
Giacchinno’s nomination for Film Composer of the Year recognizes his work for Star Trek as well as Up and Land of the Lost. He is going up against Carter Burwell (Burn After Reading, Twilight), Alexandre Desplat (The Curious Case of Benjamin Button, Coco Avant Chanel, Largo Winch, Cheri), Danny Elfman (Milk, Taking Woodstock, Notorious), and Hans Zimmer (Frost/Nixon, Angels & Demons, The Dark Knight). The Soundtrack Awards uses the time period from July 1st to June 30th for their year, which is why nominations are announced now, and why so many 2008 films are in the mix. 
Unfortunately none of Giacchino’s scores picked up nominations for Best Original Score of the Year. A full list of nominations can be found at The winners will be announced at the Ghent International Film Festival on October 17th.

Giacchino is no stranger to industry accolades. The composer’s mantle contains a number of awards, including a Grammy, and ASCAP award, and an Emmy. He was nominated for an Oscar in 2008 for Ratatouille, but did didn’t win, however he was appointed the musical director for the Oscar broadcast in 2009, where he threw in a musical sting from Alexander Courage’s Star Trek theme.  .

Giacchino with director JJ Abrams

Pick up the Star Trek soundtrack now at Amazon

More noms for Trek?
Award season is still many months away (with the WSA being an anomalie due to their splitting the year’s for consideration), so Giacchino may still see some more nominations, and he is likely not the only one associated with Star Trek who may have to ready an acceptance speech. We have already reported on the Best Picture Oscar buzz for Star Trek, due to the rule change allowing 10 films to be nominated. Beyond that, Trek can likely expect other nominations, especially in some of the ‘technical’ categories. And of course there are the Golden Globes, and other awards shows as well.



1. MDSHiPMN - August 18, 2009

Great composer. Can’t wait for his work on the next one.

2. Jesse - August 18, 2009

I hope he wins. He sure deserves to.

3. Zaphod - August 18, 2009

I haven’t heard his scores for Up or Land of the Lost, but his Trek score I found really underwhelming. I know he’s capable of greatness–his Incredibles and especially Secret Weapons Over Normandy have proven that–I was just really disappointed in the really lackluster Trek soundtrack.

4. pock speared - August 18, 2009

yes! i love it when composers are honored.
those of you who were “underwhelmed” with the trek score: you missed the point. we are thankfully moving away from sci-fi opera grandeur and into an emotional response to character. the trek score is as much a part of kirk as pine was, not to mention spock’s theme.

now let’s give some awards to the sound design of the new film, which was far superior than any work ever done on any trek film, ever (check the mind meld audio for example). if you cried during the death of of the kelvin, it was the score and the sound work that you were responding to.

70% of film is sound.

p.s. of course, if you hate the film, never mind. your contempt is lost on me.

5. OneBuckFilms - August 18, 2009

It’s great to see Michael Giacchino recognized.

His Star Trek score was great fun, and perfect for the movie.

He added such a sense of adventure and emotion to Star Trek, and I love it.

Well done Michael !!!!

6. Q - August 18, 2009

I thought the score was awesome!

7. Zaphod - August 18, 2009

So if I didn’t like his Trek score I “missed the point?” That’s a pretty arrogant attitude.

8. Daniel Broadway - August 18, 2009

He’s a great composer, but I wish he had come up with a more epic sounding main title for Star Trek.

9. Dovile - August 18, 2009

#4 “if you cried during the death of of the kelvin, it was the score and the sound work that you were responding to.
70% of film is sound. ”

You’re absolutely right, it’s the score that sets the emotions in a movie. I had tears in my eyes during the death of the Kelvin, and it was due to the combination of on-screen sequence and the heartbreaking theme. ‘Young Enterprising Men’ and the End credits theme the best too. I probably more like MG’s work for LOST, but the ST soundrack was also great and right for the ST movie. I hope he’s in for the next ST movie.

Hans Zimmer is one of my fav composers too, maybe even more favourite than MG, so I’d like either of them to be honoured. Of course, it depends on how strong their competition is. I’ve been only to the Dark Knight and Twilight though. DK score was great and right for that movie, but I don’t really recall anything special about it. I liked Twilight’s score too, but it has a different, more contemporary style, and I don’t know if it can be compared to the more orchestral scores like those of ST and DK.

It’ll be awsome to see Star Trek winning some awards, I’m sure it’ll get some:)

10. captain_neill - August 18, 2009

his score grew on me but James Horner’s and Jerry Goldsmith’s work is so much better.

In fact music scores are very underwhelming as a whole these days.

11. captain_neill - August 19, 2009

Hans Zimmer is good and his score for Dark Knight was great but it was not as memorable as Danny Elfman’s music for Batman and Batman Returns. Elfman’s music for Batman was better.

I look at Giacchino’s music in the same way. It was a good score but not as great as the other movies.


12. Knut - August 19, 2009

His score was boring and ordinary. The worst of all Star Trek Movies. He will not win. The other composers are much better.

13. Ken1w - August 19, 2009

I liked Giacchino music for “Star Trek” very much. The aim of JJ and his team was to make huge changes in the reboot, yet do the little things to make long-time Star Trek fans feel “at home” (and appreciated) in the new Trek universe. The music was one of the more subtle yet important ways this was done, and some of you don’t seem to appreciate how cleverly it was done by Giacchino.

With the previous Trek movies, the producers wanted to escape the small screen and be more “cinematic.” That meant everything was “bigger,” including the music. Goldsmith, Horner, and the rest wrote complex sweeping scores to emulate the John Williams “Star Wars” blueprint for space epic music. And it was great music, especially Goldsmith’s ST-TMP music (still my favorite for Trek movies).

But for Star Trek 2009, JJ and Co. wanted to recapture some of the elements that made the original series so endearing, while still making a big-budget spectacular. So one key difference is the music, when compared to previous Trek movies. Giacchino went for smaller and less complex, which is reminiscent of the incidental music you kept hearing used and reused over and over and over again on the original series episodes. At the end credits, when the complete original theme came on, it did not seem out of place at all, because the rest of the score was written in a way that honored the simple and effective music from the original series. If the complete original theme was thrown in there at the end of any other Trek movie, the audience would have laughed.

I’m sure Giacchino could have produced a great “space epic” score. But the purpose of movie music is to enhance the movie experience, not just stand on its own as musical entertainment. I’m sure JJ told Giacchino exactly what he was going for with the film, and Giacchino delivered the music to support that vision.

The perfect example is the “Enterprising Young Men” track (where Bones sneaks Kirk onto Enterprise). That music is perfect, NOT because it is richly textured, overly complex, and arranged for the full London Symphony Orchestra… It is perfect because it is uncomplicated, a bit obvious, and arranged for a smaller set of instruments. And when I saw “Star Trek” the second time (when I was paying more attention to the music), I realized how nicely it worked to make the newest Trek feel more like the oldest Trek than any previous Trek movie, including the ones with the original cast.

And that made me appreciate Giacchino’s talent even more. He isn’t just trying to “show off” every time… his music has a purpose.

14. Captain John C Baron - August 19, 2009

#4 you took the words right out of my mouth. You don’t have to produce somethign as ‘hummable’ or ‘showy’ as some of John Williams’s stuff to produce a great film score – and a lot of people seem to miss that point.

Film scores are there to set the tone and emotional theme of the film – and Giacchino does that perfectly. The music for the death of George Kirk and the birth of Jim is one of the most moving pieces I’ve ever heard for film – and I have hundrefds of – mainly orchestral – soundtracks in my collection.

Star Trek is a terrific score. It might not have the grandeur of Goldsmith or Horner, but arguably it’s as good as TMP and TWOK, just in a different way.

#11 – Yeah, but arguably Elfman’s Batman score wouldn’t fit Nolan’s Batman reboots – they’re different films thematically, hence the different aqpproaches to the scores. Personally I like both.

15. William Kirk - August 19, 2009

Mr. Giacchino seems to be a pleasant person, but I didn´t like his score for the new movie – it has the same rank as the movie for me (= it fits to it).
For the Batman music, I prefer Elliot Goldenthal. His Batman March is the best piece of the franchise music. But I doubt whether it would fit into Nolan´s movie. And yes, Zimmer is great.
For Trek I prefer the Goldsmith themes (Title Music, Kligons).

16. William Kirk - August 19, 2009

Oh, sorry, there should have been “His Batman March is the best piece of the franchise music for me.” in the sentence…

17. Jeff - August 19, 2009

How was the score not memorable/hummable? The opening track is basically the entire score (you know I’m exaggerating a bit) played 20 different ways.

Anyways, I enjoy Giacchino, he did a good job on Trek. But if he doesn’t win for that, he most certainly should win for UP. That was an amazing score.

18. captain_neill - August 19, 2009

Elliot Goldenthal is good too. His score was the only good part of batman & Robin.

True that Elfman’s music would not fit in with Nolan’s version but I was just saying I prefer to listen to Elfman’s music over the new one

Elfman’s Batman march is the best Batman theme.

19. ucdom - August 19, 2009

It’s not the worst score I’ve ever heard, but no way the best either.

Better luck next time. Or a different composer…

20. me - August 19, 2009

I like his score for this movie.

It was good composition compared to other scores these days, but you all have to admit it only is average compared to epic scores of the past.

There are some really fantastic parts and some that go on your nerves, because they apear again and again and because they are too “invasive” where they should be subliminal.

Some parts too much repeated itself and it sometimes was too artifically “wannabe big”.

Yet, I liked it better than some of the bad Trek movie score, but no comparison to the best days of Goldsmith.

21. Dom - August 19, 2009

4. pock speared: ‘those of you who were “underwhelmed” with the trek score: you missed the point. we are thankfully moving away from sci-fi opera grandeur and into an emotional response to character.’

That comes off sounding incredibly arrogant! Your ‘excuse’ is much the same as the garbage we hear these days excusing the replacement of true character drama in scripts with soap operatics as modern drama being ‘more emotional': in other words, ill-trained modern writers lacking true human insight writing trite, faux melodrama and passing it off as something deeper than it is!

I liked Giacchino’s score, although it’s not as good as Khan, and I’m a big fan of his work, particularly on Alias.

But, at the end of the day, I like ‘operatic grandeur’ so shoot me! :p I guess people who have loved opera for the last 500-odd years have all been ‘thankfully’ stupider than you too! ;)

22. Shunnabunich - August 19, 2009

If Giacchino had bothered to write a main theme instead of the most trite, musically clichéd 4 bars he could figure out how to write, I would totally be for this. The rest of the score is pretty darn good. And amen to 7 and 20; I don’t believe I’m being arrogant merely by having standards.

23. Captain Rickover - August 19, 2009

# 21

Well said!

Soundtrack list for me:

# 1: Goldsmith’ TMP-Score
# 2: Horner’s TSFS-Score
# 3: Horner’s TWOK-Score
# 4: Goldsmith’ TFF-Score
# 5: Goldsmith’ FC-Score
# 6: Goldsmith’ INS-Score
# 7: Eidelman’s TUC-Score
# 8: Goldsmith’ NEM-Score
# 9: McCarthy’s GEN-Score
# 10: Giacchino’s 09-Score
# 11: Rosenman’s TVH-Score (that was a really bad one)

24. John Doe - August 19, 2009

Must be a very dull year if Giacchino gets a composer of the year award.

But then again, this entire movie is overrated beyond reason, and so is its soundtrack.

25. James Cannon - August 19, 2009

# 23 – Spot on with the Ratings… I’d swap 1&2 but apart from that I’d agree totally.

Trek 3 is a VERY underated film and score…

26. Third Remata'Klan - August 19, 2009

I like the soundtrack. I don’t love the soundtrack like some of Giacchino’s other work (Incredibles and Lost, particularly), but I like it.

They don’t mention Terminator Salvation among Danny Elfman’s movies? I was surprised when I found out he’d done that one.

27. Paulaner - August 19, 2009

Giacchino’s score was refreshing, in my opinion. Don’t get me wrong, I love Goldsmith, Horner and co., but their style was getting old and tired: the same orchestral melodies. Imo, Trek needed a young, new composer, capable of bringing something different.
I will never get tired of saying so: to survive, Trek was in need of a change, and we are getting it. All these awards, the stunning reviews, they are not just luck. This is the right path for Trek :)

28. captain_neill - August 19, 2009


I have to like the more grandiose scores.

are you saying the future is smaller, less memorable scores.

I still like some of todays scores butI feel that they are more bland these days.

I dont like the thought of grand orchestral smusic is to be lost to a generation who just want to see shiny stuff

It is sad to think this but I feel film music has suffered these days.

29. captain_neill - August 19, 2009

I meant I happen to like

30. Brett Campbell - August 19, 2009

#4 – Don’t hate it. Just not ga-ga over it like a lot of people are. It was an okay and even a pretty good film. Not bad. But certainly not great, either. All of this, of course, IMHO.

31. The Middleman - August 19, 2009

“27. Paulaner – August 19, 2009
Giacchino’s score was refreshing, in my opinion. Don’t get me wrong, I love Goldsmith, Horner and co., but their style was getting old and tired: the same orchestral melodies. Imo, Trek needed a young, new composer, capable of bringing something different.
I will never get tired of saying so: to survive, Trek was in need of a change, and we are getting it. All these awards, the stunning reviews, they are not just luck. This is the right path for Trek :)

LOL, just because it’s a new score to a new film it’s excellent?
How can Horner’s style get old and tired when the last time he scored a Trek movie was 1984?

Cliff Eidelmann was a young, fresh composer, who brought lots of new themes into Star Trek 6. And his score is MUCH better than Giacchinos.

Could it be that this nuTrek is totally overhyped just because of the fact it exists? It’s been 7 years since the last Trek movie already, 10 years since the last good Trek movie. What I see here and elsewhere are total overreactions.

Wondering if that will get old pretty soon with the sequel, when the hype is over.

32. Paulaner - August 19, 2009

#28 “are you saying the future is smaller, less memorable scores.”

For me, Giacchino’s score is not smaller than Goldsmith’s, nor less memorable. The idea of “memorable” is subjective. Something become memorable because you like it. I like Giacchino, so it will become memorable for me ;)

33. Paulaner - August 19, 2009

#31 “LOL, just because it’s a new score to a new film it’s excellent?”

Guys, you don’t understand what “personal taste” means. I found Giacchino’s score refreshing. In my opinion, this kind of score was needed. In… my…. opinion :)

34. Cafe 5 - August 19, 2009

The big problem with Giacchino’s score for Star Trek is that JJ ask him to rein it in. In an interview that Abrams gave he stated he had ask Michael to hold back when doing the music. When you listen to The Incredibles and even the music he did for the video game Secret Weapons Over Normandy you’ll realize he held way back for Star Trek. This score is OK but its pedestrian. It may fit certian scenes in the movie but as a stand alone score its really mediocre. Horner’s just released full score for Wrath of Khan and Goldsmith’s music for TMP these are really epic film scores.Ron Jones wrote the score for the video game Starfleet Academy this music is fantastic, and will give you an example of what the music for Star Trek could have been.

35. captain_neill - August 19, 2009

Give me Goldsmith or Horner anyday

36. WVTreker - August 19, 2009

He deserves a win. I thought he did a great job of capturing the mood of the movie and Star Trek itself.

37. captain_neill - August 19, 2009

Dont get me wrong I love the new film’s music, I do own the CD but I just prefer the others.

I get annoyed when I hear that someone calls the big scores old and tired. They are not tired.

38. Paulaner - August 19, 2009


I see your point and I respect your opinion. Goldsmith is a master. Horner… I don’t like his Trek scores, but this is just me.
Let me elaborate on the meaning of “refreshing”: the last four movies all had very bland scores (imo). And Goldsmith was one of the composers. Uninspired. Tired. Without personality. I hated them. I simply think that keeping this path was a suicide. Giacchino’s score was not epic? Didn’t have a theme? I don’t think so. I keep playing some of the tunes in my mind. His score has found a way in me. In… my…. opinion

39. Paulaner - August 19, 2009

#37 “I get annoyed when I hear that someone calls the big scores old and tired. They are not tired.”

I have been misunderstood. In my opinion, those kind of scores would have sounded old in this new movie. Listening the same orchestral musical styles in ST09 would have annoyed me. I was expecting something different. And I liked it.

40. Horatio - August 19, 2009

Goldsmith and Horner scores getting old and tired?


I liked Giacchino’s score, but hey, it did start getting a bit repetitive by the end of the movie.

Goldsmith has and always shall be, the best.

41. Capt Krunch - August 19, 2009

Awesome, though I doubt very many people have heard his Land of the Lost score….ha ha….I listen to the TREK soundtrack daily from Youtube, though I have found it difficult to locate this soundtrack anywhere!
I think the sound was epic…. especially Enterprising Young Men…
when the the TREK logo and arrowhead appear…awesome!!! Labor Of Love is very moving…brought a tear to me eye!
Still hard to compare it to Goldsmith’s TMP soundtrack..The Klingon theme, Enterprise leaving spacedock, the theme when Spock is flying into Vejur..
I guess the only weird thing about any soundtrack or artist is that they have their own interpretation of what the “TREK” theme should be..
We know Trek from the Alex Courage theme…then Goldsmith’s opening theme became it for TMP and NEXTGEN…then Horner gave us a new them in TWOK…though he used the TOS opening which was so sweet!!
then TVH, used a totally new one ..though it sounded like everything Rosenman does..though I loved the theme when they were leaving the councel chamber and shuttling over to the 1701A… then Eidleman gives us that serious “Firebirdesqe” opening in TUC…

Still love the TMP theme the best, but TREK has definately cemented a place in my heart..

42. Paulaner - August 19, 2009

#40 “Goldsmith has and always shall be, the best.”

Listen carefully to First Contact, Insurrection and Nemesis. Even a master like Goldsmith has his tired moments ;)

43. captain_neill - August 19, 2009


I respect your opinion but I disagree, Nemesis was Goldsamith’s weakest but FirstContact and Insurrection had great scores and to me are more memorable than the new movies

I feel the new score is better than other film scores these das but my main problem these days are that film scores are too generic these days.

44. Weerd1 - August 19, 2009

I would put cut five, “Enterprising Young Men” up against any piece of Trek music with the possible exception of the TMP main theme. I also have a tough time thinking of a better MOMENT of Trek music than the build-up to the Enterprise’s nick of time appearance to destroy the Narada’s torpedoes heading toward Spock. Maybe on TNG in Best of Both Worlds when the Borg first appear, but probably not.

I have no problem with the older scores- I just think this one is every bit the sound of Star Trek as they are.

45. The Middleman - August 19, 2009

Nemesis was definately Goldsmith’s weakest, but that’s also the problem of the movie itself, the way Stuart Baird edited and dirtected it just didn’t give him a good opportunity to create a better score. (NuTrek on the other hand had actually a lot of scenes that could have used a much better score).

Insurrection and First Contact are way above this movie’s score. Complexity, themes, overall quality of the themes.

Of course that’s my opinion, and you have yours.

46. The Middleman - August 19, 2009

What I especially dislike is the rendition of Courage’s theme at the very end of the movie (Spock’s Final Frontier speech). I really can’t stand it. The transition from the famous fanfare to the main theme, it was so great in the original series, it was excellent in Horner’s and Eidelmann’s scores, but I really dislike it in this score.

47. pock speared - August 19, 2009

#21 dom
i love opera.
my post was addressing the idea that the score was “underwhelming” for some cadet named “zaphod”. the point missed, in my arrogant opinion, was that the score had an intentionally unfinished feeling that reflected kirk’s character. note that it was also complex and subtle, just not the ostentatious bombastics that earlier trek scores had begun to overuse as “what space opera sounds like.”
(see ‘star wars’ and ‘the last starfighter’ and everything since as well.)

it’s not “faux melodrama”, i’m not “stupid”, i agree there’s alot of garbage out there, and like you, i think “kahn” is a also great score (again, in my arrogant opinion).

48. Check the Circuit! - August 19, 2009

@ Middleman

Overhyped and overreactions, huh? One of the best reviewed movies of the year. Not genre-specific…but best reviewed period. Box office receipts that are closing in on the totals of TNG era movies combined. The fifth biggest movie of 2009 so far. And just yesterday, Star Trek was called out as the benchmark for reinventions for classic icons and movies by USA Today. (Yes, better than Batman and James Bond.)

That’s not hype. Those are the facts. So what you see here “and elsewhere” isn’t an overreaction….it’s virtually universal embracement and praise for the work of a talented cast and creative team. It’s the kind of mainstream success for Star Trek most of us have dreamed of for the last 40 years.

It also means you and the other Talifans are in the vast, vast minority as you continue to spew bile about an amazingly successful movie. Take over to

49. Zaphod - August 19, 2009

It was underwhelming for any number us, #47. But nice going for the ad hominem attacks. Really “classy.” See, I can use quotes ironically too.

There was very little thematic development in the score (what, two themes? Three, if you count the brief Vulcan interludes?), and as others have said it was incredibly repetitive.

But hey, maybe you’re a guy who has three emotions that just occur constantly, and that’s why this was an emotional, unfinished score that so obviously gives you a hardon, with the result that anyone who disagrees with your solipsistic worldview needs to be derided.

50. The Middleman - August 19, 2009

So you’re trying to tell me that the overreaction of the media (and your own obviously) is evidence that there is no overreaction?

51. Brett Campbell - August 19, 2009

47 – “Khan” is the only Trek score I own — on LP from a cut-out bin in the mid-80’s. The extended version is the only one I will look to buy on CD. The only other film scores I own on CD are “To Kill a Mockingbird” and “Planet of the Apes” (1968). I don’t earn a huge income, and I will only plunk down cash on a score that I find to be truly beautiful, remarkable or amazing. Horner’s work on TWOK fits the bill in all three categories, IMHO.

52. Crusade2267 - August 19, 2009

I truely enjoyed this score. I’ve caught myself humming the main theme quite a bit, actually. It’s up there with Goldsmith’s TMP/TNG theme, and “Labor of Love” hits my list of Favorite Star Tracks. Somewhere between “Stealing the Enterprise” and “Jumping the Ravine.”

53. dalek - August 19, 2009

#8 Daniel

The brief that JJ gave Giacchino was something like to come up with a score that felt incomplete, so that it would actually mirror Kirk’s journey throughout the majority of the film. Kirk was an incomplete man who had yet to find his purpose as leader, and hadn’t really found his true footing til the end of the movie when he became Captain.

54. Cafe 5 - August 19, 2009

Star Trek music is at its best when it evokes a powerful emotional response. The music Giacchino wrote works within the framework of the movie to move the story but it lacks an emontional punch. The fan made Starship Farragut:For Want Of A Nail music by Hetoreyn is truely a Star Trek type score. The music is soaring,epic and emotionally powerful. It is everthing Giacchino’s wasn’t. If you can give it a listen.

55. dalek - August 19, 2009

#54 your name wouldnt be Hetoreyn by any chance lol Can you send a link to the score and I’ll happily check it out. Thanks.

56. 16309A - August 19, 2009

#4 I was underwhelmed with the score–guess I lack the intellegence that you have, because I sure missed the point. TWOK must be for us simple folks, because I got it.

57. Cafe 5 - August 19, 2009

#55 There might be something on the Star ship Farragut web site. I got my copy of the score at Amazon.

58. Check the Circuit! - August 19, 2009

@ Middleman

Like I said, I’m just stating the facts. If you need to call it hype/overreaction because, for some inexplicable reason you are unhappy about the film’s clear financial and critical success, you cannot reconcile said facts without an arbitrary label to justify them….then that’s your business.

I really don’t understand the vocal minority in this case. Star Trek’s future has never been brighter. It’s a time to rejoice…not naysaying.

59. star trackie - August 19, 2009

#17 “The opening track is basically the entire score (you know I’m exaggerating a bit) played 20 different ways. ”

That’s the one thing I didn’t like. No variation of themes. Having said that, I own it and it’s very listener friendly. I realize JJ was trying for this “unfinished” feeling in the music, and that’s cool. A little too highbrow I think, and I’m not certain they succeeded, but what we got was still very very good. I would have rather had a few more memorable TV cues buried in there somewhere instead of the same one done over and over.

60. Paulaner - August 19, 2009

#58 “I really don’t understand the vocal minority in this case. Star Trek’s future has never been brighter. It’s a time to rejoice…not naysaying.”

You know, I think that trekkers are way too conservative. There is this everlasting tie with the past, which often leads to close-mindness. Past shows, past themes, past directors, past music, and so on. We always compare, and, to be honest, we are never pleased. I mean no offence, because sometimes I, too, fall in this trap.
The past is a warm cradle, but sometimes we have to accept something new, without regrets, from time to time. Might be funny.

61. Capt Mike of the Terran Empire - August 19, 2009

Good to see him wearing a Yellow Shirt. Because if he wore Red he would be Dead to the Award. Lol. Love the Music he did for Trek. I listn to it all the Time. I hope he is back for the next Trek.

62. ger - August 19, 2009

Yesterday the argument mostly was “Thank God we are back to TOS, all the other shows are crap because the characters are not Kirk and Spock.” Now if that isn’t conservative and close minded then I don’t know.

63. Buzz Cagney - August 19, 2009

I seem to be in the minority here but I really enjoyed the music for Trek- sure, it wasn’t consistently great, but it delivered when it most needed to.

64. OneBuckFilms - August 19, 2009

When looking at Giacchino’s score, I don’t think it should be compared to past works in the Trek canon, because the movie and score had to do things a little differently.

I love pretty much every second of Giacchino’s score, and I love Goldsmith, Horner and Eidelman’s work on the movies.

There are parts of Dennis McCarthy’s Generations, and Leonard Rosenman’s TVH scores that are great too.

Giacchino’s theme was intentionally incomplete sounding, since it was there to represent an incomplete James Kirk.

Listening to Enterprising Young Men, I find the theme works great as a bombastic fanfare, even though it is not a militaristic, jazzy march like Goldsmith’s TMP theme, and it works fantastically in counterpoint to the TOS theme in the end credits.

The warmth of Spock’s theme, in quiet moments played on the Erhu, provides a positive, yearning sense of wisdom, and perfectly represent’s his journey in the movie.

The low brass of Nero’s theme also worked well for that character, and the Narada, providing a sense of menace and rage.

It was an EXCELLENT score, and to my mind, quite epic, and in many ways a little old-school, with a more modern sound than Star Trek is used to.

When we look to the absolute musical genius of Jerry Goldsmith’s TMP score, how can any composer working today match that in terms of thematic and orchestral brilliance?

The score for The Wrath Of Khan has become a classic due to how well it was written for the movie, how well it worked as a standalone presentation, and the time it has been known and loved.

Giacchino’s work does not have the advantage of time and familiarity the other works have had, nor does it have the luxury of sounding like Goldsmith or Horner.

In short, rather than comparing Apples to Oranges, lets look at how enjoyable the score is, how well it works for the movie, and how those themes could be developed in future movies.

65. S. John Ross - August 19, 2009

I’m very slightly rooting for Hans Zimmer … the scores for both Frost/Nixon and the Dark Knight were really warm-blooded, and we haven’t been seeing enough of that, lately.

But I’ve enjoyed the work of every composer nominated, so I’m just rooting for all of them really :)

66. Dr. Image - August 19, 2009

#8- Yes I wish the main theme had been bigger, too.

Giacchino commented that he wanted the score to sound “unfinished,” mirroring the development of Kirk. Perhaps this is why he used what seems to be a “minor” theme for the “main” theme.

Even still, I think it was better than Golsmith’s last three- ironic since to me, Goldsmith is like God.
(Personally, I think Goldsmith was hamstrung by Berman at the time.)

67. Riker'sDad - August 19, 2009

Is it OK for me to like the music from the new movie AND from the movies of the past? Or is it a requirement of posting on this board that I hate one or the other?

68. RD - August 19, 2009

I’ll never understand how a composer can be nominated for “Composer of the Year” without having a single on of his scores nominated for “Best Score”.

69. RD - August 19, 2009

4. pock speared wrote: “we are thankfully moving away from sci-fi opera grandeur and into an emotional response to character … if you cried during the death of of the kelvin, it was the score … that you were responding to.”

The irony of your statement is that the Kelvin scene was closer to the traditional style of Williams & Goldsmith than almost anything else in the film.

Whatever anyone thinks of this film, I find it interesting that those who loved it, always cite this scene as proof of its effectiveness. If the score and sound are 70% of this movie’s success, then so must this scene be.

70. Horatio - August 19, 2009

67 – Of course you can like both. I think the vast majority here do. Its just that a very few seem to take the attitude of “What?!?!?! You didn’t have a Trekgasm over Giacchino’s soundtrack!?!?!?!?!” and unless we agree with that we are somehow stuck in 1979.

Giacchino’s soundtrack was nice. I love the ‘Enterprising Young Men’ and Vulcan music especially. Its just that some of us here thought that after a while the music sort of got a little repetitous. How that somehow gets turned in to some sort of pidgeon hole of what Trek should be is beyond my ability to reason.

71. HotStove - August 19, 2009

Loved, LOVED the new Star Trek soundtrack. The tracks “Enterprising Young Men” and “Nailin’ the Kelvin” are as good as anything Horner or Goldsmith ever did, and that is indeed the highest praise I can think of.

Gotta say, though, that “The Dark Knight” was also an amazing soundtrack…

72. cd - August 19, 2009

Ratatouille was on the other night and the music on the end credits was great. The music on The Incredibles was also great. Why couldn’t Giacchino have brought the same greatness to Star Trek? I was really looking forward to that. It seems most of the elements that came together for this movie were hamstrung or just lacking. Disappointing.

73. JimJ - August 19, 2009

I predict if he is back/available for the next movie, you are gonna hear something much more exciting (similar to the greatness of The Incredibles or Up). I have a hunch that JJ & company will not “reign him in” like they did for this last movie. I will flat out admit that my favorite tracks for the movie are when George Kirk dies/Jim Kirk is born, the “Enterprising Young Men” track, and the very final track/end credits that incorporates A. Courage’s theme. There is some great stuff on that track #15.

My soundtrack preference order is:
1. FC (Goldsmith)
2. TSFS (Horner)
3. TUC (Eidelman)
4. Star Trek (Giacchino)
5. TFF (Goldsmith)
6. TWOK (Horner)
7. INS (Goldsmith)
8. NEM (Goldsmith)
9. TMP (Goldsmith)
10/11. (TIE) TVH (Rosenman) & GEN (McCarthy)

I’d love to hear what Ron Jones could do with a Trek movie score if given the opportunity.

74. Ran - August 19, 2009

The score had no depth and was too bombastic for my taste. I found it trying too much to follow the on screen action without having a voice of its own. The musical narrative was missing for most of the non action scenes. This is one of Giacchino’s weaker efforts compared to his other scores and one of the weakest Trek scores ever. My guess is that most of the younger audience liked the score where the “old” ones did not.

75. Brett Campbell - August 19, 2009

74 – Well, this “old” guy just doesn’t remember the score that well. I think it was Bruins 7 and Tigers something else.

Now, could somebody cut my prunes for me.

I’m gonna be late for the early-bird senior special at the Dentures-Optional Diner!

76. RD - August 19, 2009

#72 & 73 – The Incredible, Ratatouille & Up are all genre scores and as such highly imitative of specific models: the most obvious being John Barry’s work on James Bond for the Incredibles, as was Mission Impossible: III. All three were exceptionally well crafted if highly derivative of others’ styles.

Speed Racer was as forgettable as the movie, but once again had a derivative style to it. Alias, in the early seasons, draw heavily upon Run Lola Run. It wasn’t until LOST when he found his “style” and which simultaneously crept into the last seasons of Alias. The work he has done there is truly groundbreaking from a number of perspectives.

While he was capable of bringing a Williams/Goldsmith/Horner/Edleman sound to Trek, what I sense resulted was a kind of hybrid between the style he found in Lost and elements from Trek’s glory days. The end result for me did not translate as well as any of his other efforts.

77. THX-1138 - August 19, 2009

Maybe as a musician I want the score to stand out on it’s own a bit more and almost be another character in the movie. My test for a soundtrack is if there are some memorable themes that I find myself humming when I exit the theater or maybe a day or two later. I didn’t get too much of that from this movie. Not like I did for The Incredibles. That score still kicks all kinds of ass and is so perfect for that movie.

As an improvising musician I am really into melody. I love distinct melody that stays with you. The new Trek score isn’t a bad one, it just didn’t satisfy my desire for real strong theme. It’s all a matter of taste but that is where mine lay.

78. RD - August 19, 2009

#74 Ran wrote: “My guess is that most of the younger audience liked the score where the “old” ones did not.”

When Star Wars came out, I bought everything associated with the film, which included the soundtrack album. At that age, I actually had not noticed the score at all in the movie, I simply had to have it because it said Star Wars on it. Ultimately it became the catalyst for my interest in film scoring.

However, my motives for buying it in the first place were: if it was Star Wars it was great. If you said you didn’t like Star Wars, I said you were an idiot. By association, if you didn’t like the music, you didn’t like the movie and you were also an idiot. I didn’t know anything about the music, but by association, I said it was the greatest thing since Beethoven’s 5th.

That’s what I think is happening here.

79. me - August 19, 2009


Good comment.
For some of the people that actually might be true.

80. Andy Patterson - August 19, 2009

I’ve heard a few say that John Williams is too thematic. Too showy…whatever it is. (He can do subtle by the way -Angela’s Ashes)That you can go away humming a melody. Well isn’t that horrible. How dare he give us something you can remember and associate with a character or scene!! That to me is like saying the meal you had was too tasty. Too flavorful. The presentation was impeccable. And the ingredients were perfectly prepared and orchestrated. It wasn’t bland or flat at all….but I didn’t like it.

Personally I like my themes in a show or movie. The original show had bold, broad themes and dramatic cuesfor bold, broad, dramatic characters. That show – these characters – is what we’ve just based a movie on isn’t it? – sort of. And to this day we have characters and music we associate with Star Trek. (The fight scene betwen Spock and Kirk “Amok Time”) That’s a big thing this movie was missing for me – among others. I like my Star Trek with broad strokes and memorable fanfare. And if we want to get down to it Nelson Riddle even did that for Batman.

Interesting Abrams would tell him to subdue it. If true…figures. Was that the problem? I like Giachinno’s stuff for Incredibles and Ratatuoille but this was not my Star Trek or my favorite score. Like other elements in it, for me, it missed the point. The spirit. It was a very un-Trek score to me.

81. pock speared - August 19, 2009

“But hey, maybe you’re a guy who has three emotions that just occur constantly, and that’s why this was an emotional, unfinished score that so obviously gives you a hardon, with the result that anyone who disagrees with your solipsistic worldview needs to be derided.”

i can’t imagine what i said that would justify your attack, or bullshit. i like the score and i presented my reasons.
and maybe your a dick. or have a wee tiny one.

82. SChaos1701 - August 19, 2009

Giacchino’s score was incredible. I had the soundtrack before the movie and it only got me more excited for it. After I saw the movie the first time, I listened to it. Since May 9th, I still find myself humming the main riff from the soundtrack. I’ve been a Trek fan most of my life and I’ve never done that before. If you don’t like it…fine…that’s your opinion.

83. Christine - August 19, 2009

My money’s on Alexandre Desplat, but Giacchino did a wonderful job with Star Trek’s score. It was actually a lot better than I anticipated.

Best of luck to him at the awards!

84. Zaphod - August 19, 2009

81 – go read your messages. You were an ass.

85. Anthony Pascale - August 19, 2009

warnings to pock speared and zaphod for flaming

find ways to debate and keep it civil please
…and no it doesn’t matter who started it

comments to

86. Author of "The Vulcan Neck Pinch for Fathers" - August 19, 2009

It is always nice to hear someone associated with Trek receive accolades, and in that vein I’m happy for Giacchino, but I do not share the enthusiasm for his Trek score. I found it to be the one disappointing aspect of the film; a tinny, staccato, even tedious effort at times.

I continue to maintain that its unfair to compare it to Goldsmith’s legendary TMP score, because few scores will ever compare favorably to it. It is, however, quite reasonable to compare it to Horner’s work for Wrath of Khan. Having just listened to the re-released TWoK score, I cannot help but note the similarities between it and Giacchino’s work in style and purpose, yet find Horner’s orders of magnitude more compelling, more engaging, and a better complement to its film. It truly became part of the story, particularly in the vein of the submarine feel Meyer wanted to convey in the battles between the Enterprise and the Reliant. Elements from any one of myriad soundtracks could have accomplished what Giacchino did, in my opinion.

My main frustration with the score is that it has no particular theme, no resonating depth, nothing that will compel me to listen to it multiple times, nothing that will make it memorable even a year from now.. And, just for the sake of full disclosure, I’ve bought the soundtrack, and I have given it several full opportunities, and I stand by my assertions.

“Labor of Love” is the best work on the track, and “Enterprising Young Men” is pleasant, but the rest of the score is nothing better than disappointing.

It would be my hope a new composer would be selected for the sequel.

87. CarlG - August 19, 2009

I never really “got” Zimmer’s score for The Dark Knight — I found it pretty forgettable (except for the end credits), and the weakest part of an otherwise sublime film.

I’m rooting for Giacchino, for sure. Trek wasn’t his absolute best score (*cough*The Incredibles*cough*), but Giacchino at 80% capacity is still pretty fantastic.

He’s definately written a score that can stand shoulder to shoulder (ok, maybe like a half-step back) with Goldsmith and Horner. I can’t wait to hear what he’s going to do for the next film.

Just as an aside, if this was 1982, would people be complaining about that 28-year old punk Horner writing for the Wrath of Khan? I somehow imagine so.

88. LetKubrickMakeTheArtMovies - August 19, 2009

Keep MG. Let’s not return to the Rotating-Composer mess that undermined the first 10 films.

89. RD - August 19, 2009

#87. CarlG wrote: “if this was 1982, would people be complaining about that 28-year old punk Horner writing for the Wrath of Khan? I somehow imagine so.”

That’s exactly what happened. When they chose Horner over Goldsmith to save money, the industry and fans were up in arms. And Horner succeeded in blowing everybody away.

While you are entitled to your opinion, the difference here is, nobody really rejected Giacchino. Nobody had to fight to get him the job and everybody expected great things from him for Trek. But, arguably he didn’t deliver the way Horner did.

90. pock speared - August 19, 2009

#85 sorry anthony. and my apologies to zaphod as well.
love this site.

91. Jason - August 19, 2009

The way I see it is each composer that has come since Jerry Goldsmith- be it James Horner or Leonard Rosenman, Cliff Eidelman or Dennis McCarthy and now Michael Giacchino- has had to live in the shadow the master (Goldsmith) and each has done their own thing, and have all had their success. And IMO, Giacchino hit this one out of the park and gave us some of the best Trek music in years (even better than what Goldsmith did in Nemesis).

92. CarlG - August 19, 2009

@89: How did they do their complaining back then, anyway? Parcel post? Carrier pigeon? Semaphore?

93. Govt Thugs wont scare us away - August 19, 2009

Well, we all are welcome to our opinions, obviously. And mine is that it was a fantastic score, the Trek 9 soundtrack. Loved it.

94. Zaphod - August 19, 2009

90 – Yeah, no hard feelings. 92: I think letters to publications like Starlog were places that the “fan” community had its voice back in the day.

95. RD - August 19, 2009

For anyone who has not heard Film Score Monthly’s iTunes Podcast review of all of the Star Trek music from TOS to ST09, it is absolutely fascinating.

96. spock's uncle - August 19, 2009

#80… ??? Listen to the music that was scored for the film… very specific orchestrations and themes for characters (Spock in particular)… I think the score is thematic without brow beating you… it’s a nice balance… if you think there are no themes for the characters, you’ve missed it…

97. ger - August 20, 2009

“91. […] (even better than what Goldsmith did in Nemesis).”

Though I agree that Nemesis wasn’t a great score, the themes in Nemesis are much better than in nuTrek.

98. Andy Patterson - August 20, 2009


Sorry. Although I’ve only seen the movie once…they were themes that didn’t stick with me – or out to me. I’m sure they’re there. Perhaps if I listened a second time. I’m sure you’re right. And I’ll admit…I just remember being annoyed that it wasn’t more in line of what I was looking for. And…I wasn’t always listening to it solely from a compositional standpoint. I know, I know…you don’t have to tell me. The world keeps reminding me I’m in the minority on almost everything about this film.

99. RD - August 20, 2009

#98. Andy Patterson wrote: “I know, I know…you don’t have to tell me. The world keeps reminding me I’m in the minority on almost everything about this film.”

That’s right Andy and if you don’t come around soon, they’re going to have to revoke your Trek membership card. There’s no room for people like you in the new franchise. It’s all or nothing with these guys. Lest you forget, this ain’t your father’s Star Trek.

100. THX-1138 - August 20, 2009

I’m with Andy Patterson on this one. By no means is it a bad score. But for me it isn’t a very notable score. I have seen the film four times and I still can’t remember the main theme well enough to hum it correctly. And I somehow managed to get A’s in ear training in school.

I like themes. I like melodies. Spock had a theme? I never heard it. It probably was subtle. But perhaps too much nuance and not enough stick to your ribs melody.

Remember, all of this is according to taste. We all have different ones. And some of us who are musicians may not have as valid a point as those with no musical inclination. I always remind myself that music isn’t written and played for just musicians.

(But I also like to say that everybody should at least TRY to be one)

101. Check the Circuit! - August 20, 2009


“It’s all or nothing with these guys.”

I think you’ve got it backwards, my friend. While the vast, vast majority of people on this site…and the world at large….think Star Trek was a terriffic film and strong relaunch, most of us look at it objectively and can see the flaws/opportunities. It is the Talifans that simply hate it because it wasn’t EXACTLY the same as a 1969 episode. They went in hating it and never gave it a fair chance because it deviated from the black & white, purist standpoint.

Face the facts, Star Trek had to be updated or it was DEAD. JJ and team did a great job keeping the franchise alive and well for today’s audiences. Without this movie, Trek was about to fade into oblivion. I’d much rather have my grandkids still enjoying Star Trek long after I’m gone than having a slavish devotion to my “father’s version” and ensuring its demise. But that’s just me.

(And isn’t it ironic that a fictional universe built around the principles of exploration and infinite diversity attracted so many “disciples” who are rigid and afraid of change?)

102. Captain Rickover - August 20, 2009

# 101

I think there are “ttalifans” on both sides.

103. Andy Patterson - August 20, 2009


” stick to your ribs melody”

I like that one. I shall use that. I’ll footnote you.

104. ger - August 20, 2009

Talifan… are you trying to insult other fans that don’t share your opinion by comparing them to the Taliban, or are you trying to insult the Taliban by comparing them to Trekkies?

105. RD - August 20, 2009

#101 – (re: #99) it was a joke. But just as there is a vocal minority who go around screaming that there is nothing good about this movie, there is an equal majority who brand anyone who criticize any aspect of the film as a “hater”. You should know by now that I play devil’s advocate a lot since I perceive a large percentage of the traffic on this site as polar opposites in opinion, unwilling to see anyone else’s point of view. In the real world I tend to see moderates and no extremes, actually. Perhaps it is the anonymity of the internet which gives people such freedom.

106. Check the Circuit! - August 20, 2009

Yeah…maybe RD. I like to think of myself as moderate too. I guess I find myself going more extreme positive when confronted with extreme negative. (Always been a glass half full guy.) I just find it so bewildering when fans who claim to love Star Trek (infinite diversity, et al) are so closed minded.

Here’s to the human condition.

(Or if you’re hungry….the hunan condition.)

107. THX-1138 - August 20, 2009

And here’s to extreme apathy!

108. RD - August 20, 2009

#106, re: #105, oops, that should be: just as there is a vocal minority who go around screaming that there is nothing good about this movie, there is an equal minority who brand anyone who criticize any aspect of the film as a “hater”.

I did not mean to imply one group was worse or larger than the other. In fact I’d say it’s pretty representative of the world at large for those who chose to broadcast their opinions publicly.

109. ST - August 20, 2009

Personally I felt the score was pedestrian at best. I can’t understand why everyone loves it, sorry but Jerry Goldsmith’s stuff is WAY BETTER!!. And frankly he deserved an Oscar.

Not saying the Giacchino’s stuff is bad .. but it is NOT the best Trek music ever. I was totally pissed when I heard the title theme of the new Trek film, i immediately thought ‘Hanz Zimmer’, and no that’s not a good sign. Generic, predictable, and boring. There are many composers who’s music would have been better.

Giachinno certainly deserves recognition for his music to films like Ratatouille, and Incredibles. But i won’t be at all surprised if he wins the award for this, since no one has any f**king taste in good film music anymore.

110. pock speared - August 20, 2009

#105 RD
” Perhaps it is the anonymity of the internet which gives people such freedom.

like you? you’re posting largely and freely here (and usually intelligently, yet hey, i think belligerently sometimes), and more power to ya. but you become majority via quantity, and as often as i agree with you, gotta say, please allow for the moderate view. never said you were a hater. must you correct us on every enthusiasm?
and yes, you do, do that. check the mirror in between posts, cupcake.

with respect,

111. Dom - August 21, 2009

101. Check the Circuit!

Please don’t the term ‘Talifan’. It was coined by a hack, low end science fiction author (a man who pays people to go to the likes of Amazon to post positive reviews of his work) who is currently destroying the legacy of one of the great SF writers of the second half of the 20th century.

47. pock speared:

Dude, please don’t be so snippy. I only said your post came off sounding arrogant, rather than that you are arrogant personally.

I know someone who tends to make remarks like ‘Of course, Christopher Nolan is overrated’ or ‘Batman Begins was a mess’ in a knowing way like he’s in on something only ‘special’ people like him know, when, actually, he’s simply spouting personal opinion as fact! It drives me up the wall.

Remarks like: ‘we are thankfully moving away from sci-fi opera grandeur and into an emotional response to character’ are baseless if you don’t explain why music is ‘thankfully’ moving that way and from where you’ve developed that belief. How did you get an idea like that? From a magazine article, the web?

Because, from where I’m sitting, Giacchino, like Abrams generally demonstrate an old-school sensibility with regards to themes and structure.

I haven’t heard anyone else declaring that a supposed ‘thankful move away from sci-fi opera grandeur’ is happening. I’m a big Giacchino fan, but I simply don’t feel it was his best or most memorable score – indeed the musical item I remember best from the film is Sabotage by The Beastie Boys!

Love the new film, and while I think Giacchino’s score beats anything from the previous four films, I just don’t think it’s on a par with TMP, TWOK, TSFS, TVH and TUC.

112. pock speared - August 21, 2009

#111 dom
i already said this, but by “thankfully” i mean that the scfi grandeur, although once effective, has worn thin for me, and apparently the filmmakers as well (i suspect the score for galaxy quest-which was a pretty good example-might be a reason).

several posters agreed quite readily (see above).

i agree it may not be his best score. i was applauding the way the score seemed to have strong character portraiture elements. another way to see it is goldsmith wrote a bombastic score for a big bombastic starship, whereas giacchino is scoring for the people who live in a starship.

and hey. i develop my ideas as you hopefully do: from experience and observation. your “magazine” comment is a lame bait.

and i know that it makes no difference, but i am in fact a composer and sound theorist. it’s how i make my living, so i care about these things. and of course, i’m a fan of star trek.

113. pock speared - August 21, 2009

and yeah, the term talifan has to go. well said, dom.

114. RD - August 21, 2009

#110 – y tu? I know exactly what I do here, so no worries there. Not casting stones only proffering an opinion. I assure you if I am ever belligerent it’s only in defense of a direct attack and then I avoid any personal attacks. Nevertheless, this is the usual exchange I see on this site:

1) This movie sucks!
2) This movie rules!
3) This movie was good but I didn’t like something
4) #1 you suck
5) #3 if you didn’t like something, then you’re just a bitter hater
6) #2 this movie is so full of flaws you must be an idiot.

Yeah, that’s about right. 1 out of 6 comments is rational. 1 out of 6 hate the movie and 1 in 6 love the movie, with no middle ground. 3 out of 6 attack other people personally for their views, 2 out of 3 are “lovers” to 1 “hater”.

My posts hardly constitute a majority. Then again, I haven’t done an official accounting, so you may be right. Imagine a world where the moderates dominate a Star Trek forum! Truly an alternate reality.

And back on topic:
#111 Dom wrote: “and while I think Giacchino’s score beats anything from the previous four films, “

I have to take exception with that. I really loved the score from “First Contact”, though arguably the rest are forgettable. Agreed on the rest.

#112 pock speared wrote: “goldsmith wrote a bombastic score for a big bombastic starship, whereas giacchino is scoring for the people who live in a starship.”

While I wouldn’t necessarily disagree with that, I would argue that James Horner’s score very effectively scored the characters, in the same way John Williams scored Luke, Leia and Han, NOT the ships. Yet both could certainly be bombastic when necessary, as could Giacchino.

115. pock speared - August 21, 2009

#114 rd
“While I wouldn’t necessarily disagree with that, I would argue that James Horner’s score very effectively scored the characters, in the same way John Williams scored Luke, Leia and Han, NOT the ships. Yet both could certainly be bombastic when necessary, as could Giacchino.”

yes, i agree. further, horner at times to could give us far more info than the actors did in a particular scene. i did feel that there was more mesh between written character and score with giacchino. this is highly subjective, i know.

and ha! your numbers on the “usual exchange” sound perfect to me. i would add a #7) for the very small percentage who feel that to be contrary to anyone over anything justifies the sound of their keyboard going clickity-clack. (this does not include you, of course.)

116. Dom - August 21, 2009

112. pock speared: ‘your “magazine” comment is a lame bait.’

Wasn’t intended that way. It was more that the guy who winds me up with his ‘informed’ comments probably gets them from a magazine.

114. RD: I have to take exception with that. I really loved the score from “First Contact”, though arguably the rest are forgettable.’

FC mostly sounded like a blatant rip-off of Copland to me. I liked Joel Goldsmith’s bits the best. I just don’t think Jerry Goldsmith contributed anything interesting to Trek music after TMP, rather constantly riffing, boringly, on the same themes. And somehow Horner’s ‘borrowings’ from Prokofiev just work better for me. ;)

117. Check the Circuit! - August 21, 2009


Who is this hack you refer to and the writer whose legacy is being destroyed?

118. Scott - August 21, 2009

– 116

I’d agree that the later Goldsmith pieces did get somewhat less interesting .. Nemesis was perhaps his worst works. But Certainly ST:TMP, and ST:V are amazing works.

I wish they had Joel Goldsmith do Star Trek .. he certainly earned the right to do it.

would have been also wonderful to have John williams do it .. then it REALLY would have been ‘old school’. Instead of the ‘crash, bang, whallop .. oh it’s the sad moment .. whallop, bang’ .. that Giacchino gave us.

119. pock speared - August 21, 2009

#116 dom
i never noticed the copland on FC style you referred to, but yep, it’s right there and almost plagiarism at times. now it cracks me up. fanfare for the common starship. good call.

i suppose i was too busy cringing through FC to notice. not a bad film, but nemesis was already in there, incubating, waiting to happen. i never found a crew less interesting or more contrived than film era TNG. but that’s off topic…

120. Dom - August 22, 2009

119. pock speared

Yeah. The TNG crew generally were TV actors and characters through and through. Thing is, there’s nothing wrong with that as long as they stay on TV. It’s wrong for people to think of cinema as a ‘superior’ medium to TV. It’s just different. The original Star Trek characters could make the crossover. The TNG ones couldn’t. It’s not the actors’ fault. it’s just that TNG works better as a TV show.

TNG should have been like other ‘proper’ ensemble shows and had a more fluid cast. It could easily have run 14 years had they done that. After five years, Picard and Worf could have left for DS9 and after seven, the Enterprise-D could have been destroyed. Face it, Riker had become a proper captain by the end of The Best of Both Worlds. After that, it was pointless having him around as a first officer! Had they kept TNG running, we could have seen the Dominion War from both the Enterprise-E’s and DS9’s point of view!

For a laugh, though, try running the ice battle music from Alexander Nevsky against the battle in the Mutara Nebula scene in TWOK! Cut for cut, beat for beat, it fits rather well! :)

121. ger - August 22, 2009

“i suppose i was too busy cringing through FC to notice. not a bad film, but nemesis was already in there, incubating, waiting to happen.”

Sorry, but that’s bullshit, and you know it.

122. ger - August 22, 2009

“FC mostly sounded like a blatant rip-off of Copland to me.”

Copland? That Sylvester Stallone Copland scored by Howard Shore?

123. pock speared - August 22, 2009

#121 ger
can’t hear you through the flame, cupcake.

124. Anthony Pascale - August 22, 2009


final warning for your language and attitude. if you cant be civil here, i am sure there is another website out there more suited for your tastes

125. pock speared - August 22, 2009

#120 dom

if you mean the prokofiev stuff, i tried it and had a blast. scary how accurate it was in places. thanks!

for a real hoot, try herb albert and the tijuana brass’s ‘theme to casino royale’ over the same scene… although that score works over about anything.

126. Dom - August 22, 2009

117. Check the Circuit!

I swallow in a dry throat and tell you it involves a mostly arid world and the trade in an age- and conscousness-enhancing drug. is represented by Gorilla Nation. Please contact Gorilla Nation for ad rates, packages and general advertising information.