Star Trek: The Motion Picture, referred to commonly as TMP, arrived two years after Star Wars and Close Encounters of the Third Kind and a year after Superman: The Movie. Those were the films that John Williams astounded moviegoers’ with, introducing heroic scores and signature themes that would make him The Composer for fantasy adventure films of the day. Naturally, he influenced the works of other film composers working on similar projects. I bought his records and sought out any other works that were just as exciting to listen to, that carried a weight that was as epic, romantic and inviting as Williams' work. And Jerry Goldsmith’s score to TMP easily met the criteria.
If by chance none of the above films are familiar, everybody still knows at least one Goldsmith piece of music. The "Main Title" from TMP was re-used as the theme for Star Trek: The Next Generation. Specifically, the music wasn’t composed to be a TV theme, but no one can argue the theme sounds right for a Star Trek show. It exudes confidence, adventure, discovery, even a little whimsy. Hum a few notes and everybody knows the show you’re talk about.
Some friends and I attended the event, where we also got to buy our copies of the new 3-disc collection a day before its official release date plus have them autographed by two of the panelists. The 115-minute panel discussion, hosted by Jeff Bond, included among others the soundtrack's producer and long-time Goldsmith recording engineer Bruce Botnick, and Craig Huxley and David Newman who both performed on this score. It was a much better program than I had expected it to be. Many of the anecdotes that were shared were very informative or very entertaining. David Newman, who played violin in the score and would become a successful film composer himself, scoring the Star Trek-inspired comedy Galaxy Quest and the sci-fi cult favorite Serenity, explained that Williams’ popular romantic style of film music that had quickly become the norm to film goers and filmmakers, and that challenged Goldsmith’s own modernistic style of music, a challenge he slowly but obviously successfully overcame. Goldsmith’s agent Richard Kraft shared with us the composer’s annoyance of a young James Horner who hung around the recording sessions to watch Goldsmith but also spend a lot of time talking to the Paramount execs. Horner would later go on to compose the score to TMP’s next two sequels, Star Trek II: The Wrath of Khan and Star Trek III: The Search for Spock before scoring Titanic.
Huxley told the audience how excited and intrigued Goldsmith was when he learned about the blaster beam, and how the composer was eager to use it in his score for TMP. In the middle of the panel discussion, Huxley stepped behind the blaster beam to recreate some of the tones Goldsmith composed for it in the score and sounds used in the sound design of the film. For all the geeks in the room, it was an amazing experience to hear these familiar sounds performed live in front of us! I recorded the entire demonstration. Take a look at it below.
The new Star Trek: The Motion Picture 3-disc original soundtrack collection is limited to 10,000 copies and can be ordered from La-La Records or Screen Archives Entertainment.