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The Official Star Trek Music Discussion Thread


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#881 of 1060 ONLINE   FanCollector

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Posted July 30 2013 - 05:59 AM

Scott,

"The captain requires complete information."
Ms. Fontana wrote (if memory serves):
Charlie X
Tomorrow is Yesterday
This Side of Paradise
Friday's Child
Journey to Babel
By Any Other Name (with Jerome Bixby)
The Ultimate Computer
The Enterprise Incident

A few of those had stories credited to others, but apart from By Any Other Name (which we have recently discussed in the trivia thread), they either came from VERY brief story ideas or required page one rewrites. As story editor, she also worked with writers or revised scripts for just about all the episodes in the second season and the last couple of the first season. She is pseudonymously credited with story ideas for The Way to Eden and That Which Survives, but I think she would probably prefer we don't count those among her output, as the scripts were not written to her satisfaction and they didn't much resemble her initial ideas.
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#882 of 1060 OFFLINE   Ockeghem

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Posted July 30 2013 - 06:03 AM

Lee,

Thanks.  I believe Ms. Fontana co-wrote This Side Of Paradise (or at least that is what was shown on the screen at the conclusion of This Side Of Paradise when I watched it last night).  She did the teleplay (solely) for that one as well, I believe.

 

Incidentally, I edited my post #880 above while you were posting, in case you didn't see that one yet. :)


Edited by Ockeghem, July 30 2013 - 06:04 AM.


#883 of 1060 ONLINE   FanCollector

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Posted July 30 2013 - 06:04 AM

Kevin,

It's the collector's dilemma!! Can we ever be truly happy?

I have also enjoyed the Elaan of Troyius score enormously, never having given it proper attention before. And I think Amok Time (a marvelous score) has unfairly eclipsed Catspaw and Friday's Child among Fried's works, just as Courage's first season scores have taken all the attention from his excellent third season ones.

#884 of 1060 OFFLINE   Ockeghem

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Posted July 30 2013 - 06:07 AM

I am really appreciating the love being shown by both Kevin and Lee with regard to Friday's Child.  Of course, in one of my previous posts I mentioned that that episode was among my favorites of D. C. Fontana, except that the more I think about it, she didn't write too many notes of that music score -- perhaps one of the primary reasons I love that episode so much. ;)


Edited by Ockeghem, July 30 2013 - 06:08 AM.


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Posted July 30 2013 - 06:09 AM

Lee,

Thanks. I believe Ms. Fontana co-wrote This Side Of Paradise (or at least that is what was shown on the screen at the conclusion of This Side Of Paradise when I watched it last night). She did the teleplay (solely) for that one as well, I believe.


Yes, she did a complete rewrite of Jerry Sohl's draft. He hated it so much that he took his name off the story and used a pseudonym. Roddenberry and Coon liked it so much, they gave Fontana the job as story editor.

I'm sure you're right about the frequency of Monster Illusion in Paradise. They kind of made it the spores' "theme." And I don't recall it being used in Shore Leave either.

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Posted July 30 2013 - 06:11 AM

Of course, in one of my previous posts I mentioned that that episode was among my favorites of D. C. Fontana, except that the more I think about it, she didn't write too many notes of that music score -- perhaps one of the primary reasons I love that episode so much. ;)


No, she didn't. But maybe Gene Roddenberry wrote lyrics to all the music cues from the episode...?

#887 of 1060 OFFLINE   Ockeghem

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Posted July 30 2013 - 06:11 AM

Yes, she did a complete rewrite of Jerry Sohl's draft. He hated it so much that he took his name off the story and used a pseudonym. Roddenberry and Coon liked it so much, they gave Fontana the job as story editor.

I'm sure you're right about the frequency of Monster Illusion in Paradise. They kind of made it the spores' "theme." And I don't recall it being used in Shore Leave either.

 

Lee,

Well, that would explain why I didn't see the name of Jerry Sohl beside Fontana's!  Goodness, how could he not like her rewrite?  Perhaps egos were at play, who knows.  I think it's a wonderful story, and among the very best ever written for TOS.

 

Yes, Roddenberry's lyrics for TOS are second-to-none. ;)


Edited by Ockeghem, July 30 2013 - 06:13 AM.


#888 of 1060 OFFLINE   Nelson Au

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Posted July 30 2013 - 07:09 AM

I don't have much to add to the excellent conversation about Fontana. But I did look her credits up on her Wikipedia entry. For some reason, I have it in my head that she had a sort of falling out with TOS in the third season and left the series more due to the changes that Frieberger had imposed then any other reason.

So her contributions were as a freelancer and as Lee posted, some of her contributions were hidden by false names in the credits.

Perhaps I'm remembering more that she had a falling out with TNG after the first year. Probably with Roddenberry's lawyer who I hear was overly protecting his interests.

Fontana definitely had the most influence on shaping the Vulcan first officer and wrote some of the best episodes!

We are fortunate to be able to feast on our bounty of Star Trek music! I'd rather do that, but I can understand the thrill of the hunt. I won't quote Spock from Amok Time. :)

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Posted July 30 2013 - 09:24 AM

No, Nelson, I think you are correct. She left the story editor job after the second season either because she wanted to freelance for other shows more or because Freiberger wanted the chance to bring in his own person. Either way, she was still on good terms with the show. She was very unhappy with the way they handled The Enterprise Incident, however, and she severed ties with the series at that point. (She had already submitted the two story ideas that were produced later.) To date, Ms. Fontana claims that The Enterprise Incident is the only third season episode she has ever seen.

#890 of 1060 OFFLINE   Ockeghem

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Posted July 30 2013 - 10:39 AM

"To date, Ms. Fontana claims that The Enterprise Incident is the only third season episode she has ever seen."

 

Lee,

 

At first, I thought there was a typo ('ever' instead of 'never'), especially given the context of the entire post.  But after reading it a few times, all I can say is wow.  I don't usually doubt people at their word, but that one is tough for me to swallow.  Even after all these years?

I enjoyed her interview on the TAS boxed set.  I wish she had delved more into TOS, but that really wasn't the point since this was a TAS set, of course.


Edited by Ockeghem, July 30 2013 - 10:40 AM.


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Posted July 30 2013 - 11:12 AM

Upon review, the interview in which she makes that claim was in the 80s. Maybe she has relented since then.

#892 of 1060 OFFLINE   Nelson Au

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Posted July 30 2013 - 11:16 AM

I'll take this to the trivia thread.

#893 of 1060 OFFLINE   Ockeghem

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Posted August 02 2013 - 07:10 AM

Guys,

 

I've been curious for some time about a segment of music which occurs in Shore Leave.  It's at the point where Kirk is looking (and calling) for Sulu, right before the Captain meets Ruth.  This is the familiar theme that we hear in Charlie X (the title of which is "Kirk's Command/Charlie's Mystery/Charlie's Gift", although I believe the actual segment is "Charlie's Mystery").  It is on season one, disc one, track 3 of the Star Trek The Original Series Soundtrack Collection, and begins at 1:09.

 

It is very badly edited at that point in Shore Leave, and is right up there with the poor visual editing we see during one of the fights in Friday's Child.  Perhaps there was a crunch for time, but that's just speculation on my part.  Any ideas what might have happened at that point in the episode to have caused this glitch?  This is something that occurs on both the VHS and DVD copies of this episode.


Edited by Ockeghem, August 02 2013 - 07:13 AM.


#894 of 1060 OFFLINE   Nelson Au

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Posted August 02 2013 - 01:17 PM

Scoot, I took a quick look at that scene in Shore Leave. You thought the transition of the music as Kirk searches for Sulu then finds Ruth to be, shall we say, abrupt?

I thought it sounded okay. I've noticed many scenes now that we have the soundtracks where longer tracks are cut up and mixed and matched to meet the requirements of time and the shot.

#895 of 1060 OFFLINE   Osato

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Posted August 02 2013 - 06:08 PM

The Star Trek Insurrection expanded score is out on Tuesday! That was fast!



#896 of 1060 OFFLINE   Ockeghem

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Posted August 02 2013 - 07:31 PM

Scoot, I took a quick look at that scene in Shore Leave. You thought the transition of the music as Kirk searches for Sulu then finds Ruth to be, shall we say, abrupt?

I thought it sounded okay. I've noticed many scenes now that we have the soundtracks where longer tracks are cut up and mixed and matched to meet the requirements of time and the shot.

 

Nelson,

No, it's not the transition from work-to-work (e.g., it is not "Charlie's Mystery" to "Ruth").  It's only the one piece (the same one that we hear in Charlix X, Operation: Annihilate, etc.) that is different due to very odd editing.  Right in the middle of the string work (the pizzicato-like texture) we hear a very odd skip, almost as if a fraction of a measure has been skipped over (as if one were listening to the recording on an LP, and it skipped).



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Posted August 02 2013 - 11:27 PM

Is it at 16:47 into the episode? It sounds like a bad edit to me. I went back and listened to the piece on the CD and there is no such skip in the original. They did shorten it by a few measures, though, so the edit may just have been hastily done. Good ear, as usual!

#898 of 1060 OFFLINE   Ockeghem

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Posted August 03 2013 - 06:06 AM

Is it at 16:47 into the episode? It sounds like a bad edit to me. I went back and listened to the piece on the CD and there is no such skip in the original. They did shorten it by a few measures, though, so the edit may just have been hastily done. Good ear, as usual!

 

Lee,

Yes, that's the one.  The Star Trek The Original Series Soundtrack Collection recording of it is fine (so is the other recording of the work that has been released prior to this 'ultimate' collection, albeit performed at a different tempo), and it's also fine every other time it is used in TOS.

 

As you say, it was probably just hastily done.  It's annoyed me for years of course, since it's one of my all-time favorite tracks used in TOS.  I wish they had used the extended (and corrected) version of that work too, since Kirk is beginning to run out into the Arena-like terrain (meaning it wasn't exactly being heard during some useful dialogue), and a few seconds more would have been nice to hear.


Edited by Ockeghem, August 03 2013 - 06:08 AM.


#899 of 1060 OFFLINE   Nelson Au

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Posted August 03 2013 - 08:15 AM

I hear it now! The time stamp helped Lee! You're right, Scott does have a good ear. :)

That cut is so subtle, I never noticed it before because to me, it sounds melodic and intended. But it's like the end credits music in The Menagerie. They edited it to extended it for all the additional guest stars. I remember noticing it in syndication and how it was kinda cool as a way to get a longer bit of music and I could hear more of that great music. It's a similar jump-cut like sound, but sounds so well done as it seems intended.

I always wondered what became of Shirley Bonne. I looked her up in IMDB and it seems like Emily Banks, they were mainly active in the late 1950's up to 1970. Both had appearances on the various sitcoms and dramas of the era.
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#900 of 1060 OFFLINE   Osato

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Posted August 03 2013 - 06:40 PM

I saw a few minutes of Return of the Archons on MeTv tonight.

 

No love for Jerry Goldsmith's Star Trek Insurrection score or the reissue coming up on Tuesday?

 

I think its a great score personally..






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