I wrote that basically in the first day or so. McCarthy: Yeah. Then you could come in and be the savior. What was your familiarity with Star Trek before you got the gig? With just the one series, I would have maybe 10 days to write the score. And I think viewers now are coming back to that show and saying, "Wait a minute. I had a Klingon theme, a Vulcan theme — I thought themes were the way to go.
Fangrrls is about kicking down doors, breaking boundaries and celebrating female fans with fun, witty and entertaining content. I was not into it at all. His collaborative work on the series also earned a Grammy nomination for 2012's Best Song Written for a Visual Media ("Christmastime is Killing Us").
McCarthy: Yeah, you couldn't hang your hat on anything. And you find yourself second guessing quite a bit.
You can't go back and fix anything because there's no time. And it was also hard to make changes because the electronic score was already finished.
Can't win 'em all. I usually record the score in two pieces. As a franchise, Star Trek is more than 50 years old. I understand the end credit music for Enterprise is actually the theme you wrote for the show. Did the new direction of that show change how you approached the music, particularly from what you did on The Next Generation?
I've worked for some producers that think it's all got to be the same. McCarthy: For me, it felt like backing into The Next Generation again.  Jones used parodies of two cues: the dramatic finale piece is reused at the end of "Stewie Kills Lois", while the piece used when Locutus of Borg first appears is reused when Lois reappears in "Lois Kills Stewie".
Between MacGyver and Star Trek, I was at Paramount for 25 years. I talked with Dennis quite a bit, and he would say, "Jay, never look back. Actually, I did write one, but I never showed it to anyone. In addition to writing the music for hundreds of episodes of Hanna-Barbera cartoons, Jones also arranged and composed the theme songs to such Hanna-Barbera shows as Smurfs and The Snorks.
And why not? Star Trek music is an adventure, and you never know where it's going to take you. That was for a Star Trek: The Next Generation show called "Tin Man." You want to do something that jumps out. But if you do 20 minutes of action every week, you're going to burn out. The three of them created the sound of a franchise almost 20 years. And the notes C, F, G, and B-flat.
The difference, really, with scoring a Star Wars or Avengers is that the music is totally in sync with the characterization. Despite the success of his work, Jones was fired from the crew of The Next Generation under controversial circumstances near the end of the fourth season. Dennis McCarthy, a composer who had worked on The Next Generation, was given the task of composing for Star Trek Generations.
Chattaway: Well, because we're all ego-driven composers, we gotta figure out how to get our licks in there and be aggressive because you don't want to just do wallpaper. On the next show, I'd have to start over from scratch. If you have to write 20 minutes of music, and it's balanced, it's a lot fewer notes and measures, and it takes a lot less time to write. We don't want any recognizable themes."
I got to be the wild man, and nobody ever gave me any lectures. Update your browser for more security and the best experience on this site. The CD is also of interest to fans of composer Dennis McCarthy, because it includes material that never actually made it into the show. Did you feel any added pressure because of that? Jones accepted Montag's request to score DuckTales, which became one of the most successful animated programs of all time. And that was the challenge. So they called me up and said, "Do you mind if we use yours?".
McCarthy: [Laughs] Oh, God in heaven. And Paramount was worried about that. Stop wasting time with all this confusion. It was fantastic! Then a friend of mine told me they were doing a new Star Trek, and I said, "Oh, good for them.". Let's make it better for those who come after us. I had maybe seen a couple of episodes. I evolved as the show went along, and the producers evolved. By that time, we were given permission to be a little bolder. He was interviewed by Bill Florence for the article "Ron Jones - Sounds in Space", published in The Official Star Trek: The Next Generation Magazine Vol. SYFY WIRE sat down with all four Trek composers to talk about their history with the franchise, the creative shackles and freedom they experienced, and how Star Trek changed their lives.
But as the years progressed, we got more percussion in there and more atonal music. And they brought their jazz sensibilities and improvisational skills. I did write a theme — I called it the "Picard Theme" — because I thought they might want one. Jeff Russo: So I have none of those restrictions. It was up to the audience to make those decisions. So that theme was your stab at the main credits, hoping someone up there would come to their senses and get rid of the song.
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