Star Trek V Unused Opening Goldsmith Cue
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- Опубликовано: 17 окт 2013
- If there's one thing for sure, Star Trek V is not a great film. Kudos go to its attempt to do something epic but its only real stand out element is Jerry Goldsmith's wonderful score.
Here, I have replaced unused music onto the opening of the film and removed its soundtrack so that Goldsmith's cues can be heard in all their glory.
Shame about the film.
Footage © Paramount Pictures
Music by Jerry Goldsmith
Edited by James FitzRoy 
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![Star Trek V: The Final Frontier - Complete Expanded Soundtrack - 03 The Mountain [Main Title]](http://i.ytimg.com/vi/s2Ec-YPuGF0/mqdefault.jpg)
I’m glad that Bill Shatner was able to convince Jerry Goldsmith to return to the franchise for that film. That was one of the few good things that came from it.
Most of this score is in the movie. While the movie had its problems, the music wasn't one of them. I always liked the "opening teaser" too. Very reminiscent of the series. My favorite part is the line about "To find it, we'll need a starship" and the score gives just a hint of Jerry's "The Enterprise".
Jim Schuck 😝
It was another GREAT SCORE from Goldsmith. I especially like the score when Kirk is climbing the mountain in the beginning of the picture it had a melancholy sort of feel to it. Although a lot of people dislike this picture I though it was good.
Brilliant! Thanks for sharing.
I thought this was a strong opening. I liked Luckinbill.
Jeremy Shirland yes, and quite different for Trek too.
A Vulcan laughing at the end of the sequence was a beautiful twist in making it have added impact of; "hey whats this?" out of the blue. y'know. They don't laugh or have emotion do they! Still the role of Sybok was originally meant for Sean Connery. I liked Luckinbill. But its clear as day, Sean Connery's starpower would've given this film the massive edge it needed to be something far bigger and moreso epic as a movie than how it turned out originally!
He was busy at that time and respectfully declined.
I read somewhere that Goldsmith had written a different build-up to the ST-TMP main theme at the end of this cue. Douglas Fake (I think), who was at the recording sessions, said it was superb, but the orchestra (for whatever reason) were having problems with it and Goldsmith decided to change to the version heard in the released film (kind of surging turbine sound). I don't believe the first version was ever recorded and I have no idea what it was.
May I have a link to this Information and if possible is there sheet music.
Icbeoaneistari No he already said he was not sure dumkopf
Love the score, especially "The Mountain." The beginning of this cue doesn't work for me. Like the Speeder Bikes (ROJ) or Light Cycles (Tron) works better with Sound FX only.
Also I hear the band Hiroshima had involvement with the score by Jerry Goldsmith and you can hear it.
I never understood how someone being a Vulcan meant they could just bring a Starship to any planet they happen to be on.
Back when soundtracks took risks, instead of cloning the same song forty times...
Wonderful !!! Galactic !
Flavia Ostani
ITALY
June 12, 2018
I have told told in the past live long and prosper
Besides the music, the only other keeper in this film was McCoys, "If you ask me... and you haven't..."
What is the name of this unused movie for the film?
Star Trek V is better than any of the new Star Trek crap that’s for sure
It may be better than Jar Jar's Treks but it's still my least favorite of the 10 TOS/TNG movies.
The outsourced external ship fx shots are pretty much garbage though. The warp effect for example was mere caricature of what was done in 2-3-4-6.
jamie514 which all paled to the warp effect in TMP.
To be fair, I enjoyed Beyond. First of the reboots that sort of felt like Star Trek.
Sounds like an opening to a Rambo movie!
Alas Shatner didn't get to make the film he envisioned. Wound up being told in Babylon 5.
Mrs. Phyllis Stephens ILM had their hands full with both “Ghostbusters II” and “Indiana Jones & the Last Crusade.” They also would’ve cost too much to have a third film to deal with. Although there are a couple of ILM’s shots that did appear in the final film. And they were credited for the archival footage. The credit said:
Stock Optical Composites by
Industrial Light & Magic
Peter Gun ,Lol
Y'all need to hurry up and get God his starship lol
I like the film. I don't love it. It is a step down for IV.
The problems with the movie are so deep that they end up affecting the score itself. There's a lot of stop/start in the action cues, because the shot construction and editing aren't very fluid and the whole tone of the film is a mish-mash. It means that you don't get the serious/grand score to the first film, but the music has to go over the top in places because of the film's lack of reality. It's a very, very good score, but it could have been even better if the movie had been more coherently made.
I couldn't agree more and I feel that Goldsmith has often suffered from creating brilliant scores that could have been even better if attached to great films. What he lacked was a partnership like that between Spielberg and Williams: Spielberg even re-editing the ending of ET to better suite the score! I still feel the score holds a stronger emotional presence than TMP.
***** Goldsmith did have one very important director relationship: with Franklin J. Schaffner. Admittedly the later Schaffner/Goldsmith films weren't as strong as the earlier ones as films. Besides collaborations with Michael Chricton and Joe Dante, Goldsmith only did one or two films per director. I agree with you that if Goldsmith had been able to work regularly during the late 1970's to late 1990's with a top class director, we could have had some more truly great scores. Verhoeven came the closest to providing that.
+James FitzRoy ...Jerry had a lot of trouble which probably started with Alien but if you look at 'The Cassandra Crossing ' you would think that the film was made to accommodate the brilliant score !.......not the best of films but nonetheless !
mark griffiths I agree. It shows all of Goldsmith's power and ability to weave cues between scenes. After wrapping up the Khan story with The Voyage Home, this should have been a film to set off on a new adventure and could have been so much grander.
Goldsmith was the first chosen to score Superman (previously he worked in The Omen with Richard Donner). The problem here is not Goldsmith and his collaborations. Some directors and editors dont respect the composer work. We had some examples with Elliot Goldenthal, James Horner......
Stupid opening, introducing a character that goes nowhere and does nothing at a point where his entire pain backstory appears to be based on drilling holes - perhaps a shot of the graves of his family or ruined possessions, maybe the carcass of an animal - something to make you care about Syboks "power" other than slow motion horse riding in the style of the holy grail