We speak with StarTrekPicard composers Stephen Barton (ComposerBarton) & Frederik Wiedmann (freddiewiedmann) about season 3's score and using classic themes while finding new musical moments:
Warning: SPOILERS for Star Trek: Picard season 3!The end is near for Star Trek: Picard as the series’ third and final season draws to a close. While the first two seasons of the Paramount+ series were generally well-received, Picard season 3 has taken the show to new heights, especially as it approaches the inevitable sendoff of its cast and crew.
Really, we weren't so much looking at Picard season 1 or 2 at all; it was mostly this thing of saying, "Okay, let's look back through Next Generation, particularly the Next Generation movies," but then also looking back to the whole picture of Star Trek. There are obviously characters from Voyager here, there are characters from Deep Space Nine, there are references to both of those things, and references to much beyond that as well.
The other ethos part of it was this idea that we would need a new theme. First Contact obviously has a fantastic theme that was entirely new to that movie, and we were looking at that and saying, "If Jerry would sit in on this season and look at what [we had], what would he be thinking about?" [We were also] saying, "The Next Gen [motion picture] theme, very much came to represent the Enterprise and her crew.
I joked with someone the other day that he's oddly like a composition teacher, despite the fact that he [doesn't have] any of that sort of technical thing. The best composition teachers in the world ask questions. They don't tell you what's right, because you can't really tell someone what to write, but they just ask you questions.
Stephen Barton: One of the things that's really interesting about Jerry Goldsmith in particular is, he was right on the cutting edge of when synths came out. The Next Gen synth sound is a Roland D-50, I believe, because I think that came out in '87. Literally, Next Gen was like six months later, so I believe he had one of the first ones out, and [Next Gen is] one of the first uses of that actual synth which is now a classic.
Frederik Weidmann: Terry knows music, and in particular Star Trek music, probably better than anybody. He could write books about it that would be more detailed than any journalist. I think he had a very good roadmap in his head, probably as he was already shooting, where things needed to fall. At least for me, he was guiding me very closely, very specifically; "Here's where I want this theme to start.
Even as you're pulling so much from previous entries, you're writing a lot on your own. Do you have favorite motifs or themes that you have been able to contribute to this universe? We called it the family theme. It's going somewhere as well, there is very much a point to it, in terms of what that theme does towards the end. It's more into the First Contact vein; this thing of saying, "Let's have a tune that represents not a specific character, or a specific moment, but more of an idea, and use it to sort of underscore this idea as it develops.
With Star Trek, musically, the perspective is slightly different, particularly in Next Generation, but even before that. It's this crew that you, the audience, are part of, in a way. It's like watching space opera versus this idea of almost participating in space opera. That's obviously to oversimplify, because they both have elements of that.
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