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About The Clackamas print. (Oregon City, Oregon) 1989-2019 | View Entire Issue (May 28, 2014)
WEDNESDAY, MAY 28, 2014 COMPOSER: Jones discusses w ork with Seth MacFarlane continued from PAGE 1 TCP: How did you end up working with Seth MacFarlarie? Jones: I have been working with Seth about 20 years now. I had scored many of the most popular anim ated series, and had scored “StarTrek: The Next Generation.” Seth grew up lov ing to get hom e from school to watch all these shows. He was a geek about every detail and extra smart. He saw my name on most o f his favorite shows and liked my approach to the music. When he came to Hollywood, and was starting work at Hanna-Barbera (Productions, Inc.), he asked me to score his first shows, [and] I did. We became good friends and great collaborators. He animated the pilot o f “Family Guy” at his kitchen table, [and] I scored that in one night. They dubbed it the next day, [and) Soon after that, Fox picked up the series. TCP: What’s your favorite thing about working with him? Jones: It is no accident that Seth is so successful He simply is a genius, plus he has a kind and down-to-Earth way of dealing with people, really different than most of the egomaniacs here. I always feel he gets what I do, and he trusts me to create a great score. TCP: Are there any side projects you’re working on? Jones: I actually just quit work ing on “Family Guy” two months ago. Seth left the show a couple years ago to do features and has a major production,deal not only for films, but TV "series such as “Cosmos” that aired recently. With him not there, the producers in charge have'really taken much odt that I enjoyed__ The role of music which had been so key to the show was now so reduced, I just felt like I didn’t want to spend any more time working like that. I’ve been freelance for 45 years, so I never know what’s up next really. TCP: W hat are you doing right now? Jones: W hen you work o n a TV series for a long time, like I’ve done on “Family Guy,” everyone thinks you are married id it. It takes about a year for people around Hollywood to get that you’re loose again, so I teach. I lead the Academy of Scoring Arts, an educational organization with groups all over the U.S. and in Toronto and growing all the tim e .... We’re actually thinking seri ously about moving back home to the Northwest. I want to be my own studio. I’m heavily involved in the arts, not just music. I’ve so far composed over 40,000 compo sitions. I remember hearing one of my teachers at CCC say that no one would ever beat Johann Sebastian Bach in the number of compositions. ! beat him by a wide amount, and I’m not done at all. I plan to only work on projects I personally care about and if it’s about creativity and making something world-class. TCP: You did the scoring for Disney’s “Duck Tales,” which always had ah adult feel to it. What made you decide to approach the score that way? Jones: I decided early on to follow in the footsteps of the great film composers, such as John Williams, Bernard Herrman [and] Jerry Goldsmith. They always respected the audience, and their music showed; the best in the art and craft of scoring. I never patronize the audience. W hen I scored all this Saturday morning animation for Hanna-Barbera, I visualized the kids, but treated them as being very smart. Most composers treated the kids like dummies and the music sounded that way; just stupid. The Disney animation guys wanted “Duck Tales” to be great. The first composers they hired treated the audience like they were idiots. They hired me because I did care and I would treat the show and the audience with the same high values as if this was a major feature film for an adult audience. I’ve done the same on “Family Guy.” Always write smart music for a smart, intelligent audience; that’s my goal. PRINT STAFF The Clackamas Print aims to report the news in an honest, unbiased dnd professional man- ner. Content pub lished ini The Print is* not screened or subject to censorship. ", remember hearing one of 1 my teachers at CCC say that j no one would ever beat Jo-1 hann Sebastian Bach in the 1 number of compositions. I I beat him by a wide amount, j and I'm not done at all." H H H H O Email commdhts, concerns or tips to: jjl ^chfefed@c/ackdmafeed§i • or call us at 503-594-6266 ■ ■RON JONES 19600 Molalla Ave. I Oregon City; OR 97045 I Jones will visit Niemeyer C enter Wednesday, M ay 28 from n o o n until 4 p.m. T here will be a Q&A fol lowing the perform ance. Visitors welcome. Journalism Advisor: . Beth Slovic I eHzabeth.slayic@ clackamas.edu 1 EDITORS Patty Salazar Editor-in-Chief chiefed@clackamas.edu 1 CORRECTION: Erin Carey News & Culture I aced@clackamas.edU‘ newsed@clackamas.edu # • In JssUe 21, the team photo on page 7 mistakenly said the team huddled pre- me, T}ie caption: should ve been “the teams hud dles after Wmnmg their, game.” Tim Young S Associate News Amber Fairbanks Associate Arts & Culture Blake Thomason Sports Editor %3ortsed@clackarnas. edu Ron Jones has been working with Seth MacFarlane fo r almost 20 years. “He simply is a genius, ” Jones said. Denee Shelton ■SH Photo Editor' photoed@clacka mas. ed u I MARYLHURST STUDENT BODY: 90% TRANSFER STUDENTS. Liz Gomes Associate Photo ■ DonnyBeach I Web Editor webeditor@clackamas.edu H LifeOswego 9 9 9 9 jj| 9 9 9 9 9 With determination and disregard for obstacles; each of them is finishing a four-year degree while transforming their lives in the process. If this sounds appealing, we Zak Laster Ad Manager admgr@cldckamds.edu Emily Rask Production Manager Brandon Chorum Design Editor Westbnn have one thing to say: Welcome. I < admissions@marylhurst.edu 503.699.6268 I 800.636.9982 ■ The University for Grown-ups Chris Morrow Copy Editor .capyed@cldckdmas.edu MARYLHURST UNIVERSITY )etweeb West Lihh 3hct L¿)|<e O sw ego 17600 Pacific Highway [Hwy. 43] S marylhurst.edu/clackamas PRODUCTION ASSISTANTS ) Karsten Mayer I KaiKiefel I I I Matt Morrissey H w Joey Fisher Naomi Sommers facebook: the clackamas print I twitter: @clackamasprint
