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John Ottman |
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| Biography: |
Born on July 6th, 1964 in San Diego, California, John Ottman was raised up the coast in the
San Francisco Bay Area. From an early age in San Jose, Ottman began writing and recording radio
plays on cassette tapes with his neighborhood friends serving as extra cast members. Film music
would always play a dominating role in the projects, as many of the stories were often written
to accommodate his favorite film scores. By the fourth grade, Ottman was playing the clarinet,
and he continued doing so throughout high school. But his real concentration turned from his
audio productions to film, and his films evolved to hour-long productions complete with large
casts, big sets, and lavish scores edited together from his favorite soundtracks. Once again,
much of his favorite film music often inspired the scenes he shot.
After these efforts were featured in a major local newspaper, Ottman was encouraged to enroll
in the USC film school in Los Angeles. Receiving accolades for how well he edited his performances
in post-production, a graduate filmmaker asked him to re-edit his thesis film. In so doing, he
won the Student Academy Award, and a production assistant named Bryan Singer noticed what Ottman
had done. With the reputation of his talents now spreading, Ottman began editing films and doing
sound design regularly. At this time, he built a makeshift music studio in his house with used
equipment. Frustrated with incompetent film scores on his friends' student films, Ottman re-scored
them as practice, and as an experiment to see if he had the ability to score films. Realizing he
had found his true passion (aside from directing, which he chose not to pursue for a while), he
began scoring industrials and short films. He graduated from USC's School of Cinema-Television
in 1988.
Bryan Singer, only familiar with Ottman's editing skills, asked him to edit a short film starring
Ethan Hawke, who was a childhood friend of Singer's. Ottman ended up co-directing the film,
Lion's Den, as well as editing and executing the sound design. On Singer's first feature,
Public Access, Ottman edited the picture in three months while simultaneously holding down
a full-time job. Ottman's effective sequences and editorial montages became the highlight of the
picture; additionally in the eleventh hour, the film lost its composer, and Ottman's opportunity
as a composer had arrived. The film received the Grand Jury Prize at the 1993 Sundance Film
Festival, with the score and editing applauded in reviews. With The Usual Suspects in 1995,
and all future Singer films, Ottman promised to retain the title of editor foremost on the projects,
with composing duties ranking second in priority. That collaboration would prove to be fruitful.
His breakout achievement, The Usual Suspects, received widespread acclaim, invariably
mentioning the sweeping score and the inspired editing. He was nominated by the American Cinema
Editors and won the British Academy Awards for his editing, as well as a Saturn Award for his
score to the film. In 1997, he was declared one of Daily Variety's 50 People to Watch. By
1998, Ottman would be regularly employed on projects produced by the studio Phoenix Pictures, and
his regular Hollywood career had been born. After raising eyebrows with his creative orchestral
scores for Incognito and Apt Pupil, Ottman suddenly became an artist in high-demand.
The used music equipment in his living room was replaced with a modern recording studio.
Concurrently, Ottman became the first studio director to also edit and compose the music for his
picture on Urban Legends: Final Cut in 2000. While this effort conflicted with the schedule
of Singer's first X-Men film, Ottman would edit and score the subsequent films in the
X-Men series. Typically busy on complicated thrillers, Ottman's career in Los Angeles continues
to keep the young composer and editor very busy.
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John Ottman in 2003
| | "I put more hours in than President Bush, and I have no personal life to speak
of. It's difficult. I just want to think about Hawaii, laying around doing nothing for a while." -- John Ottman in 2003, on juggling editing and composing duties
The young career of John Ottman has already given movie-goers and film music
enthusiasts much to think about. A jack of all trades, Ottman is one of only a few artists
in the history of Hollywood to have significant talents in directing, editing, and scoring
of films. With his film Urban Legends: Final Cut in 2000, Ottman became the first
person to accomplish all of those tasks for a single studio project. But most people became
familiar with Ottman's skills in 1995, when his blossoming collaboration with director and
friend Bryan Singer led to massive critical and popular acclaim for the cult hit The
Usual Suspects. In the years that followed, Ottman continued to edit and compose for
Singer's films, leading up Ottman's first major blockbuster, X2: X-Men United, in
2003. In the late 1990's, Ottman scored a series of arthouse films, often dark and disturbed
in nature. His work for The Cable Guy, Incognito, and Apt Pupil was
recognized for its consistent strength.
Although the early 2000's presented Ottman with projects of lesser box office success,
including Bubble Boy, Eight Legged Freaks, and Trapped, he continued
to approach his assignments with an enthusiasm for creativity and instrumental novelty. His
early works have consistently gravitated towards the romantically perturbed, ranging from
the classically troubled to the straight-forward horror of slasher films. His consistency
in producing instrumentally interesting music is remarkable given the often less than
perfect circumstances (in time and equipment) that Ottman had to overcome. Even in his
rejected music for Cruel Intentions and Halloween H20, the quality of his
thematic and orchestral output is evident. He has quipped that he wouldn't mind the
opportunity to swing his career around and score a few major films with lush, romantic
melodies of a positive heart, but until that happens, John Ottman remains a passionate
master of the thriller and mystery genres.
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Filmography/Reviews at Filmtracks: |
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(see legend below for information on abbreviations and codes)
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| Title |
FR | VR | VT |
RD | TR |
Dates | Notes | | 2013: | | | Jack the Giant Slayer | ***** | 3.75 | 268 | |||| | 1,241 | 02/13 | | | 2012: | | (none) | | 2011: | | | The Resident | * | 2.53 | 62 | || | 1,666 | 01/12 | | | | Unknown (co-wrote) | ** | 2.55 | 154 | || | 1,445 | 04/11 | | | 2010: | | | The Losers | *** | 2.93 | 134 | || | 1,633 | 06/10 | | | 2009: | | | Astro Boy | **** | 3.46 | 266 | || | 1,240 | 10/09 | | | | Orphan | *** | 2.74 | 204 | || | 1,336 | 08/09 | | | 2008: | | | Valkyrie | *** | 3.20 | 480 | || | 860 | 12/08 | | | 2007: | | | The Invasion | ** | 2.54 | 95 | || | 1,621 | 09/09 | | | | Fantastic Four: Rise of the Silver Surfer | *** | 2.75 | 787 | || | 817 | 06/07 | | | 2006: | | | Superman Returns | ***** | 3.99 | 1,670 | ||| | 222 | 06/06 | | | 2005: | | | Kiss Kiss Bang Bang | *** | 2.56 | 142 | | | 1,131 | 11/05 | | | | Fantastic Four | *** | 3.00 | 453 | | | 981 | 11/05 | | | | House of Wax | *** | 2.80 | 213 | || | 637 | 05/05 - 10/11 | | | | Hide and Seek | *** | 2.96 | 172 | || | 1,112 | 04/05 - 10/11 | | | 2004: | | | Cellular | *** | 2.97 | 255 | || | 835 | 01/05 - 10/11 | | | | Imaginary Heroes (co-wrote) | | | | | | | | | 2003: | | | Gothika | *** | 2.82 | 458 | || | 333 | 11/03 - 03/09 | | | | X2: X-Men United | **** | 3.19 | 6,483 | ||| | 151 | 04/03 - 08/12 | multiple albums | | 2002: | | | Trapped | ** | 2.48 | 103 | || | 1,341 | 10/03 - 02/09 | | | | Point of Origin (TV) | *** | 3.26 | 112 | || | 1,332 | 01/04 - 03/09 | | | | Eight Legged Freaks | *** | 2.99 | 177 | || | 1,024 | 09/03 - 03/09 | | | | Brother's Keeper (TV) | | | | | | | | | | Pumpkin | *** | 2.95 | 247 | | | 631 | 06/03 - 02/09 | | | 2001: | | | Bubble Boy | *** | 2.78 | 425 | || | 749 | 10/01 - 02/09 | | | 2000: | | | Urban Legends: Final Cut | *** | 2.69 | 121 | || | 1,278 | 09/03 - 04/09 | | | 1999: | | | Lake Placid | ** | 2.63 | 410 | || | 1,157 | 08/99 - 05/08 | | | | Goodbye Lover | **** | 3.18 | 221 | || | 1,012 | 07/99 - 05/08 | | | 1998: | | | Apt Pupil | **** | 3.17 | 185 | | | 1,129 | 09/03 - 04/09 | | | | Halloween H20 (Portrait of Terror) | *** | 3.07 | 168 | || | 882 | 10/98 - 03/08 | rejected score | | 1997: | | | Incognito | ***** | 3.97 | 1,506 | || | 756 | 07/98 - 07/07 | | | | Snow White: Tale of Terror (TV) | *** | 3.32 | 470 | | | 614 | 07/98 - 04/07 | | | 1996: | | | The Cable Guy | **** | 2.96 | 200 | || | 802 | 03/99 - 10/07 | promotional | | 1995: | | | The Usual Suspects | **** | 3.84 | 682 | || | 792 | 09/03 - 04/09 | | | 1994: | | | Another First Step | ** | | | | | | | | 1993: | | | Public Access | *** | | | | | | | | (reviews listed with a "co-wrote" indicate that either the composer wrote the score with another person or that more than one composer worked separately to provide a score for the production)
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Status:
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N
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R
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Awards:
| AW |
- indicates that the music won or was nominated for a major award
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Ratings:
| FR |
- Filmtracks Rating ("Varied"
indicates a split rating with no overall designation)
| | VR |
- Viewer Rating (overall average)
| | VT |
- Vote Total (for viewer ratings)
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Comments:
| Comment Total (the number of messages posted in the review's comment area)
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Review Depth:
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- Long Review (between 1,200 and 2,200 words)
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- Average Review (between 800 and 1,200 words)
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- Short Review (under 800 words)
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Traffic Rank:
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Popularity Rank (lower numbers indicate more cumulative reads; new reviews take time to climb the ranks)
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Dates:
| 1st
| - indicates the month and year during which the review was first published
| | 2nd
| - indicates the month and year of the review's most recent significant revision (if any)
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