Biography John Ottman was born in San Jose, California in 1964 and dreamed of becoming a movie director. From an early age he played the clarinet and studied at USC, he graduated in both directing and film editing. His career started with several small student films, he also scored several movies including his first feature in 1988 with The Burrito from Hell (seems to be a cool movie?). His major break came with some fortune, he was supposed to work as an editor on Brian Singer's Public Access but due to circumstances (the main composer pulled out) Ottman also scored the movie, putting his credentials on the screen, bringing his career on the move. Ottman started to work more regularly and scored the next following years Man of the House (ouch, a comedy with Chevy Chase) and the highly acclaimed thriller The Usual Suspects (received a Best Score BAFTA). Continuing features include The Cable Guy (Jim Carrey), Incognito, Snow White, Halloween: H20, Apt Pupil, Lake Placid and Goodbye Lover. In 2000 Ottman's dream came true, he directed the unnecessary sequel Urban Legend: The Final Cut, provided the score and was responsible for the editing, proving that one composer can still accomplish many things in the movie business of Hollywood. Bubble Boy, Trapped, the nostalgic Eight Legged Freaks and Gothika were more of Ottman's projects, as his work on X2, the sequel on the X-Men. Cellular, Hide and Seek and House of Wax are his more usual fare of tension, horror builders. Fantastic Four and Kiss Kiss Bang Bang were further solid efforts. With the composition for Superman Returns he surely pleased the loyal followers of John Williams' Superman score as his own fanbase. And with Fantastic Four: Rise of the Silver Surfer, The Invasion and more Brian Singer pictures in the future Ottman doesn't quit just yet. Ottman remains busy on all parts, combining the lethal combination of both editing and composing for motion pictures.
(on Apt Pupil) The temp music I was finding for
the film was just horrible. There was nothing that existed that would work very well. I
couldn't find anything that really fit the film, which in a way, was a blessing. Because
that enabled me to prove to Bryan that if I could just write a score completely unlike the
temp score, and just have him have a leap of faith, that I would create something unique.
I am really glad our temp scores were terrible, because that gave me an opportunity to
show that you can create an original work, and it will behoove the
film. October, 1995 I'm all alone in that little room. But I'm Mr. Butterfingers on the keyboard (should have taken those piano lessons), so, yeah, I'll go in there and edit notes with the mouse. For the director, this "mess" can be worrisome, so I describe what it will sound like, or strum my fingers across the keyboard to give him an idea. I say, "trust me." Then I go to bed worried, hoping the hell it will sound like the way I described! (overall work method) August 18, 1998 The funny
thing about that, which makes me feel good, is none. I sat down and just wrote. I guess
because I listen to all sorts of music I was influenced by classical music. They had
temp-tracked this part of the film called "The Creation" with organ music by
Bach which just put you to sleep. So that was helpful in inspiring me to use
flourishes.
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