"The views expressed in this article are solely the original writer's views and not
necessarily the views expressed by the translator, unless where specifically noted, or the webmaster of Superman CINEMA."

The sound track for Superman III was to have been judged perfectly like Ken Thorne's prior work. In this work the remnants of the original sound track were minimal, except for the usage that was absolutely necessary.

In the picture that would yet appear, we would be able to clearly appreciate the respective differences of its predecessor, particular in what is referred to Thorne's musical contributions, the amount of music included or the number of cues.

Thorne contributed 66% of the total music composed for the film. The remaining 34%, a lesser percentage, corresponds to the usage of segments from the "Superman Theme" and in several cases references to other themes composed by John Williams for the original sound track.

One must point out that in this film the presence of Lois Lane is only symbolic and at that we do not hear any moment of any segment of the "Love Theme" from the original sound track. This cue was one of the most important and its major usage in the two previous films, but its disappearance rather reduces the possibility of the usage of music from the original sound track.

In the film's credits the references to the musical aspect are as follows: "Music by Ken Thorne", then immediately following with "Original Songs Composed by Giorgio Moroder". Only in the end credits sequence appears the following obligatory reference: "Superman Themes Composed by John Williams".

With respect to the original songs composed by Giorgio Moroder, I only wanted to point out that this corresponds to several songs that are heard during the film, especially in the scenes with Gus Gorman. It does not appear to me that within the nature of these films and its music, these songs are mixed with so detached a space in the main credits. Furthermore, these songs are absolutely within the correct context of the film and were only perfectly identified on the sound track album, of which side B is almost dedicated completely to these songs, in excess of the inclusion of a larger quantity of incidental music.

In continuing, a picture summary of the cues that were considered for this sound track follows, and afterwards a detailed analysis of each cue.

Each cue that was selected was broken down according to the following parameters:

Proper Composition
This corresponds to the segments of each cue that are unpublished cues by Ken Thorne.

Re-Arrangements of Original Cues
This corresponds to the personal arrangements that Ken Thorne had about cues already composed for the original soundtrack.

Re-Execution of Cues Already in Existence
This corresponds to the interpretation of parts already composed for the first film, but with the orchestra of the second film.

Usage of Tracks From the Original Soundtrack
This corresponds to scenes that were musicalized with compositions extracted directly from the recording of the original soundtrack, not permitting any intervention of the musical team of the second film.

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