Jerry Goldsmith


Jerry Goldsmith
Jerry Goldsmith

Goldsmith conducts the London Symphony Orchestra, 2003
Background information
Birth name Jerrald King Goldsmith
Born February 10, 1929(1929-02-10)
Los Angeles, California
Died July 21, 2004(2004-07-21) (aged 75)
Beverly Hills, California
Occupations composer and conductor
Years active 1951 - 2004

Jerrald King "Jerry" Goldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor most known for his work in film and television scoring.

He composed scores for such noteworthy films as The Sand Pebbles, Planet of the Apes, Patton, Chinatown, The Wind and the Lion, The Omen, The Boys from Brazil, Alien, Poltergeist, Gremlins, Hoosiers, Total Recall, Basic Instinct, Rudy, Air Force One, L.A. Confidential, Mulan, The Mummy, three Rambo films, and five Star Trek films. He was nominated for six Grammy Awards, nine Golden Globes, four BAFTAs, and seventeen Academy Awards. In 1977 he was awarded an Oscar for The Omen.

He collaborated with some of the most prolific directors in film history, including Robert Wise (The Sand Pebbles, Star Trek: The Motion Picture), Howard Hawks (Rio Lobo), Otto Preminger (In Harm's Way), Joe Dante (Gremlins, The 'Burbs), Roman Polanski (Chinatown), Ridley Scott (Alien, Legend), Steven Spielberg (Poltergeist, Twilight Zone: The Movie), and Paul Verhoeven (Total Recall, Basic Instinct). However, his most notable collaboration was arguably that with Franklin J. Schaffner, for whom Goldsmith scored such films as Planet of the Apes, Patton, Papillon, and The Boys from Brazil.

Contents

Early life and education

Jerry Goldsmith as a child.

Goldsmith, who was Jewish, was born 10 February 1929 in Los Angeles, California.[1] His parents were Tessa (née Rappaport), an artist, and Morris Goldsmith, a structural engineer.[1] He started playing piano at age six, but only "got serious" by the time he was eleven. At the age of thirteen he studied piano privately with legendary concert pianist and educator Jakob Gimpel[2] (whom Goldsmith would later employ to perform piano solos in his score to The Mephisto Waltz) and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who also tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, and John Williams.

At the age of sixteen, Goldsmith saw the movie Spellbound (1945) in theaters and was inspired by the soundtrack by veteran composer Miklós Rózsa to pursue a career in music. Goldsmith later enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more "practical music program" at the Los Angeles City College.[3] There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.[4]

Film and television scoring

1950s and work at CBS

In 1950, Goldsmith found work at CBS as a clerk typist in the network's music department under director Lud Gluskin.[4] There he began writing scores for such radio shows as CBS Radio Workshop, Frontier Gentleman, and Romance. In an interview with Andy Velez from BarnesandNoble.com, Goldsmith stated, "It was about 1950. CBS had a workshop, and once a week the employees, whatever their talents, whether they were ushers or typists, would produce a radio show. But you had to be an employee. They needed someone to do music, and I knew someone there who said I'd be great for this. I'd just gotten married and needed a job, so they faked a typing test for me. Then I could do these shows. About six months later, the music department heard what I did, liked it, and gave me a job."[5] He later progressed into scoring such live CBS television shows as Climax! and Playhouse 90. He also scored multiple episodes of the hit television series The Twilight Zone. He remained at CBS until 1960, after which he moved on to Revue Studios, where he would later compose music for such television shows as Dr. Kildare and The Man from U.N.C.L.E..[4]

His feature film debut occurred when he composed the music to the western Black Patch (1957). He continued with scores to such films as the western Face of a Fugitive (1957) and the science fiction film City of Fear (1959).[6]

1960s

Jerry Goldsmith began the decade composing for such television shows as Dr. Kildare and Thriller as well as the drama film The Spiral Road (1960). However, he only began receiving widespread name recognition after his intimate score to the classic western Lonely Are the Brave (1962). His involvement in the picture was the result of a recommendation by veteran composer Alfred Newman who had been impressed with Goldsmith’s score on the television show Thriller and took it upon himself to recommend Goldsmith to the head of Universal Pictures’ music department, despite having never met him.[7] That same year, Goldsmith composed the mostly atonal and dissonant score to the pseudo-biopic Freud (1962) that focused on a five-year period of the life of psychoanalyst Sigmund Freud. Goldsmith’s score went on to garner him his first Academy Award nomination for Best Original Score, though he lost to fellow first-time nominee Maurice Jarre for his music to Lawrence of Arabia (1962). In 1963, Goldsmith composed a score to The Stripper, his first collaboration with director Franklin J. Schaffner for whom Goldsmith would later score the motion pictures Planet of the Apes (1968), Patton (1970), Papillon (1973), and The Boys from Brazil (1978).[6]

Following his success with Lonely Are the Brave and Freud, Goldsmith went on to achieve even more critical recognition with the theme music to The Man from U.N.C.L.E (1964), and scores to such films as the western Rio Conchos (1964), the political thriller Seven Days in May (1964), the romantic drama A Patch of Blue (1965), the epic war film In Harm's Way (1965) (in which Goldsmith also made a brief cameo appearance),[8] the World War I aviation film The Blue Max (1966), the period naval war epic The Sand Pebbles (1966), the thriller Warning Shot (1967), the western Hour of the Gun (1967), and the controversial mystery The Detective (1968).[9] Goldsmith's scores to A Patch of Blue and The Sand Pebbles garnered him his second and third Oscar nominations, respectively, and were both one of the 250 nominees for the American Film Institute’s top twenty-five American film scores.[10] His scores for Seven Days in May and The Sand Pebbles also garnered Goldsmith his first two respective Golden Globe nominations for Best Original Score in 1965 and 1967.[11] During this time, he also composed for many lighter, comedic films such as the family comedy The Trouble with Angels (1966), the James Bond parodies Our Man Flint (1966) and its sequel In Like Flint (1967), and the comedy The Flim-Flam Man (1967).[6]

In 1968, Jerry Goldsmith caught massive critical attention with his landmark, controversial soundtrack to the post-apocalyptic science fiction epic Planet of the Apes (1968), which was one of the first film scores to be written entirely in an Avant garde style. When scoring Planet of the Apes, Goldsmith used such innovative techniques as looping drums into an echoplex, using the orchestra to imitate the grunting sounds of apes, having horns blown without mouthpieces, and instructing the woodwind players to finger their keys without using any air. He also used steel mixing bowls, among other objects, to create unique percussive sounds.[6] The score went on to garner Goldsmith another Oscar nomination for Best Original Score and now ranks in #18 on the American Film Institute’s top twenty-five American film scores.[10] Though he did not return to compose for its sequel Beneath the Planet of the Apes (1970), Goldsmith scored the third installment in the Planet of the Apes franchise, Escape from the Planet of the Apes (1971).

Goldsmith concluded the decade with scores to such films as the western Bandolero! (1968), the spy thriller The Chairman (1969), the science fiction film The Illustrated Man (1969), and the western 100 Rifles (1969). In 1969, he also composed the theme to the comedy-drama television series Room 222.[6]

1970s

Goldsmith received more critical praise with his pompous, daring music to the World War II biopic Patton (1970). Throughout the score, Goldsmith used an echoplex to loop recorded sounds of "call to war" triplets played on the trumpet that musically represented General George S. Patton's belief in reincarnation. The main theme also consisted of a symphonic march accompanied by a pipe organ to represent the militaristic yet deeply religious nature of the protagonist.[12] The music to Patton subsequently earned Goldsmith an Academy Award nomination for Best Original Score and was one of the American Film Institute's 250 nominees for the top twenty-five American film scores.[10] Goldsmith's critical success continued with his emotional score to the prison escape film Papillon (1973), which also earned him a nomination for an Academy Award and a nomination for the AFI's top twenty-five American film scores.[10]

In 1974, Goldsmith was faced with the daunting task of replacing a score by composer Phillip Lambro to the neo-film noir Chinatown. With only ten days to compose and record an entirely new score, Jerry Goldsmith quickly produced a score that mixed an eastern music sound with elements of jazz in an ensemble that only featured a trumpet, four pianos, four harps, two percussionists, and a string section.[13][14] Goldsmith received an Academy Award nomination for his efforts though he lost to Nino Rota and Carmine Coppola for The Godfather Part II. The score to Chinatown is often regarded as one of the greatest scores of all time and ranks #9 on AFI's top 25 American film scores.[10] It was also nominated for a Golden Globe for Best Original Score.[11]

Goldsmith earned more critical praise with his score to the epic period adventure film The Wind and the Lion (1975), which, true to the style of such Golden Age scores as Maurice Jarre's Lawrence of Arabia, relied upon a diverse ensemble including many Morrocan instruments and a large percussion section.[15] The score garnered Goldsmith an Academy Award nomination for Best Original Score, though he lost to fellow composer John Williams for his score to Jaws. The Wind and the Lion was also one of AFI's 250 nominees for the top twenty-five American film scores.[10]

In 1976, Goldsmith composed a dark choral score to the horror movie The Omen, which was the first film score to feature the use of a choir in an Avant-garde style.[16] The score was successful among critics and garnered Goldsmith his first (and ultimately only) Academy Award for Best Original Score and a nomination for Best Original Song for "Ave Satani".[17] It was also one of AFI's 250 nominees for the top twenty-five American film scores.[10] His wife, Carol Heather Goldsmith, also wrote lyrics and performed a vocal track titled "The Piper Dreams" released solely on the soundtrack album.[16] Goldsmith would go on to compose for two more entrees in the franchise; Damien: Omen II (1978) and Omen III: The Final Conflict (1981).

He continued to have critical success with scores to such films as the dystopian science fiction Logan's Run (1976), the period drama Islands in the Stream (1977) (which remained one of his personal favorites),[18] the science fiction suspense Coma (1978), the science fiction thriller Capricorn One (1978), the disaster film The Swarm (1978), the period comedy The Great Train Robbery (1979), and his Oscar nominated score to the science fiction thriller The Boys from Brazil (1978), in which he utilized lively waltzes to juxtapose the horrific concept of the film, cloning Adolf Hitler.[19]

In 1979, Goldsmith composed a score to the landmark science fiction film Alien. His score featured an orchestra augmented by a shofar, didgeridoo, steel drum, and serpent (a 16th century instrument), while creating further "alien" sounds by filtering string pizzicati through an echoplex. Many of the instruments were used in such atypical ways they were virtually unidentifiable. His score was, however, heavily edited during post-production and Goldsmith was required to rewrite music for several scenes. The final score resulted in several pieces being moved, replaced, or cut entirely. Director Ridley Scott and editor Terry Rawlings also, without the consent of Goldsmith, purchased the rights to the "Main Title" from Freud (1962) which they used during the acid blood sequence.[20] Despite the heavy edits and rewrites, Goldsmith's score to Alien earned him a Golden Globe nomination for Best Original Score[11] and was one of AFI's 250 nominees for the top twenty-five American film scores.[10]

That same year, Goldsmith concluded the decade composing what is widely considered his most recognized and celebrated score for Star Trek: The Motion Picture (1979).[21] Having been the initial choice of Gene Roddenberry to compose the original Star Trek pilot "The Cage" yet being unable to do so due to scheduling conflicts, Goldsmith was the first pick of both Paramount Pictures and director Robert Wise to compose a score for The Motion Picture.[22] Goldsmith's initial main theme was not well-received by the filmmakers, director Robert Wise stating, "It sounds like sailing ships". Though somewhat irked by its rejection, Goldsmith consented to re-work his initial idea and finally arrived at the majestic Star Trek theme which was ultimately used.[23] The film's soundtrack also provided a debut for the Blaster Beam, an electronic instrument 12 to 15 feet (3.7 to 4.6 m) long, created by musician Craig Huxley.[24][25] The Blaster had steel wires connected to amplifiers fitted to the main piece of aluminum; the device was played with an artillery shell. Goldsmith heard it and immediately decided to use it for V'Ger's cues.[26] An enormous pipe organ first plays the V'Ger theme on the Enterprise's approach, a literal indication of the machine's power.[27] His score for The Motion Picture earned him nominations for the Academy Awards, Golden Globes,[11] and was one of AFI's 250 nominees for the top twenty-five American film scores.[10] Goldsmith would later compose the scores for Star Trek V: The Final Frontier (1989), Star Trek: First Contact (1996), Star Trek: Insurrection (1998), and Star Trek: Nemesis (2002), as well as the themes to the television series Star Trek: The Next Generation (arranged by Dennis McCarthy) in 1987 and Star Trek: Voyager in 1995.[28][29]

1980s

Throughout the 1980s, Goldsmith found himself increasingly scoring science fiction and fantasy films in the ongoing wake of the successful Star Wars (1977) composing for such films as the The Omen sequels Damien: Omen II (1978) and Omen III: The Final Conflict (1981), the space western Outland (1981), the animated fantasy The Secret of NIMH (1982), and the episodic fantasy mystery Twilight Zone: The Movie (1983), which he composed in four different styles to accompany the four parts of the film.[30]

In 1982, Goldsmith was hired to compose the music to the classic Tobe Hooper directed, Steven Spielberg produced fantasy horror Poltergeist. He wrote several themes for Poltergeist including a gentle lullaby for the protagonist Carol Anne and her family's suburban life, a semi-religious theme for scenes concerning the souls trapped between the two worlds, and bombastic atonal bursts during scenes of horror.[31] The score for Poltergeist garnered him a nomination for an Academy Award, though he lost again to fellow composer John Williams for E.T. the Extra-Terrestrial (1982). Goldsmith later returned in 1986 to compose the more synthetic score to Poltergeist II, the first of its two sequels.[32]

He did, however, still manage to compose for such non-fantasy productions as the period television miniseries Masada (1981) (for which he won an Emmy Award), the controversial war film Inchon (1982), the action classic First Blood (1982), and his Oscar and Golden Globe nominated score to the political drama Under Fire (1983) in which he used the ethnic sounds of a South American pan flute, synthetic elements, and the prominently featured solo work of jazz guitarist Pat Metheny.[11][33]

Throughout the decade, many of his compositions became increasingly laced with synthetic elements such as his scores for the horror sequel Psycho II (1983), the comedy horror film Gremlins (1984) (for which he won a Saturn Award for Best Music),[34] the fantasy superhero adaptation Supergirl (1984), the fantasy adventure Legend (1985) (initially heard only in European prints and then years later in a 2002 director's cut),[35] the action sequel Rambo: First Blood Part II (1985), the family fantasy Baby: Secret of the Lost Legend (1985), and the fantasy horror Poltergeist II (1986).[6] His incorporation of synthesizers, orchestra, and the recorded sounds of basketball hits on a gymnasium floor also garnered him another Academy Award nomination for his innovative and critically acclaimed score to the dramatic sports movie Hoosiers (1986), though he lost to Herbie Hancock for Round Midnight.[36]

Goldsmith finished out the decade with noteworthy scores to such films as the medieval adventure Lionheart (1987), the science fiction comedy Innerspace (1987), Rambo III (1988), the science fiction horror Leviathan (1989), and Star Trek V: The Final Frontier (1989), his second Star Trek film score.[6] Goldsmith's score to Leviathan (1989) is notable for having incorporated the use of recorded whale sounds during the main titles.[37] His critically acclaimed comedy score to The 'Burbs (1989) is also noteworthy for the use of pipe organ, recorded dog barking sound effects, and for parodying the trumpet "call to war" triplets on an echoplex from his previous score to Patton (1970).[38]

1990s

In 1990, Jerry Goldsmith received critical acclaim for his score to the romantic drama The Russia House, which featured a unique mixture of Russian music and jazz to complement the nationalities and characteristics of the two main characters.[39] He also composed critically acclaimed music for the science fiction action film Total Recall (1990), which Goldsmith later regarded as one of his best scores.[40] Other noteworthy scores of the era include Gremlins 2: The New Batch (1990) (in which Goldsmith also made a brief cameo appearance),[41] the psychological thriller Sleeping with the Enemy (1991), the family comedy Mom and Dad Save the World (1991), the fantasy romance Forever Young (1992), the thriller The Vanishing (1993), and the family comedy Dennis the Menace (1993).[6] In 1992, Goldsmith also composed a critically acclaimed score for the medical drama Medicine Man.[42] In concert, Goldsmith would later recount a story of how actor Sean Connery copied Goldsmith's signature ponytail hairstyle for his character Robert Campbell in the film. In the film's closing credits Goldsmith is listed as "hair designer".

In 1992, Goldsmith composed and conducted a score to the erotic thriller Basic Instinct. The soundtrack, an unsettling hybrid of orchestral and electronic elements, garnered him yet another Academy Award nomination as well as a Golden Globe nomination[11] and was later regarded by the composer as one of his most challenging works.[43][44] In 1993, Goldsmith also wrote an acclaimed score for the classic sports film Rudy,[45] which has since been used in the trailers for numerous films including Angels in the Outfield (1994), Good Will Hunting (1997), Spirit: Stallion of the Cimarron (2002), and Seabiscuit (2003).[46]

Goldsmith composed acclaimed scores for such films as the superhero adaptation The Shadow (1994), the thriller The River Wild (1994), the romantic comedy I.Q. (1994), the action film Congo (1995), the fantasy adventure First Knight (1995), the science fiction drama Powder (1995), the action film Executive Decision (1996), and his third Star Trek film installment Star Trek: First Contact (1996) which he composed with his son Joel Goldsmith.[47] In 1995, Goldsmith also composed the theme for the UPN series Star Trek: Voyager for which he won an Emmy Award for Outstanding Main Title Theme Music.

In 1996, Goldsmith composed the critically successful score to the horror action film The Ghost and the Darkness which featured a traditional Irish folk melody interwoven with African rhythms.[48] In 1997, he was hired to replace a score by Randy Newman for Air Force One. Goldsmith, with the assistance of composer Joel McNeely, completed the brassy, heroic score in only twelve days.[49] In 1997, Goldsmith also composed a percussive, jazzy score for the critically acclaimed crime drama L.A. Confidential.[50] His score garnered him nominations for the Oscars, Golden Globes, and was also one of AFI's 250 nominees for the top twenty-five American film scores.[10][11]

In 1997, he composed a new theme for the Universal Studios opening logo, first heard in The Lost World: Jurassic Park (1997).[51] He also continued with scores for such films as the survival drama The Edge (1997), the science fiction horror Deep Rising (1998), and the action thriller U.S. Marshals (1998).[6] In 1998, he also composed a score of combined eastern, orchestral, and synthetic elements for the Disney animated film Mulan, which subsequently earned him his final Oscar and Golden Globe nominations along with songwriter Matthew Wilder and lyricist David Zippel.[11][52]

Goldsmith concluded the decade with critically successful scores to such popular movies as the action film Small Soldiers (1998), his penultimate Star Trek film Star Trek: Insurrection (1998), the action adventure horror The Mummy (1999), the horror film The Haunting (1999), and the action adventure The 13th Warrior (1999).[6] In 1999, he also composed "Fanfare for Oscar" for the Academy of Motion Picture Arts and Sciences.[51]

2000s and final scores

During the early 2000s, Goldsmith composed scores to the science fiction thriller Hollow Man (2000), the mystery film Along Came a Spider (2001), the drama The Last Castle (2001), the action/political thriller The Sum of All Fears (2002), and his last Star Trek film Star Trek: Nemesis (2002), which would also be the last film to feature the cast of Star Trek: The Next Generation.[6] Goldsmith also composed an original score to the simulator attraction Soarin' Over California which debuted 8 February 2001 at the Disneyland Resort, and the same attraction Soarin' which opened 5 May 2005 in Epcot at the Walt Disney World Resort. It was later said that when Goldsmith first rode the ride, he left it crying and saying, "I'd do anything to be part of this project. I'd even score the film for free."[53]

Goldsmith's final theatrical score, composed during declining health, was the critically acclaimed music for the live action/animated film Looney Tunes: Back in Action (2003), directed by long-time Goldsmith collaborator Joe Dante.[54] His last collaboration was with another long-time collaborator, Richard Donner (for whom Goldsmith had scored The Omen in 1976), on the science fiction film Timeline (2003). However, due to a complicated post-production process, Goldsmith's score was rejected and replaced by a new score by composer Brian Tyler. Goldsmith's rejected score was later released on CD, 7 September 2004 through Varèse Sarabande, not long after his death in 2004. The album quickly became out of print and has since become a sought rarity among soundtrack collectors.[55]

Concert works

Toccata for Solo Guitar

In the 1950s, Goldsmith composed "Toccata for Solo Guitar".[56] The music was later performed and recorded by Gregg Nestor and released through BSX Records 5 January 2010.

The Thunder of Imperial Names

In 1957, Goldsmith composed the patriotic piece "The Thunder of Imperial Names" for concert band and narration, which first appeared on the CBS Radio Workshop episode "1489 Words".[57] "The Thunder of Imperial Names" was later performed and re-recorded in 2006 by the United States Air Force Tactical Command Band under conductor Lowell E. Graham and narrated by Gary McKenzie.[56]

Christus Apollo

In 1969, the California Chamber Symphony commissioned Goldsmith to compose a cantata based on the text "Christus Apollo" by science fiction author Ray Bradbury, with whom Goldsmith had previously worked on dramatic radio and later the film The Illustrated Man (1969). The piece, written in four parts, consisted of orchestra, choir, mezzo-soprano solo, and narration. Goldsmith composed the piece largely using the 12-tone system, later stating, "I feel there is a great relationship between impressionism and dodecaphonicism and that was the musical language I wanted for 'Christus Apollo'."[58] For the 2002 Telarc album release, "Christus Apollo" was performed by the London Symphony Orchestra, the London Voices, mezzo-soprano Eirian James, and narrated by legendary actor Anthony Hopkins.[59]

Music for Orchestra

In 1970, Goldsmith was approached by conductor Leonard Slatkin to compose a short piece for the Saint Louis Symphony Orchestra. The atonal, bombastic composition was written in three sections developed from one common 12-tone row including the "turbulent" first section, the "introspective" second section, and climaxing in a "very agitated" third section.[59] Goldsmith later reflected that the piece was a result of much turbulence in his life, stating, "I was going through a divorce and my mother was seriously ill with cancer." Goldsmith continued, "All of my personal turmoil - pain, anger, and sorrow - went into writing 'Music for Orchestra' in strict dodecaphonic form."[58]

Fireworks (A Celebration of Los Angeles)

In 1999, Goldsmith composed the energetic "Fireworks" (A Celebration of Los Angeles) to conclude his first concert series with the Los Angeles Philharmonic at the Hollywood Bowl.[59] Looking back on the experience, Goldsmith later said, "After starting to write what was to be a big fireworks extravaganza, I realized that I was writing about the city where I was born and had lived my entire life. I decided instead to make the piece a grand celebration of my childhood, growing years, my years of maturity, and all the events that climaxed with my first appearance at the Hollywood Bowl."[58]

Legacy

Jerry Goldsmith has often been considered one of the most innovative and influential composers in the history of film music.[6] While presenting Goldsmith with a Career Achievement Award from the Society for the Preservation of Film Music in 1993, fellow composer Henry Mancini (Breakfast at Tiffany's, The Pink Panther) said of Goldsmith, "...he has instilled two things in his colleagues in this town. One thing he does, he keeps us honest. And the second one is he scares the hell out of us."[60] In his review of the 1999 re-issue of the Star Trek: The Motion Picture soundtrack, Bruce Eder highly praised Goldsmith's ability, stating, "...one of the new tracks, 'Spock's Arrival,' may be the closest that Goldsmith has ever come to writing serious music in a pure Romantic idiom; this could have been the work of Rimsky-Korsakov or Stravinsky -- it's that good."[61] In a 2001 interview, film composer Marco Beltrami (3:10 to Yuma, The Hurt Locker) stated, "Without Jerry, film music would probably be in a different place than it is now. I think he, more than any other composer bridged the gap between the old hollywood scoring style and the the [sic] modern film composer."[62]

Personal life

Goldsmith was married twice. He was first married to Sharon Hennagin in 1950 which ended in their divorce in 1970. He later married Carol Heather in 1972 and the couple remained together until his death in 2004. His oldest son Joel Goldsmith is also a composer and collaborated with his father on the score for Star Trek: First Contact, composing approximately twenty-two minutes of the score.[47] Jerry Goldsmith also conducted Joel's theme for The Untouchables and composed the theme for the pilot Hollister[disambiguation needed ], scored by Joel.[citation needed] Goldsmith's daughter, Carrie Goldsmith, went to high school with famed Titanic composer James Horner,[2] who also composed music for Star Trek's second and third movies: Star Trek II: The Wrath of Khan and Star Trek III: The Search for Spock. Carrie Goldsmith was working on a biography of her father, though the book has been suspended indefinitely for unspecified reasons.[2]

Goldsmith passed away at his Beverly Hills home 21 July 2004 after a battle with colon cancer at the age of 75. He is survived by his wife Carol and his children Aaron, Joel, Carrie, Ellen Edson, and Jennifer Grossman.[6]

List of movies and series

1950s

1960s

1970s

1980s

1990s

2000s

Awards and nominations

AFI

The American Film Institute respectively ranked Goldsmith's scores for Chinatown (1974) and Planet of the Apes (1968) #9 and #18 on their list of the 25 greatest film scores.[10] He is one of only five composers to have more than one score featured in the list, including Elmer Bernstein, Bernard Herrmann, Max Steiner, and John Williams. His scores for the following films were also nominated for the list:

Academy Awards

Goldsmith received a total of 17 Academy Award nominations, making him one of the most nominated composers in the history of the Academy Awards. Despite this Goldsmith only won the Oscar on one occasion, for his score to the 1976 film The Omen. This makes Goldsmith the most nominated composer to have only won an Oscar on one occasion.

Year Nominated work Award Result
1962 Freud Best Music Score—substantially original Nominated
1965 A Patch of Blue Best Music Score—substantially original Nominated
1966 The Sand Pebbles Best Original Music Score Nominated
1968 Planet of the Apes Best Original Score—for a motion picture [not a musical] Nominated
1970 Patton Best Original Dramatic Score Nominated
1973 Papillon Best Original Dramatic Score Nominated
1974 Chinatown Best Original Score Nominated
1975 The Wind and the Lion Best Original Score Nominated
1976 The Omen Best Original Score Won
"Ave Satani" (from The Omen) Best Original Song Nominated
1978 The Boys from Brazil Best Original Score Nominated
1979 Star Trek: The Motion Picture Best Original Score Nominated
1982 Poltergeist Best Original Score Nominated
1983 Under Fire Best Original Score Nominated
1986 Hoosiers Best Original Score Nominated
1992 Basic Instinct Best Original Score Nominated
1997 L.A. Confidential Best Original Dramatic Score Nominated
1998 Mulan (shared nomination with Matthew Wilder and David Zippel) Best Original Musical or Comedy Score Nominated

BAFTA Awards

Year Nominated work Award Result
1974 Chinatown Best Film Music Nominated
1975 The Wind and the Lion Best Film Music Nominated
1979 Alien Best Film Music Nominated
1997 L.A. Confidential Best Film Music Nominated

Emmy Awards

Year Nominated work Award Result
1961 Thriller (shared nomination with Pete Rugolo) Outstanding Achievement in the Field of Music for Television Nominated
1966 The Man From U.N.C.L.E. Individual Achievements in Music Nominated
1973 The Red Pony Outstanding Achievement in Music Composition Won
1975 QB VII (ABC Movie Special) Outstanding Achievement in Music Composition for a Special Won
1976 Babe Outstanding Achievement in Music Composition for a Special Won
1981 Masada Outstanding Achievement in Music Composition for a Limited Series or a Special (dramatic underscore) Won
1995 Star Trek: Voyager Outstanding Main Title Theme Music Won

Golden Globes

Year Nominated work Award Result
1964 Seven Days in May Best Original Score Nominated
1966 The Sand Pebbles Best Original Score Nominated
1974 Chinatown Best Original Score Nominated
1979 Alien Best Original Score Nominated
Star Trek: The Motion Picture Best Original Score Nominated
1983 Under Fire Best Original Score Nominated
1992 Basic Instinct Best Original Score Nominated
1997 L.A. Confidential Best Original Score Nominated
1998 Mulan (shared nomination with Matthew Wilder and David Zippel) Best Original Score Nominated

Grammy Awards

Year Nominated work Award Result
1966 The Man From U.N.C.L.E. (shared nomination with Lalo Schifrin, Morton Stevens, and Walter Scharf) Best Original Score from a Motion Picture or Television Show Nominated
1975 QB VII Album of Best Original Score Written for a Motion Picture or a Television Special Nominated
1976 The Wind and the Lion Album of Best Original Score Written for a Motion Picture or a Television Special Nominated
1977 The Omen Album of Best Original Score Written for a Motion Picture or a Television Special Nominated
1980 Alien Best Album of Original Score Written for a Motion Picture or a Television Special Nominated
1981 "The Slaves" (track from Masada soundtrack) Best Instrumental Composition Nominated

Saturn Awards

Year Nominated work Award Result
1978 The Boys from Brazil Best Music Nominated
1979 Magic Best Music Nominated
Star Trek: The Motion Picture Best Music Nominated
1984 Gremlins Best Music Won
1986 Link Best Music Nominated
Poltergeist II: The Other Side Best Music Nominated
1999 The Mummy Best Music Nominated
2000 Hollow Man Best Music Nominated
2003 Looney Tunes: Back In Action Best Music Nominated

See also

References

  1. ^ Jerry Goldsmith Biography (1929-) at filmreference.com. Retrieved 2011-02-16.
  2. ^ a b c Goldsmith, Carrie. "Preview of The Aborted Jerry Goldsmith Biography". Retrieved 2011-03-29.
  3. ^ "Jerry Goldsmith 1989 interview on Sand Pebbles part 2 on YouTube. Retrieved 2011-02-18.
  4. ^ a b c "Jerry Goldsmith - Archive Interview (entire)" on YouTube by Jon Burlingame. Retrieved 2011-02-16.
  5. ^ Velez, Andy. "Evening the Score" Artist Interview: Jerry Goldsmith. BarnesandNoble.com. Retrieved 2011-05-02.
  6. ^ a b c d e f g h i j k l m Clemmensen, Christian. Jerry Goldsmith (1929-2004) tribute at Filmtracks.com. Retrieved 2011-02-11.
  7. ^ "Lonely Are The Brave (1962) - Profile of Jerry Goldsmith" with Robert Townson on YouTube. Retrieved 2011-02-10.
  8. ^ "Jerry Goldsmith cameo from IN HARM'S WAY (1965)". YouTube. Retrieved 2011-08-18.
  9. ^ "Jerry Goldsmith 1989 interview on Sand Pebbles" part 1 at YouTube. Retrieved 2011-02-18.
  10. ^ a b c d e f g h i j k AFI's 100 Years Of Film Scores from the American Film Institute. Retrieved 2011-02-10.
  11. ^ a b c d e f g h Jerry Goldsmith, Best Original Score - Motion Picture nominations and wins at the Golden Globe Awards. Retrieved 2011-02-18.
  12. ^ Clemmensen, Christian. Patton soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  13. ^ "Jerry Goldsmith - Chinatown Interview" at YouTube. Retrieved 2011-02-18.
  14. ^ Teachout, Terry (2009-07-10). "The Perfect Film Score: At 35, Goldsmith’s ‘Chinatown’ sounds better than ever" article at the Wall Street Journal. Retrieved 2011-04-21.
  15. ^ Clemmensen, Christian. The Wind and the Lion soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  16. ^ a b Clemmensen, Christian. The Omen soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  17. ^ "Jerry Goldsmith wins the Oscar" Jerry Goldsmith's Oscar speech on YouTube. Retrieved 2011-02-16.
  18. ^ Clemmensen, Christian. Islands in the Stream soundtrack review at Filmtracks.com. Retrieved 2011-02-18.
  19. ^ Clemmensen, Christian. The Boys from Brazil soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  20. ^ Clemmensen, Christian. Alien soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  21. ^ Star Trek: The Motion Picture soundtrack review at Allmusic. Retrieved 2011-02-16.
  22. ^ Roberts, Jerry (1995-09-08). "Tapping a rich vein of gold; Jerry Goldsmith's music is as varied as the films he's scored". Daily Variety. 
  23. ^ Star Trek: The Motion Picture Director's Edition DVD special features. Retrieved 2011-03-29.
  24. ^ Staff (2004-07-24). "Jerry Goldsmith, Composer for such films as Chinatown and The Omen". The Daily Telegraph: p. 27. 
  25. ^ Morrison, Mairi (1987-01-04). "Otherworldly Sounds". The Washington Post: p. G3. 
  26. ^ Goldsmith, Jerry. Star Trek: The Motion Picture Directors Edition [Disc 2]. Special features: Commentary.
  27. ^ Clemmensen, Christian. Star Trek: The Motion Picture soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  28. ^ Associated Press (2004-07-24). "TV, Film Composer Jerry Goldsmith, 75". The Washington Post: p. B4. http://www.washingtonpost.com/wp-dyn/articles/A10523-2004Jul23.html. Retrieved 2009-03-01. 
  29. ^ King, Susan; John Thurber (2004-07-23). "Jerry Goldsmith, 75, prolific film composer". The Boston Globe. http://www.boston.com/news/globe/obituaries/articles/2004/07/23/jerry_goldsmith_75_prolific_film_composer/. Retrieved 2009-03-01. 
  30. ^ Clemmensen, Christian. Twilight Zone: The Movie soundtrack review. Filmtracks.com. Retrieved 2011-02-16.
  31. ^ Clemmensen, Christian. Poltergeist soundtrack review. Filmtracks.com. Retrieved 2011-02-16.
  32. ^ Clemmensen, Christian. Poltergeist II: The Other Side soundtrack review. Filmtracks.com. Retrieved 2011-02-19.
  33. ^ Clemmensen, Christian. Under Fire soundtrack review. Filmtracks.com. Retrieved 2011-02-16.
  34. ^ Film Awards: Best Music at the Saturn Awards. Retrieved 2011-02-22.
  35. ^ Clemmensen, Christian. Legend soundtrack review. Filmtracks.com. Retrieved 2011-05-04.
  36. ^ Clemmensen, Christian. Hoosiers soundtrack review. Filmtracks.com. Retrieved 2011-02-16.
  37. ^ Clemmensen, Christian. Leviathan soundtrack review. Filmtracks.com. Retrieved 2011-02-16.
  38. ^ Clemmensen, Christian. The 'Burbs soundtrack review. Filmtracks.com. Retrieved 2011-04-19.
  39. ^ Clemmensen, Christian. The Russia House soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  40. ^ Clemmensen, Christian. Total Recall soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  41. ^ Clemmensen, Christian. Gremlins 2: The New Batch soundtrack review at Filmtracks.com. Retrieved 2011-03-17.
  42. ^ Clemmensen, Christian. Medicine Man soundtrack review at Filmtracks.com. Retrieved 2011-03-25.
  43. ^ Clemmensen, Christian. Basic Instinct soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  44. ^ "Blonde Poison": The Making of Basic Instinct Part 2 at YouTube. Retrieved 2011-02-16.
  45. ^ Clemmensen, Christian. Rudy soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  46. ^ Rudy (1993) trailer usage at SoundtrackNet. Retrieved 2011-02-16.
  47. ^ a b Clemmensen, Christian. Star Trek: First Contact soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  48. ^ Clemmensen, Christian. The Ghost and the Darkness soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  49. ^ Clemmensen, Christian. Air Force One soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  50. ^ Clemmensen, Christian. L.A. Confidential soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  51. ^ a b "Jerry Goldsmith Works - Fanfares" at Jerry Goldsmith Online. Retrieved 2011-03-31.
  52. ^ Clemmensen, Christian. Mulan soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  53. ^ Jim Hill Media. "The new Disney California Adventure Official Album". http://www.laughingplace.com/News-ID115170.asp. Retrieved 2009-09-09. 
  54. ^ Clemmensen, Christian. Looney Tunes: Back in Action soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  55. ^ Clemmensen, Christian. Timeline soundtrack review at Filmtracks.com. Retrieved 2011-02-16.
  56. ^ a b Jerry Goldsmith Works - Concert Works And Ballet at Jerry Goldsmith Online. Retrieved 2011-03-31.
  57. ^ The CBS Radio Workshop Theater of the Mind "1489 Words" 1957 full episode at nostalgia-radio.com. Retrieved 2011-03-31.
  58. ^ a b c Goldsmith, Jerry (1999). Liner note. "Christus Apollo", composed and conducted by Jerry Goldsmith.
  59. ^ a b c Coleman, Christopher. "Spiritual Fiction: 'Christus Apollo' by Jerry Goldsmith" review at Tracksounds.com. Retrieved 2011-03-30.
  60. ^ "Film Music Masters: Jerry Goldsmith" part 7/7. YouTube. Retrieved 2011-04-30.
  61. ^ Eder, Bruce. "Star Trek: The Motion Picture (20th Anniversary Collectors Edition)" soundtrack review. Allmusic. Retrieved 2011-05-02.
  62. ^ Groult, Florent (September, 2001). "Goldsmith by Beltrami : master and student". UnderScores: Musique de Film. Retrieved 2011-04-30.

Further reading

  • Thomas, Tony: Music For The Movies (1973)
  • Thomas, Tony: Film Score (1979)
  • Brown, Royal S.: Overtones And Undertones (1994)
  • Büdinger, Matthias: "A Patch Of Goldsmith". In: Soundtrack vol. 8, No. 69, p. 46-48

External links



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