Jerry Goldsmith
Jerry Goldsmith | |
---|---|
Background information | |
Birth name | Jerrald King Goldsmith |
Born | Los Angeles, California | February 10, 1929
Died | July 21, 2004 Beverly Hills, California, U.S. | (aged 75)
Genres | Film score, contemporary classical music |
Occupation(s) | Composer, conductor |
Years active | 1951–2004 |
Spouse(s) |
|
Jerrald King Goldsmith (February 10, 1929 – July 21, 2004) was an American composer known for his work in film and television scoring. He composed scores for five films in the Star Trek franchise and three in the Rambo franchise, as well as for films including Logan's Run, Planet of the Apes, Tora! Tora! Tora!, Patton, Papillon, Chinatown, The Omen, Alien, Poltergeist, The Secret of NIMH, Medicine Man, Gremlins, Hoosiers, Total Recall, Basic Instinct, Air Force One, L.A. Confidential, Mulan, and The Mummy. He also composed the fanfares accompanying the production logos used by multiple major film studios, and music for the Disney attraction Soarin'.
He collaborated with directors including Robert Wise, Howard Hawks, Otto Preminger, Joe Dante, Richard Donner, Richard Fleischer, Ridley Scott, Steven Spielberg, Michael Crichton, Roman Polanski, Gordon Douglas, Fred Schepisi, Paul Verhoeven, and Franklin J. Schaffner. His work for Donner and Scott also involved a rejected score for Timeline and a controversially edited score for Alien, where music by Howard Hanson replaced Goldsmith's end titles and Goldsmith's own work on Freud: The Secret Passion was used without his approval in several scenes.
Goldsmith was nominated for six
Early life and education
Goldsmith was born February 10, 1929, in Los Angeles, California. His family was mostly from Austro-Hungarian Empire, father half Austrian and Hungarian (grandmother Schwartz)[1] Romanian Jewish.[2] His parents were Tessa (née Rappaport), a school teacher, and Morris Goldsmith, a structural engineer.[3] He started playing piano at age six, but only "got serious" by the time he was eleven. At age thirteen, he studied piano privately with concert pianist and educator Jakob Gimpel[4] (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 age sixteen, Goldsmith saw the 1945 film Spellbound and was inspired by Miklós Rózsa's unconventional score to pursue a career in music.[5][6] 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.[7] There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.[5]
Film and television scoring
1950s and work at CBS
In 1950, Goldsmith found work at
His feature film debut occurred when he composed the music for the western Black Patch (1957). He continued with scores to such films as the western Face of a Fugitive (also 1957), and the science fiction film City of Fear (1959).[9]
1960s
Goldsmith began the decade composing for such television shows as
Following his success with Lonely Are the Brave and Freud, Goldsmith composed the theme music for
Goldsmith gained attention for the score of the post-apocalyptic science fiction film Planet of the Apes (1968), which was one of the first 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 stainless steel mixing bowls,[15] among other objects, to create unique percussive sounds.[9] The score resulted in another Goldsmith nomination for the Best Original Score Oscar and ranks in No. 18 on the American Film Institute's top twenty-five American film scores.[13] 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
1970s
Throughout the score for the World War II biographical film Patton (1970), 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 protagonist's militaristic and deeply religious nature.[16] The film's music subsequently earned Goldsmith an Oscar nomination for Best Original Score and was one of the American Film Institute's 250 nominees for the top twenty-five American film scores.[13] Goldsmith's critical success continued with his emotional score to the prison escape film Papillon (1973), which also earned him an Academy Award nomination. In the early 1970s, Goldsmith also wrote the themes for two wildly different TV series, Barnaby Jones and The Waltons.[17]
Goldsmith was faced with the daunting task of replacing a score by composer Phillip Lambro to the neo-
Goldsmith earned further critical praise with his score to the period adventure film The Wind and the Lion (1975), which relied upon a diverse ensemble including many Moroccan instruments and a large percussion section.[20] The score garnered Goldsmith an Oscar nomination for Best Original Score, though he lost to John Williams for his score to Jaws. The Wind and the Lion was also one of the AFI's 250 nominees for the top twenty-five American film scores.[13]
Goldsmith composed a dark choral score to the horror film
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, a score which remained one of his personal favorites),[23] the science fiction suspense Coma (1978), the science fiction thriller Capricorn One (1977), the disaster film The Swarm (1978), the period comedy The Great Train Robbery (also 1978), and his Academy Award-nominated score to the science fiction thriller The Boys from Brazil (1978), in which he utilized lively waltzes to juxtapose the film's concept of cloning Adolf Hitler.[24]
Goldsmith composed a score to the science fiction film
Goldsmith concluded the decade composing the score for
1980s
Throughout the 1980s, Goldsmith found himself increasingly scoring science fiction and fantasy films in the ongoing wake of
Goldsmith was hired to compose the music to the Tobe Hooper-directed horror film Poltergeist (1982). He wrote several themes for the film 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.[36] The film's score garnered him an Oscar nomination, though he lost again to John Williams for Spielberg's E.T. the Extra-Terrestrial.
He did, however, still manage to compose for such non-fantasy productions as the period television miniseries
Throughout the decade, many of his compositions became increasingly laced with synthetic elements such as his scores for the horror sequel
During the same period, Goldsmith scored the
Goldsmith finished out the decade with noteworthy scores to such films as the science-fiction fantasy family film Explorers (1985), medieval adventure Lionheart, science fiction comedy Innerspace (both 1987), action film Rambo III (1988), the science fiction horror Leviathan, and Star Trek V: The Final Frontier (both 1989), his second Star Trek film score.[9] Goldsmith's score to Leviathan incorporated the use of recorded whale sounds during the main titles.[42] His comedy score to The 'Burbs (1989) made 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).[43]
1990s
Receiving critical acclaim for his music for the romantic drama The Russia House (1990), Goldsmith's score featured a unique mixture of Russian music and jazz to complement the nationalities and characteristics of the two main characters.[44] He also composed critically acclaimed music for the science fiction action film Total Recall (also 1990), which Goldsmith later regarded as one of his best scores.[45] Other scores of the era include Gremlins 2: The New Batch (also 1990, a film in which Goldsmith also made a brief cameo appearance),[46] the psychological thriller Sleeping with the Enemy (1991), the family comedy Mom and Dad Save the World, the fantasy romance Forever Young (both 1992), the thriller The Vanishing, and the family comedy Dennis the Menace (both 1993).[9] Goldsmith also composed a critically acclaimed score for the medical drama Medicine Man (1992).[47] 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.
Goldsmith composed and conducted a score to the erotic thriller
Goldsmith composed acclaimed scores for such films as the superhero adaptation
Goldsmith composed the critically successful score to the horror action film
Goldsmith composed a new theme for the
Goldsmith concluded the decade with critically successful scores to such popular films as action adventure horror The Mummy, the horror film The Haunting, and the action adventure The 13th Warrior (1999).[9] In 1999, he also composed "Fanfare for Oscar" for the Academy of Motion Picture Arts and Sciences.[57]
2000s and final scores
During the early years of the 2000s, Goldsmith composed scores to the science fiction thriller
Goldsmith's final cinematic score, composed during declining health, was the critically acclaimed music for the live-action/animated hybrid film
Studio fanfares
Goldsmith composed the fanfares accompanying the production logos for multiple major film studios. He composed the 1976 fanfare for Paramount Pictures, which was used mainly for their home video label, as well as the 1988 Carolco Pictures fanfare and the Cinergi Pictures fanfare, with Bruce Broughton conducting the Sinfonia of London's performance of it.
With the release of The Lost World: Jurassic Park, his 1997 opening fanfare for Universal Pictures debuted. His work on the fanfare would later be re-composed by John Williams for the 20th anniversary of E.T. the Extra-Terrestrial, a film in which Williams composed the film's score, with a customized fanfare, merging the Universal fanfare and the film's main theme, and the full Universal fanfare, only used in The Scorpion King; and composed and arranged by Brian Tyler for the studio's 100th anniversary.
Concert works
- Toccata for Solo Guitar
- In the 1950s, Goldsmith composed "Toccata for Solo Guitar".[64] The music was later performed and recorded by Gregg Nestor and released through BSX Records January 5, 2010.
- The Thunder of Imperial Names
- In 1957, Goldsmith composed the patriotic piece based on a text by Thomas Wolfe titled The Thunder of Imperial Names for concert band and narration, which first appeared on the CBS Radio Workshop episode "1489 Words".[65] "The Thunder of Imperial Names" was later performed and re-recorded in 2006 by the U.S. Air Force Tactical Command Band under conductor Lowell E. Graham and narrated by Gary McKenzie.[64]
- Christus Apollo
- In 1969, the Telarc album release, Christus Apollo was performed by the London Symphony Orchestra, the London Voices, mezzo-soprano Eirian James, and narrated by actor Anthony Hopkins.[67]
- In 1969, the
- Music for Orchestra
- In 1970, Goldsmith was approached by conductor Saint Louis Symphony Orchestra.[68] The atonal 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.[67] 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."[66]
- In 1970, Goldsmith was approached by conductor
- 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.[67][69] 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."[66]
Personal life and death
This section needs expansion. You can help by adding to it. (February 2011) |
Goldsmith was married twice. He was first married to Sharon Hennagin[70] in 1950; they divorced in 1970. He married Carol Heather in 1972, and the couple remained together until his death in 2004. His oldest son Joel Goldsmith (1957–2012)[71] was also a composer and collaborated with his father on the score for Star Trek: First Contact, composing approximately twenty-two minutes of the score.[52] Goldsmith also conducted Joel's theme for The Untouchables and composed the theme for the pilot Hollister, scored by Joel.[citation needed] Goldsmith's daughter, Carrie Goldsmith, went to high school with Titanic film score composer James Horner,[4] who also composed music for Star Trek's second and third films: 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.[4] Ellen Smith, who sang the title song for Wild Rovers, shortened her surname but was actually his daughter, Ellen Goldsmith.
Goldsmith died from
Style and influences
Goldsmith was greatly influenced by movements of early
His style has been noted for its unique instrumentation, utilizing a vast array of ethnic instruments, recorded sounds, synthetic textures, and the traditional orchestra, often concurrently.[9] When asked about his inclination for embracing new techniques and constantly shifting his musical palette throughout his career, Goldsmith said, "It seems like it's me, and that's that! Certain composers are doing the same thing over and over again, which I feel is sort of uninteresting. I don't find that you grow very much in that way. I like to keep changing, trying to do new things. Basically, I'm saying the same thing with a little different twist on it. Once you get caught up in the creative process, something inside takes over, and your subconscious just does it for you."[75]
One reason for the consistency of Goldsmith's aural resonance and signature sound is his long time professional association with orchestrator Arthur Morton. Their first collaboration was on the film, Take Her, She's Mine (1963). Goldsmith was commissioned to score the features, Von Ryan's Express and Morituri (both 1965). He recruited Morton to serve as his orchestrator. Their bond for a unique and expressive sound was born, and their friendship flourished. Goldsmith went on to compose the scores for Our Man Flint, The Trouble with Angels (with Frank De Vol), The Blue Max, The Sand Pebbles, and Stagecoach (all 1966). Morton was there providing his orchestration services, assisting Goldsmith in attaining his visionary sounds. Their partnership endured for over 30 years and included the notable scores for Planet of the Apes (1968), Patton (1970), Tora! Tora! Tora! (1970), Papillon (1973), Chinatown (1974), The Omen (1976), MacArthur (1977), Capricorn One (1978), Alien (1979), Star Trek: The Motion Picture (1979), Poltergeist (1982), First Blood (1982), Under Fire (1983), The Russia House (1990). The final score that Arthur Morton orchestrated for Goldsmith was L.A. Confidential (1997).[76]
Legacy
Jerry Goldsmith has been considered one of film music history's most innovative and influential composers.[9] While presenting Goldsmith with a Career Achievement Award from the Society for the Preservation of Film Music in 1993, fellow composer Henry Mancini 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."[77] 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."[78] 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 modern film composer."[79]
In 2006, upon composing
Awards and nominations
Over the course of his career, Goldsmith received 18 total
On May 9, 2017, Goldsmith posthumously received a star on the Hollywood Walk of Fame for his achievements in the music industry, located at 6752 Hollywood Boulevard.[82][83][84]
AFI
The American Film Institute respectively ranked Goldsmith's scores for Chinatown (1974) and Planet of the Apes (1968) No. 9 and No. 18 on their list of the 25 greatest film scores.[13] 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 inclusion:
- Alien (1979)
- L.A. Confidential (1997)
- The Omen (1976)
- Papillon (1973)
- A Patch of Blue (1965)
- Patton (1970)
- The Sand Pebbles (1966)
- Star Trek: The Motion Picture (1979)
- The Wind and the Lion (1975)
Accolades
List of movies and series
1950s
- The Lineup (TV series, 1954)
- Climax! (TV series, 1954)
- Black Patch (1957)
- Westinghouse Studio One: Tongue of Angels Season 10 episode 24 (live TV drama, 1958)
- Face of a Fugitive (1959)
- City of Fear (1959)
- Playhouse 90 (TV series, 1959)
- The Twilight Zone (TV series, 1959)
- Perry Mason (1959 TV series incidental music, episode 3–75)
1960s
- The Gambler, the Nun, and the Radio (TV film, 1960)
- Full Circle (TV series theme, 1960)
- Pete and Gladys (TV series theme, 1960)
- Studs Lonigan (1960)
- Thriller(TV series, 1960)
- Dr. Kildare (theme and 7 episode scores, 1961)
- The Expendables (TV film, 1962)
- The Crimebusters (1962)
- Lonely Are the Brave (1962)
- The Spiral Road (1962)
- Freud(1962)
- The List of Adrian Messenger (1963)
- The Stripper (1963)
- A Gathering of Eagles (1963)
- Lilies of the Field (1963)
- Take Her, She's Mine (1963)
- The Prize (1963)
- Seven Days in May (1964)
- Shock Treatment (1964)
- Fate Is the Hunter (1964)
- The Man from U.N.C.L.E. (TV series theme and 3 episode scores, 1964)
- Rio Conchos(1964)
- The Satan Bug (1965)
- The Loner (TV series theme and 2 episode scores, 1965)
- Voyage to the Bottom of the Sea (TV series: 1 episode, 1965)
- In Harm's Way (1965)
- Von Ryan's Express (1965)
- Morituri (1965)
- The Agony and the Ecstasy (co-composer, 1965)
- A Patch of Blue (1965)
- Our Man Flint (1966)
- The Trouble with Angels (1966)
- Stagecoach (1966)
- The Blue Max (1966)
- Seconds (1966)
- The Sand Pebbles (1966)
- Warning Shot (1967)
- In Like Flint (1967)
- The Flim-Flam Man (1967)
- Hour of the Gun (1967)
- Sebastian (1968)
- Planet of the Apes (1968)
- The Detective (1968)
- Bandolero! (1968)
- Room 222 (TV series: theme and 2 episodes, 1969)
- 100 Rifles (1969)
- The Illustrated Man (1969)
- The Chairman (1969)
- Justine (1969)
1970s
- Patton (1970)
- The Ballad of Cable Hogue (1970)
- Prudence and the Chief (TV film, 1970)
- The Brotherhood of the Bell (TV film, 1970)
- Tora! Tora! Tora! (1970)
- The Traveling Executioner (1970)
- Rio Lobo (1970)
- A Step Out of Line (TV movie, 1971)
- The Mephisto Waltz(1971)
- Escape from the Planet of the Apes (1971)
- Wild Rovers (1971)
- The Last Run (1971)
- Do Not Fold, Spindle, or Mutilate(TV film, 1971)
- Crosscurrent (1971) (TV movie)
- The Homecoming: A Christmas Story (TV film, 1971, basis for The Waltons)
- Lights Out (TV film, 1972)
- Crawlspace (TV film, 1972)
- The Culpepper Cattle Co. (stock music only, 1972)
- The Other (1972)
- The Man (1972)
- Anna and the King (TV series theme and pilot score, 1972)
- Pursuit(TV film, 1972)
- The Waltons (TV series theme and several season 1 episodes, 1972)
- Barnaby Jones (TV series theme and pilot score, 1973)
- Shamus (1973)
- Hawkins (TV movie and series theme, 1973)
- The Red Pony (TV film, 1973)
- Ace Eli and Rodger of the Skies (1973)
- The Going Up of David Lev (TV film, 1973)
- One Little Indian (1973)
- The Don Is Dead (1973)
- Papillon (1973)
- Indict and Convict (TV film, 1974)
- Police Story (TV theme and pilot score, 1974)
- A Tree Grows in Brooklyn (TV film, 1974)
- Winter Kill (TV film, 1974)
- QB VII (1974) (miniseries)
- Chinatown (1974)
- S*P*Y*S (1974)
- Ransom(1975)
- Archer (1975, TV series theme and pilot score)
- Breakout (1975)
- The Reincarnation of Peter Proud (1975)
- The Wind and the Lion (1975)
- A Girl Named Sooner (TV film, 1975)
- Adams of Eagle Lake (TV series theme, 1975)
- Medical Story (1975, TV series theme)
- Take a Hard Ride (1975)
- Babe (TV film, 1975)
- Breakheart Pass(1975)
- The Hemingway Play (TV film, 1976)
- The Last Hard Men (stock music only, 1976)
- Logan's Run(1976)
- The Omen (1976)
- High Velocity (1976)
- The Cassandra Crossing (1976)
- Twilight's Last Gleaming (1977)
- Islands in the Stream (1977)
- MacArthur (1977)
- Capricorn One (1977)
- Damnation Alley (1977)
- Contract on Cherry Street (TV film, 1977)
- Coma (1978)
- Damien - Omen II (1978)
- The Swarm (1978)
- The Boys from Brazil (1978)
- Magic (1978)
- The Great Train Robbery (1978)
- Alien (1979)
- Players (1979)
- Star Trek: The Motion Picture (1979)
1980s
- Caboblanco (1980)
- The Salamander (1981)
- Omen III: The Final Conflict(1981)
- Masada (TV miniseries, first half only, 1981)
- Inchon (1981)
- Outland (1981)
- Raggedy Man (1981)
- Night Crossing (1982)
- Poltergeist (1982)
- The Secret of NIMH (1982)
- The Challenge (1982)
- First Blood (1982)
- Psycho II (1983)
- Twilight Zone: The Movie (1983)
- Under Fire (1983)
- The Lonely Guy (1984)
- Gremlins (1984)
- Supergirl (1984)
- Runaway(1984)
- Baby: Secret of the Lost Legend (1985)
- Rambo: First Blood Part II (1985)
- Explorers (1985)
- Legend (1985, European version)
- King Solomon's Mines (1985)
- Link (1986)
- Amazing Stories (1986, TV series: episode "Boo!")
- Poltergeist II: The Other Side (1986)
- Hoosiers (1986)
- Star Trek: The Next Generation (theme only, re-arranged by Dennis McCarthy, 1987)
- Extreme Prejudice (1987)
- Innerspace (1987)
- Lionheart (1987)
- Rent-a-Cop (1987)
- Rambo III (1988)
- Criminal Law (1988)
- Alien Nation (rejected, 1988)
- The 'Burbs (1989)
- Leviathan (1989)
- Warlock (1989)
- Star Trek V: The Final Frontier (1989)
1990s
- Total Recall (1990)
- Gremlins 2: The New Batch (1990)
- The Russia House (1990)
- H.E.L.P. (1991, TV series theme)
- Not Without My Daughter (1991)
- Sleeping with the Enemy (1991)
- Mom and Dad Save the World (1992)
- Medicine Man (1992)
- Basic Instinct (1992)
- Forever Young (1992)
- Mr. Baseball (1992)
- Gladiator (rejected, 1992)
- The Public Eye (rejected, 1992)
- Hollister (TV film theme, 1992)
- Love Field (1992)
- The Vanishing (1993)
- Dennis the Menace (1993)
- Rudy (1993)
- Six Degrees of Separation (1993)
- Malice (1993)
- Matinee (1993)
- Angie (1994)
- Bad Girls (1994)
- The Shadow (1994)
- The River Wild (1994)
- I.Q. (1994)
- Congo (1995)
- First Knight (1995)
- Star Trek: Voyager (TV series theme, 1995)
- Powder (1995)
- Babe (rejected, 1995)
- City Hall (1996)
- Executive Decision (1996)
- 2 Days in the Valley (rejected, 1996)
- Chain Reaction (1996)
- Star Trek: First Contact (1996, additional music by Joel Goldsmith)
- The Ghost and the Darkness (1996)
- Fierce Creatures (1997)
- Air Force One (1997, additional music by Joel McNeely)
- L.A. Confidential (1997)
- The Edge (1997)
- Deep Rising (1998)
- U.S. Marshals (1998)
- Small Soldiers (1998)
- Mulan (1998)
- Star Trek: Insurrection (1998)
- The Mummy (1999)
- The Haunting (1999)
- The 13th Warrior (1999)
2000s
- Hollow Man (2000)
- Soarin' Over California(simulator ride, 2001)
- Along Came a Spider (2001)
- The Last Castle (2001)
- The Sum of All Fears (2002)
- Star Trek: Nemesis (2002)
- Looney Tunes: Back in Action (2003)
- Timeline (replaced by Brian Tyler when film re-edited and Goldsmith too sick to continue, 2003)
- The Kennedy Center Honors(song 2003)
Movie Studio Fanfares
- Paramount Pictures (1977-2005)
- Universal Pictures (1997-2012)
See also
References
- ^ https://www.geni.com/people/Stella-Goldsmith/6000000054191309970
- ISBN 9780813538457.
- ^ "Jerry Goldsmith Biography (1929–)". Filmreference.com. Retrieved February 16, 2011.
- ^ a b c Goldsmith, Carrie. "Preview of The Aborted Jerry Goldsmith Biography". Retrieved March 29, 2011.
- ^ YouTubeby Jon Burlingame. Retrieved February 16, 2011.
- ^ Miller, Frank. "Spellbound (1945) Pop Culture 101 – SPELLBOUND". Turner Classic Movies.
- YouTube. Retrieved 2011-02-18.
- ^ Velez, Andy. "Evening the Score" Artist Interview: Jerry Goldsmith Archived April 30, 2013, at the Wayback Machine BarnesandNoble.com. Retrieved May 2, 2011.
- ^ Filmtracks.com. Retrieved February 11, 2011.
- YouTubewith Robert Townson. Retrieved February 10, 2011.
- YouTube. Retrieved February 18, 2011.
- ^ Thomas, Tony. Music From the Movies. p. 212
- ^ a b c d e f g h i AFI's 100 Years Of Film Scores Archived July 16, 2011, at the Wayback Machine from the American Film Institute. Retrieved February 10, 2011.
- ^ a b c d e f g h Jerry Goldsmith, Best Original Score – Motion Picture Archived July 26, 2011, at the Wayback Machine nominations and wins at the Golden Globe Awards. Retrieved February 18, 2011.
- ^ Simians and Serialism by John O’Callaghan, p. 77.
- Filmtracks.com. Retrieved February 16, 2011.
- ^ Jon Thurber; Susan King (July 23, 2004). "Jerry Goldsmith, 75; Created Memorable TV, Film Scores". The Los Angeles Times. Retrieved October 10, 2023.
- YouTube. Retrieved February 18, 2011.
- ^ Teachout, Terry (July 10, 2009). According to producer Robert Evans, Goldsmith's Chinatown score made the difference between the success and failure of the film. "The Perfect Film Score: At 35, Goldsmith's 'Chinatown' sounds better than ever" article at The Wall Street Journal. Retrieved April 21, 2011.
- Filmtracks.com. Retrieved February 16, 2011.
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- ^ Star Trek: The Motion Picture soundtrack review at AllMusic. Retrieved February 16, 2011.
- ^ Roberts, Jerry (September 8, 1995). "Tapping a rich vein of gold; Jerry Goldsmith's music is as varied as the films he's scored". Daily Variety.
- ^ Star Trek: The Motion Picture Director's Edition DVD special features. Retrieved March 29, 2011.
- ^ Staff (July 24, 2004). "Jerry Goldsmith, Composer for such films as Chinatown and The Omen". The Daily Telegraph. p. 27.
- ^ Morrison, Mairi (January 4, 1987). "Otherworldly Sounds". The Washington Post. p. G3.
- ^ Goldsmith, Jerry. Star Trek: The Motion Picture Directors Edition [Disc 2]. Special features: Commentary.
- Filmtracks.com. Retrieved February 16, 2011.
- ^ "TV, Film Composer Jerry Goldsmith, 75". The Washington Post. Associated Press. July 24, 2004. p. B4. Retrieved March 1, 2009.
- ^ King, Susan; Thurber, John (July 23, 2004). "Jerry Goldsmith, 75, prolific film composer". The Boston Globe. Retrieved March 1, 2009.
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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
- Dupuis, Mauricio: Jerry Goldsmith – Music Scoring for American Movies, Rome, Robin, 2013, p. 265 (ISBN 9788867401888).
- Riedlinger, Stefan: 50 Best Soundtracks. A guide to the music of Jerry Goldsmith, John Williams, Hans Zimmer and many more with an exclusive interview with Michael J. Lewis (2018). ISBN 978-1717705846.
External links
- Jerry Goldsmith at IMDb
- Jerry Goldsmith at Memory Alpha
- Jerry Goldsmith Online
- StarTrek.com Creative Staff Profile Archived December 23, 2008, at the Wayback Machine
- Jerry Goldsmith at Soundtrackguide.net
- Jerry Goldsmith at The Danish Filmmusic Society (DFS)
- Jerry Goldsmith Discography at SoundtrackCollector.com
- Jerry Goldsmith at Epdlp
- Jerry Goldsmith Film Music Society
- Sammy Lifetime Achievement Award
- Jerry Goldsmith at The Interviews: An Oral History of Television