Jerry Goldsmith | |
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 Goldsmith in 2003 | |
| Background information | |
| Born | Jerrald King Goldsmith (1929-02-10)February 10, 1929 Los Angeles, California, U.S. |
| Died | July 21, 2004(2004-07-21) (aged 75) |
| Genres | |
| Occupations |
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| Years active | 1951–2004 |
Spouses | |
Jerrald King Goldsmith (February 10, 1929 – July 21, 2004) was an American composer, conductor and orchestrator with a career in film and television scoring that spanned nearly 50 years and over 200 productions, between 1954 and 2003. He was considered one of film music's most innovative and influential composers.[1] He was nominated for eighteenAcademy Awards (winning in 1977 forThe Omen), sixGrammy Awards, fivePrimetime Emmy Awards, nineGolden Globe Awards, and fourBritish Academy Film Awards.
He composed scores for five films in theStar Trek franchise and three in theRambo franchise, as well as for films includingLogan'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,Rudy andThe Mummy. He also composed the current fanfare for theUniversal Pictures logo, which debuted inThe Lost World: Jurassic Park.
He frequently collaborated with directors includingPaul Verhoeven,Franklin J. Schaffner,Richard Fleischer,Fred Schepisi,Michael Crichton,Jack Smight,Gordon Douglas,J. Lee Thompson,Paul Wendkos,John Frankenheimer, andJoe Dante.
Goldsmith was born on February 10, 1929, inLos Angeles, California. His parents were Tessa (née Rappaport), a school teacher, and Morris Goldsmith, a structural engineer.[2] His grandparents were Jewish immigrants from Europe.[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 educatorJakob Gimpel[4] (whom Goldsmith would later employ to perform piano solos in his score toThe Mephisto Waltz) and by the age of sixteen he was studying boththeory andcounterpoint under Italian composerMario Castelnuovo-Tedesco, who also tutored such noteworthy composers and musicians asHenry Mancini,Nelson Riddle,Herman Stein,André Previn,Marty Paich, andJohn Williams.
At age sixteen, Goldsmith saw the 1945 filmSpellbound and was inspired byMiklós Rózsa's unconventional score to pursue a career in music.[5][6] Goldsmith later enrolled and attended theUniversity of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more "practical music program" at theLos 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]
In 1950, Goldsmith found work atCBS as a clerk typist in the network's music department under directorLud Gluskin.[5] There he began writing scores for such radio shows asCBS Radio Workshop,Frontier Gentleman, andRomance. In an interview with Andy Velez fromBarnesandNoble.com, Goldsmith recalled: "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."[8] He later progressed into scoring such live CBS television shows asClimax! andPlayhouse 90. He also scored multiple episodes of the television seriesThe Twilight Zone. He remained at CBS until 1960, after which he moved on toRevue Studios and then toMetro-Goldwyn-Mayer for producerNorman Felton, whom he had worked for during live TV and would later compose music for shows produced byMGM Television such asDr. Kildare andThe Man from U.N.C.L.E..[5]
His feature film debut occurred when he composed the music for the westernBlack Patch (1957). He continued with scores to such films as the westernFace of a Fugitive (also 1957), and the science fiction filmCity of Fear (1959).[1]
Goldsmith began the decade composing for such television shows asDr. Kildare,Gunsmoke, andThriller as well as the drama filmThe Spiral Road (1962). However, he began receiving widespread name-recognition only after his intimate score to the westernLonely Are the Brave (1962). His involvement in the picture was the result of a recommendation by composerAlfred Newman who had been impressed with Goldsmith's score on the television showThriller and took it upon himself to recommend Goldsmith to the head ofUniversal's music department, despite having never met him.[9] That same year, Goldsmith composed the mostlyatonal anddissonant score to the biopicFreud (1962) that depicted a five-year period of the life of psychoanalystSigmund Freud. Goldsmith's score led to him gaining his firstAcademy Award nomination forBest Original Score, though he lost to fellow first-time nomineeMaurice Jarre for his music toLawrence of Arabia (also 1962). Goldsmith composed a score toThe Stripper (1963), his first collaboration with directorFranklin J. Schaffner for whom Goldsmith would later score the filmsPlanet of the Apes (1968),Patton (1970),Papillon (1973),Islands in the Stream (1977),The Boys from Brazil (1978) andLionheart (1987).[1]
Following his success withLonely Are the Brave andFreud, Goldsmith composed the theme music forThe Man from U.N.C.L.E. (1964), and scores to such films as the westernRio Conchos, the political thrillerSeven Days in May (both also 1964), the romantic dramaA Patch of Blue (1965), the war filmIn Harm's Way (also 1965), the World War I air combat filmThe Blue Max (1966), the period naval war dramaThe Sand Pebbles (also 1966), the thrillerWarning Shot (1967), the westernHour of the Gun (also 1967), and the mysteryThe Detective (1968).[10] He almost did not accept the assignment forThe Blue Max when he watched the final cut with the producers who had temp-tracked it withRichard Strauss'sAlso Sprach Zarathustra. He said: "I admit it worked fairly well but my first reaction was to get up and walk away from the job, but I couldn't. Once you've heard music like that with the picture, it makes your own scoring more difficult to arrive at, it clouds your thinking."[11] Goldsmith's scores toA Patch of Blue andThe Sand Pebbles garnered him his second and thirdAcademy Award nominations, respectively, and were both one of the 250 nominees for theAmerican Film Institute'stop twenty-five American film scores.[12] His scores forSeven Days in May andThe Sand Pebbles also garnered Goldsmith his first two respectiveGolden Globe Award nominations forBest Original Score in 1965 and 1967.[13] During this time, he also composed for many lighter, comedic films such as the family comedyThe Trouble with Angels (1966), theJames Bond parodiesOur Man Flint (1966) and its sequelIn Like Flint (1967), and the comedyThe Flim-Flam Man (1967).[1]
Goldsmith gained attention for the score of the post-apocalyptic science fiction filmPlanet of the Apes (1968), which was one of the first to be written entirely in anAvant garde style. When scoringPlanet of the Apes, Goldsmith used such innovative techniques as looping drums into anechoplex, 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,[14] among other objects, to create unique percussive sounds.[1] The score resulted in another Goldsmith nomination for theBest Original Score Oscar and ranks inNo. 18 on theAmerican Film Institute'stop twenty-five American film scores.[12] Though he did not return to compose for its sequelBeneath the Planet of the Apes (1970), Goldsmith scored the third installment in thePlanet of the Apes franchise,Escape from the Planet of the Apes (1971).
Goldsmith concluded the decade with scores to such films as the westernBandolero! (1968), the spy thrillerThe Chairman, the science fiction filmThe Illustrated Man, and the western100 Rifles (all 1969). He composed the theme for thecomedy-drama television seriesRoom 222 which debuted in 1969.[1]
Throughout the score for the World War II biographical filmPatton (1970), Goldsmith used anechoplex to loop recorded sounds of "call to war" triplets played on the trumpet that musically represented GeneralGeorge S. Patton's belief in reincarnation. The main theme also consisted of a symphonic march accompanied by apipe organ to represent the protagonist's militaristic and deeply religious nature.[15] The film's music subsequently earned Goldsmith an Oscar nomination forBest Original Score and was one of theAmerican Film Institute's 250 nominees for thetop twenty-five American film scores.[12] Goldsmith's critical success continued with his emotional score to the prison escape filmPapillon (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 andThe Waltons.[16]
Goldsmith was faced with the daunting task of replacing a score by composer Phillip Lambro to the neo-film noirChinatown (1974). With only ten days to compose and record an entirely new score, 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.[17][18] Goldsmith received an Academy Award nomination for his efforts though he lost toNino Rota andCarmine Coppola forThe Godfather Part II. The score toChinatown ranksNo. 9 on the AFI's list of top 25 American film scores.[12] It was also nominated for aGolden Globe Award forBest Original Score.[13]
Goldsmith earned further critical praise with his score to the period adventure filmThe Wind and the Lion (1975), which relied upon a diverse ensemble including many Moroccan instruments and a large percussion section.[19] The score garnered Goldsmith an Oscar nomination forBest Original Score, though he lost toJohn Williams for his score toJaws.The Wind and the Lion was also one of theAFI's 250 nominees for thetop twenty-five American film scores.[12]
Goldsmith composed a dark choral score to the horror filmThe Omen (1976), which was the first film score to feature the use of achoir in anavant-garde style.[20] The score was successful among critics and garnered Goldsmith his only Academy Award for Best Original Score and a nomination forBest Original Song for "Ave Satani".[21] His wife, Carol Heather Goldsmith, also wrote lyrics and performed a vocal track titled "The Piper Dreams" released solely on the soundtrack album.[20] Goldsmith would go on to compose for two more entries in the franchise;Damien - Omen II (1978) andOmen III: The Final Conflict (1981).
He continued to have critical success with scores to such films as the dystopian science fictionLogan's Run (1976), the period dramaIslands in the Stream (1977, a score which remained one of his own favorites),[22] the science fiction suspenseComa (1978), the science fiction thrillerCapricorn One (1977), the disaster filmThe Swarm (1978), the period comedyThe Great Train Robbery (also 1978), and his Academy Award-nominated score to the science fiction thrillerThe Boys from Brazil (1978), in which he utilized livelywaltzes juxtaposed against the film's concept of cloningAdolf Hitler.[23]
Goldsmith composed a score to the science fiction filmAlien (1979). His score featured an orchestra augmented by anIndian conch horn,didgeridoo,steel drum, andserpent (a 16th-century instrument), while creating further "alien" sounds by delaying stringpizzicati through anechoplex. 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. In the final score several pieces were moved, replaced, or cut. DirectorRidley Scott and editorTerry Rawlings also, without Goldsmith's consent, purchased the rights to the "Main Title" fromFreud (1962) which they used during the acid blood sequence.[24] Despite the heavy edits and rewrites, Goldsmith's score for the film earned him aGolden Globe Award nomination forBest Original Score[13] and was one of theAFI's 250 nominees for thetop twenty-five American film scores.[12]
Goldsmith concluded the decade composing the score forStar Trek: The Motion Picture (1979).[25] Having beenGene Roddenberry's initial choice to compose the originalStar Trek pilot "The Cage" yet being unable to do so due to scheduling conflicts, Goldsmith was the first pick of bothParamount Pictures and directorRobert Wise to compose a score forThe Motion Picture.[26] Faced with composing a newStar Trek theme for the film, Goldsmith initially struggled for inspiration, and proceeded to compose as much of the score as possible before the need to develop the main title theme. His initial score for the scene in which the newly-refitted StarshipEnterprise is revealed to the audience was not well received by the filmmakers, director Robert Wise feeling that it lacked a strong thematic hook and evoked sailing ships. Though somewhat irked by its rejection, Goldsmith consented to re-work his initial idea and finally arrived at theStar Trek theme which was ultimately used.[27] The film's soundtrack also provided a debut for theBlaster Beam, an electronic instrument 12 to 15 feet (3.7 to 4.6 m) long, created by musicianCraig Huxley.[28][29] 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.[30] An enormous pipe organ first plays the V'Ger theme on theEnterprise's approach, a literal indication of the machine's power.[31] His score forThe Motion Picture earned himAcademy Award andGolden Globe Award nominations,[13] and was one of theAFI's 250 nominees for thetop twenty-five American film scores.[12] Goldsmith would later compose the scores forStar Trek V: The Final Frontier (1989) (which included a revised arrangement of the theme fromThe Motion Picture),Star Trek: First Contact (1996),Star Trek: Insurrection (1998), andStar Trek: Nemesis (2002), as well as the theme to the television seriesStar Trek: Voyager in 1995. In addition, his theme forThe Motion Picture, as arranged byDennis McCarthy, was reused as the theme forStar Trek: The Next Generation in 1987.[32][33]
Throughout the 1980s, Goldsmith found himself increasingly scoring science fiction and fantasy films in the persistent wake ofStar Wars (1977), composing for such films asThe Omen sequelsDamien: Omen II (1978) andOmen III: The Final Conflict (1981), space westernOutland (1981), animated fantasyThe Secret of NIMH (1982), andthe film adaptation of The Twilight Zone, which he composed in four different styles to accompany the film's four stories.[34]
Goldsmith was hired to compose the music to theTobe Hooper-directed horror filmPoltergeist (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.[35] The film's score garnered him an Oscar nomination, though he lost again toJohn Williams for Spielberg'sE.T. the Extra-Terrestrial.
He did, however, still manage to compose for such non-fantasy productions as the period television miniseriesMasada (1981) winning anEmmy Award, the war filmInchon (1982), the action adventureFirst Blood (also 1982), and his Oscar- andGolden Globe Award-nominated score to political dramaUnder Fire (1983) in which he used the sound of a South Americanpan flute, synthetic elements, and the prominently featured solo work of jazz guitaristPat Metheny.[13][36]
Throughout the decade, many of his compositions became increasingly laced with synthetic elements such as his scores for the horror sequelPsycho II (1983), the comedy horror filmGremlins (1984, winning aSaturn Award forBest Music),[37] the fantasy superhero adaptationSupergirl (1984),Ridley Scott fantasyLegend (1985, initially heard only in European prints and then years later in a 2002director's cut),[38] action sequelRambo: First Blood Part II (1985), family fantasyBaby: Secret of the Lost Legend (also 1985), and horror movie sequelPoltergeist II (1986), a more synthetic score than the original and the first of two sequels.[1][39] He garnered another Oscar nomination for his innovative, critically acclaimed score to sports dramaHoosiers (1986), though he lost toHerbie Hancock forRound Midnight.[40] The score incorporates synthesizers, orchestra, and the recorded sounds of basketball hits on a gymnasium floor.
During the same period, Goldsmith scored theMichael Crichton filmRunaway (1984), the composer's first all-electronic score. In an interview withKeyboard magazine in 1984, Goldsmith said that in order to simulate the ambiance of a real orchestra, several speakers were set up in an actual orchestra hall similar to how they would be arranged if they were live players. The playback was re-recorded to capture the feel of the hall.
Goldsmith finished out the decade with noteworthy scores to such films as the science-fiction fantasy family filmExplorers (1985), medieval adventureLionheart, science fiction comedyInnerspace (both 1987), action filmRambo III (1988), the science fiction horrorLeviathan, andStar Trek V: The Final Frontier (both 1989), his secondStar Trek film score.[1] Goldsmith's score toLeviathan incorporated the use of recorded whale sounds during the main titles.[41] His comedy score toThe 'Burbs (1989) made use of pipe organ, recorded dog barking sound effects, and for parodying the trumpet "call to war" triplets on anechoplex from his previous score toPatton (1970).[42]
Receiving critical acclaim for his music for the romantic dramaThe Russia House (1990), Goldsmith's score featured a unique mixture ofRussian music andjazz to complement the nationalities and characteristics of the two main characters.[43] He also composed critically acclaimed music for the science fiction action filmTotal Recall (also 1990), which Goldsmith later regarded as one of his best scores.[44] Other scores of the era includeGremlins 2: The New Batch (also 1990, a film in which Goldsmith also made a briefcameo appearance),[45] the psychological thrillerSleeping with the Enemy (1991), the family comedyMom and Dad Save the World, the fantasy romanceForever Young (both 1992), the thrillerThe Vanishing, and the family comedyDennis the Menace (both 1993).[1] Goldsmith also composed a critically acclaimed score for the medical dramaMedicine Man (1992).[46] In concert, Goldsmith would later recount a story of how actorSean Connery copied Goldsmith's signature ponytail hairstyle for his character Robert Campbell in the film.
Goldsmith composed and conducted a score to the erotic thrillerBasic Instinct (1992). The soundtrack, an unsettling hybrid of orchestral and electronic elements, garnered him another Oscar nomination as well as aGolden Globe Award nomination[13] and was later regarded by the composer as one of his most challenging works.[47][48] He wrote an acclaimed score for the classic sports filmRudy (1993),[49] which has since been used in the trailers for numerous films includingAngels in the Outfield (1994),Good Will Hunting (1997),Spirit: Stallion of the Cimarron (2002), andSeabiscuit (2003). It was also heard on the TV spot of "The Little Vampire" (2000) and anArnold Schwarzenegger fitness commercial.[50]
Goldsmith composed acclaimed scores for such films as the superhero adaptationThe Shadow, the thrillerThe River Wild, the romantic comedyI.Q. (all 1994), the science fiction dramaPowder, the action filmCongo, the fantasy adventureFirst Knight (all 1995), the action filmExecutive Decision, and his thirdStar Trek film installmentStar Trek: First Contact (both 1996) which he composed with his sonJoel Goldsmith.[51] Goldsmith also composed the theme for theUPN seriesStar Trek: Voyager (which debuted in 1995) for which he won aPrimetime Emmy Award forOutstanding Main Title Theme Music. In 2020,Newsweek magazine said that theVoyager theme was the best of allStar Trek television series' theme songs.[52]
Goldsmith composed the critically successful score to the horror action filmThe Ghost and the Darkness (1996) which featured a traditional Irish folk melody interwoven with African rhythms.[53] He was hired to replace a score byRandy Newman forAir Force One (1997). Goldsmith, with the assistance of composerJoel McNeely, completed the brassy, heroic score in only twelve days.[54] Goldsmith also composed a percussive, jazzy score for the critically acclaimed crime dramaL.A. Confidential (also 1997).[55] His score garnered him Oscar andGolden Globe Award nominations, and was also one of theAFI's 250 nominees for thetop twenty-five American film scores.[12][13]
Goldsmith composed from 1997 to 2012 fanfare for theUniversal Pictures opening logo, first heard inThe Lost World: Jurassic Park (1997) and the short version for theUniversal Television closing logo, first heard onThe Tom Show. The studio continues to use this theme, with a new arrangement of it scored byBrian Tyler to accompany the studio's current opening logo, introduced withThe Lorax (2012) to coincide with the celebration of the studio's 100th anniversary.[56][57][58] Goldsmith also continued with scores for such films as the 1997 survival dramaThe Edge (also 1997), his fourthStar Trek film installment,Star Trek: Insurrection (1998), the science fiction horrorDeep Rising, the action thrillerU.S. Marshals and thescience fiction filmSmall Soldiers (all also 1998).[1] He also composed a score of combined Eastern, orchestral, and synthetic elements for theDisney-animated filmMulan (also 1998), which subsequently earned him his final Oscar andGolden Globe Award nominations along with songwriterMatthew Wilder and lyricistDavid Zippel.[13][59]
Goldsmith concluded the decade with critically successful scores to such popular films as action adventure horrorThe Mummy, the horror filmThe Haunting, and the action adventureThe 13th Warrior (1999).[1] In 1999, he also composed "Fanfare for Oscar" for theAcademy of Motion Picture Arts and Sciences.[56]
During the early years of the 2000s, Goldsmith composed scores to the science fiction thrillerHollow Man (2000), the mystery filmAlong Came a Spider, the dramaThe Last Castle (both 2001), the action/political thrillerThe Sum of All Fears, and his lastStar Trek filmStar Trek: Nemesis (both 2002).[1] Goldsmith had composed the scores to five of the first tenStar Trek movies up to that point. Goldsmith also composed an original score to thesimulator attractionSoarin' Over California which debuted February 8, 2001 at theDisneyland Resort, and the same attractionSoarin' which opened May 5, 2005 inEpcot at theWalt Disney World Resort. It was later said that when Goldsmith first rode the ride, he left in tears and said, "I'd do anything to be part of this project. I'd even score the film for free."[60]
Goldsmith's final cinematic score, composed during declining health, was the critically acclaimed music for the live-action/animated hybrid filmLooney Tunes: Back in Action (2003), directed by long-time Goldsmith collaboratorJoe Dante.[61] One of his last works was with another long-time collaborator,Richard Donner (for whom Goldsmith had scoredThe Omen in 1976), on the science fiction filmTimeline (also 2003). However, due to a complicated post-production process, Goldsmith's score had to be replaced. Goldsmith's score was used for the preliminary cuts, but the score didn't fit the later cuts of the film and had to be re-scored. Goldsmith's unavailability led to composerBrian Tyler taking over. Goldsmith's unused score was later released on CD, September 7, 2004 throughVarèse Sarabande, less than two months after his death in July. The album quickly became out of print.[62]
Goldsmith composed the fanfares accompanying theproduction logos for multiple majorfilm studios. He composed the 1976 fanfare forParamount Pictures, which was used mainly for theirhome video label, as well as the 1988Carolco Pictures fanfare and theCinergi Pictures fanfare, withBruce Broughton conducting the Sinfonia of London's performance of it.
With the release ofThe Lost World: Jurassic Park, his 1997 opening fanfare forUniversal Pictures debuted. His work on the fanfare would later be re-composed byJohn Williams for the 20th anniversary ofE.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 inThe Scorpion King; and composed and arranged byBrian Tyler for the studio's 100th anniversary.
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Goldsmith was married twice. He was first married to Sharon Hennagin[69] in 1950; they divorced in 1970. He married Carol Heather Sheinkopf in 1972, and the couple remained together until his death in 2004. His oldest sonJoel Goldsmith (1957–2012)[70] was also a composer and collaborated with his father on the score forStar Trek: First Contact, composing approximately twenty-two minutes of the score.[51] Goldsmith also conducted Joel's theme forThe Untouchables and composed the theme for the pilotHollister, scored by Joel.[citation needed] Goldsmith's daughter, Carrie Goldsmith, went to high school withTitanic film score composerJames Horner,[4] who also composed music forStar Trek's second and third films:Star Trek II: The Wrath of Khan andStar 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 forWild Rovers, shortened her surname but was actually his daughter, Ellen Goldsmith.
Goldsmith died fromcolon cancer at his home inBeverly Hills, California, on July 21, 2004, at the age of 75.[71][72] He was interred atHillside Memorial Park Cemetery.
Goldsmith was greatly influenced by movements of early20th-century classical music, notablymodernism, Americana,impressionism,dodecaphonism, and earlyfilm scores.[5][65] He has citedIgor Stravinsky,Aaron Copland,Miklós Rózsa,Bernard Herrmann,Béla Bartók, andAlban Berg, among others, as some of the main influences to his style of composition.[73]
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.[1] 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."[74]
Goldsmith's work has been celebrated in the gaming community, with many fans and composers citing his scores as a major influence. His ability to blend traditional orchestration with electronic elements has been particularly influential in the development of video game music.[75]
Jerry Goldsmith has been considered one of film music history's most innovative and influential composers.[1] While presenting Goldsmith with a Career Achievement Award from the Society for the Preservation of Film Music in 1993, fellow composerHenry 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."[76] In his review of the 1999 re-issue of theStar 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 ofRimsky-Korsakov orStravinsky — it's that good."[77] In a 2001 interview, film composerMarco 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."[78]
In 2006, upon composingThe Omen (a remake of the Goldsmith-scored1976 film), Marco Beltrami dedicated his score to Goldsmith, which also included an updated arrangement of "Ave Satani" titled "Omen 76/06".[79] Likewise, when composerBrian Tyler was commissioned in 2012 to update theUniversal Studios logo for the Universal centennial, he retained the melody originally composed by Goldsmith in 1997, opting to "bring it into the 21st century."[80]
Over the course of his career, Goldsmith received 18 totalAcademy Award nominations, making him one of the most nominated composers in the history of the Awards. Despite this, Goldsmith won only one Oscar, his score forThe Omen (1976). This makes Goldsmith the most nominated composer to have won an Oscar only on one occasion. In 1991, Goldsmith received an Honorary Doctorate of Music fromBerklee College of Music.
On May 9, 2017, Goldsmith posthumously received a star on theHollywood Walk of Fame for his achievements in themusic industry, located at 6752Hollywood Boulevard.[81][82][83]
TheAmerican Film Institute respectively ranked Goldsmith's scores forChinatown (1974) andPlanet of the Apes (1968)No. 9 andNo. 18 ontheir list of the 25 greatest film scores.[12] He is one of only five composers to have more than one score featured in the list, includingElmer Bernstein,Bernard Herrmann,Max Steiner, andJohn Williams. His scores for the following films were also nominated for inclusion:
