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'{{Infobox musical artist<!-- See Wikipedia:WikiProject Musicians --> | name = Jerry Goldsmith | image = Jerry Goldsmith 2.jpg | caption = Goldsmith conducts the London Symphony Orchestra, 2003 | birth_name = Jerrald King Goldsmith | birth_date = {{Birth date|1929|2|10}} | birth_place = [[Los Angeles|Los Angeles, California]] | death_date = {{Death date and age|2004|7|21|1929|2|10}} | death_place = [[Beverly Hills, California]] | genre = [[Film score]], [[Contemporary classical music]] | occupation = [[Composer]], [[Conducting|conductor]] | years_active = 1951&ndash;2004 | background=non_performing_personnel }} '''Jerrald King "Jerry" Goldsmith''' (February 10, 1929&nbsp;– July 21, 2004) was an American [[composer]] and [[conducting|conductor]] most known for his work in film and television scoring. He composed scores for such noteworthy films as ''[[The Sand Pebbles (film)|The Sand Pebbles]]'', "[[Logan's Run]]", "[[Planet of the Apes (1968 film)|<nowiki>Planet of the Apes''</nowiki>]]'', ''[[Patton (film)|Patton]]'', ''[[Chinatown (1974 film)|Chinatown]]'', ''[[The Wind and the Lion]]'', ''[[The Omen (1976 film)|The Omen]]'', ''[[The Boys from Brazil (film)|The Boys from Brazil]]'', ''[[Night Crossing]]'', ''[[Alien (film)|Alien]]'', ''[[Poltergeist (film)|Poltergeist]]'', ''[[The Secret of NIMH]]'', ''[[Gremlins]]'', ''[[Hoosiers]]'', ''[[Total Recall (1990 film)|Total Recall]]'', ''[[Basic Instinct]]'', ''[[Rudy (film)|Rudy]]'', ''[[Air Force One (film)|Air Force One]]'', ''[[L.A. Confidential (film)|L.A. Confidential]]'', ''[[Mulan]]'', ''[[The Mummy (1999 film)|The Mummy]]'', three ''[[Rambo (film series)|Rambo]]'' films, and five ''[[Star Trek]]'' films. He was nominated for six [[Grammy Award]]s, nine [[Golden Globe Award]]s, four [[British Academy Film Awards]], and eighteen [[Academy Award]]s. In 1976, he was awarded an Oscar for ''[[The Omen]]''. He collaborated with some of film history's most prolific directors, including [[Robert Wise]] (''[[The Sand Pebbles (film)|The Sand Pebbles]]'', ''[[Star Trek: The Motion Picture]]''), [[Howard Hawks]] (''[[Rio Lobo]]''), [[Otto Preminger]] (''[[In Harm's Way]]''), [[Joe Dante]] (The ''[[Gremlins]]'' Duology, ''[[The 'Burbs]], [[Small Soldiers]]''), [[Roman Polanski]] (''[[Chinatown (1974 film)|Chinatown]]''), [[Ridley Scott]] (''[[Alien (film)|Alien]]'', ''[[Legend (film)|Legend]]''), [[Steven Spielberg]] (''[[Twilight Zone: The Movie]]''), and [[Paul Verhoeven]] (''[[Total Recall (1990 film)|Total Recall]]'', ''[[Basic Instinct]]'', ''[[Hollow Man]]''). However, his most notable collaboration was arguably that of with [[Franklin J. Schaffner]], for whom Goldsmith scored such films as ''[[Planet of the Apes (1968 film)|Planet of the Apes]]'', ''[[Patton (film)|Patton]]'', ''[[Papillon (film)|Papillon]]'', and ''[[The Boys from Brazil (film)|The Boys from Brazil]]''. ==Early life and education== [[Image:YoungGoldsmith.jpg|thumb|Jerry Goldsmith as a child.]] Goldsmith, who was [[Jews|Jewish]], was born 10 February 1929 in [[Los Angeles|Los Angeles, California]].<ref>http://books.google.com/books?id=6txLUzGQ9eYC&pg=PA96&dq=%22jerry+goldsmith%22+jewish&hl=en&ei=jVlHTvKbMIrX0QHeiqnIAg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q=%22jerry%20goldsmith%22%20jewish&f=false</ref> His parents were Tessa ([[married and maiden names|née]] Rappaport), a school teacher, and Morris Goldsmith, a structural engineer.<ref>[http://www.filmreference.com/film/76/Jerry-Goldsmith.html Jerry Goldsmith Biography (1929-)] at filmreference.com. Retrieved 2011-02-16.</ref> 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 legendary concert pianist and educator [[Jakob Gimpel]]<ref name="Aborted Goldsmith Bio">Goldsmith, Carrie. [http://www.jerrygoldsmithonline.com/spotlight_biography_preview.htm "Preview of The Aborted Jerry Goldsmith Biography"]. Retrieved 2011-03-29.</ref> (whom Goldsmith would later employ to perform piano solos in his score to ''[[The Mephisto Waltz (film)|The Mephisto Waltz]]'') and by the age of sixteen he was studying both [[music theory|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 (1945 film)|Spellbound]]'' in theaters and was inspired by veteran composer [[Miklós Rózsa]]'s soundtrack 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]].<ref name="The Sand Pebbles">[http://www.youtube.com/watch?v=D9yghu5Za-0 "Jerry Goldsmith 1989 interview on ''Sand Pebbles''] part 2 on [[YouTube]]. Retrieved 2011-02-18.</ref> There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.<ref name="TV Legends">[http://www.youtube.com/watch?v=rQ7ICPKcqJc "Jerry Goldsmith - Archive Interview (entire)"] on [[YouTube]] by Jon Burlingame. Retrieved 2011-02-16.</ref> ==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]].<ref name="TV Legends" /> There he began writing scores for such radio shows as ''[[CBS Radio Workshop]]'', ''[[Frontier Gentleman]]'', and ''Romance''. In an interview with Andy Velez from [[Barnes & Noble|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."<ref>Velez, Andy. [http://music.barnesandnoble.com/search/interview.asp?CTR=7251 "Evening the Score" Artist Interview: Jerry Goldsmith]. BarnesandNoble.com. Retrieved 2011-05-02.</ref> He later progressed into scoring such live CBS television shows as ''[[Climax!]]'' and ''[[Playhouse 90]]''. He also scored multiple episodes of the television series ''[[The Twilight Zone (1959 TV 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.]]''.<ref name="TV Legends" /> His feature film debut occurred when he composed the music to the 1957 western ''[[Black Patch (film)|Black Patch]]''. He continued with scores to such films as the 1957 western ''[[Face of a Fugitive]]'' and the 1959 science fiction film ''City of Fear''.<ref name="Filmtracks.com">Clemmensen, Christian. [http://www.filmtracks.com/composers/goldsmith.shtml Jerry Goldsmith (1929-2004) tribute] at [[Filmtracks.com]]. Retrieved 2011-02-11.</ref> ===1960s=== Jerry Goldsmith began the decade composing for such television shows as ''[[Dr. Kildare]]'' and ''[[Thriller (U.S. TV series)|Thriller]]'' as well as the 1960 drama film ''[[The Spiral Road]]''. However, he only began receiving widespread name recognition after his intimate score to the 1962 classic western ''[[Lonely Are the Brave]]''. His involvement in the picture was the result of a recommendation by veteran composer [[Alfred Newman (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 Studios|Universal Pictures]]’ music department, despite having never met him.<ref>[http://www.youtube.com/watch?v=zvO5FRv34OE "''Lonely Are The Brave (1962)'' - Profile of Jerry Goldsmith"] with Robert Townson on [[YouTube]]. Retrieved 2011-02-10.</ref> That same year, Goldsmith composed the mostly [[Atonality|atonal]] and [[Consonance and dissonance|dissonant]] score to the 1962 pseudo-biopic ''[[Freud: The Secret Passion|Freud]]'' 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 [[Academy Award for Best Original Score|Best Original Score]], though he lost to fellow first-time nominee [[Maurice Jarre]] for his music to ''[[Lawrence of Arabia (film)|Lawrence of Arabia]]'' (1962). In 1963, Goldsmith composed a score to ''[[The Stripper (film)|The Stripper]]'', his first collaboration with director [[Franklin J. Schaffner]] for whom Goldsmith would later score the films ''[[Planet of the Apes (1968 film)|Planet of the Apes]]'' (1968), ''[[Patton (film)|Patton]]'' (1970), ''[[Papillon (film)|Papillon]]'' (1973), and ''[[The Boys from Brazil (film)|The Boys from Brazil]]'' (1978).<ref name="Filmtracks.com" /> Following his success with ''[[Lonely Are the Brave]]'' and ''[[Freud: The Secret Passion|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 1964 western ''[[Rio Conchos (1964 film)|Rio Conchos]]'', the 1964 political thriller ''[[Seven Days in May]]'', the 1965 romantic drama ''[[A Patch of Blue]]'', the 1965 epic war film ''[[In Harm's Way]]'' (in which Goldsmith also made a brief [[cameo appearance]]),<ref>[http://www.youtube.com/watch?v=qO20MtutsSc "Jerry Goldsmith cameo from IN HARM'S WAY (1965)"]. [[YouTube]]. Retrieved 2011-08-18.</ref> the 1966 World War I aviation film ''[[The Blue Max]]'', the 1966 period naval war epic ''[[The Sand Pebbles (film)|The Sand Pebbles]]'', the 1967 thriller ''[[Warning Shot]]'', the 1967 western ''[[Hour of the Gun]]'', and the 1968 controversial mystery ''[[The Detective (1968 film)|The Detective]]''.<ref>[http://www.youtube.com/watch?v=fbaifO9SRFk&NR=1 "Jerry Goldsmith 1989 interview on ''Sand Pebbles''"] part 1 at [[YouTube]]. Retrieved 2011-02-18.</ref> Goldsmith's scores to ''A Patch of Blue'' and ''The Sand Pebbles'' garnered him his second and third [[Academy Award]] nominations, respectively, and were both one of the 250 nominees for the [[American Film Institute]]'s [[AFI's 100 Years of Film Scores|top twenty-five American film scores]].<ref name="AFI's 100 Years">[http://connect.afi.com/site/DocServer/scores250.pdf?docID=221 ''AFI's 100 Years Of Film Scores''] from the [[American Film Institute]]. Retrieved 2011-02-10.</ref> His scores for ''Seven Days in May'' and ''The Sand Pebbles'' also garnered Goldsmith his first two respective [[Golden Globe Award]] nominations for [[Golden Globe Award for Best Original Score|Best Original Score]] in 1965 and 1967.<ref name="Golden Globe Awards">[http://www.goldenglobes.org/browse/member/29223 Jerry Goldsmith, Best Original Score - Motion Picture] nominations and wins at the [[Golden Globe Awards]]. Retrieved 2011-02-18.</ref> During this time, he also composed for many lighter, comedic films such as the family comedy ''[[The Trouble with Angels (film)|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).<ref name="Filmtracks.com" /> In 1968, Goldsmith caught massive critical attention with his landmark, controversial soundtrack to the post-apocalyptic science fiction epic ''[[Planet of the Apes (1968 film)|Planet of the Apes]]'', which was one of the first film scores to be written entirely in an [[Avant-garde music|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.<ref name="Filmtracks.com" /> The score went on to garner Goldsmith another [[Academy Award]] nomination for [[Academy Award for Best Original Score|Best Original Score]] and now ranks in {{Abbr|No.|Number}} 18 on the [[American Film Institute]]'s [[AFI's 100 Years of Film Scores|top twenty-five American film scores]].<ref name="AFI's 100 Years" /> Though he did not return to compose for its 1970 sequel ''[[Beneath the Planet of the Apes]]'', Goldsmith scored the third installment in the ''[[Planet of the Apes (franchise)|Planet of the Apes]]'' franchise, 1971's ''[[Escape from the Planet of the Apes]]''. Goldsmith concluded the decade with scores to such films as the 1968 western ''[[Bandolero!]]'', the 1969 spy thriller ''[[The Chairman]]'', the 1969 science fiction film ''[[The Illustrated Man (film)|The Illustrated Man]]'', and the 1969 western ''[[100 Rifles]]''. In 1969, he also composed the theme to the [[comedy-drama]] television series ''[[Room 222]]''.<ref name="Filmtracks.com" /> ===1970s=== Goldsmith received more critical praise with his daring music to the 1970 World War II [[Biographical film|biopic]] ''[[Patton (film)|Patton]]''. 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|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 yet deeply religious nature.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/patton.html ''Patton''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> The film's music subsequently earned Goldsmith an [[Academy Award]] nomination for [[Academy Award for Best Original Score|Best Original Score]] and was one of the [[American Film Institute]]'s 250 nominees for the [[AFI's 100 Years of Film Scores|top twenty-five American film scores]].<ref name="AFI's 100 Years" /> Goldsmith's critical success continued with his emotional score to the 1973 prison escape film ''[[Papillon (film)|Papillon]]'', which also earned him an Academy Award nomination and a nomination as one of the AFI's top twenty-five American film scores.<ref name="AFI's 100 Years" /> In 1974, Goldsmith was faced with the daunting task of replacing a score by composer Phillip Lambro to the neo-[[film noir]] ''[[Chinatown (1974 film)|Chinatown]]''. 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.<ref>[http://www.youtube.com/watch?v=utgHa-b6CO0 "Jerry Goldsmith - ''Chinatown'' Interview"] at [[YouTube]]. Retrieved 2011-02-18.</ref><ref>Teachout, Terry (2009-07-10). [http://online.wsj.com/article/SB10001424052970204261704574274152752739772.html "The Perfect Film Score: At 35, Goldsmith’s ‘Chinatown’ sounds better than ever"] article at the [[Wall Street Journal]]. Retrieved 2011-04-21.</ref> 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 {{Abbr|No.|Number}} 9 on the AFI's list of top 25 American film scores.<ref name="AFI's 100 Years" /> It was also nominated for a [[Golden Globe Award]] for [[Golden Globe Award for Best Original Score|Best Original Score]].<ref name="Golden Globe Awards" /> Goldsmith earned more critical praise with his score to the 1975 epic period adventure film ''[[The Wind and the Lion]]'', which, true to the style of such [[Classical Hollywood cinema|Golden Age]] scores as [[Maurice Jarre]]'s ''[[Lawrence of Arabia (film)|Lawrence of Arabia]]'', relied upon a diverse ensemble including many [[Morocco|Moroccan]] instruments and a large percussion section.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/wind_lion.html ''The Wind and the Lion''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> The score garnered Goldsmith an [[Academy Award]] nomination for [[Academy Award for Best Original Score|Best Original Score]], though he lost to fellow composer [[John Williams]] for his score to ''[[Jaws (film)|Jaws]]''. ''[[The Wind and the Lion]]'' was also one of the [[American Film Institute|AFI]]'s 250 nominees for the [[AFI's 100 Years of Film Scores|top twenty-five American film scores]].<ref name="AFI's 100 Years" /> {{listen | filename = Ave satani.ogg | title = Jerry Goldsmith - "Ave Satani" | description = "[[Ave Satani]]" clip from the soundtrack of ''[[The Omen]]''. | format = [[Ogg]] }} In 1976, Goldsmith composed a dark choral score to the horror film ''[[The Omen]]'', which was the first film score to feature the use of a [[choir]] in an [[Avant-garde]] style.<ref name="The Omen">Clemmensen, Christian. [http://www.filmtracks.com/titles/omen.html ''The Omen''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> The score was successful among critics and garnered Goldsmith his first (and ultimately only) Academy Award for Best Original Score and a nomination for [[Academy Award for Best Original Song|Best Original Song]] for "[[Ave Satani]]".<ref>[http://www.youtube.com/watch?v=uMsXdPx6xxw "Jerry Goldsmith wins the Oscar"] Jerry Goldsmith's Oscar speech on [[YouTube]]. Retrieved 2011-02-16.</ref> It was also one of the AFI's 250 nominees for the top twenty-five American film scores.<ref name="AFI's 100 Years" /> His wife, Carol Heather Goldsmith, also wrote lyrics and performed a vocal track titled "The Piper Dreams" released solely on the soundtrack album.<ref name="The Omen" /> Goldsmith would go on to compose for two more entries 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 1976 dystopian science fiction ''[[Logan's Run (film)|Logan's Run]]'', the 1977 period drama ''[[Islands in the Stream (film)|Islands in the Stream]]'' (which remained one of his personal favorites),<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/islands_stream.html ''Islands in the Stream''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-18.</ref> the 1978 science fiction suspense ''[[Coma (1978 film)|Coma]]'', the 1978 science fiction thriller ''[[Capricorn One]]'', the 1978 disaster film ''[[The Swarm (film)|The Swarm]]'', the 1979 period comedy ''[[The First Great Train Robbery|The Great Train Robbery]]'', and his Academy Award-nominated score to the 1978 science fiction thriller ''[[The Boys from Brazil (film)|The Boys from Brazil]]'', in which he utilized lively [[waltz]]es to juxtapose the film's horrific concept, cloning [[Adolf Hitler]].<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/boys_brazil.html ''The Boys from Brazil''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> In 1979, Goldsmith composed a score to the landmark science fiction film ''[[Alien (film)|Alien]]''. His score featured an orchestra augmented by a [[shofar]], [[didgeridoo]], [[steel drum]], and [[Serpent (instrument)|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 Goldsmith's consent, purchased the rights to the "Main Title" from ''[[Freud: The Secret Passion|Freud]]'' (1962) which they used during the acid blood sequence.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/alien.html ''Alien''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> Despite the heavy edits and rewrites, Goldsmith's score for the film earned him a [[Golden Globe Award]] nomination for [[Golden Globe Award for Best Original Score|Best Original Score]]<ref name="Golden Globe Awards" /> and was one of the [[American Film Institute|AFI]]'s 250 nominees for the [[AFI's 100 Years of Film Scores|top twenty-five American film scores]].<ref name="AFI's 100 Years" /> That same year, Goldsmith concluded the decade composing what is widely considered his most recognized and celebrated score for ''[[Star Trek: The Motion Picture]]''.<ref>[http://www.allmusic.com/album/star-trek-the-motion-picture-20th-anniversary-collectors-edition-r382271/review ''Star Trek: The Motion Picture''] soundtrack review at [[AllMusic]]. Retrieved 2011-02-16.</ref> Having been [[Gene Roddenberry]]'s initial choice to compose the original ''[[Star Trek]]'' pilot "[[The Cage (Star Trek: The Original Series)|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''.<ref>{{cite news|author=Roberts, Jerry|date=1995-09-08|title=Tapping a rich vein of gold; Jerry Goldsmith's music is as varied as the films he's scored|work=Daily Variety}}</ref> 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.<ref>''Star Trek: The Motion Picture'' Director's Edition DVD special features. Retrieved 2011-03-29.</ref> The film's soundtrack also provided a debut for the [[Blaster Beam]], an electronic instrument {{convert|12|to|15|ft|m}} long, created by musician [[Craig Huxley]].<ref>{{cite news|author=Staff|date=2004-07-24|title=Jerry Goldsmith, Composer for such films as Chinatown and The Omen|work=[[The Daily Telegraph]]|page=27}}</ref><ref>{{cite news|author=Morrison, Mairi|date=1987-01-04|title=Otherworldly Sounds|work=[[The Washington Post]]|page=G3}}</ref> 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.<ref name="goldsmith-commentary">Goldsmith, Jerry. ''Star Trek: The Motion Picture Directors Edition'' [Disc 2]. Special features: Commentary.</ref> An enormous pipe organ first plays the V'Ger theme on the ''Enterprise''{{'}}s approach, a literal indication of the machine's power.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/star_trek.html ''Star Trek: The Motion Picture''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> His score for ''The Motion Picture'' earned him [[Academy Award]] and [[Golden Globe Award]]nominations,<ref name="Golden Globe Awards" /> and was one of the [[American Film Institute|AFI]]'s 250 nominees for the [[AFI's 100 Years of Film Scores|top twenty-five American film scores]].<ref name="AFI's 100 Years" /> 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 theme to the television series ''[[Star Trek: Voyager]]'' in 1995. In addition, his theme for ''The Motion Picture'', as arranged by [[Dennis McCarthy (composer)|Dennis McCarthy]], was reused as the theme for ''[[Star Trek: The Next Generation]]'' in 1987.<ref>{{cite news|author=Associated Press|date=2004-07-24|url=http://www.washingtonpost.com/wp-dyn/articles/A10523-2004Jul23.html|title=TV, Film Composer Jerry Goldsmith, 75 |work=[[The Washington Post]]|page=B4|accessdate=2009-03-01}}</ref><ref>{{cite news|author=King, Susan; John Thurber|date=2004-07-23|url=http://www.boston.com/news/globe/obituaries/articles/2004/07/23/jerry_goldsmith_75_prolific_film_composer/|title=Jerry Goldsmith, 75, prolific film composer|work=[[The Boston Globe]]|accessdate=2009-03-01}}</ref> ===1980s=== Throughout the 1980s, Goldsmith found himself increasingly scoring science fiction and fantasy films in the ongoing wake of the successful 1977 film ''[[Star Wars Episode IV: A New Hope|Star Wars]]'', composing for such films as the ''[[The Omen (film series)|The Omen]]'' sequels ''[[Damien: Omen II]]'' (1978) and ''[[Omen III: The Final Conflict]]'' (1981), the 1981 space western ''[[Outland (film)|Outland]]'', the 1982 animated fantasy ''[[The Secret of NIMH]]'', and the 1983 episodic fantasy mystery ''[[Twilight Zone: The Movie]]'', which he composed in four different styles to accompany the film's four parts.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/twilight_zone83.html ''Twilight Zone: The Movie'' soundtrack review]. [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> In 1982, Goldsmith was hired to compose the music to the classic [[Tobe Hooper]]-directed, [[Steven Spielberg]]-produced fantasy horror film ''[[Poltergeist (film)|Poltergeist]]''. 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.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/poltergeist.html ''Poltergeist'' soundtrack review]. [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> The film's score garnered him an [[Academy Award]] nomination, though he lost again to fellow composer [[John Williams]] for ''[[E.T. the Extra-Terrestrial]]''. Goldsmith later returned in 1986 to compose the more synthetic score to ''[[Poltergeist II]]'', the first of its two sequels.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/poltergeist2.html ''Poltergeist II: The Other Side'' soundtrack review]. [[Filmtracks.com]]. Retrieved 2011-02-19.</ref> He did, however, still manage to compose for such non-fantasy productions as the 1981 period television miniseries ''[[Masada (miniseries)|Masada]]'' (for which he won an [[Emmy Award]]), the controversial 1982 war film ''[[Inchon (film)|Inchon]]'', the 1982 action classic ''[[First Blood]]'', and his [[Academy Award]] and [[Golden Globe Award]] nominated score to the 1983 political drama ''[[Under Fire (film)|Under Fire]]'' 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]].<ref name="Golden Globe Awards" /><ref name="Under Fire">Clemmensen, Christian. [http://www.filmtracks.com/titles/under_fire.html ''Under Fire'' soundtrack review]. [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> Throughout the decade, many of his compositions became increasingly laced with synthetic elements such as his scores for the 1983 horror sequel ''[[Psycho II (film)|Psycho II]]'', the 1984 comedy horror film ''[[Gremlins]]'' (for which he won a [[Saturn Award]] for [[Saturn Award for Best Music|Best Music]]),<ref>[http://www.saturnawards.org/past.html#music Film Awards: Best Music] at the [[Saturn Awards]]. Retrieved 2011-02-22.</ref> the 1984 fantasy superhero adaptation ''[[Supergirl (film)|Supergirl]]'', the 1985 fantasy adventure ''[[Legend (film)|Legend]]'' (initially heard only in European prints and then years later in a 2002 [[director's cut]]),<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/legend.html ''Legend'' soundtrack review]. [[Filmtracks.com]]. Retrieved 2011-05-04.</ref> the 1985 action sequel ''[[Rambo: First Blood Part II]]'', the 1985 family fantasy ''[[Baby: Secret of the Lost Legend]]'', and the 1986 fantasy horror ''[[Poltergeist II]]''.<ref name="Filmtracks.com" /> 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 1986 sports drama ''[[Hoosiers]]'', though he lost to [[Herbie Hancock]] for ''[[Round Midnight (film)|Round Midnight]]''.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/hoosiers.html ''Hoosiers'' soundtrack review]. [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> Goldsmith finished out the decade with noteworthy scores to such films as the 1987 medieval adventure ''[[Lionheart (1987 film)|Lionheart]]'', the 1987 science fiction comedy ''[[Innerspace]]'', the 1988 action film ''[[Rambo III]]'', the 1989 science fiction horror ''[[Leviathan (1989 film)|Leviathan]]'', and ''[[Star Trek V: The Final Frontier]]'' (1989), his second ''[[Star Trek]]'' film score.<ref name="Filmtracks.com" /> Goldsmith's score to ''Leviathan'' (1989) incorporated the use of recorded whale sounds during the main titles.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/leviathan.html ''Leviathan'' soundtrack review]. [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> 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 (film)|Patton]]'' (1970).<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/burbs.html ''The 'Burbs'' soundtrack review]. [[Filmtracks.com]]. Retrieved 2011-04-19.</ref> ===1990s=== In 1990, Jerry Goldsmith received critical acclaim for his score to the romantic drama ''[[The Russia House (film)|The Russia House]]'', which featured a unique mixture of [[Music of Russia|Russian music]] and [[jazz]] to complement the nationalities and characteristics of the two main characters.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/russia_house.html ''The Russia House''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> He also composed critically acclaimed music for the 1990 science fiction action film ''[[Total Recall (1990 film)|Total Recall]]'', which Goldsmith later regarded as one of his best scores.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/total_recall.html ''Total Recall''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> Other noteworthy scores of the era include ''[[Gremlins 2: The New Batch]]'' (1990) (in which Goldsmith also made a brief [[cameo appearance]]),<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/gremlins2.html ''Gremlins 2: The New Batch''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-03-17.</ref> the 1991 psychological thriller ''[[Sleeping with the Enemy]]'', the 1991 family comedy ''[[Mom and Dad Save the World]]'', the 1992 fantasy romance ''[[Forever Young (1992 film)|Forever Young]]'', the 1993 thriller ''[[The Vanishing (1993 film)|The Vanishing]]'', and the 1993 family comedy ''[[Dennis the Menace (film)|Dennis the Menace]]''.<ref name="Filmtracks.com" /> In 1992, Goldsmith also composed a critically acclaimed score for the medical drama ''[[Medicine Man (film)|Medicine Man]]''.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/medicine_man.html ''Medicine Man''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-03-25.</ref> 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 another [[Academy Award]] nomination as well as a [[Golden Globe Award]] nomination<ref name="Golden Globe Awards" /> and was later regarded by the composer as one of his most challenging works.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/basic_instinct.html ''Basic Instinct''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref><ref>[http://www.youtube.com/watch?v=TdffJlNiUiA "Blonde Poison": The Making of ''Basic Instinct''] Part 2 at [[YouTube]]. Retrieved 2011-02-16.</ref> In 1993, Goldsmith also wrote an acclaimed score for the classic sports film ''[[Rudy (film)|Rudy]]'',<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/rudy.html ''Rudy''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> which has since been used in the trailers for numerous films including ''[[Angels in the Outfield (1994 film)|Angels in the Outfield]]'' (1994), ''[[Good Will Hunting]]'' (1997), ''[[Spirit: Stallion of the Cimarron]]'' (2002), and ''[[Seabiscuit (film)|Seabiscuit]]'' (2003).<ref>[http://www.soundtrack.net/trailers/cd-trailer.php?id=588 ''Rudy'' (1993)] trailer usage at [[SoundtrackNet]]. Retrieved 2011-02-16.</ref> {{Listen |filename=Jerry Goldsmith-Star Trek Voyager-Opening theme.ogg |title=Opening theme |description=Of ''[[Star Trek: Voyager]]'' composed by Jerry Goldsmith.}} Goldsmith composed acclaimed scores for such films as the 1994 superhero adaptation ''[[The Shadow (1994 film)|The Shadow]]'', the 1994 thriller ''[[The River Wild]]'', the 1994 romantic comedy ''[[I.Q. (film)|I.Q.]]'', the 1995 action film ''[[Congo (film)|Congo]]'', the 1995 fantasy adventure ''[[First Knight]]'', the 1995 science fiction drama ''[[Powder (film)|Powder]]'', the 1996 action film ''[[Executive Decision]]'', and his third ''[[Star Trek]]'' film installment ''[[Star Trek: First Contact]]'' (1996) which he composed with his son [[Joel Goldsmith]].<ref name="Star Trek: First Contact">Clemmensen, Christian. [http://www.filmtracks.com/titles/star_trek8.html ''Star Trek: First Contact''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> In 1995, Goldsmith also composed the theme for the [[UPN]] series ''[[Star Trek: Voyager]]'' for which he won a [[Primetime Emmy Award]] for [[Primetime Emmy Award for Outstanding Main Title Theme Music|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.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/ghost_darkness.html ''The Ghost and the Darkness''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> In 1997, he was hired to replace a score by [[Randy Newman]] for ''[[Air Force One (film)|Air Force One]]''. Goldsmith, with the assistance of composer [[Joel McNeely]], completed the brassy, heroic score in only twelve days.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/air_force_one.html ''Air Force One''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> In 1997, Goldsmith also composed a percussive, jazzy score for the critically acclaimed crime drama ''[[L.A. Confidential (film)|L.A. Confidential]]''.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/la_confidential.html ''L.A. Confidential''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> His score garnered him [[Academy Award]] and [[Golden Globe Award]] nominations, and was also one of the [[American Film Institute|AFI]]'s 250 nominees for the [[AFI's 100 Years of Film Scores|top twenty-five American film scores]].<ref name="AFI's 100 Years" /><ref name="Golden Globe Awards" /> In 1997, he composed a new theme for the [[Universal Studios]] opening logo, first heard in ''[[The Lost World: Jurassic Park]]''.<ref name="Fanfares">[http://www.jerrygoldsmithonline.com/works_fanfares.htm "Jerry Goldsmith Works - Fanfares"] at Jerry Goldsmith Online. Retrieved 2011-03-31.</ref> He also continued with scores for such films as the 1997 survival drama ''[[The Edge (1997 film)|The Edge]]'', the 1998 science fiction horror ''[[Deep Rising]]'', and the 1998 action thriller ''[[U.S. Marshals (film)|U.S. Marshals]]''.<ref name="Filmtracks.com" /> In 1998, he also composed a score of combined Eastern, orchestral, and synthetic elements for the [[Walt Disney Animation Studios|Disney]]-animated film ''[[Mulan]]'', which subsequently earned him his final [[Academy Award]] and [[Golden Globe Award]] nominations along with songwriter [[Matthew Wilder]] and lyricist [[David Zippel]].<ref name="Golden Globe Awards" /><ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/mulan.html ''Mulan''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> Goldsmith concluded the decade with critically successful scores to such popular films as the 1998 action film ''[[Small Soldiers]]'', his penultimate ''[[Star Trek]]'' film ''[[Star Trek: Insurrection]]'' (1998), the 1999 action adventure horror ''[[The Mummy (1999 film)|The Mummy]]'', the 1999 horror film ''[[The Haunting (1999 film)|The Haunting]]'', and the 1999 action adventure ''[[The 13th Warrior]]''.<ref name="Filmtracks.com" /> In 1999, he also composed "Fanfare for Oscar" for the [[Academy of Motion Picture Arts and Sciences]].<ref name="Fanfares" /> ===2000s and final scores=== During the early 2000s, Goldsmith composed scores to the 2000 science fiction thriller ''[[Hollow Man]]'', the 2001 mystery film ''[[Along Came a Spider (film)|Along Came a Spider]]'', the 2001 drama ''[[The Last Castle]]'', the 2002 action/political thriller ''[[The Sum of All Fears (film)|The Sum of All Fears]]'', 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]]''.<ref name="Filmtracks.com" /> Goldsmith had composed the scores to five of the first ten ''Star Trek'' movies up to that point. Goldsmith also composed an original score to the [[Simulation|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 in tears and said, "I'd do anything to be part of this project. I'd even score the film for free."<ref>{{cite web|url=http://www.laughingplace.com/News-ID115170.asp |title=The new Disney California Adventure Official Album |accessdate=2009-09-09 |author=Jim Hill Media}}</ref> Goldsmith's final cinematic score, composed during declining health, was the critically acclaimed music for the 2003 live action/animated film ''[[Looney Tunes: Back in Action]]'', directed by long-time Goldsmith collaborator [[Joe Dante]].<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/looney_tunes.html ''Looney Tunes: Back in Action''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> His last work was with another long-time collaborator, [[Richard Donner]] (for whom Goldsmith had scored ''[[The Omen]]'' in 1976), on the 2003 science fiction film ''[[Timeline (film)|Timeline]]''. However, due to a complicated post-production process, Goldsmith's score was rejected and replaced by a new score by composer [[Brian Tyler (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.<ref>Clemmensen, Christian. [http://www.filmtracks.com/titles/timeline.html ''Timeline''] soundtrack review at [[Filmtracks.com]]. Retrieved 2011-02-16.</ref> ==Concert works== *'''Toccata for Solo Guitar''' In the 1950s, Goldsmith composed "Toccata for Solo Guitar".<ref name="Jerry Online" >[http://www.jerrygoldsmithonline.com/works_concertworks&ballet.htm Jerry Goldsmith Works - Concert Works And Ballet] at Jerry Goldsmith Online. Retrieved 2011-03-31.</ref> 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 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".<ref>[http://nostalgic-radio.com/2010/06/25/the-cbs-radio-workshop-1489-words-1957.aspx The CBS Radio Workshop Theater of the Mind "1489 Words" 1957] full episode at nostalgia-radio.com. Retrieved 2011-03-31.</ref> "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.<ref name="Jerry Online" /> *'''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 1969 film ''[[The Illustrated Man (film)|The Illustrated Man]]''. The piece, written in four parts, consisted of orchestra, choir, [[mezzo-soprano]] solo, and narration (originally performed by [[Charlton Heston]]). Goldsmith composed the piece largely using the [[Twelve-tone technique|12-tone system]], later stating, "I feel there is a great relationship between [[Impressionist music|impressionism]] and dodecaphonicism and that was the musical language I wanted for 'Christus Apollo'."<ref name="Christus Apollo">Goldsmith, Jerry (1999). Liner note. "Christus Apollo", composed and conducted by Jerry Goldsmith.</ref> 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 actor [[Anthony Hopkins]].<ref name="Christus Review">Coleman, Christopher. [http://www.tracksounds.com/reviews/christus_apollo.htm "Spiritual Fiction: 'Christus Apollo' by Jerry Goldsmith"] review at Tracksounds.com. Retrieved 2011-03-30.</ref> *'''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 composition was written in three sections developed from one common [[Twelve-tone technique|12-tone]] row including the "turbulent" first section, the "introspective" second section, and climaxing in a "very agitated" third section.<ref name="Christus Review" /> 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&nbsp;– pain, anger, and sorrow&nbsp;– went into writing 'Music for Orchestra' in strict dodecaphonic form."<ref name="Christus Apollo" /> *'''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]].<ref name="Christus Review" /> 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."<ref name="Christus Apollo" /> ==Personal life and death== {{Expand section|date=February 2011}} 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]] (1957–2012)<ref>{{cite web | last=Burlingame | first=Jon | work=[[Variety (magazine)|Variety]] | title=Composer Joel Goldsmith dies at 54 |date=30 April 2012 | url=http://www.variety.com/article/VR1118053333?refCatId=16 | accessdate=30 April 2012}}</ref> 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.<ref name="Star Trek: First Contact" /> Jerry Goldsmith also conducted Joel's theme for ''[[The Untouchables (1993 TV series)|The Untouchables]]'' and composed the theme for the pilot ''Hollister'', scored by Joel.{{Citation needed|date=February 2011}} Goldsmith's daughter, Carrie Goldsmith, went to high school with famed ''[[Titanic (1997 film)|Titanic]]'' composer [[James Horner]],<ref name="Aborted Goldsmith Bio" /> 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.<ref name="Aborted Goldsmith Bio" /> Goldsmith passed away at his [[Beverly Hills]] home on July 21, 2004 after a battle with [[colon cancer]] at the age of 75. He was survived by his wife Carol and his children Aaron, [[Joel Goldsmith|Joel]] (died April 29, 2012), Carrie, Ellen Edson, and Jennifer Grossman.<ref name="Filmtracks.com" /> ==Style and influences== Goldsmith was greatly influenced by movements of early [[20th-century classical music]], notably [[Modernism (music)|Modernism]], Americana, [[Impressionist music|Impressionism]], [[Twelve-tone technique|Dodecaphonism]], and early [[film score]]s.<ref name="TV Legends" /><ref name="Christus Apollo" /> He has cited [[Igor Stravinsky]], [[Aaron Copland]], [[Miklós Rózsa]], [[Bernard Herrmann]], [[Béla Bartók]], and [[Alban Berg]], among others, as some of the main influences to his style of composition.<ref>{{cite web |last=Bryce |first=Allan |title=Jerry Goldsmith Interview |work=Soundtrack Magazine No.25 |publisher=RunMovies.eu |year=1981 |url=http://www.runmovies.eu/index.php?option=com_content&view=article&id=68:a-conversation-with-jerry-goldsmith |accessdate=25 January 2013}}</ref> His composition 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.<ref name="Filmtracks.com" /> ==Legacy== Jerry Goldsmith has often been considered one of film music history's most innovative and influential composers.<ref name="Filmtracks.com" /> 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 (film)|Breakfast at Tiffany's]]'', ''[[The Pink Panther (1963 film)|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."<ref>[http://www.youtube.com/watch?v=1FAXqsmxquc "Film Music Masters: Jerry Goldsmith" part 7/7]. [[YouTube]]. Retrieved 2011-04-30.</ref> 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 [[Nikolai Rimsky-Korsakov|Rimsky-Korsakov]] or [[Igor Stravinsky|Stravinsky]] -- it's that good."<ref>Eder, Bruce. [http://www.allmusic.com/album/star-trek-the-motion-picture-20th-anniversary-collectors-edition-r382271/review "Star Trek: The Motion Picture (20th Anniversary Collectors Edition)" soundtrack review]. [[AllMusic]]. Retrieved 2011-05-02.</ref> In a 2001 interview, film composer [[Marco Beltrami]] (''[[3:10 to Yuma (2007 film)|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 {{sic|the}} modern film composer."<ref>Groult, Florent (September, 2001). [http://www.underscores.fr/index.php/2008/08/goldsmith-by-beltrami-vo/ "Goldsmith by Beltrami : master and student"]. UnderScores: Musique de Film. Retrieved 2011-04-30.</ref> In 2006, upon composing ''[[The Omen (2006 film)|The Omen]]'' (a remake of the Goldsmith-scored [[The Omen|1976 film]]), Marco Beltrami dedicated his score to Goldsmith, which also included an updated arrangement of "[[Ave Satani]]" titled "Omen 76/06".<ref>{{cite web |first=Christian |last=Clemmensen |title=''The Omen (2006)'': Marco Beltrami |date=1 February 2012 |url=http://www.filmtracks.com/titles/omen06.html |publisher=[[Filmtracks.com]] |accessdate=12 May 2012}}</ref> Likewise, when composer [[Brian Tyler (composer)|Brian Tyler]] was commissioned in 2012 to update the [[Universal Studios]] logo for the Universal centennial, he retained the "classic melody" originally composed by Goldsmith in 1997, opting to "bring it into the 21st century."<ref>{{cite web |last= |first= |authorlink= |coauthors= |title=Brian Tyler&nbsp;– Universal Studios Centennial Logo Behind the Scenes |work= |publisher=[[YouTube]] |date=5 March 2012 |url=http://www.youtube.com/watch?v=sazcPopqBJE |format= |doi = |accessdate=12 May 2012}}</ref> ==List of movies and series== ===1950s=== * ''[[The Lineup (TV series)|The Lineup]]'' (1954) (TV series) * ''[[Climax!]]'' (1954) (TV series) * ''[[Black Patch (film)|Black Patch]]'' (1957) * ''[[Face of a Fugitive]]'' (1959) * ''City of Fear'' (1959) * ''[[Playhouse 90]]'' (1959) (TV series) * ''[[The Twilight Zone (1959 TV series)|The Twilight Zone]]'' (1959) (TV series) ===1960s=== {{col-begin}} {{col-3}} * ''The Gambler, the Nun, and the Radio'' (1960) (TV movie) * ''Full Circle'' (1960) (TV series theme) * ''[[Pete and Gladys]]'' (1960) (TV series theme) * ''[[Studs Lonigan]]'' (1960) * ''Adam Harding'' (1960) * ''[[Thriller (U.S. TV series)|Thriller]]'' (1960) * ''[[Dr. Kildare]]'' (1961) * ''The Expendables'' (1962) (TV movie) * ''[[The Crimebusters]]'' (1962) * ''[[Lonely Are the Brave]]'' (1962) * ''[[The Spiral Road]]'' (1962) * ''[[Freud the Secret Passion|Freud]]'' (1962) * ''[[The List of Adrian Messenger]]'' (1963) * ''[[The Stripper (film)|The Stripper]]'' (1963) * ''[[A Gathering of Eagles]]'' (1963) * ''[[Lilies of the Field (1963 film)|Lilies of the Field]]'' (1963) {{col-3}} * ''[[Take Her, She's Mine]]'' (1963) * ''[[The Prize (1963 film)|The Prize]]'' (1963) * ''[[Seven Days in May]]'' (1964) * ''Shock Treatment'' (1964) * ''[[Fate Is the Hunter (film)|Fate Is the Hunter]]'' (1964) * ''[[The Man from U.N.C.L.E.]]'' (1964) (TV series theme) * ''[[Rio Conchos (1964 film)|Rio Conchos]]'' (1964) * ''[[The Satan Bug]]'' (1965) * ''[[Voyage to the Bottom of the Sea (TV series)|Voyage to the Bottom of the Sea]]'' (1965) (TV series: 1 episodes) * ''[[In Harm's Way]]'' (1965) * ''[[Von Ryan's Express]]'' (1965) * ''[[Morituri (1965 film)|Morituri]]'' (1965) * ''[[A Patch of Blue]]'' (1965) * ''[[Our Man Flint]]'' (1966) * ''[[The Trouble with Angels (film)|The Trouble with Angels]]'' (1966) {{col-3}} * ''[[Stagecoach (1966 film)|Stagecoach]]'' (1966) * ''[[The Blue Max]]'' (1966) * ''[[Seconds (film)|Seconds]]'' (1966) * ''[[The Sand Pebbles (film)|The Sand Pebbles]]'' (1966) * ''[[Warning Shot]]'' (1967) (TV movie) * ''[[In Like Flint]]'' (1967) * ''[[The Flim-Flam Man]]'' (1967) * ''[[Hour of the Gun]]'' (1967) * ''[[Sebastian (1968 film)|Sebastian]]'' (1968) * ''[[Planet of the Apes (1968 film)|Planet of the Apes]]'' (1968) * ''[[The Detective (1968 film)|The Detective]]'' (1968) * ''[[Bandolero!]]'' (1968) * ''[[Room 222]]'' (1969) * ''[[100 Rifles]]'' (1969) * ''[[The Illustrated Man (film)|The Illustrated Man]]'' (1969) * ''[[The Chairman]]'' (1969) * ''[[Justine (1969 film)|Justine]]'' (1969) {{col-end}} ===1970s=== {{col-begin}} {{col-3}} * ''[[Patton (film)|Patton]]'' (1970) * ''[[The Ballad of Cable Hogue]]'' (1970) * ''Prudence and the Chief'' (1970) (TV movie) * ''[[The Brotherhood of the Bell]]'' (1970) (TV movie) * ''[[Tora! Tora! Tora!]]'' (1970) * ''[[The Traveling Executioner]]'' (1970) * ''[[Rio Lobo]]'' (1970) * ''A Step Out of Line'' (1971) (TV movie) * ''[[The Mephisto Waltz (film)|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]]'' (1971) (TV movie) * ''Crosscurrent'' (1971) (TV movie) * ''[[The Homecoming: A Christmas Story]]'' (1971) (basis for ''[[The Waltons]]'') * ''Lights Out'' (1972) (TV movie) * ''Crawlspace'' (1972) (TV movie) * ''[[The Culpepper Cattle Co.]]'' (stock music only) (1972) * ''[[The Other]]'' (1972) * ''The Man'' (1972) (TV movie) * ''[[Anna and the King (TV series)|Anna and the King]]'' (1972) * ''Pursuit'' (1972) (TV movie) * ''[[Barnaby Jones]]'' (1973) (theme and pilot score) {{col-3}} * ''[[Shamus (film)|Shamus]]'' (1973) * ''[[The Waltons]]'' (1973) * ''[[Hawkins (TV series)|Hawkins on Murder]]'' (1973) (TV movie and series theme) * ''The Red Pony'' (1973) (TV movie) * ''[[Ace Eli and Rodger of the Skies]]'' (1973) * ''The Going Up of David Lev'' (1973) (TV movie) * ''[[One Little Indian (film)|One Little Indian]]'' (1973) * ''[[The Don Is Dead]]'' (1973) * ''[[Papillon (film)|Papillon]]'' (1973) * ''Indict and Convict'' (1974) (TV movie) * ''[[Police Story (TV series)|Police Story]]'' (1974) (theme and pilot score) * ''A Tree Grows in Brooklyn'' (1974) (TV movie) * ''[[Winter Kill]]'' (1974) (TV movie) * ''[[QB VII]]'' (1974) (miniseries) * ''[[Chinatown (1974 film)|Chinatown]]'' (1974) * ''[[S*P*Y*S]]'' (1974) * ''[[Ransom (1975 film)|Ransom]]'' (1975) * ''Archer'' (1975) (TV series theme) * ''[[Breakout (1975 film)|Breakout]]'' (1975) * ''[[The Reincarnation of Peter Proud]]'' (1975) * ''[[The Wind and the Lion]]'' (1975) * ''A Girl Named Sooner'' (1975) (TV movie) * ''[[Adams of Eagle Lake]]'' (1975) (TV series theme) {{col-3}} * ''Medical Story'' (1975) (TV series theme) * ''[[Take a Hard Ride]]'' (1975) * ''Babe'' (1975) (TV movie) * ''[[Breakheart Pass (1975 film)|Breakheart Pass]]'' (1975) * ''The Hemingway Play'' (1976) (TV movie) * ''[[The Last Hard Men (film)|The Last Hard Men]]'' (stock music only) (1976) * ''[[Logan's Run (1976 film)|Logan's Run]]'' (1976) * ''[[The Omen]]'' (1976) * ''High Velocity'' (1976) * ''[[The Cassandra Crossing]]'' (1976) * ''[[Twilight's Last Gleaming]]'' (1977) * ''[[Islands in the Stream (film)|Islands in the Stream]]'' (1977) * ''[[MacArthur (film)|MacArthur]]'' (1977) * ''[[Damnation Alley (film)|Damnation Alley]]'' (1977) * ''[[Contract on Cherry Street]]'' (1977) (TV movie) * ''[[Coma (1978 film)|Coma]]'' (1978) * ''[[Capricorn One]]'' (1978) * ''[[Damien: Omen II]]'' (1978) * ''[[The Swarm (film)|The Swarm]]'' (1978) * ''[[The Boys from Brazil (film)|The Boys from Brazil]]'' (1978) * ''[[Magic (1978 film)|Magic]]'' (1978) * ''[[The First Great Train Robbery|The Great Train Robbery]]'' (1979) * ''[[Alien (soundtrack)|Alien]]'' (1979) * ''Players'' (1979) * ''[[Star Trek: The Motion Picture]]'' (1979) {{col-end}} ===1980s=== {{col-begin}} {{col-3}} * ''[[Caboblanco]]'' (1980) * ''The Salamander'' (1981) * ''[[Omen III: The Final Conflict]]'' (1981) * ''[[Masada (miniseries)|Masada]]'' (1981) (TV miniseries, first half only&nbsp;– second half scored by [[Morton Stevens]]) * ''[[Outland (film)|Outland]]'' (1981) * ''[[Raggedy Man]]'' (1981) * ''[[Night Crossing]]'' (1981) * ''[[Poltergeist (film)|Poltergeist]]'' (1982) * ''[[The Secret of N.I.M.H.]]'' (1982) * ''[[The Challenge (1982 film)|The Challenge]]'' (1982) * ''[[Inchon (film)|Inchon]]'' (1982) * ''[[First Blood]]'' (1982) * ''[[Psycho II (film)|Psycho II]]'' (1983) {{col-3}} * ''[[Twilight Zone: The Movie]]'' (1983) * ''[[Under Fire (film)|Under Fire]]'' (1983) * ''[[The Lonely Guy]]'' (1984) * ''[[Gremlins]]'' (1984) * ''[[Supergirl (film)|Supergirl]]'' (1984) * ''[[Runaway (1984 film)|Runaway]]'' (1984) * ''[[Baby: Secret of the Lost Legend]]'' (1985) * ''[[Rambo: First Blood Part II]]'' (1985) * ''[[Explorers (film)|Explorers]]'' (1985) * ''[[Legend (film)|Legend]]'' (1985) * ''[[King Solomon's Mines (1985 film)|King Solomon's Mines]]'' (1985) * ''[[Link (film)|Link]]'' (1986) * ''[[Amazing Stories (TV series)|Amazing Stories]]'' (1986) (TV series: episode "Boo!") * ''[[Poltergeist II: The Other Side]]'' (1986) {{col-3}} * ''[[Hoosiers]]'' (1986) * ''[[Star Trek: The Next Generation]]'' (theme only, re-arranged by [[Dennis McCarthy (composer)|Dennis McCarthy]]) (1987) * ''[[Extreme Prejudice (film)|Extreme Prejudice]]'' (1987) * ''[[Innerspace]]'' (1987) * ''[[Lionheart (1987 film)|Lionheart]]'' (1987) * ''[[Rent-A-Cop]]'' (1988) * ''[[Rambo III]]'' (1988) * ''[[Criminal Law (film)|Criminal Law]]'' (1988) * ''[[Alien Nation (film)|Alien Nation]]'' (rejected) (1988) * ''[[The 'Burbs]]'' (1989) * ''[[Leviathan (1989 film)|Leviathan]]'' (1989) * ''[[Warlock (1989 film)|Warlock]]'' (1989) * ''[[Star Trek V: The Final Frontier]]'' (1989) {{col-end}} ===1990s=== {{col-begin}} {{col-3}} * ''[[The Russia House (film)|The Russia House]]'' (1990) * ''[[Gremlins 2: The New Batch]]'' (1990) * ''[[Total Recall (1990 film)|Total Recall]]'' (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]]'' (1991) * ''[[Medicine Man (film)|Medicine Man]]'' (1991) * ''[[Basic Instinct]]'' (1992) * ''[[Forever Young (1992 film)|Forever Young]]'' (1992) * ''[[Mr. Baseball]]'' (1992) * ''[[Gladiator (1992 film)|Gladiator]]'' (rejected) (1992) * ''Hollister'' (1992) (TV movie theme) * ''[[Love Field (film)|Love Field]]'' (1993) * ''[[The Vanishing (1993 film)|The Vanishing]]'' (1993) * ''[[Dennis the Menace (film)|Dennis the Menace]]'' (1993) {{col-3}} * ''[[Rudy (film)|Rudy]]'' (1993) * ''[[Six Degrees of Separation (film)|Six Degrees of Separation]]'' (1993) * ''[[Malice (film)|Malice]]'' (1993) * ''[[Matinee (1993 film)|Matinee]]'' (1993) * ''[[Angie (1994 film)|Angie]]'' (1994) * ''[[Bad Girls (film)|Bad Girls]]'' (1994) * ''[[The Shadow (1994 film)|The Shadow]]'' (1994) * ''[[The River Wild]]'' (1994) * ''[[I.Q. (film)|I.Q.]]'' (1994) * ''[[Congo (film)|Congo]]'' (1995) * ''[[First Knight]]'' (1995) * ''[[Star Trek: Voyager]]'' (1995) (TV series theme) * ''[[Powder (film)|Powder]]'' (1995) * ''[[City Hall (film)|City Hall]]'' (1995) * ''[[Executive Decision]]'' (1996) * ''[[Two Days in the Valley]]'' (rejected) (1996) * ''[[Chain Reaction (film)|Chain Reaction]]'' (1996) {{col-3}} * ''[[Star Trek: First Contact]]'' (1996) (additional music by [[Joel Goldsmith]]) * ''[[The Ghost and the Darkness]]'' (1996) * ''[[Fierce Creatures]]'' (1996) * ''[[Air Force One (film)|Air Force One]]'' (1997) (additional music by [[Joel McNeely]]) * ''[[L.A. Confidential (film)|L.A. Confidential]]'' (1997) * ''[[The Edge (1997 film)|The Edge]]'' (1997) * ''[[Deep Rising]]'' (1998) * ''[[U.S. Marshals (film)|U.S. Marshals]]'' (1998) * ''[[Small Soldiers]]'' (1998) * ''[[Mulan]]'' (1998) * ''[[Star Trek: Insurrection]]'' (1998) * ''[[The Mummy (1999 film)|The Mummy]]'' (1999) * ''[[The Haunting (1999 film)|The Haunting]]'' (1999) * ''[[The 13th Warrior]]'' (1999) {{col-end}} ===2000s=== * ''[[Hollow Man]]'' (2000) * ''[[Soarin' Over California]]'' (2001) (simulator ride) * ''[[Along Came a Spider (film)|Along Came a Spider]]'' (2001) * ''[[The Last Castle]]'' (2001) * ''[[The Sum of All Fears (film)|The Sum of All Fears]]'' (2002) * ''[[Star Trek: Nemesis]]'' (2002) * ''[[Looney Tunes: Back in Action]]'' (2003) * ''[[Timeline (film)|Timeline]]'' (rejected) (2003) ==Awards and nominations== Over the course of his career, Goldsmith received 18 total [[Academy Award]] nominations, making him one of the most nominated composers in Academy Awards history. Despite this, Goldsmith won only one Oscar, for his score to the 1976 film ''[[The Omen]]''. This makes Goldsmith the most nominated composer to have won an Oscar only on one occasion. ===AFI=== The [[American Film Institute]] respectively ranked Goldsmith's scores for ''[[Chinatown (1974 film)|Chinatown]]'' (1974) and ''[[Planet of the Apes (1968 film)|Planet of the Apes]]'' (1968) {{Abbr|No.|Number}} 9 and {{Abbr|No.|Number}} 18 on [[AFI's 100 Years of Film Scores|their list of the 25 greatest film scores]].<ref name="AFI's 100 Years" /> 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 (film)|Alien]]'' (1979) *''[[L.A. Confidential (film)|L.A. Confidential]]'' (1997) *''[[The Omen]]'' (1976) *''[[Papillon (film)|Papillon]]'' (1973) *''[[A Patch of Blue]]'' (1965) *''[[Patton (film)|Patton]]'' (1970) *''[[The Sand Pebbles (film)|The Sand Pebbles]]'' (1966) *''[[Star Trek: The Motion Picture]]'' (1979) *''[[The Wind and the Lion]]'' (1975) ===Accolades=== {| border="2" cellpadding="4" cellspacing="0" style="margin: 1em 1em 1em 0; background: #f9f9f9; border: 2px #aaa solid; border-collapse: collapse; font-size: 90%;" |- bgcolor="#CCCCCC" align="center" ! Award ! Year ! Project ! Category ! Outcome |- | rowspan="18" | '''[[Academy Award]]s''' | [[35th Academy Awards|1962]] | ''[[Freud: The Secret Passion|Freud]]'' | [[Academy Award for Best Original Score|Best Music Score—substantially original]] | {{nom}} |- | [[38th Academy Awards|1965]] | ''[[A Patch of Blue]]'' | [[Academy Award for Best Original Score|Best Music Score—substantially original]] | {{nom}} |- | [[39th Academy Awards|1966]] | ''[[The Sand Pebbles (film)|The Sand Pebbles]]'' | [[Academy Award for Best Original Score|Best Original Music Score]] | {{nom}} |- | [[41st Academy Awards|1968]] | ''[[Planet of the Apes (1968 film)|Planet of the Apes]]'' | [[Academy Award for Best Original Score|Best Original Score—for a motion picture [not a musical]]] | {{nom}} |- | [[43rd Academy Awards|1970]] | ''[[Patton (film)|Patton]]'' | [[Academy Award for Best Original Score|Best Original Dramatic Score]] | {{nom}} |- | [[46th Academy Awards|1973]] | ''[[Papillon (film)|Papillon]]'' | [[Academy Award for Best Original Score|Best Original Dramatic Score]] | {{nom}} |- | [[47th Academy Awards|1974]] | ''[[Chinatown (1974 film)|Chinatown]]'' | [[Academy Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[48th Academy Awards|1975]] | ''[[The Wind and the Lion]]'' | [[Academy Award for Best Original Score|Best Original Score]] | {{nom}} |- | rowspan=2 | [[49th Academy Awards|1976]] | ''[[The Omen]]'' | [[Academy Award for Best Original Score|Best Original Score]] | {{won}} |- | "[[Ave Satani]]" <small>(from ''[[The Omen]]'')</small> | [[Academy Award for Best Original Song|Best Original Song]] | {{nom}} |- | [[51st Academy Awards|1978]] | ''[[The Boys from Brazil (film)|The Boys from Brazil]]'' | [[Academy Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[52nd Academy Awards|1979]] | ''[[Star Trek: The Motion Picture]]'' | [[Academy Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[55th Academy Awards|1982]] | ''[[Poltergeist (film)|Poltergeist]]'' | [[Academy Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[56th Academy Awards|1983]] | ''[[Under Fire (film)|Under Fire]]'' | [[Academy Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[59th Academy Awards|1986]] | ''[[Hoosiers]]'' | [[Academy Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[65th Academy Awards|1992]] | ''[[Basic Instinct]]'' | [[Academy Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[70th Academy Awards|1997]] | ''[[L.A. Confidential (film)|L.A. Confidential]]'' | [[Academy Award for Best Original Score|Best Original Dramatic Score]] | {{nom}} |- | [[71st Academy Awards|1998]] | ''[[Mulan (1998 film)|Mulan]]'' <small>(shared nomination with [[Matthew Wilder]] and [[David Zippel]])</small> | [[Academy Award for Best Original Score|Best Original Musical or Comedy Score]] | {{nom}} |- |-style="border-top:2px solid gray;" | '''[[Annie Award]]s''' | [[List of Annie Awards ceremonies|1998]] | ''[[Mulan (1998 film)|Mulan]]'' <small>(shared with [[Matthew Wilder]] and [[David Zippel]])</small> | [[Annie Award for Music in a Feature Production|Music in a Feature Production]] | {{won}} |- |-style="border-top:2px solid gray;" | rowspan="4" | '''[[British Academy Film Awards]]''' | [[28th British Academy Film Awards|1974]] | ''[[Chinatown (1974 film)|Chinatown]]'' | [[BAFTA Award for Best Film Music|Best Film Music]] | {{nom}} |- | [[29th British Academy Film Awards|1975]] | ''[[The Wind and the Lion]]'' | [[BAFTA Award for Best Film Music|Best Film Music]] | {{nom}} |- | [[33rd British Academy Film Awards|1979]] | ''[[Alien (film)|Alien]]'' | [[BAFTA Award for Best Film Music|Best Film Music]] | {{nom}} |- | [[51st British Academy Film Awards|1997]] | ''[[L.A. Confidential (film)|L.A. Confidential]]'' | [[BAFTA Award for Best Film Music|Best Film Music]] | {{nom}} |- |-style="border-top:2px solid gray;" | rowspan="7"|'''[[Emmy Award]]s''' | [[13th Primetime Emmy Awards|1961]] | ''[[Thriller (U.S. TV series)|Thriller]]'' <small>(shared nomination with [[Pete Rugolo]])</small> | Outstanding Achievement in the Field of Music for Television | {{nom}} |- | [[18th Primetime Emmy Awards|1966]] | ''[[The Man From U.N.C.L.E.]]'' | Individual Achievements in Music | {{nom}} |- | [[25th Primetime Emmy Awards|1973]] | ''The Red Pony'' | Outstanding Achievement in Music Composition | {{won}} |- | [[27th Primetime Emmy Awards|1975]] | ''[[QB VII]]'' (ABC Movie Special) | Outstanding Achievement in Music Composition for a Special | {{won}} |- | [[28th Primetime Emmy Awards|1976]] | ''Babe'' | Outstanding Achievement in Music Composition for a Special | {{won}} |- | [[33rd Primetime Emmy Awards|1981]] | ''[[Masada (miniseries)|Masada]]'' | Outstanding Achievement in Music Composition for a Limited Series or a Special (dramatic underscore) | {{won}} |- | [[47th Primetime Emmy Awards|1995]] | ''[[Star Trek: Voyager]]'' | [[Primetime Emmy Award for Outstanding Main Title Theme Music|Outstanding Main Title Theme Music]] | {{won}} |- |-style="border-top:2px solid gray;" | rowspan=9 | '''[[Golden Globe Award]]s''' | [[22nd Golden Globe Awards|1964]] | ''[[Seven Days in May]]'' | [[Golden Globe Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[24th Golden Globe Awards|1966]] | ''[[The Sand Pebbles (film)|The Sand Pebbles]]'' | [[Golden Globe Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[32nd Golden Globe Awards|1974]] | ''[[Chinatown (1974 film)|Chinatown]]'' | [[Golden Globe Award for Best Original Score|Best Original Score]] | {{nom}} |- | rowspan=2 | [[37th Golden Globe Awards|1979]] | ''[[Alien (film)|Alien]]'' | [[Golden Globe Award for Best Original Score|Best Original Score]] | {{nom}} |- | ''[[Star Trek: The Motion Picture]]'' | [[Golden Globe Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[41st Golden Globe Awards|1983]] | ''[[Under Fire (film)|Under Fire]]'' | [[Golden Globe Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[50th Golden Globe Awards|1992]] | ''[[Basic Instinct]]'' | [[Golden Globe Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[55th Golden Globe Awards|1997]] | ''[[L.A. Confidential (film)|L.A. Confidential]]'' | [[Golden Globe Award for Best Original Score|Best Original Score]] | {{nom}} |- | [[56th Golden Globe Awards|1998]] | ''[[Mulan (1998 film)|Mulan]]'' <small>(shared nomination with [[Matthew Wilder]] and [[David Zippel]])</small> | [[Golden Globe Award for Best Original Score|Best Original Score]] | {{nom}} |- |-style="border-top:2px solid gray;" | rowspan="6" | '''[[Grammy Award]]s''' | 1966 | ''[[The Man From U.N.C.L.E.]]'' <small>(shared nomination with [[Lalo Schifrin]], [[Morton Stevens]], and [[Walter Scharf]])</small> | [[Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media|Best Original Score from a Motion Picture or Television Show]] | {{nom}} |- | 1975 | ''[[QB VII]]'' | [[Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media|Album of Best Original Score Written for a Motion Picture or a Television Special]] | {{nom}} |- | 1976 | ''[[The Wind and the Lion]]'' | [[Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media|Album of Best Original Score Written for a Motion Picture or a Television Special]] | {{nom}} |- | 1977 | ''[[The Omen]]'' | [[Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media|Album of Best Original Score Written for a Motion Picture or a Television Special]] | {{nom}} |- | 1980 | ''[[Alien (soundtrack)|Alien]]'' | [[Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media|Best Album of Original Score Written for a Motion Picture or a Television Special]] | {{nom}} |- | 1981 | "The Slaves" <small>(track from ''[[Masada (miniseries)|Masada]]'' soundtrack)</small> | [[Grammy Award for Best Instrumental Composition|Best Instrumental Composition]] | {{nom}} |- |-style="border-top:2px solid gray;" | '''[[Satellite Award]]s''' | 1998 | ''[[L.A. Confidential (film)|L.A. Confidential]]'' | [[Satellite Award for Best Original Score|Best Original Score]] | {{nom}} |- |-style="border-top:2px solid gray;" | rowspan=17 | '''[[Saturn Award]]s''' | rowspan=2 | 1978 | ''[[The Boys from Brazil (film)|The Boys from Brazil]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | ''[[Magic (1978 film)|Magic]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | 1979 | ''[[Star Trek: The Motion Picture]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | 1981 | ''[[Outland (film)|Outland]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | 1982 | ''[[Poltergeist (film)|Poltergeist]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | 1984 | ''[[Gremlins]]'' | [[Saturn Award for Best Music|Best Music]] | {{won}} |- | 1986 | ''[[Link (film)|Link]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | rowspan=2 | 1990 | ''[[Gremlins 2: The New Batch]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | ''[[Total Recall (1990 film)|Total Recall]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | rowspan=2 | 1991 | ''[[Sleeping with the Enemy]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | ''[[Warlock (1989 film)|Warlock]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | 1992 | ''[[Basic Instinct]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | [[21st Saturn Awards|1994]] | ''[[The Shadow (1994 film)|The Shadow]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | 1996 | ''[[Star Trek: First Contact]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | 1999 | ''[[The Mummy (1999 film)|The Mummy]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | 2000 | ''[[Hollow Man]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |- | [[30th Saturn Awards|2003]] | ''[[Looney Tunes: Back In Action]]'' | [[Saturn Award for Best Music|Best Music]] | {{nom}} |} ==See also== *[[Film scores]] *[[List of film score composers]] *[[List of Star Trek composers and music]] ==References== {{reflist|30em}} ==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.&nbsp;46-48 * Dupuis, Mauricio: ''Jerry Goldsmith - Music Scoring for American Movies'', Rome, Robin, 2013, p.265 (ISBN 9788867401888). ==External links== {{wikiquote}} * {{IMDb name|25}} {{memoryalpha}} * [http://www.jerrygoldsmithonline.com/ Jerry Goldsmith Online] * [http://www.startrek.com/startrek/view/news/article/6199.html StarTrek.com Creative Staff Profile] * [http://www.soundtrackguide.net/?content=search&pattern=Goldsmith&column=composer Jerry Goldsmith] at Soundtrackguide.net * [http://www.filmmusic.dk/?side=jerrygoldsmith&l=uk Jerry Goldsmith] at The Danish Filmmusic Society (DFS) * [http://www.soundtrackcollector.com/catalog/composerdetail.php?composerid=27 Jerry Goldsmith Discography] at SoundtrackCollector.com * [http://www.epdlp.com/compbso.php?id=511 Jerry Goldsmith] at ''Epdlp'' * [http://www.talkscore.com Jerry Goldsmith Film Music Society] {{AcademyAwardBestOriginalScore 1961-1980}} {{Saturn Award for Best Music 1973–1990}} {{Star Trek film crew}} {{Authority control|VIAF=46946499|LCCN=n/79/095290|GND=123575451}} <!--Please do not add [[:Category:Star Trek music]] to this article. People are not categorized by the projects they work on, per strong consensus. --> {{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. --> | NAME = Goldsmith, Jerry | ALTERNATIVE NAMES = | SHORT DESCRIPTION = | DATE OF BIRTH = 1929-02-10 | PLACE OF BIRTH = [[Los Angeles, California]] | DATE OF DEATH = 2004-07-21 | PLACE OF DEATH = [[Beverly Hills, California]] }} {{DEFAULTSORT:Goldsmith, Jerry}} [[Category:1929 births]] [[Category:2004 deaths]] [[Category:American film score composers]] [[Category:American Jews]] [[Category:Best Original Music Score Academy Award winners]] [[Category:Cancer deaths in California]] [[Category:Deaths from colorectal cancer]] [[Category:Emmy Award winners]] [[Category:Jewish American classical composers]] [[Category:Jewish American composers and songwriters]] [[Category:Jewish composers and songwriters]] [[Category:Monument Records artists]] [[Category:Mulan]] [[Category:Musicians from California]] [[Category:People from Los Angeles, California]] [[Category:Planet of the Apes]] [[Category:University of Southern California alumni]]'