Jerry Goldsmith

Award won Role or nomination

1. 1929 age 0

   Born

2. 1963 age 34

   CreditLilies of the Fieldcomposer

3. 1966 age 37

   CreditThe Sand Pebblescomposer

4. 1968 age 39

   CreditPlanet of the Apescomposer

5. 1970 age 41

   CreditPattoncomposer

   CreditTora! Tora! Tora!composer

6. 1971 age 42

   CreditEscape from the Planet of the Apescomposer

7. 1973 age 44

   CreditPapilloncomposer

8. 1974 age 45

   CreditChinatowncomposer

9. 1976 age 47

   CreditLogan's Runcomposer

   CreditThe Cassandra Crossingcomposer

   CreditThe Omencomposer

10. 1977 age 48

    CreditCapricorn Onecomposer

11. 1978 age 49

    CreditThe Boys from Brazilcomposer

12. 1979 age 50

    CreditAliencomposer

    CreditStar Trek: The Motion Picturecomposer

13. 1982 age 53

    CreditFirst Bloodcomposer

    CreditPoltergeistcomposer

    CreditThe Secret of NIMHcomposer

14. 1984 age 55

    CreditGremlins

    CreditGremlinscomposer

    CreditSupergirlcomposer

15. 1985 age 56

    CreditLegendcomposer

    CreditRambo: First Blood Part IIcomposer

16. 1987 age 58

    CreditInnerspacecomposer

17. 1988 age 59

    CreditRambo IIIcomposer

18. 1989 age 60

    CreditStar Trek V: The Final Frontiercomposer

19. 1990 age 61

    CreditGremlins 2: The New Batch

    CreditGremlins 2: The New Batchcomposer

    CreditLionheartcomposer

    CreditTotal Recallcomposer

20. 1991 age 62

    CreditNot Without My Daughtercomposer

    CreditSleeping with the Enemycomposer

21. 1992 age 63

    CreditBasic Instinctcomposer

22. 1994 age 65

    CreditThe River Wildcomposer

23. 1995 age 66

    CreditCongocomposer

    CreditFirst Knightcomposer

24. 1996 age 67

    CreditExecutive Decisioncomposer

    CreditStar Trek: First Contactcomposer

    CreditThe Ghost and the Darknesscomposer

25. 1997 age 68

    CreditAir Force Onecomposer

    CreditL.A. Confidentialcomposer

    CreditThe Edgecomposer

26. 1998 age 69

    CreditMulancomposer

    CreditSmall Soldierscomposer

    CreditStar Trek: Insurrectioncomposer

    CreditU.S. Marshalscomposer

27. 1999 age 70

    CreditThe 13th Warriorcomposer

    CreditThe Hauntingcomposer

    CreditThe Mummycomposer

28. 2000 age 71

    CreditHollow Mancomposer

29. 2001 age 72

    CreditAlong Came a Spidercomposer

30. 2002 age 73

    CreditStar Trek: Nemesiscomposer

    CreditThe Sum of All Fearscomposer

31. 2003 age 74

    CreditLooney Tunes: Back in Actioncomposer

32. 2004 age 75

    Died

33. 2006 age 75

    CreditBasic Instinct 2composer

• RPRobert Picardo8 titles
• MKMario Kassar6 titles
• DMDick Miller5 titles
• AVAndrew G. Vajna5 titles
• JDJoe Dante5 titles
• TRTerry Rawlings4 titles
• SBStuart Baird4 titles
• SSSylvester Stallone4 titles
• RCRichard Crenna4 titles
• MLMatthew F. Leonetti4 titles

• Children

  • JGJoel Goldsmith

Nothing recorded for: Spouse, Partner, Parents, Siblings, Influenced by, Studied under, Taught.

• 
  Photo:fuxoftCC BY-SA 2.0

• 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. Later, as an inside joke, I included a snippet of the Strauss in the score-and some critic pounced on me for stealing. You can´t win.

  Jerry Goldsmith, CC BY-SA 4.0

• The fact that certain composers have been able to create first-class music within the medium of film proves that film music can be as good as the composer is gifted.

  Jerry Goldsmith, CC BY-SA 4.0

• Working to timings and synchronizing your musical thoughts with the film can be stimulating rather than restrictive. Scoring is a limitation but like any limitation is can be made to work for you. Verdi, except for a handful of pieces, worked best when he was 'turned on' by a libretto. The most difficult problem in music is form, and in a film you already have this problem solved for you. You are presented with a basic structure, and a blueprint, and provided the film has been well put together, and well edited, it often suggests its rhythms and tempo. The quality of the music is strictly up to the composer. Many people seem to assume that because film music serves the visual it must be something of secondary value. Well, the function of any art is to serve a purpose in society. For many years, music and painting served religion. The thing to bear in mind is that film is the youngest of the arts, and that scoring is the youngest of the music arts. We have a great deal of development ah

  Jerry Goldsmith, CC BY-SA 4.0

• You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account

  Jerry Goldsmith, CC BY-SA 4.0

• It's nice to think about the Golden Age of Hollywood, with the big studios and their fabulous music departments and the hundreds of films coming out every year. But it's gone. In some ways the composer today is more fortunate, provided he can find a good film, because he can attempt more than he could two decades ago. Twelve-tone music was unheard of during Max Steiner's heyday, as were any other avant-garde techniques. Finally, the future of film music rests with the composers themselves. If they take their work seriously and turn out the best that is within them, then perhaps we can persuade not only the public, but the filmmakers that good music is valuable in films. The public is not stupid. If our music survives, which I have no doubt it will, then it will be because it is good.

  Jerry Goldsmith, CC BY-SA 4.0

• Originally I was supposed to do Grand Prix, but I was under contract to 20th Century Fox at that time and Alex North was supposed to do Sand Pebbles, but he got sick, so Fox preempted me out of Grand Prix, and to my good fortune, I got to do Sand Pebbles. It was my first time working with Robert Wise and it was a great experience.

  Jerry Goldsmith, CC BY-SA 4.0