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->''"If I were a producer or director and I was looking for someone to score a film, my first choice would be Jerry Goldsmith. Jerry is uncompromising in his drive for excellence, uncompromising in his bravery to experiment with other media. He is the kind of composer that makes a film."''\\
--'''Music/ElmerBernstein'''

'''Jerrald King "Jerry" Goldsmith''' (February 10, 1929 – July 21, 2004) was a famous and prolific American film score composer from Los Angeles, California. Goldsmith was nominated for eighteen {{Academy Award}}s (winning one, for ''Film/TheOmen''), and also won five Emmy Awards.

Goldsmith learned to play the piano with Jakob Gimpel at age six (he would later employ Gimpel to play piano in his soundtracks for ''Planet of the Apes'' and ''Mephisto Waltz''). At fourteen, he studied composition, theory and counterpoint with Mario Castelnuovo-Tedesco (whose other prestigious students were Nelson Riddle, André Previn, Henry Mancini and John Williams). Goldsmith attended the University of Southern California, where he became the student of film composition by legendary composer [[MiklosRozsa Miklós Rózsa]], who had written the score for the Creator/IngridBergman movie ''{{Spellbound}}''. Goldsmith developed an interest in writing scores for movies after being inspired by Rózsa.

Goldsmith went on to collaborate with many great filmmakers throughout his career, including Creator/RobertWise (''TheSandPebbles'', ''Film/StarTrekTheMotionPicture''), Howard Hawks (''Rio Lobo''), Otto Preminger (''Film/InHarmsWay''), Creator/RomanPolanski (''Film/{{Chinatown}}''), Creator/StevenSpielberg / Creator/TobeHooper (''Film/{{Poltergeist}}''), and Creator/RidleyScott (''Film/{{Alien}}''). But his most fruitful collaboration was arguably that with Franklin Schaffner (for whom Goldsmith scored ''PlanetOfTheApes'', ''Film/{{Patton}}'' and ''{{Papillon}}'').

Goldsmith was perhaps the most eclectic composer in cinema, [[AwesomeMusic/JerryGoldsmith providing tailor-made scores for many different genres,]] including war films (''Film/TheBlueMax''), film noir (''Film/LAConfidential''), action movies (''Film/FirstBlood''), erotic thrillers (''BasicInstinct''), sports pictures (''{{Rudy}}''), westerns (''Bad Girls''), comic book adaptations (''Film/{{Supergirl}}''), and science fiction (the original ''Film/TotalRecall1990'' and five ''Franchise/StarTrek'' films). His ability to write visceral, terrifying music won him his only AcademyAward for his violent choral/orchestral score for ''Film/TheOmen''. He also was awarded with Emmys for ''The Red Pony'', the Holocaust drama ''QB VII'', the Babe Didrikson Zaharias biopic ''Babe'' (fun fact: Goldsmith was later attached to score the [[Film/{{Babe}} better-known movie of the same name]], but it didn't happen) and the epic ''Masada'', as well as the theme from ''Series/StarTrekVoyager''.

Due to his wide grasp of different musical techniques, Goldsmith's scores were never as quickly identifiable as those of composers with narrower abilities. Goldsmith was a lover of innovation and adaptation, and the use of strange instruments. His score for ''Alien'' for example featured an orchestra augmented by shofar, steel drum and serpent (a Medieval instrument), while creating further "alien" sounds by filtering string pizzicati through an echoplex. Many of the instruments in ''Alien'' were used in such atypical ways they were virtually unidentifiable. Goldsmith was also a studious researcher of ethnic music, and found uses for South American Zampońas in ''Under Fire'', native tribal chants in ''Film/{{Congo}}'', and brilliantly interwove a traditional Irish folk melody with African rhythms in ''Film/TheGhostAndTheDarkness''. His genius for creation and innovation delighted his fans - and often intimidated his peers. Music/HenryMancini, another great film music composer, once admitted that Goldsmith "scares the hell out of us."

Over time Goldsmith's interest in unusual instruments seemed to wane, and he relied more and more on synthesisers in searching for new timbres. While his electronic work was unquestionably inventive, many colleagues and fans alike began to feel he was becoming a little too synthesised. Some of his 80s work sounds a little dated today, owing to synth timbres (particularly on the Yamaha [=DX7=]) which were common to the era. That said, Goldsmith also got also some extraordinary sounds out of the [=DX7=] and other digital keyboards of the 80s, many of which remain quite arresting 20 years on.

In addition to his countless television and film works, Goldsmith composed the [[{{Universal}} Universal Studios]] [[http://www.youtube.com/watch?v=Gr2DAGkQdjU&feature=related Logo]] Theme that's been in use since ''Film/TheLostWorldJurassicPark'' (and rather than be replaced for its 100th anniversary was rearranged by Brian Tyler), along with the themes that went with the Carolco, Cinergi, and C2 Pictures logos (the Carolco and Cinergi logo themes can be heard on the expanded soundtrack albums for ''Film/ExtremePrejudice'' and ''{{Film/Tombstone}}'' respectively). He also wrote music for [[DisneyThemeParks Disney World and Disneyland rides]].

Goldsmith died on July 21, 2004 - shortly before the death of another legendary composer, ElmerBernstein[[note]]Quite a few noteworthy composers for film - Fred Karlin, David Raksin, Gil Melle, Piero Piccioni, Carlo Rustichelli and Michel Colombier - also went to their maker that year[[/note]].

Check out his loaded [[AwesomeMusic/JerryGoldsmith page of awesome music.]]

!!Goldsmith wrote music for these [[LiveActionTV TV Shows]], among others:
* ''Series/AmazingStories''
* ''Main/AnnaAndTheKing'' (theme and pilot score)
* ''Literature/ATreeGrowsInBrooklyn''
* ''Literature/TheRedPony'' (his first Emmy-winner)
* ''Series/TheTwilightZone'' (7 episodes)
* ''Series/VoyageToTheBottomOfTheSea'' ("Jonah And The Whale" - Goldsmith also composed a new series theme which is ''only'' heard on this episode)
* ''Series/TheManFromUNCLE'' (theme and three episode scores) and ''Series/TheGirlFromUNCLE'' (the latter adapted by Dave Grusin)
* ''Series/BarnabyJones'' (theme and the pilot)
* ''Dr. Kildare'' (theme plus seven episode scores)
* ''Series/{{Masada}}'' (the first two parts - he wanted to score the entire miniseries but [[TroubledProduction production delays]] and a commitment to ''Inchon'' meant his friend Morton Stevens scored the other two; Goldsmith won an Emmy for part 2)
* ''Series/{{Room222}}'' (theme, the pilot and one other episode)
* ''Series/StarTrekVoyager'' (theme only; Emmy winner)
* ''Series/TheWaltons'' (theme, the previous TV movie and six episode scores)
* ''QB VII'' (Emmy winner)

!![[{{Film}} Films]] Include:

* ''Literature/The13thWarrior''
* ''Film/AirForceOne'' (after being called in last-minute to replace Music/RandyNewman's too-goofy score, Goldsmith had to compose this entire score in just ''twelve days'' - [=Joel McNeely=] stepped in to help out, doing scenes like the dogfight climax)
* ''Film/TheAgonyAndTheEcstasy''
* ''Film/{{Alien}}''
* ''Film/APatchOfBlue''
* ''Film/BabySecretOfTheLostLegend''
* ''Bad Girls''
* ''Film/BasicInstinct'' (Of all the scores he wrote, Goldsmith has said that ''Basic Instinct'' was the hardest and most complex, according to a mini-documentary on the special edition DVD.)
* ''Film/TheBoysFromBrazil''
* ''Film/TheBurbs''
* ''Film/CapricornOne''
* ''Film/ChainReaction''
* ''Film/{{Chinatown}}''
* ''Film/{{Coma}}''
* ''Film/{{Congo}}''
* ''Film/DamnationAlley''
* ''Film/DeepRising''
* ''Film/DennisTheMenace''
* ''Film/ExecutiveDecision''
* ''Film/{{Explorers}}''
* ''Film/ExtremePrejudice''
* ''Film/TheEdge''
* ''Film/FierceCreatures''
* ''Film/FirstKnight''
* ''Film/TheGhostAndTheDarkness''
* ''Literature/TheGreatTrainRobbery''
* ''Film/{{Gremlins}}'' and its sequel.
* ''Film/TheHaunting1999''
* ''Film/{{Hoosiers}}''
* ''Film/HollowMan''
* ''Islands in the Stream'' (acknowledged by Goldsmith as his own personal favorite)
* ''Film/{{Innerspace}}''
* ''Literature/KingSolomonsMines''
* ''Film/LAConfidential''
* ''Film/TheLastCastle''
* ''Film/TheLastHardMen''
* ''Film/{{Legend}}'' (European release)
* ''Film/{{Leviathan}}''
* ''Film/LogansRun''
* ''Lionheart''
* ''Film/{{Magic}}''
* ''Film/{{Malice}}''
* ''Film/{{Matinee}}''
* ''Film/MedicineMan''
* ''Film/MomAndDadSaveTheWorld''
* ''Film/{{Morituri}}''
* ''Disney/{{Mulan}}''
* ''Film/TheMummy1999''
* ''Film/NightCrossing''
* ''Film/TheOmen'' and the sequels (the first film won him his only Oscar)
* ''Film/OurManFlint'' and its sequel
* ''Film/{{Outland}}''
* ''Film/{{Papillon}}''
* ''Film/{{Patton}}''
* ''PlanetOfTheApes'' (and ''Escape From The Planet Of The Apes'')
* ''Film/{{Poltergeist}}'' and the first sequel
* ''Film/{{Powder}}''
* ''PsychoII''
* The first three ''Franchise/{{Rambo}}'' movies
* ''TheRiverWild''
* ''Film/{{Rudy}}''
* ''Film/{{Runaway}}''
* ''Film/TheRussiaHouse''
* ''Film/TheSandPebbles''
* ''Literature/TheSatanBug''
* ''Film/{{Seconds}}''
* ''WesternAnimation/TheSecretOfNIMH''
* ''Literature/SevenDaysInMay''
* ''Film/TheShadow''
* ''Film/SmallSoldiers''
* ''[[Ride/DisneyThemeParks Soarin' Over California/Soarin']]'', which is an OMNIMAX film shown in an attraction of the same name(s).
* ''Film/SleepingWithTheEnemy''
* ''Film/{{Stagecoach}}''
* ''Film/StarTrekTheMotionPicture'' - The theme he composed for this movie was reused for ''Series/StarTrekTheNextGeneration'', and has become the musical theme most strongly associated with the franchise, besides Alexander Courage's fanfare.
** ''Film/StarTrekVTheFinalFrontier''
** ''Film/StarTrekFirstContact'' with his son Music/JoelGoldsmith (who [[TearJerker also passed away from cancer at just 54]])
** ''Film/StarTrekInsurrection''
** ''Film/StarTrekNemesis''
* ''Film/TheSumOfAllFears''
* ''Film/{{Supergirl}}''
* ''Film/TheSwarm''
* ''Film/ToraToraTora''
* ''Film/TotalRecall1990''
* ''Film/TwilightZoneTheMovie''
* ''Film/USMarshals''
* ''TheVanishing''
* ''Film/VonRyansExpress''
* ''Film/{{Warlock}}''
* ''Film/TheWindAndTheLion''
* ''Film/LooneyTunesBackInAction'' - his final film that he scored (completed by JohnDebney).

Tropes associated with his works include:

* AfricanChant - Used one in ''Film/{{Congo}}'' and ''The Ghost and The Darkness''.
* AssociatedComposer - To Creator/SeanConnery, MichaelCrichton, but most notably to Franklin Schaffner & Creator/JoeDante.
* BootstrappedTheme - Nowadays, even those who don't appreciate ''Franchise/StarTrek'', his music is the most recognizable piece of work second only to Alexander Courage's fanfare from the The Original Series.
* BunnyEarsLawyer: He wore a gorilla mask while composing ''Planet Of The Apes''. Its one of his best scores which is [[Film/TheShadow saying]] [[TheOmen a]] [[Franchise/StarTrek lot]].
* ClimacticMusic - ''Film/{{Rudy}}''
* EverythingIsAnInstrument - Goldsmith was well-known for making use of unconventional instruments in his scores, with ''Planet of the Apes'' a classic example. For a time there's a long standing joke among Goldsmith's colleagues that goes something like this: "Find out what's making that noise outside, bring it here, and maybe Goldsmith can use it for his music!"
* EvolvingMusic - The "Ave Satani" changed from creepy chanting in the first two ''The Omen'' films, to being full blown operatic in the third.
* {{Fanfare}} - Goldsmith can write for brass like no other.
* HellIsThatNoise - A Jerry Goldsmith specialty.
* IronicNurseryTune - ''Poltergeist'' and its sequel.
* ItsBeenDone - Yeah, you think this [[http://www.youtube.com/watch?v=PKtYqh7VDEo music]] is totally original? Goldsmith already [[http://www.youtube.com/watch?v=i139Ew6mMFM composed]] that one!!! Might also count as [[OlderThanTheyThink/{{Music}} Older Than They Think,]] (albeit not that old) and [[SuspiciouslySimilarSong/{{Music}} Suspiciously Similar Score.]]
* {{Leitmotif}}
* LonelyPianoPiece - ''A Patch of Blue''.
* MusicalNod - A snippet of the "Superman March" can be heard in ''Supergirl''.
* OminousLatinChanting - ''Ave Satani''.
* OminousMusicBoxTune - ''Poltergeist''.
* OminousPipeOrgan - ''The Burbs''.
* OneWomanWail - ''The Sum Of All Fears''.
* OrchestralVersion - Of the folk song ''"The Water Is Wide"'' in the film, ''Film/TheRiverWild''.
* RecurringRiff - Goldsmith's own version of ''Franchise/StarTrek'' fanfare is used throughout the five films he scored. (And was adapted as The Next Generation's theme when it was adapted for the TV series).
* RegionalRiff - Goldsmith was a studious researcher whenever he's called to do music for some exotic locales.
* ShownTheirWork - And it clearly shows.
* SoundtrackDissonance - Goldsmith was rather fond of this, especially in his horror and science fiction scores. Those hauntingly beautiful music in ''Poltergeist'', ''Alien'', ''Gremlins'', ''The Haunting'', ''Twilight Zone: The Movie'', etc.

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