When was jerry goldsmith born

It can be found at Hollywood Boulevard, which is right in front of the Music Institute. If our music survives, which I have no doubt it will, then it will be because it is good. On the Planet of the Apes commentary track, he explains why he didn't score the final scene " Charlton Heston was a bit over the top by himself, and didn't need any score to accompany him. A good string section and an orchestra are the first things I think of when I start a project.

The strings are particularly important to me. With them I can do any kind of picture. After the human voice, they are the most expressive instrument I know. I would have burned out a long time ago if I just took a job, the money and ran with it. There's still a challenge for me in scoring films. I'm willing to tackle an interesting project if it offers me a chance to do something I haven't done before.

When I'm excited about something, the creativity just flows. I like a good creative fight. The soundtrack will always get done. But I'm not happy until it gets done well. When I get a fantasy film job, the first thing I look for is the non-fantasy element to build the music upon.

The human side of the film is what's important, not the hardware. My work on 'Poltergeist' is a perfect example. Most people saw it as a ghost story and a horror story. I saw it as a love story and wrote the music with that emotion in mind. There is no formula to finding what musically fits a science fiction film.

I just look for the emotion. When I don't find those, it makes things more difficult. View agent, publicist, legal and company contact details on IMDbPro. Getting Started Contributor Zone ». Edit page. Goldsmith was born in Los Angeles and began playing the piano when he was six. By 13, he was studying with concert pianist Jakob Gimpel. In addition to his concert career, Gimpel frequently worked in the s and s as a studio musician when a film score required a pianist.

Goldsmith eventually had the opportunity to hire Gimpel for one of his own movies, The Mephisto Waltz , a horror movie about a former pianist. When he first began thinking of a career in music, Goldsmith wanted to write music for the concert hall, but he feared that it would be difficult to get enough commissions to support himself as a classical composer. But Goldsmith soon transferred to Los Angeles City College, where he found he was able to get more hands-on experience in the music department, accompanying the chorus and serving as an assistant conductor.

That gave him the opportunity to score episodes of radio dramas. More than most film composers, Goldsmith continued to write for television throughout his career, composing the main title themes for among others The Man from U. His theme for the medical drama Dr. Goldsmith scored his first theatrical film in , the little-known Western Black Patch.

Goldsmith got his first Academy Award nomination in for Freud , an unconventional biography directed by John Huston. During this period he became acquainted with legendary composer Miklos Rosza and attended one semester in film music composition at the University of Southern California.

This involved re-scoring Flesh And Fantasy and new music for a documentary on the summer arts school. It was Rosza's own score to Spellbound and the film's star Ingrid Bergman that had captivated Goldsmith back in Goldsmith recalled wanting to marry Ingrid Bergman and have a career in writing music for film. Saying that one out of two wasn't bad.

Jerry Goldsmith had originally intended to become a concert pianist, but he soon realised that the infrequency of concert hall commissions would never satisfy his hunger to write music. In Goldsmith was employed as a clerk typist in the music department at CBS where he typed up scripts which led to picking records to writing dramatic music and playing instruments for Radio shows including Romance and CBS Radio Workshop often working with 5 or 6 instruments.

This period especially was great training for the young composer. Often shows, 25 minutes of music each. Adding music all the time to cover up things like cable noise. With Playhouse 90 Goldsmith would read the script Friday, Saturday see a run through, time it, and spot it.

Then have Sunday to Tuesday to write. On Wednesday rehearse and go on air Thursday, often writing 45 minutes of music a week. Then he was hired by Revue Studios to score their Thriller series, which lead on to further TV commissions including the famous Dr Kildare theme which Goldsmith had originally written for a Studio One show, then re-used it in a pilot for a medical show at CBS which was never sold.

Then third time it found its proper home in the acclaimed series with Richard Chamberlain and gave the composer his only top ten hit of his long career. Goldsmith also wrote the memorable theme and a handful of episode scores for The Man From U. Goldsmith scored his first theatrical movie in - the little known western Black Patch.

Conrad was a friend of director Allen Miner and suggested Goldsmith do the music. After Goldsmith returned to TV but a few years later Goldsmith got his next movie assignment City Of Fear , the director particularly being impressed with Goldsmith's television output. But he had to pay for the orchestra and copying services. What was left was his payment for the score. Goldsmith didn't sleep for 5 days and nights and recorded the score in one session.

The same director would call on him again for the significant career changing assignment Studs Lonigan. In Goldsmith was awarded his first Oscar nomination for his acclaimed score to the poorly received John Huston biopic of Freud. In Goldsmith ran into Alfred Newman while he was doing Flower Drum Song and landed his most important assignment all courtesy of the famed composer.

Newman was very complimentary about Goldsmith's TV work and apparently had no involvement in Lonely Are The Brave, a western drama with Kirk Douglas, but convinced the producers to hire Goldsmith to score it! From there Goldsmith established himself as a contract composer for 20th Century Fox for the remainder of the 60s, quickly re-defining the modern film score.

Along with his close friend Alex North, Goldsmith established himself as a leading name in American film music, and by the beginning of the 's the composer had already written a number of landmarks scores that cemented his position and his reputation. At the beginning of the 70's Goldsmith suffered a dry patch with assignments for the big screen and augmented his movie scoring with a plethora of TV assignments and remains one of the few composers to juggle film and TV scoring successfully.

By the middle of the decade things had moved on proving to be one of the composer's most successful periods with a combination of gritty thrillers and prestigious assignments like The Wind And The Lion , Chinatown , The Wild Rovers and Papillon. The late 70's brought Goldsmith his lone Oscar, as well as an Oscar nomination for best song Ave Satani for the avant-garde and ground breaking score to the classic Richard Donner horror The Omen.