Coordinates	40°26′30″N80°00′00″N
name	Total Recall
director	Paul Verhoeven
producer	Mario KassarAndrew G. Vajna
screenplay	Ronald ShusettDan O’BannonGary Goldman
story	Ronald ShusettDan O’BannonJon Povill
based on	Philip K. Dick
starring	Arnold SchwarzeneggerRachel TicotinSharon StoneMichael IronsideRonny Cox
music	Jerry Goldsmith
cinematography	Jost Vacano
production design	William Sandell
editing	Carlos PuenteFrank J. Urioste
studio	Carolco
distributor	TriStar Pictures
released
runtime	113 minutes
country
language	English
budget	$65 million
gross	$261,299,840
followed by	}}

''Total Recall'' is a 1990 American science fiction action film. The film stars Arnold Schwarzenegger, Rachel Ticotin, Sharon Stone, Michael Ironside, and Ronny Cox. It is based on the Philip K. Dick story “We Can Remember It for You Wholesale”. Directed by Paul Verhoeven and written by Ronald Shusett, Dan O’Bannon, Jon Povill, and Gary Goldman, it won a Special Achievement Academy Award for its visual effects. The soundtrack composed by Jerry Goldsmith won the BMI Film Music Award.

The plot concerns an apparently unsophisticated construction worker, Doug Quaid (Schwarzenegger), who is either a victim of a failed memory implant procedure or a freedom fighter from Mars relocated to Earth. He attempts to restore order and reverse the corrupt influence of commercial powers, all while faced with the possibility that none of these events are real and pursuing them could damage his brain.

Plot

In 2084, Douglas Quaid (Arnold Schwarzenegger) is a construction worker on Earth, married to his wife Lori (Sharon Stone). Fantasizing of traveling to Mars, he visits "Rekall", a company that can implement memories of a virtual vacation. Quaid opts for a Mars trip, including the option of being a secret agent and discovering alien technology. When Quaid is sedated and put into the Rekall machine, the technicians find he has already undergone a previous memory wipe; Quaid wakes up, claiming the Rekall technicians have blown his cover. He then attacks them. They sedate Quaid again, wipe his memory of his visit to Rekall, and send him home.

Quaid wakes up in a taxi nearing his residence, unaware of how he got there. On his way home, he is attacked by his former workers, but he quickly kills them. Lori turns on him and tries to kill him, but he manages to ensnare her. She admits she is not his wife, and that his cover ''is'' truly blown. Quaid races out of the apartment as men, led by Richter (Michael Ironside), attempt to catch him. In hiding, Quaid is given a briefcase by someone that claims to know him before he disappears. The briefcase contains false identity papers, money, and a device to remove a tracker implanted in Quaid's head, which Richter is following. The briefcase also contains a video from Quaid himself, but here, he calls himself Hauser, explaining that he used to work for Mars administrator Vilos Cohaagen (Ronny Cox) hunting rebels, but turned on Cohaagen after a crisis of conscience. Hauser believes Cohaagen must be responsible for Quaid's implantation. Quaid escapes as Richter closes onto the discarded tracking device.

Quaid arrives on Mars, and finds clues from Hauser that lead him to Venusville, a red light district of the Mars colony where many mutated humans reside, a result of poor radiation shielding. In a bar, he discovers Melina (Rachel Ticotin), Hauser's former lover, but Melina refuses to do anything with him. Returning to his hotel, Quaid is met by Lori and Dr. Edgemar (Roy Brocksmith), the developer of Rekall. They attempt to convince Quaid this is part of his virtual vacation gone wrong, but upon noticing sweat on Dr. Edgemar, Quaid refuses to believe them and kills Edgemar. Melina walks in and gives Lori a swift kick to the gut. Quaid and Melina then escape from Richter and his men. They escape through Venusville, Melina's fellow associates helping to delay Richter. When Cohaagen hears of this, he orders Venusville sealed and its oxygen supply cut off.

Quaid, Melina, and a taxi driver named Benny (Mel Johnson Jr.) make their way to the rebel headquarters. Quaid is taken to meet Kuato, a small humanoid form conjoined to another man (Marshall Bell). Kuato probes Quaid's mind and discovers that he knows about an alien device that would provide oxygen for the entire planet, but Cohaagen has tried to cover it up, knowing it would destroy his control. Kuato implores Quaid to activate it. However, Cohaagen's men assault the base and Benny is revealed to be a double agent, killing Kuato and capturing Quaid and Melina. They are taken to Cohaagen's offices, where he shows them another video from Hauser, revealing that he was still working for Cohaagen, the whole plan to reveal Kuato's location and eliminate the rebels from within by using an agent who was mentally programmed so that even he didn't know he was an agent. Cohaagen orders Quaid to be restored through a Rekall device back to Hauser, his close friend, and Melina to be reprogrammed as his loyal wife. They escape and make their way to the alien artifact, killing Benny, Richter, and his men en route.

Cohaagen arrives first at the control room, and attempts to dissuade Quaid from using the artifact, claiming it will destroy the planet, and threatening to blow up the control room with a nearby bomb. Quaid throws the explosive away, destroying a seal on the room, exposing it to the vacuum of the Mars atmosphere. Cohaagen is dragged out and dies from asphyxiation and decompression on the planet’s surface. Quaid manages to activate the artifact before he and Melina are pulled out, and both are saved as waves of air generated by the artifact sweep across the surface, shattering the windows of the Mars colony, giving its residents fresh air to breathe. As the population begin to walk into the new blue sky of Mars, Quaid wonders if this is still part of his Rekall fantasy before he turns to kiss Melina.

Cast

Arnold Schwarzenegger as Doug Quaid/Hauser, a construction worker who discovers that he is actually a secret agent, and travels to Mars to uncover his true identity and why his memory was erased.

Rachel Ticotin as Melina, a beautiful brunette seen as the partner in Quaid’s Rekall memory program who turns out to be a resistance fighter seeking to overthrow Cohaagen.

Sharon Stone as Lori Quaid, Quaid’s seemingly loving wife who is later also revealed to be an agent sent by Cohaagen to monitor Quaid. She is also Richter’s girlfriend.

Ronny Cox as Vilos Cohaagen, the ruthless director of the Mars Colony and friend of Hauser who stops at nothing in the mining of turbinium ore which places innocent people at risk.

Michael Ironside as Richter, Cohaagen’s chief lieutenant. He is domineering, brutal, and has a seething hatred for Quaid, whom he wishes to kill, despite Cohaagen’s orders to take him alive.

Marshall Bell as George/Kuato, the mutant leader of the resistance attached to his unmutated brother, Kuato helps Quaid unlock the secret to his past and the mystery of a reactor built by an ancient Martian civilization. Kuato has clairvoyant powers.

Mel Johnson, Jr. as Benny, a cab driver and mutant on Mars Colony who befriends and later betrays Quaid.

Roy Brocksmith as Dr. Edgemar, one of the developers of Rekall who also serves as its spokesman. Quaid executes him with a pistol upon discovering he is in league with Cohaagen.

Ray Baker as Bob McClane, a Rekall manager and sales agent who convinces Quaid to buy an “Ego Trip” memory implant.

Michael Champion as Helm, Richter’s right hand man.

Rosemary Dunsmore as Dr. Renata Lull, the lead memory programmer at Rekall who initiated Quaid’s memory implant procedure that triggered his outburst in the lab.

Robert Costanzo as Gary, Quaid’s workmate who is revealed to be an agent sent by Cohaagen to monitor Quaid on Earth and later had his neck snapped by Quaid when he and his henchmen tried to apprehend him.

Marc Alaimo as Everett, a Captain of the Mars Colony security force. He does not get along with Richter. Everett orders his men to arrest a disguised Quaid on Richter's orders, but Quaid escapes.

Production and distribution

The original screenplay for ''Total Recall'' was written by Dan O’Bannon and Ronald Shusett, the writers of ''Alien'', who had bought the rights to Philip K. Dick’s short story “We Can Remember It for You Wholesale” while Dick was still alive. They were unable to find a backer for the project and it drifted into development hell, passing from studio to studio. In the mid-1980s, producer Dino De Laurentiis took on the project with Richard Dreyfuss attached to star. Patrick Swayze, who had recently starred in ''Dirty Dancing'', was also considered for the role. David Cronenberg was attached to direct but wanted to cast William Hurt in the lead role. Cronenberg described his work on the project and eventual falling out with Shusett: “I worked on it for a year and did about 12 drafts. Eventually we got to a point where Ron Shusett said, ‘You know what you’ve done? You’ve done the Philip K. Dick version.’ I said, ‘Isn’t that what we're supposed to be doing?’ He said, ‘No, no, we want to do ''Raiders of the Lost Ark Go to Mars''.’” When the adaptation of ''Dune'' flopped at the box office, De Laurentiis similarly lost enthusiasm for the project. Although he went uncredited in the final version of the film, Cronenberg originated the idea of mutants on Mars, including the character of Kuato (spelled Quato in his screenplay).

The collapse of De Laurentiis’s company provided an opening for Schwarzenegger, who had unsuccessfully approached the producer about starring in the film. He persuaded Carolco to buy the rights to the film for a comparatively cheap $3 million and negotiated a salary of $10–11 million (plus 15 percent of the profits) to star, with an unusually broad degree of control over the production. He obtained veto power over the producer, director, screenplay, co-stars and promotion. The first thing Schwarzenegger did was personally recruit Paul Verhoeven to direct the film, having been impressed by the Dutch director’s ''RoboCop'' (for which Schwarzenegger was considered for the title role). By this time the script had been through forty-two drafts but it still lacked a third act. Gary Goldman was therefore brought in by Paul Verhoeven to work with Ronald Shusett to develop the final draft of the screenplay. The director also brought in many of his collaborators on ''Robocop'', including casting actor Ronny Cox as the main villain, cinematographer Jost Vacano, production designer William Sandell, and special effects designer Rob Bottin.

Much of the filming took place in Mexico City. The futuristic subway station and vehicles are actually part of the Mexican public transportation system, with the subway cars painted gray and television monitors added.

In an interview with ''Starlog'' magazine, Schwarzenegger stressed the challenge of acting in the film, “Because you’re not coming in with the same character that you’re going out with. Hauser’s an interesting character, but Quaid’s just this big program...”

The film was initially given an X rating. Violence was trimmed and different camera angles were used in the over-the-top scenes for an R rating. It was one of the last major Hollywood blockbusters to make large-scale use of miniature effects rather than computer generated imagery. Five different companies were brought in to handle ''Total Recall’s'' effects. The only CGI sequence in the entire film was a 42-second sequence, produced by MetroLight Studios, showing the X-rayed skeletons of commuters and their concealed weapons. Only a year later, Schwarzenegger’s ''Terminator 2: Judgment Day'' prompted a revolution in special effects with its extensive use of CGI.

Soundtrack

The score was composed and conducted by Jerry Goldsmith, and 40 minutes of it was released by the Varèse Sarabande label in 1990. Ten years later, the same label released a “Deluxe Edition,” in chronological order with additional cues that were left out, totaling 71 minutes. As with several Goldsmith scores, the music was performed by the National Philharmonic Orchestra.

The main title theme features a metal percussion pattern that bears similarities to a drum pattern from ''Anvil of Crom''. The score has been hailed as one of Goldsmith’s best, especially the deluxe edition, and commended for its blend of electronic and orchestral elements.

''Original soundtrack release'': # The Dream (3:33) # The Hologram (5:36) # The Big Jump (4:33) # The Mutant (3:16) # Clever Girl (4:31) # First Meeting (1:10) # The Treatment (5:30) # Where Am I? (3:56) # End of a Dream (5:45) # A New Life (2:23)

''Deluxe Edition release'': # The Dream (3:32) # First Meeting (1:10) # Secret Agent (:52) # The Implant (2:41) # The Aftermath (:30) # For Old Times' Sake (3:00) # Clever Girl (4:30) # The Johnny Cab (3:47) # Howdy Stranger (2:00) # The Nose Job (1:55) # The Space Station (:47) # A New Face (1:29) # The Mountain (1:27) # Identification (1:02) # Lies (1:04) # Where Am I? (3:59) # Swallow It (3:07) # The Big Jump (4:33) # Without Air (1:15) # Remembering (1:50) # The Mutant (3:16) # The Massacre (2:34) # Friends (1:40) # The Treatment (5:36) # The Hollowgram (5:36) # End of a Dream (5:46) # A New Life (2:22)

Reception

''Total Recall'' debuted at No.1 at the box office. The film grossed $261,299,840 worldwide, a box office success. Critical reaction to ''Total Recall'' has been mostly positive. It currently holds an 81% positive rating on Rotten Tomatoes, based on 42 reviews. Metacritic reported, based on 17 reviews, an average rating of 57 out of 100.

Roger Ebert awarded the film three and a half stars (out of four), calling it “one of the most complex and visually interesting science fiction movies in a long time.” Owen Gleiberman of ''Entertainment Weekly'' praised the film, giving it a score of “B+” and said that it “starts out as mind-bending futuristic satire and then turns relentless [and] becomes a violent, post-punk version of an Indiana Jones cliff-hanger.” Film scholar William Buckland considers it one of the more “sublime” Dick adaptations, contrasting it with films like ''Impostor'' and ''Paycheck'', which he considered “ridiculous.”

Mick LaSalle of the ''San Francisco Chronicle'' said the film is not a classic, “but it’s still solid and entertaining.” James Berardinelli gave the film two and a half stars (out of four), saying that “neither Schwarzenegger nor Verhoeven have stretched their talents here,” but added, “with a script that’s occasionally as smart as it is energetic, ''Total Recall'' offers a little more than wholesale carnage.”

Some critics, such as Janet Maslin of ''The New York Times'', considered the film excessively violent. Rita Kempley of ''The Washington Post'' gave it a negative review, saying that director Paul Verhoeven “disappoints with this appalling onslaught of blood and boredom.” Feminist cultural critic Susan Faludi called it one of “an endless stream of war and action movies” in which “women are reduced to mute and incidental characters or banished altogether.”

Sequel

Due to the success of the movie, a sequel was written with the script title ''Total Recall 2'', and with Arnold Schwarzenegger’s character still Douglas Quaid, now working as a reformed law enforcer. The sequel was based on another Philip K. Dick short story, “The Minority Report,” which postulates about a future where a crime can be solved before it’s committed—in the movie, the clairvoyants would be Martian mutants. The sequel was not filmed, but the script survived and it was changed drastically and contained greater elements from the original short story. The story was eventually adapted as a science fiction thriller as ''Minority Report'' by Steven Spielberg and opened in 2002 to box-office success and critical acclaim.

Awards

!Award !! Category !! Winner/Nominee !! Result
	Nelson Stoll, Michael J. Kohut, Carlos Delarios & Aaron Rochin
	Stephen Hunter Flick
	Eric Brevig, Rob Bottin, Tim McGovern & Alex Funke
	Erica Edell Phillips
	Arnold Schwarzenegger
	Paul Verhoeven
	Rob Bottin, Jeff Dawn, Craig Berkeley & Robin Weiss
	Jerry Goldsmith
	Thomas L. Fisher, Eric Brevig & Rob Bottin
	Rachel Ticotin
		Whole Special Visual Effects Production team
Hugo Award

In 2008, ''Total Recall'' was nominated for AFI's Top 10 Science Fiction Films list.

Themes

The film explores the question of reality versus delusion, a recurrent topic in Philip K. Dick’s works. The plot calls for the lead character and the audience to question whether the character’s experience is real or being fed directly to his mind. There are several visual and informational clues which point in both directions. Verhoeven plays up the intentional ambiguity to the very end and no definitive answer is ever given. However the beginning title of the movie soundtrack is called “the dream” and the ending title “end of a dream.” However, in sharp contrast, the final chapter title of the film’s DVD is “Not a Dream.”

On the DVD commentary of the Artisan ''Total Recall'': Special Limited Edition (released in 2001) Verhoeven notes that in multiple parts of the film characters reference events they claim will be part of Quaid's Rekall experience prior to their occurrence in the film. In the end, the viewer is left wondering if the events actually happened, the entire story is simply the memory purchased at Rekall gone terribly awry, or if in fact Rekall had simply delivered on its original promise of “action” and “adventure.” This theme has been revisited since in similarly themed films such as ''Dark City'', ''The Matrix'', ''eXistenZ'', ''The Thirteenth Floor'', ''Vanilla Sky'', ''Shutter Island'', and ''Inception''.

A consistent motif throughout the film is the presentation of striking opposites: Earth/Mars; Quaid/Hauser; the mutants Kuato and his brother George; the use of holographic doubles by Quaid and Melina; reflections of Quaid, Lori and Dr. Edgemar in mirrors in Quaid’s hotel room; Melina/Lori. The latter example subverts a standard ''film noir'' convention, the saintly blonde versus the devilish brunette; in ''Total Recall'', the blonde turns out to be the villain and the brunette the heroine.

Adaptations

The film was novelized by Piers Anthony. The novel and film correspond fairly well, although Anthony was evidently working from an earlier script than the one used for the film, and was criticized for the ending of his book which removed the ambiguity whether the events of ''Total Recall'' are real or a dream. In addition, the novel had a subplot wherein the aliens planted a failsafe device within their Mars technology, so that if it were misused or destroyed, the local star would go nova and therefore prevent the species from entering the galactic community. It coincided with a comment earlier in the novel that astronomers were noticing an abnormal number of recent supernovae, giving an indication that the aliens seeded their tech as part of a galactic experiment in technological maturity. Instead of mentioning that he dreamt of her earlier in the film, Melina mentions she was once a model, explaining how Quaid could have seen her on the screen at Rekall.

A video game was made based on the movie, featuring 2D action, platformer scenes and top-down racing scenes; a version was released for popular 8-bit home computers (Commodore 64, ZX Spectrum and Amstrad CPC), and the popular 16-bit home computers (Amiga and Atari ST). The game was developed and released by Ocean Software. There was also a much-maligned NES version which was notably different from the others, being developed by a different team (Interplay). Interplay defended the changes, however, claiming that their alteration stuck closer to the spirit of the original short story, which they said “read more like a platformer.”

A television series called ''Total Recall 2070'' went into production in 1999. The show was meant to be a prequel; however, it had far more similarities with the ''Blade Runner'' movie (also inspired by a Philip K. Dick story) than Verhoeven's film. The two-hour series pilot, released on VHS and DVD for the North American market, borrowed footage from the film, such as the space cruiser arriving on Mars.

In 2011, a four-issue comic book adaptation was released by Dynamite Entertainment, continuing the story from the film.

Remake

In February 2009, ''The Hollywood Reporter'' stated that Neal H. Moritz and Original Film were in negotiations for developing a contemporary version of ''Total Recall'' for Columbia. In June, 2009, it was announced that Columbia Pictures have hired Kurt Wimmer to write the script for the remake. On January 9, 2011, it was confirmed that Colin Farrell will be starring in the remake and Bryan Cranston will play the villain, with production starting in Toronto on May 15. According to producer Neal Moritz, this version of the film will be closer to Philip K. Dick’s original story. Moritz also stated that the film will not be shot in 3D, saying: “we decided that it would be too much.” Kate Beckinsale will play the role of double agent Lori, while John Cho is set to play McClane, the smooth-talking rep for the memory company. Ethan Hawke will have a cameo in the film.

See also

Simulated reality

''Total Recall 2070''

''Red Faction'', a videogame inspired by the film.

Notes

Sources

External links

Category:1990 films Category:American science fiction action films Category:1990s action films Category:1990s science fiction films Category:Carolco Pictures films Category:Cyberpunk films Category:Dystopian films Category:English-language films Category:Films about altered memories Category:Films based on short fiction Category:Films based on the works of Philip K. Dick Category:Films directed by Paul Verhoeven Category:Mars in film Category:Tech noir films Category:TriStar Pictures films Category:Films set in the 2040s Category:Space adventure films Category:Video games based on films directed by Paul Verhoeven Category:Films about telepresence

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Coordinates	40°26′30″N80°00′00″N
name	Jerry Goldsmith
birth name	Jerrald King Goldsmith
birth date	February 10, 1929
birth place	Los Angeles, California
death date	July 21, 2004
death place	Beverly Hills, California
Alma mater	University of Southern California
occupation	composer and conductor
years active	1951 - 2004
spouse	Sharon Hennagin (1950-1970)Carol Heather (1972-2004)
academyawards	Best Original Score1976 ''The Omen''
emmyawards	Outstanding Music Composition for a Miniseries, Movie or a Special1973 ''The Red Pony''1975 ''QB VII''1976 ''Babe''1981 ''Masada'' Outstanding Main Title Theme Music1995 ''Star Trek: Voyager''
awards	Academy Award for Best Original Score1976 ''The Omen''Saturn Award for Best Music1984 ''Gremlins''
background	non_performing_personnel }}

Jerrald King "Jerry" Goldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor most known for his work in film and television scoring.

He composed scores for such noteworthy films as ''The Sand Pebbles'', ''Planet of the Apes'', ''Patton'', ''Chinatown'', ''The Wind and the Lion'', ''The Omen'', ''The Boys from Brazil'', ''Alien'', ''Poltergeist'', ''Gremlins'', ''Hoosiers'', ''Total Recall'', ''Basic Instinct'', ''Rudy'', ''Air Force One'', ''L.A. Confidential'', ''Mulan'', ''The Mummy'', three ''Rambo'' films, and five ''Star Trek'' films. He was nominated for six Grammy Awards, nine Golden Globes, four BAFTAs, and seventeen Academy Awards, and received an Oscar for ''The Omen'' in 1977.

He collaborated with some of the most prolific directors in film history, including Robert Wise (''The Sand Pebbles'', ''Star Trek: The Motion Picture''), Howard Hawks (''Rio Lobo''), Otto Preminger (''In Harm's Way''), Joe Dante (''Gremlins'', ''The 'Burbs''), Roman Polanski (''Chinatown''), Ridley Scott (''Alien'', ''Legend''), Steven Spielberg (''Poltergeist'', ''Twilight Zone: The Movie''), and Paul Verhoeven (''Total Recall'', ''Basic Instinct''). However, his most notable collaboration was arguably that with Franklin J. Schaffner, for whom Goldsmith scored such films as ''Planet of the Apes'', ''Patton'', ''Papillon'', and ''The Boys from Brazil''.

Early life and education

Goldsmith, who was Jewish, was born 10 February 1929 in Los Angeles, California. His parents were Tessa (née Rappaport), an artist, and Morris Goldsmith, a structural engineer. He started playing piano at age six, but only "got serious" by the time he was eleven. At the age of thirteen he studied piano privately with legendary concert pianist and educator Jakob Gimpel (whom Goldsmith would later employ to perform piano solos in his score to ''The Mephisto Waltz'') and by the age of sixteen he was studying both 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 the age of sixteen, Goldsmith saw the movie ''Spellbound'' (1945) in theaters and was inspired by the soundtrack by veteran composer Miklós Rózsa 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. There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.

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. There he began writing scores for such radio shows as ''CBS Radio Workshop'', ''Frontier Gentleman'', and ''Romance''. In an interview with Andy Velez from 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." He later progressed into scoring such live CBS television shows as ''Climax!'' and ''Playhouse 90''. He also scored multiple episodes of the hit television 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.''.

His feature film debut occurred when he composed the music to the western ''Black Patch'' (1957). He continued with scores to such films as the western ''Face of a Fugitive'' (1957) and the science fiction film ''City of Fear'' (1959).

1960s

Jerry Goldsmith began the decade composing for such television shows as ''Dr. Kildare'' and ''Thriller'' as well as the drama film ''The Spiral Road'' (1960). However, he only began receiving widespread name recognition after his intimate score to the classic western ''Lonely Are the Brave'' (1962). His involvement in the picture was the result of a recommendation by veteran 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 Pictures’ music department, despite having never met him. That same year, Goldsmith composed the mostly atonal and dissonant score to the pseudo-biopic ''Freud'' (1962) 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 Best Original Score, though he lost to fellow first-time nominee Maurice Jarre for his music to ''Lawrence of Arabia'' (1962). In 1963, Goldsmith composed a score to ''The Stripper'', his first collaboration with director Franklin J. Schaffner for whom Goldsmith would later score such motion pictures as ''Planet of the Apes'' (1968), ''Patton'' (1970), ''Papillon'' (1973), and ''The Boys from Brazil'' (1978).

Following his success with ''Lonely Are the Brave'' and ''Freud'', Goldsmith went on to achieve even more critical recognition with scores to such films as the western ''Rio Conchos'' (1964), the political thriller ''Seven Days in May'' (1964), the romantic drama ''A Patch of Blue'' (1965), the epic war film ''In Harm's Way'' (1965) (in which Goldsmith also made a brief cameo appearance), the World War I aviation film ''The Blue Max'' (1966), the period naval war epic ''The Sand Pebbles'' (1966), the thriller ''Warning Shot'' (1967), the western ''Hour of the Gun'' (1967), and the controversial mystery ''The Detective'' (1968). Goldsmith's scores to ''A Patch of Blue'' and ''The Sand Pebbles'' garnered him his second and third Oscar nominations, respectively, and were both one of the 250 nominees for the American Film Institute’s top twenty-five American film scores. His scores for ''Seven Days in May'' and ''The Sand Pebbles'' also garnered Goldsmith his first two respective Golden Globe nominations for Best Original Score in 1965 and 1967. During this time, he also composed for many lighter, comedic films such as the family comedy ''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).

In 1968, Jerry Goldsmith caught massive critical attention with his landmark, controversial soundtrack to the post-apocalyptic science fiction epic ''Planet of the Apes'' (1968), which was one of the first film scores to be written entirely in an 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. The score went on to garner Goldsmith another Oscar nomination for Best Original Score and now ranks in #18 on the American Film Institute’s top twenty-five American film scores. The music to ''Patton'' subsequently earned Goldsmith an Academy Award nomination for Best Original Score and was one of the American Film Institute's 250 nominees for the top twenty-five American film scores. 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 #9 on AFI's top 25 American film scores. The score garnered Goldsmith an Academy Award nomination for Best Original Score, though he lost to fellow composer John Williams for his score to ''Jaws''. ''The Wind and the Lion'' was also one of AFI's 250 nominees for the top twenty-five American film scores. The score was successful among critics and garnered Goldsmith his first (and ultimately only) Academy Award for Best Original Score and a nomination for Best Original Song for "Ave Satani". It was also one of AFI's 250 nominees for the top twenty-five American film scores. the science fiction suspense ''Coma'' (1978), the science fiction thriller ''Capricorn One'' (1978), the disaster film ''The Swarm'' (1978), the period comedy ''The Great Train Robbery'' (1979), and his Oscar nominated score to the science fiction thriller ''The Boys from Brazil'' (1978), in which he utilized lively waltzes to juxtapose the horrific concept of the film, cloning Adolf Hitler.

In 1979, Goldsmith composed a score to the landmark science fiction film ''Alien''. His score featured an orchestra augmented by a shofar, didgeridoo, steel drum, and 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 the consent of Goldsmith, purchased the rights to the "Main Title" from ''Freud'' (1962) which they used during the acid blood sequence. Despite the heavy edits and rewrites, Goldsmith's score to ''Alien'' earned him a Golden Globe nomination for Best Original Score and was one of AFI's 250 nominees for the top twenty-five American film scores. Having been the initial choice of Gene Roddenberry to compose the original ''Star Trek'' pilot "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''. 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. The film's soundtrack also provided a debut for the Blaster Beam, an electronic instrument long, created by musician Craig Huxley. 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. An enormous pipe organ first plays the V'Ger theme on the ''Enterprise''s approach, a literal indication of the machine's power. His score for ''The Motion Picture'' earned him nominations for the Academy Awards, Golden Globes, and was one of AFI's 250 nominees for the top twenty-five American film scores.

1980s

Throughout the 1980s, Goldsmith found himself increasingly scoring science fiction and fantasy films in the ongoing wake of the successful ''Star Wars'' (1977) composing for such films as the ''The Omen'' sequels ''Damien: Omen II'' (1978) and ''Omen III: The Final Conflict'' (1981), the space western ''Outland'' (1981), the animated fantasy ''The Secret of NIMH'' (1982), and the episodic fantasy mystery ''Twilight Zone: The Movie'' (1983), which he composed in four different styles to accompany the four parts of the film.

In 1982, Goldsmith was hired to compose the music to the classic Tobe Hooper directed, Steven Spielberg produced fantasy horror ''Poltergeist''. He wrote several themes for ''Poltergeist'' 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. The score for ''Poltergeist'' garnered him a nomination for an Academy Award, though he lost again to fellow composer John Williams for ''E.T. the Extra-Terrestrial'' (1982). Goldsmith later returned in 1986 to compose the more synthetic score to ''Poltergeist II'', the first of its two sequels.

He did, however, still manage to compose for such non-fantasy productions as the period television miniseries ''Masada'' (1981) (for which he won an Emmy Award), the controversial war film ''Inchon'' (1982), the action classic ''First Blood'' (1982), and his Oscar and Golden Globe nominated score to the political drama ''Under Fire'' (1983) 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.

Throughout the decade, many of his compositions became increasingly laced with synthetic elements such as his scores for the horror sequel ''Psycho II'' (1983), the comedy horror film ''Gremlins'' (1984) (for which he won a Saturn Award for Best Music), the fantasy superhero adaptation ''Supergirl'' (1984), the fantasy adventure ''Legend'' (1985) (initially heard only in European prints and then years later in a 2002 director's cut), the action sequel ''Rambo: First Blood Part II'' (1985), the family fantasy ''Baby: Secret of the Lost Legend'' (1985), and the fantasy horror ''Poltergeist II'' (1986). 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 dramatic sports movie ''Hoosiers'' (1986), though he lost to Herbie Hancock for ''Round Midnight''.

Goldsmith finished out the decade with noteworthy scores to such films as the medieval adventure ''Lionheart'' (1987), the science fiction comedy ''Innerspace'' (1987), ''Rambo III'' (1988), the science fiction horror ''Leviathan'' (1989), and ''Star Trek V: The Final Frontier'' (1989), his second ''Star Trek'' film score. Goldsmith's score to ''Leviathan'' (1989) is notable for having incorporated the use of recorded whale sounds during the main titles. 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'' (1970).

1990s

In 1990, Jerry Goldsmith received critical acclaim for his score to the romantic drama ''The Russia House'', which featured a unique mixture of Russian music and jazz to complement the nationalities and characteristics of the two main characters. He also composed critically acclaimed music for the science fiction action film ''Total Recall'' (1990), which Goldsmith later regarded as one of his best scores. Other noteworthy scores of the era include ''Gremlins 2: The New Batch'' (1990) (in which Goldsmith also made a brief cameo appearance), the psychological thriller ''Sleeping with the Enemy'' (1991), the family comedy ''Mom and Dad Save the World'' (1991), the fantasy romance ''Forever Young'' (1992), the thriller ''The Vanishing'' (1993), and the family comedy ''Dennis the Menace'' (1993). In 1992, Goldsmith also composed a critically acclaimed score for the medical drama ''Medicine Man''. 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 yet another Academy Award nomination as well as a Golden Globe nomination and was later regarded by the composer as one of his most challenging works. In 1993, Goldsmith also wrote an acclaimed score for the classic sports film ''Rudy'', which has since been used in the trailers for numerous films including ''Angels in the Outfield'' (1994), ''Good Will Hunting'' (1997), ''Spirit: Stallion of the Cimarron'' (2002), and ''Seabiscuit'' (2003).

Goldsmith composed acclaimed scores for such films as the superhero adaptation ''The Shadow'' (1994), the thriller ''The River Wild'' (1994), the romantic comedy ''I.Q.'' (1994), the action film ''Congo'' (1995), the fantasy adventure ''First Knight'' (1995), the science fiction drama ''Powder'' (1995), the action film ''Executive Decision'' (1996), and his third ''Star Trek'' film installment ''Star Trek: First Contact'' (1996) which he composed with his son Joel Goldsmith. In 1995, Goldsmith also composed the theme for the UPN series ''Star Trek: Voyager'' for which he won an Emmy Award for 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. In 1997, he was hired to replace a score by Randy Newman for ''Air Force One''. Goldsmith, with the assistance of composer Joel McNeely, completed the brassy, heroic score in only twelve days. In 1997, Goldsmith also composed a percussive, jazzy score for the critically acclaimed crime drama ''L.A. Confidential''. His score garnered him nominations for the Oscars, Golden Globes, and was also one of AFI's 250 nominees for the top twenty-five American film scores. He also continued with scores for such films as the survival drama ''The Edge'' (1997), the science fiction horror ''Deep Rising'' (1998), and the action thriller ''U.S. Marshals'' (1998). In 1998, he also composed a score of combined eastern, orchestral, and synthetic elements for the Disney animated film ''Mulan'', which subsequently earned him his final Oscar and Golden Globe nominations along with songwriter Matthew Wilder and lyricist David Zippel.

Goldsmith concluded the decade with critically successful scores to such popular movies as the action film ''Small Soldiers'' (1998), his penultimate ''Star Trek'' film ''Star Trek: Insurrection'' (1998), the comedy horror ''The Mummy'' (1999), the horror film ''The Haunting'' (1999), and the action adventure ''The 13th Warrior'' (1999). In 1999, he also composed "Fanfare for Oscar" for the Academy of Motion Picture Arts and Sciences.

2000s and final scores

During the early 2000s, Goldsmith composed scores to the science fiction thriller ''Hollow Man'' (2000), the mystery film ''Along Came a Spider'' (2001), the drama ''The Last Castle'' (2001), the action/political thriller ''The Sum of All Fears'' (2002), 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''. Goldsmith also composed an original score to the 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 it crying and saying, "I'd do anything to be part of this project. I'd even score the film for free."

Goldsmith's final theatrical score, composed during declining health, was the critically acclaimed music for the live action/animated film ''Looney Tunes: Back in Action'' (2003), directed by long-time Goldsmith collaborator Joe Dante. His last collaboration was with another long-time collaborator, Richard Donner (for whom Goldsmith had scored ''The Omen'' in 1976), on the science fiction film ''Timeline'' (2003). However, due to a complicated post-production process, Goldsmith's score was rejected and replaced by a new score by 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.

Concert works

Toccata for Solo Guitar

In the 1950s, Goldsmith composed "Toccata for Solo Guitar". 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 "The Thunder of Imperial Names" for concert band and narration, which first appeared on the CBS Radio Workshop episode "1489 Words". "The Thunder of Imperial Names" was later performed and re-recorded in 2006 by the United States Air Force Tactical Command Band under conductor Lowell E. Graham and narrated by Gary McKenzie.

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 film ''The Illustrated Man'' (1969). The piece, written in four parts, consisted of orchestra, choir, mezzo-soprano solo, and narration. Goldsmith composed the piece largely using the 12-tone system, later stating, "I feel there is a great relationship between impressionism and dodecaphonicism and that was the musical language I wanted for 'Christus Apollo'." 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 legendary actor Anthony Hopkins.

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, bombastic composition was written in three sections developed from one common 12-tone row including the "turbulent" first section, the "introspective" second section, and climaxing in a "very agitated" third section. 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 - pain, anger, and sorrow - went into writing 'Music for Orchestra' in strict dodecaphonic form."

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. 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."

Legacy

Jerry Goldsmith has often been considered one of the most innovative and influential composers in the history of film music. 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'', ''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." 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 Rimsky-Korsakov or Stravinsky -- it's that good." In a 2001 interview, film composer Marco Beltrami (''3:10 to Yuma'', ''The Hurt Locker'') stated, "Without Jerry, film music would probably be in a different place than it is now. I think he, more than any other composer bridged the gap between the old hollywood scoring style and the modern film composer."

Personal life

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 is also a composer and collaborated with his father on the score for ''Star Trek: First Contact'', composing approximately twenty-two minutes of the score. Jerry Goldsmith also conducted Joel's theme for ''The Untouchables'' and composed the theme for the pilot ''Hollister'', scored by Joel. Goldsmith's daughter, Carrie Goldsmith, went to high school with famed ''Titanic'' composer James Horner, who also composed music for Star Trek's second and third movies: ''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.

Goldsmith passed away at his Beverly Hills home 21 July 2004 after a battle with colon cancer at the age of 75. He is survived by his wife Carol and his children Aaron, Joel, Carrie, Ellen Edson, and Jennifer Grossman.

List of movies and series

1950s

''The Lineup'' (1954) (TV series)

''Climax!'' (1954) (TV series)

''Black Patch'' (1957)

''Face of a Fugitive'' (1959)

''City of Fear'' (1959)

''Playhouse 90'' (1959) (TV series)

''The Twilight Zone'' (1959) (TV series)

1960s

''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'' (1960)

''Dr. Kildare'' (1961)

''The Expendables'' (1962) (TV movie)

''The Crimebusters'' (1962)

''Lonely Are the Brave'' (1962)

''The Spiral Road'' (1962)

''Freud'' (1962)

''The List of Adrian Messenger'' (1963)

''The Stripper'' (1963)

''A Gathering of Eagles'' (1963)

''Lilies of the Field'' (1963)

''Take Her, She's Mine'' (1963)

''The Prize'' (1963)

''Seven Days in May'' (1964)

''Shock Treatment'' (1964)

''Fate Is the Hunter'' (1964)

''The Man from U.N.C.L.E.'' (1964) (TV series theme)

''Rio Conchos'' (1964)

''The Satan Bug'' (1965)

''Voyage to the Bottom of the Sea'' (1965) (TV series: 2 episodes)

''In Harm's Way'' (1965)

''To Trap a Spy'' (feature film expansion of ''The Man from U.N.C.L.E.'''s pilot) (1965)

''Von Ryan's Express'' (1965)

''Morituri'' (1965)

''The Legend of Jesse James'' (1965) (TV series theme)

''The Agony and The Ecstasy'' (1965)

''A Patch of Blue'' (1965)

''Our Man Flint'' (1966)

''The Trouble with Angels'' (1966)

''Stagecoach'' (1966)

''The Blue Max'' (1966)

''Seconds'' (1966)

''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)

''Planet of the Apes'' (1968)

''The Detective'' (1968)

''Bandolero!'' (1968)

''Room 222'' (1969)

''100 Rifles'' (1969)

''The Illustrated Man'' (1969)

''The Chairman'' (1969)

''Justine'' (1969)

1970s

''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'' (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'' (1972)

''Pursuit'' (1972) (TV movie)

''Barnaby Jones'' (1973) (theme and pilot score)

''Shamus'' (1973)

''The Waltons'' (1973)

''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'' (1973)

''The Don Is Dead'' (1973)

''Papillon'' (1973)

''Indict and Convict'' (1974) (TV movie)

''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)

''S*P*Y*S'' (1974)

''Ransom'' (1975)

''Archer'' (1975) (TV series theme)

''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)

''Medical Story'' (1975) (TV series theme)

''Take a Hard Ride'' (1975)

''Babe'' (1975) (TV movie)

''Breakheart Pass'' (1975)

''The Hemingway Play'' (1976) (TV movie)

''The Last Hard Men'' (stock music only) (1976)

''Logan's Run'' (1976)

''The Omen'' (1976)

''High Velocity'' (1976)

''The Cassandra Crossing'' (1976)

''Twilight's Last Gleaming'' (1977)

''Islands in the Stream'' (1977)

''MacArthur'' (1977)

''Damnation Alley'' (1977)

''Contract on Cherry Street'' (1977) (TV movie)

''Coma'' (1978)

''Capricorn One'' (1978)

''Damien: Omen II'' (1978)

''The Swarm'' (1978)

''The Boys from Brazil'' (1978)

''Magic'' (1978)

''The Great Train Robbery'' (1979)

''Alien'' (1979)

''Players'' (1979)

''Star Trek: The Motion Picture'' (1979)

1980s

''Caboblanco'' (1980)

''The Salamander'' (1981)

''Omen III: The Final Conflict'' (1981)

''Masada'' (1981) (TV miniseries, first half only - second half scored by Morton Stevens)

''Outland'' (1981)

''Raggedy Man'' (1981)

''Night Crossing'' (1981)

''Poltergeist'' (1982)

''The Secret of N.I.M.H.'' (1982)

''The Challenge'' (1982)

''Inchon'' (1982)

''First Blood'' (1982)

''Psycho II'' (1983)

''Twilight Zone: The Movie'' (1983)

''Under Fire'' (1983)

''The Lonely Guy'' (1984)

''Gremlins'' (1984)

''Supergirl'' (1984)

''Runaway'' (1984)

''Baby: Secret of the Lost Legend'' (1985)

''Rambo: First Blood Part II'' (1985)

''Explorers'' (1985)

''Legend'' (1985)

''King Solomon's Mines'' (1985)

''Link'' (1986)

''Amazing Stories'' (1986) (TV series: episode "Boo!")

''Poltergeist II: The Other Side'' (1986)

''Hoosiers'' (1986)

''Star Trek: The Next Generation'' (theme only, re-arranged by Dennis McCarthy) (1987)

''Extreme Prejudice'' (1987)

''Innerspace'' (1987)

''Lionheart'' (1987)

''Rent-A-Cop'' (1988)

''Rambo III'' (1988)

''Criminal Law'' (1988)

''Alien Nation'' (rejected) (1988)

''The 'Burbs'' (1989)

''Leviathan'' (1989)

''Warlock'' (1989)

''Star Trek V: The Final Frontier'' (1989)

1990s

''The Russia House'' (1990)

''Gremlins 2: The New Batch'' (1990)

''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'' (1991)

''Basic Instinct'' (1992)

''Forever Young'' (1992)

''Mr. Baseball'' (1992)

''Gladiator'' (rejected) (1992)

''Hollister'' (1992) (TV movie theme)

''Love Field'' (1993)

''The Vanishing'' (1993)

''Dennis the Menace'' (1993)

''Rudy'' (1993)

''Six Degrees of Separation'' (1993)

''Malice'' (1993)

''Matinee'' (1993)

''Angie'' (1994)

''Bad Girls'' (1994)

''The Shadow'' (1994)

''The River Wild'' (1994)

''I.Q.'' (1994)

''Congo'' (1995)

''First Knight'' (1995)

''Star Trek: Voyager'' (1995) (TV series theme)

''Powder'' (1995)

''City Hall'' (1995)

''Executive Decision'' (1996)

''Two Days in the Valley'' (rejected) (1996)

''Chain Reaction'' (1996)

''Star Trek: First Contact'' (1996) (additional music by Joel Goldsmith)

''The Ghost and the Darkness'' (1996)

''Fierce Creatures'' (1996)

''Air Force One'' (1997) (additional music by Joel McNeely)

''L.A. Confidential'' (1997)

''The Edge'' (1997)

''Deep Rising'' (1998)

''U.S. Marshals'' (1998)

''Small Soldiers'' (1998)

''Mulan'' (1998)

''Star Trek: Insurrection'' (1998)

''The Mummy'' (1999)

''The Haunting'' (1999)

''The 13th Warrior'' (1999)

2000s

''Hollow Man'' (2000)

''Soarin' Over California'' (2001) (simulator ride)

''Along Came a Spider'' (2001)

''The Last Castle'' (2001)

''The Sum of All Fears'' (2002)

''Star Trek Nemesis'' (2002)

''Looney Tunes: Back in Action'' (2003)

''Timeline'' (rejected) (2003)

Awards and nominations

AFI

The American Film Institute respectively ranked Goldsmith's scores for ''Chinatown'' (1974) and ''Planet of the Apes'' (1968) #9 and #18 on their list of the 25 greatest film scores. 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 the list:

''Alien'' (1979)

''L.A. Confidential'' (1997)

''The Omen'' (1976)

''Papillon'' (1973)

''A Patch of Blue'' (1965)

''Patton'' (1970)

''The Sand Pebbles'' (1966)

''Star Trek: The Motion Picture'' (1979)

''The Wind and the Lion'' (1975)

Academy Awards

Goldsmith received a total of 17 Academy Award nominations, making him one of the most nominated composers in the history of the Academy Awards. Despite this Goldsmith only won the Oscar on one occasion, for his score to the 1976 film ''The Omen''. This makes Goldsmith the most nominated composer to have only won an Oscar on one occasion. |- | 1962 | ''Freud'' | Best Music Score—substantially original | |- | 1965 | ''A Patch of Blue'' | Best Music Score—substantially original | |- | 1966 | ''The Sand Pebbles'' | Best Original Music Score | |- | 1968 | ''Planet of the Apes'' | Best Original Score—for a motion picture [not a musical] | |- | 1970 | ''Patton'' | Best Original Dramatic Score | |- | 1973 | ''Papillon'' | Best Original Dramatic Score | |- | 1974 | ''Chinatown'' | Best Original Score | |- | 1975 | ''The Wind and the Lion'' | Best Original Score | |- | rowspan=2 | 1976 | ''The Omen'' | Best Original Score | |- | "Ave Satani" (from ''The Omen'') | Best Original Song | |- | 1978 | ''The Boys from Brazil'' | Best Original Score | |- | 1979 | ''Star Trek: The Motion Picture'' | Best Original Score | |- | 1982 | ''Poltergeist'' | Best Original Score | |- | 1983 | ''Under Fire'' | Best Original Score | |- | 1986 | ''Hoosiers'' | Best Original Score | |- | 1992 | ''Basic Instinct'' | Best Original Score | |- | 1997 | ''L.A. Confidential'' | Best Original Dramatic Score | |- | 1998 | ''Mulan'' (shared nomination with Matthew Wilder and David Zippel) | Best Original Musical or Comedy Score |

BAFTA Awards

|- | 1974 | ''Chinatown'' | Best Film Music | |- | 1975 | ''The Wind and the Lion'' | Best Film Music | |- | 1979 | ''Alien'' | Best Film Music | |- | 1997 | ''L.A. Confidential'' | Best Film Music |

Emmy Awards

|- | 1961 | ''Thriller'' (shared nomination with Pete Rugolo) | Outstanding Achievement in the Field of Music for Television | |- | 1966 | ''The Man From U.N.C.L.E.'' | Individual Achievements in Music | |- | 1973 | ''The Red Pony'' | Outstanding Achievement in Music Composition | |- | 1975 | ''QB VII'' (ABC Movie Special) | Outstanding Achievement in Music Composition for a Special | |- | 1976 | ''Babe'' | Outstanding Achievement in Music Composition for a Special | |- | 1981 | ''Masada'' | Outstanding Achievement in Music Composition for a Limited Series or a Special (dramatic underscore) | |- | 1995 | ''Star Trek: Voyager'' | Outstanding Main Title Theme Music |

Golden Globes

|- | 1964 | ''Seven Days in May'' | Best Original Score | |- | 1966 | ''The Sand Pebbles'' | Best Original Score | |- | 1974 | ''Chinatown'' | Best Original Score | |- | rowspan=2 | 1979 | ''Alien'' | Best Original Score | |- | ''Star Trek: The Motion Picture'' | Best Original Score | |- | 1983 | ''Under Fire'' | Best Original Score | |- | 1992 | ''Basic Instinct'' | Best Original Score | |- | 1997 | ''L.A. Confidential'' | Best Original Score | |- | 1998 | ''Mulan'' (shared nomination with Matthew Wilder and David Zippel) | Best Original Score |

Grammy Awards

|- | 1966 | ''The Man From U.N.C.L.E.'' (shared nomination with Lalo Schifrin, Morton Stevens, and Walter Scharf) | Best Original Score from a Motion Picture or Television Show | |- | 1975 | ''QB VII'' | Album of Best Original Score Written for a Motion Picture or a Television Special | |- | 1976 | ''The Wind and the Lion'' | Album of Best Original Score Written for a Motion Picture or a Television Special | |- | 1977 | ''The Omen'' | Album of Best Original Score Written for a Motion Picture or a Television Special | |- | 1980 | ''Alien'' | Best Album of Original Score Written for a Motion Picture or a Television Special | |- | 1981 | "The Slaves" (track from ''Masada'' soundtrack) | Best Instrumental Composition |

Saturn Awards

|- | 1978 | ''The Boys from Brazil'' | Best Music | |- | rowspan=2 | 1979 | ''Magic'' | Best Music | |- | ''Star Trek: The Motion Picture'' | Best Music | |- | 1984 | ''Gremlins'' | Best Music | |- | rowspan=2 | 1986 | ''Link'' | Best Music | |- | ''Poltergeist II: The Other Side'' | Best Music | |- | 1999 | ''The Mummy'' | Best Music | |- | 2000 | ''Hollow Man'' | Best Music | |- | 2003 | ''Looney Tunes: Back In Action'' | Best Music |

See also

Film scores

List of film score composers

List of Star Trek composers and music

References

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. 46-48

External links

Jerry Goldsmith Online

StarTrek.com Creative Staff Profile

Jerry Goldsmith at Soundtrackguide.net

Jerry Goldsmith at The Danish Filmmusic Society (DFS)

Jerry Goldsmith Discography at SoundtrackCollector.com

Category:1929 births Category:2004 deaths Category:American film score composers Category:American Jews Category:Best Original Music Score Academy Award winners Category:Musicians from California Category:American people of Romanian-Jewish descent Category:Deaths from colorectal cancer Category:Emmy Award winners Category:American musicians of Romanian descent Category:Jewish American composers and songwriters Category:Jewish composers and songwriters Category:People from Los Angeles, California Category:Saturn Award winners Category:University of Southern California alumni Category:Cancer deaths in California

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