This article's tone or style may not reflect the encyclopedic tone used on Wikipedia. Specific concerns may be found on the talk page. See Wikipedia's guide to writing better articles for suggestions. (February 2010)

The Edge is a 1997 survival drama directed by Lee Tamahori, starring Anthony Hopkins and Alec Baldwin.

Harold Perrineau and Elle Macpherson co-star. L. Q. Jones also has a supporting role as an innkeeper. Bart the Bear, a trained Kodiak Bear known for appearances in several Hollywood movies, appears as a vicious grizzly; this was one of his last film roles.

The film was written by David Mamet, and despite the unusual setting it touches upon many themes common to Mamet's other works including, the bonding of strong male characters, tough posturings and playful surprises. The story explores, through action and intricate dialog, the survival instincts of these men in terms of their competition with each other and with their environment.

Plot[link]

Charles Morse (Anthony Hopkins), a billionaire with photographic memory, and two other men, Robert "Bob" Green (Alec Baldwin), a photographer, and Stephen (Harold Perrineau), his assistant, arrive in a remote North America locale via Charles's private jet, along with Charles's much-younger wife, Mickey (Elle MacPherson), a beautiful fashion model. The group is here for a photo shoot and are the only guests at a lodge. Styles (L.Q. Jones), the proprietor, warns everyone that the region is inhabited by bears and not to leave food uncovered. The party also celebrate Charles' birthday, and Mickey gives him an engraved pocket watch. Bob's present is an expensive hunting knife.

When Bob's male model gets sick, he invites Charles to fly with him and Stephen to a different location where a characterized Indian is hunting. In mid-air, Charles, suspecting Bob and Mickey are having an affair after he sees Bob kiss Mickey on the cheek, cryptically asks how Bob is planning to kill him. Before the conversation goes any further, the plane suddenly hits a flock of birds and nose-dives into a lake, killing the pilot. Charles, Bob, and Stephen barely escape safely to shore.

Lost, wet, and freezing, the men, knowing the plane was off course, attempt to hike to a more likely search area, only to find that a Kodiak Bear is stalking them. They elude it, but later that night, the Bear attacks their camp and kills Stephen.

On the run from the Bear, Charles and Bob have little chance of rescue. Though not an outdoorsman, Charles draws upon his encyclopedic survival knowledge to guide them, and the men work together, bonding somewhat. The Bear finds them, and in a struggle on a river bed, Charles impales it with a hand-carved spear, saving Bob's life.

The two find an empty hunters' cabin containing some supplies, a rifle, and a canoe. As Charles is about to use the paper receipt from Mickey's birthday gift as tinder to light the stove, he notices on it that she also bought Bob an expensive wristwatch engraved with an intimate inscription. Charles realizes that Bob and Mickey are indeed having an affair and that Bob is going to kill him to obtain his wealth and wife. Bob drinks to prepare himself, causing Charles to lament that Bob is unable to kill him sober.

As Bob is about to shoot him, Charles lures Bob into a "deadfall" pit left by hunters. Bob suffers a mortal wound, but rather than leaving him to die, Charles transports him downriver by canoe. They make camp, hoping a search party finds them there. Bob apologizes for betraying Charles and says Mickey was never involved in the murder plot. A rescue helicopter appears and spots them, but Bob dies before it lands.

Back at the lodge, Charles hands Bob's watch to Mickey, his expression implying that he knows about her adultery. He then declares to the gathered press that his friends died, "saving my life."

Cast[link]

• Anthony Hopkins as Charles Morse
• Alec Baldwin as Robert "Bob" Green
• Elle MacPherson as Mickey Morse
• Harold Perrineau as Stephen
• L.Q. Jones as Styles
• Kathleen Wilhoite as Ginny
• David Lindstedt as James
• Mark Kiely as Mechanic
• Eli Gabay as Jet Pilot
• Larry Musser as Amphibian Pilot
• Gordon Tootoosis as Jack Hawk
• Kelsa Kinsley as Reporter
• Bart the Bear as the Kodiak Bear

Frank Welker has done the roars and the shrieks of the bear.

Production[link]

The shooting of the film is discussed by Art Linson in his 2002 book What Just Happened?, later made into a film starring Robert De Niro. Initially called Bookworm, the script was turned down by Harrison Ford and Dustin Hoffman before Alec Baldwin settled on the role of Green. DeNiro showed some interest in the role of Morse but ultimately declined. Baldwin's unwillingness to shave a beard he had grown for the role is portrayed by Bruce Willis in the adaptation of Linson's book directed by Barry Levinson.

Three months before the Hopkins-Baldwin film's release, the studio felt Bookworm needed a more commercial title. Dozens of others were considered, according to Linson, until the film was renamed The Edge.^[2]

Music[link]

The film's music score was composed by Jerry Goldsmith and has received two CD releases, by RCA Records and La-La Land Records.

RCA Records release: September 30th 1997^[3]

Tracklist:

1. Lost in the Wind
2. The Ravine
3. Birds
4. Mighty Hunter
5. Bitter Coffee
6. Stalking
7. Deadfall
8. The River
9. Rescued
10. The Edge

La-La Land Records release: June 15th 2010^[4]

La-La Land Records, as part of their limited edition series of releases, presented the complete score, including around 25 minutes of unreleased music, as a limited pressing of 3500 units.

This release also fixes a problem on the RCA release affecting the track "Rescued", which had rustling noises during some quieter parts.

Tracklist:

1. Early Arrival (1:32)*
2. Lost In The Wild(s) (2:59)
3. A Lucky Man/Open Door (1:41)* (does not include the final orchestral outburst as the "bear" bursts through the door, which only lasts for a few seconds)
4. Mighty Hunter (1:31)
5. The Spirit (0:36)*
6. Birds (2:22)
7. The Fire / Breakfast (2:31)*
8. Rich Man (0:58)*
9. The Ravine (4:36)
10. Bitter Coffee (3:01)
11. Wound (1:38)*
12. Stephen's Death (2:26)* (contains an unused ending from 1:45 onwards)
13. The Cage / False Hope / No Matches (3:34)* (contains crossfades between the three cues, although they are separated in the film)
14. Stalking (5:46)
15. Deadfall / Bear Fight (6:21)
16. The Discovery / Turn Your Back (5:01)* (contains a brief alternate segment at 1:34 – 1:46)
17. The River (2:26)
18. Rescued (6:03)
19. End Title (Lost In The Wild)(s) (1:59)*
20. The Edge (2:55)

Bonus Tracks

1. False Hope (Alternate Take) (1:08)* (alternate of 0:56 – 2:00 of track 13, with more percussion and an additional brass melody)
2. Rescued (Film Version Ending) (1:19)* (alternate ending of track 18, reflecting the film version)
3. The Edge (Alternate Take) (3:00)* (alternate recording of track 20)

Total Time 66:15 (* = Previously unreleased)

DVD release[link]

The DVD was released by 20th Century Fox Home Entertainment on June 4, 2002. It contains no special features and has a non-anamorphic widescreen transfer.

Reception[link]

The film received mixed to positive reviews from critics. It currently holds a 60% 'fresh' rating on rotten tomatoes.^[5] Roger Ebert gave the film 3 stars out of 4, claiming the filmmakers did well by not going berserk with the action sequences as other films do, but criticized the ending, claiming:

"Having successfully negotiated almost its entire 118 minutes, The Edge shoots itself in the foot. After the emotionally fraught final moments, just as we are savoring the implications of what has just happened, the screen fades to black and we immediately get a big credit for Bart the Bear. Now Bart is one helluva bear (I loved him in the title role of The Bear), but this credit in this place is a spectacularly bad idea."^[6]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: The Edge

• The Edge at the Internet Movie Database

The Edge
Background information
Birth name	David Howell Evans
Born	(1961-08-08) 8 August 1961 (age 50) Barking, Essex, England, United Kingdom
Origin	County Dublin, Ireland
Genres	Rock, post-punk, alternative rock
Occupations	Musician, songwriter, activist
Instruments	Guitar, vocals, keyboards, piano, bass guitar
Years active	1976–present
Labels	Island, Mercury
Associated acts	U2, Passengers
Website	www.u2.com
Notable instruments
Gibson Explorer Fender Stratocaster Gibson Les Paul Fender Telecaster Gretsch Country Gentleman Gretsch White Falcon Rickenbacker 330/12

David Howell Evans (born 8 August 1961), more widely known by his stage name The Edge (or just Edge),^[1] is a musician best known as the guitarist, backing vocalist, and keyboardist of the Irish rock band U2. A member of the group since its inception, he has recorded 12 studio albums with the band and has released one solo record. As a guitarist, The Edge has crafted a minimalistic and textural style of playing. His use of a rhythmic delay effect yields a distinctive ambient, chiming sound that has become a signature of U2's music.

The Edge was born in England to a Welsh family, but was raised in Ireland after moving there as an infant. In 1976, at Mount Temple Comprehensive School, he formed U2 with his fellow students and his older brother Dik. Inspired by the ethos of punk rock and its basic arrangements, the group began to write its own material. They eventually became one of the most popular acts in popular music, with successful albums such as 1987's The Joshua Tree and 1991's Achtung Baby. Over the years, The Edge has experimented with various guitar effects and introduced influences from several genres of music into his own style, including American roots music, industrial music, and alternative rock. With U2, The Edge has also played keyboards, co-produced their 1993 record Zooropa, and occasionally contributed lyrics. The Edge met his second and current wife, Morleigh Steinberg, through her collaborations with the band.

As a member of U2 and as an individual, The Edge has campaigned for human rights and philanthropic causes. He co-founded Music Rising, a charity to support musicians affected by Hurricane Katrina. He has collaborated with U2 bandmate Bono on several projects, including songs for Roy Orbison and Tina Turner, and the soundtracks to the musical Spider-Man: Turn Off the Dark and the Royal Shakespeare Company's London stage adaptation of A Clockwork Orange. In 2011, Rolling Stone magazine placed him at number 38 on its list of "The 100 Greatest Guitarists of All Time".

Personal life[link]

The Edge at a U2 concert in Anaheim (2005)

David Howell Evans was born at the Barking Maternity Hospital,^[2] Essex, England to Welsh parents Garvin and Gwenda Evans.^[1] When he was one, his family moved to County Dublin, Ireland where he attended St Andrew's National School. He received piano and guitar lessons and often performed with his brother Dik Evans before they both answered an advertisement posted by Larry Mullen, Jr. at their school, Mount Temple Comprehensive School, seeking musicians to form a band.^[3] The band accepted both of them. This band went through several incarnations before emerging as U2 in March 1978 (Dik Evans left the band just before the name change).^[3] U2 began performing in various venues in Ireland and eventually began developing a following. Their debut album, Boy, was released in 1980.

In 1981, leading up to the October tour, Evans came very close to leaving U2 for religious reasons, but he decided to stay.^[3] During this period, he became involved with a group called Shalom Tigers, in which bandmates Bono and Larry Mullen Jr. were also involved.^[4] Shortly after deciding to remain with the band, he wrote a piece of music that later became "Sunday Bloody Sunday".^[3] The Edge married his high school girlfriend Aislinn O'Sullivan on 12 July 1983.^[5] The couple had three daughters together: Hollie in 1984, Arran in 1985 and Blue Angel in 1989.^[4] The couple separated in 1990, but were unable to get officially divorced because of Irish laws regarding marriage annulment; divorce was legalised in 1995 and the couple were legally divorced in 1996.^[4]

In 1993, The Edge began dating Morleigh Steinberg, a professional dancer and choreographer employed by the band as a belly dancer during the Zoo TV Tour. They had a daughter, Sian (born 1997), and a son, Levi (born 25 October 1999),^[4] before marrying on 22 June 2002.^[4] He appeared in the 2009 music documentary film It Might Get Loud.^[6] The Edge has been criticized for his efforts to build five luxury mansions on a 156 acre plot of land in Malibu, California.^[7] The California Coastal Commission voted 8-4 against the plans, with the project described by the commission's executive director, Peter Douglas, as "In 38 years...one of the three worst projects that I've seen in terms of environmental devastation...It's a contradiction in terms – you can't be serious about being an environmentalist and pick this location."^[7] The Santa Monica Mountains Conservancy agreed to remain neutral on the issue following a $1 million donation from The Edge and a commitment from The Edge to designate 100 acres of the land as open space for public footpaths.^[7]

Music style[link]

Guitar playing[link]

As a guitar player, The Edge has a sound typified by a low-key playing style, a chiming, shimmering sound (thanks in part to the sound of VOX AC-30s) that he achieves with extensive use of delay effects and reverb. The feedback delay is often set to a dotted eighth note (3/16 of a measure), and the feedback gain is adjusted until a note played repeats two or three times.^{[citation needed]}

On 1987's The Joshua Tree, The Edge often contributes just a few simple lead lines given depth and richness by an ever-present delay. For example, the introduction to "Where the Streets Have No Name" is simply a repeated six-note arpeggio, broadened by a modulated delay effect. The Edge has said that he views musical notes as "expensive", in that he prefers to play as few notes as possible. He said in 1982 of his style,

"I like a nice ringing sound on guitar, and most of my chords I find two strings and make them ring the same note, so it's almost like a 12-string sound. So for E I might play a B, E, E and B and make it ring. It works very well with the Gibson Explorer. It's funny because the bass end of the Explorer was so awful that I used to stay away from the low strings, and a lot of the chords I played were very trebly, on the first four, or even three strings. I discovered that through using this one area of the fretboard I was developing a very stylized way of doing something that someone else would play in a normal way."^[9]

Many different influences have shaped The Edge's guitar technique.^{[citation needed]} His first guitar was an old acoustic guitar that his mother bought him at a local flea market for only a few pounds; he was nine at the time. He and his brother Dik Evans both experimented with this instrument.^[9] He said in 1982 of this early experimentation, "I suppose the first link in the chain was a visit to the local jumble sale where I purchased a guitar for a pound. That was my first instrument. It was an acoustic guitar and me and my elder brother Dik both played it, plonking away, all very rudimentary stuff, open chords and all that."^[9] The Edge has stated that many of his guitar parts are based around guitar effects. This is especially true from the Achtung Baby era onwards, although much of the band's 1980s material made heavy use of echos.

Vocals[link]

The Edge in June 2005

The Edge also supplies the backing vocals for U2. U2's 1983 live album and video release, Under a Blood Red Sky and Live at Red Rocks: Under a Blood Red Sky are good reference points for his singing (as are the live DVDs from the Elevation Tour, U2 Go Home: Live from Slane Castle and Elevation 2001: Live from Boston). For example, he sings the chorus to "Sunday Bloody Sunday" (Bono harmonizes on the final 'Sunday'). U2 used this tradeoff technique later in "Bullet the Blue Sky" as well. His backing vocals are sometimes in the form of a repeated cry; examples of songs that use this approach include "Beautiful Day", "New Year's Day" and "Stay (Faraway, So Close!)". Another technique he uses in his backing vocals is the falsetto, in songs such as "Stuck in a Moment You Can't Get Out Of", "Sometimes You Can't Make It on Your Own", "A Man and a Woman", "The Wanderer", live versions of "The Fly", and "Window in the Skies".

The Edge sings the lead vocal on "Van Diemen's Land" and "Numb", the first half of the song "Seconds", dual vocals with Bono in "Discotheque", and the bridge in the song "Miracle Drug".^[4] He also sings the occasional lead vocal in live renditions of other songs (such as "Sunday Bloody Sunday" during the PopMart Tour and "Party Girl" during the Rotterdam Zoo TV show when it was Bono's birthday).^[10] He also plays a solo acoustic version of the song "Love is Blindness" that is featured in the documentary film From the Sky Down.

Other instruments[link]

He has played piano and keyboards on many of the band's songs, including "I Fall Down", "October", "So Cruel", "New Year's Day", "Running to Stand Still", "Miss Sarajevo", "The Hands that Built America", and "Original of the Species" and others. He plays the organ on "Please". In live versions of "New Year's Day", "The Unforgettable Fire", "Your Blue Room", and "Moment of Surrender", he plays both the piano and guitar parts alternately. In most live versions of "Original of the Species," piano is the only instrument played during the song. Although The Edge is the band's lead guitarist, he occasionally plays bass guitar, including the live performances of the song "40" where The Edge and bassist Adam Clayton switch instruments.

Solo recordings[link]

In addition to his regular role within U2, The Edge has also recorded with such artists as Johnny Cash, B. B. King, Tina Turner, Ronnie Wood, Jay-Z, and Rihanna. The Edge connected with Brian Eno and Lanois collaborator Michael Brook (the creator of the infinite guitar, which he regularly uses), working with him on the score to the film Captive (1986). From this soundtrack the song "Heroine", the vocal of which was sung by a young Sinéad O'Connor was released as a single.

He also created the theme song for season one and two of The Batman. He and fellow U2 member, Bono, wrote the lyrics to the theme of the 1995 James Bond film GoldenEye. The Edge, along with bandmate Bono, recently composed a musical adaptation of Spider-Man. On May 25, 2011, a single titled Rise Above 1: Reeve Carney Featuring Bono and The Edge was released digitally.^[11] The music video was released on July 28, 2011.^[12]

Musical equipment[link]

Edge's 1964 Vox AC30 on stage in Foxborough for the U2 360° Tour.

The Edge plays electric guitar, acoustic guitar, keyboards, piano, bass guitar (on "40" and "Race Against Time") and lap steel guitar. Compared to many lead guitarists, The Edge is known for using many more guitars during a show. According to his guitar tech Dallas Schoo, a typical lead guitarist uses four or five different guitars in one night, whereas The Edge takes 45 on the road, and uses 17 to 19 in one 2.5-hour concert. He is estimated to have more than 200 guitars in the studio.^{[citation needed]}

Philanthropy[link]

In 2005, The Edge along with Bob Ezrin and Henry Juszkiewicz co-founded Music Rising, a charity that helped provide replacement instruments for those that were lost in Hurricane Katrina. The instruments were originally only replaced for professional musicians but they soon realized the community churches and schools needed instruments as well. The charity's slogan is "Rebuilding the Gulf Region note by note" and has so far helped over a hundred musicians who were affected by Hurricane Katrina. The Edge also serves on the board of the Angiogenesis Foundation, a 501(c)(3) nonprofit organization dedicated to improving global health by advancing angiogenesis-based medicine, diets, and lifestyle.^[13]

See also[link]

• Timeline of U2
• List of people on stamps of Ireland

References[link]

Footnotes

Bibliography

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (October 2011)

Wikimedia Commons has media related to: The Edge

Wikiquote has a collection of quotations related to: The Edge

• U2.com, official U2 site
• Music Rising
• The Edge at the Internet Movie Database
• The Edge – Album Credits
• A Study of The Edge's Guitar Delay
• The Edge: 'It's all about the vision'
• Food Bank For New York City public service announcement
• Comment on the mathematical analysis of The Edge's guitar sound

Jerry Goldsmith
Goldsmith conducts the London Symphony Orchestra, 2003
Background information
Birth name	Jerrald King Goldsmith
Born	(1929-02-10)February 10, 1929 Los Angeles, California
Died	July 21, 2004(2004-07-21) (aged 75) Beverly Hills, California
Genres	Film score, Contemporary classical music
Occupations	composer and conductor
Years active	1951 - 2004

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. In 1977 he was awarded an Oscar for The Omen.

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, Small Soldiers), 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[link]

Goldsmith, who was Jewish, was born 10 February 1929 in Los Angeles, California.^[1] His parents were Tessa (née Rappaport), an artist, and Morris Goldsmith, a structural engineer.^[2] 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^[3] (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.^[4] There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.^[5]

Film and television scoring[link]

1950s and work at CBS[link]

In 1950, Goldsmith found work at CBS as a clerk typist in the network's music department under director Lud Gluskin.^[5] 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."^[6] 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..^[5]

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).^[7]

1960s[link]

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.^[8] 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 the motion pictures Planet of the Apes (1968), Patton (1970), Papillon (1973), and The Boys from Brazil (1978).^[7]

Following his success with Lonely Are the Brave and 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 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),^[9] 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).^[10] 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.^[11] 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.^[12] 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).^[7]

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.^[7] 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.^[11] Though he did not return to compose for its sequel Beneath the Planet of the Apes (1970), Goldsmith scored the third installment in the Planet of the Apes franchise, Escape from the Planet of the Apes (1971).

Goldsmith concluded the decade with scores to such films as the western Bandolero! (1968), the spy thriller The Chairman (1969), the science fiction film The Illustrated Man (1969), and the western 100 Rifles (1969). In 1969, he also composed the theme to the comedy-drama television series Room 222.^[7]

1970s[link]

Goldsmith received more critical praise with his pompous, daring music to the World War II biopic Patton (1970). 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's belief in reincarnation. The main theme also consisted of a symphonic march accompanied by a pipe organ to represent the militaristic yet deeply religious nature of the protagonist.^[13] 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.^[11] Goldsmith's critical success continued with his emotional score to the prison escape film Papillon (1973), which also earned him a nomination for an Academy Award and a nomination for the AFI's top twenty-five American film scores.^[11]

In 1974, Goldsmith was faced with the daunting task of replacing a score by composer Phillip Lambro to the neo-film noir Chinatown. With only ten days to compose and record an entirely new score, Jerry 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.^[14][15] 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.^[11] It was also nominated for a Golden Globe for Best Original Score.^[12]

Goldsmith earned more critical praise with his score to the epic period adventure film The Wind and the Lion (1975), which, true to the style of such Golden Age scores as Maurice Jarre's Lawrence of Arabia, relied upon a diverse ensemble including many Morrocan instruments and a large percussion section.^[16] 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.^[11]

	Jerry Goldsmith - "Ave Satani" noicon "Ave Satani" clip from the soundtrack of The Omen.
Problems listening to this file? See media help.

In 1976, Goldsmith composed a dark choral score to the horror movie The Omen, which was the first film score to feature the use of a choir in an Avant-garde style.^[17] 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".^[18] It was also one of AFI's 250 nominees for the top twenty-five American film scores.^[11] His wife, Carol Heather Goldsmith, also wrote lyrics and performed a vocal track titled "The Piper Dreams" released solely on the soundtrack album.^[17] Goldsmith would go on to compose for two more entrees 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 dystopian science fiction Logan's Run (1976), the period drama Islands in the Stream (1977) (which remained one of his personal favorites),^[19] 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.^[20]

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.^[21] Despite the heavy edits and rewrites, Goldsmith's score to Alien earned him a Golden Globe nomination for Best Original Score^[12] and was one of AFI's 250 nominees for the top twenty-five American film scores.^[11]

That same year, Goldsmith concluded the decade composing what is widely considered his most recognized and celebrated score for Star Trek: The Motion Picture (1979).^[22] 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.^[23] 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.^[24] The film's soundtrack also provided a debut for the Blaster Beam, an electronic instrument 12 to 15 feet (3.7 to 4.6 m) long, created by musician Craig Huxley.^[25][26] 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.^[27] An enormous pipe organ first plays the V'Ger theme on the Enterprise's approach, a literal indication of the machine's power.^[28] His score for The Motion Picture earned him nominations for the Academy Awards, Golden Globes,^[12] and was one of AFI's 250 nominees for the top twenty-five American film scores.^[11] 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, was reused as the theme for Star Trek: The Next Generation in 1987.^[29][30]

1980s[link]

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.^[31]

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.^[32] 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.^[33]

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.^[12][34]

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),^[35] 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),^[36] 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).^[7] 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.^[37]

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.^[7] Goldsmith's score to Leviathan (1989) is notable for having incorporated the use of recorded whale sounds during the main titles.^[38] 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).^[39]

1990s[link]

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.^[40] 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.^[41] Other noteworthy scores of the era include Gremlins 2: The New Batch (1990) (in which Goldsmith also made a brief cameo appearance),^[42] 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).^[7] In 1992, Goldsmith also composed a critically acclaimed score for the medical drama Medicine Man.^[43] 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^[12] and was later regarded by the composer as one of his most challenging works.^[44][45] In 1993, Goldsmith also wrote an acclaimed score for the classic sports film Rudy,^[46] 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).^[47]

	Opening theme noicon Of Star Trek: Voyager composed by Jerry Goldsmith.
Problems listening to this file? See media help.

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.^[48] 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.^[49] 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.^[50] In 1997, Goldsmith also composed a percussive, jazzy score for the critically acclaimed crime drama L.A. Confidential.^[51] 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.^[11][12]

In 1997, he composed a new theme for the Universal Studios opening logo, first heard in The Lost World: Jurassic Park (1997).^[52] 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).^[7] 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.^[12][53]

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 action adventure horror The Mummy (1999), the horror film The Haunting (1999), and the action adventure The 13th Warrior (1999).^[7] In 1999, he also composed "Fanfare for Oscar" for the Academy of Motion Picture Arts and Sciences.^[52]

2000s and final scores[link]

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.^[7] 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."^[54]

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.^[55] 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.^[56]

Concert works[link]

• Toccata for Solo Guitar

In the 1950s, Goldsmith composed "Toccata for Solo Guitar".^[57] 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".^[58] "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.^[57]

• 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'."^[59] 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.^[60]

• 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.^[60] 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."^[59]

• 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.^[60] 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."^[59]

Legacy[link]

Jerry Goldsmith has often been considered one of the most innovative and influential composers in the history of film music.^[7] 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."^[61] 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."^[62] 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 the [sic] modern film composer."^[63]

In 2006, upon composing The Omen (a remake of the Goldsmith scored 1976 film), composer Marco Beltrami dedicated his score to Goldsmith, which also included an updated arrangement of "Ave Satani" titled "Omen 76/06".^[64] Likewise, when 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."^[65]

Personal life[link]

This section requires expansion.

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)^[66] 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.^[48] Jerry Goldsmith also conducted Joel's theme for The Untouchables and composed the theme for the pilot Hollister, scored by Joel.^{[citation needed]} Goldsmith's daughter, Carrie Goldsmith, went to high school with famed Titanic composer James Horner,^[3] 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.^[3]

Goldsmith died at his Beverly Hills home on July 21, 2004 after a battle with colon cancer at the age of 75. He is survived by his wife Carol and his children Aaron, Joel (died April 29, 2012), Carrie, Ellen Edson, and Jennifer Grossman.^[7]

List of movies and series[link]

1950s[link]

• 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[link]

1970s[link]

1980s[link]

1990s[link]

2000s[link]

• 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[link]

Over the course of his career, Goldsmith received a total of 18 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.

AFI[link]

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.^[11] 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 (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)

Accolades[link]

See also[link]

• Film scores
• List of film score composers
• List of Star Trek composers and music

References[link]

Further reading[link]

• 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[link]

Wikiquote has a collection of quotations related to: Jerry Goldsmith

• Jerry Goldsmith at the Internet Movie Database
• Jerry Goldsmith at Memory Alpha (a Star Trek wiki)
• 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
• Jerry Goldsmith at Epdlp
• Jerry Goldsmith Film Music Society