He collaborated with some of film history's most accomplished directors, including Robert Wise, Howard Hawks, Otto Preminger, Joe Dante, Richard Donner, Roman Polanski, Ridley Scott, Michael Winner, Steven Spielberg, Paul Verhoeven, and Franklin J. Schaffner. His work for Donner and Scott also involved a rejected score for Timeline and a controversially edited score for Alien, where music by Howard Hanson replaced Goldsmith's end titles and Goldsmith's own work on Freud: The Secret Passion was used without his approval in several scenes.
Goldsmith was nominated for six Grammy Awards, five Primetime Emmy Awards, nine Golden Globe Awards, four British Academy Film Awards, and eighteen Academy Awards (winning in 1976 for The Omen). He composed the Paramount Pictures Fanfare used from 1976 through 2011. The American Film Institute respectively ranked Goldsmith's scores for Chinatown (1974) and Planet of the Apes (1968) No. 9 and No. 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.
Goldsmith was born February 10, 1929 in Los Angeles, California. His family was Romanian-Jewish. His parents were Tessa (née Rappaport), a school teacher, and Morris Goldsmith, a structural engineer. He started playing piano at age six, but only "got serious" by the time he was eleven. At age thirteen, he studied piano privately with 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 age sixteen, Goldsmith saw the 1945 film Spellbound in theaters and was inspired by veteran composer Miklós Rózsa's soundtrack 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.
Jerry Goldsmith has often been considered one of film music history's most innovative and influential composers. 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 the modern film composer."
In 2006, upon composing The Omen (a remake of the Goldsmith-scored 1976 film), Marco Beltrami dedicated his score to Goldsmith, which also included an updated arrangement of "Ave Satani" titled "Omen 76/06". 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."
Goldsmith was greatly influenced by movements of early 20th-century classical music, notably modernism, Americana, impressionism, dodecaphonism, and early film scores. He has cited Igor Stravinsky, Aaron Copland, Miklós Rózsa, Bernard Herrmann, Béla Bartók, and Alban Berg, among others, as some of the main influences to his style of composition.
His style has been noted for its unique instrumentation, utilizing a vast array of ethnic instruments, recorded sounds, synthetic textures, and the traditional orchestra, often concurrently. When asked about his inclination for embracing new techniques and constantly shifting his musical palette throughout his career, Goldsmith said, "It seems like it's me, and that's that! Certain composers are doing the same thing over and over again, which I feel is sort of uninteresting. I don't find that you grow very much in that way. I like to keep changing, trying to do new things. Basically, I'm saying the same thing with a little different twist on it. Once you get caught up in the creative process, something inside takes over, and your subconscious just does it for you."
One reason for the consistency of Goldsmith's aural resonance and signature sound is his long time professional association with orchestrator Arthur Morton. Their first collaboration was on the film, Take Her She's Mine. In 1965, Goldsmith was tapped to score the features, Von Ryan's Express and Morituri. He recruited Morton to serve as his orchestrator. Their bond for a unique and expressive sound was borne, and their friendship flourished. Goldsmith went on to compose the soundtracks for Our Man Flint, The Trouble with Angels (with Frank De Vol), The Blue Max, The Sand Pebbles, and Stagecoach, all in 1966. Morton was there providing his orchestration services, assisting Goldsmith in attaining his visionary sounds. Their partnership endured for over 30 years and included the notable scores for Planet of the Apes (1968), Patton (1970), Tora! Tora! Tora! (1970), Papillon (1973), Chinatown (1974), The Omen (1976), MacArthur (1977), Capricorn One (1978), Alien (1979), Star Trek: The Motion Picture (1979), Poltergeist (1982), First Blood (1982), Under Fire (1983), The Russia House (1990). The final score that Arthur Morton orchestrated for Goldsmith was L.A. Confidential (1997).
Goldsmith died at his Beverly Hills home on July 21, 2004, from colon cancer at the age of 75. He was survived by his wife Carol and his children Aaron, Joel (who also died of cancer on April 29, 2012), Carrie, Ellen Edson, and Jennifer Grossman.
Poltergeist: Main Title
Jerry Goldsmith Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
How did our two worlds entwine
How do I fit in to your life
How did you get into mine
I belong to someone else we know
Back when first we met
Oh, we thought for fun
Oh...oh...but fun turned into love for both of us
So now we pay forbidden lover's price
Oh, ‘cause love like ours is never, ever free (Free)
You pay some agony for the ecstasy (For the ecstasy)
Oh, love like ours is never, ever free (Free)
You got to pay some agony for the ecstasy (For the ecstasy), oh…oh…
Nights when you're alone, you know that I
Laid with someone else beside me
Oh, but you love me still and I love you
You know I would no matter where I'd be
Hey, but love like ours is never, ever free (Free)
You got to pay some agony for the ecstasy (For the ecstasy)
Oh, love like ours is never, ever free (Free)
We got to pay some agony if we wanna have ecstasy (For the ecstasy), oh...
Hey, got to pay some agony
If we wanna have an ecstasy, yeah…eah…
And we need each other desperately, don't we, baby
And I'll never from you be free, no, no
So you'll have to do the leavin' me, yeah
And you'll have to do the leavin' me, oh, baby
‘Cause I'm gonna pay the agony, yeah
‘Cause, oh, lovin' you is ecstasy, that's what it is
And I'm willin' to pay the price, oh
‘Cause I'll make it a sacrifice, oh, yes, I will
And I'll never, never, never, never, never, never, never be free
From agony
The song "Main Title" by Jerry Goldsmith and the National Philharmonic Orchestra is a beautiful, poignant ballad that explores the complexities of forbidden love. The lyrics mull over the question - what is this crazy love? How did our two worlds come together, and what does it mean for our individual lives? The singer reflects on their situation, acknowledging that they belong to someone else but are consumed by a love that cannot be denied. They pay the price of this love - constantly torn between their attachment to their significant other and their longing for their forbidden lover.
The song is a touching ode to the intensity and pain of a love that cannot be. The melodies and harmonies create an atmosphere of melancholy and bittersweet longing, evoking empathy for the singers' predicament. The lyrics touch on themes of devotion, sacrifice, and the all-consuming power of love. As the song crescendos into its final moments, the singer declares that they will always be in agony because of their love but that they will continue to pay the price for it because they are willing to make the sacrifice for their ecstasy.
Line by Line Meaning
What's it all about, this crazy love
What is the reason or purpose behind this intense and unpredictable emotion we call love?
How did our two worlds entwine
In what way did our separate lives and experiences merge together to form a relationship?
How do I fit in to your life
What role do I play in your existence and daily routine?
How did you get into mine
What led you to enter into my life and become a significant part of it?
I belong to someone else we know
I am in a committed relationship with another person whom we both know.
Back when first we met
When we initially encountered each other.
Oh, we thought for fun
We believed that our interactions would simply be amusing and light-hearted.
One night together might be nice
We considered the idea of spending a single evening together, possibly for pleasure or entertainment.
Oh...oh...but fun turned into love for both of us
Our initial intentions of casual enjoyment unexpectedly transformed into deep mutual affection.
So now we pay forbidden lover's price
We are now experiencing the consequences of engaging in a secret and socially disapproved romantic relationship.
Oh, ‘cause love like ours is never, ever free (Free)
Because a love that is all-consuming and boundary-breaking always involves some kind of sacrifice or cost.
You pay some agony for the ecstasy (For the ecstasy)
The pleasure and joy that being in love brings must be balanced with the pain and suffering that often accompany it.
Nights when you're alone, you know that I
At times when you are by yourself, you are aware that I am with someone else.
Laid with someone else beside me
I shared a bed with another individual while you were not present.
Oh, but you love me still and I love you
Despite the difficulties and complications of our situation, we continue to have intense feelings of love and affection for each other.
You know I would no matter where I'd be
Regardless of where I am or who I am with, my emotions and loyalty towards you would remain constant.
We got to pay some agony if we wanna have ecstasy (For the ecstasy), oh...
If we wish to continue experiencing the unparalleled bliss and elation that comes with true love, we must simultaneously endure the accompanying hardships and struggles.
And we need each other desperately, don't we, baby
We both rely heavily on each other and cannot imagine living without our intense bond and connection.
And I'll never from you be free, no, no
I will always be tied to and consumed by my feelings of love and passion for you, and cannot escape them.
So you'll have to do the leavin' me, yeah
The only way for us to end our tumultuous and tumultuously wonderful relationship is for you to initiate the separation.
‘Cause I'm gonna pay the agony, yeah
I am willing to endure any amount of pain or difficulty in order to keep our love alive and flourishing.
‘Cause, oh, lovin' you is ecstasy, that's what it is
My ardent and all-consuming feelings for you are the most exhilarating and satisfying experiences of my life.
And I'm willin' to pay the price, oh
I am fully prepared to accept and bear the costs and consequences of loving you so fiercely.
‘Cause I'll make it a sacrifice, oh, yes, I will
I will willingly give up things or suffer in order to ensure that our love remains strong and true.
And I'll never, never, never, never, never, never, never be free
I will be utterly bound to you and my love for you for eternity, unable to break the heavy chains that hold me captive to our intense feelings.
From agony
The pain and discomfort that our love often entails and necessitates.
Lyrics © Walt Disney Music Company, Universal Music Publishing Group
Written by: HAROLD SHAPER, JERRALD GOLDSMITH
Lyrics Licensed & Provided by LyricFind
Lol Topkek
jmd2789
Following Hooper's passing on August 27, 2017, director Mick Garris, who was a publicist on the film and visited the set on several occasions, came to Hooper's defense on the Post Mortem podcast:
"Tobe was always calling action and cut. Tobe had been deeply involved in all of the pre-production and everything. But Steven is a guy who will come in and call the shots. And so, you're on your first studio film, hired by Steven Spielberg, who is enthusiastically involved in this movie. Are you gonna say, 'Stop that... let me do this'? Which [Tobe] did.
[...] Tobe was a terrific filmmaker. I don't think it's that Steven was controlling. I think it was Steven was enthusiastic. And nobody was there to protect Tobe. But all of the pre-production was done by Tobe. Tobe was there throughout. Tobe's vision is very much realized there. And Tobe got credit because he deserved credit. Including... Steven Spielberg said that.
[...] Yes, Steven Spielberg was very much involved. It's a Tobe Hooper film."
Also Tobe was the one who wanted it to be a ghost movie, and helped Spielberg with the treatment. So Spielberg wasn't even full writer or creator of this universe.
Spy Ware
Jerry Goldsmith was a genius. Unforgettable theme for an unforgettable movie. May he rest in peace.
DariusOfTheBible
Jerry Goldsmith was a "god" of movie composers -- right up there if not EXCEEDING John Williams and John Barry.
RipScissor
Not enough people give Tobe Hooper credit for directing this film. It's remarkable how he could go from something as grim and bleak as Texas Chainsaw Massacre to something as emotional as Poltergeist. Truly versatile horror filmmaker.
Leon Linton
Most people don't believe he did direct it.
eMCizzle1
This song is both comforting and terrifying at the same time.
Steven Zumbrun
It sounds like it is being sung by a chorus of deceased children.
kodi kodi
For shure Bro
Michael-john Brown
Listen to the song backwards i find it sounds creepy i love it
John Robinson
@kodi kodi I'm sorry that things don't run so smooth, Im dealing with degenerate animals out here.
John Smith
Imagine you tell someone to write the music to a horror movie about the supernatural kidnapping of a child and this is what you get. It's actually genius.