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.
The Very Thought of You
Jerry Goldsmith Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And I forget to do
Those little ordinary things
That everyone ought to do
I'm livin' in a kind of a daydream
I'm happy as a queen
And foolish though it may seem
The mere idea of you
The longing here for you
You'll never know
How slow the moments go
Till I'm near to you
I see your face in every flower
Your eyes in stars above
It's just the thought of you
The very thought of you, my love
I see your face in every flower
Your eyes in stars above
It's just the thought of you
The very thought of you, my love
The lyrics in The Very Thought of You by Jerry Goldsmith describe the overwhelming feeling of being in love. The song revolves around the idea that as long as the thought of their loved one is on their mind, everything else simply fades away, becoming insignificant. This is shown through the lines, "The very thought of you, and I forget to do those little ordinary things that everyone ought to do." The singer is so consumed by their love that everything else seems trivial compared to what they feel.
The next verse solidifies the idea that love has taken over the singer's thoughts, with the lyrics "I'm livin' in a kind of a daydream, I'm happy as a queen, and foolish though it may seem, to me, that's everything.” Here, the singer is stating how much happiness they feel from being in love, even if others may not understand it. They are content in their own blissful world that only love can provide.
The last verse shows just how much the singer longs to be with their loved one, as they see their face in every flower and their eyes in the stars above. It becomes clear that it is not just the physical presence of their loved one that they yearn for, but the mere idea of them that brings them so much joy. The song ends with the main lyrics repeating, bringing it full circle and emphasizing the strength of the feeling of this love.
Line by Line Meaning
The very thought of you
The mere thought of you is enough to make me forget the ordinary things.
And I forget to do
I forget to do the little things that everyone else does when I am thinking of you.
Those little ordinary things
The small tasks that others do every day seem insignificant when I am thinking about you.
That everyone ought to do
The things that everyone is expected to do seem unimportant when compared to the joy of thinking about you.
I'm livin' in a kind of a daydream
I am lost in a dream when I think of you.
I'm happy as a queen
Thinking about you brings me immense happiness.
And foolish though it may seem
Although it may seem foolish, nothing else brings me as much happiness as thinking about you.
To me, that's everything
Thinking about you is everything to me.
The mere idea of you
Just the thought of you is enough to make me long for you.
The longing here for you
I long for you when I am thinking of you.
You'll never know
You may never fully understand the extent of my feelings for you.
How slow the moments go
Time seems to slow down when I am away from you.
Till I'm near to you
I feel complete only when I am near you.
I see your face in every flower
Your face appears to me in every flower I see.
Your eyes in stars above
The stars above remind me of your beautiful eyes.
It's just the thought of you
Thinking of you is enough to make me feel content.
The very thought of you, my love
I feel immense love when I think about you.
Lyrics © BMG Rights Management, CARLIN AMERICA INC
Written by: Ray Noble
Lyrics Licensed & Provided by LyricFind
@dnwarrior821
Excelente película de Mel Gibson y excelente tema de Billy Holliday!!! Eternamente joven.
@lennaumdiaporvez229
Ufffa achei essa música. Lindaaaaaa🎀❤
@elianadelpizzo7141
🤩❤❤❤👏👏👏
@JoseAntonio-bq2bo
Eleanora Fagan Gough (Filadélfia, 7 de abril de 1915 — Nova Iorque, 17 de julho de 1959), conhecida pelo nome artístico Billie Holiday e também como Lady Day, foi uma cantora e compositora norte-americana. É considerada pela maioria dos críticos de música como uma das maiores cantoras de jazz, ao lado de grandes nomes do gênero, como: Ella Fitzgerald, Sarah Vaughan e Dinah Washington.- postado aqui em 22/11/2019
@alexsandrofdelima3842
@dejablu
one of the most beautiful stories and movies ever made
@geribi
❤
@dulcecaramelo1974
One of my favorite movies of all time 😍❤️
@JaryBarreto
Meu também, que filme...
@jeanyvespotier
C' était le temps de la simplicité, le respect,la grâce, ont prenait le temps le Bon temps pas comme maintenant ou tout marche a 200 a l' heure...