June the 4th 1982, What a great day in movie history and this one and Star Trek II both opened at the same time.. I saw trek II first and Poltergeist second all on the 4th . I was a huge Spielberg fan and I couldn’t believe he had two movies coming out and just weeks apart. I thought I was in heaven with all that this man had going on… Tobe Hooper was the director of Poltergeist and the story came from Steven’s wild imagination. And my oh my what a dark imagination he has!!! The premise is a ghost story set in modern suburbia. Mr. Spielberg was at the top of his game with this one and I do miss these times when he wrote movies himself. Needless to say this is one of my all time favorite films and I find it so hard to believe that it is 30 years old. Poltergeist is quite a flashback to the 80′s especially with the hair styles, home decor, and the way families functioned, much like my watching the educational films of the 50′s in the 80′s, is probably what it’s like watching Poltergeist by today’s teens. One of the big changes from then in now is that in 1982 Television stations operated on a hourly basis and at the end of the broadcast day the channels would go to static till the next day. The channels would either end with a short aviation film called “High Flight” or with the “National Anthem”. Poltergeist could never be done today because TV stations never go off the air anymore… Both, Spielberg’s ET and Poltergeist were being shot very close to each other geographically and a lot of rumors at the time were that Spielberg had directed both and Hooper was only credited as the director. It took many years to show this story for what is was, A Rumor and Hooper started to receive the credit he so deserved. Back to the story, we find the movie opening in a lovely neighborhood where all the houses look identical and life outside of the city is fun and peaceful. Neighbors all get together for football games on TV and everything in the world is right,,,,or is it.. A family known as the Freelings live in one of these lovely homes and slowly but surly unexplainable things begin to happen shortly after the Nation Anthem ends the TV broadcast for the night. Furniture moves, forks bend, vices are heard through the TV when the signal is off. The activities continue to happen to the point where the families daughter( Carol Anne) who is the focus of the activities is pulled from the physical world and taken to the spiritual world.. This was pretty heavy storytelling at the time because what is a common topic of conversation now (the Paranormal) it wasn’t then. Moving on Their daughter is taken and the family quietly but desperately acquire the help of some paranormal experts who discover that there is something very wrong with the Freeling home. The scientist bring in a medium who puts the pieces together and discovers it is the beast himself that is holding their daughter at bay and using her to keep the departed souls from finding their way to the light and Heaven. A way is found to get their daughter back which at the moment is a good thing. But it only leads to the rage of the beast going on a full scale war against the family in his attempts to get Carol Anne back. In the process we discover that the lovely neighborhood known as (Questa Verde) has been built on top of an old cemetery. The family escapes barely and their home is sucked into vortex and taken back to Hell. Poltergeist is a wickedly fun tale and Hooper’s mastery of horror is more than evident with his exceptional work done here. Jerry Goldsmith set a new high with his incredibly disturbing music that he composed for this scary little ghost story. His use of choir and children’s voices added an uneasy element which carried a frightening mood throughout the entire film.. It is clearly one of his finest scores from the 80′s and a landmark score from his accomplished history! The casting was perfect and the performances by Craig T. Nelson, JoBeth Williams, Heather O”Rourke, and Zelda Rubinstein are incredible as well as those by the many actors making up the supporting cast. The production design by James H. Spencer is brilliantly executed at setting both a peaceful neighborhood imprisoned it the bowls of hell. James talents reach far and wide in scope and genre and he is still an active and creative force in the movie industry to this day. ILM was the place where the bewitching VFX came from and they had to create and invent a whole slew of new technologies to pull this one off. They did so with the brilliance they have become known for and I so loved the the vast array of work they did for Poltergeist. This is a great film and I hope you all have had as much fun with this one as I did,,, So with that said Happy 30th to Poltergeist!
Archive for the 'Jerry Goldsmith' Category
On June the 4th 1982, two incredible movies open at the same time, Steven Spielbergs “Poltergeist” and “Star Trek II, The wrath of Khan” I was up in San jose visiting my buddy Mark Zainer who is an avid Star Trek fan.. We were arguing about which movie to see, I wanted Poltergeist and he wanted Trek,,,, Since he was driving Trek was the first choice.. As much as I liked Star Trek The motion Picture I wasn’t a huge fan and I really wasn’t up for seeing the sequel. The first Trek film left me wanting what the old series had and that was character and storyand I didn’t want to sit for two hours plus staring down the throat of V’ger again. So reluctantly I went and I have to say that within 10 minutes of the movie I was loving it,,,,and by the end I was a huge fan!!! Trek II did what I so wanted The Motion Picture to do and it did so with flying colors. The story was brilliant and expanding on the episode “Space Seed” from the original series was a masterful idea. Ricardo Monalban reprized his role with a vengeance and his poetic use of quotes from Gregory Peck’s “Moby Dick” made him not just a villain but a man who’s heart has been broken and revenge was a righteous and pleasurable justification of his pain. The original cast put out stellar performances as well and the chemistry between the actors that we all loved from the original series was back in full swing. Several new characters were added to the storyline, which were Kristie Alley as Saavik, Bibi Besch as Carol Marcus, and Merritt Butrick as David Marcus (Captain kirk’s son) The addition of Kirk’s old love and their son added such a new and deeper layer to the story that was an unexpected surprise. The script written by Gene Roddenberry, Harve Bennett, Jack B. Sowards, and Samual A. Peeples. stands high as a classic in the Trek film world and each of theses gentleman have a lot to be proud of!!!!! Their story was so deep and except for Psycho I don’t think I have ever seen a major character die in a film… Such a brave move and his heroic death was another unexpected twist,,, I couldn’t believe it… Spock was dead,, the entire theater was balling their eyes out… On a visionary point of view, ILM took over the visual Effects on this one and there work was on the level of perfection. ILM was one busy shop in 82 with three huge films coming out within weeks of each other. Their work was VFX artistry at it’s best with incredible miniature shots and their creation of the star fields and nebula’s where breathtaking… I so miss the cloud tank and wish it would return to the big screen but like the entire world of physical special Effects those days are gone for good. The introduction of the USS Reliat was too an incredible moment. Her creators Mike Minor, and Joe Jennings did a fabulous job constructing a new and favorite Starship to the fleet. As much as I loved the Enterprise, The Reliant was instantly my new Favorite and in many ways still is today. When I was reading the poster in line I was a bit disappointed at not seeing Jerry Goldsmiths name as the composer. Jerry also was having a busy Summer with his work being featured in Poltergeist, The “Secret of Nim”, and “First Blood” I don’t know if Jerry was approached about Wrath of Khan or if Paramount wanted all new blood on this outing but not seeing his name worried me. I was only slightly familiar with James Honer’s work and I thought that this man has some big shoes to fill.. Once again when the film was about 10 minutes in I was a fan of what James had done. His score was huge huge, romantic and full of high paced action sequences that added so much to the story! The complete soundtrack finally came out only a few years ago and I was so glad to have this work in it’s entirety. All in all Trek II made for a fabulous night at the movies and I am sure many of you will agree with me, the best of the Trek films by far.I can’t say enough about this one and the summer of 82 was such an inspiring season for films… I used to leave the theaters with such a love for what was on the screen and yearned so much to be a part of the movie industry,,, Little did I know I only had three more years to wait. HAAAA!!!!!!! Lots of fun an and great memories of times long ago… So with all this said Happy 30th to The Wrath of Khan!
At last it is here!!! Lukas Kendall and Neil Norman of Crescendo Records, have just released today the complete Star Trek “First Contact” score by the legendary Jerry Goldsmith. This is a masterpiece of film music and it combines the talents of both Jerry and Joel Goldsmith. A roaring romantic score that made First Contact the best of the TNG films by a leaps and bounds. I have had a copy of the full recording since the film came out and it is one of my all time favorites. Ford Thaxton and Mark Banning of BUYSOUNDTRAX.COM are carrying this prize at their website so follow the link below to snag one before there all gone. This complete score has so much more than the original CD release and is worthy addition to your Goldsmith or Star Trek collections!!!
Here is a quick page and link to get yourself a copy of the double disc-complete masterpiece score to Alien!!! I got this one several years ago and listen to it quite often,, Brilliant work here by Mr. Goldsmith,,,,, Jerry ‘s talents resound mightily with this horrifying composition!!!
It has been about 26 years now that I have been longing for this complete score as I am sure many of you have been also. Lukas Kendall and Mike Matessino, are the hero’s that accomplished this much awaited musical project,,, They have so passionately compiled all the music composed by the Great Jerry Goldsmith for this film and have put it all on one complete disc. Jerry created some incredible themes and scores for the TZ movie and I have not stopped playing this one since I got it yesterday!!! Enchanting, brilliant, Moving and Hauntingly Beautiful, this one is a masterpiece and a must have,,, Only 3000 CD’s cut for this release so don’t wait to long to snag this one. For a quick sample of the music there is a cue or two on the website and plenty more on You tube under Twilight Zone the movie soundtrack!!! OK fellow Goldsmith collectors be sure to give me ago when you get this one and we’ll have a musical review day!!! Happy collecting.
I almost forgot to put this stuff up from last weeks Goldsmith journey. This some of the treasures Mr. goldsmith gave to me during the three scoring sessions Over the years he did for First Contact, Insurrection, and Nemesis.
http://www.screenarchives.com/ < thanks Scott DS
http://store.intrada.com/ < thanks Daren Dochterman
To get a lot of the best stuff though you have to dive into Comicon and Wondercon, there’s where you’ll meet the dealers that have the good stuff,. last year I found a complete Road Warrior, and Explorers,
Today is Day three of Goldsmith and Cobb week and the two artists worked together on three films, I don’t know if they ever met but I am sure Ron has some of those magical moments watching his concepts come to life on the big screen with an awesome Jerry score laying a musical theme to Cobb’s imagery. The three movies are Alien, Leviathan, and Total Recall. Jerry’s score for Alien was landmark in it’s use of obscure sounds and bizzare instruments. Jerry had a way of creating frighting music with the higher end of the note scale… when you see a horror movie usually the bad guy or monster is addressed using low notes and heavy instrumentation. Goldsmith on the other hand went the other direction. if you have the complete Alien soundtrack tracks 4, the Terrain, 5, the Craft, 6,the Passage, 7, the Skeleton, 8, a new face, demonstrate that shrill and high range notes have an even more terrifying effect. On a side note Ridley Scott was using Jerry’s score to freud as a temp track while editing the movie, Some of the themes from freud actually were used in the final cut of Alien. In Jerry’s score for “Magic” a few notes drug across a Harmonica is the lead into evil. The Omen which was Jerry’s only Oscar winning score (which is in my eyes a grave injustice) he went the route of for everything good there is something evil. taking a church Choir as the main body of his theme, Jerry took the latin verses of Christian praise and changed them to Satanical lyrics. Mixed with heavy strings and an unsettling arrangement of obscure note patterns and tones, Mixed with Richard Donner’s incredible visuals this proved to be one of the most terrifying scores ever written for the screen. today in the gallery are some of Jerry’s Soundtrack covers, Illustrations from Ron Cobb’s, Alien, Back to the Future, and some aliens from Star Wars, followed by some cachets drawn to celebrate anniversaries from some of
these films. Enjoy!! Almost forgot!!! There is also a credit list of all of Jerry’s movie scores courtesy of Jerry Goldsmith on line. Go have a visit at Jason Needs awesome tribute page.
images courtesy of Cinefex, Ron Cobb’s Colorvision, The Art of Star Wars, the book of Alien, and my own collection.
Soundtracks A to B Ace Eli And Rodger Of The Skies/Room 222(1973/1969) Alien (1979) Alien Nation (1988) Along Came A Spider (2001) Amazing Stories Volume 2 – Boo! (1985) Angie (1994) Air Force One (1997) Baby Secret Of The Lost Legend (1984) Bad Girls (1994) Ballad Of Cable Hogue (The) (1971) Bandolero! (1968) Basic Instinct (1992) Blue Max (The) (1966) Boys From Brazil (The) (1978) Breakout (1975) Breakheart Pass (1976) ‘Burbs (The) (1988) Soundtracks C to D Cabo Blanco (1980) Capricorn One (1978) Cassandra Crossing (The) (1977) Chain Reaction (1996) Challenge (The) (1982) Chairman (The) (1969) Chinatown (1973) Christus Apollo (concert work) (1974) City Hall (1996) City Of Fear And General With The Cockeyed ID (1961) Coma (1978) Congo (1995) Criminal Law (1988) Dennis The Menace (1993) Dr. Kildare (1961) Contract On Cherry Street (1977) Damien Omen II (original & re-recording)(1978) Deep Rising (1998) Disney’s California Adventure -Soarin (2001) Soundtracks E to F Edge (The) (1997) Escape From The Planet Of The Apes And The Mephisto Waltz (1971) Executive Decision (1996) Explorers (1985) Extreme Prejudice (1987) Fierce Creatures (1995) Film Music Of Jerry Goldsmith (The) (SACD/DSD compilation) (2001) Final Conflict (The) (1981) First Blood (1982) First Knight (1997) Flim Flam Man (The)/A Girl Named Sooner (1967/1975) Forever Young (1992) Freud (1962) Frontiers (compilation) (1997) Soundtracks G to H Ghost And The Darkness (The) (1996) Great Train Robbery (The) (1979) Gremlins (1984) Gremlins 2 The New Batch (1990) Goldsmith Conducts Goldsmith (compilation) (2002) Haunting (The) (1999) Hawkins On Murder/Winter Kill/Babe (1973/74/75) High Velocity (1974) Hollow Man (2000) Hoosiers (aka Best Shot) (1986) Hour Of The Gun (1967) Soundtracks I to J Illustrated Man (The) (1969) Inchon (1982) In Harm’s Way (1965) Innerspace (1987) Islands In The Stream (re-recording) (1977) Jericho etc (1966) Jerry’s Recall (compilation) (1993) Jerry Goldsmith The Early Years Volume One (1960s) Jerry Goldsmith At 20th Century Fox (compilation) (2004) Jerry Goldsmith 40 Years Of Film Music (compilation) (2005) Justine (original & re-recording) (1969) Soundtracks K to L King Solomon’s Mines (1985) L.A. Confidential (1997) Last Castle (The) (2001) Last Run (The)/Crosscurrent (aka Cable Car Murders (The) (1971) Legend (1985) Leviathan (1989) Lilies Of The Field (1963) Link (1986) Lionheart The Epic Symphonic Score (1987) List Of Adrian Messenger/Challenge (The) (1963/1982) Logan’s Run (1976) Lonely Are The Brave (1962) Lonely Guy (1984) Looney Tunes Back In Action (2003) Love Field (1991) Soundtracks M to N MacArthur (1977) Magic (1978) Malice (1993) Man From U.N.C.L.E. (The) Volumes 1 to 3 (1964) Masada (re-recording) (1980) Matinee (1994) Medicine Man (1992) Mephisto Waltz And The Other (1972) Mom And Dad Save The World (1991) Morituri (1967) Mr Baseball (1992) Mulan (Oscar Promo) (1998) Mulan (1998) Mummy (The) (1999) Music Of Jerry Goldsmith (The) (compilation) (2001) Night Crossing (1981) Not Without My Daughter (1991) Soundtracks O to P Omen (The) (1976) One Little Indian (1973) 100 Rifles (1969) Our Man Flint And In Like Flint (1966/67) Outland (1981) Outland And Capricorn One (re-recording) (1981/1978) Papillon (1974) Patch Of Blue (A) (1965) Patton (1970) Patton And Tora! Tora! Tora! (re-recording) (1970) Prize (The) (1962) Planet Of The Apes (Expanded) /Escape From The Planet Of The Apes (suite) (1968/71) Police Story/Medical Story (1973) Poltergeist (1982) Poltergeist II The Other Side (1986) Powder (1995) Psycho II (1983) Soundtracks Q to R QBVII (1974) Red Pony (The) (1973) Raggedy Man (1981) Rambo First Blood Part II (1985) Rambo III (1988) Ransom (1975) Reincarnation Of Peter Proud (The) (1975) Rent-A-Cop (1988) Rio Conchos (1965) Rio Conchos And The Agony And The Ecstasy Prologue (re-recording) (1989) Rio Lobo (1973) River Wild (The) (1994) Rudy (1993) Runaway (1985) Russia House (The) (1990) Soundtracks S to T Sand Pebbles (The) (1965) Satan Bug (The) 1965 Sebastian (1968) Secret Of Nimh (The) (1982) Shadow (The) (1994) Six Degrees Of Separation (1993) Sleeping With The Enemy (1991) Small Soldiers (1998) Spiral Road (The) (1962) Stagecoach And The Loner (1966) Star Trek The Motion Picture (1979) Star Trek V The Final Frontier (1989) Star Trek First Contact (1996) Star Trek Insurrection (1998) Star Trek Nemesis (2002) Star Trek Voyager (1995) Stripper (The)/Nick Quarry (1963/1968) Suites And Themes (compilation) (1987) Sum Of All Fears (The) (2002) Supergirl (1984) Studs Lonigan (1962) Swarm (The) (1978) Take A Hard Ride (1975) 13th Warrior (1999) Timeline (2003) Tribute To Jerry Goldsmith (A) (compilation) (SPFM) (1993) Tora, Tora, Tora (1970) Total Recall (1990) Travelling Executioner (The) (1970) Trouble With Angels (The) And Stagecoach (re-recording) (1966) Twilight’s Last Gleaming (1977) Twilight Zone The Movie (1983) Twilight Zone TV Series (box set) (1963) Two Days In The Valley (1996) Soundtracks U to Z Under Fire (1983) U.S. Marshals (1997) Vanishing (The) (1993) Von Ryan’s Express And Our Man Flint/In Like Flint (re-recordings) (1964) Voyage To The Bottom Of The Sea – Jonah And The Whale (1965) Warlock (1989) Wild Rovers (1971) Wind And The Lion (The) (1975)
Jerry Goldsmith Biography
Jerry Goldsmith was born on February 10th 1929 in Pasadena California and grew up in Los Angeles. Originally intending to become a concert hall composer, he soon realised that the infrequency of concert hall commissions would never satisfy his hunger to write music. Jerry Goldsmith began studying piano at the age of 6 and by the age of 14 was studying composition, theory and counterpoint with Jacob Gimpel and Mario Castelnuovo-Tedesco. He also became acquainted with legendary composer Miklos Rosza and attended his classes in film composition, at the University of Southern California. It was Rosza’s own score to Spellbound and the film’s star Ingrid Bergman, that had captivated Goldsmith back in 1945 and clearly influenced the composer’s interest in music for film.
In 1950 Goldsmith was employed as a clerk typist in the music department at CBS. There he was given his first assignments as a composer for live radio shows such as Romance and CBS Radio Workshop and progressing on to live TV shows such as Climax andPlayhouse 90. He stayed with CBS until 1960, having already scored the cult sci-fi show The Twilight Zone. Then was hired by Revue Studios to score their Thriller series, which lead on to further TV commissions including the famous Dr Kildare theme and theme and episodes for The Man From U.N.C.L.E..
In 1962 Goldsmith was awarded his first Oscar nomination for his acclaimed score to the poorly received John Huston biopic of Freud. At the same time, he met and became acquainted with the influential film composer Alfred Newman. Newman, recognising Goldsmith’s talents, influenced Universal into hiring him to score the acclaimed Kirk Douglas western Lonely Are The Bravein 1963. From there Goldsmith established himself as a contract composer for 20th Century Fox, quickly re-defining the modern film score. Along with his close friend Alex North, Goldsmith established himself as a leading name in American film music, and by the beginning of the 1970′s the composer had already written a number of landmarks scores that cemented his position and his reputation. These included A Patch Of Blue, Lilies Of The Field, The Sand Pebbles, The Planet Of The Apes, The Blue Max andPatton.
During the 70′s Goldsmith augmented his movie scoring with a plethora of TV assignments and remains one of the few composers to juggle film and TV scoring successfully. This included the critically acclaimed and Emmy winning score to the first TV epicQBVII as well as the popular theme and early episode scores for the TV series The Waltons. Hungry to work, the early part of the decade proved to be one of the composer’s most successful periods with a combination of gritty thrillers and prestigious assignments like The Wind And The Lion, Chinatown, The Wild Rovers and Papillon. The late 70′s brought Goldsmith his lone Oscar for the avant-garde and ground breaking score to The Omen. Never had a film score been so critical to the movie’s atmosphere and dramatic power.
The decade finished with a series of the composer’s most popular crowd pleasing scores, from the military action of The Swarm, a sumptuous English caper score for The Great Train Robbery and the terrifying masterwork Alien. And of course what is generally regarded as Goldsmith’s greatest work -Star Trek The Motion Picture. Here Goldsmith was tasked with re-inventing a franchise and creating a brand new theme. Goldsmith remarked that the theme was the toughest he ever wrote and remains a remarkable achievement. At the behest of Star Trek creator Gene Roddenberry it later became the signature theme for the popular Star Trek spin off The Next Generation. In 1995 Goldsmith would write a new theme for Star Trek Voyager, a further spin-off. Interestingly Goldsmith’s association with Star Trek may have started even earlier. In interview Goldsmith revealed he had been approached by Roddenberry back in the sixties to write the original TV series theme, but due to scheduling was unable to do so.
The 80′s began with the TV epic Masada in which the composer scored the first four hours and the rousing main theme. Handing the remaining four hours to friend and fellow composer Morton Stevens. Goldsmith also completed the Omen trilogy with an awe inspiring work to The Final Conflict in which he completely transformed the choral and orchestral style he developed for the first two movies into a score that was as terrifying as it was beautiful.
Goldsmith’s abilities at being a musical chameleon served him well throughout his career and just as the decades before brought dramatic changes in style the 80′s also saw further development and transformations. Notably with the robust and action packed First Blood and its exciting sequel scores; Rambo First Blood Part IIand the epic third score to Rambo III in which the composer bids a fond farewell to the Rambo character. Then came the animated splendour of TheSecret Of Nimh as well as critically acclaimed works to Under Fire, Poltergeist and the orchestral/electronic triumph to the sporting drama Hoosiers. The mid 80′s proved to be a mix of comedy and adventure scoring for big budget fare that included a series of assignments for Joe Dante, most notably the box office smash Gremlins, to cult hits Supergirl, Twilight Zone The Movie and a rousing sequel score to Star Trek V. This decade also saw further electronic development that had begun back in the 60′s with Freud. In 1985 the composer tackled his first all electronic score to Michael Crichton’s minor sci-fi thriller Runaway, and later followed it up with courtroom thriller Criminal Law and an un-used score to Alien Nation. Goldsmith finally fused orchestra with electronics proper in the 90′s and remains one of the few silver age composers to spend so much time cultivating the technology without betraying the traditional orchestral world.
In the 90′s Goldsmith started the decade with his action opus Total Recall. Goldsmith’s mammoth score apparently is nothing short of a symphony and remains the defining moment in action film scoring, and is now regarded as a classic of the genre. He also became friends with the film’s acclaimed director, Paul Verhoeven and went on to collaborate on the difficult assignment Basic Instinct. The assignment remains a rare moment in the cut throat business of Hollywood where a director showed total commitment to his composer and worked closely with him to encourage Goldsmith to fashion one of his most memorable scores. The decade also brought another of the composer’s finest works, the beautiful score to The Russia House for director Fred Schepisi. Interestingly Goldsmith’sRussia House theme had originally been composed for his aborted score for Wall Street and then tried out for another aborted effort Alien Nation. The theme finally found its rightful home though. Goldsmith’s other noteworthy assignments during this decade included the critically acclaimed score to the minor true life sporting drama Rudy along with further Star Trek sequels, action epics such as Air Force One andThe Mummy, as well as more challenging assignments such as the big screen adaptation of Six Degrees Of Separation (Fred Schepisi) and the critically acclaimed thriller LA Confidential (Curtis Hanson).
Jerry Goldsmith began the new millennium with a further collaboration with Dutch director Paul Verhoeven on the summer 2000 sci-fi thriller Hollow Man where Goldsmith’s genuine love and affection for the director shone through with an enormous and complex thriller score. The next two years featured The Last Castlewhere Goldsmith’s moving theme was adopted to remember the victims of September 11th 2001. Followed by the box office hit The Sum Of All Fearsfeaturing an equally moving score. And a second outing with exciting director Lee Tamahori for the Morgan Freeman thriller Along Came A Spider. By this time the composer’s health began to take its toll and prevented Goldsmith from working as much as he once did but he finished his work on the Star Trek franchise withStar Trek Nemesis, making this his third collaboration with editor turned director Stuart Baird.
Goldsmith’s final scores were for friends. In the case of Timeline directed by The Omen’s Richard Donner. Sadly a score that was not used in the finished film due to dramatic changes in the final cut of the movie. Donner tried to secure Goldsmith again to rewrite the score but the composer was unable to do so. Fittingly for his final score he was with Joe Dante, another close friend, for the comedy Looney Tunes Back In Action. Jerry Goldsmith passed away on July 21st 2004 peacefully in his sleep after a long and gallant battle against cancer.
This info was brought to you by Jason Needs from his awesome tribute to Jerry Goldsmith website http://jerrygoldsmithonline.com/index.htm
I met Jerry on ST First Contact thru my friend Mark Banning who was working on the recording of the soundtrack for Cresendo records. Jerry came over to say hello and invited me to stay a while and watch the orchestra record some of the sessions. I couldn’t believe what a very kind and gracious man he is, Very funny too! Thats great I said and off he went out to the podium on the sound stage. The set up is a recording room with all the equipment and sound boards, An extra little corner was set up for a musician that add’s the electronic sounds. World famous recording engineer and long time associate and good friend of Jerry’s, Bruce Botnick manned the board. There is a huge window looking from this room into the sound stage where the orchestra is set up in a half circle around the podium. above this window and also behind Jerry is a projection screen that will show the scene that the music is being recorded for. From my pov there was a single frame that said “scene missing” showing on the screens. A couple of moments later the go ahead was given and jerry raised the petton and the strings started to play in an ascending and climactic rhythm. the screen proceeded to show the scene missing frame and a few moments later Jerrys ays hold it and everyone stops playing. He points to the right of the orchestra and says I would like you to hold that cord a little longer before it fades out, then he points to the left and says lets pull the harp out for the next set of pages and you pick up at,, and he gives a # that was set as like a chapter the timing count. They start again and record the sequence again,,,,, Bruce stops the orchestra this time and asks for a technical component to be re-calibrated, A few moments later they start again and continue to play the entire sequence. It was amazing to See the orchestra play this unbelievable theme and watch the maestro conduct the musicians. Again from my POV this was one of the most beautiful pieces of music that I have ever heard. I never saw anything on the screens that indicated what scene it was for but it was incredibly beautiful!!. I had to race back to my office before I was missed and once there I had to tell the story of watching Jerry work. Doug Whispered to me after,,,,,PSSSST let me know next time you go so I can sneak over too!!!! But don’t tell Mike!!! HAAAAA! Hope there is no back lash to this one!!! Anyways the next day I put together a collection of the First Contact drawings and ran back over to the sound stage and sadly it was the final day of recording. When I walked in they were just recording the end and credit themes!!! I watched this with awe and It was truly the magic of the movies. I met Jerry’s son Joel a few moments later and he himself was writing music for the film with Jerry. What a great collaboration between father and son. Jerry came out and said, HEY how did you like yesterdays session??? It was hard to find the right words and mannerisms without going complete GEEK!!! I gave him that stack of drawings and he looked at everyone and had something to say about each frame. He was talking about his Star Trek room at his house and that he was very excited about having these for his collection, and with that he grabbed a sheet of music and signed it and said; here’s from one fan to another. That was one of the greatest days of all of my hollywood memories. First Contact came out a few months later and the whole art Department got tickets for The chinese theater in Hollywood,,,,, I couldn’t wait to see where that string piece was going to fall in the film. Before I moved to Hollywood I would go to the movies and you would see some incredible scene or space ship that had an awesome piece of music attached to it as a theme, and I used to think that that would be the coolest thing to be able to create something that had that magical score. By the end of the movie that little dream came true. The scene was Zephram Cochran and the residents of Phoenix town all come out of the bar to see A light in the clouds. There is a narrative by Patrick Stewart building the scene and the the Vulcan ship drops threw the clouds to that incredible string piece I saw Jerry record!!!! OH my gosh I was speechless!!! When the DVD came out I watched that scene at least 50 times!!! I could have retired from Hollywood that day and been completely geek filled and satisfied forever!!! HAAA! well I just snapped out of my daydream so with that here are some scenes and art from that awesome moment!!!
click below for a wonderful tribute to Jerry