Jerry Goldsmith is one of those composers who I sadly took for granted, even though I grew up with many of his compositions (Star Trek, Poltergeist, The Secret of NIMH, First Blood, Gremlins, Supergirl, Explorers, Rambo: First Blood II, Innerspace, Rambo III, Star Trek V: the Final Frontier, Gremlins II, Rudy, Star Trek: Generations, Star Trek: First Contact, Star Trek: Insurrection and Star Trek: Nemesis (as well as his opening music for Star Trek: The Next Generation and Star Trek: Voyager), along with other scores which escape my memory, and I unfortunately did not take stock in Jerry's identity until I was 24, the summer when we lost him. It's only in the time since that I as an individual have understood the breadth of his music.
Fortunately, I never took his music for granted, given that I understood his genius as a consummate composer of motion picture scores. What truly irritated me, however, was the bloody Hollywood politics that robbed him of the awards he so richly deserved. Take, for example, "Patton", "L.A. Confidential", "Rambo", "The Sand Pebbles", "Planet of the Apes". Each of these were more than Oscar® worthy.
I was aware of Jerry Goldsmith in 1979 when he did Star Trek-The Motion Picture, which I foolishly dismissed at age 14 as a Star Wars rip-off, which it is not--it is filled with tons of completely original material. It wasn't until 1982, when Goldsmith unleashed Poltergeist and First Blood, that I recognized him as the truly brilliant genius that he was.
I don’t honestly believe the Star Trek franchise began drifting into Star Wars territory, celestialfilms, until (my favorite series) Deep Space Nine Hit the airwaves.
Oh, this video made my day! I missed the interviews with Jerry Goldsmith when they aired on TCM, but I'm so happy to see them compiled here. I've long known Jerry Goldsmith only by his music (love his music for the first STAR TREK movie, too!), and it's delightful to see the man and hear him discuss film scoring with Robert Osborne.
@@DANATANLOVER The "crazy"-saying mental hospital-loving nature of the "Basic Instinct" franchise. But they're also codeless. I completely disrespect the productions in my shorts. With lack of fear and lack of respect.
I got to shake his hand backstage in OKC in 1983. He was very polite and seemed glad that I came. He should have won Oscars for PATTON and STAR TREK-TMP. His score for THE OMEN, his only win, wasn't that great.
All this talk of Oscars. I agree with Brando. How can you compare a score, one to another? Like a race or a competition. This is purely a creative art. Yes art. But Who wins the Oscar? I don't give a damn. We know what Jerry was about. And we can enjoy his exciting film music for ever. He knew how respected he was.
Goldsmith wrote film music when it was of importance to a films success. Modern films have relegated music to third place behind sound effects. With screenplays lacking any character development, music is used to try to infuse emotion into a situation where none actually exists because of poor writing or production. Jerry wrote from his heart and for those who admire his scores and the films they are connected to, we are eternally grateful.
Same here. Beautiful score, vastly underrated. It’s really got everything from Goldsmith. Lyricism, action cues, plaintive sections and even some abject horror.
I'm not entirely sure, but given how a handful of people on the Superman crew left after Richard Donner quit, it wouldn't surprise me if Williams had a change of heart once the sequel rolled around as well.
@@ForceMaximus84 The information is very easily available on youtube, google and the directors cut of superman 2. Where are you getting your skewed info from?
Since Richard Donner had already Directed and Filmed 75% of Superman 2 at the same time of Filming Superman…Yes The Sleazy way they the Salkinds had fired Richard Donner, by Telegram…lil dick Lester who was brought in as a go between The Salkinds and Producer Pierre Spengler to Richard Donner, who was not talking to Ilya And Alexander Salkinds and Producer Spengler…They were constant meddlers and with the lousy campy 400 plus script by Mario Puzo..it was Richard Donner who brought in Tom Mankiewicz to REVISED the lousy screenplay but since the WGA had acknowledged Mario Puzo and David and Leslie Newman and Robert Benton. They had at one point Telly Kojak Savalas telling Superman…Who Loves You Baby!! That Salkind Class! 🥴🤔When Salkinds Fire Donner, Since the Salkinds had worked with lil dick Lester AND Still owed him Money Three Musketeers and Four…salkind trick film two films at once and Not Pay or Say! When Salkinds brought in lil dick Lester…Tom Mankiewicz and Gene Hackman refuse to come back and redo scenes with lil dick Lester …SO..All Lex Luther Shots were directed by Richard Donner…Plus Ned Beatty’s and Valerie Perrine had already completed scenes Directed by Donner… DGA told Salkinds that lil dick Lester had to do..to get Directing Credit was to reshoot 40%…but remember Donner had already shot 75% or 80% of Superman 2…..Film Editor Stuart Baird Refuse to Come Back..and Poor Marlon Brando Sued The Salkinds for 50 million dollars for cutting him out of Superman 2 and his profits…Brando settled for 15 million, on top of the 12 million plus Profits for Superman…All Major Players for Superman and 2 refused to do world wide press tour because of the Salkinds Treatment of Richard Donner and only Sarah Douglas did the Press Tour…and at the end…The Salkinds and lil dick Lester reached out to Richard Donner and wanted to give Donner Screen Credit..as Co-Director to Superman 2 …Donner Declined saying…I Direct Alone.
It's ironic that Goldsmith was discussing 'Superman: The Movie', since he and Williams were alternating scoring contracts on that film. Does anyone know why Williams didn't score 'Superman II'? Was he asked to and turned it down, or did Lester want to work with Ken Thorne?
It was reported somewhere that Williams didn't want to dishonor and betray Richard Donner who got fired. Plus Williams was quite busy working on Raiders of the Lost Ark for Spielberg at the time.
@@kthx1138 and The Boston Pops was coming up. Superman 2 was going to be released Six Months ahead in Europe Six Months ahead of United States Release..When Cheap o Salkinds sent for John Williams it was lil dick Lesters job to inform Williams because of the budget, that Williams could not use The LSO (too expensive) and since there was already of talks between lil dick Lester and his composer Ken Thorne ….Williams didn’t have time and truly was not happy how Richard Donner was FIRED by Telegram, (The Class of The Salkinds) ..it was lil dick Lesters Job to tell Williams about time restrictions and money limitations…John Williams Bailed. Bring in Ken Thorne and The 50 Member London High School Band! 🥴🤭🤔
I understand, but Williams has done plenty of sequels and handled more than two or three films a year in that period. It's highly unusual that Thorne just replayed Williams score (entire cues at a time). Were there legal issues?, i.e.: you can use Williams material, but not substantially alter it?!! The whole situation is very odd....to say the least.
Williams has done plenty of sequels for producers who VALUE HIS TALENT and the quality of his music, like Lucas and Spielberg, who reward him amply financially and who give him the freedom to choose however many musicians he needs. Not so with the cheap Salkinds.
even Mr Williams didn't have opportunity for making music with eastern vibe and feeling but Master Jerry did it in the Mummy/12 warriors and his papillon style is almost like Persian film score feeling .he was a such innovative composer like master Maurice Jarre.
![ลักพาตัว เอาลูกเอิร์นกลับมา...!! [เอิร์นไดเม่]](http://i.ytimg.com/vi/f4NVKlZ5qkk/mqdefault.jpg)
![[ไฮไลต์] ฟุตบอลชาย อาร์เจนติน่า vs โมร็อกโก รอบแบ่งกลุ่ม | โอลิมปิก 2024](http://i.ytimg.com/vi/wE6uYH0yyzM/mqdefault.jpg)
The phrase "I was robbed" certainly applies to Goldsmith's career ! He should have had a ton more wins -
I genuinely miss both of these guys.
💔💜♾
Jerry Goldsmith is one of those composers who I sadly took for granted, even though I grew up with many of his compositions (Star Trek, Poltergeist, The Secret of NIMH, First Blood, Gremlins, Supergirl, Explorers, Rambo: First Blood II, Innerspace, Rambo III, Star Trek V: the Final Frontier, Gremlins II, Rudy, Star Trek: Generations, Star Trek: First Contact, Star Trek: Insurrection and Star Trek: Nemesis (as well as his opening music for Star Trek: The Next Generation and Star Trek: Voyager), along with other scores which escape my memory, and I unfortunately did not take stock in Jerry's identity until I was 24, the summer when we lost him. It's only in the time since that I as an individual have understood the breadth of his music.
Star Trek Generations was Dennis Mccarthy
Fortunately, I never took his music for granted, given that I understood his genius as a consummate composer of motion picture scores. What truly irritated me, however, was the bloody Hollywood politics that robbed him of the awards he so richly deserved. Take, for example, "Patton", "L.A. Confidential", "Rambo", "The Sand Pebbles", "Planet of the Apes". Each of these were more than Oscar® worthy.
I was aware of Jerry Goldsmith in 1979 when he did Star Trek-The Motion Picture, which I foolishly dismissed at age 14 as a Star Wars rip-off, which it is not--it is filled with tons of completely original material. It wasn't until 1982, when Goldsmith unleashed Poltergeist and First Blood, that I recognized him as the truly brilliant genius that he was.
I didn’t realize that, Therio Cassius. Thank you for bringing me up to speed.
I don’t honestly believe the Star Trek franchise began drifting into Star Wars territory, celestialfilms, until (my favorite series) Deep Space Nine Hit the airwaves.
How many unforgettable scores have these three great men given us.
Oh, this video made my day! I missed the interviews with Jerry Goldsmith when they aired on TCM, but I'm so happy to see them compiled here. I've long known Jerry Goldsmith only by his music (love his music for the first STAR TREK movie, too!), and it's delightful to see the man and hear him discuss film scoring with Robert Osborne.
What an amazing gentleman! ;-)
The maestro...we still miss you.
@@robjackson5245 The fuck is the matter with you?!
@@DANATANLOVER That he scored "Basic Instinct," an evil movie. That's my fucking problem bro.
@@DANATANLOVER I bet you also like "Xena Warrior Princess."
@@robjackson5245 Basic Instinct is "evil", yet The Omen isn't? Huh.
@@DANATANLOVER The "crazy"-saying mental hospital-loving nature of the "Basic Instinct" franchise.
But they're also codeless. I completely disrespect the productions in my shorts. With lack of fear and lack of respect.
Thanks for posting this!
Robert. How you are missed and loved. TCM is not right without you.😔❤❤❤
I got to shake his hand backstage in OKC in 1983. He was very polite and seemed glad that I came. He should have won Oscars for PATTON and STAR TREK-TMP. His score for THE OMEN, his only win, wasn't that great.
All this talk of Oscars. I agree with Brando. How can you compare a score, one to another? Like a race or a competition. This is purely a creative art. Yes art. But Who wins the Oscar? I don't give a damn. We know what Jerry was about. And we can enjoy his exciting film music for ever. He knew how respected he was.
Goldsmith wrote film music when it was of importance to a films success. Modern films have relegated music to third place behind sound effects. With screenplays lacking any character development, music is used to try to infuse emotion into a situation where none actually exists because of poor writing or production. Jerry wrote from his heart and for those who admire his scores and the films they are connected to, we are eternally grateful.
great interview. so many good scores
"You're a professional, you have a technique, just do it." Do SOMETHING. Love it.
I'd never seen these before either, must be one of the last public appearances/interviews that he did. He died too soon but his music lives on.
I wonder if in the end, he did write the score that really satisfied him...
I always thought 1973's Papillion was one of his best .
Same here. Beautiful score, vastly underrated. It’s really got everything from Goldsmith. Lyricism, action cues, plaintive sections and even some abject horror.
And it's reportedly the late great Ennio Morricone's favorite score.
The big three Barry Goldsmith and Williams how
I'm not entirely sure, but given how a handful of people on the Superman crew left after Richard Donner quit, it wouldn't surprise me if Williams had a change of heart once the sequel rolled around as well.
After Donner quit? You mean booted out.
@@timefilm He wasn’t booted. He refused to work with Pierre Spengler (the producer) and the Salkinds refused to replace him, so he left.
@@ForceMaximus84 The information is very easily available on youtube, google and the directors cut of superman 2. Where are you getting your skewed info from?
@@timefilm This was in a book I read years ago and on a documentary I watched in which one of the crew mentioned it.
Since Richard Donner had already Directed and Filmed 75% of Superman 2 at the same time of Filming Superman…Yes The Sleazy way they the Salkinds had fired Richard Donner, by Telegram…lil dick Lester who was brought in as a go between The Salkinds and Producer Pierre Spengler to Richard Donner, who was not talking to Ilya And Alexander Salkinds and Producer Spengler…They were constant meddlers and with the lousy campy 400 plus script by Mario Puzo..it was Richard Donner who brought in Tom Mankiewicz to REVISED the lousy screenplay but since the WGA had acknowledged Mario Puzo and David and Leslie Newman and Robert Benton. They had at one point Telly Kojak Savalas telling Superman…Who Loves You Baby!! That Salkind Class! 🥴🤔When Salkinds Fire Donner, Since the Salkinds had worked with lil dick Lester AND Still owed him Money Three Musketeers and Four…salkind trick film two films at once and Not Pay or Say!
When Salkinds brought in lil dick Lester…Tom Mankiewicz and Gene Hackman refuse to come back and redo scenes with lil dick Lester …SO..All Lex Luther Shots were directed by Richard Donner…Plus Ned Beatty’s and Valerie Perrine had already completed scenes Directed by Donner… DGA told Salkinds that lil dick Lester had to do..to get Directing Credit was to reshoot 40%…but remember Donner had already shot 75% or 80% of Superman 2…..Film Editor Stuart Baird Refuse to Come Back..and Poor Marlon Brando Sued The Salkinds for 50 million dollars for cutting him out of Superman 2 and his profits…Brando settled for 15 million, on top of the 12 million plus Profits for Superman…All Major Players for Superman and 2 refused to do world wide press tour because of the Salkinds Treatment of Richard Donner and only Sarah Douglas did the Press Tour…and at the end…The Salkinds and lil dick Lester reached out to Richard Donner and wanted to give Donner Screen Credit..as Co-Director to Superman 2 …Donner Declined saying…I Direct Alone.
He look like Stan Lee !
It's ironic that Goldsmith was discussing 'Superman: The Movie', since he and Williams were alternating scoring contracts on that film. Does anyone know why Williams didn't score 'Superman II'? Was he asked to and turned it down, or did Lester want to work with Ken Thorne?
It was reported somewhere that Williams didn't want to dishonor and betray Richard Donner who got fired. Plus Williams was quite busy working on Raiders of the Lost Ark for Spielberg at the time.
@@kthx1138 and The Boston Pops was coming up. Superman 2 was going to be released Six Months ahead in Europe Six Months ahead of United States Release..When Cheap o Salkinds sent for John Williams it was lil dick Lesters job to inform Williams because of the budget, that Williams could not use The LSO (too expensive) and since there was already of talks between lil dick Lester and his composer Ken Thorne ….Williams didn’t have time and truly was not happy how Richard Donner was FIRED by Telegram, (The Class of The Salkinds) ..it was lil dick Lesters Job to tell Williams about time restrictions and money limitations…John Williams Bailed. Bring in Ken Thorne and The 50 Member London High School Band! 🥴🤭🤔
I'd read that Williams and Lester had a disagreement and Williams realized that there was no way he could've worked with Lester
I understand, but Williams has done plenty of sequels and handled more than two or three films a year in that period. It's highly unusual that Thorne just replayed Williams score (entire cues at a time). Were there legal issues?, i.e.: you can use Williams material, but not substantially alter it?!! The whole situation is very odd....to say the least.
Williams has done plenty of sequels for producers who VALUE HIS TALENT and the quality of his music, like Lucas and Spielberg, who reward him amply financially and who give him the freedom to choose however many musicians he needs. Not so with the cheap Salkinds.
even Mr Williams didn't have opportunity for making music with eastern vibe and feeling but Master Jerry did it in the Mummy/12 warriors and his papillon style is almost like Persian film score feeling .he was a such innovative composer like master Maurice Jarre.
Why is Robert Osbourne asking Jerry Goldsmith about OTHER composers' scores?
Goldsmith is co-hosting.
Had career? Goldsmith worked till he died.