The Day I Spoke to Jerry Goldsmith

By Chris Kinsinger

We print this report of Jerry Goldsmith's Carnegie Hall concert last Sunday in the celebration of people who are nuts and who just love things like this. God bless us. See Tuesday's column for another review.

I had spoken to Jerry Goldsmith once before.

Twenty-eight years ago, when I was a high school senior, completing a term paper on film music composition. My research included writing letters to all of the major film studio music departments, and I had received only two replies: one from Columbia Pictures, and one from Twentieth Century-Fox.

The letter from Lionel Newman's Department at Fox mentioned that Jerry Goldsmith resided in Encino, California. Out of (insatiable) curiosity, I telephoned directory information for Encino, and was surprised when the operator gave me Goldsmith's telephone number! I sprang to action, borrowing a friend's reel-to-reel tape recorder, and purchasing a microphone to record telephone calls. I was going to interview Jerry Goldsmith for my school paper!

I carefully listed the questions that I would ask Mr. Goldsmith, which ranged from his work on The Blue Max, and Our Man Flint through Planet of the Apes.

After a number of fitful starts and a minor nervous breakdown, I finally completed dialing the phone, and started rolling the tape.

"Hello?" came the voice from Encino.

"Hello!" I replied, "Is this Jerry Goldsmith?"

"Yes, it is."

"Are you the film music composer, sir?"

"No, I am not."

"Oh... sorry to bother you, Mr. Goldsmith. Goodbye."

"Bye."

That is the account of my first conversation with Jerry Goldsmith.

But on this day, October 4, 1998, I would indeed be addressing the film music composer who had eluded me so many years ago. My wife Bonita, five of my friends and I sat together in row E, Orchestra, at Carnegie Hall, for the Inaugural Concert of the New York FILMharmonic Orchestra, under the direction of Jerry Goldsmith. The program featured a wide variety of selections from his long and distinguished career.

The New York FILMharmonic Orchestra (NYFO) is a professional orchestra composed of 92 of New York's finest studio musicians. Its primary purpose is to perform, in concert, music written for film and television.

We realized quickly that we were seated directly behind a number of Mr. Goldsmith's family members. We chatted with his sister-in-law Melinda, and she pointed out a number of his other relatives to us. I was already at 'nine' on the excitement scale, and this unexpected delight very nearly broke the meter!

Certain bits of exciting news spread via the audience grapevine... other famous personalities occupied seats at the concert. We spotted director Adrian Lyne, author Michael Crichton and actress Sylvia Sydney, and wondered how many other luminaries were in attendance. Other news wasn't so exciting: Only those whose names appeared on an exclusive "List" would be permitted an audience with the composer after the concert, along with a handful of attendees who had forked over $1000 for the privilege of attending the Champagne Reception following the event.

My dream of actually meeting Jerry Goldsmith was quickly vanishing before my eyes...

And then I saw his face, with that shock of white ponytailed hair moving rapidly toward the podium. Within moments the orchestra was playing "Fanfare for Oscar," a composition commissioned by the Academy Of Motion Picture Arts And Sciences last year. I had watched the Oscar broadcast, and I had absolutely NO idea at what point the highly-promoted fanfare had been presented, so this live performance was my very first hearing. And what an electric thrill it was!

After a prolonged round of exceptionally appreciative and enthusiastic applause died down, Goldsmith endeavored to adjust a nearby microphone stand to reach his height on the podium. It would not rise to the desired level, so he lowered himself to meet it halfway. He greeted the audience warmly, and went on to say, "These concerts are kind of a reprieve for me. Most days I spend writing from eight to ten hours. It can get very lonely. So I really enjoy being out among people." He added his thoughts on concert etiquette: "At many concerts, the audience members are told not to cough. Now, how are you going to do that? Certain sounds simply cannot be avoided. In the movies, my music is accompanied by gunshots, explosions, and noises of all kinds. So I'd like you to relax, and have a good time today. The purpose of this event is for everybody to enjoy themselves!" The address was greeted with much laughter and applause throughout the audience.

In his warmly relaxed and funny greeting, Goldsmith had set the tone that would dominate this day: FUN. Throughout the concert, it was evident that both he and many members of the orchestra were actually having a great time. I was struck at the number of musicians who were quite clearly enjoying this performance tremendously, taking great joy from the music, and from the composer. I've attended many symphony concerts, and this is the only one I have ever witnessed where the conductor expressed such deeply-felt passion for the music, and the musicians reciprocated. This observation heightened my emotional response to what I was hearing, in spite of the fact that I've listened to most of the chosen selections many, many times before.

As an introduction to his Suite of Motion Picture Themes, Goldsmith cited his Academy Award nominations for seven of the eight scores represented, and lamented that he lost every one. "But it's always a thrill to be nominated!" he added.

The next selections were from Planet of the Apes: "The Search Continues," "The Clothes Snatchers" and that absolute stunner, "The Hunt." Goldsmith mentioned that this is the 30th anniversary of the film, and that playing these cues was much like "revisiting an old friend." He further explained a few of the music's unusual sound effects, such as the French Horns reversing their mouthpieces in order to create a great "whooshing" sound instead of the usual musical notes, and the use of kitchen mixing bowls in the percussion section. "We had a hard time finding mixing bowls in New York City, but we finally got some from Planet Hollywood, so my thanks to Planet Hollywood for the mixing bowls!"

The NYFO performed these three intensely difficult selections with near-perfect precision, and an incredible energy level which rivaled the original soundtrack performance. The audience was roused to thunderous applause.

For me, the only disappointment in this section was the absence of a ram's horn for "The Hunt." The brass section did their level best to compensate, but really - only a ram's horn is appropriate for those legendary measures. Why? I wondered...

Goldsmith introduced the final selections of this first half of the program by relating his experience with Rudy, the real-life fellow whose cinematic story he had composed the music for. "Rudy is a really outgoing individual," he said, "And he will happily tell his story to anyone who is willing to listen! One day, during the recording sessions, I had called for a break. A few minutes later, I heard the orchestra playing The Notre Dame Fight Song. I turned around, and there was Rudy conducting the orchestra!"

The themes from Rudy and Hoosiers were greeted with more enthusiastic applause and cheers from the audience, as Goldsmith and the NYFO took their bows and exited for the Intermission.

The second half of the program began with two cues from First Knight, and the themes from Small Soldiers and Gremlins. As his introduction to the music from the Joe Dante films, Goldsmith related his experiences as an actor in both of the Gremlins films. "Since the first film was such a big hit, the producers wanted to duplicate all of the successful elements for the sequel, so my on-screen role was expanded to include the line, 'Is that a RAT?'. Well, the second film didn't do much business here in the United States. But in Europe it was quite successful, which leads me to believe that over there they appreciate great acting!"

Prior to presenting his Suite of Television Themes, Goldsmith spoke of the differences between composing for theatrical releases and composing for television. "On a film, I usually work closely with the director, but in television, the production is often completed by the time I arrive, and there are so many different producers! There's the Executive Producer, The Executive Executive Producer, The Line Producer, and the regular Producer Producer. I'd better watch what I say, because there are some producers in the audience today!"

Before conducting the Suite from Mulan, Goldsmith mentioned the peculiar challenge of composing for animated films. "In animation, there are many diverse elements in each single frame of film, so you have much more visual material for each 24-frame second. For instance, when all of those horseback warriors are riding over the hill in Mulan. David Lean would've spent five minutes on a scene like that, but in Mulan it's over in ten seconds!" This was the one selection in the concert that sounded exactly like the film's soundtrack recording. If there were any errors or alterations, they escaped my ear.

As he introduced his music from The Russia House, Goldsmith said, "You know, I never work with movie stars. Most of them don't know who I am. But there is one movie star who says 'Hi, Jerry!' every time he sees me. And that's Sean Connery. (Much applause.) In fact, he once said to me, 'There's something you have that I want. . . YOUR HAIR!'" The audience erupted with laughter, and Goldsmith smiled broadly, stroking his head and his ponytail. When the laughter faded, I shouted up to him, "SO DO I!!!" (More laughter.) Goldsmith grinned at me, and said, "Well, thank you very much," and I couldn't help but notice several of my friends shrinking in their seats beside me, as if to indicate "I'm not with HIM!" My wife, however, beamed with delight. She knew what that moment meant to me! I had done it. I had spoken with Jerry Goldsmith. And he thanked me for the compliment. My day was complete now.

Goldsmith continued his hair story, "Connery's next picture after The Russia House was Medicine Man, which I also worked on, and he used my hairstyle for that film. In fact, in the credits you'll notice that my name is listed twice: once for the musical score, and again as hairdresser. So, I'm a jack of all trades!"

Prior to presenting "The Generals" Suite, Goldsmith for the second time lamented his Oscar losses. "'Patton' was nominated for ten Oscars, and it won nine, because I lost that year. My win/lose ratio is terrible! I've been nominated seventeen times, and have only won once!" As he turned to begin the suite, a voice from the balcony called out, "Play 'The Omen', Jerry!" Goldsmith turned and replied, "You need a choir for that!"

At the conclusion of "The Generals," the audience was on its feet, and Carnegie Hall trembled under the power of the applause, accompanied by many cheers, whistling and cries of "Bravo!" and "Encore!" All the bows were made, and Goldsmith exited, only to return moments later, the applause unending. He again took the podium, and announced, "The Tango from Six Degrees of Separation." This was another first for me, having never seen the film, nor heard its score. At its conclusion was a repeat of the first standing ovation, but this time the conductor seemed a bit flustered as he returned to the podium. "I don't know what to do! We don't have any more material!," he blurted, smiling. "WRITE SOMETHING!!!," the quiet gentleman from Scranton, PA who was sitting directly to my right, called out. (Much laughter.) "Oh, that's a good one!," Goldsmith responded, seeming quite amused by the clever, rapid-fire comeback. After a few moments of page turning, the music from Star Trek: First Contact was repeated as the second encore.

I watched as the crowd of fans began to gather, endeavoring to move backstage to meet Mr. Goldsmith, and I saw them being turned away. I too, had hoped to grab an autograph, but it was not to be. And I didn't care at all.

I had actually spoken to him, and he spoke to me. The circle was complete.

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