Great soundtrack composers
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Ramin Djawadi is an Iranian-German film score composer known for composing the hit HBO series Game of Thrones and the Marvel films Blade: Trinity, Iron Man and Eternals. He also composed Clash of the Titans, A Wrinkle in Time, Pacific Rim, Westworld, Gears of War 4 and 5, Medal of Honor, Open Season 1 and 2, Jack Ryan and Warcraft. He won two Emmy Awards for Game of Thrones.- Composer
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Bear McCreary is a degreed graduate of the prestigious USC Thornton School of Music (in 'Composition and Recording Arts'). Bear McCreary was one of a small and select group of proteges of the late, many-honored film composer Elmer Bernstein. Although he is now firmly in the mainstream of film composition, many of McCreary's earliest soundtrack-music compositions were for independent motion picture productions.- Composer
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Murray Gold has been nominated for a BAFTA six times in the category Best Original Television Music, for Vanity Fair (1999), Queer as Folk (2000), Casanova (2006), Doctor Who (2008) and A Very English Scandal (2019). His score for the BAFTA winning film Kiss of Life was awarded the Mozart Prize of the 7th Art by a French jury at Aubagne in 2003. He has also been nominated five times by the Royal Television Society in categories relating to music for television, winning twice.
Murray has worked extensively with writer/director Russell T Davies on projects such as A Very English Scandal (starring Hugh Grant), Casanova (starring David Tennant), The Second Coming (starring Christopher Eccleston), Cucumber and Queer as Folk, series 1 and 2. He has also scored the C4 period drama The Devil's Whore, the BBC series The Musketeers, BBC Natural History series Life Story, the crime drama Scott & Bailey and wrote the theme tune for the Channel 4 hit series Shameless. More recently Murray scored Lookout Point's upcoming 8-part drama Gentleman Jack for BBC One and HBO.
Between 2005 and 2018, Murray served as musical director for the wildly successful re-imagining of the BBC's Doctor Who. In this capacity, he created a new arrangement of the show's theme (originally composed by Ron Grainer) and composed the score for 10 entire series. Murray also created, arranged and orchestrated three special live concerts for the music from Doctor Who. The first, Doctor Who: A Celebration, was played at the Millennium Centre in Cardiff in 2006; the second, the 2008 Doctor Who Prom, was part of the BBC Proms on 24 July 2008 at the Royal Albert Hall in London; the third, the 2010 Doctor Who Prom, was part of the BBC Proms hold in 2010 at the Royal Albert Hall again. In March 2010, Murray's Doctor Who soundtrack entered UK radio station Classic FM's Hall of Fame as that year's second highest new entry.
Gold has scored a number of British and American films, including Death at a Funeral directed by Frank Oz and Mischief Night, directed by Penny Woolcock. Other projects include 2006's film Alien Autopsy and the 2009 drama feature Veronika Decides to Die.
In 2001, his radio play Electricity was given the Imison Award - named after former BBC radio drama script editor Richard Imison - for best new. It subsequently transferred to the West Yorkshire Playhouse and was performed with Christopher Eccleston in the lead role. Others of his plays include 50 Revolutions performed by the Oxford Stage Company at the Whitehall Theatre, London in 2000 and Resolution at Battersea Arts Centre in 1994. Gold also wrote the radio play Kafka: The Musical, broadcast on Easter Sunday 2011 on BBC Radio 3, starring David Tennant. It won the 2013 Tinniswood Award for the Best Original Radio Drama.- Music Department
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German-born composer Hans Zimmer is recognized as one of Hollywood's most innovative musical talents. He featured in the music video for The Buggles' single "Video Killed the Radio Star", which became a worldwide hit and helped usher in a new era of global entertainment as the first music video to be aired on MTV (August 1, 1981).
Hans Florian Zimmer was born in Frankfurt am Main, then in West Germany, the son of Brigitte (Weil) and Hans Joachim Zimmer. He entered the world of film music in London during a long collaboration with famed composer and mentor Stanley Myers, which included the film My Beautiful Laundrette (1985). He soon began work on several successful solo projects, including the critically acclaimed A World Apart, and during these years Zimmer pioneered the use of combining old and new musical technologies. Today, this work has earned him the reputation of being the father of integrating the electronic musical world with traditional orchestral arrangements.
A turning point in Zimmer's career came in 1988 when he was asked to score Rain Man for director Barry Levinson. The film went on to win the Oscar for Best Picture of the Year and earned Zimmer his first Academy Award Nomination for Best Original Score. The next year, Zimmer composed the score for another Best Picture Oscar recipient, Driving Miss Daisy (1989), starring Jessica Tandy, and Morgan Freeman.
Having already scored two Best Picture winners, in the early 1990s, Zimmer cemented his position as a preeminent talent with the award-winning score for The Lion King (1994). The soundtrack has sold over 15 million copies to date and earned him an Academy Award for Best Original Score, a Golden Globe, an American Music Award, a Tony, and two Grammy Awards. In total, Zimmer's work has been nominated for 7 Golden Globes, 7 Grammys and seven Oscars for Rain Man (1988), Gladiator (2000), The Lion King (1994), As Good as It Gets (1997), The The Preacher's Wife (1996), The Thin Red Line (1998), The Prince of Egypt (1998), and The Last Samurai (2003).
With his career in full swing, Zimmer was anxious to replicate the mentoring experience he had benefited from under Stanley Myers' guidance. With state-of-the-art technology and a supportive creative environment, Zimmer was able to offer film-scoring opportunities to young composers at his Santa Monica-based musical "think tank." This approach helped launch the careers of such notable composers as Mark Mancina, John Powell, Harry Gregson-Williams, Nick Glennie-Smith, and Klaus Badelt.
In 2000, Zimmer scored the music for Gladiator (2000), for which he received an Oscar nomination, in addition to Golden Globe and Broadcast Film Critics Awards for his epic score. It sold more than three million copies worldwide and spawned a second album Gladiator: More Music From The Motion Picture, released on the Universal Classics/Decca label. Zimmer's other scores that year included Mission: Impossible II (2000), The Road to El Dorado (2000), and An Everlasting Piece (2000), directed by Barry Levinson.
Some of his other impressive scores include Pearl Harbor (2001), The Ring (2002), four films directed by Ridley Scott; Matchstick Men (2003), Hannibal (2001), Black Hawk Down (2001), and Thelma & Louise (1991), Penny Marshall's Riding in Cars with Boys (2001), and A League of Their Own (1992), Tony Scott's True Romance (1993), Tears of the Sun (2003), Ron Howard's Backdraft (1991), Days of Thunder (1990), Smilla's Sense of Snow (1997), and the animated Spirit: Stallion of the Cimarron (2002) for which he also co-wrote four of the songs with Bryan Adams, including the Golden Globe nominated Here I Am.
At the 27th annual Flanders International Film Festival, Zimmer performed live for the first time in concert with a 100-piece orchestra and a 100-voice choir. Choosing selections from his impressive body of work, Zimmer performed newly orchestrated concert versions of Gladiator, Mission: Impossible II (2000), Rain Man (1988), The Lion King (1994), and The Thin Red Line (1998). The concert was recorded by Decca and released as a concert album entitled "The Wings Of A Film: The Music Of Hans Zimmer."
In 2003, Zimmer completed his 100th film score for the film The Last Samurai, starring Tom Cruise, for which he received both a Golden Globe and a Broadcast Film Critics nomination. Zimmer then scored Nancy Meyers' comedy Something's Gotta Give (2003), the animated Dreamworks film, Shark Tale (2004) (featuring voices of Will Smith, Renée Zellweger, Robert De Niro, Jack Black, and Martin Scorsese), and Jim Brooks' Spanglish (2004) starring Adam Sandler and Téa Leoni (for which he also received a Golden Globe nomination). His 2005 projects include Paramount's The Weather Man (2005) starring Nicolas Cage, Dreamworks' Madagascar (2005), and the Warner Bros. summer release, Batman Begins (2005).
Zimmer's additional honors and awards include the prestigious Lifetime Achievement Award in Film Composition from the National Board of Review, and the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival. He has also received ASCAP's Henry Mancini Award for Lifetime Achievement. Hans and his wife live in Los Angeles and he is the father of four children.- Music Department
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As one of the best known, awarded, and financially successful composers in US history, John Williams is as easy to recall as John Philip Sousa, Aaron Copland or Leonard Bernstein, illustrating why he is "America's composer" time and again. With a massive list of awards that includes over 52 Oscar nominations (five wins), twenty-odd Gold and Platinum Records, and a slew of Emmy (two wins), Golden Globe (three wins), Grammy (25 wins), National Board of Review (including a Career Achievement Award), Saturn (six wins), American Film Institute (including a Lifetime Achievement Award) and BAFTA (seven wins) citations, along with honorary doctorate degrees numbering in the teens, Williams is undoubtedly one of the most respected composers for Cinema. He's led countless national and international orchestras, most notably as the nineteenth conductor of the Boston Pops Orchestra from 1980-1993, helming three Pops tours of the US and Japan during his tenure. He currently serves as the Pop's Conductor Laureate. Also to his credit is a parallel career as an author of serious, and some not-so-serious, concert works - performed by the likes of Mstislav Rostropovich, André Previn, Itzhak Perlman, Yo-Yo Ma, Gil Shaham, Leonard Slatkin, James Ingram, Dale Clevenger, and Joshua Bell. Of particular interests are his Essay for Strings, a jazzy Prelude & Fugue, the multimedia presentation American Journey (aka The Unfinished Journey (1999)), a Sinfonietta for Winds, a song cycle featuring poems by Rita Dove, concerti for flute, violin, clarinet, trumpet, tuba, cello, bassoon and horn, fanfares for the 1984, 1988 and 1996 Summer Olympics, the 2002 Winter Olympics, and a song co-written with Alan Bergman and Marilyn Bergman for the Special Olympics! But such a list probably warrants a more detailed background...
Born in Flushing, New York on February 8, 1932, John Towner Williams discovered music almost immediately, due in no small measure to being the son of a percussionist for CBS Radio and the Raymond Scott Quintet. After moving to Los Angeles in 1948, the young pianist and leader of his own jazz band started experimenting with arranging tunes; at age 15, he determined he was going to become a concert pianist; at 19, he premiered his first original composition, a piano sonata.
He attended both UCLA and the Los Angeles City College, studying orchestration under MGM musical associate Robert Van Eps and being privately tutored by composer Mario Castelnuovo-Tedesco, until conducting for the first time during three years with the U.S. Air Force. His return to the states brought him to Julliard, where renowned piano pedagogue Madame Rosina Lhevinne helped Williams hone his performance skills. He played in jazz clubs to pay his way; still, she encouraged him to focus on composing. So it was back to L.A., with the future maestro ready to break into the Hollywood scene.
Williams found work with the Hollywood studios as a piano player, eventually accompanying such fare such as the TV series Peter Gunn (1958), South Pacific (1958), Some Like It Hot (1959), The Apartment (1960), and To Kill a Mockingbird (1962), as well as forming a surprising friendship with Bernard Herrmann. At age 24, "Johnny Williams" became a staff arranger at Columbia and then at 20th Century-Fox, orchestrating for Alfred Newman and Lionel Newman, Dimitri Tiomkin, Franz Waxman, and other Golden Age notables. In the field of popular music, he performed and arranged for the likes of Vic Damone, Doris Day, and Mahalia Jackson... all while courting actress/singer Barbara Ruick, who became his wife until her death in 1974. John & Barbara had three children; their daughter is now a doctor, and their two sons, Joseph Williams and Mark Towner Williams, are rock musicians.
The orchestrating gigs led to serious composing jobs for television, notably Alcoa Premiere (1961), Checkmate (1960), Gilligan's Island (1964), Lost in Space (1965), Land of the Giants (1968), and his Emmy-winning scores for Heidi (1968) and Jane Eyre (1970). Daddy-O (1958) and Because They're Young (1960) brought his original music to the big theatres, but he was soon typecast doing comedies. His efforts in the genre helped guarantee his work on William Wyler's How to Steal a Million (1966), however, a major picture that immediately led to larger projects. Of course, his arrangements continued to garner attention, and he won his first Oscar for adapting Fiddler on the Roof (1971).
During the '70s, he was King of Disaster Scores with The Poseidon Adventure (1972), Earthquake (1974) and The Towering Inferno (1974). His psychological score for Images (1972) remains one of the most innovative works in soundtrack history. But his Americana - particularly The Reivers (1969) - is what caught the ear of director Steven Spielberg, then preparing for his first feature, The Sugarland Express (1974). When Spielberg reunited with Williams on Jaws (1975), they established themselves as a blockbuster team, the composer gained his first Academy Award for Original Score, and Spielberg promptly recommended Williams to a friend, George Lucas. In 1977, John Williams re-popularized the epic cinema sound of Erich Wolfgang Korngold, Franz Waxman and other composers from the Hollywood Golden Age: Star Wars: Episode IV - A New Hope (1977) became the best selling score-only soundtrack of all time, and spawned countless musical imitators. For the next five years, though the music in Hollywood changed, John Williams wrote big, brassy scores for big, brassy films - The Fury (1978), Superman (1978), 1941 (1979), Raiders of the Lost Ark (1981) ... An experiment during this period, Heartbeeps (1981), flopped. There was a long-term change of pace, nonetheless, as Williams fell in love with an interior designer and married once more.
E.T. the Extra-Terrestrial (1982) brought about his third Oscar, and The River (1984), Empire of the Sun (1987), The Accidental Tourist (1988) and Born on the Fourth of July (1989) added variety to the 1980s, as he returned to television with work on Amazing Stories (1985) and themes for NBC, including NBC Nightly News with Lester Holt (1970). The '80s also brought the only exceptions to the composer's collaboration with Steven Spielberg - others scored both Spielberg's segment of Twilight Zone: The Movie (1983) and The Color Purple (1985).
Intending to retire, the composer's output became sporadic during the 1990s, particularly after the exciting Jurassic Park (1993) and the masterful, Oscar-winning Schindler's List (1993). This lighter workload, coupled with a number of hilarious references on The Simpsons (1989) actually seemed to renew interest in his music. Two Home Alone films (1990, 1992), JFK (1991), Nixon (1995), Sleepers (1996), Seven Years in Tibet (1997), Saving Private Ryan (1998), Angela's Ashes (1999), and a return to familiar territory with Star Wars: Episode I - The Phantom Menace (1999) recalled his creative diversity of the '70s.
In this millennium, the artist shows no interest in slowing down. His relationships with Spielberg and Lucas continue in A.I. Artificial Intelligence (2001), the remaining Star Wars prequels (2002, 2005), Minority Report (2002), Catch Me If You Can (2002), and a promised fourth Indiana Jones film. There is a more focused effort on concert works, as well, including a theme for the new Walt Disney Concert Hall and a rumored light opera. But one certain highlight is his musical magic for the world of Harry Potter (2001, 2002, 2004, etc.), which he also arranged into a concert suite geared toward teaching children about the symphony orchestra. His music remains on the whistling lips of people around the globe, in the concert halls, on the promenades, in album collections, sports arenas, and parades, and, this writer hopes, touching some place in ourselves. So keep those ears ready wherever you go, 'cause you will likely hear a bit of John Williams on your way.- Composer
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Tim Jones was born in 1971 in Mission Viejo, California, USA. He is a composer, known for American Pie Presents: Girls' Rules (2020), Thor: Ragnarok (2017) and Cocaine Bear (2023). He has been married to Evelyn Jones since 1996. They have two children.- Music Department
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Ludwig Göransson is a Swedish composer known for composing Black Panther, the Creed films, Venom, Fruitvale Station, The Mandalorian, The Book of Boba Fett, Turning Red, New Girl, Community, Top Five, Central Intelligence, 30 Minutes or Less and Tenet. He had a son from Serena McKinney, who was married to him since 2018.- Music Department
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David Arnold was born on 23 January 1962 in Luton, England, UK. He is a composer and actor, known for Casino Royale (2006), Independence Day (1996) and Godzilla (1998). He has been married to Ellie Pole since 8 June 1996. They have three children.- Composer
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Composer of the Emmy-winning show Dexter (2006) and hugely popular video games, Silent Hill and Dishonored, one of Daniel Licht's first experiences as a musician resulted in him hanging out with Miles Davis and playing jazz with Don Cherry in New York City. Licht continued to develop as a musician by playing around the world. In Germany, Holland, and Northern Europe he performed and composed music for theatre and dance companies, then Licht went on to Japan and Indonesia where he participated in Gamelan orchestras on the islands of Java and Bali. These travels broadened Licht's definition of music. You may be surprised to know that knives, duct tape, wine glasses, saws, scissors, and even human bones (!) have been used as instruments and recorded at his studio. It was his good friend and colleague, composer Christopher Young, (Spider-Man 3 (2007)), who beckoned Licht west. Once in Hollywood, Licht began collaborating with directors and producers on a variety of projects such as Stephen Kings thriller Thinner (1996), Ben Stiller's drama Permanent Midnight (1998) and the Bradley Cooper comedy Kitchen Confidential (2005).
His irreverent combinations of musical styles soon earned him a reputation as a wholly original composer and he became the favorite of iconoclastic film-makers. He was asked to score The Winner (1996) for Indie icon Alex Cox, while Sundance Film Festival darling Gregg Araki hired him for Splendor (1999) and Oscar-winner Xavier Koller asked Licht to score Cowboy Up (2001). Clive Barker handpicked Licht to score Hellraiser: Bloodline (1996), and ABC selected Licht to compose music for their sleeper hit Body of Proof (2011). NBC requested Licht to score Deception (2013) and contribute additional music for their hit action-thriller The Blacklist (2013).
Most recently Licht completed two seasons for SundanceTV of their dramatic series The Red Road (2014), starring Jason Momoa (Game of Thrones (2011)) and Martin Henderson (The Ring (2002)). He has recently finished the much anticipated video game Dishonored 2 (2016) and the exciting new series Guilt (2016) for ABC Freeform.- Composer
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Carter Burwell was born on 18 November 1954 in New York City, New York, USA. He is a composer and actor, known for Carol (2015), Three Billboards Outside Ebbing, Missouri (2017) and The Banshees of Inisherin (2022). He has been married to Christine Sciulli since 1999.- Composer
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Composer and conductor Alexandre Desplat, Oscar winner and seven-time Academy Award nominated, for his prolific filmography and his collaborations with Stephen Frears, Terrence Malick, Ang Lee, Kathryn Bigelow, Jacques Audiard, Wes Anderson, Roman Polanski, George Clooney or Matteo Garrone is one of the most worthy heirs of the French masters of film music.
Brought up in a cultural and musical mix thanks to his Greek mother and his French father who studied and got married in California, he grew up listening to French symphonists, Ravel or Debussy , world music and jazz.
He studied piano and trumpet before choosing the flute as the main instrument. As a free auditor in Claude Ballif's analysis class at the CNSM, he enriches his classical musical education by studying Brazilian and African music. He will record later with Carlinhos Brown or Ray Lema.
Passionate about film music, it's as much his musical sensitivity as his intimate approach to cinematographic language that will allow his privileged relationship with filmmakers. Inspired by the scores of Maurice Jarre, Bernard Herrmann, Nino Rota or Georges Delerue, it is after hearing the score of John Williams for Star Wars: Episode IV - A New Hope (1977) that he decides to compose exclusively for the big screen.
During the recording of his first feature film he meets violinist Dominique Lemonnier. This is the beginning of an exceptional artistic exchange as she becomes her favorite soloist, artistic director and wife. With his strong sense of interpretation, his creative spirit and his singular violin playing, Solré inspired Alexandre's compositions, influencing his music in depth, initiating a new way of writing for the strings in the cinema.
Collaborator of Jacques Audiard since his first film, he creates for his works strong and singular compositions and he won in 2005 for The Beat That My Heart Skipped (2005) the Silver Bear of the Berlinale, and his first Caesar. He works in France with Philippe de Broca and Francis Girod but Girl with a Pearl Earring (2003) of Peter Webber, his 50th score for the film, he gets a first Golden Globe nomination and BAFTA and began his rise in Hollywood. Leading American career and European collaborations and remaining faithful to his directors, he composes among others Syriana (2005)'s scores of Stephen Gaghan, Birth (2004) of Jonathan Glazer, Coco Before Chanel (2009) by Anne Fontaine, Army of Crime (2009) by Robert Guédiguian, The Heir Apparent: Largo Winch (2008) by Jérôme Salle, Intimate Enemies (2007) or Hostage (2005) by Florent-Emilio Siri.
Prizes and collaborations with the greatest directors follow one another. In 2007, he received his first Oscar nomination for Stephen Frears's The Queen (2006) and won his first European Film Award. The same year, he won the Golden Globe, the Los Angeles Film Critics Association Award, and the World Soundtrack Award for John Curran's score The Painted Veil (2006), performed by pianist Láng Lang. He composed in 2008 for Lust, Caution (2007) by Ang Lee and The Curious Case of Benjamin Button (2008) by David Fincher which will earn him a second Oscar nomination and a fourth Golden Globes and BAFTA nomination.
With his score for The Ghost Writer (2010) by Roman Polanski, he won in 2010 a second César and a second European Film Award. The same year he wrote the music of The Twilight Saga: New Moon (2009) by Chris Weitz, whose album was a platinum record, and Tom Hooper's The King's Speech (2010) for which he won the BAFTA, the Grammy Award, and was nominated for the fourth time at the Oscars and for the fifth time at the Golden Globes.
In 2010-2011 he wrote the music of Harry Potter and the Deathly Hallows: Part 1 (2010) and Harry Potter and the Deathly Hallows: Part 2 (2011) which became the third greatest success of all time. He composed in 2011 nine partitions, The Tree of Life (2011) of Terrence Malick, Carnage (2011) by Roman Polanski, Fantastic Mr. Fox (2009) by George Clooney , which earned him another Oscar nomination, The Well-Digger's Daughter (2011) by Daniel Auteuil and The Ides of March (2011) by George Clooney.
In 2012 he worked with Kathryn Bigelow for Zero Dark Thirty (2012), Matteo Garrone for Reality (2012), Gilles Bourdos for Renoir (2012), Jérôme Salle for Zulu (2013), George Clooney for Moonrise Kingdom (2012) and Jacques Audiard for Rust and Bone (2012) for which he won a third Cesar. For his score of Argo (2012) of Ben Affleck, Oscar for Best Picture, it is named for the sixth time BAFTA, and for the fifth time at the Golden Globes and the Oscars.
He signed in 2013 the partition The Monuments Men (2014) from George Clooney, Venus in Fur (2013) of Roman Polanski, and was appointed to the BAFTAs and the Oscars for Philomena (2013) of Stephen Frears.
In 2014 he composed the music Godzilla (2014) of Gareth Edwards, and receives exceptional fact, two Oscar nominations for The Imitation Game (2014) of Morten Tyldum and The Grand Budapest Hotel (2014) by George Clooney, for which he won a BAFTA, Grammy and Oscar.
Member of the jury of the Cannes Film Festival in 2012, he became in 2014 the first composer President of the jury of the Venice Film Festival. Crowning long years of collaboration, he directed the London Symphony Orchestra in December 2014 for a concert of his works at the Barbican Theater in London.
In 2018, Alexandre Desplat received a second Oscar, a Golden Globe and a BAFTA for The Shape of Water (2017) of Guillermo del Toro.- Composer
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John Murphy is a British film composer from Liverpool. He began composing music scores for films in the early 1990s, working on several successful British movies, enjoying particular success with the soundtracks to Lock, Stock and Two Smoking Barrels (1998) and Snatch (2000).
Since 2000, Murphy has been based in Los Angeles. From here, he has worked with some of the industry's most respected and luminary filmmakers, including Danny Boyle, Stephen Frears and Michael Mann, and produced several prominent and diverse successes, including 28 Days Later, Miami Vice, Sunshine and 28 Weeks Later.- Music Department
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Born on February 10, 1929, Jerry Goldsmith studied piano with Jakob Gimpel and composition, theory, and counterpoint with Mario Castelnuovo-Tedesco. He also attended classes in film composition given by Miklós Rózsa at the Univeristy of Southern California. In 1950, he was employed as a clerk typist in the music department at CBS. There, he was given his first embryonic assignments as a composer for radio shows such as "Romance" and "CBS Radio Workshop". He wrote one score a week for these shows, which were performed live on transmission. He stayed with CBS until 1960, having already scored The Twilight Zone (1959). He was hired by Revue Studios to score their series Thriller (1960). It was here that he met the influential film composer Alfred Newman who hired Goldsmith to score the film Lonely Are the Brave (1962), his first major feature film score. An experimentalist, Goldsmith constantly pushed forward the bounds of film music: Planet of the Apes (1968) included horns blown without mouthpieces and a bass clarinetist fingering the notes but not blowing. He was unafraid to use the wide variety of electronic sounds and instruments which had become available, although he did not use them for their own sake.
He rose rapidly to the top of his profession in the early to mid-1960s, with scores such as Freud (1962), A Patch of Blue (1965) and The Sand Pebbles (1966). In fact, he received Oscar nominations for all three and another in the 1960s for Planet of the Apes (1968). From then onwards, his career and reputation was secure and he scored an astonishing variety of films during the next 30 years or so, from Patton (1970) to Star Trek: The Motion Picture (1979) and from Chinatown (1974) to The Boys from Brazil (1978). He received 17 Oscar nominations but won only once, for The Omen (1976) in 1977 (Goldsmith himself dismissed the thought of even getting a nomination for work on a "horror show"). He enjoyed giving concerts of his music and performed all over the world, notably in London, where he built up a strong relationship with London Symphony Orchestra.
Jerry Goldsmith died at age 75 on July 21, 2004 after a long battle with cancer.- Composer
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Donald Davis is an American film composer and conductor who is known for composing the music of The Matrix trilogy, Enter the Matrix, The Animatrix, SeaQuest 2032, the Beauty and the Beast television series and Jurassic Park III. He did orchestration for films composed by James Horner, Randy Newman and Alan Silvestri.