Joel Goldsmith

<span class="SFPTagline"> From SCIFIPEDIA </span>

Joel Goldsmith (b. November 19, 1957) is an American composer mainly for film an television programs. Goldsmith is the son of composer Jerry Goldsmith who worked on such films as Planet of the Apes and Star Trek: The Motion Picture. He has five siblings.

1 Career
- 1.1 Stargate
- 1.2 Genre Credits
2 Quotes
3 External Links

Career

Joel began composing for film and television in the late 70s. Early work includes the horror films, Dr. Heckyl and Mr. Hype and Island of Blood as well as Olivia and The Man with Two Brains. He composed his first symphonic score for the Roland Emmerich film Moon 44. He has worked on over 60 films and series, many of them in the scifi genre. Notable non-genre work includes TV series Diagnosis Murder and The Untouchables, the film Shadow of Doubt and the TV movie Helen of Troy.

Stargate

After working with Jonathan Glassner and Brad Wright on The Outer Limits, the two called on him again to score the series Stargate SG-1. Initially, for the first season, he combined his own work with that of David Arnold who scored the film Stargate. As the series developed and grew more distinct from the film he used more original work of his own. Goldsmith worked on SG-1 for the series' ten seasons and will also provide the music for the upcoming TV Miniseries. Though SG-1 has come to an end, he continues to work on Stargate Atlantis.

Genre Credits

Stargate Atlantis (2004 –)
Stargate SG-1 (1997 – 2007)
Witchblade (TV Series) (2001)
Witchblade (movie) (2000)
Chameleon 3: Dark Angel (2000)
Monster! (1999)
Kull the Conqueror (1997)
Children of the Gods: Stargate SG-1 Pilot episode (1997)
Vampirella (1996)
The Outer Limits (1995)
Super Force (1990)
The Rift (1990)
Moon 44 (1990)
Watchers (1988)
The Man with Two Brains (1983)
Olivia (1983)
Island of Blood (1982)
Dr. Heckyl and Mr. Hype (1980)
Star Trek: The Motion Picture (1979) (sound effects creator)
Laserblast (1978)

Quotes

"...And what happened is earlier on, obviously we were a little closer to the film, and especially with the Goa'uld storyline. So a lot of those themes were really quite appropriate to use. Then as we started to add more of our own characters, Thor, et cetera, then I started to develop more themes of my own. Also I didn't want to pound David's themes into the ground. They're very recognizable themes, and they're terrific, but I also didn't just want to just completely bash the audience over the head with them every week."

There's a huge pool of themes to dip into. When you have that much material, you can rely on certain approaches. Everything I have, if it's the Daedalus, I know where to go with the Daedalus. If it's an Asgard, I know where I'm going to go. Now if it's Ori. Do you know what I mean? There's a thematic approach to everything we're doing.