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CELLULOID page 75
imitating the masters. But
for this, it was perfectly
acceptable. One would lis-
ten to this and say, 'That's
not Goldsmith; that's
Strauss or a ripoff of
Wagner.' But that was all
intentional."
Choosing to work on films
that are very different so he
does not get into a rut, Mr.
Goldsmith composes for
each production by trying to
match music to visual
images he keeps in his
mind.
"I just instinctively know
when I've hit what I think
is the right relationship
between the music and the
visual image, although I'm
not really dealing with the
visual image as much as
the emotional image, which
is non-visual," he
explained.
When the composer/con-
ductor started writing, the
process was much simpler,
with piano, paper and pen-
cil as the range of tools.
Now he uses 30 synthesiz-
"I know when I've
hit the right
relationship
between the music
and the visual
image."
ers, a computer, system and
mixing consoles.
"It was a natural evolu-
tion," he said, "I was inter-
ested in electronics early in
the '60s, and as soon as
something would come
along, I would grab on to
it."
Each film usually has one
theme with variations.
However, he has composed
two or three themes for spe-
cific movies.
"It's all one piece of
architecture," he explained
about the background
melodies. "Music in a film
is not just isolated pieces.
It's all structured and
develops as the story devel-
ops."
One project that had spe-
cial significance for him
was the theme from Ma-
sada," which brought his
fourth Emmy Award in
1981. He will be conducting
this piece during upcoming
concerts in Israel.
"I've worked on film in
Israel, but I've never done
Concerts there," said the
composer, who, along with
his wife, Carol, remains
active with the Anti-
Defamation League in
California. "I remember
going to Masada and being