Originally I was supposed to do Grand Prix, but I was under contract to 20th Century Fox at that time and Alex North was supposed to do Sand Pebbles, but he got sick, so Fox preempted me out of Grand Prix, and to my good fortune, I got to do Sand Pebbles. It was my first time working with Robert Wise and it was a great experience.

I like the variety. But basically my choice of films is a small intimate film. Quiet film, no action, just people in relationships. That's what I like the most.

Sounds mean nothing without music.

Jerry Goldsmith is an artist who meets all the demands upon the composer in films. He communicates, integrates, subordinates, supports, and designs with discipline.

I think that the great part of creativity is overcoming fear. Fear is a given. When you sit down and have to begin something, don't be afraid to be filled with fear, because it goes with the turf.

You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account.

Originally I was supposed to do Grand Prix, but I was under contract to 20th Century Fox at that time and Alex North was supposed to do Sand Pebbles, but he got sick, so Fox preempted me out of Grand Prix, and to my good fortune, I got to do Sand Pebbles. It was my first time working with Robert Wise and it was a great experience.