Jerry Goldsmith was a gateway for so many into the wild world of film music. His scores were inventive, powerful, and totally unique. If his blend of orchestral muscle and sonic curiosity hooked you, these five composers will prove why you were right
to stay.
Elliot Goldenthal: The Avant-Garde Acolyte
If you love Goldsmith's willingness to push the orchestra to its breaking point, Elliot Goldenthal is your man. His style is dense, often atonal, and thrillingly aggressive. It’s no coincidence he scored 'Alien 3' after Goldsmith was initially involved; the musical DNA is there. Goldenthal’s work blends orchestral, jazz, and electronic styles, creating soundscapes that are both cerebral and visceral. For a taste of his genius, listen to his scores for 'Interview with the Vampire' or 'Titus'. He combines tonal and atonal harmony in a way that feels like a direct, if more chaotic, successor to Goldsmith’s groundbreaking work on 'Planet of the Apes'.
Christopher Young: The Master of Grand-Scale Terror
Jerry Goldsmith was a master of horror, turning scores for 'The Omen' and 'Poltergeist' into iconic works of terror. Christopher Young operates in that same grand tradition. While known for horror, including classics like 'Hellraiser' and 'Drag Me to Hell', his skill isn't just about scares; it's about the sheer size and complexity of his orchestral writing. Young can build a sense of dread with massive, intricate orchestrations that few can match, much like Goldsmith did. But he’s not a one-trick pony, with acclaimed scores for dramas like 'The Hurricane' and action films like 'Spider-Man 3', showcasing a versatility that would make Jerry proud.
Bear McCreary: The Passionate Protégé
Few modern composers cite Jerry Goldsmith as a direct influence as openly and passionately as Bear McCreary. He explicitly credits Goldsmith for pushing boundaries and looking for unusual instruments, a trait McCreary has adopted in his own work on shows like 'Black Sails' with its signature hurdy-gurdy. McCreary understands the core of Goldsmith's genius: powerful, memorable themes combined with sonic experimentation. You can hear it in his propulsive, thematic work for 'Battlestar Galactica' and his epic monster music for 'Godzilla: King of the Monsters', both of which feel like a direct spiritual continuation of Goldsmith’s legacy.
Marco Beltrami: The Student Who Carried the Torch
Marco Beltrami didn't just admire Jerry Goldsmith; he was a student of his at USC. Beltrami even said that Goldsmith taught him the importance of being economical, citing how 'The Omen' was built on just three notes. This philosophy shines through in Beltrami's own work. He is known for using unconventional instruments and creating incredible tension, especially in his scores for 'Scream' and 'A Quiet Place'. Like his mentor, Beltrami can handle blockbuster action ('Logan') and intense thrillers with a style that is both intellectually rigorous and emotionally gripping, blending modern techniques with classic orchestral power.
Michael Giacchino: The Keeper of the Flame
When J.J. Abrams rebooted 'Star Trek', he tasked Michael Giacchino with following in the footsteps of a giant—Jerry Goldsmith, whose score for 'Star Trek: The Motion Picture' is legendary. Giacchino succeeded by honoring the spirit of the franchise while forging his own path, blending high-energy action with heartfelt character moments. His work across 'Star Trek', 'Lost', and 'The Incredibles' shows a Goldsmith-like ability to write soaring, instantly hummable themes that are also capable of incredible dramatic depth. He balances blockbuster bombast with genuine emotion, making him one of the truest modern heirs to Goldsmith's throne.
