#38.	Mulan
#43.	Star Trek: First Contact
#62.	Air Force One
#87.	The 13th Warrior
#97.	First Knight
#99.	Star Trek: The Motion Picture

#15.	The Russia House
#19.	Hoosiers
#42.	Star Trek: The Motion Picture
#80.	Under Fire
#82.	The Shadow
#83.	Mulan
#91.	The 13th Warrior
#93.	The Omen
#97.	The Ghost and the Darkness
#98.	The Wind and the Lion

•	Patton
•	The Wind and the Lion
•	The Omen
•	Star Trek: The Motion Picture
•	Under Fire
•	Hoosiers
•	Lionheart
•	The 'Burbs
•	The Russia House
•	Rudy
•	The Shadow
•	The Ghost and the Darkness

•	Jerry Goldsmith Suites and Themes (1988 compilation of re-recordings)
•	The Jerry Goldsmith SPFM Tribute (1993 compilation of rare scores)
•	Frontiers (1997, The Royal Scottish National Orchestra)
•	The Omen: The Essential Jerry Goldsmith Collection (1998, The City of Prague Philharmonic)
•	The Film Music of Jerry Goldsmith (2001, The London Symphony Orchestra)
•	Jerry Goldsmith at 20th Century Fox (2004, limited 6-CD set)
•	Amazing Stories (1985 television series)

"I just adore English Orchestras. This is the third film I've been with an English Orchestra. I've done a record album over here, and The Blue Max with a 100 man symphony orchestra, and I did Sebastian, which was a jazz-type pop thing. Now on this I'm using 85 men in the orchestra for The Sand Pebbles... it's a dream, like driving a Rolls-Royce, to conduct an orchestra like that." - 1969, on recording in England

"The discipline and the friendly attitude, I find them friendlier than American musicians. The orchestras in America, they look at you... and you feel defeated straight away. I'll do maybe three concerts with them... they really are conductor killers. Sometimes they are very intimidating, and I think, why am I doing this, I don't need this animosity but that's the way the orchestras are back home. I've been here so many times that I know many of the musicians personally." - 1989, once again on English musicians

"I didn't really concentrate that much on the games, I was really trying to sum up the whole emotional feeling, whether they were winning or losing. You know this little team comes from nowhere, and they get better and better and better. It was just a matter of keeping an emotional spirit through the whole montage of games." - 1986, on Hoosiers

"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." - 1998, on his choice of films to score

"Total Recall was some of the best music I've written for a film. I was really impressed with myself, even though I rarely listen to what I've finished. I'd written enough notes in that score for a Bruckner symphony! After that, I wanted a change from all of the action films I'd been doing. I realized that I wanted to do 'people' pictures again, and held out until I got The Russia House, Sleeping with the Enemy, and Love Field, movies where I could get lyrical again. The Russia House is now my favorite score, while my work for Medicine Man has some very lyrical moments." - 1992, commenting on his favorite works

"My wife has them all in a vault... a copy of every album." - 1981, on collecting his own albums

"I'm glad that [collectors] like that exist because they buy records. But I sometimes wonder if an avid collector like Ford Thaxton has a life." - 1995, on others collecting his albums

"I've been using the Mac [computer] solely for years, and got very comfortable with it." - 1990, on his choice of equipment

"I think [James Horner] is a bit eclectic. But then again, at times we've all helped ourselves to the work of others." - 1998, on Horner's Academy Award win for Titanic

"I was very excited about being involved with anything with Spielberg. With Spielberg, probably more than any other director, there's a tremendous amount of discussion. He's very articulate about music, and one can discuss for hours about approaches. Anything I did was not on my own volition, it was a joint effort in that we both agreed what we were trying to do with the music for the picture." - 1982, on Poltergeist