Miles Goodman (June 11 1950 – August 16 1996) was an American film composer best known for his work on a series of commercially successful comedies and family films during the 1980s and early 1990s.
Early life and education
Goodman was born in New York City. Details regarding his family background and formal musical education are limited in publicly available sources, though he pursued studies that prepared him for a career in composition and film scoring.
Career
Goodman's professional activity as a composer began in the early 1980s. He quickly established a reputation for crafting light‑hearted, melodic scores that complemented the comedic tone of the films he worked on. Notable projects include:
- Dirty Rotten Scoundrels (1988) – a comedy starring Steve Martin and Michael Caine, for which Goodman provided a whimsical, orchestral score.
- Little Nemo: Adventures in Slumberland (1992) – an animated feature in which Goodman combined whimsical themes with adventurous orchestration.
- The Associate (1996) – a comedy starring Whoopi Goldberg, showcasing Goodman’s continued collaboration with major studio productions.
Goodman frequently collaborated with producers and directors who specialized in comedy, and his music was characterized by its clarity, upbeat rhythms, and use of traditional orchestral instrumentation balanced with contemporary elements.
Awards and recognition
Goodman's work on Dirty Rotten Scoundrels earned him a nomination for the Grammy Award for Best Instrumental Composition Written for a Motion Picture, Television or Other Visual Media. He was also recognized within industry circles for his contributions to film music during a period when comedy scoring was gaining greater artistic attention.
Death
Miles Goodman died of a heart attack on August 16 1996 in Los Angeles, California, at the age of 46. His death was noted in trade publications, and his passing was regarded as a loss to the film‑scoring community.
Legacy
Although his career was relatively brief, Goodman’s scores remain associated with the lighter side of late‑20th‑century American cinema. His music continues to be referenced by scholars examining the evolution of comedic film scoring and the role of melodic orchestration in mainstream Hollywood productions.