Thomas Newman

"The great thing about doing movie music is that you find out what you're capable of. You may think you're incapable of producing a certain rhythm, but it's your job to solve that problem. If you open your mind, an idea will lead you to the next one." -Thomas Newman

There’s no doubt that filmmaking is a collaborative effort, as there are hundreds of crew members on a standard mainstream film; from wardrobe, to assistant directors, grip, make-up, producers, etc. But the entire production isn’t all said and done until the composer adds his or her final cues. Some music is used as underscore (much like what Carter Burwell and Cliff Martinez do so brilliantly), some full-on hyper operatic unhinged craziness (Hanz Zimmer,  Harry Gregson-Williams), and some pieces truly support the story where words and imagery need a slight boost. That’s where 10 time Oscar-nominated composer Thomas Newman comes in – he brings a bit of both to the table, however, generally pulls back the power during the heavily orchestrated movements. Newman has found a sound that’s both familiar and fresh, as he allows the viewer to feel vulnerable and cushioned at the same time.  How does he do it? He’s an illusionist. The language he uses is that of a similar feeling of being on a roller-coaster – except when you’re on the Newman ride, four inches in front of you is total darkness.  Occasionally he might allow you to see a bit further down the track, just let you know you’re safe; maybe using some strings, chimes and a piano, but then he’ll suddenly bring you in a new direction. 

Newman and director Sam Mendes

A lot of the descriptions above could be used for several composers, especially ones that have been working for years. They’ve come accustomed to a certain style, much like seasoned filmmakers, and at times it can be both amazing and stale. Newman, while staying true to what any particular film demands and what he personally loves, has something original to say with every score he writes. This weekend while you’re watching The Shawshank Redemption, pay close attention to the score; it’s beautiful, haunting, epic, fun, emotional and above all, behind every note, a true sense of hope. 

His credits include: The People Vs. Larry Flynt, American Beauty, The Green Mile, Erin Brockovich, In The Bedroom, Road to Perdition, Finding Nemo, Jarhead and Wall-E. Currently his work can be heard in the just released film The Adjustment Bureau, now playing at Willow Creek.

For more information about Newman, and the complete list of film credits, go to: http://en.wikipedia.org/wiki/Thomas_Newman


-Justin Christopher Ayd | WC12