His beautiful chord changes and rich orchestrations are instantly recognisable and so compelling. There were the off-kilter chimes and percussion of Robert Altman's Hollywood satire The Player in 1992, the rich 19th-century Americana idioms of Little Women and the dark, brooding strings of The Shawshank Redemption, which won him dual 1994 Oscar nominations. He won another two Grammys for his theme for the television series Six Feet Under, best instrumental composition and best instrumental arrangement. Newman continued in kind with notable scores for other critically acclaimed films, including the documentary He Named Me Malala, Steven Spielberg's Bridge of Spies, and another James Bond installment, Spectre, all in 2015. An interesting aside — I was interviewing Stewart Copeland for FilmInk magazine, and although we were there to talk about The Police he perked up when I managed to steer the conversation to film music. My personal favourite is Road to Perdition. The composer then returned to Disney Pixar for the highly anticipated sequel to Finding Nemo, 2016's Finding Dory.
Newman received further Academy Award nominations in successive years for his work on Road to Perdition 2002 , Finding Nemo 2003 , and Lemony Snicket's A Series of Unfortunate Events 2004. Newman has received a total of ten Academy Award nominations, although as of 2010, he has yet to win the award. His father, Alfred Newman, composed the scores for the Battle of Midway, My Friend Flicka, Song of Bernadette, Gentleman's Agreement, All About Eve, and The Robe. Films including Fried Green Tomatoes, The Rapture, and Scent of a Woman followed before Newman earned a pair of Oscar nominations in 1994 for his work on The Shawshank Redemption and Little Women; a year later, he received another nomination for Unstrung Heroes. Angels in America is one of the most moving scores ever, in my view. In 1983, he broke into the film industry by orchestrating a John Williams cue from Return of the Jedi, composing his first full score, Reckless, the following year. I have all his soundtracks, and mostly agree with you.
I must confess that The Good German really disappointed me. That same year, he provided music for the space drama Passengers, which earned him his 14th Oscar nomination. He was again nominated for an Oscar for the strange ensemble of zither, hurdy-gurdy, psaltery and dulcimer used in Diane Keaton's comedy Unsung Heroes. The more you listen to it, the more layers you find. Once you've become familiar with Thomas Newman's work, it is very easy to distinguish his music, even if you have never heard the piece. The apprentice had previously watched John Williams conduct and record several major scores, including The Towering Inferno and The Poseidon Adventure in the early 1970's. Although most of Newman's early scores were written for electronic instruments, he soon tried using acoustic instruments along with the synthesizers.
The choices are vast, especially considering Newman's facility both with the traditional orchestra and the ever-growing electronic palette. He studied with Jacob Druckman, Bruce MacCombie, and Robert Moore. He grew up not only in the shadow of his father, but also uncles Lionel and Emil. His brother, David Newman, composed the music for Bill and Ted's Excellent Adventure, The Cat in the Hat, Galaxy Quest and Ice Age. Along with father Alfred, uncles Lionel and Emil, cousin Randy, and brother David, film music runs in his blood. From the opening English horn solo of the main theme to the rousing trumpet fanfare, Newman foregoes his usual instrumental experimentation and relies on a beautifully classically orchestrated score.
My Google search for any connection brought me here. I have to say though, 2 more movie scores need to be added. I have no point of contention with anything else on your list, though. This was not mere Mickey Mousing, Newman wrote a full-bodied, exciting and emotional work that is equal to any live action score. Although his early musical theater project Three Mean Fairy Tales was championed by Stephen Sondheim, Newman spent the better part of the late '70s playing keyboards in the rock band the Innocents and the improvisational combo Tokyo 77. Beautifully acted and produced, the story of the March sisters is a timeless one.
As the 1990's dawned, it became clear that Thomas Newman's modus operandi was an endless odyssey in search of just the right sound for each movie. His cousin, Randy Newman, composed the score for Monster's Ink. . Thomas Newman comes from an extremely musical family. Released by DreamWorks, the soundtrack album went on to win a Grammy Award for best score. The reviews and other textual content contained on the filmtracks. Lionel, who succeeded Alfred as music director for Fox, gave Thomas his first scoring assignment on a 1979 episode of television's The Paper Chase.
And I am amazed to learn that he has such a following. The main theme is one I return to an awful lot. While continuing to explore this unorthodox selection of instrumentation in his scores, he has also remained in touch with his orchestral past in impressive works ranging from Road to Perdition in 2002 to his James Bond debut for Skyfall in 2012. Of course, my own rankings would be different, and I might drop one or two of your choices and substitute my own, but such is the nature of personal opinion. I think it was because it defied any expectations of what I thought an animated score should sound like. He seamlessly blends orchestra with synthesized instruments, and instinctively adds elements of classical music, jazz, and popular music.
Newman is one of my favorites movie scorer, his scores are full of sensitivity and gorgeous melodic colors. Through that connection, Newman was responsible for orchestrating Darth Vader's death scene cue for Return of the Jedi in 1983, although Newman claims that Williams' composition was so complete that his own influence on the task was minimal. Meet Joe Black is very much worth listening to although, unlike Oscar and Lucinda, not so much worth seeing. He surprises you and always brings creativity to his work. It happened to me, throughout my childhood i kept loving music for some films and it turns out when i got into it and started finding out the scorers, thomas newman was in all of my favorite ones.
I listen to it time and again. A classical training, inspired by Newman's desire to master the piano and violin, led to an informal Hollywood apprenticeship in the early 1980's due his family ties with his uncle Lionel, who was head of music at Fox during Thomas' high school and college years. Thomas completed his academic work at Yale and graduated with a masters degree in composition. It seems he hit a really amazing stride in that period of his work. Newman once again artfully weaves together his signature instrumental experimentations with Americana harmonies appropriate for this mob tale set in Depression-era Chicago.
A stunning piece of work from beginning to end. Plus it has one kickass set of end titles link above. The whole retro premise and the thought of Thomas writing a score in Alfred vein really got me excited; the end product, however, left me a bit cold. Biography Thomas Montgomery Newman born October 20, 1955 is an American composer and conductor, best known for his many film scores. But the good thing about movie music is that oftentimes you defeat those fears and it teaches you something basic about your nature. How To Make An American Quilt 7.