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Thomas Newman
Birthday: October 20, 1955 in Los Angeles, California, USA
Birth Name: Thomas Montgomery Newman
Height: 178 cm
Thomas Newman is an American film score composer. He was born in Los Angeles. His father was notable film score composer Alfred Newman (1900-1970). The Newman family is of Russian-Jewish descent, and ...Show More
My approach is to deepen the action through subtext as opposed to commenting on the drama, which is Show more
My approach is to deepen the action through subtext as opposed to commenting on the drama, which is what often happens with bad movie music. Audiences tend to resent that. I try to be passive enough as a composer to where I'll realize: 'Oh, I'm stepping all over the actors here.' Hide
I remember a teacher once asked me, what makes music sad? What a brilliant question. His answer was, Show more
I remember a teacher once asked me, what makes music sad? What a brilliant question. His answer was, it takes on the physical qualities of something sad. Meaning if it's sad, a melody will move in step-wise manner. It will tend to be slower as you are when you're sad; it takes on the physical characteristics of an emotional state. Something in the music rings and carries you back to a memory you have that elicits a feeling. I guess what's wonderful about music is that it's utterly abstract and yet has a great kind of sinuous, subjective emotional reaction. I like the idea that music can be dimensional, that it's not necessarily playing what's there. Hide
I think I like smaller [scores] better, because I find more interesting places that the music can go Show more
I think I like smaller [scores] better, because I find more interesting places that the music can go. When you're working with a 90-piece symphony, your interaction with the players is much different. You're standing on a podium and talking to a large number of musicians. So the notion of nuance becomes a group effort and that's a difficult thing to get. I keep thinking of ways to communicate better, to scale down the orchestra's size so it will fit into my ambient palette instead of lying on top of it. Hide
Composing movie music can really only be mastered through experience and much failure on a pragmatic Show more
Composing movie music can really only be mastered through experience and much failure on a pragmatic level. When you write a great piece and your director hates it, what now? You just have to try something else. Or if your director says, 'This scene feels dry and empty without music, but I'm hard-pressed to know what that music should sound like,' that's when you decide: 'Lets slather a lot of musical ideas against the image and see what happens.' Hide
I flew to England to see the rough cut of Les noces rebelles (2008). I was quite moved. As a married Show more
I flew to England to see the rough cut of Les noces rebelles (2008). I was quite moved. As a married man, it's kind of a disturbing to see a couple try so hard to work things out and fail so miserably. How do you suggest hope and hopelessness at the same time? You start thinking along the lines of the lift of a phrase followed by the droop of a phrase. Hide
Bernard Herrmann is my big favorite [score composer]. He created such a strong presence. And having Show more
Bernard Herrmann is my big favorite [score composer]. He created such a strong presence. And having been down that road, I admire his courage. I admire the fact that he had something to say and he took the bull by the horns and said it no matter what. And I like a lot of Jerry Goldsmith's stuff. I thought the score to Chinatown was an exquisite piece of Hollywood writing. And John Williams. Hide
About 8 nominations and 0 wins at the Oscars: Losing makes you strong. I like being the underdog.
About 8 nominations and 0 wins at the Oscars: Losing makes you strong. I like being the underdog.
Regarding hearing a remix of his score to American Beauty (1999): "I was flattered and horrified. We Show more
Regarding hearing a remix of his score to American Beauty (1999): "I was flattered and horrified. We don't own our own music, it's typically owned by the companies that hire you." Hide
I hate the notion that electronics are a cheesy way of doing things and that orchestra is the only ' Show more
I hate the notion that electronics are a cheesy way of doing things and that orchestra is the only 'true' approach to scoring. But you can understand those critics, because electronics allow you to make easy choices. Anyone can do it. But while synthesizers are things you hide behind sounds, they can also be put in places you'd never expect. I've always wanted these boundaries to be amorphous. Hide
No, I've failed seven times - this will be my eighth. (In answer to the statement that he had failed Show more
No, I've failed seven times - this will be my eighth. (In answer to the statement that he had failed to win an Oscar eight times, just prior to the 2007 Academy Awards ceremony) Hide
The great thing about doing movie music is that you find out what you're capable of. You may think y Show more
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. Hide
I feel like I know how to write in a similar style to my dad, but I prefer a score like 'Unstrung He Show more
I feel like I know how to write in a similar style to my dad, but I prefer a score like 'Unstrung Heroes' just because it gives me more of a unique voice. If I were to do a movie about space, I bet just by virtue of musical and dramatic expectations, I would have less of a chance to be original. Music can only follow the movie that it's in. Robert Altman's 'The Player' allowed me a high sense of irony. Other movies aren't so smart and want to go towards the teary middle ground. And if you're being honest to the task you kind of have to follow it there, even though it may not be your taste. You have to make it more of what it is. Hide
On his inspiration for his American Beauty (1999) score: "Sam [Mendes] wanted things that hammered a Show more
On his inspiration for his American Beauty (1999) score: "Sam [Mendes] wanted things that hammered and thwacked a bit. He was interested in percussion and mallet instruments, so I started working on various ideas that involved xylophones and marimbas." Hide
Response to inquiry about working appropriately so that the composer will produce a score in keeping Show more
Response to inquiry about working appropriately so that the composer will produce a score in keeping what the idea in the film director's mind: "I'm more prone to pain avoids... I'd rather be rejected in the workroom than on the podium. There's a moment where the director squares off with the music." Hide
Thomas Newman's FILMOGRAPHY
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as Actor (5)