There are moments when I invoke my dad and think about him on the podium, but in a very positive way. I don't feel at all intimidated by him. I feel like I've found my own voice.
From Thomas Newman
Movie music allows me to work with players as creatively as I can.
What satisfies me most are those nonverbal moments with players, when I sense them thinking and responding. And I think, 'Wow, this is amazing.' Hollywood gives us the money to do this. I want to be grateful for that, and I also don't want to waste it.
There was no way I could not do 'Finding Dory.'
When you go into something like a space movie, you think there's going to be no music or little music.
In 'Saving Mr. Banks,' the challenge was just transitions. Time transitions from 1961 to 1906; how do you follow a character in one environment to another? And sometimes these transitions were quick, so how do you do that?
It's always easy, I think, to raise the importance of a scene through the addition of music. But it's very awkward to end it unless there's a door slam or a gunshot or something that just takes you right out of it.
The thing about the creative process is it's so chaotic.
We're all shocked by new ideas, and we're less shocked when we hear them again. And less shocked when we hear them a third time.
My father used to say it was just there, the opportunity. It was all teed up for him. The talkies were starting, and here was Hollywood waiting for people to come from New York who had the training, who could do music with a sense of dramatic context.
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