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THOMAS NEWMAN

General Discussions » THOMAS NEWMAN (Posts 1 to 30 of 1265)

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      CommentAuthorBobdH
    • CommentTimeDec 1st 2007 edited
    Surely a topic about Tommie couldn't miss at The Best Score Board Ever! It's the master of melancholy!

    With WALL-E (way) ahead of us, and hopefully a release of Alan Ball's feature film directorial debut Nothing Is Private coming our way (someday), I'm sure there'll be enough to discuss about. Even if it's just the things he has done already, or, heck, even Michael Moore's Sicko (which uses a surprising amount of his older works) cool

    So, now we're at it: will there be a release of Nothing Is Private? Does anyone happen to have heard anything of it?
  2. Also onfirmed about a week ago, he's scoring "Revolutionary Road".
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
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      CommentAuthorBobdH
    • CommentTimeDec 9th 2007 edited
    From a report of the first restscreenings of WALL-E:

    As the film was a work in progress, the score was a temp track amalgam of John William's scores including some Star Wars cues (very subtle, discrete ones), some Superman music, music from Star Trek 2, Punch Drunk-Love (!!!), Brazil, and a few other films, but it worked so brilliantly I would almost rather see the film released that way, despite the inability to do so. I believe there were even a few bits and pieces of Gabriel Yared's score from The Lives of Others.

    Source: http://blog.oregonlive.com/madaboutmovi … mgomg.html

    lick

    Overall, all the reports are very positive, but then again, a testscreening always is; everybody seems influenced by 'the total awesomeness of watching a testscreening of a huge movie'.
  4. So, who wants to call it? What to call? He'll probably be asked to mimic the temp tracks.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  5. It's Newman. Even if he does copy the temp-track it's a Thomas Newman score. His voice is too strong.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorDemetris
    • CommentTimeDec 9th 2007
    Agree with that.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBobdH
    • CommentTimeDec 9th 2007 edited
    justin boggan wrote
    So, who wants to call it? What to call? He'll probably be asked to mimic the temp tracks.


    Oh, come on! Doesn't every score get a tempscore first? This list just gives an impression of the direction the directors are going.
  8. Yes and no, Bob. Some directors stick to their temp-track too much, that's what Justin means. I will not go on which composers deal with it too much.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorWyatt
    • CommentTimeDec 9th 2007
    What is a tempscore/temptrack?
  10. In post-production when they edit the movie they put a temporary music track to edit to. It's often other film scores. Reportedly early in the 90s Zimmer's Black Rain would be a popular temp-track.

    Anyway. They edit to this score and with this temporary music track the film comes to the composer. Now the question is what the director does. Some directors fall in love with this asking composer probably along these lines "Do the same, but better/in your own way:". Basically the composer is screwed, because all his work then is nothing more that reworking this music just enough not to warrant a lawsuit. Probably case in point is Greatest Game Ever Played with its main theme, maybe Bates' 300, but then again, Bates didn't care to change (at least Goldenthal and/or his lawyers reacted to it) anything from Titus. Anyhow, then the composer is screwed.

    Some composers through get basic directional information from the temp-track and in my interview, Jeff Danna admitted to find it inspiring. You just get then what the tracks have in common. and expand on the general information. Most recently Mark Isham said that in Crash he got inspiration from temp-track, though he didn't really rip it off (and no, he didn't). Temp-track infliuences feature John WIlliams, reportedly Mancina's Training Day influenced the modern urban sound in movies...
    http://www.filmmusic.pl - Polish Film Music Review Website
  11. It's been a bit quiet this year from Newman. Considering he wrote two of the best scores from the last award season, it's a shame. GOOD GERMAN in particular was a fantastic score.
    A butterfly thinks therefore I am
  12. PawelStroinski wrote
    Basically the composer is screwed, because all his work then is nothing more that reworking this music just enough not to warrant a lawsuit.


    While that can certainly happen, one of the main reasons it does happen is that a director (and usually the editor) have a responsibility to guarantee the version of the film that works best for them. And very often when you edit a scene to the right piece of music, it has all sorts of congruencies and subtle hits that are just right. You don't want something else, you want that piece of music. More than once I've kept a temp track because without hiring an experience Hollywood composer, I was not going to get anywhere near the same results from composers just starting out.

    This approach does become a problem however when a score is made up of pieces that fit individual scenes, but make for a very incoherent overall musical story. This is why it's easy to get away with an entirely temp-based music track in a short film (as there's less to track in, and a greater chance you'll be able to cover it with source material from one album). It's harder in a feature, if the results I've seen in some films are anything to go by.
    A butterfly thinks therefore I am
  13. Yes, but really. A talented and inspiring composer can deal with hitting the point, even if basing that on the way the temp works *without* copying the thematic material, what happens most often in a case of temp-track love...

    And what the hell is a synchronization point? I can't find it anywhere!
    http://www.filmmusic.pl - Polish Film Music Review Website
  14. PawelStroinski wrote
    Yes, but really. A talented and inspiring composer can deal with hitting the point, even if basing that on the way the temp works *without* copying the thematic material, what happens most often in a case of temp-track love...


    I agree that the film composers we admire seem very skilled at this. My experience is though that the film composers I know for the most part aren't. Their composition is usually at a stage where it can only paint the simplest of emotional responses onto a film. In the land of unpaid volunteer work that is low-budget startout film-making, you get what you pay for. Nearly always when I'm editing a film, I try and make a temp track that is as good as possible, in the hope that it will raise the bar (mind the pun) for those handling the music.

    And what the hell is a synchronization point? I can't find it anywhere!


    I didn't use this term, but normally this will be a 'hit', a point where music connects to the image almost like a quasi-sound effect.
    A butterfly thinks therefore I am
  15. I want to amend my earlier comment as I am told it doesn't sound like his score is mimicing hte temp (yes, it's recording, or at least some of it is).

    New trailer: http://www.youtube.com/watch?v=5bc3FBIpdbk



    I am now worried of score rejection, but maybe Pixar has higher standards in that area.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorBregt
    • CommentTimeDec 18th 2007
    Why worried?

    I don't see why we should worry anyway. Newman can handle every genre and now he will do again, and I'm looking forward to hear his music for this movie.
    Kazoo
    •  
      CommentAuthorBobdH
    • CommentTimeDec 18th 2007 edited
    How about: it's possible to have a tempscore and not copy it, with the director also not wanting him to do so? Pullease, Newman knows better than that, and have some faith in the director. Finding Nemo has a very original score. And looking at the way Pixar works, I honoustly don't think they'll reject his score.
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      CommentAuthorSteven
    • CommentTimeDec 18th 2007 edited
    It's not Justin's fault he lives in a world of hatred, betrayal and spite... perhaps the reason he gravitates towards rejected scores so much? wink
  19. Steven, is your last name Freud? biggrin
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeDec 19th 2007
    PawelStroinski wrote
    Steven, is your last name Freud? biggrin


    It IS!

    He won't admit it and has delussions that he's the love child of Danny Elfman.....FACT! shocked biggrin
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorDemetris
    • CommentTimeMar 6th 2008
    Is this Newman or a (yet another) ripoff?

    http://www.youtube.com/watch?v=t_dLklSjuEA
    Love Maintitles. It's full of Wanders.
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      CommentAuthorScribe
    • CommentTimeMar 6th 2008
    I think this is one of the most unique set of posts I've ever seen at MainTitles.
    I love you all. Never change. Well, unless you want to!
    • CommentAuthorTimmer
    • CommentTimeMar 6th 2008
    Scribe wrote
    I think this is one of the most unique set of posts I've ever seen at MainTitles.



    It may be? Might be? Possibly? Not improbably? Could be....no?

    spin
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  24. Justin can always claim to have predicted a score rejection, because he predicts most scores will be rejected at the slightest whiff of the usual reasons. It's like if I always say the Dow Jones index is going to go up, I will be right on all the days when it does. cool
    A butterfly thinks therefore I am
  25. From Pixar:

    Oh, and as with most films these days, Wall-E's music is being recorded "to disk" instead of "to tape" (Ratatouille was actually done to analog tape instead of disk because of the composer's fondness for old analog sound).


    Hi everyone. We just finished another group of Wall-E scoring sessions these past three days, and I'm getting more and more impressed the more I see of this movie. As I said before, I will NOT divulge any spoilers (it's bad form and not my place), but will give you an idea of what the sessions were like.

    As usual, they took place at Sony Pictures Studios. On Tuesday we started out by going back to a couple of cues we did back in October that needed to be re-done due to changes (the scenes had been lengthened), then went onto the new stuff. Back in October the cues only had titles on the page, but no numbers yet (such as 3M1 or 4M2 for example) because at the time they didn't know the final order of everything. Now though, all the cues had numbers as well as titles.

    Up on the screen the scenes were still in various stages of completion. Some parts looked fully rendered, while others were still only half finished. As you can see in the previews, the humans are quite large -- and what's really funny is to see the human characters before they've been fully rendered. In this stage of being unfinished, they're all white (no clothes, and even the skin is white) -- and look like huge Stay Puffed Marshmallow Men. The only other comment I'll say is that all you A-113 fans out there will definitely smile.

    As with the previous sessions last year, it's a nice large orchestra (especially winds and strings). The music is really good, and matches the film nicely. Many of the cues had prelays (in this case, existing electronic music and effects) that will be combined with the orchestra in the final mix. On Wednesday some cameramen came in to take pictures and do a bit of filming... so who knows, maybe when the DVD gets released there will be some shots of us.

    Everyone at Pixar was incredibly friendly. On Tuesday the director came out to say they'd be treating us to lunch the next day -- and then catered a great meal of salmon and beef outside the stage, joining us for lunch. And even though the sessions aren't over yet (there's still more in the future), everyone got a Wall-E poster signed by the director (with a tiny Wall-E sketch next to the signature).

    I have to say that I'm just blown away at how the Pixar artists can make inanimate objects like robots so incredibly expressive. It's a testament to their artistic ability... and that extends to the writing as well. Today there was a scene where everyone in the room just completely cracked up laughing upon seeing it on the screen during playback. The movie's not finished yet, but I can hardly wait to see it in its completed form. Only three more months!

    (Mar 21, 2008)
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
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      CommentAuthorSouthall
    • CommentTimeMar 25th 2008
    Someone wrote
    The music is really good, and matches the film nicely.


    Don't tell John Barry!
    http://www.movie-wave.net | http://facebook.com/moviewave
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      CommentAuthorDemetris
    • CommentTimeMar 25th 2008
    biggrin
    Love Maintitles. It's full of Wanders.
  28. WALL-E soundtrack release:

    http://www.amazon.com/dp/B0017LFKMY

    24th June
    •  
      CommentAuthorBobdH
    • CommentTimeApr 12th 2008
    Antineutrino wrote
    WALL-E soundtrack release:

    http://www.amazon.com/dp/B0017LFKMY

    24th June


    shocked confused

    I checked yesterday evening! I wanted to be the first! Why you... crazy

    wink
    •  
      CommentAuthorDemonStar
    • CommentTimeApr 12th 2008
    Nothing much to see there yet tongue Though I'm interested about what's coming...

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