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Thomas newman - revolutionary road

We're surely getting far less from this composer than we should. American Beauty like, but a bit more developed, a bit more mature and certainly less depressing.

When is he going to do a large orchestral score again? Is there anything coming up from him? He's still one of my favourite composers. I was listening to The Horse Whisperer lately, and while not in the upper range of his output, it has some extra ordinary tracks. The violin and cello (or other strings) play in The Accident for example!

I'm being very repetitive right now, but....

WERD! QFT!!!!

There's not much electronica in there, really. It's not like it's a Tony Scott movie.

Sometimes it does seem like a Tony Scott score, I'm afraid. And I don't want a half-epic love rescue story to sound like Spy Game

It's a Horner epic score, with all the pluses and minuses this implies. Still, if we were to compile a list of the most notable scores from 2000 to 2010 i am sure many would think twice before leaving that out.

It's easy to pick 10, 20, 100 scores in the past decade better than Avatar!

-Erik-

10 yes, 20hmmmm, 100? You're exaggerating.

Agree. It's like KingDom of heaven wich had the same electronics on it. It's his trademark. How i said, i'm more worried about his other trademark: his strings/choral oriented action music. (besides let not forget it's a Brucheimer production)

I think Simbad was his most symphonic score, and his less electronic one. But I can't say it was better than Prince of Persia anyway.

That was more orchestral, more symphonic in nature but way less focused. Prince of Persia has specific themes which are quite memorably i'd say and appear in renditions enough as to establish a coherent listen.

Why, it's right there with Jerry Goldsmith's "Star Trek III"...

Oh stop beating me already! It was a typo, fixed it As for Horner's Defiance, you can listen to it in my dreams, where i am heading as we speak 'cause of the sleepiness on which that typo is attributed!

See Marcel, it's true, he's slipping badly.

RE: Prince of Persia...haven't heard it yet, but I'm sure it's gotta be pretty decent if both Hans Zimmer and Demetris like it. Looking forward to it!

But I seriously want to know what the heck Jordi actually means while simultaneously calling HGW's music "soulless" and then in the same sentence describing HGW's trademark style. Typically when you can pinpoint a composer's style that precisely, their music is the very opposite of soulless: they have a distinct musical personality. I understand the criticism that his orchestrations often lack the power and "testosterone"-ish feel of many of his MV/RC counterparts, but that's hardly a bad thing in and of itself. It's only when he's overdosing on the electronics that his music is soulless, and that's because it's really hard to communicate emotion with those types of unnatural sounds. But how is an emphasis on choir and vocals soul-less? That's precisely the thing that, when done right, gives HGW's music its heart and soul. Veronica Guerin, Spy Game, Kingdom of Heaven...all his best scores feature a lot of different vocal parts.

Any update? I remember you saying that there's an addendum to that interview?