Thomas Newman

Thomas Newman has established a new and unique voice in music that unfortunately has been ripped off in numerous TV shows and commercials. Newman is the son of the great Alfred Newman, the nephew of conductor Lionel Newman, the cousin of Randy Newman, and the brother of violist Maria Newman (who performs on many film scores) and composer David Newman. Considering his rich classical musical heritage, it is somewhat surprising that Thomas Newman's preferred style uses experimental instruments, evocative and strange colors, and often minimalist structures. What is not surprising is that he excels at the classical style of writing with full orchestra that his relatives prefer. Newman's sparse, experimental music is often balanced by rich passages of unrestrained emotion. Newman's early films included the cult classic Revenge of the Nerds, Desperately Seeking Susan, Ron Howard's Gung Ho, and The Lost Boys. His score for Robert Altman's The Player shows an early inkling of his signature style, which really burst forth in Scent of a Woman (for which Danny Elfman recommended Newman). From then on, Newman's career really exploded, and he wrote wonderful scores to prestigious films such as Frank Darabont's The Shawshank Redemption and The Green Mile, The People vs. Larry Flynt, Erin Brockovich, In the Bedroom, Ron Howard's Cinderella Man, and Little Children. Newman's most recognizable and imitated music is from Sam Mendes's American Beauty, which perhaps best represents the height of his style and penchant for odd instruments. Newman subsequently forged a relationship with Mendes, scoring Road to Perdition, Jarhead, Revolutionary Road, and the James Bond film Skyfall. He has also scored two Pixar films directed by Andrew Stanton, Finding Nemo and WALL-E. Newman has written plenty of scores featuring his emphasis on musical colors, including Unstrung Heroes, Oscar and Lucinda, The Debt, and The Adjustment Bureau. But his more emotional, classical side can be found in scores like Little Women, The Horse Whisperer, Meet Joe Black, The Good German, and The Help. His best scores often combine these two traits, such as in the aforementioned Pixar films, Lemony Snicket's A Series of Unfortunate Events, and the superb Angels in America. Despite his obvious talent, impressive body of work, and nine Oscar nominations, he has yet to win a Best Score award. Hopefully he will win one eventually, but if not, he will still be in the prestigious company of Alex North, Ennio Morricone, Danny Elfman, Alan Silvestri, James Newton Howard, and other talented composers who never received or have yet to receive the Best Score Oscar. As mentioned before, his influence is widespread, and ripoffs of his sound can be found in films like National Treasure and Transformers. But there's nothing like the real thing.

The Adjustment Bureau

American Beauty**

Angels in America**
Bridge of Spies

Cinderella Man
The Debt

Finding Nemo
Finding Dory

The Good German

The Green Mile
He Named Me Malala
The Help

In the Bedroom

Jarhead

Lemony Snicket’s A Series of Unfortunate Events*
Less Than Zero

Little Women*

Meet Joe Black

Oscar and Lucinda
Passengers

Phenomenon

The Player

Road to Perdition
Saving Mr. Banks

Scent of a Woman

The Shawshank Redemption**
Skyfall
SPECTRE

Unstrung Heroes

Wall-E
Whispers in the Dark