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      Assessing film music...and a pair of Newmans

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    Author
    Topic:   Assessing film music...and a pair of Newmans

     Howard L
     Oscar® Winner
     

    Remember that thread that requested suggestions of music to listen to while studying? Yesterday I was home crunching a few numbers and I don't know why but I put on David Newman's soundtrack to Paradise (thanks, Shaun). And it proved to be the PERFECT ACCOMPANIMENT.

    I say I don't why because although I've enjoyed catching the flick on TV, the music hasn't been a reason. Never thought much of the score; in fact, I've never thought too much of David Newman's work overall. He tends to write some lovely passages that end too soon and leave you wanting more or even leave you wondering if he's afraid of giving more or maybe he just doesn't have it in him to develop a full score. And yet on its own the music on the CD is terrific.

    I believe "average" scores--of which I'd include the one to Paradise--are merely functional or fulfilling their purpose, "above average" scores improve the motion picture experience, and "great" scores make the picture soar. The goal is to enhance the film. If the score works away from the picture, then it's a bonus.

    Interestingly, I have always felt that Thomas Newman, too, is one who has shown wonderful potential but nothing more. Scores like Shawshank Redemption and Green Mile have received quite a bit of praise on this 'board and elsewhere. It is praise I do not understand unless it's coming from a CD stand-alone viewpoint. The worst comment I can make concerning average scores like these is that take away the music from the film and you wouldn't miss much, or replace the score with another and you won't mind it at all. You know The Horse Whisperer? After I saw the film I left thinking there wasn't one piece of music memorable enough to make me want to buy the soundtrack. And the worst thing is that I listen to "Beyondness Of Things" and envision the movie readily to John Barry's rejected cues!

    On the other hand, I might buy Horse Whisperer after enjoying David's Paradise so much yesterday. Maybe these guys should be composing more for CDs than films. Maybe they do. I don't know.

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    posted 06-22-2000 09:53 AM PT (US)     

     joan hue
     Click Here to Email joan hue
     Oscar® Winner
     

    Howard, I agree with your definitions of average, above average,
    and great scores. Makes sense. I find that with both David and
    Thomas Newman, I like some of their scores and find others
    just average.

    I was never enamored with The Horse Whisperer by Thomas
    and always wondered if Barry’s score wouldn’t have been better.
    And I wasn’t crazy about The Green Mile nor Erin Brockovich.
    On the plus side, I really enjoyed the depth of T. Newman’s
    Oscar and Lucinda and Little Women scores. I thought David
    Newman’s Hoffa and The Sandlot were strong score contenders.

    My favorite Newman? Alfred!!

    NP Dinosaur ... a real contender

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    posted 06-22-2000 01:28 PM PT (US)     

     JJH
     Click Here to Email JJH
     Oscar® Winner
     

    To me, a truly great score can tell the story of the picture without the visuals and f/x.

    Examples that come to my mind are, the [s]Star Wars[/b] scores, Indiana Jones, ET, Star Trek the Motion Picture, Star Trek II<- hey, I like it!, Dances With Wolves, Ben-Hur, Spartacus...

    of course, complete releases help in that area....

    NP -- To Gillian on Her 37th Birthday, Horner

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    posted 06-22-2000 04:34 PM PT (US)     

     Howard L
     Oscar® Winner
     

    Attn: Mr. Rutherford

    YOU are a gentleman. YOU are a person. YOU are a regular film music missionary. Thank you for sending me a Thomas Newman primer which I shall make short work of for every reason already cited. I am very curious to see how well it comes off.

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    posted 07-02-2000 03:29 PM PT (US)     

     logied
     Click Here to Email logied
     Oscar® Winner
     

    Why is it I feel that the Newmans are a reflection of movie music in general, handcuffed by directors and producers. Of
    course I don,t know this for a fact but I
    feel that composers don,t want to bite the
    hand that feeds them and are producing what
    is asked for, background music for their
    pictures and good for studying.
    I forget the special but I remember last year
    before Star Wars came out that a reporter
    mentioned that George Lucas was VERY nervous
    about the music just because he has less control over that area of the movie than any
    other. The fact that it was John Williams
    music made it even more so. It had nothing to do with the music or Williams, just the control.

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    posted 07-02-2000 03:55 PM PT (US)     

     Shaun Rutherford
     Click Here to Email Shaun Rutherford
     Oscar® Winner
     

    Oh....HERE's the Newman thread!

    Thanks Howard!

    Shaun

    P.S. "Montana" is a standout cue on The Horse Whisperer. And yes, I hear the Copland in the score (can't remember the beginning of "Montana" and whether or not "Fanfare For The Common Man" was quoted there). The cue worked wonders in The Green Mile trailer.

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    posted 07-08-2000 10:38 AM PT (US)     
     

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