Thomas Newman - Wikipedia
Meet Joe Black () SoundTracks on IMDb: Memorable quotes and exchanges from movies, Soundtrack Credits Let's Face The Music And Dance. Anyway, I'm aggressively neutral on Meet Joe Black. . about Meet Joe Black, because it's Thomas Newman's score that makes A second ago, when you watched that clip, did you give any special attention to the music?. From Desperately Seeking Susan to Wall-E, this week's Music in the movies celebrates some of The Dilemma Clip: Susan Likes Their Idea ideas explored in Meet Joe Black developed and were used later in his score for American Beauty.
During their upbringing, Martha herded her sons into violin lessons in the San Fernando Valley every weekend.
They reside in the Pacific Palisades neighborhood of Los Angeles. Film scoring career[ edit ] At first, Newman was more interested in musical theater than in film composition, working with Sondheim in Broadway plays. Newman said that he thought "it was a tough job, at first" for requiring him to "develop vocabularies and a sense of procedure", only getting comfortable with writing scores "and not fraudulent in my efforts" after 8 years.
InNewman composed the score to Sam Mendes ' first feature film American Beautycreated using mainly percussion instruments. Newman believed the score helped move the film along without disturbing the "moral ambiguity" of the script, saying "It was a real delicate balancing act in terms of what music worked to preserve that. The Return of the Kingand Jan A.
Kaczmarek for Finding Neverland respectively.
Meet Joe Black () - Soundtracks - IMDb
At the Oscar ceremony, he appeared in the opening segment by Errol Morriswho jokingly stated that Newman had been nominated for and failed to win an Oscar eight times. Newman received two Oscar nominations: The sex scene of "Whisper of a Thrill" is a lengthy development of this theme that also includes the more mystical, percussion-tingling element of Death's persona that Newman explores a few times in the work including the eerie "Served Its Purpose".
While the grand finale in "The Next Place" is a show-stopper, it suffers from a prolonged paying time that resorts to the doldrums of the atmospheric side of the score.
Given the length of the film, it's no surprise that most of the cues from Newman are far less memorable atmospheric meanderings for woodwind, piano, and whispering strings.
Lengthy passages of barely audible underscore are pleasantly rendered, but hardly interesting, especially compared to the swinging interludes of comedy. The faster rhythms of the light-hearted cues in Meet Joe Black are arguably Newman doing what he does best.
Cues like "Fifth Ave. There's an intangible element of enjoyment that shines in Newman's music when he combines his traditional and plucked strings in such jaunty fashion, and the personality of these short bursts of energy in Meet Joe Black attempt to steal your attention.
Filmtracks: Meet Joe Black (Thomas Newman)
The album suffers to some degree by its arrangement of a few classic songs amongst the score; their instrumental renditions eventually lead to a performance of "What a Wonderful World" that most unfortunately breaks up Newman's two strong dramatic cues at the end of the album.
Overall, Newman provides all the right crescendos and themes at the correct times, but the score suffers from the same prolonged and largely hushed development that doomed the film. A lack of warmth in the orchestra's performance, harmed by a relatively dull recording quality the opposite of The Shawshank Redemption's sharpnesscause Meet Joe Black to lack a genuine sense of romance necessary for it to thrive.
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