American - Composer | October 20, 1955 -
Robert Altman was a very jovial guy and obviously a famed improviser and perhaps less effective in post-production, which is like the crystallising process. So I found myself at sea often with him because we'd have conversations about what music is, and in the end, I don't know how interested he was?
Thomas Newman
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You can always hear a director saying, 'Well I don't really know what this piece is saying, so therefore, I reject it.' There are any number of things you can anticipate going wrong, and sometimes they go right. But I think the things you like most are the things that get rejected first. That's just how things work.
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It's always nice to remember that there was a time when I loved something that I didn't know much about; it just reached my ears and moved me.
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I'm a huge fan of not overemphasising with music.
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Sometimes the best experiences are when I know nothing about this movie: I've never met the director, and I come and see something and I'm blank, because then it's coming at you in a way it would never come at you if you'd read the script, with an expectation.
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I guess there are certain conventions that come with film and with scoring film. So maybe one of those is menace in a lower register. It's trying to evoke some sense of chaos and adventure.
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I think as storytelling has changed, you know, it's kind of turned into kind of hyper-reality movies.
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My father's Alfred Newman - born in 1900, child prodigy at the piano, ended up in pit orchestras in the teens. I think he's one of the youngest conductors to conduct Broadway and worked with George Gershwin and Jerome Kern and Cole Porter - went out with Irvin Berlin in 1930 to Hollywood and never left.
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My uncle Lionel ended up being a bug guy at 20th Century Fox, which my father had been - and, of course, my cousin Randy - you know, one of the great American songwriters. It was a storied family and, in many ways, very tough to emerge from.
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