The Top Ten Scores of Thomas Newman

Ranking the works of Thomas Newman might seem an easy task given the composer’s wealth of career-projects; however, it’s almost as frustratingly difficult as being nominated for an Oscar but never bringing home the golden bacon.  Nevertheless, I take on this formidable task with giddy eagerness because it affords me the chance to dive back through some of most emotionally stirring movie music to come out of Hollywood over the last 20 years.

The one easy part for me (which may make some of Newman’s fans immediately upset) is eliminating from contention almost every one of his works that can be grouped into the category I call the “American Beauty Group.”  There were a plethora of scores that Newman produced, principally in the 90s, which were of this quirky, minimalist variety best exemplified by his highly recognized score for AMERICAN BEAUTY.  Others that fall into this group, and hence immediately out of contention from this top ten list would be among others:   WHITE OLEANDER, PAY IT FORWARD, ERIN BROKOVICH, IN THE BEDROOM, and SALTON SEA.

That said, and somewhat ironically in light of the popularity of some of the aforementioned titles, few composers can do “majestic” like Thomas Newman.  While some of his scores can almost be indistinguishable from one another, often times, there are incomparable moments of wonder, exultation, and brilliance dotted throughout these very same scores.  One may find that scores like this, which tend to trend earlier than later in his prolific career, dominating my top ten list.



#10 - REVOLUTIONARY ROAD



One of 2008’s most powerful and best acted films was directed by Sam Mendes, which pretty much ensured that Thomas Newman would be on the case as well.  Again, Newman provides a dream-like, sonic landscape with piano, woodwinds and strings, supporting the apparently young and loving, suburbanite-couple perfectly.  However, Newman’s introduction of jazz improvisations and progressions tells us that this story will go in unanticipated directions and that this relationship is far from harmonious.  The end result is a score that, if experienced within the gut-wrenching film, can hardly be forgotten.


#9 - WALL-E 



One of Pixar’s top efforts, WALL-E, featured very little dialogue, putting a greater amount of weight on its original score to help tell the story.  Newman is clearly up to the challenge effetively adding even more layers and textures to his strongly ambient style.  He crafts a memorable robot-love theme and treats us to a number of playful and innocent themes which are well contrasted by a handful of thrilling action sequences.


#8 - THE HORSE WHISPERER




Looking for something majestic?  If so, then The Horse Whisperer is for you.  The title theme is oft used throughout the movie, sometimes reaching emotional peaks that Thomas Newman has become adept at scaling...when he is allowed to.  The reason this title isn’t higher is simply due to the abundance of blue-grass-flavored tracks that break the rapture these other tracks have produced.  That, and because the tracks containing his summit reaching music are so very brief.



#7 - MEET JOE BLACK



Anyone who has seen this film or listened to the soundtrack has certainly not forgotten the film’s climax or Newman’s underscore.  Wait. Saying “underscore” is a poor choise of words as there is nothing “under” about this piece.  “That Next Place” (which is over 10 minutes in length) is one of the most emotionally, over-the-top-cues you will ever hear...and that’s why so many love it so!  While that and the track “Walkaway,” with its gentle introduction to the score’s main theme, get the majority of attention on this soundtrack, there is quite a bit more to appreciate.  It’s not groundbreaking in anyway, but Meet Joe Black is a great representation of Thomas Newman’s talents.

#6 - SHAWSHANK REDEMPTION



Here’s one that suffers from it’s own success.  Some of the grander moments of his music for Shawshank, like the majestic “End Title” have gone on to the realm of trailer-abuse.  We have heard it so many times, attached to so many things, that it may have lost some of its potency or even become a bit of a parody. Regardless of the later abuse, pieces like “So Was Red” remain among Newman’s best.  Now, outside of those well-worn, but still satisfying pieces, Newman’s bass-lead Stoic theme, plods along in its own monotonous desperation until his ever-hopeful strings join in the undulating rhythm.  Newman’s score should be seen as every bit the classic that the film itself has become.

#5 - ROAD TO PERDITION



If anyone could make an Irish-mafia film contemplative and melancholy, Thomas Newman could...and did for Road to Perdition. This was certainly one of Newman’s stand-out efforts of the early 2000s, as his languishing strings are this time punctuated by by lively bagpipes and tin whistles.


#4 - ANGELS IN AMERICA



The somewhat controversial HBO series won Golden Globe and Emmy for Best Mini-Series and was the most watched series made for cable movie in 2003.  While Newman didn’t receive any major nominations for his work, his music, no doubt makes a significant impact on the audience.  Newman underscores the pain filled stories of the series’ central characters utilizing his familiar palette of instruments and techniques, but he also, on occasion, gives us doses of frightful dissonance attached to glorious choral eruptions. Infused with Newman’s familiar ethereal qualities, ANGELS makes for a more intriguing and unpredictable listen than many of his other works from the early 2000s.


#3 - HOW TO MAKE AN AMERICAN QUILT



Newman’s title theme for this film alone carries it to this lofty position in my top 10.  While the ingredients of the piece are common to much of his work in the mid-1990s: soft strings and lead oboe, Newman’s languishing theme hits home.  The same can be said for his track “The Diver” which bears close resemblance to memorable pieces from The Horse Whisperer, but QUILT precedes that film by several years.  Unfortunately, the soundtrack release saw Newman’s efforts painfully interrupted by the likes of Bing Crosby, Neil Diamond, and Benny Goodman.  This score has always deserved a more complete release.

#2 - OSCAR AND LUCINDA



Newman provides a surprisingly contemporary take on the story of a priest and an heiress who look to build a glass church...in the outback of Australia no less.  The story affords Newman a natural opportunity to employ the use of glass and chimes to great affect.  The other striking inclusion is that of the full choir in the title theme; showing up at the most elevated moments of the film.  Looking at Thomas Newman’s extensive list of scores, the use of full choir is rather rare, especially in this very traditional manner.

#1 - LITTLE WOMEN



The mid to late 1990s found Thomas Newman at the top of his game and his score for LITTLE WOMEN is the tops of the top.  Not only offering a Christmasy-good-title-theme, “Orchard House,”  but the interior tracks also contain a special brand of magic and emotion found in varying quantities in his other works of this era.  His liberal and bright use of brass, bells and other chromatic percussion on top of his familiar string lushness truly distinguishes this effort and places it firmly in the top position.


So there you have it!  Did I miss one of your favorite Thomas Newman scores?  Let us know what your favorite Thomas Newman scores are in our comments section.

Top Ten Scores from Composer Hans Zimmer

Back in 2009, I did a little Top 10 list for composer James Horner.  It wasn't very easy to narrow it down to just 10 scores, but that was nothing in comparison to the torment of compiling this latest list.  Hans Zimmer, or perhaps more accurately, his style of music, is one of the more polarizing things in the world of film music fans.  Directors and studios are clearly still infatuated with what the man can produce...and, I say, that's well justified.  While bludgeoned for "not having enough originality" or for spawning off "clones," even a moderate examination of Zimmer's portfolio shows that he (and his crew) are capable of a great deal of diversity....especially when looking back a couple of decades across his full body of work.

So I've taken on the daunting task again...this time giving you my top 10 Hans Zimmer scores to date.  To make things a little "easier" I've eliminated from contention most of his projects where there are multiple composers credited (ie. The Rock, Kung Fu Panda, The Road to El Dorado, etc.)...with one notable exception, which you'll, no doubt, notice below.  Evenso, it was still a very difficult task and let me just give you a few that could have very well made this list...but didn't:  THE LION KING, BACKDRAFT, CRIMSON TIDE, THIN RED LINE.

So what IS on the list then?  Proceed, see, and listen...

#10 -  Sherlock Holmes

For those that say Zimmer doesn't do anything innovative then they simply haven't heard SHERLOCK HOLMES yet.  This 2009 release couldn't be any stronger evidence to the contrary. Save for a few elements from Pirates of the Caribbean and perhaps RANGO, there is hardly another score in the composer's portfolio that even comes close to this off-kilter and playful score.

#9 -  Inception

Inception features one of the most clever moves made in a film score in recent memory.  The use of a note from Edith Piaf's song "Non, je ne Regrette Rien," is more than an audio-easter-egg, but has a direct tie to the plot and structure of the film.  The more dream-levels we dive into, the slower the note is played...as those in the successive dreamworlds would hear it. While the overall score may not be his most unique, it ranks #9 due to its cleverness and perfect fit for  the film.

#8 -  Spanglish 

Not a score you hear much talk about, but Zimmer (along with Heitor Periera's mesmerizing guitar) crafts his best score for a romantic comedy.  Spanglish is a charming score further proving the composer actually has more variety than given credit for.

#7 - Pirates of the Caribbean: At World's End

The lucky #7 slot is filled by the best score of the Pirates of the Caribbean Trilogy.  According to Zimmer, at the time, this was to be the last of the film's so he and his cohorts could truly let loose on the score...and my hearties, did they ever.  At World's End is a rousing and adventurous and unforgettable romp and was duly honored at the Tracksounds Cue Awards of that year.  Obviously, the Pirates world didn't end there, but On Stranger Tides doesn't reach the heights or depths of the third film.

#6 - Gladiator 

Gladiator debuted while I was actually in Italy and so it will always have a special place in my listening-heart.  Whenever I hear it I'm instantly transported.  While Lisa Gerrard's contribution is considerable, even without that element, Zimmer brings an ancient power to life and helps to make a number of movie moments absolutely unforgettable.

#5 - Beyond Rangoon 

This is an often forgotten about score going way back to 1995.  Beyond Rangoon features one of Zimmer's most exotic and mesmerizing main themes.  While it echoes a number of his recognizable stylings of the era, his use of flute and wordless vocals sets it apart.

#4 - The Prince of Egypt 

Simply put - one of the best scores for an animated film to date.  While Stephen Schwartz's original songs provide such great character for the film, Hans Zimmer's score is deep, soulful, and inspiring.  Both the film and score have never received their due - at least as deserving as the Oscar winning score from The Lion King.  Once again his ability to graft in culturally appropriate instrumentation and keep the score  generally consumable by the masses is on display.  The Prince of Egypt is at once an incredibly nuanced score but and excitingly exotic and emotional ride.

#3 - The Da Vinci Code

A tour de force.  There's no other way to put it.  Zimmer simply holds nothing back for The Da Vinci Code.  Unfortunately, the film didn't live up to the book...nor to it's own score, but read the book while listening to this and see just what sort of experience you have.

#2 -  The Last Samurai

If it weren't for the dominance of The Lord of the Rings, I'm quite certain that The Last Samurai would have received much more attention than it did back in 2003.  Both the film and it's score, like many others that year, were simply squashed by The Return of the King.  Peter Jackson's film and Howard Shore's score just slammed the door of possibility on everyone.  Zimmer embellishes his recognizable style with Japanese taiko, shakuhachi, and even Native American vocalists - the end result remains poignant after countless listens.

#1 -  The Power of One 

Anyone who knows me, this site, or our podcast, will not be surprised at this title coming in at number one.  I have lauded it for years.  As great as The Lion King seems to be in the minds of many, The Power of One was a powerful predecessor that scars and takes just a bit of the pride out of the 1994 Disney score.  With the marvelous vocals provided by Lebo M and company, The Power of One is a score that simply oozes with the rarest commodity, heart.  All hail the true king of Zimmer scores!

Top Ten Scores from Composer James Horner

I recently dove into the new Sapphire Series of Blu Ray releases with BRAVHEART. It had been a few years since I watched, what has become, a true classic piece of cinema. It certainly was a treat to see Mel Gibson's film in such high quality at last. In this presentation the photography of John Toll is even more stunning and to listen to the score was like falling in love with James Horner's music all over again. By the way, even if you have the VHS or DVD releases of BRAVEHEART, I highly recommend you take the triple-dip and get this Blu Ray.

Now, as so often happens, when I have one of those true "movie experiences, the original score from that film works its way into my head (if not my very soul) and I can't stop listening to it, humming it, or plunking it on piano. Such is the case everytime I see BRAVEHEART. After I finished charging the fields of Bannockburn, I got to thinking about how fantastic JAMES HORNER'S work was back in the 1990s...truly this man's golden era. I have had many discussions with movie and film music fans over the years on what is Horner's all-time best effort. Needless to say, there is rarely a concencus #1. Still, there are a handful of Horner scores that usually fill out the top few spots on most fan's lists. While I could easily put together a top 20 list, I've widdled it down to my (current) top 10. So take a look below...I'm thinking there will be a few surprises for you in the list.

#10 - The Mask of Zorro

This score doesn't get talked about much these days, but it has all the romantic-goods you could want for such a film. THE MASK OF ZORRO contains many of the well-used (or well-worn) Hornerisms that seem to irritate some: the shakuhachi bursts, the four-note-menace-motif, and the lot, but in terms of a solid listen from start to finish, THE MASK OF ZORRO is one his best. Plus, if Horner can integrate flamenco dancers into the soundtrack, there's no way I can leave it off this list!

#9 - Something Wicked This Way Comes

Way back in 1983, the young James Horner proved he could do horror as well as he could do sci-fi or anything else, for that matter. SOMETHING WICKED THIS WAY COMES had been one of his most sought after scores for nearly 20 years. Thankfully, it was made available again in 2009 from Intrada Records. This score ranges from fanciful to the downright horrific. We hear sides of James Horner that we sadly hardly ever hear again. And don't look now, but I think it's clear that one Mr. Harry Potter has some of his thematic routes here. I'm just sayin...

#8 - The Rocketeer

You may not remember THE ROCKETEER all that well, but you likely know the main theme. Horner's title theme was poached countless times in the mid-nineties for use any movie trailer that required an uplifting and inspirational vibe. James Horner was able to capture the awe and wonder of flight and delivered a score perfect for a hero-film of the Nineties (You know, before heroes had to be all dark and serious?) Balancing out his memorable title theme came a grade-A love theme and thrilling action cues. If you haven't listened to THE ROCKETEER in a while, dust it off and give it a play.

#7 - Titanic

I'm betting you thought this title would end up higher in the list. Didn't you? Now, let it be known that I am not a Titanic-hater. I loved the movie in 1997 and still do. I, like so many, listened to the score incessantly (Admit it. You did, too.), back in late 1997 and perhaps we burned out a bit on it. However, if you go back now and listen, you'll likely rediscover James Horner's original brilliance again. His score for TITANIC certainly played a significant role in the becoming the highest-grossing flick of all time and finally garnered him an Oscar.

#6 - Glory

If there is one James Horner score that stands out from the crowd, it is his work for the1989 film, GLORY. Horner's employment of the Boys Choir of Harlem was a stroke of genius and makes the climactic scenes of this film unforgettable. His collaboration with director Ed Zwick would go on to produce a couple more of my top Horner picks as well!

#5 - Apollo 13

1995 might have been James Horner's best year ever. I'd put that year up against any other single year of any other composer without hesitation. Both Apollo 13 and Braveheart were duly nominated for Oscars, but, as we know, neither won. Horner's adventurous romp is filled with all the feel-good-Americana and tension you could hope for and ends with some of the best end-title-music you'll find - featuring the memorable vocals of Annie Lennox.

#4 - Star Trek II: The Wrath of Kahn

After Jerry Goldsmith's musical reinvention of the franchise in Star Trek: The Motion Picture, one would think that the producers would be all set for the sequel when it came to the music. Instead, they re-invented again and this time with James Horner delivering what some consider the best of all the Star Trek film scores. Hard to follow Goldmsith's act, but Horner does just that, infusing his own sci-fi/fantasy style found in previous works such as BATTLE BEYOND THE STARS or KRULL. Hard to imagine Kahn Vs. Kirk with any other style of music behind it.

#3 - Searching for Bobby Fisher

I can hear some of you now. "Wuhthufuh?" SEARCHING FOR BOBBY FISHER is a personal favorite of mine. I've loved it since 1993 and never tire of it. Of all his quaint and human scores such as: DAD, THE MAN WITHOUT A FACE, TO GILLIAN ON HER 37TH BIRTHDAY, this score stands supreme. So simple in its construction, yet there is something sublime that lies underneath. Horner poured something special in there that I cannot quantify. Sure. There are other Horner efforts that offer more variety, but few with more depth.

#2 - Legends of the Fall

Ah. Just saying the name evokes feelings of nostalgia and images of the majestic mountains filled with forests of changing leaves. That and a few hearts being cut out...literally and figuratively! The unforgettable imagery of cinematographer John Toll was duly matched by James Horner's sumptuously romantic score in LEGENDS OF THE FALL. From the inner turmoil of the Ludlow family, the ill-fated romance x 3, Tristan's wild ruggedness, to the perils of trench-warfare, James Horner's music underscores every moment of this film perfectly. The emotional content of this score just overflows and I have little doubt that LEGENDS OF THE FALL had a huge influence on Horner being selected for the film that comes in at #1 . . .

#1 - Braveheart

You were expecting...Willow or something? James Horner's work for BRAVEHEART drops into either the #1 or #2 position on my list at any given moment. It's an incredible work. There's no doubt in my mind (nor in the mind of dir. Mel Gibson) that this score should have brought home the Oscar in 1996. Losing to Luis Bacalov's IL POSTINO remains one of the Academy's biggest blunders to date. Having two scores in the running that year, certainly didn't help his cause either. Regardless of such award faux-pas, the impact of Horner's work on the "gift of the thistle" scene, or "Robert the Bruce's betrayal" or "The execution" scene can hardly be overstated. Each of these scenes are a part of that small group of transcendent film-moments and due credit must be given to Horner for his contribution.

So there you have it - my current top ten James Horner scores. You agree? Disagree? What's your top 10?