Zitat des Tages von Thomas Newman:
The rare opportunity of writing music for a movie about the making of 'Mary Poppins' was impossible to ignore. The fact that it could provide emotional content in relief of the struggles that the Sherman brothers and Walt Disney endured was reason enough to take on the challenge.
Part of me wants to stay hidden; it's no coincidence that I write movie music. It lets me stay in the shadows, in a way, but still lets me be expressive.
The idea of creating film scores was terrifying for many years, into my 30s. It struck me as a career of doing 30-page term papers the night before they're due.
I realized so much of my life hasn't been in a well-lit room, and I realized the importance of documenting my experiences as a way to memorialize them.
What satisfies me most are those nonverbal moments with players, when I sense them thinking and responding. And I think, 'Wow, this is amazing.' Hollywood gives us the money to do this. I want to be grateful for that, and I also don't want to waste it.
There was no saying I could ever step in and do what John does, because it'd be really hard to be John Williams.
We're all shocked by new ideas, and we're less shocked when we hear them again. And less shocked when we hear them a third time.
I didn't listen to any of my dad's scores.
Movie music allows me to work with players as creatively as I can.
'The Starship Avalon' is perpetually mobile. The music is designed to give the impression of endless sleep and endless journey with a significant interruption that guides the story that follows. It's color and pulse followed by great size.
I first came to Abbey Road Studios in 1994. I scored 'Little Women' there. What I remember most about it was how hard it was to come to London from Los Angeles and conduct when you're jetlagged.
I had ideas. A lot were good, but in many ways, I had no idea or experience about how to carry them out.
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.
When you go into something like a space movie, you think there's going to be no music or little music.
In general, I probably have a shy nature. So the idea of poking out with my music is probably not something I want to do.
I'm a huge fan of not overemphasising with music.
Music is such an odd thing when you think about it - behind an image until you take it away, and then you realize a movie sounds blank without it.
The thing I don't want to do as a film composer is reiterate. I prefer to subtextualize or to underline rather than to say, 'This is what you should be feeling.'
It's always easy, I think, to raise the importance of a scene through the addition of music. But it's very awkward to end it unless there's a door slam or a gunshot or something that just takes you right out of it.
I know what my taste is, and I do like my touch on the piano.
In 'Saving Mr. Banks,' the challenge was just transitions. Time transitions from 1961 to 1906; how do you follow a character in one environment to another? And sometimes these transitions were quick, so how do you do that?
I think I compose as a listener: improvising and listening back excites me because I get to ideas that never would have occurred. Then I bring in the computers and samplers... and I begin to loop and process and change them.
It's a practical matter. If you're useful to others, you'll be hired.
I like being the underdog.
There are moments when I invoke my dad and think about him on the podium, but in a very positive way. I don't feel at all intimidated by him. I feel like I've found my own voice.
Whatever you say to yourself about it being just another movie, and you're going to do the job you always do, it ends up being a 'Bond' movie and a sense of what it is to put music to James Bond and to honor the music that exists.
With film music, endings are often more difficult than beginnings, because a beginning is an underline, a way of exciting a moment, and then you have to find a way to dissipate that.
In the end, you don't want music to be noticed as much as digested and integrated into the storytelling. And make audiences sit forward in their seats and enjoy the movie.
The fun for me musically is that you never quite know what works and why. So why pretend you do? Why not just put things together and discover, in the creative process, if and why they work? That approach has served me well.
The thing about the creative process is it's so chaotic.
I flew to England to see the rough cut of 'Revolutionary Road.' I was quite moved. As a married man, it's kind of disturbing to see a couple try so hard to work things out and fail so miserably.