"Skyfall," which has been praised in many quarters as the best Bond film ever, could wind up in the best picture race, if the PGA list of ten is any indicator; the film also landed nods for ensemble and supporting actor Javier Bardem from the Screen Actors Guild, and Bardem and Judi Dench with the Critics Choice Awards. Another long shot would be a Best Score mention for veteran composer Thomas Newman, who faced a unique challenge with "Skyfall."
Mendes told me he wanted to see what Newman, 57, who he considers to be too modest about his skills, would do with a big-scale orchestral score and a 90-piece orchestra. (They worked together on the more intimate "American Beauty.") The results are stunning--and as delicate and emotionally nuanced as his other scores--including "The Best Exotic Marigold Hotel."
Born in Los Angeles, Newman is the son and nephew of Hollywood composers Alfred and Lionel Newman, respectively, brother of composer/conductor/violinist David Newman and cousin of singer-songwriter-composer Randy Newman. While Thomas Newman has been nominated ten times, he has never won. I got him on the horn to talk about his work on these films.
Anne Thompson: How hard was it to marry the old Bond themes with the new movie and score, staying in tune with director Sam Mendes' and audience expectations?
Thomas Newman: We sure worked at it. It's tough. First, I'm not English. There was a high level of expectation, even if you wanted to defy it, plenty of people are around you defying that. The franchise is so huge. Everyone has such a strong opinion. Any one creative individual is not so big as Bond himself. The Bond Theme is such a great tune, I really wanted to honor it on behalf of the fans and the movie. Monty Norman wrote the theme, which was heavily arranged and stylized by John Barry. Talk to almost anyone about that tune, it's their favorite from the movie.
AT: How much original score is there?
TN: I think there's about 100 minutes of score and 11 minutes of the Bond theme.
AT: Who brought you in?
TN: I had read that Sam Mendes was doing Bond. I thought, 'Wow, he's not thinking of hiring me, it's different from what I've done before.' I thought maybe I could bring a fresh approach, and mustered the courage to holler, 'if you are willing.' He said, 'Away we go!" We do have a history together, a sense of procedure and process, it helps. In the end it comes down to doing the job right, it's not as if a prior relationship ever lets you slide.
AT: What's your process with Mendes?
TN: We started in LA with Bond in late April. I was sending Sam rough-mocked material to London. I wrote the score in London from mid-June to early October. Bond had a lot of requirements; the music has the muscularity and swagger of Bond along with the excitement of action. We understood the premise in terms of what we needed to address. In terms of fine-tuning, Sam was present for every decision in the mix, recording and instrumentation. I am a creative individual with my own biases that I am not aware of, I come to create the task inside my own skin. It's up to director to refine or eschew my biases.
AT: You also work with the musicians.
TN: My approach with the players is to stay loose compositionally so that when I am around the players their influences can be taken in directions that are surprising to me. Ultimately, I feel that the material becomes fresher than when I really direct it, I am benevolent in my autocracy, I do not put them on a leash, I let them run in the corral, I am delighted by the creative input by musicians.
AT: Talk about some of your original ideas.
TN: You can argue that a musical vocabulary puts you in spy mode in an action picture. Locations inspired me. The sequence when Bond drives to the Shanghai airport to the high rise uses a groove, a generated pulse rhythm I discovered. It's exotic, not necessarily indigenous, it's the sensibility of being in that place.
There's a stoic's theme for M, so obvious that you can not ever sentimentalize her, so how do you find something with strength, conviction and stoicism that gives emotion without slurping for it?
The leitmotif for the villain: you learn about Silva through computers in the first 30-45 minutes, there's a motif of mystery tied into Silva, more than a theme, source music accompanying him, he's a quirky music lover.
You address the movie as it needs addressing, that carries into the music. There you are in a scene, writing music for the scene, the movie is reflected in the music in a mirrored kind of way.
AT: You used location sounds in "Best Exotic Marigold Hotel" as well.
TN: It's a question I asked [director] John Madden. 'Why hire me, considering the subject matter and characters, I had spent no time in India, and had no time to go, there's was no degree of studying I could do with the Indian style of music'? So I approached it in a fantastical way. It was daunting. I wanted to participate meaningfully, not be cheap about utilizing instruments. That wasn't the reason I was there. It's one of my favorite scores I've worked on. I liked the music, the way the cd flows. I tend to like what I like to listen to, what's complex in movie music, wanting to be able to listen back and truly enjoy it. It trolls along, there's a lot of groove to it, I love getting groovy, like the rhythm of the pace and beat. I used some Indian players, Indian violin, Indian flutes and singers, and a stable of players I've used a long time in LA. We recorded the voices and strings in London.