For over a year, I've believed that Hans Zimmer would be genuinely a good choice for the score because of the dramas and comedies he's scored, and this movie is a little bit of both. That was before I considered Thomas Newman.
I think Newman would be better than Zimmer, now, because, as a person I polled put it, the films he's scored are "moodier." That's just what I was thinking, as demonstrated by the following selections from his 30-odd-year career:
- Scent of a Woman (1992). Al Pacino learns to love life despite the fact that he is going blind.
- The Shawshank Redemption (1994). A prisoner redeems himself through goodwill.
- Little Women (1994). The most recent notable adaptation of Louisa May Alcott's beloved book.
- Meet Joe Black (1998). Dealing with the afterlife.
- American Beauty (1999). A dead man relates his last months.
- The Green Mile (1999). A towering convict is scheduled to be fried for prejudiced reasons.
- Road to Perdition (2002). Gangster drama.
- Finding Nemo (2003). An over-protective single father fish learns to loosen up.
- Lemony Snicket's A Series of Unfortunate Events (2004). Three orphans find their way in a cruel world.
- WALL-E (2008). Near the end of the 3rd millennium AD, a robot reflects on previous life and has adventures in space.
- Revolutionary Road (2008). A violent end to an unhappy marriage.
- The Help (2011).
Doesn't it seem like there's a trend here? The themes in all of these movies seem to be pretty deep. He should feel in place scoring a movie about spiritual reckoning.
But it's not just for the rest of these films that I'm hoping he'll accept. It's also the nature of the scores themselves. His work for Finding Nemo is one of my four or five favorite scores ever, because it serves as a perfect companion to the wonders that wait beneath the waves, while the main theme illustrates the movie's main theme.
Before he did such deep work, Newman scored some teen comedies in the '80s.
So unless he declines, I'm planning on this guy now!
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