“1917,” Thomas Newman
The 20-year collaboration of director Sam Mendes and composer Thomas Newman has encompassed midlife crisis (“American Beauty”), crime in the Depression (“Road to Perdition”), the Gulf War (“Jarhead”), marriage in the 1950s (“Revolutionary Road”) and two James Bond adventures.
Now they’ve tackled World War I, with “1917,” but Mendes’ much-talked-about approach – two British soldiers on a desperate mission in enemy territory, filmed as if it is one continuous shot – posed a unique challenge to its composer. “The movie is in present tense and because of that, music cannot comment because that puts you a couple of seconds behind present tense,” says Newman.
“Music is there to help, but the way in which it helps must be fundamental and visceral as opposed to intellectual and reflective,” adds the 14-time Oscar nominee. “Certain musical elements repeat, and there is a kind of friendship theme that doesn’t. It needs to...
The 20-year collaboration of director Sam Mendes and composer Thomas Newman has encompassed midlife crisis (“American Beauty”), crime in the Depression (“Road to Perdition”), the Gulf War (“Jarhead”), marriage in the 1950s (“Revolutionary Road”) and two James Bond adventures.
Now they’ve tackled World War I, with “1917,” but Mendes’ much-talked-about approach – two British soldiers on a desperate mission in enemy territory, filmed as if it is one continuous shot – posed a unique challenge to its composer. “The movie is in present tense and because of that, music cannot comment because that puts you a couple of seconds behind present tense,” says Newman.
“Music is there to help, but the way in which it helps must be fundamental and visceral as opposed to intellectual and reflective,” adds the 14-time Oscar nominee. “Certain musical elements repeat, and there is a kind of friendship theme that doesn’t. It needs to...
- 12/7/2019
- by Jon Burlingame
- Variety Film + TV
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