This is another entry in my Complete Score Breakdown Series, focusing on the complete scores to films that have had abbreviated previous releases or have gone unreleased.
Today we are looking at Nightcrawler (2014) by James Newton Howard.
So when I began this particular CSB for 2014’s Nightcrawler by James Newton Howard, it was a first for me because it was the first time I have done a Breakdown for a film I’ve never seen before. I’ve heard the score a few times and absolutely loved it. It is completely the kind of Howard score that I love: the urban, ambient, electronically-enhanced, dramatic mood-setter with abundant creativity. In my mind, it’s closest JNH cousins are two other major favorites, Michael Clayton and Freedomland. All of these scores are treasures for Deputy Riley. I’ve owned the DVD for a short while now, and I knew I finally wanted to watch it and figured I could also tackle a CSB while I was at it and see how much music was missing.
The film itself…it would be easy, since I just saw it, to go into my thoughts about the film but I won’t do that here except to say that it was extremely well-made and very thought-provoking, with aces talent all around. The score was fantastic, and in my humble opinion it’s this kind of score that I think is totally justifiable reaping awards – it completely breathes life into the story, drips atmosphere into the setting, and provides an aural character that moves in the shadows of the rest of the characters, adding enormous depth and perspective. What a brilliant job by Howard. It just so happens that I do enjoy listening to this kind of thing on a stand-alone basis, so it’s a huge bonus.
The CD runs 51 minutes, and yet the score as heard in the film only runs 54 and ½ minutes. The released music is really all there right in the film. The unreleased music totals 5 and ½ minutes and in my opinion really offers nothing important or interesting beyond what is already readily available. A few official tracks are edited for the film, so when you factor those full tracks into the film score runtime in place of the edited tracks alongside the full score with unreleased music, all known tunes written for the film comes to 56 and ½ minutes. Very economical and impressive for a nearly 2-hour movie. Extremely well-judged. The album is totally out-of-order, and understandably so – if you look at my Complete Score Titles and Cue Times section you can see the film order of the cues, but the album arrangement makes for a better listening experience I think. Again, there are just a few short unreleased cues, but I didn’t personally feel there was anything of weight missing and the CD as is runs perfectly fine.
CURRENT CD RELEASE RUNTIME: 51min 05sec COMPLETE SCORE RUNTIME (AS HEARD IN FILM): 54min 40sec ALL KNOWN ORIGINAL MUSIC WRITTEN FOR THE FILM (INCLUDING UNEDITED CD TRACKS, UNUSED TRACKS, AND/OR ALTERNATE FILM VERSIONS, WITH NO IDENTICAL DUPLICATION REGARDING FILM TRACKS & CD TRACKS): 56min 40sec
UNRELEASED SCORE RUNTIME: 5min 35sec
Complete Score Cue Titles and Cue Times (unreleased cues named by me for the sake of identification):
+ – previously unreleased (or includes previously unreleased material)
1. Nightcrawler (1:52) 2. Driving at Night (0:53) – (edited from CD track) 3. Driving at Night Again (0:22) – (edited from CD track) 4. The First Accident (1:35) 5. Mount Wilson (0:27) – (edited from CD track) 6. First Broadcast (0:29) + 7. Sell the Bike (0:50) 8. The First Night (1:25) 9. KWLA (1:15) 10. Lou’s Inspired (2:05) 11. Waiting (0:46) 12. The Wrong Way (1:00) 13. Pictures on the Fridge (1:40) 14. Lou’s Philosophy (1:28) – (edited from CD track) 15. Lou and Rick on a Roll (2:05) 16. Gas Mistake (0:50) + 17. Moving the Body (1:55) 18. Day to Night (0:38) 19. Rage (1:03) + 20. Loder Crashes (2:25) 21. You Know What To Do (0:25) + 22. Entering the House (2:48) 23. Edit on the Hood (1:00) 24. Watching the House Footage (0:58) 25. Horror House (0:50) + 26. The Newscast (3:48) 27. Making the News (0:43) 28. Search for the Plate (0:56) 29. Chinatown Express Pt. 1 (3:05) – (contains music from CD track “Chinatown Express”) 30. Chinatown Express Pt. 2 (2:33) + – (contains music from CD track “Chinatown Express” + unreleased music) 31. Final Accident (0:33) + 32. The Shootout (4:35) 33. Nina and Frank (0:55) 34. Lou’s Free (1:34) 35. If It Bleeds It Leads (2:14)
Current CD Release Track Titles and Track Times:
1. Nightcrawler (1:59) 2. Lou’s Inspired (2:10) 3. Driving at Night (0:53) 4. Sell the Bike (1:02) 5. Loder Crashes (2:33) 6. KWLA (1:28) 7. The First Accident (1:50) 8. Day to Night (0:43) 9. Pictures on the Fridge (1:43) 10. The First Night (1:37) 11. Entering the House (3:03) 12. Edit on the Hood (1:08) 13. Lou and Rick on a Roll (2:09) 14. Driving at Night Again (1:04) 15. Waiting (0:57) 16. Mount Wilson (1:38) 17. The Wrong Way (1:12) 18. Watching the House Footage (1:04) 19. Lou’s Philosophy (1:54) 20. Making the News (0:50) 21. Search for the Plate (1:02) 22. The Newscast (3:45) 23. Search for the Body (1:52) 24. Chinatown Express (4:16) 25. Nina and Frank (1:01) 26. The Shootout (4:35) 27. Lou’s Free (1:36) 28. If It Bleeds It Leads (2:14)
So I'm just curious...anyone else enjoy this score as much as I do, or nearly, or at all?
Nightcrawler is amongst the best movies I saw in 2014, very gripping and exploitative and a great dark movie. I like the score as well and I was surprised to see a Belgian composer having done additional music for Nightcrawler as well as other recent JNH projects:
I thought it was a great movie too, Francis. Didn't know that about the other composer, Sven Faulconer.
You know, I have to say I thought the cue "The Shootout" didn't fit the film IMO. It plays great on its own, but the tone of the cue didn't fit the tone of the scene/film. Maybe I just didn't get that whole ending or didn't get on board with what it was trying to say, but the whole sudden bringing in of angelic voices when none of the rest of the score even came close to having anything like that just felt weird, jarring, and completely out of place. Again, a fine cue by itself, but I think that a different cue, less heavenly and lovely, would've fit better. Howard had written plenty of other cues in the score that had a more dramatic, thoughtful vibe that I thought would've worked better and could've come closer to scoring that "action" denouement. It was just strange to me. Any other thoughts on that?
Here's what I said about the film and score in the other Nightcrawler thread...
"My local cinema (Odeon) has started a 'Screen Unseen' series of events, in which you buy a ticket for a film (half price) and the conditions are - you don't know what the film will be before it starts and it will be a premiere showing of a major(ish) forthcoming release. The first one was last night and the film we got was NIGHTCRAWLER. I found it to be a thoroughly engrossing and fascinating film. A supremely creepy, calculating and bug-eyed performance from Jake G carries the whole show with fine support from Paxton and Russo. The somewhat alien/chilled night-time L.A. location shoot put me in mind of films like MIRACLE MILE and COLLATERAL, although I enjoyed this film way more than those two. It throws up some interesting debating points about the whole, rather ghoulish sub-culture of ambulance chasing and crash scene/invasive filming for news channels, although this film takes things to the extreme. It's been quite a while since I have been so excited in anticipating the pay-off of a scene as I was last night (for a major shoot-out sequence near films end). The score by JNH - at times recalling Danny Elfman's guitar bits from THE KINGDOM as well as some of his own more ambient soundtracks - is pretty solid and works a treat in the film. Not sure it would make a great stand-alone listen, but I did hear 4-5 scenes (including the Main Title and a long and lovely choral track) which I would like to hear away from the film. One of the best films I've seen this year. Highly recommended" -------------------- And regarding the angelic cue in the big shootout/chase sequence, I thought it took those scenes to a whole 'nother level BECAUSE it didn't have more conventional thriller music. It was (to me) scoring the true birth of the JG character and his diabolical means to get there with a contrast in musical style that was quite breathtaking and daring.
And regarding the angelic cue in the big shootout/chase sequence, I thought it took those scenes to a whole 'nother level BECAUSE it didn't have more conventional thriller music. It was (to me) scoring the true birth of the JG character and his diabolical means to get there with a contrast in musical style that was quite breathtaking and daring.
Kev, thanks for your reply, and I did actually read the post you pasted above when I researched previous Nightcrawler entries at FSM before I posted my CSB.
Interesting thoughts of yours regarding "The Shootout" cue. Personally, while I liked the film a lot, I didn't like how ultimately Gyllenhaal was kind of treated like the "hero" of the story in a way (my take on it anyways) when he was really one of the most detestable, reprehensible, soulless "human beings" depicted onscreen in quite sometime, and he got away with everything in the end and continued building his own video production company unfettered. I just didn't care for that outcome.
So the choral beauty of "The Shootout" playing during his evil final manipulations kind of didn't sit well with me, if that makes sense, as if it was playing to his final setup and choices at the final accident scene in a triumphant light as if it were acceptable (it seemed to me upon first viewing). When I first saw the film it felt like the cue was justifying or further endorsing the agenda of Lou's actions in an acceptable way.
Or, as you say, the cue underscored Lou's true birth moment (good point there). I can see how it may have been scoring his "true birth moment" as him realizing he could get away with all of this at these ultimate and murderous lengths and he kind of ascended/transcended and finally achieved what he wanted -- the whole film he was trying to get ahead in his career and financial struggles and his search for purpose and he finally found fulfillment and his calling, so maybe the angelic and heavenly cue was scoring the beauty of his finally finding his place in the world, as demented and evil as it may be. In that case, the cue does work for me. And now that I'm typing this and coming to this realization (literally, I'm starting to get it right now), the cue is starting to make sense to me.
At first I felt like the beauty of the cue was matching the horrible actions of the character or the events depicted, but now it seems that objectively (as is professionally required of the composer of course) the beauty of the cue may have been matching the successful ascension to a higher level of achievement of purpose and fulfillment for the film's main character after all of his struggle. Narratively, that makes sense. As a director, I suppose you could have chosen a cue with a tone that could have gone either way, and I am now realizing that the most interesting way was chosen. And you are right Kev, it is a contrast in musical style and quite breathtaking and daring and further testament to the brilliance of both Howard's talent as a composer and of the Nightcrawler score itself.
Wow, this score and film turns out to have more layers than I thought! Or I was dumber at first than I realized Either way, thanks Kev, because I think you provoked the understanding that I came to regarding "The Shootout" and how I struggled to see how it could work in this film and in the context of the score.
I'm just glad you all are talking about this at all, DR. I've kind of missed out on JNH's scores in the more ambient vein, and haven't caught up with a lot of these movies (Nightcrawler is higher on the list for me thanks to this exchange). Listened to the few cues available on spotify and impressed with what I'm hearing. Proving these efforts are helpful to some of us who don't even know the movie yet, much less the music!
I'm just glad you all are talking about this at all, DR. I've kind of missed out on JNH's scores in the more ambient vein, and haven't caught up with a lot of these movies (Nightcrawler is higher on the list for me thanks to this exchange). Listened to the few cues available on spotify and impressed with what I'm hearing. Proving these efforts are helpful to some of us who don't even know the movie yet, much less the music!
Glad you're getting into them, Sean! Honestly, if just one person is turned onto Nightcrawler (or another JNH ambient urban mood score) because of this thread, then it's worth the time I've spent compiling the CSB to begin with. I hope you'll continue to check out the tunes and keep us posted on how you like the rest! Always glad to hear the efforts are helpful, funnily enough I didn't think anyone was into this thread at first...
Nightcrawler, alongside Edge Of Tomorrow, were the best films I saw in 2015. I don't like the JNH score quite as much as you do as a stand-alone listen - I carried about 6 tracks over to my mp3 player - but it works brilliantly in the film, adding so much atmosphere and substance to proceedings. I also enjoy your CSB's, even when I don't really care for the film and/or score. Keep up the great work.
Nightcrawler, alongside Edge Of Tomorrow, were the best films I saw in 2015. I don't like the JNH score quite as much as you do as a stand-alone listen - I carried about 6 tracks over to my mp3 player - but it works brilliantly in the film, adding so much atmosphere and substance to proceedings. I also enjoy your CSB's, even when I don't really care for the film and/or score. Keep up the great work.
Thanks Kev, for the kind words. Thanks also for igniting some Nightcrawler epiphanilization (it's not a word) on my end.
I think it's awesome, a lot of people have said that they enjoy reading my CSBs even when they don't care for the film and/or score. That's such a high compliment. Warm and fuzzy.
I'm curious, which 6 Nightcrawler tracks did you hang onto for your mp3 player? I assume "The Shootout" is one of them.
You're right -- the score works so brilliantly in the film.
I have to say, the one track on the whole score I can't stand is the final, "If It Bleeds, It Leads" where the electric guitar just shreds too much and the sound is way too grating, too unpleasant, not my kind of thing. The rest of the score is aces, but that last track is out the window. Anyone else reading this sentence right now dislike that track?
Hi Dep. Sorry mate, just noticed your question above. Just checked my player and these are the 5 tracks I saved (the most musical ones to me).
Nightcrawler Lou's Inspired Lou's Philosophy The Shoot-Out Lou's Free
I think the rest of the score is solid enough and works amazingly well in the film, but it doesn't stand-alone for me as music as much as those 5 tracks.
Hi Dep. Sorry mate, just noticed your question above. Just checked my player and it 5 tracks I saved (the most musical ones to me).
Nightcrawler Lou's Inspired Lou's Philosophy The Shoot-Out Lou's Free
I think the rest of the score is solid enough and works amazingly well in the film, but it doesn't stand-alone for me as music as much as those 5 tracks.
No problem, Kev.
Great tracks, all. Some of my favorites. My favorite tracks in the whole score, and they are very similar to each other, are KWLA and Nina and Frank. They might not be as "musical" as the tracks you've listed above but they are just mesmerizing to me, they so very much have that JNH sound, and they have this sort of dreamy, ethereal quality to them that is just so attractive. I don't know if you'd want to add them to the 5 you listed above, but at least I'd recommend going back and checking out KWLA and see if it does anything for you at second glance -- it's brief but I personally find it really special.
Either way, thanks Kev, because I think you provoked the understanding that I came to regarding "The Shootout" and how I struggled to see how it could work in this film and in the context of the score. 
