Hmmm, I didn't like this one too much. I didn't feel it had the Newman elements I have come to like. Too symphonic and old-fashioned. But I guess that's what Newman wanted.
Hmmm, I didn't like this one too much. I didn't feel it had the Newman elements I have come to like. Too symphonic and old-fashioned. But I guess that's what Newman wanted.
This is exactly why I love it. I could never get into the usual Newman. I guess I'm old fashioned and a symphonist at heart.
That love theme is one of the best things he's ever done, but I'm not holding my breath that he's ever going to return to this style of score. Probably only Soderberg could have coaxed Newman to work in this vein.
I've heard wonderful things about this score but never got around to picking up a copy. Thanks to this thread, I have just remedied that. Newman can be a little austere for my tastes but I love old-fashioned symphonic scores so I'll give this one a try.
I've heard wonderful things about this score but never got around to picking up a copy. Thanks to this thread, I have just remedied that. Newman can be a little austere for my tastes but I love old-fashioned symphonic scores so I'll give this one a try.
Thanks for the recommendation!
It's far and away my favorite of his works. I think you'll love it.
It's one of the rare cases where a film that neither a.) made very much money or b.) earned much critical acclaim earned an Oscar nomination of this sort--clearly an example where the score was so good it demanded a nomination regardless of the film it was attached too. I wish that happened more often.
It's one of the rare cases where a film that neither a.) made very much money or b.) earned much critical acclaim earned an Oscar nomination of this sort--clearly an example where the score was so good it demanded a nomination regardless of the film it was attached too. I wish that happened more often.
I've always assumed that the studio must have absolutely hated it and was determined to bury it. Even though I seem to be one of the few people who genuinely likes the film and have seen it twice in the theater (and own it on DVD), I have trouble believing that a Steven Soderbergh romantic thriller starring George Clooney, Cate Blanchett and Tobey Magurie can only gross $1 million without some active sabotage from Warners (even the Soderbergh/Clooney Solaris, which was probably disliked at least as much as Good German, managed to gross $14 million because Fox actually took the trouble to release the damn thing).
It's one of the rare cases where a film that neither a.) made very much money or b.) earned much critical acclaim earned an Oscar nomination of this sort--clearly an example where the score was so good it demanded a nomination regardless of the film it was attached too. I wish that happened more often.
Same happened with The Red Violin The Village Defiance
By the way, this great score became because David Holmes' was rejected. How would it sound like?
This makes me wonder why I never got around to picking up this score. I adore Thomas Newman's symphonic works. Maybe now is a good time for me to buy a copy.
