The Amazing Newman Family

One family has influenced movie music more than any other. The best known member of this family is Randy Newman, who has had a very prolific career as a solo recording artist, but has been nominated for 18 Academy Awards (winning only one) for his film work. However, his uncle, Alfred Newman, was even more successful in film, who was nominated 45 times and won 9 Academy Awards, more than any other composer in history. His other uncle, Lionel, was nominated 11 times and won once, his cousin, Thomas, has been nominated 10 times (zero wins), and he has another uncle, another cousin, and a nephew who have all composed music for films. Oscars aside, the family has composed music for hundreds of films and some TV shows, and has been a force in Hollywood for three generations.

Alfred Newman grew up poor in the early part of the 20th century, and like many poor but creative immigrants at that time, wound up migrating to vaudeville and then the film industry. He wrote his first full film score for Street Scene in 1931, which was the start of a 40-year career in the movies. While he wrote original music for notable movies such as The Prisoner of Zenda, Dodsworth, and Gunga Din, he was best known for his adaptation of music from Broadway musicals, winning an Oscar for his musical adaptation for The King and I in 1956. Alfred's score for How the West Was Won was ranked by the American Film Institute as the twenty-fifth greatest American film score ever composed (you can hear the wonderful western overture from the film here: http://www.youtube.com/watch?v=sXPFuXfAmbI ).

Randy Newman grew up in L.A. in the 1940s and 50s, and released his first single at age eighteen in 1961. It was not successful, so he began his early career as a songwriter for other artists. Gene Pitney, Jerry Butler, and the O'Jays all recorded his songs, but he didn't receive much notoriety until Harry Nilsson recorded his album Nilsson Sings Newman in 1970. The success of that album paved the way for Newman to release more of his own work, which was critically successful and spawned many covers of his songs, but it was his song Short People in 1977 that infamously put him on the map. In the 1980s, Newman began doing more of the film work that he had started in the 1970s, notably writing scores for Ragtime and The Natural. Randy worked on many successful films in the next twenty plus years, but it is his work on the movie Toy Story that is the most instantly recognizable, especially the song You've Got a Friend in Me . Toy Story very naturally matched the playfulness, quirkiness, and touch of melancholy of Randy's music to the story of the film. (For me however, the film I most associate with Randy's music is the goofy Major League, because of the use of Randy's Burn On in the opening credit sequence.)

Thomas Newman was born in 1955, the son of Alfred Newman. He studied music composition at USC and then at Yale, and quickly found work in the movies. He made a name for himself in the 1980s, composing scores for Desperately Seeking Susan and Reckless. This led him to high profile work in the early 1990s in Fried Green Tomatoes, Scent of a Woman, and The Shawshank Redemption. His film resume in the last 15 years reads like a listing of notable movies from that period: American Beauty, Erin Brockovich, In the Bedroom, Finding Nemo, The Green Mile, and many more. He won a Grammy for his main theme for the TV show Six Feet Under, which is probably his best known work (watch and listen here: http://www.youtube.com/watch?v=KYAe0qwg9Yw ). However, I will always think of this sequence from American Beauty when I think of Thomas Newman. Newman's music, Conrad Hall's cinematography, and Kevin Spacey's voiceover and acting made this scene electrifying the first time I saw it.

Those are the three best know Newmans, but there are several others who have worked or currently work in the film music industry. Hundreds of movies, hundreds of great scores! What's your favorite Newman music moment?

Two Sides of the Same Coin: The Influence of T-Bone Burnett and Mark Mothersbaugh

T-Bone Burnett and Mark Mothersbaugh have been amazingly influential to the modern movie soundtrack, and while they share some similarities, they are the opposite of each other in many ways. One was an enormously successful recording artist, while the other struggled with recording and ultimately stopped recording and moved into producing. One has won an Oscar, several Grammys, and quite a few other awards, while the other has not received the acclaim from his peers in the same way. But both have helped movies move away from the ubiquitous pop-themed soundtracks of the eighties and nineties (think Footloose and Sleepless In Seattle), to more integrated, quirky, and cool soundtracks and scores (for better or worse) in the 2000s.

Born Joseph Henry Burnett, T-Bone Burnett grew up in the Fort Worth area of Texas and became a singer and songwriter, influenced by the local blues and country music scenes. In the mid-1970s, Burnett toured with Bob Dylan as a backing guitarist. In 1980, he released his first solo album to some critical success, but little commercial appeal. Throughout the 1980s he released a few more albums with similar success, but mainly worked as a producer of musical acts, most notably Elvis Costello and Roy Orbison (in photos from that time, Burnett looks like a cross between Orbison and a 1960s mop-top band member). To see a list of the many albums he produced, click here.

In 1992, Burnett reportedly stopped recording because of his frustration with the process and what he felt were his limitations as an artist. Burnett threw himself into production, an eventually began work as a soundtrack producer for film. In 2000, Joel and Ethan Coen were looking for a producer who could deliver a soundtrack full of old-time American folk, blues, and bluegrass, and Burnett was the perfect choice as an accomplished producer and singer/songwriter in these musical genres. Burnett's soundtrack for O Brother, Where Art Thou? was a huge success, both critically and commercially, and won Burnett four Grammys. The quirky, American roots music he chose and commissioned for the movie, and the commercial success of the soundtrack, woke movie production companies up. There was money to be made in non-top-40 catalog music! The soundtrack was so successful, it is listed on Amazon as the number 11 best-selling soundtrack of all time, it spawned a very popular musical tour called Down From the Mountain (which was filmed and turned into a documentary by D.A. Pennebaker), and made stalwart roots music artists such as Ralph Stanley and Alison Krause into household names. And the seamless integration of the music into the movie made for several memorable scenes in the movie. The credits sequence with Big Rock Candy Mountain, the usage of Man of Constant Sorrow (twice) as a plot device, and the wacky montage of the three main characters having fun and stealing a pie to the song I'll Fly Away are all great moments, but my favorite has to be the baptism scene using the Alison Krause song Down to the River to Pray.

The surprising success of O Brother, Where Art Thou propelled Burnett into the limelight. He went on to produce the soundtrack for Cold Mountain in 2004, Walk the Line in 2005, released his own solo album for the first time in 14 years in 2006, and produced the soundtrack for Crazy Heart in 2009, for which he won an Oscar for a song that he co-wrote, The Weary Kind.

Mark Mothersbaugh took a different route to Hollywood. Born in 1950, he attended Kent State as a young man. It was there that he met Jerry Casale and Bob Lewis, and the three of them formed the band Devo in 1973. The band was themed on art rock, punk, and New Wave music, and attracted a loyal following in the late 1970s. The emergence of MTV helped propel Devo to new heights. Their quirky style and signature jumpsuits and plastic hats were perfect for the new visual medium of music videos. Their commercial apex occurred in 1980 when Whip It hit #14 on the Billboard charts. Devo has maintained a cult following over the years and has been enormously influential on other artists.

Mothersbaugh began doing some solo work, mainly in film and TV, in the early 1980s. He wrote some music for the underground hits Heavy Metal and Doctor Detroit. He wrote the theme music to Pee-Wee's Playhouse in 1986. He was quite prolific during this decade, continuing to record and tour with Devo, and composing and recording music for film and TV. In the 1990s, as his work with Devo became less frequent, his composing for soundtracks ramped up. He began doing score work for big, commercial films such as Dumb and Dumber and Happy Gilmore, but it was his work on a very small film by an unknown director that began his key work in the industry. Wes Anderson hired Mothersbaugh to create the score for his first movie, Bottle Rocket. While the movie came and went with little attention, it proved to industry executives that Anderson could direct, and a few years later, he was able to make Rushmore.

Mothersbaugh's score for Rushmore in 1998 blended perfectly with Anderson's sensibilities of light, indie, punk and New Wave-influenced music. The soundtrack to Rushmore was critically lauded for being different, edgy, anti-establishment, and smart, but lost in that acclaim was Mothersbaugh's masterful work in scoring the movie and pulling the diverse songs together to theme nicely with the movie (along with music supervisor Randall Poster).  Consider the subtle but compelling score work in the opening of Rushmore here.

Mothersbaugh went on to score Anderson's other movies The Royal Tenenbaums, The Life Aquatic, and The Darjeeling Limited. All of these odd, unusual, and light soundtracks help to set the scene in Anderson's odd, unusual, and light movies. Consider Mothersbaugh's introductory music in the The Royal Tenenbaums that segues into his Muktato Musik (Mothersbaugh's music ensemble he created to do score work) version of Hey Jude (click here). If imitation is the most sincere form of flattery, Mothersbaugh should be very flattered. His influence has extended to many other music composers, including Jon Brion (I Heart Huckabee's, Eternal Sunshine of the Spotless Mind), Alexandre Desplat (The Curious Case of Benjamin Button, Fantastic Mr. Fox), Rolfe Kent (Up In the Air, Sideways),  and one could even argue Yann Tiersen (Amelie) and Thomas Newman (American Beauty). It seems I can't see a quirky independent movie without thinking of Mark Mothersbaugh.

So, Burnett and Mothersbaugh have had different paths, and one works mainly on soundtracks and the other on scores, but their influence on today's music in film cannot be underestimated, especially in the indie genre. Sadly, Mothersbaugh does not recieve the kudos of Burnett. He was nominated for a Grammy for his work with Devo, but has never been nominated for a Grammy or Oscar for his film work. Most film score nominations go to composers of more "serious" work, and Mothersbaugh gets overlooked. I look forward to any new projects that Burnett or Mothersbaugh work on.

I Saw It On the Radio

Have you ever been walking through a supermarket (or an office building, or the mall) and heard a song come over the speaker system that immediately transported you into a scene in a movie? This happens to me all of the time. I have an A/V memory. This kind of stuff sticks in my head. But, even if you don't have an A/V memory like me, it has probably happened that a piece of music has evoked a memory of a film. This is especially true of theme songs. The theme from The Godfather, for instance, is instantly recognizable to most people and will usually elicit a vision of the Corleone family. The Bernard Herrman score for Psycho, or John Williams' score for Jaws have been so popular and recognizable that they have become metaphors, used in popular movies and TV shows to signify insanity or impending doom. You are not likely to hear these in a supermarket or mall though.

What I am trying to get you to think about is popular songs that are likely (or maybe unlikely, but possible) to be heard in a supermarket, on the radio, in a bar, etc., that can be truly identified with a single movie. Many songs, such as the entire 1960s songbook used in movies like Forrest Gump, The Big Chill, Platoon, and many others, can be identified with many movies. What that song might evoke for you is different from what it would evoke for me. But certain popular songs have been used very effectively in a single movie and can quickly transport a listener to a specific scene in that movie (that is not to say that the song was never used in any other movie, just not an effective use). This can be good or bad: a good song and a good scene can produce a great result and a great memory, but a good song used in a bad movie can ruin the song forever for someone with an A/V memory. Here are some examples that are particularly evocative for me:

This Must Be the Place (Naive Melody)/ Wall Street

While I love the Talking Heads performance of this song in Stop Making Sense, This Must Be the Place (Naive Melody) always makes me think of Wall Street. Charlie Sheen and Daryl Hannah, dancing, cooking, big hair, '80s decor and clothes...all at a point of the movie where you really start to care about Sheen's character, Bud Fox, and hope for his success. Unfortunately for Bud Fox, this is his high point and it is all down hill after this as his relationship and career crumble. But this scene is a light, bright, and fun moment in a movie that is otherwise ominous and often dark.

Me and Julio Down By the School Yard/The Royal Tenenbaums

Gene Hackman's character, Royal Tenenbaum, is lovable, irascible, fun, rascally, and (in the words of Danny Glover's character Henry Sherman, a son-of-a-bitch), and the montage where he teaches his two young grandchildren to be a little reckless and carefree is an absolutely perfect use of this fun but rascally Paul Simon song. Hearing it always makes me think of go-cart racing, running and jumping in pools, throwing water balloons at taxis, and riding on the back of garbage trucks. The Royal Tenenbaums actually has several scenes that make terrific use of songs, but this one is my favorite.

Stuck In the Middle With You/Reservoir Dogs

While this might be an obvious choice, I include it because it is both a fantastic use of the song, and Reservoir Dogs ruined the song for me. The catchy rockabilly-influenced pop of Stealer's Wheels was a perfect counterpoint to the tension of the scene, but I cannot hear the song without thinking of crazy, sadistic Michael Madsen torturing a police officer. The first time I saw this movie I wasn't sure if this scene was brilliant or horrible or both, but it made a lasting impression on me. I only saw the movie one time, about 15 years ago, and Michael Madsen and his razor are still indelibly etched in my brain. (Um, if you really want to see it, go here: http://www.youtube.com/watch?v=LLTqecGbdCc .)

In the Court of the Crimson King/Children of Men

Let me first say, I am not the world's biggest fan of Children of Men. I thought it was a good, but not great movie that had some fantastic movie-making in it, but didn't quite live up to its full potential. Maybe it was a little too melancholy for me. But, if you are making a dramatic and melancholy film, you can't go wrong with King Crimson. I have always felt that In the Court of the Crimson King would be a terrific song to use in a movie, and the scene it came in on in Children of Men was note-perfect. The Rolls Royce ride through ruined and decaying London to the giant building right off of the cover of Pink Floyd's Animals, interspersed with shots of Clive Owen's hangdog face, was a perfect backdrop for this song. (I know, you are not very likely to hear this song on the radio, except on an alternative college station, but the scene is so intertwined with the song in my mind that I felt compelled to include it.) Try this youtube link if you want to see it: http://www.youtube.com/watch?v=iEvRk2tL82U .

Brothers In Arms/The West Wing (Two Cathedrals)

I know, this is not a movie, but I stray into TV in this one instance because it is such a perfect use of a song. Most TV shows make throwaway usage of popular songs, and most do not have the production values to do them justice even when an effort is made. This is not the case with this Dire Straits song at the end of the finale for season two of The West Wing (arguably the high-point for the show). The show centers around President Bartlett's (Martin Sheen) decision whether to seek reelection at a point where he is having much personal turmoil and is being accused of fraud. There is a storm brewing. You would have to see the whole season for this long series of scenes to resonate fully, but it is a marvelous use of a foreboding and moody song in a perfect circumstance. Whenever I hear this song I think of Leo (the late, great John Spencer) turning toward the camera and saying, "watch this". Here is a link: http://www.youtube.com/watch?v=uaUPDYXQUtw .

Those are some of my favorite A/V memories. I have hundreds more. Runners up include The Pixies' Where is My Mind (Fight Club), The Doors' The End (Apocalypse Now), Bob Dylan's Not Dark Yet (Wonder Boys), The Stereophonics' Maybe Tomorrow (Crash), The Beatles' Twist & Shout (Ferris Bueller's Day Off), almost any Rolling Stones song in almost any Scorsese movie, and many others that I am at the moment forgetting about.

What are some of your favorites? I would love to hear them!

Welcome to Fade In, Music Up

Welcome to my new blog, Fade In, Music Up. This blog is dedicated to music in film, including both scores and soundtracks. I have been a dedicated film nut for many years, and music in the movies especially sticks in my head. I love it when a song comes on the radio that immediately evokes a great scene in a film. That movie and that music will always be linked together in my head. I also love when a scene in a movie is subtly, or not so subtly, enhanced by the presence of a great film score.

I hope that all of you out there will read and comment and discuss and think about music in the movies! Now, on to posting!