Noteworthy Scores and Soundtracks: Thomas Newman’s WALL-E Score

Thomas Newman – Bubble Wrap

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If you could interview any modern film composer who would it be? Hans Zimmer for Gladiator? Elliot Goldenthal for Titus? James Newton Howard? For the past five years my attempts at answering this question have yielded unsatisfactory results.

Until now.

Thomas Newman is 52. Can you believe it? I can’t. His scores consistently possess such youthful vigor, such unfaltering appreciation for exploration of the unknown. If I could define Thomas Newman’s style with one word that word would be “curious.” His compositions are married to the pursuit of the unfamiliar, and every Newman score is ultimately an attempt at answering some sole, pivotal question.

In 1999, the sound of American Beauty served as Newman’s aural mirror to Kevin Spacey’s existential meandering over whether he could reinvent himself. In 2003, Newman’s score echoed the exhilaration Finding Nemo’s title character experienced when prompted by freedom and a newfound ability to realize his potential. And now, with WALL-E, a film largely devoid of dialogue, Newman saturates the soundscape with the same eagerness to discover intrinsic to both aforementioned film scores.

“I take the approach of the listener, in a way. What draws my ear? And why? What if you struck a bell? What if you bowed a bowl? I love hurdy-gurdies and baritone ukuleles. Anything that makes noise.” – Thomas Newman

It’s something I would expect Honus Honus of Man Man to squawk, though I can’t say I’m surprised. What’s clear to me is that I most admire a certain breed of artist, namely those who can look a piece of art square in the eye and breathe life into it by rolling up their sleeves, lifting it to the heavens, and acting upon two tiny words: what if?

Thomas Newman, I choose you.

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