By Ryan Fogarty
Much like his cousin Randy before him, Thomas Newman has amounted 11 Oscar nominations without a win (to be clear, Randy earned 15 Oscar nominations before winning Best Song for Monsters, Inc. in 2002.) Newman is my personal Susan Lucci. I was first introduced to his music when I saw Little Women in theatres in 1994, I would later learn by that point he had scored a slew of films including The Shawshank Redemption (nom), Fried Green Tomatoes, The Player, Scent of a Woman, and many others before that.
I didn’t join an Oscar pool this year, but rest assured I would have put my film-score hopes and dreams on Newman again. I thought my favorite bridesmaid was finally in dress good enough to upstage the bride—the bride being Michael Danna—who would win for the ethnically charged score to Life of Pi (I’m taken back to when Eliot Goldenthal won for Frida as opposed to the haunting The Hours score by Philip Glass).
I rationalize my bet on Newman by bringing to mind the so-called “Bond Tribute” included in this year’s Oscars show. A compilation of video clips—all the handsome Bonds and Bond women—and the DA DA DA-AAAA TA-DA DA of it all. Shirley Bassey would be there and with Adele being one of the nights sure bets why not Newman? The man interweaved the brass, the suspense, the sex, his own bravado and the kind of music we love from old Bond to create a new Bond, which is exactly what Sam Mendes’ film was trying to do.