Writer’s Music: Thomas Newman II

91ufkP71uyL._SY355_Long, long ago, one of my mother’s favorite stories was turned into a film (again): LITTLE WOMEN. She and my father decided to do a family movie outing, where he, my uncle, and my brother would attend one film, and my mother, aunt, and I would attend another.

I was seething the entire trip. Why couldn’t I see the boy movie? HIGHLANDER III sounded loads better than some girl movie. (May the snickering commence.)

Looking back…well, I never did get to see Highlander III, so I still don’t know whether or not I came out ahead. (Yes, I’ve been told I have, many times over.) No matter what I thought of the story or the film, one element stuck with me, hard: the music.

Newman’s theme to Little Women still surprises me with its versatility. The opening sequence shines brightly through the brass and strings. Splendor, light, joy–all this comes through in “Orchard House.”

The theme depicts a strength you can’t help but associate with Jo and her sisters. They’re a source of life for the brooding and sick surrounding them.

But then they grow up, part ways. It takes a death to bring them back together.

Now Newman could have written a special sorrowful theme. He could have devised something simple for the period, with, say, a violin or a flute. Lord knows I was familiar enough with the lone violin playing “Shenandoah’s Theme” every time an important person died in Ken Burns’ documentary THE CIVIL WAR. But Newman didn’t. He used his life-light theme again, but not with an orchestra. This time, the theme comes to us on piano in “Valley of the Shadow.”

A piano still has the feel of the period. It was the beloved instrument of the character who died. The theme comes to us in chords, without fluid arpeggios or connections: the notes move together, as these sisters must now move forward together.

I cannot think of another score where the main theme moves from triumph to mourning with a mere change of instrument.

Stories, at least the good ones, do not follow the easy journeys. They take the mountain trails, pass through all those shadowed valleys. Face the monsters all around.

Within.

Only then can a light of triumph shine upon that final page.

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Writer’s Music: Thomas Newman

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lemonysnicket_soundtrackNewman’s work throughout this album fulfill several needs for the children’s writer: you have the quirky theme for Olaf (a personal favorite). A quiet, music-box like quality for children. Crazy and proud themes for the different relatives the orphans meet. Newman’s got a delightful uniqueness for every setting the Baudelaire Orphans encounter. I was torn one which track to write about, actually, because Newman’s score has helped me with character development and plot drive. Today, I will focus more on the plot angle.

“The Letter that Never Came” is a beautiful balance between strings and piano. It portrays hope and apprehension all it once—just the mix one experiences when watching doctors move about a child’s sick bed. I write this scene from the human pet’s perspective; she stays close to her troll master while they work, desperate to hear good news of any kind.

When a writer kills a character, it absolutely must happen for the sake of the story, and not just for gut impact. I’ve had enough people die on me in real life to have an inherent need to keep all my characters alive no matter what explosive battles they endure. But in my story about trolls who keep human children as pets, I knew I had no choice. The trolls have made their world toxic, but they refuse to admit it. It takes the death of my main troll child to push the human pets to fight against those hiding the cure. “The Letter” helps me combat the emotional drain and stay on task, forcing my characters to face the inevitable loss and inescapable future.

 

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