James Newton Howard
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He’s been in my top 10 for as long as I can remember. Even these days, when there’s a lot of gaps beetween his good stuff, he still clings on to that 10th place! I have 40 JNH albums, out of which WATERWORLD reigns on top.
I’m doing a thread on him now because Intrada is apparently releasing FLATLINERS at long last, on October 21. I’ve had a boot of this for decades, and while the main takeaway is the glorious choral cue(s), there’s still some interesting textures going on in the more suspense-oriented bits. Anyone intend to pick this up?
I like some Newton Howards but never was a huge fan somehow. I have that boot as well… Probably won’t pick it up. Too many other things on the list and so few budget 😉
Yeah, it can be a bit harsh here and there.
By the way, I just finished watching Paul Greengrass’ latest, THE LOST BUS, with a score by JNH. As a fan of both Greengrass and survival/disaster films, I had high hopes, but alas it was all rather meager. Same for the score – whatever I could hear under the sound effects was anonymous drones; the type of which he’s done too many in recent years (this feeling was reinforced when I sampled the album awhile back).
Very cool! I love fly-on-the-wall stuff like that. Only wish I’d seen him actually play the keys — probably some rights issues involved.
Funny to see the differences in their personalities — JNH’s calm, professional demeanour and Zimmer’s slightly more larger-than-life.
I like James Newton Howard a lot… UNBREAKABLE was a fantastic score… I remember FSM called it “part Arvo Pärt meets hiphop, and part Miklós Rózsa meets Danny Elfman”, which made me buy that score… well, that was a few decades ago. I don’t have FLATLINERS, so I might get it, sure sounds interesting. I’ve seen the movie way back when it came out (I watched a lot of movies back then), but didn’t think it was all that good, so I don’t remember the music.
James Newton Howard, on the other hand, is an excellent composer. I was at a concert he gave some years ago, and not only did I enjoy the music, it was quite interesting that Howard a few times turned from the conductor’s podium and told little anecdotes and background stories about the music he selected. He sure came across as a very likeable person.
Just realized I actually don’t that FLATLINERS boot. But I for sure saw the movie. So will wait for samples.
I once got Jim Titus to design a cover for my CD-R boot of FLATLINERS and FALLING DOWN (pictured below). Of course, that CD-R is obsolete now, with both scores getting commercial releases.
I’m hoping to acquire a digital promo of FLATLINERS and write a review of it. But…I’m curious if it’s possible to recreate the old, 31-minute bootleg programme from it? I know it’s a long shot to ask here, since I’m not sure any of you have it, or have ordered it, or even have the old bootleg, but I thought I’d ask. Here’s what the old boot looks like:
I’m a huge, huge fan of Grand Canyon. Added so much to the film. Wonderful fanfare at picture’s climax that exploded when closing credits commenced.
It sure is!
I was fortunate to hear a suite (with the Americana fanfare) performed live at the World Soundtrack Awards in 2012. Conducted by the man himself. Here’s my shoddy, out-of-focus video from that (video expires in 2 days):
But my favourite track is unquestionably the “Main Titles” — those moody & poetic synth chords, conjuring a city waking up at dawn, before it kicks into the rhythmical bit as the hustle and bustle begins. JNH was so good (well, hopefully still is) at capturing cityscapes in his music. Those associations are not that far removed from how the cue was actually used in the film, if memory serves. It’s been a while since I saw it.
That is wonderful. And how often do you get to see a conductor doing a nice, clear, distinctive 4/4 tempo! The “moody” chords you describe add an aura of mystery and wonder while driving at night to the soundtrack. One of my favorite moments is when the Steve Martin character gazes out the window at the sunrise while laying in the hospital bed. That music/scene comes on the heels of the young lady gazing emptily at the ceiling from her apartment bed. Great segue from one to the other, both image-wise and musically.
But my favourite track is unquestionably the “Main Titles” — those moody & poetic synth chords, conjuring a city waking up at dawn, before it kicks into the rhythmical bit as the hustle and bustle begins. JNH was so good (well, hopefully still is) at capturing cityscapes in his music. Those associations are not that far removed from how the cue was actually used in the film, if memory serves. It’s been a while since I saw it.
Agreed about the main titles. Me and my mates played it so many times in the 90s.
I believe there is a basketball scene during parts of the main titles.
Yes, I do remember some street basketball. And a segue from black/white to colour? Oh well. I should watch the film again.
A few thoughts on the new FLATLINERS release here, for anyone interested.
Hello dear Thor, and all other visitors to the site!
After a long absence, I’m finally able to return here… I still love soundtracks, and I especially adore synthesizer music score.
I would like to add my two cents about the work of the talented and versatile composer James N. Howard. He is also one of my favorite composers. And one of the few whose scores I find interesting after the 2000s.
My favorites are The Fugitive, The Package, Off Limits, Primal Fear, Intersection, and Promised Land. These are the ones I listen to the most from his collection. I also like Dreamcatcher, [short score] Pretty Woman, Grand Canyon, Dying Young, Russkies, Falling Down, The Sixth Sense, Waterworld, I Am Legend, Blood Diamond, The Lookout, and Collateral.
I sometimes like to listen to Salt, Michael Clayton, The Interpreter, and Freedomland. On the other hand, I didn’t really like Diggstown (although there are some cool things on it). The same can be said about A Perfect Murder (I only listened to it twice, and it seemed to me that, given the good material that was there, James could have done even better).As for Intrada’s release of the Flatliners premiere score, it was one of my holy grails. I love every second of it. Perhaps this is also influenced by the fact that it is one of my favorite movies.
I hope that one day I will be able to afford to buy it. It’s a pity that there is no digital purchase option for it!
By the way, thank you for your review of Flatliners. I can’t say I agree with everything…)Oh, one more thing…
I would love to see the release of 8 Million Ways to Die, Marked for Death, and Head Office someday (which is obviously highly unlikely)… I especially love the first two!Good to hear from you, Ruslan. What about THE SAINT OF FORT WASHINGTON? I’d think that would be a favourite for you. It certainly is for me. Top 5.
I deliberately didn’t mention this score because, for reasons unknown to me (LOL), I still haven’t gotten around to listening to it (even though I have it). I’ll definitely listen to it in a few days, and/or even watch the film. Judging by the plot, the film seems quite interesting.
Hi Thor! I listened to ‘Saint’. What’s more, before listening to the soundtrack, I watched the film itself. I was just curious to see how much material was missing from the 1993 release. There are a couple of interesting moments – mainly variations on the main theme. It’s a pretty good score. Lots of electronics. In terms of style and presentation, it reminded me of Grand Canyon.
Thanks for the recommendation!No problem! Glad you liked it. It’s definitely related to GRAND CANYON – especially those gorgeous, introspective city landscapes that he paints so well in his music (I put SAINT above GRAND in my own estimation, but both are good). The melancholy of the city, in a way, where people may feel lost or alone, but also the beauty of it. I haven’t seen SAINT in many years, though, I should have a rewatch.
James Newton Howard was in Krakow just now (once again, it irritates me that money and health prevent me from attending these things). I haven’t seen any audio or video online, but a Facebook acquaintance, Karol Taubinger, posted a runthrough of what they played:
“Fantastic Beasts Orchestra. Concert with James Newton Howard at the helm.
Grand Canyon end credits, Signs suite, Maleficent suite, The Village suite, King Kong suite, Fantastic Beats suite, Snow Wihte and the Huntsman suite, Blood Diamond suite, Dave suite, Hunger Games suite. 80 piece orchestra, 50 piece choir, 40 piece children’s choir, fantastic soloists. WHAT A BLAST!”
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