Composer Thomas Newman — whose 13 Oscar nominations include scores for Pixar’s Finding Nemo and WALL-E — has returned to the Disney/Pixar fold for the sequel Finding Dory, which focuses on the sweet blue tang with short-term memory loss (again voiced by Ellen DeGeneres). This time Dory is determined to find her parents, an odyssey that takes her across the ocean to a California aquarium. For a Variety story about Newman’s music, and his third time tackling an animated film directed by Andrew Stanton, I interviewed both composer and director during the recording sessions at Sony and at later mixing sessions at The Village in West L.A.
Thomas Newman, one of today’s brightest and most talented composers, has been the subject of many stories over the years. Most recently there was his score for the James Bond film Skyfall, which was Oscar-nominated and won a BAFTA. (Read more about it in my Bond book!) Before that, The Best Exotic Marigold Hotel. Prior to that, the contrasting styles of The Help and The Iron Lady. Here’s one about Brothers, and another on Revolutionary Road and WALL-E. This one goes all the way back to American Beauty and The Green Mile.