Then again, I seriously doubt this is going to have anything in common with Shore's LOTR vernacular, so Newman is as good a choice as any.
That’s to be hoped for, at least.
Don’t get me wrong, you’ll find no bigger fan of PJ’s LotR films and Shore’s scores than I, but this will be a film about Tolkien - not Peter Jackson’s interpretation of his works. References to anything outside the novels themselves are something I do not want in this film, musically or otherwise.
I’m really looking forward to this, and can’t wait to get our first glimpse of the film. Though if it ends up positioned for awards, that may be a while yet.
Seems to address the young Tolkien's formative experiences in the WWI era. Despite the obvious parallels between LOTR and the rise of Nazism and the atomic bomb, the author always insisted that his story was conceived long before the Second World War and was inspired partly by the loss of almost all his friends on the Western Front. From outward tragedy came a richly imaginative inner life. Can that be dramatized on screen? We'll see.
Tolkien's midlife friend, C.S. Lewis, has also seen his life (or one phase of it) dramatized as Shadowlands. It was most effective as a telefilm starring Joss Ackland but later achieved wide success on stage (with William Nicholson) and screen (Anthony Hopkins).
I think at this point in the game, expecting Newman to change his spots is pretty remote. And why should he. He's developed a very good career from his established sound. Did John Barry break away from his tried and true unique style? Did James Horner stop sampling from the classics or recycling his own material? No and No. They didn't need to. Why should a composer with his own personal style stop doing that. Even Williams, Goldsmith and Morricone always sound like themselves. If TM scores this one like Jarhead, I'll be sad. If he scores it like Saving Mr Banks, I'll be chuffed.