Conducted by Thomas Newman

Orchestrated by Thomas Pasatieri

Produced by Thomas Newman and Bill Bernstein

Release Date: May 20, 2003

            Walt Disney Records
 

     In a surprise move, Pixar's latest computer animated film, Finding Nemo, doesn't boast a jaunty, jazzy score from Randy Newman. Instead the film opts to present the bittersweet music that comes from the pen of Randy's cousin, Thomas Newman. I'm sure such a departure didn't come lightly. Randy Newman has been instrumental (pun intended) in filling the musical world of Pixar's films with such adventurous whimsy that Thomas' approach to scoring stands out among the list of Toy Story, A Bug's Life, and Monster's Inc. Instead, with Finding Nemo Thomas Newman takes an approach similar to his work on Road to Perdition, though with the music being far less darker in tone.

     Right away, Newman hits the musical feel of being underwater with great aplomb, though by the time the second track (Barracuda) comes around it becomes readily apparent that all is not well in this aquatic paradise. Nemo Egg (Main Title) sets the stage for the main theme, and while it (along with several other themes and motfs), "float" around the score, the thematic usage isn't that heavy. It's not a big problem however as there are plenty of individual cues and sequences that are interesting in their own right. The Road to Perdition feeling makes its first appearance in track four (The First Day), while experienced score listeners should definitely pick out the Die Hard-esque style in Friends Not Food. Being a travelogue of a film, it's no wonder that the styles jump around a lot, but as a credit to Newman's talent, each section is well-done and while there are moments that tend to sneak by without much ado, there is usually something interesting going on musically. The only song included is Robbie Williams' singing of Beneath the Sea. It's a fine song that seems to fit in well, and is included at the end of the score, thus dodging any issues with breaking up the flow.

     With the CD containing forty tracks, one might easily construe that the music would be a disjointed collection of short cues. This isn't the case as, while the tracks may be short, the album is sequenced in a way that it presents one continuous segment. While it's nice have the ability to skip to different sections, when your favorite cue is located up in the twenties and thirties it can be a pain sometimes. Oddly enough however, a handful of tracks have either dialogue or some sound effect that start them off. It seems spread so randomly and the effects and dialogue are of hardly any consequence that I'm puzzled as to their inclusion.