Thomas Newman

The experience of a film is immersive, and music is supposed to underline and help that experience.

I had ideas. A lot were good, but in many ways, I had no idea or experience about how to carry them out.

I realized so much of my life hasn't been in a well-lit room, and I realized the importance of documenting my experiences as a way to memorialize them.

I just want my music to involve an audience in what's taking place onscreen.

In live action, sometimes a mood or a feeling can go on for quite a while. Animation is a lot more effort. There are a lot more notes.

In animation, action is changing so quickly that there's really not a lot of suspended moments.

Music is such an odd thing when you think about it - behind an image until you take it away, and then you realize a movie sounds blank without it.

There were certain things in 'Nemo' - just this low hum of ocean and watery sound - that was enough to imply water, as opposed to restating it over and over again.

Sugarcoat the Galaxy' is inspired by color-inflected photographs of galaxies. It likens sounds to spun sugar and confection, wrapping static harmonies inside energy and pace.

What satisfies me most are those nonverbal moments with players, when I sense them thinking and responding. And I think, 'Wow, this is amazing.' Hollywood gives us the money to do this. I want to be grateful for that, and I also don't want to waste it.

There was no way I could not do 'Finding Dory.'

There are moments when I invoke my dad and think about him on the podium, but in a very positive way. I don't feel at all intimidated by him. I feel like I've found my own voice.