Renovatio Records’ next release celebrates the music of Collateral (2004), the acclaimed action thriller directed by Michael Mann and starring Jamie Foxx, Tom Cruise, Jada Pinkett Smith, Mark Ruffalo, Peter Berg, Javier Bardem, and Bruce McGill.
Widely regarded as one of the most compelling thrillers of its time, Collateral blends a gripping narrative with standout performances and the atmospheric allure of nighttime Los Angeles. Foxx plays Max, a Los Angeles cab driver, who is offered a high fare by Vincent (Cruise) to drive to several locations throughout the city. Max agrees but soon finds himself taken hostage by Vincent, who turns out to be a cold-blooded hitman hired to eliminate a number of targets. With Mann’s signature attention to detail, Collateral not only achieved critical acclaim but also performed strongly at the box office, earning $220 million worldwide. Its exploration of themes like morality, chance, and human connection struck a chord with audiences, while the visually striking cinematography and tightly woven narrative solidified its place as a modern classic.
Integral to the film’s immersive experience is its music—a compelling blend of original score and carefully curated songs that enhance its emotional and thematic depth. The music of Collateral exemplifies the challenges and artistry of scoring a Michael Mann film, marked by his unorthodox and collaborative approach. Although James Newton Howard is the primary credited composer, the score is a mosaic that also includes contributions from Antonio Pinto and Tom Rothrock, as well as various temp tracks Mann retained in the final cut. This fragmented methodology reflects the director’s penchant for experimenting with musical textures, sometimes at the expense of a unified score.
Howard, aware of Mann’s exacting standards, approached the project with tempered expectations, even humorously noting he would be pleased if half of his compositions were used. In the end, only 15 minutes of his 50-minute score made it into the film. Meanwhile, Mann simultaneously tasked Pinto and Rothrock with composing for overlapping scenes, creating a rich but eclectic musical landscape. Despite its patchwork nature, the resulting score captures the film's haunting and nocturnal ambiance, contributing significantly to its mood.
Pinto’s compositions bring an emotional resonance to Collateral, reflecting cab driver Max’s journey through trauma and catharsis. His standout tracks, such as "Night Shift" and "Requiem," blend noir-inspired string melodies with electronic and orchestral textures, encapsulating the film’s delicate interplay of tension and fleeting beauty. Rothrock, on the other hand, provides hard-edged rock cues for a few of the film’s more kinetic sequences, particularly those involving law enforcement, adding a raw, energetic layer to the score.
In contrast, Howard’s work emphasizes rhythmic suspense and introspection, skillfully blending orchestral and synthetic elements. Tracks like "Island Limos" introduce intriguing motifs, while "Felix" and "Surveillance" showcase Howard’s innovative use of layered guitar textures. The mournful vocal lament in "Daniel Is Killed" and the pulse-pounding brass and percussion of “Max Steals Briefcase”, "The Final Target", and "Metro" deliver thrilling intensity in the film’s climactic moments, and will surely satisfy the avid fans of the composer. Howard himself described the score as “less note-y, much less orchestral” than his typical work, reflecting the minimalist yet impactful tone Mann sought.
Over the years, Collateral has seen a number of soundtrack releases, each with its strengths and shortcomings. The original 2004 album by Hip-O Records featured a mix of songs and score, offering a broader overview of the film’s music but limiting the depth of its score presentation. In 2016, Intrada Records focused exclusively on Howard’s work, offering a comprehensive collection of the score, though it leaned heavily into its darker, more subdued elements, which proved to be overwhelming for casual listeners. Renovatio Records’ new release seeks to deliver the definitive listening experience, curating a balanced selection of tracks from Howard, Pinto, and Rothrock. This album captures the essence of the film’s musical identity while standing as an engaging standalone experience.
Track listing:
Cover Artwork:
Credits:
|
Track
Title |
Slate
& Cue Title |
|
1. Briefcase - Tom Rothrock |
Briefcase |
|
2. Night Shift - Antonio Pinto |
Night Shift |
|
3. Stalk - James Newton Howard |
1m2 Vincent Stalks Building 2m1 Vincent Reveals ID (Edited) 2m2 Vincent and Max Talk (Edited) |
|
4. The Second Hit - James Newton Howard |
2m1 Vincent Reveals ID (Edited) 2m3 Cops/Arriving at Second Hit (Edited) 2m4 Sylvester Clarke |
|
5. You Like Jazz? - James Newton Howard |
3m1 You Like Jazz? Part 1 (Edited) 2m3 Cops/Arriving at Second Hit (Edited) 3m3 Daniel |
|
6. Daniel Is Killed - James Newton Howard |
3m2 Fanning at Crime Scene 3m4 Daniel is Killed (with VOX) |
|
7. Max Panics - Antonio Pinto |
Max’s Panic |
|
8. Max Steals Briefcase - James Newton Howard |
3m8 Max Steals Briefcase |
|
9. Island Limos - James Newton Howard |
4m2 Island Limos |
|
10. Crime Scene - Antonio Pinto |
LAPD Crime Scene |
|
11. Felix - James Newton Howard |
4m5 Max Meets Felix |
|
12. Surveillance - James Newton Howard |
4m3A I’m Vincent 5m1 Cops Pursue 4m4 Surveillance at El Rodeo (Edited) |
|
13. Club Fever - Antonio Pinto |
Club Fever Untitled (Edited) |
|
14. Last Stop - Antonio Pinto |
Last Stop |
|
15. The Final Target - James Newton Howard |
6m3 Race to Annie (Edited) 6m4 Vincent Cuts Power |
|
16. Metro - James Newton Howard |
6m5 Cat and Mouse (Edited) 7m1 Race to the Metro (Edited) 7m2 Vincent Hops on Train (Edited) |
|
17. Would Anyone Notice? - James Newton
Howard |
7m3 Finale |
|
18. Requiem - Antonio Pinto |
Requiem |