Sandor

The Fabelmans score is nominated for the International Press Academy Satellite Awards:
 
https://www.pressacademy.com/2022-nominees/

The Fabelmans score is nominated for the International Press Academy Satellite Awards:
 
https://www.pressacademy.com/2022-nominees/

This is wonderful! 

On the heels of the Milan events... Tune in today at 7pm CET / 1pm EST / 10am PST (available at any moment immediately afterwards)
 

 
 

I have to say i adore all the new JW music for this film (which i will only be able to see when it starts in our cinemas in Austria in March).
The music is just so beautiful, magical, simple and uplifting.
A real (much too short) gem, which leaves me wanting more... more extensive development of these themes, more extensive arrangements,...
It seems like a wonderful appetizer to a more extensive score that you crave but will never come, it is that good.

Just an extraordinary coincidence. 
 

I noticed that you have posted four times, once for each of the major John Williams concerts and each time about two tickets available for which you couldn't attend. Is there a reason you couldn't make it to each of these concerts? Just to check you're not attempting to scam any fans...

According to Variety, Hildur Guðnadóttir's score for Women Talking has taken the position of frontrunner for the 2023 Academy Awards.
 
https://variety.com/feature/2023-oscars-best-original-score-predictions-1235381044/
 
The Fabelmans has held the position until December 2 and is now in second place. 
 
Over at GoldDerby, most experts and editors still consider The Fabelmans to be the most likely winner.
 
https://www.goldderby.com/awardshows/expert-predictions/oscars-nominations-2023-predictions/score/sort/recent/
 
Also; Awards Watch lists The Fabelmans as the favorite.
 
https://awardswatch.com/2023-oscar-predictions-original-score-november/
 
We'll see how things turn out in March.  
 
P.S. I know these articles relate to nomination predictions at this point, but the rule of thumb is that the most likely winner is placed on top. 

Daily maestro listener and lonnnnnnng time viewer of this forum. This is my first post (in decades). Keep up the great work and keep this forum going. I love you all simply for your appreciation of the greatest. Also special thanks to whomever runs this forum/site.
 
Sincerely,
 
Back from the Dead
 

Teaser poster, trailer and title
 

 

https://www.deutschegrammophon.com/de/katalog/produkte/williams-sound-the-bells-12878

Teaser poster, trailer and title
 

 

Teaser poster, trailer and title
 

 

Teaser poster, trailer and title
 

 

Teaser poster, trailer and title
 

 

Teaser poster, trailer and title
 

 

https://www.gramophone.co.uk/classicalmusic news/article/film-music-a-gramophone-guide

I have this album.

I just saw the film. I absolutely loved it. And seriously I thought the score was perfect in it. It’s used in just the right scenes which makes it’s appearances all the more impactful. The scene towards the end with the dad and the letter as well as the scene where they move to the new house are a couple major examples where the original music added a whole other level to the film. Gonna miss this as I swear I really only get this kind of feeling in film scores from John Williams.

Bach’s Concerto In D Minor is played twice. Other than that, no.
 
I’ve seen the film three times. I also agree that both film and score are phenomenal, and that the Maestro scores critical moments in the film. The music is spotted expertly and effectively. I can’t wait until it comes out on 4K Blu-ray.

But you have to remember one thing, Mr. Bellamy: Unless there are 300 minutes of music (regardless if it fits the film or not), and it's in Williams' exubrant style with plenty of cymbal crashes, fanfares, boom-tsh'es and jagged scherzos, it's not worth anything in JW Film Score Fandom.
 
I'm jesting, of course, but also not. I really adore this little album, and can't wait to see the film when it finally premieres over here.

Here's how busy Williams was from late '96 to early '98
 
November 26-27 '96: "Victory Celebration" recorded for Return of the Jedi: Special Edition (film opened March 14 '97) December 1,2,4,6 '96 - Rosewood score recorded (film opened February 21 '97) (unknown date) - Seven for Luck composed for soprano Kathleen Battle intending to debut some time in 1997 in Washington (ultimately debuted July 25 1998 with Cynthia Haymon instead) March 18-21 : First half of The Lost World recording sessions March 24: 69th Academy Awards ceremony ("Best Original Dramatic Score" nomination for Sleepers, lost to Yared's English Patient) March 27,28,29, April 2 - Conducting Boston Symphony Orchestra at Symphony Hall (includes The Five Sacred Trees) April 18-22: Second half of The Lost World recording sessions (film opened May 23) (unknown date) - DreamWorks SKG logo music composed and recorded (debuted with The Peacemaker, September 23rd) May 23,24 - Conducting Boston Pops at Symphony Hall (includes "A Twentieth-Anniversary Celebration of Star Wars") May 29,30,31 - Conducting Boston Pops at Symphony Hall June 3,4,5,6 - Conducting Boston Pops at Symphony Hall ("The Lost World" concert debut) July 5,6 - Conducting Boston Symphony Orchestra at Tanglewood July 12 - Conducting Boston Pops Esplanade Orchestra at Tanglewood (includes Star Wars celebration) July - Seven Years In Tibet score recorded (film played September 13 at TIFF, then opened October 10) August 5 - co-conductor for Tanglewood On Parade night at Tanglewood August 29-30: Hollywood Bowl "Star Wars 20th Anniversary" concert (unknown date)  Elegy for Cello and Piano composed, and performed at the memorial service by John Williams on piano and John Waltz on cello October 6-26: Amistad score recorded (film opened December 25) December 27-28: Conducting Boston Pops Esplanade Orchestra at Symphony Hall February 21-23 '98: Saving Private Ryan score recorded at Symphony Hall (film opened July 24 '98) May 22-23 '98 -  Conducting Boston Symphony Orchestra at Symphony Hall ("Dry Your Tears, Afrika" concert debut)  
Amistad was recorded almost a year after Rosewood, and only 4 months before Saving Private Ryan
 
Looks like its another score he would have written while living in Massachusetts for a month for Tanglewood season
 
 
Looking at this again, it seems crazy that Spielberg was even able to fit in Amistad in between The Lost World and Saving Private Ryan!

I've been assisting Mike on various titles since 2016, so far all of them John Williams titles.  Amistad will be the 20th title released that I contributed something to.  You'll see my name in the booklets under Project Consultant, Project Assistance, Production Assistance, or Special Thanks, depending on the title and what my contribution was.
 
How I've helped has been different for every project.  It ranges from just proofreading the PDF of the booklet at the very end of things, to being involved before the audio work begins to help make sure everything is accounted for.  In other words: in a perfect world, the material that the studio sends over contains everything recorded, and Mike has time to listen to every take of every cue and assemble a new album containing the the main version of every cue, and every interesting alternate he heard as well.  But we have learned that sometimes what gets provided is not entirely comprehensive, and more up-front work has to be done to track down all the material needed to hopefully make a release definitive.  Also, some projects have very tight schedules, so Mike does not have the opportunity to spend time listening to every single take of every single cue, and instead has sometimes sought my assistance to figure out what music should be attempted to be located and included.
 
In between those extremes, there could be other things, such as proofreading the official excel file that has to be filed for every title; listening to a first pass mastering of some tracks (or a final mastered album) and providing feedback; having some back and forth discussion about how to present a wealth of material in the best way (WOTW had a lot of this); discussion of track titles; researching dates or articles/interviews about scores; loads of other things.
 
For the Jurassic Park reissue, Mike brought me on board the project to see if we could make it as definitive as possible.  This led to him making new builds of 2 cues that had been a little different on all prior albums compared to the film (Journey To The Island and Dennis Steals The Embryos), and also a dive into unused takes for a variety of cues to see if anything interesting was recorded that could be included.  For that I relied on the knowledge of some JWFanners who had found differences in the sheet music compared to the final versions of some cues, and made sure they got thanked in the booklet.  In the end, none of the differences seen in the sheet music were recorded, so they all must have been worked out and changed during rehearsals - but it was great to know that definitively.  I then provided feedback on the new mastering, and made some proofreading passes of the new booklet.
 
For Amistad, I was not brought on board until after Mike had already assembled and mastered the album, but I provided feedback on volume levels - I can't remember if this was before or after he had sent it to JW for approval.  For one track that needed a new title, Mike used one of my suggestions for it.  I gave feedback on the excel file.  Much later, I contributed something else I won't reveal just yet, and proofread at least two passes of the booklet.  I also chose the samples that will be posted on Tuesday, and assisted with the official press release wording.

Looks a wonderful release and kudos to the art department who worked on this!