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Which Spielberg/Williams film score do you most hope Mike Matessino will produce next? 2021 edition


Jay
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Which Spielberg/Williams film score do you most hope Mike Matessino will produce next?  

78 members have voted

  1. 1. Which Spielberg/Williams film score do you most hope Mike Matessino will produce next for a specialty label?

    • 1974's The Sugarland Express
    • 1991's Hook
    • 1997's Amistad
    • 2002's Catch Me If You Can
    • 2004's The Terminal
    • 2005's Munich
    • 2011's The Adventures of Tintin: The Secret of the Unicorn
    • 2011's War Horse
    • 2012's Lincoln
    • 2016's The BFG
      0
    • 2017's The Post
  2. 2. Which Spielberg/Williams film score do you most hope Mike Matessino will produce for Disney Records?

    • 1981's Raiders of the Lost Ark
    • 1984's Indiana Jones and the Temple of Doom
    • 1989's Indiana Jones and the Last Crusade
    • 2008's Indiana Jones and the Kingdom of the Crystal Skull


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6 hours ago, Once said:

I may be completely wrong, but I seem to recall someone mention he talked about it when a bunch of you guys met in London for the Williams concert in 2018? It might be my memory failing, though.

 

He did but I'm 99.9% positive he made the same comments in a podcast, in a general chat about Sugarland. He also ruminated on why Williams is so vehemently against releasing it.

 

In the Disaster box podcast, Mike also reiterated the comments he made in London about a Star Wars box set (his "what do you think?" line).

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1 hour ago, crumbs said:

In the Disaster box podcast, Mike also reiterated the comments he made in London about a Star Wars box set (his "what do you think?" line).

 

What was that again? I don't remember. 

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  • 1 month later...

Well Hook is the clear winner of this poll, having more votes than the next two most popular options combined!

 

 

Also, looking at the main post again made me realize that it has now been FIVE YEARS since the last Williams/Spielberg collaboration!

 

This is bigger than the previous record of a 4 year gap, which happened between Schindler's List / The Lost World and Lincoln / The BFG!

 

If Williams doesn't score The Fabelmans and/or it doesn't come out this year, the gap will grow to six years or more!

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2 hours ago, Jay said:

If Williams doesn't score The Fabelmans and/or it doesn't come out this year, the gap will grow to six years or more!

I think if Williams does not score The Fablemans, then that may be it for the collaboration (given the time he has to do it right now).  That being said, I am extremely confident he will do it.  

 

Wouldn't it be cool for MM to do the full expansion as the official release of The Fablemans?  (assuming, of course, it came out with the movie.)

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12 minutes ago, Edmilson said:

I don't even want to consider this possibility.

It seems so unlikely, but, yet, here we are 6 months out and no composer announced.  If nothing else, it seems weird.  

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I can't imagine JW spent the last 3 months doing nothing at home. He's likely been writing either Fabelmans or Indy 5 since returning from Berlin.

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14 hours ago, Disco Stu said:

Has Mike ever produced an OST (as in, an initial album release released concurrently with the film)?

 

No

 

 

13 hours ago, crypto said:

Wouldn't it be nice if this happened on all new JW scores?

 

I'm pretty sure that would circumvent the AFM reuse fees too, because they don't apply to the initial soundtrack release (only subsequent releases down the line, hence we can't have anything expanded post-WOTW).

 

 

The initial use is to be in the film. Any other use, including a soundtrack album, is a reuse, and you have to pay the fees. 

 

OST albums are funded with part of the marketing budget of the film, so the reuse fees are absorbed under that. This is why the reuse fees are an issue for the specialty labels - they are tiny companies without a lot of money, there's no more major studio money to help out because the film is old news and the books are closed 

 

This is also why we had a lot of 30 minute Varese OST's in the 90s when the studio passed on funding an OST album

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55 minutes ago, GerateWohl said:

They could do something like Howard Shore did with the Hobbit scores. A single disc OST was published at the same time with a two disc expanded (but maybe not complete) release.

and would still leave off highlights and film versions while they can claim "but we already expanded it, look!" bleh

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Yeah I almost wish we'd never gotten expanded Hobbit scores, because there doesn't appear to be any appetite to revisit and expand them properly now (possibly because the initial releases were very generous).

 

7 hours ago, Jay said:

OST albums are funded with part of the marketing budget of the film, so the reuse fees are absorbed under that. This is why the reuse fees are an issue for the specialty labels - they are tiny companies without a lot of money, there's no more major studio money to help out because the film is old news and the books are closed 

 

But JW has enough clout to secure the money in the marketing or music budgets for an extra CD of music, if he desired.

 

No one at Lucasfilm or Disney Records is going to turn around and say, "No John, we DON'T want to release a deluxe 2-disc version of your brand new Star Wars soundtracks, to sell at an inflated cost to our huge fanbase."

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7 hours ago, Tom said:

It seems so unlikely, but, yet, here we are 6 months out and no composer announced.  If nothing else, it seems weird.  

 

There is no reason to worry that JW won't write the music for The Fabelmans.

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On 20/12/2021 at 1:59 PM, Thor said:

I can't vote, because there is no 'none' option in the second question. The poll won't accept just voting in one of the questions.

 

But anyways, there is really only one I want to see, of the ones mentioned -- the eternally unavailable SUGARLAND EXPRESS. Would love to throw my ol' boot in the trash.

 

I should add to my previous post that if SUGARLAND can't be done, my only other wish is A TIMELESS CALL. That's it as far as this particular collaboration is concerned.

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2 hours ago, TownerFan said:

There is no reason to worry that JW won't write the music for The Fabelmans.

 

Seemed obvious once Mark Graham's name showed up on IMDB that the score wasn't just underway, but far enough down the pipeline that JKMS were already transcribing sketches.

 

It was a no-brainer after the Indy 5 delay. The only reason they were rushing to start scoring an incomplete film last October was to make the planned July 2022 release date; once it was delayed to 2023, there was no rush (so hopefully JW should be able to score it conventionally, after Mangold finishes his first cut).

 

That delay opened his schedule to score Fabelmans instead, after returning from Berlin. I wouldn't be surprised if the score is close to finished at this point.

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There's no reason to think anyone except John Williams will score The Fabelmans for Spiely, but it's still technically not announced so I try to word my posts to cover all possibilities until it is

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Well, something's not right because Varese wouldn't have made all those 30 minute OST albums in the 90s if AFM fees were no issue.  We were always told the reason they were all 30 minutes was because of AFM fees.

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17 minutes ago, Jay said:

Well, something's not right because Varese wouldn't have made all those 30 minute OST albums in the 90s if AFM fees were no issue.  We were always told the reason they were all 30 minutes was because of AFM fees.


Right, there were different rules in place at the time, and reuse fees would have applied past the 30-minute (I think) limit.

 

But if the studios had to pay reuse fees equivalent to the entire cost of the sessions just to release an OST now, you’d see basically no OSTs issued at all, at least that don’t say “Lin-Manuel Miranda” or “Frozen” on the cover.

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Oh, so in 2015 when they made the 10 year rule thing, they changed the OST rule at the same time?

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43 minutes ago, Jay said:

Oh, so in 2015 when they made the 10 year rule thing, they changed the OST rule at the same time?


Hmm, I’m not sure. The agreements are quite convoluted. Some are over a 100 pages of legalese…

 

https://www.afm.org/our-musicians/recording-digital-media/

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The relevant section seems to be 8C onwards in this document.

 

It's very convoluted with lots of different sections. If I'm reading it correctly, there's 3 options that a producer can choose from for the initial soundtrack release, detailed in that section under A), B) and C). There's some mention of discounts for albums longer than 45 minutes, if more than 80 musicians are utilised.  That only seems to apply to the initial release and would still be prohibitively expensive.

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Two things I will never unferstand:

Bitcoin

AFM reuse fees😒

 

 

 

 

 

I always thought the shorter run time of VS CDs was due to publishing royalties.

Like how The Beatles UK releases had 14 tracks and the US Lps had twelve

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Finally something we agree on bruce :)

 

If you took the AFM's 90s policy into the Dragon's Den (Shark Tank over there) and pitched it as a model for seling musicians' services, you'd be laughed out of the room as they'd instantly realise that one of their markets can't afford the product.

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