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The Fabelmans - score mentions in film reviews


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On 27/9/2022 at 6:03 AM, Disco Stu said:

The only really major award for his kind of work that Williams has never won is a Pulitzer Prize for Music.  That will never happen, although I suppose its possible they one day give him a "posthumous citation" like they did for Duke Ellington and George Gershwin.

I would love to see JW become a Chevalier or Officier of the Legion d'honneur. He wouldn't even have to travel for it; I believe the French consul general in L.A. could bestow it. It's worth noting that France (rightfully) saw fit to award Spielberg in this manner back in 2004.

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No idea if I’d like White Noise at all, but it would certainly be nice for Elfman to win a competitive Oscar, even if I didn’t like the score.  I’m ok with “make good” “boy we really should’ve given you one of these years ago” Oscar wins.

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  • 2 weeks later...

Look at the Black Panther reactions.

 

 There goes Williams career capping final Academy Award. He isn’t going to win for Indy 5.

 

So if he wins a final one, it will have to be this film.

 

 And now I don’t think it’s happening. I think Ludwig has it in the bag.

 

 When even casuals are mentioning the score in every 280 character tweet reactions, you know it’s over.

 

There are a lot of reasons Ludwig will win. Some of the same reasons as the first film. But doubly so this time.

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Godfather 1 & 2 were initially both nominated, but 1's nomination was later revoked; 2 won.

 

6 of Williams' 9 Star Wars scores were nominated but only the first won

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2 minutes ago, Disco Stu said:

Unpopular opinion: the Academy was correct to revoke the Godfather nomination.  Which doesn't make the score not amazing.

 

Technical detail here: Had proper credit been given, they could have escaped disqualification. Were Rota on the ballot, he would have 100% won.

 

There are 3 major themes in the Godfather 1 score - the main theme, Michael's Theme and the Love theme. Love theme is only played a couple of times during the italian sections. The main theme and Michael's theme have a much bigger imapct in the film.

 

So they could have shown that the original quantity of music exceeds reused music and that pre-existing music did not dilute the effect of the new music. What was the deal breaker was that Rota re-used his Fortunella theme as the love theme and the marketing department was none the wiser I think and neither was the general public. Its a great theme so became immensely popular - the most popular from the film. Only for Rota to later admit that it wasn't an original theme written for the godfather.

 

So I think had they been up and up about it from the moment of production, they would not be disqualified and would have won.

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Now here's a trivia question I'd love to know the answer to: what was the first FYC album manufactured?  An album pressed solely for distribution to Academy members.  Were they done at all in the vinyl era?  Were the first ones on cassette?  I've no clue about that history.

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1 hour ago, TheUlyssesian said:

There are a lot of reasons Ludwig will win. Some of the same reasons as the first film. But doubly so this time.

 

There's a bit of double-standards here, I think.

 

If Ludwig wins for the usual political reasons then we're acknowledging essentially that the oscars usually don't have much to do with the music, but the reception and general vibe around the film, and what voters want to be seen to be supporting.

 

Hence if JW wins... I'm being obtuse here of course, but wouldn't that also mean it's more because people like the film and its message? I mean, you can't argue that it's because the score's amazing when one composer wins, but because of 'reasons' when someone else does.

 

I get that there's a nice feeling and good PR if JW wins but we all know it's nothing to do with the quality of the music.

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13 minutes ago, Jay said:

Images "OST" album was famously an Academy Awards promo

 

Oh, If you go "Promo", then the first Promo LP of John Williams was this one (and still yet some of its edits/cuts are unreleased on CD):

 

Goodbye, Mr. Chips (1969, MGM Records)

image.png

 

Globally, the Promo LPs of scores began their career in the 50s, but they were mostly, I think, meant for radio.

 

For Your Consideration (advertising) - Wikipedia

 

image.png

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1 hour ago, Richard Penna said:

 

There's a bit of double-standards here, I think.

 

If Ludwig wins for the usual political reasons then we're acknowledging essentially that the oscars usually don't have much to do with the music, but the reception and general vibe around the film, and what voters want to be seen to be supporting.

 

Hence if JW wins... I'm being obtuse here of course, but wouldn't that also mean it's more because people like the film and its message? I mean, you can't argue that it's because the score's amazing when one composer wins, but because of 'reasons' when someone else does.

 

I get that there's a nice feeling and good PR if JW wins but we all know it's nothing to do with the quality of the music.

 

Sure. In most cases its nothing to do with merit. We all know how liberal Hollywood is and the extent to which they like to be sanctimonious. 

 

I think merit is not entirely off the table and sometimes can seep through despite all the politics and agenda pushing. 

 

On this very forum some people think Ludwig's first win was for political reasons and undeserving. Others who think it was for political reasons yet it was deserving. So people will look at it differently. 

 

Sometimes politics and merit can truly coincide. Parasite being an example. An absolutely extraordinary achievement and one of the greatest films in modern times. Did politics have to do something with its victory, yes, but also merit.

 

--

 

So honestly I am going to be a little bit biased. I will more likely like Williams work more than most other composers - I admit to that freely. Yet, I am keeping an open mind. Maybe Ludwig does have a great score in BP2 and wows me and I might end up feeling okay with his victory. 

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1 hour ago, Sandor said:

These include Friedrich Kuhlau’s Allegro burlesco from Sonatina in A Minor, Muzio Clementi’s Spiritoso from Sonatina in C Major, Joseph Haydn’s Allegro con brio from Sonata No. 48 in C Major, and Johann Sebastian Bach’s Adagio from Concerto in D Minor. 

 

If this is the complete breakdown of Williams-conducted source music in the film, everything is accounted for on the OST! Happy days!

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7 hours ago, crumbs said:

 

If this is the complete breakdown of Williams-conducted source music in the film, everything is accounted for on the OST! Happy days!

 

It's entirely possible (maybe even likely) that Williams wasn't even at those piano solo sessions.

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5 hours ago, Tydirium said:

It's entirely possible (maybe even likely) that Williams wasn't even at those piano solo sessions.

 

The only photos and footage we have of the Fabelmans sessions show John Williams with piano soloist Joanne Pearce Martin so I would say it's pretty likely he was there 

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10 hours ago, mrbellamy said:

 

The only photos and footage we have of the Fabelmans sessions show John Williams with piano soloist Joanne Pearce Martin so I would say it's pretty likely he was there 


True. I figured they may have just been recording his score then, if she is the piano soloist playing on it.

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On 22/9/2022 at 10:03 PM, Fabulin said:

It's probably more than a bit incorrect since I have trouble reading the spots that are probably trying to communicate to me the sharp and flat symbols, and I am too tired to play a harmony guessing game atm. One bar of bassline is obscured, so I left it empty.


Although we only have the samples so far, this mock-up from way back then makes more sense now.

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Hmmm...I wonder if the guy who plays "young Spielberg" has actually seen much of the person he's semi-portraying in the film. He keeps mentioning JAWS, but not much in terms of specifics otherwise. Hopefully, it's just the casual, superficial interview situation he's in, and not youthful ignorance.

 

Also a bummer that Judd Hirsch hasn't seen/heard SCHINDLER'S LIST?!? I mean, who hasn't in this day and age?

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  • 4 weeks later...

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. 

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