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The Fabelmans - OST Album


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3 minutes ago, SpaceCoyote said:

Amazon just notified me that my new estimated delivery date is January 9th. The release date on the product page has also changed, but only to December 16th.

 

Yep, me too on the date and also I see the updated Dec 16 date too.

 

Wal-mart still shows Dec 9 but that might be because they have not updated yet. I assume Sony informed retailers of the delay and maybe that they will all be getting less quantities than expected. It's possible the Amazon shipping dates will move up into December when they actually get stock.

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I guess we were all disappointed to learn we weren't getting more Williams music with this release, but after hearing it, I think it works great as a 24-minute Williams score. There's just enough time to spend with the ideas presented, without belaboring the point. And it's kinda nice to have a succinct recent Williams score that you can listen to all in one sitting.

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I have listened to it a couple of times, it's nice, but I don't really have a desire to listen to it again. No doubt I will revisit it later. I'm really into listening to Temple of Doom At the moment. An amazing score! I know A very different score but in a different league to The Fablemans, in my opinion ofcourse!

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I just got an email from Amazon letting me know to expect my copy of the physical CD on Wednesday, January 11, 2023

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On 7/11/2022 at 6:02 PM, King Mark said:

FUUUK After 3 years I finally caught covid

 

I hope it doesn't affect my hearing

I got covid for the first time this week :(! But glad that I got it now and not in the week op my trip to Milan. 

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Jonathan Broxton review

(If you havent' seen the film I'd suggest not to read it because there are lots of spoilers about what scenes the music cues accompany):

https://moviemusicuk.us/2022/11/22/the-fabelmans-john-williams/

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Actually I predicted that the FYC would split "The Journey Begins" into two separate tracks without any Haydn present.

 

I did not predict they'd just upload the OST album with the piano tracks removed!

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There's two possibilties.

 

1 - all the music on the album was already exactly the same as what's in the film

 

2 - whoever is in charge of putting an FYC album on this website did not understand the academy's rules correctly and thought they could just upload the OST album (but knew enough to take out the classical pieces)

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The Haydn part is very brief and quickly becomes a unique Williams's arrangement of the piece.  I don't know how hard and fast the rules are, but this is clearly not just a dropping in of Haydn surrounded by Williams compositions--it is organic to the Williams's composition.   sort of like what Zimmer does to the William Tell Overture in The Lone Ranger. 

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Did someone already find out the chronological order of the tracks, according to the movie?

 

If the FYC is in the same order, maybe it's already chronological?

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I gotta say, even though I felt prepared for this being a very limited JW score, there was even less music in the movie than I really anticipated. Definitely seems like a complete release with extra on the album.

 

My takeaway was that the score was contributing mainly to key moments in the relationship between Sammy and his parents, but especially Mitzi because it also reflects her personal state of mind (Mitzi's Dance, Midnight Call). That felt like the role JW wanted to take on this one. It felt perfectly spotted, though, along with the period songs and classical piano. 

 

Also I believe "The Fabelmans" is the only time that theme is heard in the narrative with that solo piano track actually placed toward the end in the last scene between Sammy and Mitzi. Chronologically between New House and The Letter, I think. Mother and Son's not in the score. It reminded me of the thread we had recently about memorable themes that are saved for the end. It does have a really calming effect on the movie, it's like "John Williams is here, everything's going to be ok" lol. 

 

Also someone needs to remind me which cue was used for Sammy and Mitzi's conversation en route to California when they get out of the car. I feel like it was Reverie, just the solo piano arrangement of that theme, but I can't 100% place that and Reflections. 

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I've seen the movie too and this is legitimately Williams' sparest score since probably the 60s. It's literally 4 or 5 times in the movie that he comes in over 150 mins. And that's it. He does get to expand over the end credits.

 

I'll say this - this is the logical end point of Spielberg' filmmaking style as it has evolved over the past decade or so. When doing straight dramas - Spielberg is increasingly very restrained, with several talky dialog heavy scenes and not much in the way of action. Think Lincoln, think Bridge of Spies. The way the film is made - it doesn't allow for much score to be honest.

 

I will even say... the score is so sparse I wonder if it meets even the 35% requirement of all the music in the film. It probably does. But just saying, it is really really sparse. 

 

I like it plenty still. It's beautifully crafted music. But Williams is winning exactly zero awards for this. So no one should get their hopes up. Even nominations will be touch and go - it's a really minor work in that regard.

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Its funny how Williams said it would be a very piano heavy score but there is hardly any score, but its mostly piano/celeste still.

 

I haven't seen the film yet, but I walked around outside today while listening to the OST and it was very calming and peaceful.

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Saw the film. It sounded to me like the first half of “Mother and Son” was replaced with the piano arrangement from the first track for the final scene with Mitzi before segueing into the second half as it is on album. Guessing maybe the piano arrangement was a revision by Williams and the album track of “Mother and Son” is as originally written? (I could be wrong on this, it was mixed low so hard to tell)
 

The guitar opening of “Mother and Son” does play in the credits, inserted between the Mitzi material and reprise of the main theme.

 

The opening of “The Journey Begins” plays exactly as it does in film as on album. That cue is certainly meant to close the film. That it appears in that released clip, which is very early and I think the first time we hear any Williams, I am guessing was a tracking decision made by Spielberg or whoever. 

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On 25/11/2022 at 7:28 AM, mrbellamy said:

 It felt perfectly spotted, though, along with the period songs and classical piano.

 

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.

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On 25/11/2022 at 4:16 PM, Taikomochi said:

The opening of “The Journey Begins” plays exactly as it does in film as on album. That cue is certainly meant to close the film. That it appears in that released clip, which is very early and I think the first time we hear any Williams, I am guessing was a tracking decision made by Spielberg or whoever. 


Actually, this is an original short cue. The beginning of The Journey Begins is a reprisal of this short cue. The performance of the cue heard in the scene from the clip is softer and different.

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29 minutes ago, Taikomochi said:

Good to know. Then I think that would be the only unreleased cue. I didn’t notice anything else. Though, like I said, it was mixed pretty low so hard to hear. 

There was a 10 second french horn solo that played over the scene where Spielberg is giving instructions on how to act in the war movie (Williams' classic disillusioned Americana sound) and a bass drone that plays as the bully forces him to pick up the volleyball 

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3 hours ago, Not Mr. Big said:

There was a 10 second french horn solo that played over the scene where Spielberg is giving instructions on how to act in the war movie (Williams' classic disillusioned Americana sound) and a bass drone that plays as the bully forces him to pick up the volleyball 


When Sammy shoots the shot in his war movie after he gives instruction to his friend playing the American soldier, and his friend walks through the bodies up to the moment when Sammy yells, “Cut” that cue starts with sustained strings, segueing from the guitar source music, and goes into the French horn; the cue ends when Sammy yells, “Cut.” Also, the volleyball scene has no music in it at all.

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