The Fabelmans - OST Album

[mrbellamy 5,718]

They'll give it to him for Indy 5! He's never won for Indiana Jones! They can use that! 

 

[filmmusic 1,381]

58 minutes ago, mrbellamy said:

They'll give it to him for Indy 5! He's never won for Indiana Jones! They can use that! 

Nah. It's difficult I think for a sequel score to win, with the rehashed material and all..

[Tom 3,715]

The only chance JW has of winning another Oscar (and this would still be low probability) is if he is nominated while alive but dies before the ceremony.  

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12 minutes ago, Tom said:

The only chance JW has of winning another Oscar (and this would still be low probability) is if he is nominated while alive but dies before the ceremony.  

 

It's sad how true this probably is.

 

Or the music branch lobbying him to get a non-competitive Oscar, but those are generally for people who never won competitively.

[mrbellamy 5,718]

It could be a struggle for him to even get nominated, considering it's a summer release. Last couple times he blanked were Crystal Skull and BFG. 

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13 minutes ago, mrbellamy said:

It could be a struggle for him to even get nominated, considering it's a summer release. Last couple times he blanked were Crystal Skull and BFG. 

 

The film would need to be seriously good and have a strong critical reception.

 

I think the music branch will look after him either way, but the odds of winning are basically zilch.

[artguy360 1,723]

I've thought for many years now that the only Oscar JW has a chance of winning is an Honorary Oscar. I half expect that to happen at some point. 

[Martinland 233]

It's funny - every time it is being mentioned that "only one person received more nominations ever", I feel good for maestro John Williams, since that is a very wrong statement, albeit numerically true:

 

They threw Oscars at Walt Disney (whose now monstrous company is haunting the media world) - I mean, an Oscar for each of the seven dwarves, are you kidding me? (if those actually counted, we're done already), plus:

 

Walt Disney had the vision and talent, no doubt, but he completely pales in comparison to John Williams because the latter created basically everything himself with a handful of collaborators for a longer period of time whereas Disney simply did not.

 

Peace; there is no competition. (and that's not even the most important thing, which should be the wonderful music :D)

[Mr. Who 717]

I've listened to Fabelmans quite a few times since it was released and always enjoyed it. Yesterday I saw the movie, which I thought was great, and I'm now listening to the score again and having heard it in context I like it even more. This is probably my favorite JW score since TFA and the score is just a perfect musical accompaniment to the film. The magic and underlying sadness and melancholy in Mitzi's Dance is a masterclass in film scoring.

 

I think Simon Franglen should have won the Oscar every day of the week but of the 5 nominated scores, JW should definitively have won for Fabelmans.

 

The OST is short but having seen the movie, I'm not sure if much is missing, except maybe a few clean openings. Does anyone know if/how many missing cues there are in the film?

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1 hour ago, Mr. Who said:

I've listened to Fabelmans quite a few times since it was released and always enjoyed it. Yesterday I saw the movie, which I thought was great, and I'm now listening to the score again and having heard it in context I like it even more. This is probably my favorite JW score since TFA and the score is just a perfect musical accompaniment to the film. The magic and underlying sadness and melancholy in Mitzi's Dance is a masterclass in film scoring.

 

I think Simon Franglen should have won the Oscar every day of the week but of the 5 nominated scores, JW should definitively have won for Fabelmans.

 

The OST is short but having seen the movie, I'm not sure if much is missing, except maybe a few clean openings. Does anyone know if/how many missing cues there are in the film?

 

Just a very brief cue at the start (basically the same material contained in the album's final track) plus a brief french horn cue when Sammy is directing Escape to Nowhere.

 

It appears the album uses alternate takes to the film though, so it's a real shame we didn't get a legitimate FYC in this instance.

[Jay 32,102]

2 hours ago, Mr. Who said:

Does anyone know if/how many missing cues there are in the film?

 

See here (and some posts prior to it).

[SUH 63]

I thought I’d share some thoughts on this score.

 

I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.

 

I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.

 

What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.

 

Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.

 

And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

[Jay 32,102]

Thanks for that! 

 

I swear, this must be the least discussed film score the man has released since the site was created. 

[filmmusic 1,381]

Just now, Jay said:

I swear, this must be the least discussed film score the man has released since the site was created. 

Maybe because expectations were high and it failed - for many - to deliver?

[Richard Penna 2,639]

Or expectations were suitably adjusted based on what we were told about the score, and what he did come up with in response to what the film needed was just a bit average. I appreciate that a lot of people around here do love what he did, and that's great, but I merely extend filmmusic's words about why enough of us didn't 'get' it to dampen discussion.

[Tom 3,715]

The main theme has that special Williams's quality that if it comes on, your attention is immediately rapt.  You describe it well as gentle but hinting at sadness.  The theme would be mawkish by many other composers, but Williams layers it with a bittersweet sadness that keeps you a bit off balance. 

 

I love the score, but I have to admit, it makes me uncomfortably sad--like thinking about a beloved childhood pet or friend that died and you never quite made peace with it.  

[pete 737]

I loved the scene the main theme appeared in. Something got in my eye and water started leaking from it. It got better. And I enjoyed the movie far far more than I expected to. I wasn't excited really at all by a movie based on Spielberg's childhood. 

 

I'm happy with the score on CD. Sure I wish there were more, but I think that about every score release of Williams' music. 

[Not Mr. Big 4,244]

10 minutes ago, Tom said:

The main theme has that special Williams's quality that if it comes on, your attention is immediately rapt.  You describe it well as gentle but hinting at sadness.  The theme would be mawkish by many other composers, but Williams layers it with a bittersweet sadness that keeps you a bit off balance

It's one of Williams' most simple and elegant melodies.  Sure it's simple enough that another composer could eventually happen upon something like it while writing in a similar style. That doesn't make it any less of a well-thought out and heartfelt expression from Williams as an artist.

 

Film music discourse too often devolves into reductive "note counting".  

[mrbellamy 5,718]

20 hours ago, Jay said:

Thanks for that! 

 

I swear, this must be the least discussed film score the man has released since the site was created.

 

I think The Post was pretty similar, although that had the extra obstacle of being released alongside The Last Jedi. 

 

I think it's just a hard one to really talk about, but there are definitely things to explore. I think the most interesting thing he's doing with the score is when he's mirroring Mitzi's headspace. I feel like more than Sammy or Burt, the music is identifying with her most. Which makes sense as she's the musician and the "dreamer" while Burt is the realist.

 

The big Williams moments for Sammy I recall are still important interactions with Mitzi...and the main one I remember from Burt's perspective is at the end, "The Letter" when "Mitzi's Dance" reprises and it becomes clear how much he's haunted by her absence. There are also the divorce-specific cues, which of course involved all of them, but like "New House" for instance culminates in that slow-motion shot watching Mitzi's face turn into a grimace. There's also "Midnight Call" which is literally about what's going on in Mitzi's mind. 

 

I think the "Mitzi's Dance" cue itself is kind of amazing because it does noticeably shift the movie...aside from Mitzi giving Sammy his first camera, it's the first substantial Williams cue and it's almost 40 minutes in.

 

It was especially this moment I loved, the way he scores Mitzi and Burt's kiss...in a way it seems like he's doing nothing special but it's when the movie starts acknowledging something's a bit off, especially with the awkward interjection from Benny. Just a good example of Williams finding the right thing that feels tender but kinda sad and uncomfortable. 

 

 

Also when the oboe comes in as the camera starts to push in on Benny and then follows him to the car...that is such a layup for Spielberg/Williams and yet I still feel like I would rarely see that anymore except from them lol. Simple Hollywood elegance that always gets me. 

[Not Mr. Big 4,244]

It's a very purposefully spotted score, where the placement of music can say just as much as the music itself.  There are a lot a cues that really "open up" when viewed in context such as New Home. Which is a shame since it seems like a lot of people (here included) just plain didn't watch the movie or watched it once and declared it "Spielberg tripe" or whatever 

[mrbellamy 5,718]

Musically, I will say the one thing that's gotta be the most unusual thing in the score....I'm not sure it even got that much focused discussion here, but specifically the piano accompaniment in the very last statement of the main theme 

 

 

It's definitely a choice lol. I'm still not sure if I love it, it kinda took me aback when I first heard it because I found it distracting. But I like how off-kilter it is? I guess that also is in keeping with the mom's character. Along with the smaller string ensemble, it's a little scrappier than how he'd usually orchestrate a big final theme statement. 

[Tom 3,715]

I love the piano in that part.  The orchestra gets to have its full statement, but the piano is still prominent.  Plus, the cello throughout this track is sublime. 

[Not Mr. Big 4,244]

9 hours ago, mrbellamy said:

It's definitely a choice lol. I'm still not sure if I love it, it kinda took me aback when I first heard it because I found it distracting. But I like how off-kilter it is? I guess that also is in keeping with the mom's character. Along with the smaller string ensemble, it's a little scrappier than how he'd usually orchestrate a big final theme statement. 

It starts out pretty wild but becomes much more "classic Williams" at the end (similar to JW string counterpoint writing in Hymn to the Fallen or more specifically the end of Somewhere in My Memory)

[artguy360 1,723]

I think I've shared this thought before, but Mother and Son is the best track on the album. The guitar is so tender, it could make me cry. Lately, listening to it has made me think of Cat Steven's Father and Son.

[Jay 32,102]

And it's interesting that Spielberg didn't use the guitar solo in the scene in the film, replacing it with the piano rendition of the main theme. 

 

But then he puts the guitar solo in the end credits instead. 

[blondheim 1,034]

Between The Fabelmans and getting only 90 seconds off the Shore of Middle Earth, I guess the best lessons of 2022, musically, were of restraint.