Cory Stillman
Growing up, Fabrizio Mancinelli dreamt of becoming an animator for Disney. The only problem was he couldn’t really draw.
Still, his creative ambitions persisted, and his love for classical Disney animation remained. So when the opportunity to score legendary animator Andreas Deja’s short film Mushka arrived, Mancinelli could only describe it as “the dream project of a lifetime.”
That dream only became more incredible as Mancinelli’s work was nominated for Outstanding Original Score for an Independent Film at the 5th Annual SCL Awards. It is one of two nominations for Mancinelli, who will be considered for the David Raskin Award for Emerging Talent in recognition of his score for the musical feature The Land of Dreams.
Mushka sees the Italian-American composer collaborating with famed songwriter Richard M. Sherman, a man Mancinelli has revered since he was a young boy in L’Aquila, Italy.
“The experience of collaborating with the esteemed Richard M. Sherman felt like entering a surreal realm of musical genius,” says Mancinelli.
Mancinelli spoke with Awards Radar about his “creative compass” in crafting Mushka‘s nostalgic score, citing influences which range from Disney to Tchaikovsky to several of Mancinelli’s 2023 contemporaries.
Read the full interview below.
Mushka was several years in the making. How did you get involved with the film?
The intersection of animation and music has been a lifelong passion for me. While my childhood dreams of becoming a Disney Animator were dashed due to my inability to draw a straight line, my desire to somehow contribute artistically persisted. Upon moving to the United States, I naturally gravitated towards attending Animation and Disney-related events. It was during one of these occasions that I crossed paths with legendary animator, Andreas Deja. Through connections like film historian Leonard Maltin, my friendship with Andreas flourished, leading to an unexpected and serendipitous involvement in the dream project of a lifetime when Deja announced (during one of his renowned holiday parties), that I would be the composer for his personal project: Mushka.
Were you previously familiar with Richard M. Sherman’s work? What was the collaborative process like between you two?
The Sherman Brothers’ indelible mark on the musical landscape, from timeless tunes in Mary Poppins to the enchanting melodies of Chitty Chitty Bang Bang and Jungle Book, remains unmatched. The experience of collaborating with the esteemed Richard M. Sherman felt like entering a surreal realm of musical genius. Upon my arrival in the project, Richard had already composed the captivating lullaby theme for Mushka (which I later arranged for the end credits, featuring the remarkable vocals of the super talented Holly Sedillos). My role encompassed the adaptation of this theme for a delicate montage sequence, all while intricately weaving my own thematic ideas to create a score that seamlessly harmonized with Richard’s, presented the challenge of ensuring it sounded like a unified musical source.
Who or what were some of your other influences in crafting Mushka’s score?
In shaping the score for Mushka, I drew inspiration from a diverse palette of musical influences that resonated with my personal connection to the craft. European symphonic traditions provided a foundation and subtle nods to the timeless compositions of Tchaikovsky and echoes of Eastern European folkloric music enriched the tapestry of sounds.
Furthermore, my creative compass was guided by the illustrious history of Disney scores, spanning the eras of George Bruns, Buddy Baker and Alan Menken. Their contributions to the world of music have been a perennial source of inspiration and direction for my own artistic endeavors.
Immersed in the narrative set against the backdrop of the former Soviet Union in the 1970s, the pastel-colored featurette became a wellspring of instinctual inspiration. The visual and contextual elements of this setting became pivotal in shaping the composition, infusing the score with a sense of nostalgia and classicism.
The result is a score that emanates from my personal artistic journey, paying homage to the classical roots, while harmonizing with the visual and narrative nuances of Mushka, creating a musical piece that reflects my perspective and reverence for a bygone era.
Does your approach to composing differ across short films and features? What about live-action and animation?
The primary distinction in composing for a short film or featurette, which is what I call Mushka — a 28-minute piece with 26 minutes of music — is the available time to develop a theme and convey a musical story that offers the audience a genuine sense of fulfillment.
Fortunately, my composing journey has led me to work across various formats, including commercials, where I have a brief half-minute to narrate a story, as well as shorts and features. Despite the varying durations, the fundamental objective remains consistent: to be an effective storyteller, regardless of the time constraints.
In comparing my approach to composing for live-action versus animation, I find that the key lies in being a versatile performer, adapting to the demands of each role. In animation or fantasy projects, I tend to explore greater thematic freedom, allowing for imaginative storytelling. Conversely, in live-action, my focus shifts towards musical color and experimentation. An example would be my score for the indie comedy Jailbird, which used only two voices, screams, and stomps, showcasing a different facet of musical expression
Describe your reaction when you saw your score for Mushka was nominated for an SCL (Society of Composers & Lyricists) Award? It’s a testament to your work that the score is nominated alongside some of the year’s most high-profile films.
It took a few hours for the reality of this exceptional news to fully register. In that time, I experienced a blend of humility, gratitude, and a touch of surprise. This emotional mix persisted as I acknowledged the immense honor of sharing this nomination with musical idols and esteemed colleagues. The prospect of competing in the same category as composers who have either won an Academy Award or received an Oscar nomination is somewhat intimidating. However, it also instills confidence in knowing that my musical message successfully resonated with the audience.
Adding to the astonishment, I received a second nomination (for the David Raskin Award for Emerging Talent, for the musical feature The Land of Dreams), which left me utterly gobsmacked. What an indescribable honor!
What were some of your personal favorite scores around the world of cinema in 2023?
It’s always challenging to pick specific scores, which is akin to choosing a favorite color when I prefer to view a full color palette. Last year brought forth a myriad of outstanding scores. Notable mentions include Ludwig Goransson’s impressive score for Oppenheimer, John Powell’s captivating score for Migration, Anthony Willis’ work in Saltburn, Steph Economou’s inventive composition for Ruby Gillman, Teenage Kraken, and Kris Bowers’ contributions to Origin and The Color Purple (I had the privilege to conduct the orchestral recording for the latter). Special recognition is also deserved for Joe Hisaishi’s beautifully essential score for The Boy and the Heron, along with the delightful musical songs and score (by Neil Hannon and Joby Talbot) in Wonka, proving to be a genuine auditory delight (my daughter enjoyed it as well!).
Do you have any other recent projects you would like to shout out, or an upcoming project you are excited to share with the world?
I’m excited to announce the upcoming release of the animated feature Out of the Nest, for which I composed a full orchestral score and a song. The film is set to debut first in Asia, being a Thai original production, followed by a worldwide release. I am eagerly anticipating the opportunity to share this project with everyone, as I believe it features some of my favorite musical compositions.
Additionally, I recently wrapped up work on a very special project—an American thriller/drama filmed in Italy. As we are currently in the mixing phase, I had the chance to experiment more with the music, unveiling a different facet of my musical personality that I thoroughly enjoyed exploring. Stay tuned for more details, as I am eager to share more about this project soon!
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