Its beginning to look a lot like Christmas, well its been looking that way since early September to be fair, with Christmas music channels on air and Christmas ads creeping into the TV schedule. There’s no getting away from it the festive season is well and truly heading our way whether we like it or not. Scrolling through for example Sky (other TV providers are available)  and already the Christmas movie channel is in full swing, with classics and not so well known movies that fill the days and nights and early mornings and the dreaded afternoon slots, I say dreaded afternoon slots because that is normally the time when channels decide that it’s a great idea to show not so good movies, with their well who’s watching attitude anyway? Shining through (or is that twinkling through). Don’t get me wrong I do like Christmas, (notice I said like not love or adore or whatever). Christmas as we know it now can be what I call and acquired taste, and at times is also hard to take in because it is so so commercial and contrived now. I should imagine that Santa is pretty fed up with it by now, but there again what a great job working 1 night a year and having three hundred and sixty-four days off paid. But I suppose we don’t know what goes on behind closed doors in lap land or the North Pole or wherever Santa is based these days, so maybe he has like a desk job, doing admin and filing all those letters from kids of all ages. And also, quality control on all the toys and pressies, plus the reindeer have to exercised and fed. So, Santa I guess is a busy guy all year round. Have yourself a Merry little Christmas, Let it Snow Let it Snow Let it Snow, Chestnut’s roasting on an open fire, Jack frost nipping at your nose etc etc, all great sentiments and thoughts connected with that big day and also lines from what are now classic yuletide songs, Christmas is coming the Geese are getting fat, that’s a great line isn’t it, but who nowadays has goose for Christmas? This year we will be lucky to get a Turkey by the looks of things because of the dreaded bird flu outbreak in the UK, of course there are alternatives, Beef, Pork, Duck even, (Vegan and Vegetarian alternatives are also available please check your local supermarket for all the latest deals and offers). The thing is if you were a Turkey for instance, would you not think ok I am going on a pre-Chrimbo diet so then I wont be as appealing for the you know what when December comes around, think about it. Ducks you have wings so fly (my beauties), get away, for one thing you would avoid the orange sauce treatment and it’s so much warmer away from the UK in winter. Christmas is also a time for families, yep, the good old family Christmas argument, when things that happened twenty years ago get dragged up after a couple of glasses of egg nog, but are then forgotten again after the box of chocolates come out.  

Cynical, am I? (Sorry slipped into Yoda mode for a second there, but it is Christmas and Star Wars will be on TV) yep certainly am, had enough Christmas’s to realize by now it’s not all tinsel and mistletoe, twinkling lights and love and good cheer, and goodwill to all men, (what about the women). After the past two or three years I would love it if this was a Christmas to remember for all the right reasons, (but sadly I do not think that will happen do you?). A great Christmas present would be in the words of Johnny Mathis and so many other recording artists who created Christmas songs in the middle of summer to catch the Christmas market, Peace on Earth. Yep, nice thought, but will that happen? No it won’t. But before I get all serious and down, let’s think about the Christmas movies and the Christmas scores that you know and love, (it’s that word again).

These are titles that are actual Christmas movies as in full on snow, Santa, presents, elves the whole thing, or films that were set at Christmas time (yes Die Hard and Lethal Weapon are included My blog My article, My Rules, do not even go there) r even films that have been shown every Christmas and New year since you can remember. So, if there is even just a hint of a decoration, an elf, or even a Snowman yep, it’s in, and I will allow the odd movie and score that maybe is nothing at all to do with Christmas but has made an impression upon you at Christmas-time. So, let’s go Walking in the Air, do the Jingle Bell rock, Listen to a Fairy tale in New York, Rock Around the Christmas Tree, Take a Sleigh Ride and discover the magic, sparkle, and wonder of the festive season as in your choices of films and scores and the odd Christmas non film music album thrown in (literally) but be careful there could be some dark surprises along the way, that may include memories of Christmas’s past that maybe you or I would rather forget. Are you sitting comfortably, then I will begin.

I think the Christmas film that I love the most is Scrooge, which starred Albert Finney in the title role, a musical but one that I think just had something really special about it, it has become something of a tradition in our household that when its on we watch it and that can be at the height of summer in a drought and also at Christmas, Easter, birthdays, etc. Based on the classic Dickens novel A Christmas Carol, it has everything that a good feel-good Christmas story should have. A grumpy old skinflint, an array of ghosts and spirits (no not those sort of spirits) an impoverished family with a sick child and ….Hang on did I say feel good?

Well, it all turns out ok in the end and the songs are brilliantly done even if Finney is not a singer he puts in real effort, and I think that’s the appeal of the movie, it’s not polished or precise but it’s still a classic, even if it is now somewhat cliched. And when you think about it the film and the story has a lot in common with events of today that are happening right now.

Another movie at Christmas that just has to be watched is the original and the best Home Alone, (do you still laugh at the bit with the blow torch and the bit when the paint cans hit the wet bandits and also the Iced up Steps and and…. ….well all of it really, I do). Much to the embarrassment of everyone else in my house I have to say, Home Alone for me has the same effect as The Great Race, I just see things that maybe others do not and that’s it I am the one on the sofa in fits of giggles.

Ok now for Christmas soundtracks, well I don’t really know to be honest, maybe again Home Alone, as Williams did a fantastic job of blending melancholy and drama into the soundtrack adding a sprinkle of sleigh bells here and there and an incredible arrangement of the Carol of the Bell, the score weaving in and out of the various scenarios and being complimented and further enhanced but a handful of Christmas songs. So maybe my choices are predictable, but simplicity and uncomplicated is I think the order of the day.

Then there is Die Hard, (don’t start-I can mention it its in the terms and conditions, did you not read them?). I like the movie and also the score, so that’s it.  Although I do have some slightly darker and sadder memories of Christmas from when I was a kid, but its Christmas let’s just smile shall we that’s it look happy (or else) and lets carry on (remember not one word). I just hope that those memories have made me realize that Christmas should be a happy time, a time of safety and warmth and a period in which that four-letter word that begins with a L and ends with an E does really shine through even more so than it does ordinarily. Other childhood memories of Christmas are Morecambe and Wise, and for some reason Mr. Magoo does A Christmas Carol (it just sticks in my mind-but others just cant see it-see what I did there).

Christmas for me was also about certain smells, yes Tangerines (no not satsumas they were not around), Big navel Oranges, and my Grand-mother’s gravy and Brussel sprouts (the smell not the taste that is something totally different), again darker memories can also be evoked by smells a musky damp smell always reminds me of a dark place, a cupboard a room, no lights and cold, but as I got older  those memories have faded slightly and the smell of fresh snow and the cold winter breeze have become something I have learned to enjoy and appreciate.

Non film music has to be The Phil Spector Christmas Album, it’s just so well CHRISTMASY!!!!!!. And Merry Christmas from Motown album plus there are a few individual songs, Merry Xmas Everyone by Slade, Happy Christmas (war is over) John and Yoko, and I Believe in Father Christmas by Greg Lake (cynical till the end). Many of which I listened to when in my teens in a club or a pub surrounded by friends, who after vowing their undying love for you would then proceed to down four barrels of beer and want to murder you. Then there is The Christmas Song by Nat King Cole, which is probably my all-time favourite. So that’s me, ok are you ready over to you keep it clean.

Composer Matt Cannon says for him its Scrooged and Silent Night Deadly Night, both great movies, why those? “SCROOGED ie Danny Elfman’s score has this dread but whimsical quality over the opening credits. I always loved the movement of the score and it fits prefect with the comedy and ethos. Silent Night is creative in all these fun ways that its a Xmas film with it’s own made up Christmas tunes. Besides the chaotic antilog score which is tops for me it’s the ominous feeling of all those made-up songs that add a looming foreshadow”.

As for non-film music at Christmas Matt recalls and artist called Mr Bungle “The album was called California. If you haven’t listened to it it’s definitely worth a spin It’s an Eclectic mix of every style of music ever made. Mike Patton formerly of Faith No More is the lead singer for it”. Thanks Matt I listened and yep your right love track number five Ars Moriendi.

Composer Kenneth Lampl (Sissy the Furies), says “Favourite Christmas movie is Rudolph the Red Nose Reindeer (the animated one from the 60’s). Best Christmas scores are Edward Scissorhands and Polar Express.  Best non film music Christmas album is Bing Crosby Christmas Classics”.

Sid De La Cruz composer of the Hell on the Border Score, said.“I  really  enjoyed the Home Alone films by John Williams as for non film I enjoy the nutcracker (ballet) – Tchiakovsky. Good choices I would say.  

Composer Andrew Scott Bell sites Home Alone also as his favourite Christmas movie, the composer’s music for the anthology Deathcember has just been released on Howlin Wolf records alongside music by other composers for the movie.  Andrew says of non-film music albums for Christmas. “The Hotel Café Presents Winter Songs by various female artists, released in 2008 through Epic Records”.

Composer Winifred Phillips, said “My favorite Christmas film (and score) for a movie set at Christmas is The Bishop’s Wife, composed by Hugo Friedhofer.  It’s a magical, heart-warming score in a movie that places a strong emphasis on music as part of the narrative.  There are many wonderfully musical moments in the film, from Cary Grant playing an impressive harp solo, to a scene with a gorgeous children’s choir performance, to a rollicking ice-dance featuring an enthusiastic band performing onscreen.  The moments when Cary Grant reveals himself as an angel are particularly memorable in the score, with the mystical textures and sense of wonder that Hugo Friedhofer crafts so expertly.  I’ve always wished that this score might be rerecorded or performed live.  While the music is still perfectly charming in the film, the effects of time on the recording have degraded the sound quality considerably.  It would be such a treat to hear a modern recording of this music, with every nuance of Hugo Friedhofer’s score captured with rich warmth and crystal clarity!  Here’s a YouTube video that contains a Soundtrack Suite from The Bishop’s Wife”: 

Radio show host and film music critic Tim Burden, loves the score for Santa Claus the Movie and his favourite Christmas set movie is Gremlins.  Maybe take a listen to Tim at http://www.Belfast247OnAir.com.

Tim’s non film music track choices include LeRoy Andersons Sleigh Ride and this.  

Its back to Home Alone again for composer Holly Amber Church’s favourite Christmas movie score, Holly recently provided the energetic theme for the Netflix series Cabinet of Curiosities, and has also scored movies such as Worry Dolls, Dark Light, Bad Impulsive.  Italian film music critic Massimo Privitera of Colonnesonore.net has so many favourites that he compiled and posted this impressive collection from Christmas movies and movies with a hint of Christmas about them on Spotify it contains sixty themes and runs for over three hours, so that’s Christmas eve sorted, pass the nibbles and the fizzy stuff. Please check it out here.

Composer Rocky Gray (10/31, The Barn, Close Calls) said “Favourite Xmas film would probably be Lethal Weapon (ha ha). It doesn’t have the best Xmas time score though. Best Xmas time score might have to go to The Nightmare Before Christmas by Danny Elfman”.

Well, that’s one vote for Lethal Weapon, anymore?  Fellow collector and friend Steven Smith commented “My favourite Xmas film or more correctly film set at Xmas as you say is Die Hard, can’t help but love it. Home Alone 2 fits the bill as well. But even more than that is Vince Guaraldi’s A Charlie Brown Christmas, it is seminal as far as I’m concerned. Perfection”.

Filmmaker and all-round lovely guy Terry Bamber (who is playing Scrooge this year in a new grumpy production of Ban all cyclists for Christmas) was brief and to the point about his favourite movie at Christmas and his favourite score for yuletide.  “Zulu”.

One of MMI’s most stalwart supporters Mars Misik mentioned the Jeff Rona scored movie A Castle for Christmas which starred Brooke Shields in 2021. Sadly, no soundtrack album is released. Film and film music critic and author Randall Larsson, when asked the question replied. “It will probably Violent Night when it released next month! But for current films… I’d probably go with It’s a Wonderful Life or Black Christmas I like a bit of horror with my Yuletide!   Well don’t we all?  Yes, Violent Night is coming soon and has a score by Dominic Lewis. Let’s hope the score will be released.

Composer Reber Clark (Saturnalia, Mystery Highway, House of the Gorgon, Cowgirls vs Pterodactyls) responded by saying.  “I have a lot of sentimental favourites for Xmas movies soundtracks. Some of those are better than the movie! Like Alan Silvestri’s Polar Express. But if I had to pick an overall favourite it would be John Williams’ Home Alone. It’s a fine piece of beautiful work”.

Fellow collectors like Brendon Kelly went for “Santa Claus the Movie – absolutely love Henry Mancini’s score. Enjoy the film as well. Also love Arthur Christmas score and film. Home Alone is probably my favourite film and I enjoy the score.  Only have the album version though – not the full score”.

Well that’s about it I think, thanks to all who answered to those who didn’t you’re loss Humbug and all that (of course other sweets are available).


Italian composer and music producer Fabrizio Mancinelli grew up within the medieval walls of L’Aquila, Italy, a lively town rich with cultural institutions. Surrounded by narrow streets lined with Baroque and Renaissance churches, Mancinelli was attracted at an early age to fine-arts, the opera and eventually, film scores.

Following the passionate advice of composer Gian Carlo Menotti (whom he later assisted in the staging of his operas at the Spoleto Festival in Italy), Mancinelli enrolled in the Music Composition Program at the Conservatory Alfredo Casella, L’Aquila, Italy where he graduated in 2006 with honors in both composition and conducting. Soon after he went on to study under the guidance of BAFTA and Academy Award Winning Composer Luis Bacalov (Il Postino). Pursuant to receiving a Fulbright Grant, Mancinelli studied Scoring for Motion Pictures and Television at the University of Southern California and graduated in 2009.

Since then, Mancinelli has composed music for multiple venues and media (including concerts, theater, film, television and the web) and has closely collaborated with many different directors and prestigious institutions.

His music for the Italian Rai 3 TV Talk Show “Agorà” has aired daily 2010/17 and his original score for the feature documentary “Growing Up with Nine Old Men” (Disney) by Theodore Thomas has been internationally released by Buena Vista. A short list of his clients includes The Walt Disney Studios, Feeln (Hallmark), Lionsgate, Rai, Mediaset (Taodue), Studio Bozzetto, Felix Film, NBC, Dick Clark Production Company, The Golden Globes and Warner Bros. Animation.

He has recently completed the original score and an original song for the animated feature “The Snow Queen 3” (Wizart Animation), the musical “Beauty” (Moolmore Productions – starring Sylvester McCoy) and the documentary “Barbiana ’65” (Special screening event at the Mostra Internazionale del Cinema di Venezia -Venice Film Festival 2017).

Future projects include the animated film “Mushka” by Andreas Deja (Aladdin, The Lion King), working alongside songwriter Richard M. Sherman (Academy Award – Mary Poppins).

As a film score collector and critic, it’s unusual for me to review a musical but I have done a few, When I heard The Land of Dreams, I knew straight away that this was something special, it just resonated with me immediately. I had obviously heard your film scores before, but was pleasantly surprised about the quality of the lyrics and the score for The Land of Dreams, how did you become involved on the project, or was it a case of you had the songs and the score and you went to the producers to convert it to the screen?

First off, thank you very much for your kind words.

I got involved in writing the songs for The Land of Dreams and in composing the score in 2018, when Nicola Abbatangelo with whom I had already collaborated a number of times (the highlight being the award winning short Musical ‘Beauty’ in 2017) asked me if I would want to be part of his feature debut. Of course, I said yes and with no hesitation I composed a demo called “Imagination”. This piece didn’t end up in the film, but a small musical fragment of it remained in the score. The songs are based on Nicola Abbatangelo and Davide Orsini’s story and script, and it has been a pleasure to work again with a team of friends whom I admire.

How long did it take to bring The Land of Dreams to fruition and how did this compare with your normal scoring schedule for a film?

It took quite a long time. With a pandemic jeopardizing the whole working process, everything slowed down and the movie that was supposed to be finished and released in 2020, just saw the light of day now, in 2022!  We recorded the songs in September 2019 and the movie was filmed in Bulgaria in the fall of 2019. After the editing phase started, the uncertainty of the pandemic made us change the work plan.

Whenever I deliver a score, everything it’s usually set for release in a short time from that moment; it’s the case of my latest documentary on which dubbing was completed one week before the first screening took place (last week at the UN Climate Conference in Egypt). The dub of The Land of Dreams was completed in May 2021, but we had to wait for the right time and opening in the Italian theatrical schedule. Right now, it’s kind of relieving to see this film see the light of day, being seen by people, and the music being enjoyed.

What size orchestra did you have for The Land Of Dreams and where did you record the score and the songs?

The orchestra for “The Land of Dreams” consisted of around 75 musicians, plus pre-records, big band, choir, and band (guitars, bass, drums). I believe an overall number of 100 musicians were involved. The orchestra sections were recorded separately in Budapest, the guitars, and big band in Rome, drums, bass, pianos in Los Angeles as the choir and background vocals. Our main cast was recorded beforehand in Roma, at Stone Recording Studio – the studio that hosts the piano that belonged to my unforgettable mentor Luis Bacalov.

When scoring a movie I suppose that normally you watch the film and then discuss with the director what style of music is needed or where music should be placed etc, is the process very different with a musical, can you tell us how it works, and would you say that it is more difficult working on a musical than working on a movie as in creating symphonic pieces?

In the first meetings with the Director, we set the desired musical color to use in the songs and decided to go in a more “pop” direction in order to speak to a wider audience instead of pursuing a philological operation and writing in a 1920ies style.

With the director, we constantly discussed the intentions and purpose of the music in order to carry the audience by hand into the dreamy world that he had created.

Having the songs ready before they started filming, I basically had all the thematic materials handy for me to work through variations and adapt the themes to the various sequences in the feature.

The biggest challenge for me was to create a number of songs that could carry the story, seamlessly come out of the score and evolve into it. Being supportive of the action, but not on the nose. That was the real difficulty.


The soundtrack is out digitally via Plaza Mayor publishing, will there be a compact disc release, and did you have an input into how the soundtrack was compiled and is all the score on the recording?

Actually, there is a digipak physical release  also on Plaza Mayor and I wish one day we could have a limited vinyl (I keep dreaming as you can see) for at least the songs.

I had a decisional input on the way the soundtrack has been compiled, taking care of the edits on the various cues. In fact the score is not presented in its entirety (even though all the themes are included) as I decided not to include parts that were more “incidental” and the source music I composed expressly for some scenes (in a 1920’s style).

Can you tell us something of your background, were you from a musical family, and what musical education did you receive, and was film music something you were always attracted to following as a career?

I didn’t grow up in a musical family, but always felt attracted to the World of Opera and Music. Another passion of mine was Cinema and Animation. What is a better combination of these artforms than Film Scoring?

My parents encouraged me to study to be an attorney, though.

But at the same time, they supported my passion and I was able to attend L’Aquila State Conservatory in Italy at the same time as Law School. I graduated in composition and conducting with honors (10-year program) and also had the fortune of assisting the 2-time Pulitzer Prize Winner Gian Carlo Menotti, staging his operas at the Spoleto Festival in Italy.


I specialized in film scoring under the guidance of Academy Award winning composer Luis Bacalov at the Accademia Chigiana in Siena – Italy and, pursuant to receiving a Fulbright Grant, I studied Scoring for Motion Pictures and Television at the University of Southern California and graduated in 2009.

And here I am now. But yes, I also passed the bar exam in Italy, so my parents could relax and be happy. Ahaha.

I think you began your film/TV music career when you composed the music for the TV series Mi Manda Raitre, how did this come about and was it difficult breaking into writing for film and TV?

I began my career on TV in 2009 for Mi Manda Rai Tre. I provided music for that show which already had a long airing history. I had just come back from the United States after studying there and that was my very first job on TV.

I’m grateful to a number of TV executives and Showrunners who gave me the opportunity. Still, I had to pay my dues and not every job I had was easy. But I feel lucky for all the gifts I got from life.

You have scored TV, film, and documentary, as well as working in the theatre what are the main differences between working in TV and scoring a feature film, and for you what is the purpose of music in film?

Well, I’ve got to say that my TV work has mostly been for talk shows for which I created libraries that had to be specifically used for their videos and during the show, and so it is a different kind of narrative form, not linked to strict timing and sync points as is in a feature film.  In films my main goal is always trying to develop a narrative arc.

In my opinion, the purpose of music in film is to create that emotional path that can help us understand the story better. Our duty is to talk to the audience directly, but without being heard too loudly.

You scored The Snow Queen 3 and wrote an original song for the production, when you are asked to write a song for a movie or any production what normally comes first the music or the lyrics?

I usually write music and lyrics together. I conceive them as an indivisible unity in a song especially when, as in the musical, the song has to help the story progress.

For the songs I wrote for my animated features though I usually get the themes from the score I composed and add lyrics afterwards. It’s the case with my latest animated feature, Out of the Nest (due for release in 2023).

Do you conduct at all, or is it not always possible to direct the orchestra because you are monitoring the recording from the recording booth?

I conduct for myself when possible, especially since I know all the nuances I need to underline in the score, but sometimes I prefer to produce the session from the booth. I have had the honor of conducting for some colleagues and friends of mine and I need to highlight my collaboration as a conductor for the amazing Kris Bowers for whom I conducted the score for the Academy Award Winning Feature “Green Book” amongst others.

Do you have any preferences as to where you record your film scores as in any studios in particular?

I really enjoy recording in Los Angeles and I have a profound attachment to the Eastwood Scoring Stage (at Warner Brothers) since my USC days. But really enjoyed recording in Budapest as well with Budapest Scoring and lately at the Synchron Stage in Vienna (remotely) – great studio, great team!

I have got to say that whenever I get to have an orchestra play my music it is a true privilege!

Is there a set routine that you apply to scoring a movie, as in starting with a core theme and building the remainder of the score around this or does your working schedule differ on each project?

I approach every project from a different point of view as a good tailor needing to size a suit or a dress. No project is like another one, every genre needs to be approached in a different way. In animation, for example, I prefer to write the themes beforehand and then to approach the film and adapt those throughout the score, whereas on my latest thriller I tried to create ambiences and harmonic languages and colors in order for me to choose the right color palette. Every project is special.

You have also worked on a handful of shorts, is it sometimes difficult to establish a musical identity for a character or a situation when the movie can have a very short duration?

The biggest difficulty in working on shorts is that you have a limited time to develop the whole arc of storytelling in a proper way, in order not to seem rushed.  It is often a challenge but a fun one.

Another similar example is when I get to compose music for a 30 second commercial.  I have to tell a story in such a short time, but the story needs to be consistent. I always build an arc, big or small. And when it works, I feel fulfilled and satisfied.

In my opinion, storytelling is more important, in this craft, than music itself.

You scored the comedy Scappo a Casa in 2019, which had some Italian western style references that I loved, was this something that the director specified when you were asked to score the movie and as a composer are you familiar with the scores of some of the Italian western movies?

Of course, being Italian, I am very familiar with the scores of the Italian westerns and yes, that was a reference that I got straight from the Director, Enrico Lando.

It was a traveling movie in which we passed from the lush atmospheres of the beginning (Swing/Big Band) to this trip of a group of friends which reminded us of the images of the old westerns (open spaces etc.), thus we decided to use those influences from the great language of the older Italian western films.

Is there any genre of film that you think is harder to score than others?

Although I really love scoring animation, I firmly believe that to write music for this kind of medium, in the most proper and fulfilling way, is a different art form than any other kind of scoring.

We need to be able to follow the action, balancing all the ingredients with extreme attention (not too much mickey-mousing, nor too little emotional scoring plus always the right dosage of good thematic materials).  It’s fun, but it’s a high mental energy activity.

Your scores for film and TV have a rich thematic quality, is it important to have themes within film scores, and individual themes or phrases to accompany certain characters?

I strongly believe that thematic ability can define a composer from another, even more than the harmonic language they use. I come in from Italy, a country where, since a young age, everybody’s used to singing under the shower. I feel melody is an integral part of my soul. I like to mess around with my themes and their variations and enjoy playing tricks on the subconscious of my audience, through thematic development.

I think thematic material can help the story progress in the right way and give the audience even more a sense of fulfillment after leaving the movie theater.

What composers or artists would you say have influenced you in the way that you write music or in the way that you approach scoring a picture and do you listen to or buy soundtrack recordings?

I would have to mention too many composers from the past and the present as I think we all metabolize what we like and listen/study.

Amongst my favorites I can certainly mention Nino Rota and Ennio Morricone, Alan Menken Alexandre Desplat, my mentor Luis Bacalov, Carlo Siliotto and of course John Williams. And a note of admiration (in the newer generation) for my dear friend Kris Bowers.

Kris Bowers.

What is next for you?

I just finished a number of projects that I’m looking forward to seeing on the screen.

I would like to mention the featurette Mushka , directed by Disney Legend Andreas Deja for which I composed the score and I got the chance to collaborate with Disney legend and friend Richard Sherman (Mary Poppins).

This was the chance of a lifetime working with the people who defined my childhood through animation and music.

I am fortunate to be involved in international projects and I’m looking forward to the release of the animated feature Out of the nest next year.

On the documentary side, a beautiful work called Food 2050 has been recently screened at the UN food conference in Egypt, produced by the Rockefeller foundation. And talking about Europe I am honored to have my music in the film Jailbird that’s debuting soon at the Tallin Film Festival and then at the Turin Film Festival. So much to say! But I already spoke a lot…as usual (my friends would say! Hey, but I am an enthusiast!!!)

As I always say I’m living in my Land of Dreams and I hope not to wake up.