e composers who have worked extra hard to develop original scores with other music producers who have just edited other people’s work to come up with film soundtracks. If I may use the example of Crash, the 2005 winner of Best Picture at the Academy Awards, the soundtrack of the film was an original composition by Mark Isham that was later released the music labels Gut and Colosseum (Bridges 25). The soundtrack contributed significantly to the success of the film. Placing such an original score together with un-original pieces is obviously unfair.
Another reason why that this be adopted is because doing so will provide clear boundaries of what is original and what is not. Establishment of the two categories will pressure the Academy to properly redefine the terms that a particular composition should reach for it to be considered original or not. This will consequently eliminate cases like the one experienced recently where the music scores for the films, The Black Swan, The Fighter and True Grit were disqualified on the basis of being unoriginal. Establishment of the two distinct categories will also encourage composers who feel that they can add something fresh to previously produced pieces and come up with outstanding film scores.
As I have indicated earlier, the score of a film plays an important role in its success level and therefore, let me compare and contrast the scores of two films that have been hugely successful this year. One is the Ben Affleck directed thriller “Argo’’ and the latest installation of the James Bond series “Sky fall’’. Both films are predominantly characterized and accompanied by original film scores. In the case of Argo, the renowned Alexandre Desplat has scored the film (Bridges 17). The score features many orchestral elements and easy concessions that are easily listenable to common people. Its opening cue comprises a rich sound filled with Persian Instrumentation that is very flavorful and therefore resonates with ...
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