The Oscar for Best Original Score...should it be awarded to a fully electronic score?

[Ronnie Doyle]

This topic came up between myself and my rather hot-headed director-friend one night in our living over coffee, and needless to say things got heated! Now, don't get me wrong: I'm not asking this question because I FAVOUR an electronic approach to film scoring (actually, I believe it may be killing the usage of themes in more modern scores, which I totally despise), and I also acknowledge fully that there are many more factors in play for the Academy judges when it comes to deciding who gets the gong for Best Score. What I'm asking is, SHOULD an electronic score, if it's good enough of course, have the right to be put up alongside orchestral works to potentially win the award, even though it clearly goes against the classic and traditional grain of the Academy's philosophies on what film music should be: orchestral music? Should the music itself be the real priority, not how it's conceived or composed/performed? OR, should we reject this notion and stick by the traditionalist views long upheld by the Academy?

[Tyler]

I see no reasons why not nor have I seen any rules barring electronic compositions. And I think a lot of professional film composers record a portion of there film music electronically with sample sounds (depending on the budget of the film they are working on and if the producers will let them record a live orchestra) but a completely electronic score with uniquely electronic sounds, I'm guessing, wouldn't be snubbed by the Academy if it was of a certain quality. The only reason I see why one has not received an Oscar nomination is that most of the Electronic scores are frankly not that good. For me the only one that I have heard that has come close to the quality I would consider Oscar worthy would be the score for the movie "The Killing Fields", but not quite.

[Ronnie Doyle]

By electronic, I'm not really talking about recording techniques, more so textures and colours that electronic, for example, Mark Isham's score to Paul Haggis' 'Crash'...

[Anne Goodwin]

Well, I know NOTHING about film scoring but I have perhaps one or two insights into the nature of competitions. It seems to me that you may have to be careful not to put the judges in the position where they truly are comparing apples and oranges. I agree with Tyler's view (even though I have NO professional knowledge about specific films and film scores) but is this an area where it would make more sense to have a category for orchestral film scores and another category for non-orchestral film scores - i.e. electronic - ?

[Ronnie Doyle]

Yes I think that might help tremendously, Ann. But, we may have to question whether the Academy actuallt deems electronic scores as VIABLE film scores in their own right.

[Colin]

Tradition is the nemesis of creation. Having said that, the question to ask yourself when watching a movie is... Does this score improve the movie or detract from it? I submit Blade Runner as a score that worked for the movie. It combined contemporary elements with a traditional bed that brought us into that time (from a perspective born in 1982). Oh Brother Where Art Thou completely changed the recording process and acceptance level of traditional folk music for the big screen. As for Academy judges... I don't think they are a gauge on whether something is inventive or not.

[Ronnie Doyle]

Excellent choice, Colin. Vangelis's work on that score is renowned. It's a fabulous work. And no, I don't think either that the judges' word id necessarily sacred, but it does lie with them what scores are pushed for awards and those which are not. The thing that really gets me is that the film's message, or the appeal of the director, or the hype surrounding it, often clouds their judgement and even INFORMS their judgement on which score is chosen for Best Score. Surely, this is ludicrous?! Is the actual MUSIC really being awarded for it's own merit or the because of the FILM it's attached to??

[phil Kelly]

As long as it's music ...GOOD music ...and GOOD FILM SCORING ..I don't care if the composer uses a rubber duck, a bulb horn and a rotorooter !

However, so called "ambient" scoring ( read: canned loops on ProTools ) should be forced to compete where it belongs: in the sound effects category.

BTW: I liked Vangelis' score for "Blade Runner"

[Mariusz Jasionowicz]

Let's make a definition first. We are not talking about an electronic piece made using sampled imitation of a real world instruments. Which for an untrained ear may sound as natural as a real orchestra when composed by a skilled person on £100000 libraries ;P
In this meaning we are talking about a sound generated by an electronic circuit (oscillator) which is an opposite to the air vibration in real instrument, and it does not emulate anything, but offers an unique sound.
Now. as on any other instrument, no matter what is its nature, we may compose a very advanced piece. And there is no objections why we couldn't use advanced key progressions, melodies etc. Obviously instead of an expression offered by a real instrument. an electronic instrument may use various controlers, which sometimes offer more tools to express yourself.
So I think there should be no reason why an electronic music could not go alongside with an orchestral piece.

[J Renzetti]

Music is music, the instrument it's played on is irrelevant. What you call "electronic" is just another instrument, so why would it be disqualified as a score? Take a listen to "Midnight Express" some time.

There are no "Academy judges," all nominees are voted on by their peers, it's an organization of fellow artists recognizing another's work, be it on a tuba or bagpipe.

Joe R

[Fredrick zinos]

Of course it should. I look forward to the day when a fully 'electronic" score provides the background to a 100% animated film where the audience does not bother to show up, but merely sends their remote recording devices to capture the experience.

What possible difference would it make? The objective is to sell tickets. As long as the financial transaction takes place who cares WHY it takes place. The film and its component parts, including a score are subservient to the financial goal.

[Ray Kemp]

Many seem not to get it here.
As I see it, the argument is NOT! whether it is real or electronically produced sets of instruments that are featured but more about how much movement and mixing of sounds are already in the loops being used.
Is the score composed or compiled. That is not to suggest compiling and mixing prerecorded loops needs no skill but it isn't composing. IMHO

[Mariusz Jasionowicz]

To give an opinion about something involves a good knowledge of topic.
But with respect, yours doesn't seem to be as good.
Indeed I do not prefer to use loops. But do you think that the real electronic music is just a copying and pasting loops?
Obviously, people use copying and pasting function of some parts of a composition (not necessarily loops) just like in scoring composers copy parts of repeating motifs in score.
Today time is precious.