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Originally posted by Swashbuckler:
The main title waltz from The Godfather was actually based (admittedly) on an earlier score that Rota had written

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Actually, it was the love theme - not the main title waltz.

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Originally posted by Dinko:
But even in the new rules, Horner (and others) would still be ineligible.

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Originally posted by HadrianD:

How?

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Because of the "original" thing I suppose...

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Originally posted by Brad Wills:
But then the Academy turned right around in 1974 and awarded the Best Original Score Oscar to Nino Rota and Carmine Coppola for The Godfather Part 2 --which uses essentially the same themes

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If you watch THE GODFATHER PART 2, you'll note that the love theme from THE GODFATHER does not show up at all - and that was the contentious theme.

Dan

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Originally posted by HadrianD:
How?

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Like this:

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Originally posted at oscars.org
B. ELIGIBILITY

1. The work must be specifically created for the eligible feature-length motion picture.

2. The work must be the result of a creative interaction between the film maker(s) and the composer(s) or songwriter(s) who have been engaged to work directly on the film.

3. The measure of the work's qualification shall be its effectiveness, craftsmanship, creative substance and relevance to the dramatic whole.

4. The work must be recorded for use in the film prior to any other usage including public performance or exploitation through any of the media whatsoever.

5. Only the principal composer(s) or song writer(s) responsible for the conception and execution of the work as a whole shall be eligible for an award. This expressly excludes from eligibility all of the following:

(a) supervisors

(b) partial contributors (e.g., any writer not responsible for the over-all design of the work)

(c) contributors working on speculation

(d) scores diluted by the use of tracked or pre-existing music

(e) scores diminished in impact by the predominant use of songs

(f) scores assembled from the music of more than one composer.

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Note particularly the following passages:

1. The work must be specifically created for the eligible feature-length motion picture.

Hard to say that Gladiator, Titanic, Crouching Tiger or A Beautiful Mind were "specifically created" for the eligible motion picture.

5. [...] This expressly excludes from eligibility all of the following:
(d) scores diluted by the use of tracked or pre-existing music

(f) scores assembled from the music of more than one composer.

Again the above examples hold.
- Crouching Tiger was a reprise of Tan Dun's Symphony 1997 - 11th movement.
- Titanic... well the list is way too long on this one.
- Gladiator was pretty much composed by Walton, Holst, Morricone and apparently Wagner. Zimmer having served as "music arranger" (if we exclude the 100 orchestrators...)
- A Beautiful Mind is Horner's, (maybe) but it's diluted with stuff from 10 years ago.

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Originally posted by dgoldwas:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Brad Wills:
[b]But then the Academy turned right around in 1974 and awarded the Best Original Score Oscar to Nino Rota and Carmine Coppola for The Godfather Part 2 --which uses essentially the same themes<HR size=1></BLOCKQUOTE>

If you watch THE GODFATHER PART 2, you'll note that the love theme from THE GODFATHER does not show up at all - and that was the contentious theme.

Dan

[/B]

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Originally posted by Brad Wills:

Yes, but much of the other music is way too similar IIRC, therefore shouldn't this have been considered an "adaptation score"?[/B]

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Originally posted by jeffy:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Brad Wills:

Yes, but much of the other music is way too similar IIRC, therefore shouldn't this have been considered an "adaptation score"?<HR size=1></BLOCKQUOTE>

No, re-read what I wrote.

If you say that, Brad, then the Star Wars sequels and the Indiana Jones sequels should be considered adaptation scores for the most part![/B]

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Hm.