This year 2016, the Academy of Motion Picture Arts and Sciences has publicized the list of 145 films that will be qualified for this year’s Oscar for Best Original Score. Unfortunately, as at all times, there are some perceptible absences. From the given figure of list, a certain movie wasn’t able to catch up on the list since it was disqualified.
From the Collider’s report, the Academy’s strict guidelines state that a score “shall not be qualified if it has been diluted by the usage of pre-existing or unoriginal music, or it has been contracted in bearing by the main use of tracks or any music that not composed precisely for the movie by the acquiescing composer.” The Academy’s music voting branch has a pretty stringent set of rules that result in baffling disqualifications every year, and one of 2016’s casualties is Johann Johannsson’s tremendous work on the sci-fi film Arrival.
According to Verge, on that particular list, Denis Villeneuve’s sci-fi epic Arrival is not included for the reason that it has an original score by Jóhann Jóhannsson. Variety states that the conclusion to exclude Arrival was agreed unanimously for the reason that it encompasses some borrowed(unoriginal) music, and that includes On the Nature of Daylight which is created by Max Richter. That piece is actually played at essential flashes at the beginning and at the finale of the movie.
The Academy’s music division says utmost electorates can’t be projected to distinguish between these copied pieces and of Jóhannsson’s piece. That conclusion is in possession with an admissibility standard guideline. Despite the fact that the conclusion is comprehensible, still, it’s a bit of an embarrassment. Arrival has a spectacular score that’s also essential to the movie’s comprehensive sound design. Jóhannsson has been selected for the Academy Award two times before, for his work on Villeneuve’s Sicario last year and James Marsh’s The Theory of Everything in 2014.
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