There has been much discussion over the years about the originality of film music. On one side are the purists, who complain about piecing together classical segments simply because the film's composer has neither the time nor the originality. On the other side are the soundtrack gurus, who insist that composers simply took inspiration from previous music and used the idea to write their own compositions. One composer in particular who has been condemned by purists is John Williams. He has been accused of "borrowing" from composers as well-known as Dvorak (New World Symphony) and as obscure as Erich Wolfgang Korngold (Kings Row theme). The underlying debate, however, is not whether or not film composers borrow other composers' scores, but what makes a piece of music original or copied. The answer to this question is not easy to find. There are so many aspects, opinions and conditions to explore and discuss that it may take a lifetime to discover an appropriate answer that satisfies both parties. So, rather than attempt to fit everything into one essay, I will focus on one aspect of the debate; Is John Williams' use of other soundtracks a source of inspiration or plagiarism? To answer this question we must first understand the common structure of film scores and the process used to formulate them. Usually, after the film has been conceptualized (or some shots have been made), the composer is shown a rough version of the film and talks to the director about what kind of music (styles, themes, etc.) it should be. used: This process is called "spotting". The director might also have a "temporary score" (a score of old... pieces of paper......classical composers, I appreciate this man for his creativity, his style, but above all for the great contribution he gave the world of music and film. Works CitedBond, Jeff. "God Almighty! FSM Finally Speaks to John Williams 8.1 (2003): 10-13 Web. Bond, Jeff. "Zimmer takes aim... at FSM. " Film Score Monthly 2.7. Web 6 December 2010. Wikipedia Ed. 06 December 2010. Kaplan, Jon. Rayburn Wright. On the trail a guide to contemporary film scoring. 2nd ed. New York: Routledge, 2004. Print.News "The column soundtrack of Kong was eliminated at the eleventh hour." IIMP Web. 6 Dec. 2010.