Composer Simon Franglen Defends Live Musicians Against AI at Ghent Panel

According to Variety, composer Simon Franglen recently took to the stage in Ghent to address one of the most pressing controversies facing the modern entertainment industry: the rapid advancement of artificial intelligence and its encroachment into film scoring. Speaking during a panel discussion at the World Soundtrack Awards Film Music Days, Franglen used his platform to passionately advocate for the enduring value of human musicians. Drawing directly from his high-profile experiences working on the highly anticipated film Avatar: Fire and Ash, the composer outlined why synthetic soundscapes can never truly replicate the nuance, vulnerability, and raw power that flesh-and-blood performers bring to a cinematic universe. The remarks come at a time when Hollywood studios and independent creators alike are grappling with how to integrate emerging technologies without losing the soul of artistic expression. The debate over artificial intelligence in music composition has grown increasingly urgent as software becomes capable of generating complex orchestral arrangements in mere seconds. However, industry veterans like Franglen argue that speed and efficiency should not come at the expense of genuine emotional connection. During the panel in Ghent, he elaborated on how the intricacies of human performance breathe life into visual storytelling, creating a symbiotic relationship between picture and sound that algorithms simply cannot manufacture. His insights into the production of Avatar: Fire and Ash provided concrete examples of how human artistry elevates grand visual spectacles into deeply resonant cultural moments. The conversation resonated deeply with the audience of fellow creators, sound designers, and film enthusiasts who have watched the landscape shift dramatically over recent years. As artificial intelligence tools become more accessible, the temptation to cut costs by substituting live orchestras with digital simulations remains a constant pressure for producers. Yet, Franglen's commentary serves as a timely reminder that the essence of great cinema lies in shared human experiences. When musicians gather in a recording studio, their collective history, cultural background, and spontaneous emotional responses are channeled into every note they play. This organic imperfections and profound depth are precisely what audiences connect with on a subconscious level, even if they cannot explicitly identify the mechanical nature of a synthetic track. The World Soundtrack Awards Film Music Days have long served as a vital forum for discussing the artistic and technical evolution of scoring for the screen. By bringing together top-tier talent to debate the merits and dangers of artificial intelligence, the event highlights the industry's commitment to protecting the integrity of music composition. Franglen's contribution to this ongoing dialogue underscores a broader industry consensus that while technology can be a useful tool for sketching ideas, it must never replace the heart of the orchestra. As post-production continues on Avatar: Fire and Ash and other major cinematic projects, the stance taken by prominent composers in venues like Ghent will likely influence how studios approach the delicate balance between innovation and tradition in the years to come.