# How to tame your fff dragon



## noiseboyuk (Apr 19, 2011)

Apologies in advance for what I think will be a long OP. I want to discuss the relationship between volume, intensity, mix level, complexity and simplicity in film / tv scores, and I want to use How To Train Your Dragon as the example – it'll help if you're familiar with both the score and the movie to follow what on earth I'm going on about, but hopefully a lot of the concepts here are pretty universal.

First off, a declaration of where I stand on the film and score, and where I'm coming from professionally. After multiple plays of the soundtrack, and just re-watching the film for a second time, I think this is the best blockbuster score since the original Star Wars. No doubt others will say this is OTT, and one can think of Indiana Jones, ET, Back To The Future, all of which I adore, but for me there it is. I saw the film first, bought and played the soundtrack endlessly, and have now after nearly a year re-watched the film, which is what has now prompted this thread. I may be unique at VI control in that as well as a composer I'm also a sound designer / dubbing mixer, and most of what I do its kids TV, comedy drama especially. So although of course on a far far smaller level, perhaps I can relate to Dragon so well as it is a bigger, better version of what I do.

Ok, enough preamble. Many non-musos or composers have watched the film and commented on how they liked the music. It is clearly very effective. Several times in the film it takes centre stage, and it works brilliantly. However, on rewatching I was surprised by how quiet it was in the mix. On all those crucial exposed sections, it felt right, and I suspect people noticed and liked the score because of those sections – Forbidden Friendship, Dragon Taining, Romantic Flight etc, and especially the use of that outstanding main theme that serves the heroic and euphoric moments so well.

Now. I found myself a little frustrated at other moments, that the score seemed buried under the sound effects. The dialogue was always very very clear, and I guess this was a guiding light for this mix, especially with a kids audience in mind, and you can't really argue with that. But something always bothers me when I hear an orchestra going fff and yet it sounds quiet – its a very unnatural effect to me. If there's a lot going on, or especially under dialogue, my instinct and experience from repeatedly making mistakes tells me to avoid fff stuff as much as possible – give more space and room for the other elements of the show by naturally playing either quieter, more sparsely or not at all.

The film of Dragon is probably my favourite of 2010 (Inception, Toy Story 3 and Social Netowrk included), but on a 2nd view I had the same lone criticism that I did the first time, that the first 15 minutes are the weakest. Powell's fantasic tour de force This Is Berk is at times completely lost, while a rapid-fire voice over sets up the world we're in. Personally I think this is part of the film's problem in the opening stages – where the film works best it's showing not telling, and here it feels like the opposite. (I should say that after that 15 minute mark, I don't think the filmmakers put a foot wrong, it's breathtakingly good).

Of course that's the composer's lot – he can't mix or edit the movie! So I found myself asking an unthinkable question – much as I adore every note and beat of Powell's score, is it perhaps too busy in places for the final film? Do we blame the dubbing mixer? Or does it not bother anyone else hearing fff played quietly or buried altogether? 

This is even more pronounced in a later section of the film when dragon training. There is a cue called The Kill Ring which is dizzying in its complexity. Some time I ago I attempted a mock up of a 10 second stretch (from 1'15). I took a week and failed fairly miserably, with the inevitable feeling that “I'll never get there”, with VIs or a real orch. Yet I was fairly staggered when watching the final film that that 10 second section is almost entirely drowned by the sound effects. I found myself wondering if Powell had spent 20 minutes stabbing a Symphobia multi and some percussion from Symphonic Orchestra if anyone would have noticed.

Again, the central thing that bothers me is hearing an fff orchestra playing QUIETLY. I'd go as far as saying it sounds like a technical mistake. On the other hand I'm acutely aware of the balance that needs to be struck with other areas. So I wonder – if I have a point this is it – if we composers need to take more of a back seat more often, being careful with the orchestration to stay out of the way a little more, then letting rip when we have the chance. Of course the problem is knowing when that will be the case, it's not always obvious.

Final observation – in general, it is the simpler areas of the score that are most noticeable to the audience. Forbidden Friendship is musically very simple indeed, but it's absolutely gorgeous, impeccably realised and EXACTLY right for the scene. For me it's an encouragement – the stuff I personally find the hardest is perhaps the least important in the final analysis. Or is it?!

Sorry for the ramble, hopefully some kind souls will pitch in with some thoughts – cheers.


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## Patch666 (Apr 19, 2011)

As a fairly young guy in music for media (im 21) I missed out on being influenced by some of the scores you guys talk about a lot, prob too busy throwing popcorn and m and m's at some bald guy at the front to notice the great music! . But for me this film will always stand out for me as my favourite score. I guess im part of a new school where Powell, HGW, later Zimmer stuff, Two steps From Hell. Etc were always the rulers.. No pencil and paper stuff. I think a lot of newer composers (myself included) spend a lot of time just faffing with my studio creating 'Deep Booms' and rhythmic textures and forgetting how to write beautiful inspiring orchestral music. The HTTYD score constantly reminds me that that is what I should be aiming for and I am thankful for Powell and Gregson Williams for sort of keeping the pen and paper 'Style' alive whilst using computer mockups. I think because there are so many interviews with Zimmer online about creating 'The sound' which is basically just sound design style stuff that younger composers think that because he is successful .. thats what its all about.

I know this hasn't at all answered your question other than agreeing that it is a fantastic score, even if the projector blew up in the cinema id still pay my money to sit there with my popcorn and m and m's and enjoy some orchestral 5.1 for a few hours.

If only JP was around here to answer the question ..

Patrick.


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## Danny_Owen (Apr 19, 2011)

Whilst I agree with you, Guy, that it is one of the best scores in film history, I have to disagree that the dub at the start is a mistake, I think it works really well exactly as it is.

In my opinion, the opening a busy, exciting scene, with big battles going on (hence really needing Powell's epic opening)- but, this is very much every day life for these Vikings and is not a bigger than normal battle. There are more important things going on in the scene, Hiccup's introduction to the clan being the main thing. To keep such an epic score really prominent would suggest that this battle is one of the biggest battles they've ever faced- and I don't think it's meant to come over that way.

Having said that, if Powell scored it smaller I don't think it would still carry the excitement and anticipation that it does.

It kinda works in a 'yeah it's epic. but that's just every day life' kinda way.

I think the fact that the score is quite buried in this scene gives more impact to the scenes where it is more forefront. It distinguishes between what is every day life, and what is actually meant to be scarier/more exciting.


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## Mookie (Apr 19, 2011)

> In my opinion, the opening a busy, exciting scene, with big battles going on (hence really needing Powell's epic opening)- but, this is very much every day life for these Vikings and is not a bigger than normal battle. There are more important things going on in the scene, Hiccup's introduction to the clan being the main thing. To keep such an epic score really prominent would suggest that this battle is one of the biggest battles they've ever faced- and I don't think it's meant to come over that way.
> 
> Having said that, if Powell scored it smaller I don't think it would still carry the excitement and anticipation that it does.
> 
> It kinda works in a 'yeah it's epic. but that's just every day life' kinda way.



Couldn't agree more, found the opening sequence entirely original and effective - from the very opening brass drone and bassoon solo to the rapid shift of introducing us to the ridiculous lifestyle that is viking.

On topic of pen and paper stuff, I think that elements still has its nook in animated pictures. Id love to see powell tackle some more live action stuff to refresh the scene a bit (bourne movies were entirely effective if not on the same level of depth as his recent animated stuff). I agree though I like what HGdubs is doing these days with his fantasy scores

I dont know....I feel like, for the time being, you'd be hard pressed to craft an exceptionally colorful orchestra score and pair it to live picture without it subtly feeling dated. Even Williams style has evolved over the years to match the massive electronic scale of these pictures (not to say he incorporated electronics, just less....zany I suppose. Thinking from Jaws to Geisha)


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## Patch666 (Apr 19, 2011)

Mookie @ Tue Apr 19 said:


> > I dont know....I feel like, for the time being, you'd be hard pressed to craft an exceptionally colorful orchestra score and pair it to live picture without it subtly feeling dated. Even Williams style has evolved over the years to match the massive electronic scale of these pictures (not to say he incorporated electronics, just less....zany I suppose. Thinking from Jaws to Geisha)



I totally agree I think a score without electronics is going to sound very dated but its about bringing the orchestral pen and paper stuff back to life within the modern electronic context. Too many people are dumming down the orchestra and adding electronics to make it move along rather than saying 'right i've got this great orchestral passage how can electronics be added to further enhance it.' Which Powell does exceptionally well.
(sorry to be slightly off topic from the original question)

Patrick


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## RiffWraith (Apr 19, 2011)

I have not seen the movie nor heard the score, so my ability to give an insightful reply is somewhat limited.

"But something always bothers me when I hear an orchestra going fff and yet it sounds quiet – its a very unnatural effect to me."

I hear you. To things:

1) If the orchestra is playing fff where they shouldn't be, and the mixer is forced to bring down the faders, that is the fault of the composer and/or orchestrator. And that can in fact sound wrong. I cant think of any examples at the moment, but i do rememeber occasionaly thinking to myself that for a particular scene, the orchestra should have probably been playing mf.

2) If the orchestra is playing fff where they should be and it sounds too quiet, that's because the orchestra is competing with too many other things - namely fx - and the mixer, at the "suggestion" of the director and/or sound designer to bring down the faders was heeded. This is nobody's fault per ce; it's kinda just the way it is. Tho, I know a few composers that need to grow some balls, and tell the director/SD/PE that they need the xyz scene with fx, so that they can compose around the fx; many composers - especially nowadays - will simply write and orchestrate as if there are no fx, and the end result is too much competition. And then the composer complains aboutb the music being too low in the mix. :roll: 

Cheers.


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## noiseboyuk (Apr 19, 2011)

Thanks for all your contributions - good argument, Danny you could well be right on that opening on reflection. Damn it all, I'll just have to watch it again!

Riff, yes, I'm thinking along those lines. Do composers ever get sync tracks with sound effects and no music, I wonder?

I'm not sure I agree re electronica, at least in an obvious way. Actually the use of synths in Dragon is very good - they blend beautifully with the orch, they don't stand out as synths at all and it doesn't sound dated imho. His United 93 score uses a lot more synths, but again they don't draw attention to themselves.


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## RiffWraith (Apr 19, 2011)

noiseboyuk @ Tue Apr 19 said:


> Do composers ever get sync tracks with sound effects and no music, I wonder?



I used to make videotapes for composers - the list of who didn't receive a vid from me is much shorter than the list of who did. Typically, the composer wanted a tape with dial, fx and source music mixed together on one channel, and score on another ch - be it temp, or score that has already been recorded for the film. So there was always the option to listen to the music, and then turn it off. Many times tho, the tape's audio had no fx, because there were none yet. And this is part of the problem. With deadlines what they are, the composer and the sound dept. are working at the same time to get everything done. So, the composer will score, say, R-1, and there won't be any fx added until R-1 is completey scored. Ok, now there are fx, but what is he going to do - go back and rescore a good portion of the reel, and tell is orchestrator to redo everything? Can't - no time. Now, this does happen sometimes, but more often than not it doesn't, again, due to the deadline.

Cheers.


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## David Story (Apr 19, 2011)

My experience is, the bigger the budget, the more the director and producer want "options". They want dia fx and mux at max, then balance them at the dub. It's smaller films where there is a chance for sound design and music to work together. Walter Murch and Ben Burtt have wonderful interviews/articles on how to do this.

Kathryn Bigelow and Spielberg are great at directing audio. Mostly because they let the departments work together. At Skywalker, they hold back to let the show breathe.

HTTYD went through a lot of changes. JP waited to do the Friendship scene until he'd spoken about it several times with the directors, moment by moment.


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## José Herring (Apr 19, 2011)

I think that it's a lot to do with the demands placed on the composer these days. Recently, I had a director pushing the hell out of me for a "big" score straight from the top of the film. I had to fight my every instinct, as usually I like to start a film kind of small and then build as the tension in the film builds. But, what he wanted was just big from beginning to end. So even in quite small scenes he wanted this huge sound. It had very little to do with any artistic consideration, he just didn't want the film to sound "indie" and he wanted it to sound "big budget" (of which the budget wasn't big, but that's another story).

What ended up happening is exactly what you described. The huge underscore, get's squashed under some pretty subtle sound fx. It was a little bit horrifying to listen too. 

I'm sure that Powell had the same sort of thing. I like the score. I don't think it's the greatest of all time. Primarily for the reasons that you mentioned. 1/2 the score had nothing to do with the movie. It was just big from the get go. But, there's a lot of music, and a lot of good things going on.


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## noiseboyuk (Apr 19, 2011)

Riff, David and Jose, again great contributions. David, very interesting with regard to waiting on scoring Forbidden Friendship. The thing about that cue is how simple it is - it just works on its own as a beautiful, flowing cue, and in context of the film it's just magic. It doesn't feel like he's hitting points all the time, it's just building and building, so its fascinating to hear that it was part of a long process.

I've heard Ben Burtt talk on this subject, he's very eloquent, and says how dissatisfied he is with much of what he does because of unresolved clashes between music and effects. I think I was first starkly aware of it on True Lies - I remember thinking if there was a fault on my DVD cos the really loud orchestra was so quiet! That must come from James Cameron, as I found Avatar was similarly effects-heavy.

I thought the Inception mix was very ballsy, they really pushed the music (I could have done with a little less music overall, but I really liked the balance in the action sequences in particular). I hear a huge variety across different movies on this issue.

Riff, obviously the ideal would be to have the sync and effects to work with as a composer, but what you describe is exactly what I imagine is commonplace, everyone scratching around at once. I guess this is where a music editor's role comes in too, but it's never as good as the composer having a fair crack at it.

In my humble experience, I find I can push music levels more when they are less busy. Of course this is most true for dialogue scenes - unless the cue is really simple it'll get almost dropped to nothing in the mix.


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## JohnG (Apr 19, 2011)

I kind of agree with you, noiseboy; the music does feel kind of held back to me at points on the DVD. And I think I recall it being huge-er in the theatre.

Very often (maybe always these days for large-budget films), there is a separate dub for the DVD, with music lowered. The reason given for this that I've heard is that it's harder to discern dialogue on inadequate equipment, like older televisions. 

For theatres, the dubbing mixers have some reason to expect THX or some otherl be standardised hardware (amplifiers, crossovers, room treatment and speakers) through which the sound will be reproduced. Thus, for the theatrical dub, they don't need to "babysit" the dialogue by giving it such a large cushion from SFX and music.

By contrast, the DVD mix will be played back through anything from expensive home theatre systems to old mono-sound TVs. The DVD dub is notorious for printing music at a substantially lower level (2-3 dB?) than the theatrical version. 

Blu-ray offers some extra sound formats not available on most DVDs, but I haven't heard of anyone doing a different mix for Blu-ray from that done for DVD.


here's a somewhat relevant post:
http://www.gearslutz.com/board/post-pro ... s-etc.html


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## dcoscina (Apr 19, 2011)

One thing I found particularly moving about this film is the Forbidden Friendship sequence which is scored with music and no dialogue. Scenes like this are few and far in between and allow the composer a real opportunity to stretch out, or at the very least, distill elements in their score with out the interference of sound FX or dialogue.


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## MacQ (Apr 19, 2011)

Apropos of this thread, I'd just like to reiterate that John Powell is awesome. Trying to do take-downs on his stuff is bewildering, but it's never a case of "too many notes". He writes memorable melodies that go where you'd expect them to go ... not in a predictable way but in a way that feels ... right.

Tragically unsung talent, in my opinion.

~Stu


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## JohnG (Apr 19, 2011)

I would welcome being unsung enough to earn an Oscar nomination. Just speaking personally.

But definitely agree that JP is a rare guy whose music uses all the tricks / synths / libraries / rhythms but remains, nevertheless, musical!

Plus HTTYD is one of the best children's films ever, in my view.


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## noiseboyuk (Apr 19, 2011)

+1 to the last half a dozen posts! We need someone to say Powell is rubbish just to stir it up.

Agree John it is one of the best ever kids films. In a way it reminds me of Brad Bird's excellent Iron Giant - it has a huge heart without it being cloying - it has an amazingly satisfying ending too. The artistry too in Dragon is sensational. It's the only CG film I've seen to rival Pixar, and it beats even many of theirs.

Agree too MacQ, terrific gift for melody. Every theme in Dragon is a cracker.


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## JonFairhurst (Apr 19, 2011)

noiseboyuk @ Tue Apr 19 said:


> We need someone to say Powell is rubbish just to stir it up. ... Every theme in Dragon is a cracker.



I enjoyed the score, but didn't find the themes to be memorable. I own it on Blu-ray, have watched it twice, and couldn't hum you a bar to save my life. On that count, I don't hold it in nearly the same regard as Star Wars, Indiana Jones, Harry Potter, etc. I really liked how it supported the picture, and that it was musically interesting, but I don't expect the themes to be re-purposed for a Broadway musical any time soon.

BTW, the HTTYD Blu-ray has the highest dynamic range mix of any BD that I own - by far. I really have to crank the volume on my system to get the dialog at the right level. (I'd guess that it's 12dB quieter than my other discs.) Once set, the mix sounds great. I don't know that the DVD mix is as dynamic.


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## JohnG (Apr 19, 2011)

noiseboyuk @ 19th April 2011 said:


> it reminds me of Brad Bird's excellent Iron Giant - it has a huge heart without it being cloying - it has an amazingly satisfying ending too. The artistry too in Dragon is sensational. It's the only CG film I've seen to rival Pixar, and it beats even many of theirs.



Good comparison. Iron Giant is magic. And another lovely score.


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## JonFairhurst (Apr 19, 2011)

jlb @ Tue Apr 19 said:


> ...I thought it was great and should have won the oscar, but to say it is the greatest score since Star Wars (created by probably the greatest living composer), is way over the top. The themes are not in the same league IMHO.



And that's not to say anything negative about Powell's work. Often we write to support the picture without drawing too much attention to melodies. Nothing wrong with that in my book.


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## schatzus (Apr 19, 2011)

So many times...(maybe other composers feel this way), great scores are often lost to dialogue and FX...
Who needs all that movie nonsense getting in the way of the music.. :D 

I wonder if much of the viewing public even notices...


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## gsilbers (Apr 19, 2011)

working on the post side of things... music is sadly very low on the totem pole even though is present on 60 % or more in the movie/ tv show. 

if you are in a rerecording stage doing a mix for a film or tv show.. almost no one will comment on the music, but wait till there is a tiny pop on the dialog.. :shock: 
or there something not usual of the SFx. like 4 producers will jump in unison. 


of course its on endless discoussions around the web that you can have the greatest piece of music just being burried under fx and dialog. 

if you talk to film students you will see that film music is not really taught and they do not know what to look for etc. they pick it up etc.


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## gsilbers (Apr 19, 2011)

another point a wanted to make... 

orchestra FFF but low in volume is all over the place now a days. 

mostly in reality shows. because reality shows use library music and library music decided to go fff all the way all the time and i think the practice has gone into film. 

another similar thing: music through out the whole movie. just check inception. basically the form was a reality show form. only like 2 minutes with NO music. (intense) 

back in the day directors used to leave space for dialog and or decided that a part should have strong music to make a statement, now there is music all the time and lower in volume to engage more the modern ADD crowd. 
and strong music lower in volume makes the music less noticible thats its there all the time. o[]) 

imopcto (in my own paranoid conspiracy thoery opinion) :mrgreen:


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## noiseboyuk (Apr 19, 2011)

schatzus @ Wed Apr 20 said:


> I wonder if much of the viewing public even notices...



Well, one reason I picked Dragon as an example is that - from my subjective experience of course - it is EXTREMELY unusual in that the public did notice and comment on the music. Needless to say I'd disagree with those who have said that the themes aren't memorable, not just cos they never leave my head, but for this reason too. My own kid jumps up and down singing when he hears me play Dragon! And yes, it reminds me of Williams in that way, and not since Williams have I seen the themes break public consciousness, perhaps. It's not the same scale because, sadly, Dragon wasn't as big a hit as Superman, Indiana Jones or Star Wars (should have been). Personally I think it would be as "famous" otherwise.

All this, despite the mix! Shows the power of the score.

EDIT - there's no bigger fan of Williams than me (I've done threads praising Star Wars to the skies) but sometimes I think there can be a danger of cannonising St Williams and not allowing anyone else to come close. Powell's style is different of course, it's not as musically rich perhaps, but in terms of effectiveness scoring picture and use of themes - yes, this score is definitely comparable imho.



gsilbers @ Wed Apr 20 said:


> orchestra FFF but low in volume is all over the place now a days.
> 
> mostly in reality shows. because reality shows use library music and library music decided to go fff all the way all the time and i think the practice has gone into film.



Great point.


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## jlb (Apr 19, 2011)

Maybe it's because I have been listening to the original LSO recording of Superman recently! I wouldn't put HTTYD in the same league. I'm not sure if people will be listening to it in 33 years time

jlb


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## noiseboyuk (Apr 20, 2011)

jlb @ Wed Apr 20 said:


> Maybe it's because I have been listening to the original LSO recording of Superman recently! I wouldn't put HTTYD in the same league. I'm not sure if people will be listening to it in 33 years time
> 
> jlb



We'll have to revisit this thread in 33 years to find out! I strongly suspect that if I have any hearing left, I will be.

Word of mouth on Dragon is so good, I think there's a very good chance that the film will grow in stature over the years too. For people growing up with it, it'll be part of their lives, and they'll be showing their own kids in 33 years time. A tangent, but oddly enough it seems to me that time hasn't been very kind to Superman (the film itself).


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## jlb (Apr 20, 2011)

Dont get me wrong HTTYD is a lovely film, a real cracker. But music wise IMO we are not talking the same league as Superman, I think Williams was at the height of his powers. Of course there has been a huge revolution in film making since 1978, but the film still has a big heart. Film making then was more about story telling, rather than effects. Superman Returns left me cold...

jlb


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## mikebarry (Apr 20, 2011)

Its a great score, but its just not as elegant as Williams though it may be effective as some of his lesser scores.

Definitely my favorite score in this style in many years but you won't be going to the game and hearing HTTYD when the player comes in to save the game to you. You do get that with John Williams scores.


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## noiseboyuk (Apr 20, 2011)

mikebarry @ Wed Apr 20 said:


> you won't be going to the game and hearing HTTYD when the player comes in to save the game to you.



But why is that? The films themselves are iconic - Superman, Star Wars, the music is used to reference this - Dragon is still perceived as a kids cartoon, so not sure it's quite a fair comparison!

But I wouldn't mind betting we will be hearing Dragon pop up in all sorts of places in the coming years, nonetheless.


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## cc64 (Apr 20, 2011)

noiseboyuk @ Wed Apr 20 said:


> mikebarry @ Wed Apr 20 said:
> 
> 
> > you won't be going to the game and hearing HTTYD when the player comes in to save the game to you.
> ...



Funny, a doc i scored just won a Peabody Award and while checking out this site listen to winners tribute ; )

Best,

Claude

http://www.peabody.uga.edu/


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## antoniopandrade (Apr 20, 2011)

jlb @ Wed Apr 20 said:


> Dont get me wrong HTTYD is a lovely film, a real cracker. But music wise IMO we are not talking the same league as Superman, I think Williams was at the height of his powers. Of course there has been a huge revolution in film making since 1978, but the film still has a big heart. Film making then was more about story telling, rather than effects. Superman Returns left me cold...
> 
> jlb



That's a great score, but my favorite by far is Hook. It's incredible how much of the score stuck with me, when I was just a child at the time this movie came out. I recently watched a suite performance and I was dumbstruck at how his themes weave in and out and are simple and at the same time so elegantly intricate.

I love HTTYD, the score is one of my personal favorites of the past years as well, but I think the themes might be a little heavy on the ethnic flavor to stick with everyone (not that it couldn't, but I think it makes the score more prone to particularities and mixed opinions). Personally, I heard the soundtrack once and was already singing the melodies everywhere I went (funny thing, the same happened to me and the first Bourne movie, JP is really incredible!).

Another composer I deeply admire, James Newton Howard, is perhaps one of the most effective, stable film composers these days, but I do think he struggles with creating strong thematic material, they always sound just a tad too generic, and I find myself forgetting them after first/second listens.


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## noiseboyuk (Apr 23, 2011)

Quick question for those with the Dragon soundtrack (and if you haven't got it... why not?!!) Astrid Goes For a Spin - at the 15s section, there's either a keyboard or guitarry type instrument in there. A bit Harpsichordy perhaps but not quite. Anyone know / guess what it is? Think it really helps the melody here and only became aware of it listening just now.


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## Patch666 (Apr 23, 2011)

I dont know what it is .. but off topic .. Here is some of the score Live with John Powell conducting the Royal Philharmonic Orchestra at the Concert For Care in London. Shame its not the best quality audio ever but it is still amazing, I wish I was there.

Part 1
http://www.youtube.com/watch?v=o1VZ_DZl ... re=related

Part 2
http://www.youtube.com/watch?v=soUcux5_ ... re=related


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## noiseboyuk (Apr 23, 2011)

Wow, thanks for those links. Gutted I couldn't go - I live an hour away on the train, but was away up north visiting friends for that ONE NIGHT! Typical. A great selection, though I wish he'd put some of Coming Back Around at the end to really finish it off. 

Too much to hope that they do it again this year?


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## Danny_Owen (Apr 23, 2011)

I'm certain this won't be the last we see of HTTYD live performances. You should have seen the grin on his face afterwards... there's no way he's not gonna do it again 

Concert for Care is organised by David Arnold, so there's every chance that he'll do another film music one again- having said this, I believe the first year they did it had pop musicians, this was the 2nd one. It was almost exclusively British Composers as well which works in Mr. Powell's favour.

There is a Film Music Gala in June by the RPO, sadly Powell won't be featured, instead it's Williams, Zimmer, Herrmann and more- keep checking for more film music gigs!


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## noiseboyuk (Apr 23, 2011)

I'll keep my eyes open. The Gala looks good, but somehow having the composer conduct would be a huge extra draw.

BTW my niece plays in an excellent youth orchestra and she's mad keen to play this. Anyone know if the score is available anywhere?

BTW 2 - listening again to Astrid Goes For A Spin... it couldn't be a bouzouki, could it? That would be mad....


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## Patch666 (Apr 23, 2011)

Could be, though the velocitys seem so exact and quick.. sounds more like it could be keystruck or hammered.

Sounds quite Zithery to me though

http://www.youtube.com/watch?v=m19ExsVkdM4

mehh , anyone know JP? ha


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## jlb (Apr 23, 2011)

I went to the Concert for Care and I actually got a bit bored in the Powell bit, it was too long. I thought the best music was Craig Armstrong and Dario Marianelli

jlb


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## antoniopandrade (Apr 23, 2011)

Yep, I'll try to ask him at least one of these questions. I'll see whatever pops up the most, there'll be many people there, with many questions (hopefully) so I'll try to make it count. 

I don't want to step on anyone's toes, so I might not be able to post the interview on SoundCloud, but I will answer to PMs. 

the interview will be this coming Friday, btw.


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