I make detailed, highly researched video essays that clearly explain the storytelling of film music, the instruments used, and highlight the creative ways composers and filmmakers solve their problems.
John Powell's How To Train Your Dragon scores are my specialty. I am a writer on the official scorebook for How To Train Your Dragon: The Hidden World by Omni Music Publishing after contributing the the second movie's book.
I'm not a music expert, just a fan who's done research, and I do credit my sources.
Please comment, or contact me through my social media links!
I don’t know about people but I know one egg twins pair and one 2 egg twins pair. One egg twins are one egg split in two. Which makes them same sex cos they have same DNA. They look very similar but If you know them you can easy see the diffrence. The two egg twins I know are diffrent gender, boy is red haired and girl is blonde. The master piece of the TWO egg twins Rufnut and Tufnut is that they are so alike people think they are one egg twins. Looks and cos Rufnut’s ”not so feminine” personality makes this case more belivable at first sight of them thinking they are one egg twins. Rufnut breaks the Female stereotype of being and looking not feminine. Rufnut and Astrid is such a good feminst/female icons in their own way. Astrid may look feminine but she’s strong and independent. Rufnut looks and ”acts” more like a boy stereotype but that dosn’t make her man! She’s a woman!
Wait Wait Wait ”move away from twins stereotype” HUH? Did they not understand THEIR WHOLE POINT OF BEING SO ALIKE? Rufnut and Tufnut are so alike that people think they are one egg twins. That people think Rufnut is a guy if they don’t know she’s a girl. She’s in my opinion a good feminist Icon. You don’t have to act or look feminine to be a woman/girl. She’s such an inspiration just like Astrid. Why do they want to get rid of it?
Unfortunately that seems impossible. It’s still a remake. So it seems like it will be trapped in this middle ground between new and old that I’m not sure anyone will be happy with.
I was fortunate enough to hear the Royal Marines play httyd songs at the Edinburgh Tattoo, the power that had live was unbelievable on the pipes. There’s a recording on Spotify. I came away concluding there weren’t enough pipes in the movies!!
I saw a video of it once! It was an excellent performance. If you enjoy the bagpipes in this series than you should see this followup video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE--ZZw2a0Q6Qs.htmlsi=qb34SApLsHr1fPWr
Omg, I thought your next video would be on planet of the apes when I saw your community post (and the very small images). This was a great analysis, and I especially loved finding out about the cookies!
@@FilmScoreandMore Ooh yes, very much! I remember guessing Spider-Man 3 a while back. I find it a fun little game, and it gets me more excited for your next video too! :)
@ClareKix That’s good to know. I’ll be sure to do more when videos are almost finished. I’ve been doing quizzes on my community tab too. I’m doing a new one soon.
These modern Planet of the Apes scores have a ton of influence from the original 1960s movie score by Jerry Goldsmith. That was a very percussive, dissonant sounding score too. Might have been worth mentioning in this video, or in a separate video of its own.
I think that would be a great point if I did something on one of Michael Giacchino’s Apes scores. I read something about that in one of Jonathan Broxton’s reviews for them. Interestingly, it was never mentioned in the behind the scenes video with Patrick Doyle. He mainly talked about the “passing the baton” from the sound effects team.
Yeah I notice that as well. Patrick Doyle doesn't seem particularly articulate in that BTS video to be honest. It would also make sense that an artist might want to distance their work from another's to avoid comparison. To me the similarities between his score and Goldsmith's are obvious. The score from the most recent film, which I saw a few days ago actually, sounds even MORE influenced by the original film's score to me. Not sure who the composer was for Kingdom, but I swear I heard some of Jerry Goldsmith's actual themes from the original 60s films in there in a couple of places, and it fit in very well with the other newer music.
hey friend, I know this vid is old but you should link to the collab video you did with Andrew Meredith! makes it easier to find for simple folk like me XD
Hey, it's only a couple months old and that video that pops up on the top right of the screen when Andrew shows up is his video. Did it not show up on your device? But you're right that I should have added it to the description too. I've added it now. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-dh9NGivIfvo.html Thanks for watching all the way through!
I'm Scottish and HTTYD has been my all time favourite film since i watched it 8 years ago, and I've gotta say the more I learn about John Powell's compositions the more I love the film. Great analysis dude
@@FilmScoreandMore watching right now actually 😭😭 I'm on a binge watch of these videos cause I'm analysing Test Drive for school and it's really interesting to learn Powell's use of more Celtic instruments. Love it
@jess_8602 Great! I have entire playlists of videos put together. And let me know if you have specific questions I can help you with, I probably have an answer.
You said Stoick's younger self in this flashback is a bit of a retcon, but I don't really see it that way. I see a younger man who is still grieving his wife, a woman who wanted another way to deal with the dragon menace than just getting rid of all of them. He still doesn't exactly believe in the peace she (and later, Hiccup) called for, but he also could feel the weight of wanting a better life for his young son who now has to grow up without a mom, and wants better for his people than to be always losing everything. And his solution with the hidden world isn't much different than killing them all. Because sealing them all away underground may as well be killing them all, as we see in Homecoming: some of the children don't even believe they were real despite their parents having been in close contact with dragons for the better part of 6 years. Completely eradicating the dragons could just be sealing them all away underground so we never have to see or fight them ever again. And maybe over time, he lost that hope of another way and gave in to the traditions of what is working here and now, and that is killing them. Or, maybe he was just telling his son about some of their myths and accompanying it with wishful thinking, even if he doesn't believe it to be possible. Sometimes you're just standing on a cliff in the early morning (or late evening, I don't really remember) and being wistful.
@@FilmScoreandMoreI think RU-vid ate my reply. If it's not there, I basically said fair enough and that I'm glad others felt the same way and you didn't mean it was an actual retcon, just a different characterization.
A director I worked with a few months ago cut half of the music I gave them. Other people told me they were so sorry it happened, but in reality it just made me feel like a “real” film composer 😂
It’s always great to see this movie (and the score and its soundtrack) getting more attention! Do you have any favorite cues? I’ve always loved Learning The Ropes.
Thanks! But like I said, that's all part of it, and the composer knows it. That particular cue was all reprises and re-orchestrations of established music, anyway.
@@FilmScoreandMore I got the deluxe for 1 and 2 (before 3's was released). I wanted the extra scores, especially the reprise for "Where no one Goes," and didn't see much sense in paying for them twice to get the nicely cut versions. I admittedly haven't listened to 3's music on its own with the exception of "As Long as he's Safe" and "There Were Dragons."
I gotta be honest - I’ve always hated the practice of releasing multiple soundtrack albums per movie, each with different tracklists. Things like demo versions or cut tracks, I can understand leaving out (though less so the cut finished tracks - just include those and include “(unused)” in their titles), but full cues that are present in the film, which are sometimes some of the most memorable tracks in the movie? I can’t think of any reason other than studio greed not to include those, as a way to justify releasing a second, “more complete” album later if there’s enough demand. It just rubs me the wrong way. I remember discovering, when I was much younger, that the Titanic album (the first OST album I ever got) had maybe half the movie’s music on it, with some of my favorite cues (including the title cue!) missing. I felt so cheated - what am I paying for if the cues I want aren’t even on the album? Do you go to a restaurant and pay for a meal and then content yourself with a side-dish and half the main course? Ugh. So my practice nowadays is to just build my own album, so to speak - I scour the Net, including RU-vid, for the fullest, most complete versions of a movie’s soundtrack, including and especially tracks that aren’t officially available on any album, and I use those to build my own “complete” albums that I listen to. Jeez, I’m realizing how negative this comment sounds, lol. Sorry about that. This practice just really bugs me.
Heck, speaking of the ‘Titanic’ OST, I still can’t believe it took THREE album releases - the original 1997 album, the bonus 1998 ‘Back to Titanic’ album, and finally the 2017 “20th Anniversary Edition” - before the title cue was released, as well as others (like the bagpipe jig that plays during the Lovejoy chase down the elevator, or the “Rose lets go of Jack” cue, etc.). Three albums and 20 years before we finally got the full cue list from the best-selling movie soundtrack of all time. I’m glad it was finally made available, but man, that’s just inexcusable.
@@FilmScoreandMore Oh, I have no idea. I imagine the advent of the Internet and the ease with which people share music (legitimately or otherwise) online may influence the industry in some way, but I’m not nearly knowledgeable enough to hazard a guess as to how. Hopefully, though, the fact that soundtrack albums can now be released digitally with minimal effort, without the hassle and expense of producing physical media, will encourage studios to put out more albums faster. But in the end, we can only wait and see.
