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The Soundtrack | |
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Topic Started: 25 May 2014, 12:08 (5841 Views) | |
Zer0x | 25 May 2014, 12:08 Post #31 |
[b]Banhammerdragon [/b]
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I just read that there is a scene where Stoick and Valka sing together. That's not good... Hopefully it fit in the movie. I don't want to see a Disney movie were they sing because of unimaginative script writing. |
UNAMUSED No, I'm serious....stop it.. | |
Astrid | 25 May 2014, 12:17 Post #32 |
Gronckle
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Don't worry it fits fine, and if you want a better idea let's just say it's something like a popular "folk" song type with a viking twist. |
avatar from graphrofberk.tumblr | |
duckizo | 25 May 2014, 12:20 Post #33 |
Dragon Egg
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Throwing my two cents in here because I’ve seen the movie-- I was scared of the song coming off cheesy/Disney-ish/unauthentic, but when Stoick starts singing it feels so necessary and authentic. Sometimes it’s better to show emotions rather than just using simple dialogue to say things, and the song does that so well. It’s the opposite of unimaginative script writing, IMO. It also, y’know, made me cry a bit. And neither of them have perfect Disney voices. It feels much more organic because of that. So yeah, It’s a matter of opinion but I wouldn’t worry if I were you |
Zer0x | 25 May 2014, 12:20 Post #34 |
[b]Banhammerdragon [/b]
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Does that mean they sing because of an event or something? Maybe a celebration that Valka is back and not because they are just happy? If so, then it is fine. |
UNAMUSED No, I'm serious....stop it.. | |
duckizo | 25 May 2014, 12:30 Post #35 |
Dragon Egg
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Spoiler: click to toggle
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Zer0x | 25 May 2014, 12:33 Post #36 |
[b]Banhammerdragon [/b]
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You know that I not even listen to the soundtrack, because I want to prevent spoilers and can't also look at your comment? Is it possible to write it without spoilers? |
UNAMUSED No, I'm serious....stop it.. | |
duckizo | 25 May 2014, 12:40 Post #37 |
Dragon Egg
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whoops my bad! I’ll just say that the song doesn’t pop out of nowhere a la Frozen or Tangled, there’s definitely a valid reason why Stoick starts to whistle and it feels necessary, like something that could happen in real life. It’s not like people in the audience were asking “since when is HTTYD a musical?” it kinda transitions slowly into a song and then into them dancing, almost like how my own weirdo parents break out into song sometimes when they’re thinking about a concert they went to together or something |
Toothless123 | 26 May 2014, 07:23 Post #38 |
Night Fury
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"No scorching sun, Nor freezing cold, Will stop me on my-" "journey. Sorry." |
TheCube42 | 26 May 2014, 11:12 Post #39 |
(As Not Seen on TV)
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It's lost a lot of Star Wars-era John Williams DNA and gained much more Hans Zimmer. Which... I don't really like. Take "The Kill Ring" from 3:08 till the end, for instance. The energy is just so immense, with double-tongued brass notes, almost trembling string passages, and numerous countermelody entrances that add to the chaos. At 3:19, the "Soaring" theme settles the chaos a bit, but it slowly reapproaches as the modulations lead to 3:38, where basically the entire orchestra is engaging in a 3 vs. 4 or 3 vs. 2 syncopation. The strings are playing consistent triplet divisions, then the wind/brass section hits you in the face with ascending duples in chromatic harmony that are just so "beautifully ugly" (as one of the conductors I've worked with said of the Korngold violin concerto). The harmony here is just amazing, too : B diminished chord (third omitted) with added ninth and thirteenth in the strings, clashing with all the brass notes. This section is something you will expect from a Star Wars score. There are other sections in the score that show off this trait, too -- Powell's team went insane on harmony, and crafted one of the most symphonic orchestration settings in the film score scene (IMO right up there with The Red Violin's score). This trait seems to have gone away largely in the second film's score, and the rhythms for the new melodies are simpler, too. The new motifs are mostly pentatonic (except for one) and they mostly fit into a very, very tonal harmonic progression. The instrumentation force has actually decreased in versatility: Except for very few moments, I don't feel like the music was written aptly for a full orchestra. There's also the issue that aside from the melodies, the rhythmic phrases and combinations just aren't as invigorating as the first film's rhythm choices. Normally, when I judge orchestral film scores in terms of how they stand on their own, I ask myself this question: "Would I love it if I heard it in a concert hall?" For the first film, the answer was a big "Yes" all the way through. For the second film, it's... "Eh." It's also weird that the parts that genuinely excite me in the second film's score for the most part feature the first film's themes. Which brings me to the question: How much of this was, to borrow what Powell said in an interview once, "ripp[ed] off the temp [track]"? If many of the passages from the first film reused in the second film were orchestrated very smoothly, and received a lot of Zimmer-esque (in this case, as in "epic") ideas in terms of rhythm and orchestration, one has to wonder if the temp tracks were a mix of first film's score passages and more conventional film scores. |
Σ (a sigma-ture) | |
ToothlessNightFury | 26 May 2014, 11:27 Post #40 |
Toothless
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I love it it's amazing I can't wait I've got so many ideas about some of the songs but don't have much time to share them just yet. still have school, chiropracter and have to unpack still. but when I get the chance I will share them! |
Believe a Dragon Can Thaw A Frozen Heart Role Play Based of HTTYD and Frozen Around here we don't look back. We keep moving forward, opening up new doors and doing new things, because we're curious...and curiosity keeps leading us down new paths.-Walt Disney | |
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