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But he didnвЂ™t program and he wanted everything to be programmed in so it could be demoed. I had a bunch of equipment and so I was introduced to Hans, and he let me use his sounds, and I set up a writing rig for another composer, Fiachra Trench, whoвЂ™s a really good Irish composer who was sort of helping Hans with cues.

I got brought in simply because I was one of the few composers at Air-Edel who was tech savvy. He came back to do a film called White Fang, which was a re-score (and in the end didnвЂ™t get used), but it was for Jeffrey Katzenberg, was at Disney.

Then he went off to Hollywood, but was always in touch with her. The head of Air-Edel, Maggie Rodford, knew well. I was working for a company called Air-Edel, and was one of about 15 composers who did advertising music. Where did film scoring begin for you? Was working with Hans Zimmer an entry point? It was hard work, but also very comfortable to me. At a certain point it was like falling off a log. I love the exoticism of what was needed sometimes, but it was really Celtic, and thatвЂ™s in my blood. WhatвЂ™s needed is a type of music that just falls right into your sweet spot, which I think is what happened. ThereвЂ™s only so much a score can do to help a film, even when itвЂ™s a really good film.

#STAR WARS OST MOVIE#

You can write a great score to a movie and it really wonвЂ™t be noticed. The filmmakers made great films - which is not always the case. John Powell: The Dragon movies were obviously a happy combination of factors. Polygon: I could gush about the Dragons scores all day, but to start, how do they stand out to you now that youвЂ™ve wrapped the trilogy? To put a cap on PowellвЂ™s work on the trilogy, Polygon sat down with the composer to discuss the intricacies of the scores, his time collaborating with Hans Zimmer and DreamWorks Animation, and how he wound up working on this trip of masterpieces in the first place. The scores pack the tunes you hear once, then spend a week humming to yourself.

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The booming, romantic Dragon tracks take full advantage of the orchestra, the freedom of animation, and the demand of 100 mph dragonback flying. Through three adventures, the classically trained Powell - whose credits include the Bourne films, Happy Feet, Paul GreengrassвЂ™ Green Zone and United 93, Kung Fu Panda, and most recently Solo: A Star Wars Story - has soared against the grain to deliver a set of soundtracks that live by WilliamsвЂ™ high/low mantra without dipping into nostalgia.

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Then a score comes swooping in to remind us that, yes, grandiosity still has a place at the movies.ДЇor the last decade, those reminders have been John PowellвЂ™s compositions for the How to Train Your Dragon trilogy, which concludes with this monthвЂ™s threequel, The Hidden World. In a blockbuster era sonically defined by atmosphere and atonality, WilliamsвЂ™ brand of invigorating, motif-driven film music looks (or sounds) more and more like a relic of the past. ItвЂ™s a river we can all put our cups into, and drink it, and be sustained by it.вЂќ вЂњI donвЂ™t make a particular distinction between вЂhigh artвЂ™ and вЂlow art,вЂ™вЂќ composer John Williams once said.

Star wars ost