I wonder if it is more difficult to compose a soundtrack for animation because you don’t really see persons or the environment where the set takes place.
Well on the other side there isn’t a big difference because mostly soundtracks are composed even before a casting or anything simular. So the director and the script are the only way to get to know the situations you have to underline as a composer.

But still I think it’s a bigger challenge to play with the emotions of people who watch an animated movie because it’s obviously there aren’t real people on the screen cheering or crying. Anyways John Powell didn’t seem to be really impressed by this proved in “How to train you dragon” that it’s possible to create a really deep atmosphere in animated movies. And in my opinions it’s one of the best animated movies ever.

I think it has more emotional potential than a lot of non-animated Blockbusters in the last 20 years.
I mean seriously: It it more fascinating to watch the forbidden friendship between a human and a dragon developing than 3 hours of waiting until a ship finally sinks, isn’t it?

But this is another chapter and I think James Horner’s soundtrack is too good for a movie like Titanic.

Well enough of that: Enjoy the beautiful track already!

Posted by Peter F. Ebbinghaus

Based in Berlin, Germany. Co-Founder & Editor-in-Chief. Music Producer at Eon Sounds Productions. Founder of Composers for Relief. Keeps Moving.

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