> “throw some [expletive] Enya at it.”
Perhaps this idea has already been tossed around, but if there is ever a "Filmtracks Scoreboard Community T-shirt Slogan" contest, then I vote for this quote to be on the front.

> -----------------------

> I thought about trying to effectively summarize my thoughts about the
> score in full, but that seemed silly for what might be the most well-known
> piece of orchestral film scoring from the last dozen years. So, as with my
> At World’s End perspective, I’ll just pick some sequences and say
> what I liked about them.

> 2) “The Black Stallion moment” (Forbidden Friendship) -
> Powell understandably saved composing the music for this near-silent scene
> (where Hiccup and the dragon start to understand each other) for last, and
> instead of going big with his main flying/friendship theme he pivoted to
> something almost more abstract - the relentless sound of slate and glass
> marimba percussion instruments, the former an inspiration from the song by
> Icelandic musician Jónsi that DeBlois had temped the scene with. Slowly
> adding in a penny whistle, a wordless female vocal, and the recurring
> rhythm that functions as a theme for the Night Fury dragon, Powell turned
> the sequence (one you could’ve imagined a more impatient studio telling
> the directors to cut from the movie) into something magical and essential.
To think, the stars aligned just right for this sequence to turn out just like it did. I couldn't imagine any other music for this scene.

Loved reading this!