Thrones switches composers
By Winter Is Coming on in News.

Ramin DjawadiMaureen Ryan of TV Squad has broken the news that HBO has switched composers for Game of Thrones. No longer will Stephen Warbeck be scoring the series, they have brought onboard Ramin Djawadi as his replacement.

‘Game of Thrones’ has parted ways with its Academy Award-winning composer, Stephen Warbeck. The much-anticipated HBO drama has hired a new composer, Ramin Djawadi.

Djawadi’s most notable television projects have been ‘FlashForward’ and ‘Prison Break,’ and in the film realm, Djawadi wrote the scores for ‘Iron Man’ and ‘Clash of the Titans.’ Djawadi, who has worked frequently with composer Hans Zimmer, is also credited with composing “additional music” for movies such as ‘Batman Begins,’ ‘Pirates of the Caribbean: The Curse of the Black Pearl’ and ‘Something’s Gotta Give.’

Djawadi will have to work fast: The fantasy drama premieres in just over 10 weeks, on April 17.

Winter Is Coming: I’m not familiar with either composers’ work, so I can’t really definitively say whether this is good or bad. Although anytime you lose an Academy Award winner, you have to feel a little disappointed. Hopefully Djawadi is up to the task of filling some pretty big shoes.


194 Comments

  1. Jan Oda
    Posted February 2, 2011 at 10:29 pm | Permalink

    This has me worried, not because of the new composer, but because 10 weeks is a short time, and the score is one aspect of the series I’ve been very anxious and curious about. A good score can elevate a series from Good to Great, and I was really hoping GoT would have the awesome epic score it deserves.

    Anyone know links to examples of Djawadi’s work?

  2. LordAJ
    Posted February 2, 2011 at 10:36 pm | Permalink

    Im familiar with Djawadis work from Flashforward and prison break. I like his music, but I dont know if his style will fit GoT.

    Here are two samples of his music.

    FlashForward theme
    http://www.youtube.com/watch?v=2rjY7ZqptI0

    Prison Break Theme
    http://www.youtube.com/watch?v=H8aRkfitF64

  3. Chris
    Posted February 2, 2011 at 10:37 pm | Permalink

    Jan Oda,

    Westeros has a good page about him with lots of samples. I think the reel is mostly from Clash of the Titans.

    Also, I wonder if this just happened or it was just revealed today, he may have already been on board for a while and HBO never made a public release about it. Who knows.

  4. Sean
    Posted February 2, 2011 at 10:40 pm | Permalink

    Well some of those have really good music, and Zimmer has put out some good people from his work shop. I’m not worried, though still not my first choice.

  5. Drew
    Posted February 2, 2011 at 10:43 pm | Permalink

    My first choice would have been Brian Tyler (Children of Dune) but I think Djawadi should be fine.

  6. purplejilly
    Posted February 2, 2011 at 10:48 pm | Permalink

    What I want to know is WHY the switch so late in the game. that might tell us a lot…

  7. Kepapo
    Posted February 2, 2011 at 10:49 pm | Permalink

    I agree. The time frame is the really scary part of this news. My understanding is that the sort of sweeping score that this series would need would have required no less than 6 months to produce. Quite surprised, and a bit disappointed, that this thing isn’t nearing completion already, instead of in the midst of changing hands.

    Not ideal, but I’m still hopeful. Let’s make Howard Shore weep!

  8. JakePT
    Posted February 2, 2011 at 10:58 pm | Permalink

    This is horrible news. Djawadi is a terrible composer, even with plenty of time to work.

    At the very least I hope he was actually brought on a while ago and the announcement is only coming now because he’s finished scoring a couple of episodes.

  9. Lex
    Posted February 2, 2011 at 11:03 pm | Permalink

    I’ve always thought that people are expecting WAY too much in terms of musical score. “Let’s make Howard Shore weep!”… really? There is no way in hell that we will get a score anywhere near as awesome as what Shore did for LOTR. This is still TV, not a film!

    The most I’m hoping for is awesome opening credits music. For the rest, I’ll be happy as long as it doesn’t obviously suck. This last minute change is definitely worrying… but I think people have been expecting too much all along.

  10. Rob O Sevens
    Posted February 2, 2011 at 11:14 pm | Permalink

    This is completely ridiculous ! Way to completely ruin the Seven Kingdoms ! Composer gate!

  11. Hollyoak
    Posted February 2, 2011 at 11:15 pm | Permalink

    My first pick would be Wojciech Kilar who scored Francis Ford Coppola’s Bram Stoker’s Dracula:
    http://tinyurl.com/6e26zo2

    My other pick would be Clint Mansell who does all of Darren Aronofsky’s work, including his latest, the Black Swan:

    http://tinyurl.com/yhduhn7

    But I have confidence in this new chap. Seems like HBO and the producers are really making sure they get what they want in this series.

  12. Zack
    Posted February 2, 2011 at 11:23 pm | Permalink

    It’s highly unlikely HBO would have taken him on board if they didn’t have confidence that he could do justice to their vision. I’m unfamiliar with his work except for the short clips posted here–thank you, LordAJ–and neither of those give me reason to feel trepidation. Both pieces are solid, IMO. Not the kind of music I’d envisioned for this particular series, but that’s not necessarily a bad thing. I remain optimistic :)

  13. Eric
    Posted February 2, 2011 at 11:28 pm | Permalink

    I don’t think this is anything to worry about. Think about music in television shows. It’s rarely used in the same way as it is in movies. I have confidence that HBO knows what they are doing.

    Also, “Academy Award winning” is nothing to get all worked up about. Have you seen some of the stuff they give those awards to?

  14. AbstractPlain
    Posted February 2, 2011 at 11:32 pm | Permalink

    purplejilly: What I want to know is WHY the switch so late in the game. that might tell us a lot…    

    You know with all the various switches and changes in cast and what not we’ve had, this actually didn’t surprise me as much as it should. Though I wonder why Warbeck left, and I’m not inclined to believe they ‘fired him’. I mean you don’t do decisions like changing composers with only a few months left to air lightly.

  15. PointyEnd
    Posted February 2, 2011 at 11:42 pm | Permalink

    There’s enough plot that we shouldn’t have to dwell on music. Atmospheric with a couple of character themes should be able to do the Lannister Share (Get it, Lion’s share? I’m here all week, tip your bartender).

    A little music can go a long ways. More time will be spent in editing and recording for timing it to specific scenes.

    I’m not expecting Korngold.

    I’d love to hear medieval inspired music in background and feasting scenes. Something that really brings to mind that vast time period.

    I hope there isn’t an electronic score, as long as it doesn’t sound like the Ladyhawke score.

  16. Ninepenny
    Posted February 2, 2011 at 11:54 pm | Permalink

    Can’t wait to hear what GoT sounds like. Just listening to some of Djawadi’s stuff now and he seems to know his stuff.

  17. Luke likely
    Posted February 3, 2011 at 12:11 am | Permalink

    is everyone assuming that they will have to start over from scratch or is it that people just know more about this stuff than I do. I was wondering if it would be possible to keep whatever Warbeck wrote and continue from there or does being taken off the project mean everything you wrote as well. My first reaction to this news was full blown panic attack. I mean the music in a show or movie are very important. we can only hope the replacement will do good but we will never know what Warbeck could have done

  18. Zack
    Posted February 3, 2011 at 12:19 am | Permalink

    As far as music goes, I’m looking forward to hearing the actual music in the world of Westeros…such as The Rains of Castamere, for example. I hope we get to hear more than a few of the songs Martin mentions, and I’m curious how they will be arranged. As far as the rest of the score goes, I’m really hoping for a minimalist approach, as PointyEnd articulates…though, an electronic score, for me, is not a dealbreaker. In fact if I heard that was the approach I’d be kind of excited, just because it’s unexpected.

  19. Lex
    Posted February 3, 2011 at 12:21 am | Permalink

    Hollyoak,

    I’ve always loved that Dracula score!

  20. James
    Posted February 3, 2011 at 12:32 am | Permalink

    I agree about Brian Tyler as well. Children of Dune was a fantastic soundtrack. My other choice would have definatly been Bear McCreary. His use of cultural influence in his music was drastically needed for the show. Here’s one of his samples: Personally, I think he should be asked for in Season two, especially since this song reminds me of the battle in blackwater.

  21. Blocker
    Posted February 3, 2011 at 1:19 am | Permalink

    I think this is great news. I was surprised hear that Djawadi did the score for Clash of the Titans. Probably the lone redeeming quality of that movie besides Liam Neeson’s “RELEASE THE KRAKEN!”.

    Game of Thrones calls for something epic in scope. My worry with Warbeck was that he would go the artsy route with minsy piccalos and tambourines when 40 basoons,20 kettledrums and a guy beating on an anvil are clearly called for.

    That’s not to say that we need heart-attack inducing string rythms in every scene a la Zimmer, but at least we know this guy can write catchy stuff that is powerful in scope.

  22. Maester Tcost
    Posted February 3, 2011 at 1:24 am | Permalink

    James,

    I couldn’t agree more about Bear McCreary. The work he did for the score of the first season of Human Target was astonishing, and demonstates that a TV score can be the equal of a fine cinematic score.

    The Djawadi samples from FlashForward and Prison Break make his work seem minimalist and moody. He can create the tension, which is vital, but GoT needs grandeur as well, and I don’t yet see any evidence of this; I will, however, listen to the Clash of the Titans music before I make too many judgements.

    All the same, at this point, I am worried about the score. It needs more than a small instrumental group or even a chamber orchestra. There ought to be themes for the major characters and a suite of action music as well. And think about what is demanded for the final scene, if it is the same as the final scene in the book.

  23. Elaine
    Posted February 3, 2011 at 2:07 am | Permalink

    This worries me because of the time frame, but I’m hoping that GoT goes the minimalist route with the music, so there won’t actually be too much for the composer to do. I’m not familiar with any HBO shows except for The Wire, but I really like how that show only uses music from the scene’s environment, i.e., no big sweeping score. Which would be perfect for GoT because GRRM has woven songs and singers into the story already.

    A feature-film type score, if you think about it, is a little silly. Almost a cheap trick to create reactions that the setting/acting fail to create. Character themes and so forth are there to tell you what to think about the characters….which would be antithetical to GRRM’s style. I don’t like big bloated scores like LoTR had, and if this last-minute change is any indication, we won’t be getting any such a thing.

    Of course, no one is writing the music with my personal preferences in mind. :) But if they were, we’d get only a great opening theme and Martin’s own songs set to music.

  24. Tar Kidho
    Posted February 3, 2011 at 2:42 am | Permalink

    Second bit of bad news in an equal amount of days – please make it stop!

    Elaine: Of course, no one is writing the music with my personal preferences in mind. But if they were, we’d get only a great opening theme and Martin’s own songs set to music.    

    I could live with that! I very much like the idea of having ‘environmental’ music inspired by GRRM’s descriptions. But with the limited time left, I’m sure this new composer will continue working in the same line as the original one did. After all, we do not know the reason for his resignation, and I prefer to think that HBO was very happy with his work thus far. If the music was not up to the level of the rest of the show by April, than I’d actuall prefer them to delay the first airing! Having said that though, I have convinced myself (after an initial burst of panic) that the score was already well underway, and that the new guy is just there as a temporary stand-in. Of course, if he proves to be a good replacement, by all means he’s very welcome to stay. I frankly don’t care what other composers did in the past – true artists are always looking for new directions to evolve in, and often there first steps in a new genre are by far their best work!

    One thing I do hope: NO ELECTRONIC SCORE! This would completely go against the feel of the story. I’m sure HBO sees it like that as well. (maniacally keeping fingers crossed while knocking wood)

  25. iakhovas
    Posted February 3, 2011 at 2:43 am | Permalink

    This announcement is interesting, to say the least.

    On one hand, I feel that Djawadi uses a lot of rather meaningless ‘filler’ music, and goes for simple rather than complex orchestration. Examples of this would be his Iron Man score and large parts of Clash of the Titans.

    On the other hand, he has shown time and time again that he has what he takes to create absolutely beautiful and memorable themes, such as ‘Strings of Prisoners’ for Prison Break, or the ‘Scorpiox’ battle theme from Clash.

    All in all, it is a strange choice for a composer, because as far as I know, most of his body of work uses (some kind of) modern instrumentation. Off the top of my head, I can only think of Medal of Honor as a purely ‘classical’ soundtrack.

    It will definitely be interesting to see what he comes up with for GoT, but I have a better feeling about it than before (because I shared the ‘artsy’ concerns that people had about the previous composer). Two things Djawadi can do that are essential for GoT: He is able to create ‘epic’ sounds, and he doesn’t shy away from using ethnic instruments. If the timeframe isn’t too short, I hope that bodes well.

    @ Bear McCreary: I’m as much of a fan of him as the next guy (in fact, I’m just listening to his Human Target score), but come on, give him a break. He’s scoring The Cape, he’s scoring Walking Dead, he’s scoring a PS3 game – he can’t do everything at once ;). And while I understand that people would like to see one of the best talent out there attached to their ‘favourite’ project, I think we should give other people who are less known a chance to prove themselves, too.

  26. Stefan
    Posted February 3, 2011 at 3:59 am | Permalink

    The score for Clash of the Titans is very epic and I really like it, so I see the series in the safe here. Just listen to that bit here and tell me it doesn’t rock:
    http://www.youtube.com/watch?v=0hcXTDaSb4Q

  27. rorschach-
    Posted February 3, 2011 at 4:29 am | Permalink

    Hmm, I don’t consider myself that much of a music expert but couple of worries this raises even for me.

    First ofcourse is time. There isn’t that much time anymore for composer to get into the show, create, produce and apply the score. Let’s hope that cogwheels have been turning behind the scenes and Djawadi is already been making some progress before we got this information.

    Second worry for me is that while I do like Djawadis music, they do feel bit modern and some of them are really not that diverse. Even in Clash of the Titans there is this bass or background beat or what ever you call it that doesn’t sound natural. Though I don’t want anything too grand or fantasylike for GoT, I do have a worry about eerie or subtle scenes.

    Still I’m not that afraid for some reason. Maybe because few parts of the clips that I have listened now while imagening myself to Westeros have given goosebumps and chills. I just get the inexplicable feeling that the guy is good at what he does.

  28. Stefan
    Posted February 3, 2011 at 4:49 am | Permalink

    I think he’s good, too. The question seems more to be what the producers want him to do than what he is capable of. If they like bass and beat, we will get it, if they don’t, we won’t. Simple as that.

  29. Pablo Jainaga
    Posted February 3, 2011 at 4:53 am | Permalink

    Stefan,

    Yeah, it rocks. This one’s not bad either http://www.youtube.com/watch?v=pcBNHZEiX0g&feature=youtube_gdata_player

    It’s from the trailer, sorry for the “noise” but I couldn’t find that one track…

  30. coltaine777
    Posted February 3, 2011 at 4:55 am | Permalink

    D/D/HBO picked this guy to come onboard…that’s good enough for me…Warbeck must’ve dropped the ball…

  31. rorschach-
    Posted February 3, 2011 at 5:31 am | Permalink

    coltaine777,

    Yeah the big question is; why? Seems really risky to chance composer at this phase. Was Warbeck just so horrible or what? And hopefully this was at least somehow foreseen so that the things didn’t go like this :

    D/D : “Hey, Becks my man. Could you tune the bass down a bit.”
    Warbeck : “What?! You insult my magical music-art skills?”
    D/D : “No man, just tune it…”
    Warbeck : “Piss off, I’m going home.”
    D/D : “Seriously? Becks hey… hey, come back.”
    Warbeck : *yoink*
    D/D : “Oh shit, oh shit, oh shit. What are we gonna do now?”
    Djawadi : *whistles some Tom Clancyish tune and walks by*
    D/D : “You. Make music. Now.”

    That would be the worst situation we could have.

  32. Carlos
    Posted February 3, 2011 at 5:40 am | Permalink

    Nooooooo!!! These are bad news indeed!
    The music for the show was what I was most looking forward to!
    Prison Break & Flashforward music is not really bad, but, it only had two melodies that kept repeating on and on againg during every episode!! Clash of the Titans!?!? Come on!!! That film sucked in every aspect!!! GoT deserves something more!!
    Didn’t they think about Bear McCreary???

    Anyway, I hope this guy proves me wrong and writes some great music for this story!! That’s the only thing I can do

  33. coltaine777
    Posted February 3, 2011 at 5:41 am | Permalink

    rorschach-,

    lol…I have a feeling that the posters who mentioned that HBO likely made this decision sometime ago, but are only now announcing it now are correct…at least I hope so …

  34. Rodario
    Posted February 3, 2011 at 5:41 am | Permalink

    Pablo Jainaga, You can’t be serious! Thats instrumental version of song The bird and the worm by The Used…btw hope it’s not going to end like Deathly Hallows f@cked up by Desplat (but fantastic mr. Fox was great); well soundtrack of HBO’s Rome is pretty good, my choice still be McCreary :)

  35. Tar Kidho
    Posted February 3, 2011 at 6:13 am | Permalink

    I just listened to a handfull of tracks from the Clash of Titans soundtrack and am worried now. Waaaay too bombastic and unnatural! I didn’t hear anything I liked :( Hopefully he made that just to fit the movie, and will venture in more…organic compositions for GoT.
    (off to read my first comment now to reassure myself)

  36. Jeffrey
    Posted February 3, 2011 at 6:35 am | Permalink

    I never really liked that Stephen Warbeck’s music so I applaud the change. Too bad it’s on such a short notice, will be interesting to see how that works out although I doubt the WHOLE score has to be made again from scrap..

  37. SeanK
    Posted February 3, 2011 at 6:36 am | Permalink

    gutted they didn’t announce trevor morris. gut-ted.

  38. Nostro
    Posted February 3, 2011 at 7:03 am | Permalink

    Guys, please go have a listen to the Westeros Page on him, The Clash of the Titans stuff, whilst it was a terrible film, seem pretty good. He can definitely do epic and grand, though I have yet to hear anything that proves he is able to do anything subtle or culturally-influenced for any of the Dothraki scenes etc.

    Overall this is worrying, purely due to the time frame and lack of information on why the switch was made.

    As other commenters have said, a good score can elevate a piece of great cinema or TV to a piece of amazing, award-winning cinema or TV. I hope D/D and the producers know what they’re doing…

  39. Andrija Andrew P
    Posted February 3, 2011 at 7:15 am | Permalink

    They say he worked with Zimmerman, as far as I am concerned Zimmerman is the best (film) music composer around and if Djawadi could have worked with him I think we are good…

  40. Tywin's Bastard
    Posted February 3, 2011 at 7:34 am | Permalink

    Tar Kidho,

    I haven’t seen Clash of the Titans but judging from the trailers I can’t understand how you could think this music is too bombastic for that movie. And of course composers write things to fit the mood and style of the individual project they are working on and we’ll see what he, and HBO (as it feels likely the change was due to that they didn’t like what they had gotten before), wants for this.

  41. mike carey
    Posted February 3, 2011 at 7:53 am | Permalink

    Drew,

    Absolutely agree with Brian….but maybe for Season Two

  42. Knurk
    Posted February 3, 2011 at 7:57 am | Permalink

    For me the most important about the music is the opening credits. With movies I remember the soundtrack, but I can’t remember a tv-show where the soundtrack annoyed or impressed me (haven’t watched a lot of McReary shows probably?). The Wire, Sopranos and Weeds used pre-made music and those are the only “tv-soundtracks” I have in my collection.

    Have D&D already told if they’re going for a composed openingtheme or an existing song?

  43. Inkasrain
    Posted February 3, 2011 at 7:59 am | Permalink

    PointyEnd: as long as it doesn’t sound like the Ladyhawke score.  

    I saw only Ladyhawk once, years ago, and I’m not someone who pays too much attention to film/TV scores… but the absolute, breathtaking awfulness of that score still haunts me.

    And I am kind of inclined to think that this switch might have been made earlier, and we just haven’t heard about it. I have nothing to back this up, of course, but unless there’s something seriously unprofessional going on, ten weeks is a very short time for a composer to take off and leave a production in the lurch. With all our ravenous fan-ears perked for news on the series, I feel like somebody would have heard something had there been any serious drama going on.

  44. persephone88
    Posted February 3, 2011 at 8:03 am | Permalink

    I am interested in the music capturing the feel of the various kingdoms. That this guy appreciates Middle Eastern music immediately made me think of scoring the Dothraki and Lhazareen scenes and what could be done with those in that style of music. Maybe this will give him the chance to stretch his wings with atmospheric pieces throughout the series that have very different “ethnic” approaches, for lack of a better word. I’m looking forward to hearing how the sounds of Winterfell differ from Kings Landing differ from the Dothraki Sea, etc. I’m ready to give this fellow a chance to bring something new to the table that has may be more varied than the patent “adventure flick” soundtrack.

  45. Tar Kidho
    Posted February 3, 2011 at 8:08 am | Permalink

    Tywin’s Bastard: Tar Kidho,
    I haven’t seen Clash of the Titans but judging from the trailers I can’t understand how you could think this music is too bombastic for that movie. And of course composers write things to fit the mood and style of the individual project they are working on and we’ll see what he, and HBO (as it feels likely the change was due to that they didn’t like what they had gotten before), wants for this.    

    In fact, I literally said the following: “Hopefully he made that just to fit the movie”. Indeed, for that movie something bombasting seems fitting, but even then, I didn’t like what he composed. And I’m not against bombastic music in films either (for example, I loved ‘O Fortuna’ in Excalibur). It’s just that I would not like to have a mood forced upon us by an over-enthusiastic composer. Which, in my very unprofessional opinion, is what that Clash of Titans score sounds like. Let the story do the talking!

    Anyway, HBO selected Djawadi to complete/recompose the score, so we can only wait and see. And I dearly hope Djawadi will prove me wrong!

  46. Spartan
    Posted February 3, 2011 at 8:35 am | Permalink

    rorschach-,

    XDD. Yes, the big question is why.

    Anyaway, i think that maybe Djawadi had some stuff in the drawer that HBO thinks can suit the series. I don’t want to think that they expecto Djawadi to create the whole soundtrack in a few weeks.

  47. Jonathan Leard
    Posted February 3, 2011 at 8:36 am | Permalink

    I am concerned for sure. His music hasn’t struck me as terribly good, and while a score doesn’t make an entire show bad or worse, it can elevate a show. Cowboy Bebop and Battlestar Galactica are two shows that were made even better thanks to fantastic music. Crossing my fingers, though.

  48. Tysnow
    Posted February 3, 2011 at 8:55 am | Permalink

    Perhaps this is the reason the pilot was not ready to be shown in LA three weeks ago. They were unhappy with the score, perhaps not epic enough. I always felt Warbeck scores were somewhat low key, and sometimes plain boring in many scenes of his films. Obviously Djawadi’s motion picture scores are more bombastic, hence his affiliation with Zimmer, but from his tv credits he seems to like throwing in synthiezed themes (which would defintely be a no-no for Games).
    I really was hoping and still am that the composer will work with someone like Lorenna McKennitt to create the title theme (hint HBO), as her style I always felt was idealic for the opening credits.
    Lets hope he was brought on a few weeks ago, to give him more time and I wouldn’t be surpised if they will still be scoring and editing the final two or three episodes when the show premieres.

  49. Flóra Ballabás
    Posted February 3, 2011 at 9:07 am | Permalink

    Suprisingly this makes me feel good. I knew all his works, and they are quite good, even if they are not the same genre as GoT. I don’t think that composers should be cathagorised…

    And if he worked with Zimmer who is my favourite composer, there’s no way, he didn’t learn something valuable from him!

    I think we do not have to worry about this news. :)

  50. purplejilly
    Posted February 3, 2011 at 9:17 am | Permalink

    Tar Kidho,

    When I read ‘bombastic’ I just can’t help heaaing Shaggy’s version of “Mr. Bombastic” playing in my head. That makes for a funky trailer in my imagination..lol..

  51. Tywin's Bastard
    Posted February 3, 2011 at 9:47 am | Permalink

    Tar Kidho,

    We differ in our view of musical scores then as I don’t see any other function of music than to force moods and feelings on the viewers.

    As for what he will write for GoT I don’t know but I can’t even imagine that a professional wouldn’t see the vast differences between CotT and GoT when us laymen can.

  52. Lina
    Posted February 3, 2011 at 9:48 am | Permalink

    I’m going to give him the benefit of the doubt because I don’t really know much of his work, and because he’s worked with Hans Zimmer, who is probably second only to John Williams when it comes to epic scores.

    However, based on the examples listed in the article, the things he’s worked on don’t really seem to share a similar tone with Game of Thrones. So this isn’t a “YESSSS” moment for me, but as I said, I’ll wait to see what he can do. He at the minimum deserves a chance!

    Also, to be honest, I haven’t really even thought about the score so much. The one thing they really need to nail is the opening credits sequence. HBO can do this REALLY well, i.e. True Blood, Sopranos (part of which was filmed in my home city!). But I’ve also seen some that are eh (Boardwalk Empire, sadly). So I hope they knock it out of the park with Game of Thrones.

    Do you guys think that we’ll see Rains of Castamere or the Bear/Maiden Fair song worked into the score? I sure hope so. I love how everyone who isn’t a Lannister hates on Rains of Castamere. It’s such a great detail- really similar to how everyone who isn’t a 14-year-old girl hates on Justin Bieber! :) But back on topic, it might be a really cool idea if they compose some of the lyrical songs from the book and then draw motifs out for use in the background instrumental. I think it would be cool, for example, if we can recognize the “Lannisters’ theme” in the actual, in-story Rains of Castamere.

  53. Hear Me Roar
    Posted February 3, 2011 at 10:18 am | Permalink

    Unexpected.
    I hope Djawadi has enough time / started working on it before the announcement.

    As to the choice, HBO selected him (probably already on the shortlist to start with) and he’s a student of Zimmerman. So I’m okay with it. Fingers crossed!

  54. Maester Tcost
    Posted February 3, 2011 at 10:31 am | Permalink

    Clash of the Titans called for bombastic music; just think about the movie. I’m sure that the new composer gets the idea that GoT ought to have a different feel.

  55. Rose
    Posted February 3, 2011 at 10:46 am | Permalink

    Ack, this is a big downgrade if the stuff he’s worked on before is any inclination. It’s too grand, too epic, and not nearly unique or personal enough. @_@

  56. sjwenings
    Posted February 3, 2011 at 10:55 am | Permalink

    I dunno… He seems about as promising as Warbeck did. Which isn’t really saying all that much. So boringly enough, i’ll just place my trust in HBO/D&D.

    I did very much like the soundtrack for Prison break, though. Perfect for that show. Hopefully he has a lot of range.

  57. tek
    Posted February 3, 2011 at 10:57 am | Permalink

    I think this is likely a good thing. The producers wouldnt have moved in this direction unless they had confidence that the music could get done in time. Let’s give this guy a chance to do his job, and wait until we hear/see some actual Game of Thrones music before we start throwing him to the lions.

  58. Sly
    Posted February 3, 2011 at 10:59 am | Permalink

    I see a big reason not to worry.

    As I understand it, Alan Silvestri wrote the original score for Pirates of the Caribbean but the producers didn’t like the work he did and he left the project. With three weeks to go before release, the director turned to Hans Zimmer, who was contracted to The Last Samurai so couldn’t take the project. Instead he suggested Klaus Badelt whom he had collaborated with before. The two collaborated the main themes and then brought in seven other composers to help orchestrate it. Djawadi was one of the seven. The whole score was recorded in four days in several different recording studios because most were booked already.

    So, who knows? Could be that Djawadi’s heading up a composer ensemble. Ten weeks time is over three times as much as three, though., and it might seem like plenty of time to him. ;)

  59. Steve Hugh Westenra
    Posted February 3, 2011 at 11:00 am | Permalink

    From what I’ve listened to, I like this guy’s music, but I’m not sure it has the subtlety that I feel is necessary for A Game of Thrones. Yes, GoT is a fantasy epic, but it’s not really the kind of explosive adventure movie/show that Clash of the Titans and LoTR were. His show themes (and even his Clash of the Titans stuff) sound very very modern and overblown. I love that kind of thing when it fits the particular movie/show, but it seems inappropriate for a character-driven television drama set in (what amounts to) the Middle Ages. I can see some of his stuff being good for the intense battles, but really, how many of those are there in the series? Could you picture Arya traipsing about Westeros being attacked by murderers, etc, to the adventure music of LoTR? It’s just not the same kind of story. It isn’t heroic in the sense that I feel like Djawadi’s music sounds.
    THAT SAID. I think some people have been smart in pointing out that those soundtracks were written specifically with those shows/movies in mind, and presumably he will consider this story very carefully while he is composing for it.
    I’m also of the opinion that they’ve probably had Djawadi on board for awhile and just hadn’t announced it. I am also curious as to why Warbeck isn’t involved anymore. Perhaps HE just wasn’t feeling inspired. Who knows.
    I’m also of the opinion that the score is extremely important. Often you don’t notice when you’re watching something, but the music plays as much of a role in the atmosphere and emotion of a scene as do the lighting, camera work, props, costumes, etc. For GoT, I have to say, I don’t think it necessarily requires all that much music, and to some extent I do think a more subtle, minimalist approach is necessary (with the exception of some heavier stuff during the few battles, etc, although much of that comes later anyhow).
    I am interested to see how he will differentiate the Dothraki music from the Westerosi music.

  60. dizzy_34
    Posted February 3, 2011 at 11:19 am | Permalink

    This is kind of odd news. I would think at this point they would already have an opening credits theme and other score. So either they were really unhappy with it all or this is going to be a mismash of different peoples scores. The latter, I guess, is not unheard of. I too am not that familiar with this dude’s work, however what I’ve heard is kind of generic in my opinion.

  61. Steve Hugh Westenra
    Posted February 3, 2011 at 11:27 am | Permalink

    dizzy_34,

    Yeah. Unfortunately, the more I listen to from youtube, the more I agree. He’s not bad, but his stuff is pretty same-y. I don’t get a sense of range, and his projects seem very similar (which could just be that those were the ones he was offered and being a relative newcomer he took them, but at the same time….). Some of the other soundtracks he seems to have done were the third Blade movie and Mr. Brooks. I listened to selections from both. They were decent, but nothing special, and nothing I could see working at all with GoT.
    Didn’t the producers have the potential composers demonstrate what direction they wanted to go in with the show though? If so, it’s a matter, I guess, of trusting that D&D have good ideas of what they want the music to be like, and that the samples Djawadi provided were close enough to that to warrant hiring him (and hopefully demonstrative of a lot more range and personality than his other work).
    A part of me still really wants to give the guy the benefit of the doubt. This could really be his chance to break into something new and show his skills outside of the more humdrum stuff he’s done before.

  62. Adam Whitehead
    Posted February 3, 2011 at 11:37 am | Permalink

    The music for an episode of television is sometimes composed from scratch to final recording in a week. Reading Bear McCreary’s blog, it’s startling how quickly he had to create some of the music for BATTLESTAR and CAPRICA, and how many of those themes ended up being stand-outs. The time could be an issue, but for someone with four network TV shows under his belt (he also worked on THRESHOLD and BLADE: THE SERIES) he should be used to deadline pressures by now.

    I was concerned about Warbeck. He won an Oscar, true, but he has also produced nothing particularly noteworthy in the last few years, whilst Djawadi’s career seems to be building up momentum and energy (he hasn’t gotten an Oscar, but he was nominated for a Grammy). This may be harsh and unfair, but I’d rather take a hungry young guy on the way up than someone who’s perhaps peaked already.

    There’s a playlist of different work here:

    http://www.youtube.com/watch?v=u-9xmevqHu0&feature=list_related&playnext=1&list=MLGxdCwVVULXcdb9XJ35h8JcBxRQj4Q6LG

    Sounds promising.

  63. dizzy_34
    Posted February 3, 2011 at 12:02 pm | Permalink

    Kind of OT but I remember Blade: The Series being surprisingly good (don’t think that the score had anything to do with it though). I guess it was too expensive for spike to keep it going. Maybe this belongs in the TV series we should watch post.

  64. sjwenings
    Posted February 3, 2011 at 12:05 pm | Permalink

    Thinking on it, the soundtrack for the 3rd teaser

    http://www.youtube.com/watch?v=43LW7a_NKMk

    kinda sounds like something this Ramin-guy might have made. If that were the case, he would have been onboard quite early in the process.

  65. Dom
    Posted February 3, 2011 at 12:55 pm | Permalink

    Well, this is a surprise. I don’t really know Djawadi; however, the theme from Flashforward was the only good thing of that show. Also, having worked with The Zimmer himself, I’m optimist :D

  66. Dunkeltroll
    Posted February 3, 2011 at 12:59 pm | Permalink

    Well, since Stephen Warbeck worked on his version of the score for at least ten weeks and HBO still prefered to use stock music at the TCA showing, my guess is whatever he came up with didn’t fit the producers’ vision. So hopefully, the change is for the better. Let’s wait and hear.

  67. yeekim
    Posted February 3, 2011 at 1:03 pm | Permalink

    purplejilly: Tar Kidho,
    When I read ‘bombastic’ I just can’t help heaaing Shaggy’s version of “Mr. Bombastic” playing in my head. That makes for a funky trailer in my imagination..lol..    

    Did you mean Shagga’s version of “Feed the Goat”? :P

  68. Rodario
    Posted February 3, 2011 at 1:10 pm | Permalink

    Almost forgot… did anyone of you hear about Joseph LoDuca? He composed Legend of the seeker tv series (am also fan of The sword of truth) and the soundtrack totally kick me off pants so it is possible to get something really good not just a theme ha?

  69. durwood
    Posted February 3, 2011 at 1:25 pm | Permalink

    I hope he’s at least read the book.

  70. Tywin's Bastard
    Posted February 3, 2011 at 1:32 pm | Permalink

    durwood,

    That’s not likely or really necessary, the script should be able to tell him everything he needs to know, together with discussions with the people in charge of course. Not even all the actors have read the book.

  71. tek
    Posted February 3, 2011 at 1:47 pm | Permalink

    durwood,

    oh…. here we go!

  72. Jeff T
    Posted February 3, 2011 at 1:57 pm | Permalink

    Everyone don’t worry a bit. I am guessing that HBO was being picky here and made the decision. Or even the worst case scenario is that the composer just up and left and HBO had to make quick decisions. The bottom line:

    The music whether its in movies, shows or even video games now have major composers. These things are normally ALWAYS done last at the end of production and is usually one of the last things done before going live with the movie, game, or show. There is plenty of time to compose this. I doubt he will pick up where the other left off as they have their own visions, but these things can be done in a very short period of time and doen very well. I have no doubts this will be fantastic and this is not entirely unexpected to happen.

  73. elreyloco
    Posted February 3, 2011 at 2:05 pm | Permalink

    Well, I for one am very worried.

    I wasn’t familiar with Stephen Warbeck’s work, but what I’ve heard from Ramin Djawadi really does not inspire confidence. I didn’t like his score for Iron Man, and the one he did for Clash of the Titans was apt for the film: lifeless, derivative dreck that shouldn’t have been made in the first place. His score for Prison Break was okay and worked for the show, but it wasn’t amazing. Can’t comment on his Flashforward work.
    He’s another of those composers heavily influenced by the Zimmer style of later years. It’s popular, but I’m really not a fan.

    Considering the time-frameinvolved here and his work on Clash of the Titans, I’m really dreading what we might hear. I’m really hoping to be proven wrong and to hear something amazing from Djawadi… But I’m not holding my breath.

    This is really the first bit of news about the show that has me that worried. Oh well, wait and hear, I suppose.

  74. marzman
    Posted February 3, 2011 at 2:11 pm | Permalink

    I would have loved for Lisa Gerrard (former member of Dead Can Dance) to do the soundtrack. She did whalerider and gladiator. She is just brilliant when it comes to worldmusic kind of soundtracks. Her voice is not from this world.

    link
    link
    link
    or my absolute favourite (goosebump alarm): link

  75. Sarks
    Posted February 3, 2011 at 2:23 pm | Permalink

    I really liked the soundtrack for Clash of the Titans (whereas I wasn’t familiar with the initial composer). I’m sure he’ll do a great job!

  76. Steve Hugh Westenra
    Posted February 3, 2011 at 2:33 pm | Permalink

    Hmmm. It just occurred to me that perhaps they’ve chosen to announce this now because they may have been planning for the music to be the next Artisans feature?
    If this change was actually made a long time ago then it would explain why they’re telling the media now

    Definitely wishful thinking, but an Artisans video on the music would really help to dampen my fears.

  77. sjwenings
    Posted February 3, 2011 at 2:39 pm | Permalink

    Steve Hugh Westenra: Hmmm. It just occurred to me that perhaps they’ve chosen to announce this now because they may have been planning for the music to be the next Artisans feature?If this change was actually made a long time ago then it would explain why they’re telling the media now Definitely wishful thinking, but an Artisans video on the music would really help to dampen my fears.  Quote  Reply

    That would be super-interesting, so i’m gonna hope against odds that this is the reason.

  78. TastesLikeTheSea
    Posted February 3, 2011 at 2:47 pm | Permalink

    This a$$hole better not FUCCCCK things up :(

  79. Who Is Jacopo Belbo?
    Posted February 3, 2011 at 3:16 pm | Permalink

    marzman: I would have loved for Lisa Gerrard (former member of Dead Can Dance) to do the soundtrack. She did whalerider and gladiator. She is just brilliant when it comes to worldmusic kind of soundtracks. Her voice is not from this world.link
    link
    link
    or my absolute favourite (goosebump alarm): link    

    my contention was always that begging Dead Can Dance to get back together just to do the soundtrack for this show would be the best thing ever and barring that Lisa Gerrard would be perfect.

    Dead Can Dance epitomizes exactly what the world of ASOIAF is all about. there music was so widely varied in authentic cultural influences ranging from Celtic to the Middle East to just about anything and everything you can think of and almost every single bit of it was amazing.

    my vote was always for Lisa Gerrard.

    having said that i am glad they ditched this Welbeck guy, i never liked his stuff once i checked it out after he was announced.

    my favourite film composer is Graeme Revell. he has done a breathtaking variety of work and is very prolific. i am not sure he would have been best for a more classical/medieval type score tho.

    i would also like to point out that a TV Theme and a composer is also about how well they can capture the feel and essence of the show and come up with something unique that stands as a representation of the show. a good example of this is Rob Duncan’s theme for the all to brief Terriers (a great show you should definitely watch the one season we did get btw):

    Rob Duncan – Terriers Theme (aka Gunfight Epiphany)

    i had never heard of Rob Duncan before and i probably wouldn’t like much other of his work but this theme is perfect for this show and in the end that is what it is all about. there are many good or great or decent film/tv composers out there but not every composer fits every shows theme and feel. Walbeck was absolutely the wrong guy for GoT and i am not sure about this new guy. all i know is that body of work being not as prestigious or long or not Lisa Gerrard would have been perfect for composing the music for Got because every single thing she has done with DcD and solo shows that she has the perfect feel and fit for the theme and feel of this show. it is too bad HBO wasn’t bolder in its choice … the safe choice is almost never the best choice.

  80. Jaqen H'Ghar
    Posted February 3, 2011 at 3:17 pm | Permalink

    Jeff T: Everyone don’t worry a bit. I am guessing that HBO was being picky here and made the decision. Or even the worst case scenario is that the composer just up and left and HBO had to make quick decisions. The bottom line:

    The music whether its in movies, shows or even video games now have major composers. These things are normally ALWAYS done last at the end of production and is usually one of the last things done before going live with the movie, game, or show. There is plenty of time to compose this. I doubt he will pick up where the other left off as they have their own visions, but these things can be done in a very short period of time and doen very well. I have no doubts this will be fantastic and this is not entirely unexpected to happen.

    ^^^^This.^^^^

    Djawadi has done video game soundtracks, and myself having worked as an audio guy in the video game industry, I can say that those who compose music for video games are often brought in at the last minute and given ridiculously short amounts of time to get things done. Yes, GOT is TV, but video game soundtracks these days are often very elaborate and require more music than movie soundtracks.

    This guy is probably used to working with such time constraints. Furthermore, he could have already been on board for weeks now and HBO is only just now announcing it.

    One more thing: Video game composers also are some of the most creative composers out there, because they often have to blend every style imaginable to create something unique. I’m confident he will find the right mood and style needed for GOT, and the HBO executives must believe that too or they wouldn’t have hired him.

  81. Who Is Jacopo Belbo?
    Posted February 3, 2011 at 3:23 pm | Permalink

    marzman,

    oh. and now anyone can listen to Lisa sing Wind That Shakes the Barley and not get absolute goosebumps is beyond me … her voice is simply astounding.

    i have envisioned many a scene of ASOIAF when listening to that song … i definitely think if you listen to that song and think of Catelyn’s dead body floating down the river away from The Twins you cannot help but be moved.

  82. Zack
    Posted February 3, 2011 at 3:50 pm | Permalink

    Who Is Jacopo Belbo?,

    That’s a beautiful song. I’m thinking it’s almost a guarantee that we can expect similar vocal-oriented pieces throughout the series, knowing HBO.

    Jaqen H’Ghar: having worked as an audio guy in the video game industry, I can say that those who compose music for video games are often brought in at the last minute and given ridiculously short amounts of time to get things done.

    I remember watching the special features on my Blu-ray of The Social Network, and the guys who scored that film talked about how the director would end up actually editing scenes to flow with the music. I don’t necessarily think that getting a new composer at this stage in the process spells disaster, but that does seem like a missed opportunity.

  83. cletus van damme
    Posted February 3, 2011 at 4:06 pm | Permalink

    Are some of you guys tonedeaf? ;)
    His Prison Break score was one of the best TV-scores of the last decade. Like most Tv scores it got a little repetative in later seasons but each character and location had a memorable and fitting theme.

  84. loco73
    Posted February 3, 2011 at 4:37 pm | Permalink

    This is really NOT good news!!!!!!! To change composers so close to the premiere of the series is to put it mildly stupid and irresponsible! This is a big FUCK YOU to the fans and a sign that HBO has dropped the ball on this one! To me music is an integral part of any television series or movie, it gives flavour to the series, but more than that, it gives the series an indentity. I can associate soundtracks with most of my favourite movies and tv series. Just think of all the shows and movies throughout history and how we know by the first beats and sounds, their familiarity to us!

    To tell the truth I was not impressed with the choice they made in the firsts place, but this one is even worse. This guy sucks donkey balls, and his resume is shit! I am not impressed at all! And please don’t tell me to give him a chance because I won’t! Subscribing to HBO is very expensive to me, so if I am going to make the decision to go ahead with it, I want to know that I am right in doing it!

    For the life of me I cannot understand why they did not rely in composers they worked with in the past like Jeff Beal (“ROME”, “Carnivale), Joseph Vitarelli, Rob Lane (“John Adams”) or gone after established ones like Harry Gregson-Williams (“Kingdom Of Heaven”) or others!

    When fans suggested Bear McReary they go a lot of flack to that! They should have picked him…instead we are stuck with some no-name second hand ersatz dude!

  85. loco73
    Posted February 3, 2011 at 4:47 pm | Permalink

    Maester Tcost

    Not only that, but you should listen to his “Caprica” (the now-idiotically-cancelled-by SyFy-prequel-series to “Battlestar Galactica)! I swear I bought this soundtrack a few months ago and can’t stop listenning to it!

    His work on “The Walking Dead” has also been outstanding! Too bad people seem to be tone-deaf (pun intended) when it came to choosing a composer for the soundtrack! I am also tired of people saying that this is a TV show so we shoulnd’t expect to much! But everything about HBO has been outstanding so far! I have the soundtracks for “Band Of Brothers”, “John Adams”, “ROME”, “The Pacific” and they are OUTSTANDING! That is what I want for “Game Of Thrones”!

  86. mummer
    Posted February 3, 2011 at 4:49 pm | Permalink

    Zack: Who Is Jacopo Belbo?,
    …the guys who scored that film talked about how the director would end up actually editing scenes to flow with the music. I don’t necessarily think that getting a new composer at this stage in the process spells disaster, but that does seem like a missed opportunity.

    Movies aren’t TV. As several people have pointed out, it’s not unusual for TV scores to be written pretty late in the post-production process, and recorded even later. Given the stricter time constraints for TV, it’s much more likely that the composer would have to make the score fit the timing established by the editor rather than the other way around.

    (For the same reason, I think Dunkeltroll’s comment about the TCA screening is off base: even if Warbeck had already written a lot of great music, it might not have been recorded yet so early in post-production.)

  87. Jeff T
    Posted February 3, 2011 at 4:50 pm | Permalink

    Jaqen H’Ghar,

    I couldn’t agree more. Jeremy Soule comes to mind.

  88. JJtheCROW
    Posted February 3, 2011 at 4:51 pm | Permalink

    I wanted a Mercedes and instead you gave me a BMW!!!!! WHAA WHAA WHAA!!!(thats me crying)

  89. Jeff T
    Posted February 3, 2011 at 4:56 pm | Permalink

    loco73,

    loco73: This is really NOT good news!!!!!!!To change composers so close to the premiere of the series is to put it mildly stupid and irresponsible!This is a big FUCK YOU to the fans and a sign that HBO has dropped the ball on this one!To me music is an integral part of any television series or movie, it gives flavour to the series, but more than that, it gives the series an indentity.I can associate soundtracks with most of my favourite movies and tv series.Just think of all the shows and movies throughout history and how we know bythe first beats and sounds, their familiarity to us!
    To tell the truth I was not impressed with the choice they made in the firsts place, but this one is even worse.This guy sucks donkey balls, and his resume is shit!I am not impressed at all! And please don’t tell me to give him a chance because I won’t! Subscribing to HBO is very expensive to me, so if I am going to make the decision to go ahead with it, I want to know that I am right in doing it!For the life of me I cannot understand why they did not rely in composers they worked with in the past like Jeff Beal (“ROME”, “Carnivale), Joseph Vitarelli, Rob Lane (“John Adams”) or gone after established ones like Harry Gregson-Williams (“Kingdom Of Heaven”) or others!When fans suggested Bear McReary they go a lot of flack to that!They should have picked him…instead we are stuck with some no-name second hand ersatz dude!    

    ^^^^^^^^

    There always has to be a naysayer and doom and gloomer. Just have some faith in this guy and stop going into such extremes as to yell and say “oh no!!!” or even find the need to lay out the F-bomb. Wait until you hear what is produced and then have a opinion.

  90. The Darkstar
    Posted February 3, 2011 at 4:57 pm | Permalink

    This falls right in line with the Tamzin switch and the change from Jennifer Ehle. What I wouldn’t give to know the reasons for these changes…
    Wonder if we will ever find out or if it will just be buried forever.

  91. mummer
    Posted February 3, 2011 at 5:02 pm | Permalink

    Jeff T,
    There’s no way that guy is for real. Every sentence ends in an exclamation point, HBO is out to screw the fans, they should’ve gone with Bear McCreary (already talked over in 1000 earlier posts), he’s not going to watch the show now, etc., etc. Just trolling.

  92. Elaine
    Posted February 3, 2011 at 5:05 pm | Permalink

    The Darkstar,

    Exactly….I’m dying to know why they got rid of those two actresses.

  93. KG
    Posted February 3, 2011 at 5:51 pm | Permalink

    Oh dear. This is a definite, undeniable downgrade.

    He must work cheap.

  94. Lex
    Posted February 3, 2011 at 6:22 pm | Permalink

    Elaine,

    Jennifer Ehle left the project to spend more time with her family. Tamzin was probably let go because she wasn’t quite right for the role, but we’re not totally sure.

  95. Stefan
    Posted February 3, 2011 at 6:22 pm | Permalink

    Carlos,

    Yeah, Clash of the Titans really sucked, but so did King Arthur and Pearl Harbor, both of which had great scores.

  96. Laughing Tree
    Posted February 3, 2011 at 6:26 pm | Permalink

    well… not meaning to offend, because i’m sure he will be checking out responses to this decision himself…. this change is enormously dissapointing to me. I don’t know a whole lot about composing original music for film and tv, but comparing the resumes of the former oscar-winning composer and this new guy, wtf is HBO thinking? Im assuming there are giant internal issues that has the network scrambling to pull the music together in the last few weeks… I dont want any part of GoT to be on the level of Prison Break or flash forward… honestly… the reels i’ve listened to are truly unimaginative, interchangable suspense rifts… that’s fine for some parts, but GoT has SO MANY LAYERS of mood and plot–tragedy, fear, sex, epicness and levity, hate and love and all that… this is a job for someone who can enhance all of these scenes and bring them to life, not simply signify that they are happening… Ramin Djawadi is surely a professional and not awful obviously, but all i’ve seen himreally do is cliffhanger buildups/cutoffs, and over-the-top adrenaline pushers… all lackluster to be honest… maybe this did turn out offensive, but the more i flesh out my feelings and listen to the links of music the more confused and disappointed i am at this replacement… im an asshole, but w/e….

  97. OneTooFree
    Posted February 3, 2011 at 6:34 pm | Permalink

    without knowing enough about either composer to make an informed decision about whether this is a good thing or not, i’ll just say – as others before me have – that it is a bit worrisome for a change of this magnitude to come so close to the premiere date

    i just hope that the music fits the tone as well as the score for Deadwood. for me, that is the best example of a television show where the music perfectly melds with its world

  98. purplejilly
    Posted February 3, 2011 at 6:35 pm | Permalink

    Lex: Elaine, Jennifer Ehle left the project to spend more time with her family. Tamzin was probably let go because she wasn’t quite right for the role, but we’re not totally sure.  Quote  Reply

    Was Jennifer Ehle the one who just had a baby? If that’s the case, that makes total sense for her switch.

  99. marzman
    Posted February 3, 2011 at 6:36 pm | Permalink

    Who Is Jacopo Belbo?,

    reunion for Dead Can Dance would have been the cream on top, the wrapping for the perfect package… well, maybe they could have changed the name as well into What Is Dead Cannot Die But Dance ;-).

  100. purplejilly
    Posted February 3, 2011 at 6:41 pm | Permalink

    Things I am hoping for in Season 1, that I hope the new guy can deliver:
    creepy original music that doesn’t sound too much like cheap horror film music for when the nights watch is in the woods or whenever they deal with the Others.

    Some nice Enya-style music and vocalizing when we get shots of the landscapes

    The actual songs that George has the wandering singers sing like Winds of Castamere, There was a Bear and such. But those I think of as simple, easy to remember and easily distinctive folk-style songs – songs that people can just strum with a guitar and sing, like the folk songs we know in our own cultures. Hopefully these are already done?

    Good luck new guy. We are a very picky bunch! :P

  101. YorickBrown
    Posted February 3, 2011 at 6:41 pm | Permalink

    Oh boy, Zimmer-lite. Let me excuse myself whilst I go wet myself with excitement over generic thumping action track #37.

  102. Steve Hugh Westenra
    Posted February 3, 2011 at 7:22 pm | Permalink

    purplejilly,

    As much as I do enjoy Enya, I think going that route with a fantasy series would just feel tired and cliche. It’s very overdone.

  103. GaR
    Posted February 3, 2011 at 7:52 pm | Permalink

    We need to keep one important point in mind. Djawadi did Iron Man.

    I take from this that we can totally look forward to hearing some Black Sabbath in GoT.

  104. sjwenings
    Posted February 3, 2011 at 8:12 pm | Permalink

    I rather like this melancholic yet somewhat powerful piece by Ramin from Medal of honor.

    http://www.youtube.com/watch?v=0ce8d9NkFA0

    Still not sure about this guy, but he has some good stuff.

  105. Tysnow
    Posted February 3, 2011 at 8:26 pm | Permalink

    I have one thing to say to both HBO and Mr. Djawadi, the title theme music must be one of the greatest pieces in television history, period. I am pretty sure that most fans of the series and tv critics expect nothing less too, so don’t worry D&D no pressure.

  106. Tywin's Bastard
    Posted February 3, 2011 at 8:27 pm | Permalink

    GaR,

    Yes, and why not Zeppelin’s Immigrant Song when the Ironborn goes raiding!

  107. sjwenings
    Posted February 3, 2011 at 8:29 pm | Permalink

    Tysnow,

    Who knows. Maybe he even made it before he got the job, and that piece was what convinced HBO to hire him. I think composers coming up with some ideas for the show to prove themselves is pretty common.

  108. purplejilly
    Posted February 3, 2011 at 8:44 pm | Permalink

    Steve Hugh Westenra,

    The enya stuff is just so good at laying the mood for a fantasy scene especially if it’s with women or a love scene. But I guess it does draw to mind lord of the rings and elves and such.. I guess the best hope is that the music is muted and in the background and doesn’t interrupt the acting or make us feel a ‘break’ when it starts up..

  109. dizzy_34
    Posted February 3, 2011 at 10:25 pm | Permalink

    Heh, I keep thinking of the movie Forgetting Sarah Marshal when the main character talks about scoring a CSI type show. “There’s no melody, it’s just tones. Just dark, ominous tones…”
    I hope to god(s) we’re not headed that direction.

  110. Josh
    Posted February 3, 2011 at 10:41 pm | Permalink

    If the music is already done for the first few episodes, they aren’t going to can it. They’ll include it in the episode and credit the previous composer. I listened to some of this guy’s stuff and he sounds good. We just have to hope for the best. Everything has seemed great so far, so I have faith.

  111. George DW
    Posted February 3, 2011 at 10:45 pm | Permalink

    I wish Western films and television would discover Yoko Kanno’s immense talent, though I imagine the demand she’s in for Japanese anime and games keeps her pretty busy. http://www.youtube.com/watch?v=mJbiJHVtfiA

    Anyway, Djawadi’s works sounds good, if not particularly inspired.

  112. Abyss
    Posted February 3, 2011 at 10:53 pm | Permalink

    I found what I think is the first teaser of GoT in another language then english. Nothing new to see, but I am very curious what the voiceover is about. It´s in spanish (I think) and unfortunately I don´t speak this language. Can someone please translate for me?

    http://www.youtube.com/watch?v=YOq5SQNUCRg&feature=related

  113. Abyss
    Posted February 3, 2011 at 11:02 pm | Permalink

    Abyss,

    Oh wait, it´s the fear-speech from Old Nan right?… Lol, I disappointed myself just now. ((C:

  114. Zack
    Posted February 3, 2011 at 11:11 pm | Permalink

    George DW: I wish Western films and television would discover Yoko Kanno’s immense talent, though I imagine the demand she’s in for Japanese anime and games keeps her pretty busy. http://www.youtube.com/watch?v=mJbiJHVtfiAAnyway, Djawadi’s works sounds good, if not particularly inspired.    

    I would love for GoT to have music like this! I hope they don’t feel like they have to stick to a medieval Europe type score. Very cool.

  115. KG
    Posted February 3, 2011 at 11:37 pm | Permalink

    “Uninspired” and “Inoffensive” are hardly the stuff dreams are made of.

  116. Jordan Healey
    Posted February 4, 2011 at 1:59 am | Permalink

    You play the hand you were dealth I suppose.

  117. Jordan Healey
    Posted February 4, 2011 at 2:00 am | Permalink

    *dealt

  118. Julian Budke
    Posted February 4, 2011 at 3:40 am | Permalink

    This might explain why the took lotr and gladiator music for the preview screening…

    Mh, or there is already half a score written and the new composer just needs to wrap it up…

    Or let’s do it “The Wire” style: No music at all. I think the music kills the atmossphaere more often then strengthen it

  119. Caedes
    Posted February 4, 2011 at 5:25 am | Permalink

    Abyss,

    This was something I wanted to post about some days ago.

    Canal + has edited several trailers now, including “Inside game of Thrones” featurette.
    I think that trailer is nothing but rushes, poorly executed and with several mistakes. It’s sad, but it seems no one in Canal + has ever read the books.

    The voice you refer to is (I think her name is Nuria Mediavilla) the same actress that gives her voice to LotR Galadriel. So I think they went her for a scene not very unlike the beginning of Fellowship, with Galadriel’s voiceover.

    The worst part is that some dialogue is translated wrongly! From Eddard’s “Let them look”that becomes “Let’s go look” to the terrible defiling of Littlefinger’s line:
    Original:“The wiser answer would’ve been “No”, my lord”
    Spanish: “¿Y por qué habéis respondido “No”, mi señor?”
    Eng : “Then why’d you answered “No”, my lord

    Truly terrible.

  120. Martin
    Posted February 4, 2011 at 5:26 am | Permalink

    Julian Budke: This might explain why the took lotr and gladiator music for the preview screening…Mh, or there is already half a score written and the new composer just needs to wrap it up…Or let’s do it “The Wire” style: No music at all. I think the music kills the atmossphaere more often then strengthen it  Quote  Reply

    I think I would tend to agree with less is more when it comes to music on TV (films are different – esp in cinemas). When it is overdone (the latest incarnation of Dr Who being a prime example) it can be intrusive, obscure dialogue and be somewhat clumsy in signposting emotional keys in a scene.

    I think I would prefer little in the way of soundtrack other than possibly a few character / location ‘themes’ that could help re-inforce the establishment of locations to aid viewers.

  121. Rinoa De la Pica
    Posted February 4, 2011 at 5:32 am | Permalink

    Abyss: I found what I think is the first teaser of GoT in another language then english. Nothing new to see, but I am very curious what the voiceover is about. It´s in spanish (I think) and unfortunately I don´t speak this language. Can someone please translate for me?http://www.youtube.com/watch?v=YOq5SQNUCRg&feature=related  Quote  Reply

    Yeah, it is Spanish. Some fans here have already complained of that dubbing. It is the fear-speech indeed, so why did they use the voice from a hot and sexy young woman as “Old Nan”? I really don’t care that much because I want to watch “Game of Thrones” with original voices, but it’s sad that they managed to ruin even these tiny details.

  122. Caedes
    Posted February 4, 2011 at 5:33 am | Permalink

    Also, regarding the change on the composer, I really loved the music on the first trailer. If that’s a sample of Djawadi’s work (and it sounds like it) then I’m happy with the switch!

  123. Rinoa De la Pica
    Posted February 4, 2011 at 5:36 am | Permalink

    Caedes,

    Sorry Caedes. You already answered and I should refresh my browser before posting. Glad we agree though.

  124. Caedes
    Posted February 4, 2011 at 5:47 am | Permalink

    Rinoa De la Pica,

    Yo tengo Canal + desde hace más de 10 años, y creo que es la primera vez que les veo cometer un error semejante.

    Por cierto, si alguien quiere ver “juego de tronos” en una pantalla de 50′ y de modo legal, y vive en o cerca de Asturias que me avise!! :-)

  125. Rinoa De la Pica
    Posted February 4, 2011 at 5:58 am | Permalink

    Caedes,

    ¡Eh, compañero! Vivo en Madrid pero no me importaría nada subir a Asturias jaja. La ocasión lo requiere, menuda fiesta quiero organizar :)

    Me alivia que digas que es la primera vez que cometen un error en Canal Plus, porque yo también me di cuenta del error garrafal de los subtítulos. Quizás somos un poco exquisitos, pero quiero que Juego de Tronos sea perfecto.

    (Sorry for the Spanish for all the rest, it’s just so cool to speak confidently in my own language… I’m not saying anything important really, only fan-whining as usual. :)

  126. Czarnian
    Posted February 4, 2011 at 6:23 am | Permalink

    I really hope they get the intro right. I am hoping for something simple and aggressively brutal. Something with heavy drumming that sets the tone that this is a big and hard place. I am thinking of something like the flashback part of the BSG intro. As for epic, it is hard to do something epic AND original. We want it to be as far from LotR as possible. Modern instruments would sound plain wrong. New-age chorus would be far to stereotype and some medieval-ish folkmusic would sound too small. As if the show was set in a small village when it spans continents. It has to feel big somehow…

    A question for you living in Spain and Germany and perhaps other countries. Do you have voiceovers on all shows on national television or just some? Will there be dubbed versions of GoT?

  127. Anvil
    Posted February 4, 2011 at 6:55 am | Permalink

    Czarnian: A question for you living in Spain and Germany and perhaps other countries. Do you have voiceovers on all shows on national television or just some? Will there be dubbed versions of GoT?    

    As for Germany everything here is dubbed, except for some pay tv channels, which offers the original audio tracks as well.

  128. Czarnian
    Posted February 4, 2011 at 7:15 am | Permalink

    Anvil,

    Man, that has to be such a drag. Acting is just as much made by voice as by anything else. I suppose there is somewhat a conflict between the younger more globally aspireing generation and the older? A dubbed Marlon Brando in the Godfather? :-)

  129. Caedes
    Posted February 4, 2011 at 7:19 am | Permalink

    Czarnian: Anvil, Man, that has to be such a drag. Acting is just as much made by voice as by anything else. I suppose there is somewhat a conflict between the younger more globally aspireing generation and the older? A dubbed Marlon Brando in the Godfather?   Quote  Reply

    The dubbed Brando’s Godfather is indeed the only one people now here in Spain.
    In fact, it has become a pop joke, much alike Robert de Niro’s “Cape Fear” .

  130. Herr Fick
    Posted February 4, 2011 at 7:23 am | Permalink

    Anvil:
    As for Germany everything here is dubbed, except for some pay tv channels, which offers the original audio tracks as well.    

    Which is why I only watch television series on DVD…

  131. Danny
    Posted February 4, 2011 at 7:41 am | Permalink

    Fortunately Holland is too small to justify dubbing anything into Dutch! ;)

  132. Anvil
    Posted February 4, 2011 at 7:52 am | Permalink

    Czarnian: Anvil,
    Man, that has to be such a drag. Acting is just as much made by voice as by anything else. I suppose there is somewhat a conflict between the younger more globally aspireing generation and the older? A dubbed Marlon Brando in the Godfather?     

    Yeah, in gernal I don’t like the dubbing anymore. We have some very talented voice actors who provides some very good and significant voice-overs for example Bruce Willis or Robert De Niro, but in my opinion overall to much ist lost or changed in the dubbing process (background sounds, weak translations).

    Strangely I like the dubbed version of Marlon Brando: http://www.youtube.com/watch?v=Y3gadArz3TY

    Most of my friends don’t really care what language they watching. They just don’t like to wait for the release of the german dubbed versions. For myself, I think I’m a little bit picky.

  133. Czarnian
    Posted February 4, 2011 at 8:35 am | Permalink

    In Sweden we have subtitles and it becomes a habit reading them. The problem is that some things cant be translated correctly or they just get it plain wrong. To solve this I always have english subtitles on english speaking movies. The double input helps not to miss anything due to bad sound or dialect.

    Also something I enjoy in movies done post 2000 is that they often include multiple languages. Gone are the old days with evil germans or russians speaking strongly accented english. This hightens the sense of reality. So how then would a movie like Carlos the Jackal be treated in Germany and Spain? The movie contains german, french, english and arabic languages. They couldnt just dub the whole thing could they?

  134. Dunkeltroll
    Posted February 4, 2011 at 9:08 am | Permalink

    Czarnian: A question for you living in Spain and Germany and perhaps other countries. Do you have voiceovers on all shows on national television or just some? Will there be dubbed versions of GoT?    

    If GoT will be shown on German television (we are still missing on the list of international showings, but my guess is that the German division of Sky will show it first), maybe they will broadcast the original sound as a second choice, but the chance for a dubbed version are 100%. As far as I know, the same is true for France, Italy and Spain.

    I guess the problem is the usually excellent technical quality of the dubbing: most folks over here simply don’t realize what they are missing. Think of it like the voicework on an animated feature. But of course, you can’t make dialog match the lenght of the original without tweaking the actuall words (and thus, often the meaning) a lot.

    But the problems with translation start even earlier: there is no book called “A Game of Thrones” or anything like it in German. Instead, the first volume of aSoIaF was diveded into two parts, whoses titles translate back to “The Lords of Winterfell” and “The Heritage of Winterfell“… Oh: at least we will soon get a new edition with less awful artwort!

  135. Dunkeltroll
    Posted February 4, 2011 at 9:12 am | Permalink

    CzarnianSo how then would a movie like Carlos the Jackal be treated in Germany and Spain? The movie contains german, french, english and arabic languages. They couldnt just dub the whole thing could they?

    Well, I can tell you how they handled it it in Inglourious Basterds: the French and Italian parts were subtitled. German was of course German, and English – was also German… ;-)

  136. Elaine
    Posted February 4, 2011 at 9:59 am | Permalink

    In Croatia shows have subtitles unless the intended audience is made up of children too small to read. I guess that’s the benefit of living in a small country with an obscure language! :D

  137. Anvil
    Posted February 4, 2011 at 10:23 am | Permalink

    Dunkeltroll:
    But the problems with translation start even earlier: there is no book called “A Game of Thrones” or anything like it in German. Instead, the first volume of aSoIaF was diveded into two parts, whoses titles translate back to “The Lords of Winterfell” and “The Heritage of Winterfell“… Oh: at least we will soon get a new edition with less awful artwort!    

    Unfortunately all names of places and persons are translated as well in the new edition.

    Highgarden= Rosengarten (Rose Garden)
    Lancel Lannister = Lansel Lennister
    Theon Greyjoy = Theo Graufreund (Greyfriend)
    Kings Landing = Königsmund (Kings Mouth)

    Sometimes it just sounds strange, but in general it was completly unnecessary.

  138. Andrija Andrew P
    Posted February 4, 2011 at 10:30 am | Permalink

    Elaine,

    And I am soooooo happy because of that. I mean I watched a Polish channel once where they had one vocie for like 15 charachters, it was kindda scary XD Long live subs :)

  139. Czarnian
    Posted February 4, 2011 at 10:31 am | Permalink

    Dunkeltroll,

    That sound almost a bit comical. :-)

    Im also glad that I live in a small country so that we kan keep original audio. Also we swedes have always been a bit insecure and looked up to the other cultures and languages. First France, then Germany and now-a-days America. We adopt the language and the culture and praise ourseves for being openminded to the exclusion of our own history. It is both good and bad.
    I think the whole dubbing thing boils down to pride of language. Plus that it becomes its own industry. You must have voice-celebrities in Germany and Spain! The voice of Clint Eastwood and such. :-)

  140. Javier
    Posted February 4, 2011 at 10:46 am | Permalink

    Czarnian,

    Well, you actually are 100% right. Not only the dubbing industry here in Spain is quite well-established, but we do have our own “voice-celebrities” and precisely the dubbing actor of Clint Eastwood (who also dubs some other important actors) is one of the most popular and recognisable dubbing actors here. :D

  141. Czarnian
    Posted February 4, 2011 at 10:54 am | Permalink

    Javier,

    Cool! :-)

    Now the raspy voive of Mr Eastwood is like honey poured over a rusty buzzsaw-blade so I have my doubts that he can be bested by any voiceover artist. But do any of you from Spain, Germany, Italy and other countries with voiceover have examples where the voiceover-artist is better than the original?

  142. Tywin's Bastard
    Posted February 4, 2011 at 10:55 am | Permalink

    I’m a swede as well and it’s certainly great that there’s no dubbing culture here, apart from children’s movies. Apart from the obvious benefit of experiencing the works as they were created you also learn other languages a lot quicker if you can watch movies etc where they speak them.

    Translations of books are very common though but I tend to stay away from those as much as I can as well, although there’s unfortunately a tight limit to the languages I know well enough to grasp subtle nuances in.

  143. fangrrrl
    Posted February 4, 2011 at 11:44 am | Permalink

    Dunkeltroll:
    But the problems with translation start even earlier: there is no book called “A Game of Thrones” or anything like it in German. Instead, the first volume of aSoIaF was diveded into two parts, whoses titles translate back to “The Lords of Winterfell” and “The Heritage of Winterfell“… Oh: at least we will soon get a new edition with less awful artwort!    

    The new German edition might be all shiny and pretty on the outside (even though the cover is weirdly sticky to the touch), but the inside is not so great because the publisher decided to retranslate all the names and places. Jon Snow is now Jon Schnee, Shaggydog is Struppel, I think, and Theon is now Theon Graufreud :-( But Mya Stone is still called Stone and not Stein. And some of these new names make absolutely no sense: Lannister is now Lennister, Hunter is now Hanter. So all the German readers have to get used to these new names because the remaining books will stick to this translation. I hear the lady in charge for the new edition got quite a lot of hate mail…

    I REALLY hope the TV show will keep the original names. I’m from Switzerland and while I plan on seeing the show in English, we’ still get all our TV shows in German. I don’t want to have to tell people: Look, it’s a great show, you have to watch it, just forget about the stupid names.

  144. Caedes
    Posted February 4, 2011 at 11:48 am | Permalink

    Czarnian: Javier,
    Cool!
    Now the raspy voive of Mr Eastwood is like honey poured over a rusty buzzsaw-bladeso I have my doubts that he can be bested by any voiceover artist. But do any of you from Spain, Germany, Italy and other countries with voiceover have examples where the voiceover-artist is better than the original?    

    Czarnian,

    I can think of 3 different cases:

    People who has become their counterpart for Spanish audience:
    Ricardo Solans: Spanish voice of Robert de Niro, Sylvester Stallone or Al Pacino, among others.

    Pepe Mediavilla
    : Expert at long, ponderous narrations.

    Camilo García: Makes Anthony Hopkins or Gene Hackman even better.

    Actors with voices very unlike the original ones, but good nonetheless:
    Will Smith. This comes from being a former comedy Tv star (Remember “the fresh prince”?)

    And Clint Eastwood…

    The worst-case scenario: The Shining. Oddly enough it was Kubrik himself who chose who the dubbing actors had to be.

    Actually, the spanish dubbing is regarded as one of the best of the world. I think the problem is nowadays, which too much to dub, and too little time to do it because of the rushing and ever so fast moving pace of media.
    Also, there’s more and more people who like to see original pictures.

  145. Pablo Jainaga
    Posted February 4, 2011 at 11:56 am | Permalink

    Rinoa De la Pica,

    Saludos desde Bilbao!

  146. Tar Kidho
    Posted February 4, 2011 at 12:22 pm | Permalink

    Dunkeltroll:
    I guess the problem is the usually excellent technical quality of the dubbing: most folks over here simply don’t realize what they are missing.     

    Hm…I beg to differ on that account. Being Flemish I have grown up with subtitles and, as mentioned before by others, that’s great as you get the original production AND the chance to easily improve on foreign languages. Having spent several years in Switzerland and France, I still can’t watch dubbed films or tv series, it’s just awfull! From my experience, I can also say that the quality of the dubbing in French is much better than it is in German. Honestly, play me any film in German and I will be able to tell you if it’s an original German movie or a dubbed foreign one. The dubbing in German is often done by people who can’t act the least bit, thereby really degrading the watching experience. So in that sense I can’t agree with you at all. As said, in French the dubbing quality is somewhat better in my opinion, but still I can’t watch it. Subtitling is better in any respect, and if most Germans, French, Italians or Spanish don’t realize that, it’s because they have no idea what they’re missing.

    Btw, on the subject of book translations: for Dutch this depends a bit on the book. Some translations are done masterfully, others are very poor. The last couple of years I bought all my books in their original tongue, but sometimes I recieve translated-to-Ducht versions as presents. As said, sometimes the translation is done well and I can read it, but it has happened that I had to put the translated version away and bought the original instead. Especially with names it can be a bit of a problem. Somehow is can get me ‘out of the story’ reading a story in Dutch when the names are clearly in English. So in that case I prefer it if they also translate the names where needed (if it is done well – the examples given by Fangrrrl above seem horrible!), but nothing is better than reading the original.

  147. Tar Kidho
    Posted February 4, 2011 at 1:01 pm | Permalink

    Czarnian: You must have voice-celebrities in Germany and Spain! The voice of Clint Eastwood and such.     

    I can’t comment on the situation in Spain, but in German that is one of the problems: usually, one actor/actress is from the start of their carreer dubbed by always the same person. So it can happen that a terrific actor/actress is paired to a mediocre dubber and that it stays like that throughout the years…
    Here’s a few examples of German dubbing if you want to make up your own mind:
    http://www.youtube.com/watch?v=nCoNSZV–z0
    http://www.youtube.com/watch?v=HKVjvNjMlso
    http://www.youtube.com/watch?v=2V7gh9CW7Q0
    And it’s not better for animated films or series I find…
    http://www.youtube.com/watch?v=y61g7MIm534

  148. Caedes
    Posted February 4, 2011 at 1:07 pm | Permalink

    Tar Kidho:
    I can’t comment on the situation in Spain, but in German that is one of the problems: usually, one actor/actress is from the start of their carreer dubbed by always the same person. So it can happen that a terrific actor/actress is paired to a mediocre dubber and that it stays like that throughout the years…
    Here’s a few examples of German dubbing if you want to make up your own mind:
    http://www.youtube.com/watch?v=nCoNSZV–z0
    http://www.youtube.com/watch?v=HKVjvNjMlso
    http://www.youtube.com/watch?v=2V7gh9CW7Q0
    And it’s not better for animated films or series I find…
    http://www.youtube.com/watch?v=y61g7MIm534    

    Got a looong post “awaiting moderation” since 2 hours ago on that topic

  149. Dunkeltroll
    Posted February 4, 2011 at 2:09 pm | Permalink

    Tar Kidho:
    And it’s not better for animated films or series I find…

    What I tried to say was: an animated feature is obviously always dubbed, even in its ‘native’ language, and I wanted to compare the German dubbing on live action stuff to good voicework on a cartoon. Other than that, your examples where kind of random and not all of them had very much dialog in them, but otherwise OK to get a general idea.

    And of course you are right about actors and their german voices being kind of inseparable, if possible. This can surely be a good or a bad thing – some of the better examples (NOT necessarily fitting the actors own voices, but going very well with their looks!) would be Clint Eastwood, Jodie Foster, Tom Selleck or Robert de Niro.

    Anvil:
    Unfortunately all names of places and persons are translated as well in the new edition.
    Highgarden= Rosengarten (Rose Garden)
    Lancel Lannister = Lansel Lennister
    Theon Greyjoy = Theo Graufreund (Greyfriend)
    Kings Landing = Königsmund (Kings Mouth)
    …Sometimes it just sounds strange, but in general it was completly unnecessary.

    fangrrrl:
    The new German edition might be all shiny and pretty on the outside (even though the cover is weirdly sticky to the touch), but the inside is not so great because the publisher decided to retranslate all the names and places. Jon Snow is now Jon Schnee, Shaggydog is Struppel, I think, and Theon is now Theon Graufreud But Mya Stone is still called Stone and not Stein. And some of these new names make absolutely no sense: Lannister is now Lennister, Hunter is now Hanter. So all the German readers have to get used to these new names because the remaining books will stick to this translation. I hear the lady in charge for the new edition got quite a lot of hate mail…

    Sounds like an even greater disaster than the ‘more modern’ translation of tLotR a few years ago… and that surely got his share of hatemail ;-) We (or better: my girlfriend) have the first six (read: aGoT to aSoS) books of the old German edition of aSoIaF at home, but I guess it was a good decision (after reading some BAD reviews concerning the translation) to read the originals. Peering over her shoulder now and then, I already saw enough reason to get a really bad case of toothache…

  150. Dunkeltroll
    Posted February 4, 2011 at 2:10 pm | Permalink

    Caedes:
    Got a looong post “awaiting moderation” since 2 hours ago on that topic    

    and my last was simply eaten up…

  151. Czarnian
    Posted February 4, 2011 at 2:39 pm | Permalink

    This whole translation thing is really a forgotten part of both movies, TV-shows and litterature. It is generally accepted for some obscyre reason even though it distorts the original work just as it would do should they start translating all music lyrics. How would you enjoy Metallica dubbed into german?
    Right now Im reading Against All things Ending by Stephen Donaldson. His writing is like poetry and the english is pretty advanced. Even though I know my english I constantly run into words Im not familiar with….reading GRRM this is not a problem. Now how can that possibly be translated? The tone, the choosing of words, the fabric of words themselfes?
    Translation should be banned. I have learned most of my english from movies, books and games. The spanish I have learned is from an ex girlfriend of mine. I didnt ask of her to be dubbed just so I could understand. I had to develop and I had to broaden my horizon.
    If you have read GGRM in a translated form, you havent read GRRM just as if you have watched 2001 dubbed to spanish, you havent watched 2001.

  152. Herr Fick
    Posted February 4, 2011 at 3:09 pm | Permalink

    Czarnian:
    Translation should be banned. I have learned most of my english from movies, books and games. The spanish I have learned is from an ex girlfriend of mine. I didnt ask of her to be dubbed just so I could understand. I had to develop and I had to broaden my horizon.
    If you have read GGRM in a translated form, you havent read GRRM just as if you have watched 2001 dubbed to spanish, you havent watched 2001.    

    I gather, you have read the great Russians in their original 19th century Russian then?…

    fangrrrl:
    The new German edition might be all shiny and pretty on the outside (even though the cover is weirdly sticky to the touch), but the inside is not so great because the publisher decided to retranslate all the names and places. Jon Snow is now Jon Schnee, Shaggydog is Struppel, I think, and Theon is now Theon Graufreud But Mya Stone is still called Stone and not Stein. And some of these new names make absolutely no sense: Lannister is now Lennister, Hunter is now Hanter. So all the German readers have to get used to these new names because the remaining books will stick to this translation. I hear the lady in charge for the new edition got quite a lot of hate mail…

    While I can understand your opinion (at least to a degree – I never read the German translations), it is not shared by many German readers, who actually expected the new translation to deal with the English (“Shaggydog”, “King’s Landing”, “Greyjoy”) or English sounding (“Lannister”) names in a more coherent and – in their view – believable way. Accordingly, these readers regard the new translation as considerably superior to the former one. You can follow the argument in this thread at westeros.org: http://asoiaf.westeros.org/index.php/topic/46270-bilingual-readers/

  153. Tywin's Bastard
    Posted February 4, 2011 at 3:12 pm | Permalink

    Czarnian,

    But translations are still necessary to be able to at least get some grasp of the world’s art. It’s pretty few of us in the western world that speak Japanese or any of China’s languages and if we don’t get translations we miss a ton of great works just from those two countries alone, and there are of course many more.

  154. Pablo Jainaga
    Posted February 4, 2011 at 3:54 pm | Permalink

    Caedes,

    Having watched films in Spanish, French, Basque, Italian and German I can only agree that Spanish dubbing is excellent if not the best. Problem is, therefore nobody watches films in English and that’s a reason why the level of English knowledge in Spain is just shameful…

  155. Caedes
    Posted February 4, 2011 at 4:07 pm | Permalink

    Pablo Jainaga,

    And that’s why you and me are here talking like this, isn’t it? :-)

  156. Julian Budke
    Posted February 4, 2011 at 4:10 pm | Permalink

    I envy the dutch and swedes for their TV being free of any dubbing.
    It’s not just the atmosphere as a side effect most Dutch and Swedish people speak way better English then Germans do…
    The only thing that would annoy me would be having the subs in your own language. IMHO it makes way more sense to read English subtitles while watching an English show.

    Concerning the German translation of the Books: Oh gods (!), this is the first time I hear of that… The only thing I can do is urge everyone to read the English books. It’s really not that hard to read. The only problem are some unusual words from time to time… (for special fruits, horse breeds or stuff like that)

  157. Czarnian
    Posted February 4, 2011 at 5:36 pm | Permalink

    Yes I agree I was a tad harsh. Sometimes translations are neccesary. I wouldnt have been able to read Dostojevskij if it werent for the translations. But still it is nothing more than reading a report on the subject, a second degree view so to speak.

  158. Andrija Andrew P
    Posted February 4, 2011 at 5:46 pm | Permalink

    In Croatian books they translate things like: Kings Landing- Kraljev grudobran, Winterfell-Oštrozimlje, Dragonstone-Zmajev kamen, Storms End-Krajoluja, The Arbor-Sjenica, Highgarden-Visovrt etc. It is a bit odd if you read the translated books first cause
    a) you are not sure the first few times when reading the original what, where or who are they talking about
    b) you keep calling e.g. Winterfell as Oštrozimlje in your mind even when reading the book in English which annoys the crap out of me -.-

  159. fangrrrl
    Posted February 4, 2011 at 6:20 pm | Permalink

    Herr Fick,

    Well, on some German forums there are pretty heated discussions about the new edition of the books. A friend was pretty active in mailing complaints to the publishing house, and he was definitely not the only one. As I understand someone even put up the address of the woman responsible for the revision and called for an attack with pitchforks and torches…

    I personally don’t read translations of books that were originally written in a language I understand, so I did not read the German version of ASoIaF. However, I don’t see why it would be a good idea to completely change the name of almost every person in a still ongoing series. For German readers, this will be a nightmare because now most readers will have to look up which person or place this or that name used to be. If the original translation was really that bad, why not publish an edition with an all new translation? The answer is simple: Translations are expensive. This way, they only had to pay for the revision of some names, the rest of the books stayed absolutely the same. And while some readers may like this version better, the revision does seem rather inconsistent. Some words were only changed phonetically – Royce-Rois, Lannister-Lennister, Hunter-Hanter, Pyke-Peik – but some English words – like Stone – inexplicably stayed.
    The publishers explained they didn’t want to keep the English words in the German text because the story is fantasy and should not allude to something that exists in the real word (i.e. the English words would allude to real-world England). Personally, I think this would have been fine if they had done it from the beginning. But mid-series? That’s not customer-friendly at all, and I know quite a few people who decided to read the final books in English.

  160. Herr Fick
    Posted February 4, 2011 at 8:09 pm | Permalink

    fangrrrl,

    Well, the novels are translated into German for people unable to read the original English. The translation is neither meant to work for those who first read the English edition and then the German one (which would be rather odd, by the way) nor for those who do it the other way around (although a coherent approach would be preferable). However, to change a translation mid-series is definitely not a feat of greatness by the publisher (Blanvalet is a crappy publisher anyhow and known for heinous translations). But they obviously felt it necessary to amend the mistakes or shortcomings of the first one, which – by most accounts – is rather bad (overall). My guess is, that an entirely new translation was too expensive for Blanvalet and they speculated on enough newcomers to the series to go along with an in between change.

    By the way, to phonetically adjust the English-sounding names (like “Lannister”) to German (“Lennister”) seems like a prudent measure to me, although it lacks, as you wrote, coherence (“Hunter” could easily be “Jäger”, for example).

    Personally, I would not mind English names in a pseudo-late-medieval fantasy novel of Mr Martin’s kind, because it does not raise the same issues concerning suspension of disbelieve as, for example, the Lord of the Rings does: Tolkien’s novel certainly would not work properly in German if its English names were retained. But this is due to the Lord of the Ring’s fairly unique mytho-linguistic framework – something that Mr Martin’s Song of Ice and Fire neither has nor needs to work.

    Well, in the end, I can only advise newcomers from Germany to read the English original. The American and British editions have a much better cover design, too.

  161. Herr Fick
    Posted February 4, 2011 at 8:12 pm | Permalink

    Herr Fick,

    “suspension of disbelief”… I need an edit-button. ;)

  162. Luke likely
    Posted February 4, 2011 at 9:39 pm | Permalink

    Caedes: Abyss,
    The worst part is that some dialogue is translated wrongly! From Eddard’s “Let them look”that becomes “Let’s go look” to the terrible defiling of Littlefinger’s line:
    Original:“The wiser answer would’ve been “No”, my lord”
    Spanish: “¿Y por qué habéis respondido “No”, mi señor?”
    Eng : “Then why’d you answered “No”, my lordTruly terrible.    

    this is so funny, because I’m a big fan of anime and I usually watch the dubbed version. sometimes the dialog seems strange and I’ve heard of people complaining about bad translation, but I think I just forced myself to get used to the strangeness. but if their screwing up the words as much as these people have the trailer its like I’m watching a completely different show. It’s funny how one wrong word in a sentence can completely change the meaning

  163. Lex
    Posted February 4, 2011 at 10:13 pm | Permalink

    Herr Fick,

    It’s funny to hear that German ASOIAF fans can be just as crazy as the English speaking ones. :)

  164. loco73
    Posted February 5, 2011 at 1:47 am | Permalink

    Jeff T

    I am sorry to dissapoint you…but I am real and have been following this blog since the beginning. I am sorry my message was so offensive to you. I never thought that I was a naysayer and all gloom and doom. I was just disspointed that is all, and hey if that message was a bit too strong for your nerves, so what? Nobody forced you to read it, please feel free to ignore any and all comments I make. Oh no, imagine I used the F-bomb, oh my, what will we do? Western civilization will crumble…

    I was just voicing my concern, that is all, I thought and still think that “Game Of Thrones” would be more than well served with a quality soundtrack. I don’t think this guy can do it, all the same I sincerely hope I am dead wrong! As for Bear McCreary, I know the point about him has been made to death by many others, but I like his music, thus I brought it ip one more time.

    No, I don’t think HBO is out to screw with the fans, the are producing the series, and save a few minor gripes, I have been a fan of HBO for many, many years. I AM looking forward to “Game Of Thrones” no matter what you might think.

  165. Tar Kidho
    Posted February 5, 2011 at 4:36 am | Permalink

    Caedes:
    Got a looong post “awaiting moderation” since 2 hours ago on that topic    

    I’m still waiting :-)

  166. Rinoa De la Pica
    Posted February 5, 2011 at 4:49 am | Permalink

    Anvil,

    Are you kiddin’? Wow, this is so terrible… Greyfriend lol.

  167. Rinoa De la Pica
    Posted February 5, 2011 at 5:02 am | Permalink

    Pablo Jainaga: Caedes, Having watched films in Spanish, French, Basque, Italian and German I can only agree that Spanish dubbing is excellent if not the best. Problem is, therefore nobody watches films in English and that’s a reason why the level of English knowledge in Spain is just shameful…  Quote  Reply

    Hey Pablo, what’s up, darling?
    And that’s exactly what I was about to comment: the awful level of English we have in Spain. It took me 20 years to understand spoken English almost completely. Now I try to watch everything in original version (Thank God they invented the DVDs!). Yes, we possibly have the best dubbing factory in the world (too many years of practising) but without the voices of the actors, the audience lose one big part of the “real” acting

  168. Tar Kidho
    Posted February 5, 2011 at 5:24 am | Permalink

    Rinoa De la Pica:
    Yes, we possibly have the best dubbing factory in the world (too many years of practising) but without the voices of the actors, the audience lose one big part of the “real” acting    

    As I said somewhere before, I can’t judge the Spanish ‘dubbing factory’, but if it is anything like the French and much more so the German ones, than one big problem might be that it is always clearly recorded in some studio. I mean, a sound is not only made up of the source sound, but very importantly also of its reflections (echos if you will) on the direct surroundings. And all too often, dubbings really reflect the fact that they were recorded in some cramped studio, making them sound totally ‘disconnected’ from the scenes they are associated to. As I said, it’s worst in German dubbings. How are the Spanish ones in that respect?

  169. Rinoa De la Pica
    Posted February 5, 2011 at 5:53 am | Permalink

    Tar Kidho,

    I really think it’s not bad at all. You can even feel the studio recorded sounds as natural and integrated in the film. But it can be that we Spaniards are used to watch dubbed movies and series during all of our lives.

    See, there’s a funny thing about how it sound Spanish dubbing. When you watch for the first time a dubbed series you think it’s ok. BUT if you later get to see the “original” episodes, suddenly you realize that dubbing is much worse.

    A nice example (A scene from Interview of the Vampire):
    http://www.youtube.com/watch?v=CrQZTpDnifk&feature=related

  170. Tar Kidho
    Posted February 5, 2011 at 6:32 am | Permalink

    Rinoa De la Pica: Tar Kidho,
    I really think it’s not bad at all. You can even feel the studio recorded sounds as natural and integrated in the film. But it can be that we Spaniards are used to watch dubbed movies and series during all of our lives.See, there’s a funny thing about how it sound Spanish dubbing. When you watch for the first time a dubbed series you think it’s ok. BUT if you later get to see the “original” episodes, suddenly you realize that dubbing is much worse.A nice example (A scene from Interview of the Vampire):
    http://www.youtube.com/watch?v=CrQZTpDnifk&feature=related    

    Sorry Rinoa, but I closed my eyes before the clip started and just listened, and it sounded as fake as fake can be. The voices are completely de-coupled from the piano music, and the guy dubbing Tom Cruise was very poor at acting in my opinion. If you compare it directly with the original, you should hear what I mean: http://www.youtube.com/watch?v=MQk1aZjUV34 (close your eyes and just focus on the sound – you’ll hear that in the English version there’s much less of a…separation between the voices and the other sounds)

  171. Caedes
    Posted February 5, 2011 at 7:24 am | Permalink

    Tar Kidho and the guy dubbing Tom Cruise was very poor at acting in my opinion.     

    That’s funny, because Jordi Brau, the usual voice of Tom Cruise is generally regarded as overacting and excessive! :-)

  172. Caedes
    Posted February 5, 2011 at 7:27 am | Permalink

    Tar Kidho,

    This is it. Not so long as I thought, though.

    Moderated post by Caedes

  173. Tar Kidho
    Posted February 5, 2011 at 8:37 am | Permalink

    Caedes:
    That’s funny, because Jordi Brau, the usual voice of Tom Cruise is generally regarded as overacting and excessive!     

    In fact, with ‘poor acting’ I meant ‘bad acting’ and definitely not ‘under-acting’, so I can completely agree with the general opinion on him :-)

    From watching the examples in your other post, I’d have to say that I didn’t like any of the dubbing, except maybe for some (not all!) things that Pepe Mediavilla did (for instance his Gandalf in LotR is not bad). However, why you say that Camilo García makes Anthony Hopkins (or Gene Hackman) even better I really cannot understand. His voice in the clip from Silence of the Lambs sounds like it is not at all part of the scene – close your eyes and hear the little studio it was recorded in… Besides, what makes Anthony Hopkins such a great actor is that with the slightest raise of his voice, he can stir up fear like nobody else. This is what made him such a brilliant Hannibal Lecter, and it returns in some of his other roles as well, for instance in Instinct. Obviously (at least in my opinion), Camilo Garciá does not have that quality, which is no insult as very few people do. Hence, to say that Garciá actually improves Hopkins’ acting is simply ridiculous to me. In fact, in my personal opinion, dubbing can never improve the original acting, or it would have to be the acting of an actor with great expressions but a very bad use of his/her voice. And I can’t actually think of such an example, since one thing all good actors have in common is good voice control.

  174. Pablo Jainaga
    Posted February 5, 2011 at 10:09 am | Permalink

    Tar Kidho,

    I think we should separate the actual quality of the acting from the likability of the voice, both things being pretty subjective in many ways. To me Robert de Niro sounds silly, but the Spanish voice is cool. Same with Morgan Freeman. Bruce Willis is ok, but the dubber is just awesome (Ramon Langa). About the quality, I just don’t have the tools to judge.

    Sometimes you get used to a voice and will like it over any other, be it the original or another dubber (the original Spanish Homer Simpson is a good example, what a great loss).

  175. Rinoa De la Pica
    Posted February 5, 2011 at 10:46 am | Permalink

    Pablo Jainaga,

    This, exactly.

    I like Tom Cruise’s Spanish voice, in fact, because he seems a bit over dramatic and I’m used to hear his voice associated with Tom Cruise. (And Interview with the Vampire is one of my favourite old movies also hehe). It’s what I tried to explained: We are used to watch dubbed movies and we think it’s ok at first, but it isn’t, because you feel you’re missing a lot with dubbing when you switch to the original audio.

    Now I can only watch movies in O.V. but for example, my parents are unwilling to read subtitles (generally speaking, the English level of Spanish people is not enough to understand a movie without the subtitles). They prefer the dubbed material in spite of the loss of acting and quality.

  176. Tar Kidho
    Posted February 5, 2011 at 10:59 am | Permalink

    Pablo Jainaga: Tar Kidho,
    I think we should separate the actual quality of the acting from the likability of the voice, both things being pretty subjective in many ways. To me Robert de Niro sounds silly, but the Spanish voice is cool. Same with Morgan Freeman. Bruce Willis is ok, but the dubber is just awesome (Ramon Langa).About the quality, I just don’t have the tools to judge. Sometimes you get used to a voice and will like it over any other, be it the original or another dubber (the original Spanish Homer Simpson is a good example, what a great loss).    

    (I had a long ready and then my browser crashed…grrrrrrrr…I’ll repeat it shorter here)

    The thing is, I’m not speaking about likability of the voice. For any decent actor, small shifts in tonal expressions are reflected in small shifts in facial expressions, and that is a relationship that is mostly lost in the translation process as the translation never fits the original word by word. Look at this clip from the Shawshank Redemption and pay special notice to small changes in the facial expression (slight lift of the eyebrows, very faint frowning, direction of looking…) coupled to changes in the intonation: http://www.youtube.com/watch?v=KtwXlIwozog. This clip (from 0:38 on) is the same as the one Caedes linked to as an example of Pepe Mediavilla’s dubbing. Even if you like that guy’s voice more (which I don’t for Morgan Freeman as it is clearly not a black man’s voice), you have to agree that the small nuances get lost, no?

  177. Tar Kidho
    Posted February 5, 2011 at 11:10 am | Permalink

    Rinoa De la Pica: Pablo Jainaga,
    This, exactly.
    I like Tom Cruise’s Spanish voice, in fact, because he seems a bit over dramatic and I’m used to hear his voice associated with Tom Cruise. (And Interview with the Vampire is one of my favourite old movies also hehe). It’s what I tried to explained: We are used to watch dubbed movies and we think it’s ok at first, but it isn’t, because you feel you’re missing a lot with dubbing when you switch to the original audio.
        

    I can agree with that completely! (you wrote your reply while I wrote, lost and re-wrote my reply to Pablo)

    One thing that might also play a role is that the intonations used to express a certain feeling are different in all languages. No harm intended, but compared to more northern languages (speaking Dutch myself), Spanish itself almost sounds like ‘over-acting’. If we turn that around, I can imagine that English (or Dutch, German,…) sounds under-acted to many Spanish or Italians, and hence the dubbed versions actually make it easier to understand the emotions that the actors go through. Of course, that’s just something that one has to get used to when learning another language, but for many people that is not so easy (especially older ones like your parents).

  178. Czarnian
    Posted February 5, 2011 at 11:27 am | Permalink

    I was genuinly curious about the tradition of dubbing. I originally thought it was something german. Then I heard of spain and Italy and France and all of a sudden its not some weird occurance. Its a degredation of culture spread over most of Europe. It is really shameful. One of my favourite movies is Das Boot. I wouldnt want it dubbed. All realism would be completely lost. Germans speaking in studio-altered english. What a drag. Aint there any influencial directors who refuse this? Who say “I wont have this piece of work destroyed”? Say Oliver Stone or Coppola or Scorcese? In Sweden we have had Directors in lawsuits against TV-networks claiming that the commercial breaks degrade their work. Here we have actual destruction of movies. Why not keep the sound and change the visual parts? That about as bad as raping the audio.

  179. Tar Kidho
    Posted February 5, 2011 at 11:39 am | Permalink

    Czarnian,

    The way you put it is quite harsh, but in principle I agree with you. I once saw a chinese film at the house of some German friends, so with German dubbing, and it completely ruined the atmosphere of the movie for me. Judge for yourselves: http://www.youtube.com/watch?v=buhcNvvDTq0

  180. Czarnian
    Posted February 5, 2011 at 11:39 am | Permalink

    Tar Kidho,

    So? The reality of meeting another culture. Differences. Besides isnt the notion of americans speking spanish or german a bit odd? Isnt that degrading the integrity of that piece of work? Isnt that degrading the integrity of the actors work? I want Das Boot to be in German just as I want to be Nikita to be in French. How silly wouldnt it be for me to watch The Girl with the Dragon Tattoo dubbed to english? The energy of expression due to language cant be suited to the ears of the listener, the energy is suited to the person expressing the emotion in the first place.
    It is just as saying that we should reshoot the visual imagery due to the fact that in italy they have more explosive bodylanguage. A lot of waving with the arms and stuff.

  181. Czarnian
    Posted February 5, 2011 at 11:40 am | Permalink

    Tar Kidho,

    Sorry I often come on a bit harsh. It is my latino temperament. I should be dubbed ;-)

  182. Czarnian
    Posted February 5, 2011 at 11:45 am | Permalink

    Im actually swede and 1/16:th jew but since I tan good and dye my hair black I often get away with that excuse. I dont think saying “hey Im swede!” would cover for my bad manners. :-D

  183. Czarnian
    Posted February 5, 2011 at 11:50 am | Permalink

    Ive seen some spanish voiceovers and they are a bit likt this….over the top.

  184. Czarnian
    Posted February 5, 2011 at 11:51 am | Permalink

    Sorry my link idndt come up….and now Im flooding. Gah!
    http://www.youtube.com/watch?v=gneFBppU9LE

  185. Tar Kidho
    Posted February 5, 2011 at 11:52 am | Permalink

    Czarnian: Tar Kidho,
    Sorry I often come on a bit harsh. It is my latino temperament. I should be dubbed     

    No problem for me, I’m also guilty of expressing my opinions (too) hard at times. Must be the bad influence of too many french, italian, spanish and south-american friends :-)

    The idea of ‘different language, different levels of expressing hence under/over-acting’ was just a thought that came to me when reflecting on dubbing. As you could imagine from my replies, I’m very much in favour of subtitles myself!

  186. Czarnian
    Posted February 5, 2011 at 12:06 pm | Permalink

    Tar Kidho,

    Ive noticed. We are on the same side. I dont really notice anyone agreeing with the culture of voice overs. So why is it then in effect? Big business, as always. Dollaros changing manos. Som old men and women just want to hang on to their jobs. Its like in Sweden. Even if we dont dub movies we still change the titles. Luckily this have toned down a bit lately. Often they keep their original title. If you look back over the years its a complete mess. Every movie with Goldie Hawn is called “The girl who….”-something. Doesnt matter if she gets raped or if its a comedy. It is still “the girl who….”(translated). Every movie with Mel Brooks id for some odd reason called “springtime of….”(translated). “springtime of the sheriff” or “springtime of the space”. I mean who comes up with this BS? And if a swedish title dont suit they come up with a new title in plain english. Like the movie “Equilibrium” was in swedish titled “Cubic”. Why? WHY? I can really see this grumpy old man in front of me. Sitting in his little gray office with a portrait of his gray family staring at him with disapointed eyes renaming all movies in his own fashion.
    These tyrants must be stopped!

  187. Tywin's Bastard
    Posted February 5, 2011 at 1:08 pm | Permalink

    Czarnian,

    Yes, Mel Brooks actually became upset when he found out that all his movies were named like that. Well, all his movies up until the Men in Tights one.

    As for the change of the title of Equilibrium that was because the people responsible though the word was too complicated. Other than cases like that I’d say that renaming movies is very uncommon these days in Sweden (and that’s a great relief since, as you said, many new titles were horrible).

  188. Pablo Jainaga
    Posted February 5, 2011 at 1:08 pm | Permalink

    Czarnian,

    Funny enough, I think there was some trouble in Barcelona because the politicians there had this bright idea of forcing the cinemas to showcase a minimum amount of movies dubbed into Catalan (local language) lol

  189. Czarnian
    Posted February 5, 2011 at 1:51 pm | Permalink

    Tywin’s Bastard,

    Wouldnt you like to casually bump into the perosn who came up with the idea renaming the walkman….you know the portable taperecorder, to the swedish word for it; freestyle. I bet it is the same man who gave us all of those titles. Oh in that dark alley I would ask him of his reasons before I killed him….

  190. GaR
    Posted February 6, 2011 at 1:46 am | Permalink

    Tywin’s Bastard: GaR

    The first few lines describe Winterfell better than the Iron Isles, tbh :P

    Excellent idea though. I really am glad I’m not in charge of the score. The soundtrack would be awesome, but it’d probably be unwatchable :D

  191. Tee
    Posted February 10, 2011 at 7:03 am | Permalink

    Not overly fussed, as I’m confident Djawadi is professional enough to deliver on this. As a Zimmer “protége”, I envision the show set to a version of the seminal King Arthur soundtrack and then I have no worries whatsoever… remember Woad to Ruin? Do You Think I’m Saxon? and the likes?

    Of course, that was Zimmer, but from the clips I’ve checked of Djawadi, he sounds like he also has the flare for the epic adventure style, so fingers crossed!

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