As vital as the animation in the original film was the score by Howard Blake. While it is best known for 'Walking in the Air', the soaring, choral song that has become synonymous with the film and with Christmas, the score throughout is enchanting. The film has no dialogue beyond the opening voice over, much as the book had no words, and so the music acts as dialogue, setting the tone, creating the atmosphere. Where 'Walking in the Air' acts as a moment in itself, the score throughout also works to add extra dimensions to the story and to the interactions between the characters. The makers of the Snowman and the Snowdog will hope to retain this impact. And what about the challenge of matching 'Walking in the Air'? 30 years on since Aled Jones reached a pitch so high it seemed he would never come back down, the job has fallen to Andy Burrows, the former Razorlight drummer. Burrows has collaborated with Ilan Eshkeri, the young British soundtrack composer who recently scored Ralph Fiennes' Coriolanus, on the score for the film. They also roped in producer Steve McLaughlin and the London Metropolitan Orchestra, making the score together in the hallowed studios of Abbey Road. Enlisting fellow musicians such as Tim Wheeler from Ash and folk-songstress Emmy the Great, the new score is being touted as much more modern and eclectic. For one scene involving a helter-skelter, Burrows even has a drum battle with Muse drummer Dom Howard. The central song, this year's 'Walking in the Air', is 'Light the Night', written and performed by Burrows. The song is a soaring, charming song, that wavers between folk and orchestral. It will be with the film itself though, with that flying sequence, that the song will rise or fall.