Mr. Sserpent's video: How To Train Your Dragon: The Hidden World - Light Fury Sound Effects

Randy Thom: She was a big challenge vocally, because we needed to suggest with her vocalizations that she was female. I’ve faced the challenge before of coming up with female-sounding creature sounds. It’s a bit of a conundrum because humans are not able to distinguish the difference between male animal vocalizations and female animal vocalizations. If you hear a dog bark, you really can’t tell if it was a male or female dog. It’s the same with any cat. I’ve used various tricks to try to suggest the feminine aspect of the Light Fury. One (and you could quickly become mired in sexism with this) is that felines traditionally are associated with the female. So I did start with some cat purring and cat vocalizations that I think were useful. Believe it or not, I also used some of my own voice pitched up about three octaves for things that I just couldn’t do with cat vocalizations or with some other kind of animal. Normally for dragons, I’m pitching my voice down. But this is one of the few cases where I found myself pitching it way up for the creature instead. We came up with a distinctively different attack. Toothless has his signature sound when he dives and is about to attack. We came up with a different version of that for the Light Fury. Al Nelson: Her sound is more musical and stealthier. Toothless’s attack sound was designed when we first met him and he was dangerous. So his attack sound is very aggressive. The Light Fury is much more elegant. We know Toothless by this third film, but the Light Fury is more mysterious. She’s not necessarily an adversary. She is kind of an enigma. She has this mysterious, musical/magical persona and her elements reflect that. They’re not necessarily dangerous; they’re just cool and stealthy. They still sound powerful but they don’t sound like the bad dragons. She sounds like a cool dragon. All kinds of strange sounds went into it. It’s partly squeak and squealing and screaming and manipulating those sounds. There are things like firework rocket whistles and wind. We have close to one million recordings of wind in our library, every conceivable kind of wind. Sometimes when we’re doing a Toothless or Light Fury diving attack we will use a distinctive kind of whistling wind for one of the elements that you can either interpret as the sound of the dragon flying through the air or as an element of the vocalization — it doesn’t matter so much how you interpret it as long as it evokes the emotion you want it to evoke.