Personal quote He is not the biggest composer, nor the most fan based one but there is something special about Graeme Revell's work. In a way it was clear how he responded to a single question about why he got on board of Tomb Raider even if he didn't have the appropriate time. "Simple" he said, "because it was the easiest thing to do, each of my personal trademarks were needed to make the music work". I think that answer is clear. Now, Graeme Revell also seems to me a composer that uses his vocal arrangements with different ideas in the first place. Red Planet was a very interesting effort and basically was constructed because he wanted to do something different. So, I think he has mainly set his standard upon this world and not many composers can say they have made it the effective tone to grade upon. Biography Graeme Revell was born in New Zealand on the 23rd of October in the year 1955. He studied at the university of Auckland in such areas as economics and politics. Revell has also been classically trained in piano and French horn. He started working in Australia and as an orderly in a hospital, but this resulted in his interest for other things, the lure to music was too great to resist. He formed a rock group in the early 80' and it drew the attention of director Philip Noyce, Revell was hired to score Dead Calm. He got an Australian Academy Award for it and then he began scoring more projects. This included various choices to mini series and movies. Like in 1990 the sequel Child's Play 2. He scored different genres but most of them had a dark nature or a chilling background, like Psycho IV, The People under the Stairs, The Hand that Rocks the Cradle, Ghost in the Machine, Body of Evidence and other titles. But also action and drama were his genres and this he proved with Hard Target, Street Fighter and No Escape as the dramatic Boxing Helena. Still, the dark and mysterious tone was set further with the hit The Crow, or Cameron's production of Strange Days. Other big names on his list are From Dusk Till Dawn, The Crow: City of Angels, The Craft, the movie version of the cult series Spawn as the score for Val Kilmer's The Saint. The impressive list of scores continued to rise and expand with The Negotiator and The Siege in 1998 and his additional score for the highly praised movie The Insider in 1999. Science fiction was all over the year 2000, with Titan A.E., Dune, Pitch Black and Red Planet. Revell composed in the new Millennium Below and Tomb Raider, and his more recent affairs include the likes of Daredevil, Freddy vs. Jason, the wild Out of Time and the epic The Chronicles of Riddick, sequel to Pitch Black. It's true that Revell didn't receive a lot of attention but those names continue to rise and it will only be a matter of time when he hits the jackpot with a certain film. Perhaps that will happen when he will write his own film, since he took a brief break from the music composing and wrote a screenplay. He returned again with a full roster of movies in 2005, Assault on Precinct 13, Sin City, Goal, Harsh Times, Call of Duty 2 (VG) and The Adventures of Shark Boy and Lava Girl in 2005. Aeon Flux is another take in the science fiction which he knows by now! Marigold, The Condemned and Bordertown are his latest and he plans to score the Sin City sequels in the future.
(on Red Planet) December 22, 2000 It's bad enough when you get temped with someone else's music, but it's even worse when it's your own because it seems, in a lot of cases, perfect. Why would you want to come up with anything else? It's a very strange phenomenon. People think they're paying homage to your work by temping it on their movie, but in fact I think they're doing the filmmaking process a disservice. (overall impression) December 22, 2000 My dream project is actually producing a movie that revolves around my story. I must say the main reason for wanting to produce it in the first place was that I feel that there aren't enough good movies around. So in a way, if I try to do some myself then there's no excuse! (overall impression) July 28, 2001 As so often happens, the filmmakers realized it was not going to work using songs and belatedly called Kamen, mainly because of his prior relationship with the new editor Stuart Baird. When that didn't work out, they finally came to me. Good sense prevailed! <laughs> (on getting Tomb Raider)
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