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Comments about the soundtrack for Aeon Flux (Graeme Revell)
Not entirely Revell's fault...

Jonathan Broxton
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  Responses to this Comment:
Seth M
greg
Not entirely Revell's fault...   Saturday, December 31, 2005 (1:38 p.m.) 

Nice review. Pretty accurate in terms of the final product, but it doesn't take into account the difficult circumstances in which Revell wrote the score. He was the third composer on the project, after Teddy Shapiro and the Reinhold Heil/Johnny Klimek team were both rejected, and Graeme had very little time to devote to writing. I was at the recording session back in November where Revell had the Hollywood Symphony string section, and he basically had ONE DAY to record the entire live string element of the score, such was the tightness of the schedule and the limited budget. Tim Simonec was conducting like a demon, zipping through the cues at breakneck speed: rehearsal, take, rehearsal, take...

Also, as Christian hinted at in the review with his comment about the lack of press screenings, MTV were obviously not sure that their film was any good, so the studio execs were micro-managing virtually every note of the score to almost ludicrous degrees, making things even more difficult for poor Graeme. The director wasn't even AT the session. All in all, I'm actually quite amazed the score turned out as comparatively cohesive as it did under the circumstances.

Jon

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Seth M
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(203-59-109-243.dyn.iinet.net.au)

  In Response to:
Jonathan Broxton

  Responses to this Comment:
Fraley
Re: Not entirely Revell's fault...   Saturday, December 31, 2005 (8:04 p.m.) 

Wow, one day to record the strings. That is VERY tight. No wonder Revell had to rely more and more on the electronic elements, despite how suited that sound might have been to the film.


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Fraley
(pcp03090284pcs.shklfd01.ar.comcas
t.net)

  In Response to:
Seth M

  Responses to this Comment:
jonathan
Re: Not entirely Revell's fault...   Sunday, January 1, 2006 (12:55 a.m.) 

> Wow, one day to record the strings. That is VERY tight. No wonder Revell
> had to rely more and more on the electronic elements, despite how suited
> that sound might have been to the film.

I will admit to being a Revell fan from his early experimental days (The Crow, Hard Target, No Escape), through his orchestral days (Street Fighter, Power Rangers, The Saint), but his newest sound of generic, mostly synth scores leaves me cold. That said, I have noticed most of his scores of this type (Aeon Flux, Tomb Raider, etc) have been quick and dirty replacement scores. He needs more promising assignments with actual time to work. Chronicles of Riddick is a good example of what he is capable of if given sufficient time and budget.

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jonathan
(rt-dkz-2b703.adsl.wanadoo.nl)

  In Response to:
Fraley
james newton did kingkong in 5 weeks and that one is 100times more impressive *NM*   Wednesday, January 4, 2006 (9:44 a.m.) 



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greg
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  In Response to:
Jonathan Broxton

  Responses to this Comment:
Fraley
Maybe composers are like us students   Sunday, January 1, 2006 (9:47 a.m.) 

> Nice review. Pretty accurate in terms of the final product, but it doesn't
> take into account the difficult circumstances in which Revell wrote the
> score. He was the third composer on the project, after Teddy Shapiro and
> the Reinhold Heil/Johnny Klimek team were both rejected, and Graeme had
> very little time to devote to writing. I was at the recording session back
> in November where Revell had the Hollywood Symphony string section, and he
> basically had ONE DAY to record the entire live string element of the
> score, such was the tightness of the schedule and the limited budget. Tim
> Simonec was conducting like a demon, zipping through the cues at breakneck
> speed: rehearsal, take, rehearsal, take...

> Also, as Christian hinted at in the review with his comment about the lack
> of press screenings, MTV were obviously not sure that their film was any
> good, so the studio execs were micro-managing virtually every note of the
> score to almost ludicrous degrees, making things even more difficult for
> poor Graeme. The director wasn't even AT the session. All in all, I'm
> actually quite amazed the score turned out as comparatively cohesive as it
> did under the circumstances.

> Jon

Since we write all our papers at the last minute, and the more time we get, the more time we waste, maybe composers should be put under a little more pressure as a rule


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Fraley
(67.134.190.100)

  In Response to:
greg
Re: Maybe composers are like us students   Tuesday, January 3, 2006 (1:40 p.m.) 

> Since we write all our papers at the last minute, and the more time we
> get, the more time we waste, maybe composers should be put under a little
> more pressure as a rule

Well, I would say that depends on the composer and the project. Students tend to procrastinate because we don't really want to write that paper, and its on something we don't give 2 cents about. However, if a composer is intrigued by a film, he may legitimately want/need more time to work on it.

There are some composers who's best output has come from being under pressure. Likewise, something like "The Lord of the Rings" could not have been written without the time to thoroughly research and "design" the music.

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