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Comments about the soundtrack for Daredevil (Graeme Revell)
Excellent summary

Fraley
(adsl-216-63-185-169.dsl.ltrkar.sw
bell.net)


  Responses to this Comment:
Robert Ritchie
Joe Irvin
Excellent summary   Saturday, March 29, 2003 (7:09 p.m.) 

"He is an unpredictable composer, sometimes on the verge of brilliance and sometimes performing a balancing act between the strange and the unlistenable."

That its the best summary of Revell I have heard to date. His scores fluctuate between brilliantly cutting edge and barely tolerable noise, rarely landing in between, something I think this album manages to do. You can take that how you like.

As Christian pointed out, it is interesting to note that the highlight of this album is the sensitive, emotional music, not the action. Thus I would say it is a good score, simply not what we expect from super-hero music.

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Robert Ritchie
(pcp02220112pcs.echryh01.nj.comcas
t.net)

  In Response to:
Fraley
Re: Excellent summary   Sunday, March 30, 2003 (11:14 a.m.) 

> "He is an unpredictable composer, sometimes on the verge of
> brilliance and sometimes performing a balancing act between the strange
> and the unlistenable."

> That its the best summary of Revell I have heard to date. His scores
> fluctuate between brilliantly cutting edge and barely tolerable noise,
> rarely landing in between, something I think this album manages to do. You
> can take that how you like.

> As Christian pointed out, it is interesting to note that the highlight of
> this album is the sensitive, emotional music, not the action. Thus I would
> say it is a good score, simply not what we expect from super-hero music

I agree it was different on many levels however I am one of those who are used to effects I thought it was non standard hero score



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Joe Irvin
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  In Response to:
Fraley

  Responses to this Comment:
Curtis Beaulieu
Excellent point!   Tuesday, April 1, 2003 (1:04 p.m.) 

> "He is an unpredictable composer, sometimes on the verge of
> brilliance and sometimes performing a balancing act between the strange
> and the unlistenable."

> That its the best summary of Revell I have heard to date. His scores
> fluctuate between brilliantly cutting edge and barely tolerable noise,
> rarely landing in between, something I think this album manages to do. You
> can take that how you like.

I have to agree. And as good as he is, Mr. Clemmensen has low tolerance for what he names "wierd" music. I sometimes think he wants everything to be the same. He can be positively merciless when it comes to experimental music.

> As Christian pointed out, it is interesting to note that the highlight of
> this album is the sensitive, emotional music, not the action. Thus I would
> say it is a good score, simply not what we expect from super-hero music.

Yes, exactly. And with Elfman scoring probably every other superhero movie coming out soon (besides X-men II), where else will we get somebody at least trying to do something radically different from your average superhero score?

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Curtis Beaulieu
(63.27.49.250)

  In Response to:
Joe Irvin

  Responses to this Comment:
Joe Irvin
That is not entirely correct   Saturday, April 5, 2003 (11:00 a.m.) 

> I have to agree. And as good as he is, Mr. Clemmensen has low tolerance
> for what he names "wierd" music. I sometimes think he
> wants everything to be the same. He can be positively merciless
> when it comes to experimental music.

Remember, Clemmensen is a self-professed Vangelis fan, and Vangelis is not a typical film music sound. How also would you explain his high ratings for the following scores?:

Beetlejuice
Thunderheart
Il Postino
Eve's Bayou
A Patch of Blue
Incognito
Holy Smoke
Love's Labour's Lost
Cruel Intentions
Spy Game
The Mole
8 Femmes
Ararat
Frida

These are not usual, orchestral hits. He also like John Ottman, who is irregular.

CB



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Joe Irvin
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  In Response to:
Curtis Beaulieu
But correct nonetheless   Monday, October 27, 2003 (8:17 a.m.) 

> Remember, Clemmensen is a self-professed Vangelis fan, and Vangelis is not
> a typical film music sound. How also would you explain his high ratings
> for the following scores?:

> Beetlejuice
Thunderheart
Il Postino
Eve's Bayou
A Patch of
> Blue
Incognito
Holy Smoke
Love's Labour's Lost
Cruel
> Intentions
Spy Game
The Mole
8 Femmes
Ararat
Frida

> These are not usual, orchestral hits. He also like John Ottman, who is
> irregular.

I can't explain it. Nevertheless, in reviews, he's more apt to praise full orchestral scores, whereas most of the time he'll smash more experimentally inclined scores with words like "unlistenable" and "noise."

> CB


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rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. Scoreboard created 7/24/98 and last updated 4/25/15.