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Comments about the soundtrack for Poseidon (Klaus Badelt)

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Re: So, where's a review for The Promise?
• Posted by: SethM   <Send E-Mail>
• Date: Friday, June 16, 2006, at 7:55 p.m.
• IP Address:
• In Response to: Re: So, where's a review for The Promise? (Thomas W.)

> I thought Ned Kelly was one of the worst scores I've heard in a long time.
> You get the worst of Titanic, Braveheart, The Thin Red Line and many many
> other scores. It's so unoriginal. The Promise is quite OK, though.

When you say Ned Kelly sounds like Titanic and Braveheart, are you talking about the Irish influences? Because if you are, then I completely disagree with you. Badelt used an Irish whistle, yes, but it's used very sparingly and shouldn't be confused with the Uillean Pipes that Horner used for his scores (which to me bordered on being almost completely out of context in Titanic, regardless of Leo's character being Irish). In Braveheart, the pipes played the main theme, while in Ned Kelly they are only specific to the Ned Kelly character, and aren't part of the main theme (as heard in 'Ned Kelly'). It suited the film perfectly and, like The Promise, though there are synth credits in the booklet, they are very low-key and the score is almost completely orchestral.

Also, given that Badelt worked on The Thin Red Line, it should be little wonder that similar approaches crop up here and there, as they do for ALL composers. I mean, you can tell a John Williams score a mile off, after all. It's all about having a recognisable style, which, apart from Poseidon, Badelt has - there are recognisable ways that we uses electronics as well as the orchestra. But you have to critically listen to his work, the same way you'd have to critically listen to any composer's work in order to pick up on their signature sound.

I'd hardly say that Ned Kelly is even remotely close to sounding like The Thin Red Line, or any of the scores you mentioned. But then, in what ways do you think it sounds like 'the worst' of those scores? Serious, I'm interested to know.

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