Graeme Revell citations

Graeme Revell est un compositeur néo-zélandais, né le 23 octobre 1955 à Auckland . Dans sa jeunesse il a fait partie du groupe de musique industrielle SPK.

Il s'est fait connaître avec les musiques composée pour les films Calme blanc de Phillip Noyce et The Crow d'Alex Proyas.

Il a collaboré plusieurs fois avec les réalisateurs David Twohy pour Pitch Black, Les Chroniques de Riddick, Abîmes et Riddick ou encore Robert Rodriguez pour Une nuit en enfer et Sin City.

Il a composé également pour les films : Chasse à l'homme, Street Fighter, Strange Days, Power Rangers, le film, Dangereuse Alliance, Le Saint, Spawn, Négociateur, La Fiancée de Chucky, Couvre-Feu, Titan A.E., Planète rouge, Lara Croft: Tomb Raider, Dommage collatéral, Daredevil, Freddy contre Jason, Assaut sur le central 13, Goal! : Naissance d'un prodige ou encore Délire Express. Wikipedia

✵ 23. octobre 1955

Graeme Revell: 2 citations0 J'aime

Graeme Revell: Citations en anglais

“I feel just as much compulsion to be an architect, for example, as I do a musician. And I feel inestimably guilty that I cannot fulfil the vocation for which I was trained - that of an economist specialising in problems of underdevelopment. My sadness stems from the fact that I do not have several lifetimes to lead.”

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Graeme Revell

Unsettling The Score: Graeme Revell, from SPK to Hollywood https://www.pantograph-punch.com/post/unsettling-the-score-graeme-revell-from-spk-to-hollywood (March 2, 2014)

“Here’s my attitude, and I’m sort of sorry to say this sometimes – but there are people who try and elevate film music - of all kinds – to being the great twentieth century classical music, and my opinion is it just isn’t. It’s very straightforward, major/minor or modal writing. The only time you get any kind of originality is usually in the timbres and the sounds and the mixture of elements. But to get through a scene it’s either happy, or sad – and it’s either going forward in action or it’s not – and it can be ironic, which means you’ve got to switch from major to minor frequently. But it’s not rocket science. It’s a lot of skills – a lot of political skills, frankly. It’s being in a room and playing off fifty opinions from studios, producers, directors, sometimes actors – and coming out the end with something that vaguely represents music. And frequently it doesn’t. The minute you try to get original or break the box – unless you’ve got either a very experimental or powerful director, it’s probably not going to happen.”

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Graeme Revell