Representative Albums: "Out of Time," "The Negotiator," "Darfur Now"
Biography
Coming into the public eye with his brooding score for the 1989 Australian film Dead Calm, composer Graeme Revell has gone on to score films for directors such as John Woo, Wim Wenders, Robert Rodriguez, Ted Demme, and Michael Mann. Born in Auckland, New Zealand, in 1955, Revell graduated from the University of Auckland with degrees in economics and politics. His skills as a classically trained pianist assisted him as a member of the experimental industrial rock group SPK. Cinematic theatrics were an essential part of SPK's live show (foreshadowing Revell's future career in film) with early performances featuring slides and films of surgery, and the use of flame throwers and oil drums. The band dissolved in the late '80s, coinciding with Revell's exploration into film scores. His Dead Calm score won him an Australian Film Industry award, prompting his move to London to work as an independent musician. Revell has had quite a prolific career composing music for films like Street Fighter and The Craft, as well as producing soundtracks for Until the End of the World, The Crow, The Basketball Diaries, Strange Days, and From Dusk Till Dawn. ~ Zac Johnson, All Music Guide
Career Highlights: The Insider, Dead Calm, The Crow
First Major Screen Credit: Dead Calm (1989)
Biography
Composer Graeme Revell's organic scores can linger in viewers' minds for days, and his music has complemented everything from low-key dramas (Killer: A Journal of Murder) to large-scale Hollywood action excess (Lara Croft: Tomb Raider). A native of New Zealand who graduated from the University of Auckland with degrees in economics and politics, Revell trained as a classical pianist and mastered the French horn in his early years. His sharp ear for natural sound served the musician well when he took a job as an orderly in an Australian mental hospital. After recognizing the curious rhythms of various patients' vocal patterns, Revell began incorporating recordings of their ramblings into his music, and his musical experimentation soon led him to join experimental/industrial rockers SPK. In the following years, the band followed in the footsteps of such famed acts as Throbbing Gristle and Suicide.
SPK served as something of a precursor to Revell's career in film music, with the group's recordings striking a curious balance of danceable beats and experimental sound design. In 1989, Revell scored his first film, director Phillip Noyce's high seas thriller Dead Calm. Utilizing the hit SPK single "In Flagrante Delicot" as the foundation of the score, Revell's freshman effort not only backed a surprise hit, but also landed him an Australian Film Industry award. In the decade that followed, the composer became an increasingly popular figure in the realm of cinema music. With scores for such films as Until the End of the World (1991), The Crow (1994), The Basketball Diaries (1995), and The Negotiator (1998), he set himself apart with a willingness to subtly push boundaries with compositions that served to compliment rather than overwhelm. Revell's scores to The Saint, The Chinese Box (both 1997), and Blow (2001) were singled out for particular praise in the World Soundtrack Awards and the BMI Film and TV Awards. He also worked on such made-for-TV features as Dune (2000) and Anne Frank: The Whole Story (2001). In 2002, the busy composer recorded music for the popular series CSI: Miami. Returning to features, Revell scored such box-office heavies as Collateral Damage (2001), Daredevil (2003), Freddy Vs. Jason (2003), and Catwoman (2004). ~ Jason Buchanan, All Movie Guide
His musical style is very much electronic and computer-based in nature, yet often utilizes classical instruments or entire arrangements for certain pieces, much like his contemporary counterparts Hans Zimmer and Mark Isham. His orchestral scores throughout the years of his career changes, from Bernard Herrmann-like to Ennio Morricone-like. His music is often re-used from movie to movie and in more recent times he has collaborated with other artists on their albums. After the success of his soundtrack on Red Planet where he used the voice of French singer Emma Shapplin to back up and often lead his score, he collaborated with her on her own album Etterna, producing all of her songs. He has recently been interviewed for the independent documentary Finding Kraftland.