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Read below for an exclusive commentary by Revenge composer Fil Eisler on his selecting this piece of music, and his work on the Revenge series.
If you have not watched the Revenge Series Finale, DO NOT READ ON!!
You've been warned…
Dear Revenge fans,
What can I say. Where do I start? How can I begin to thank you?
For the past four years, you have been the most loyal and enthusiastic audience one could possibly hope for. Your love for Revenge has shown itself all over social media and you've been incredibly generous with your praise both for the show itself and for the music it's been my pleasure to write for it.
Revenge holds a very special place in my heart even though I have done many projects before and since. It was to all intents and purposes the show that put me on the map and my first full TV scoring credit. It was a trial by fire at every stage. From the sheer volume of music required every week to the live orchestral aspect the show demanded, it was always a challenge musically and physically but it was always one I relished.
When you've established a musical language for a show, with themes that people recognize and a palette that fits the mood of the series, writing the score becomes exponentially easier and I think more meaningful than if you're just wallpapering the movie with music. The beauty of Revenge was that I was allowed and encouraged to come up with a whole encyclopedia of themes as the series grew, to the extent that by the time we got to the series finale, we all knew basically where every piece of the puzzle had to go.
With that in mind, I thought it appropriate to leave you with this piece, Requiem For David. Really, if you think about it, David's fate was the catalyst for the entire story, so it's fitting that he had a proper send off. His theme was something that I played for director Phillip Noyce and Mike Kelley when we were doing the pilot but didn't surface in an actual cue until we were several episodes into the first season.
Here, it's presented in it's original form as simple piano melody, which then gets to grow into a dreamlike flashback cue, set against the beautiful snowscape around Emily's beach house. With David passing and Emily's voiceover taking us back to the present, I had the chance to open up the theme into a huge lush orchestral piece which was just played incredibly beautifully by the orchestra.
The recording session was really more like a live show than any recording date I've ever done with the control room at the Sony scoring stage packed with cast, crew, friends and family alike. When we finished the first take of this cue, there wasn't a dry eye in the house, not least of all mine. It took me a good few seconds before I could get it together to thank the orchestra, their performance was so soulful and beautiful.
With all that in mind, I really hope you enjoy this piece of music and hope that perhaps you'll get to hear more of the score in the future. I've very much enjoyed the ride, getting to write for you all every week.
My eternal thanks to everyone on the show for having me along on this four year adventure, cast, crew, writers, producers and everyone in between. Thanks as ever to my tireless crew at Own Brand Music who help keep me in one piece and make it possible to deliver such a huge score on a weekly basis and a massive thank you to ABC studios for continuing to recognize the value of live music in TV and supporting the orchestral community in LA.
Thank you and Revenge on.