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Amazon.co.uk Review
David Lynch is the most aurally attuned director working today. He is always involved in the sound design of his pictures, and often takes a hand in co-writing segments of the score. After the failure of Dune he took time to plan a more personal project. Of all his pictures, Blue Velvet (1986) most accurately epitomises his homely ideals and darker fetishistic notions. Composer Andy Badale liked what he saw of this picture so much he adapted his name in line with the other Italian-sounding credits. To the backdrop of a shimmering blue velvet curtain, he wrote a swirling, sumptuous "Main Title" by w
Amazon.co.uk Review
David Lynch is the most aurally attuned director working today. He is always involved in the sound design of his pictures, and often takes a hand in co-writing segments of the score. After the failure of Dune he took time to plan a more personal project. Of all his pictures, Blue Velvet (1986) most accurately epitomises his homely ideals and darker fetishistic notions. Composer Andy Badale liked what he saw of this picture so much he adapted his name in line with the other Italian-sounding credits. To the backdrop of a shimmering blue velvet curtain, he wrote a swirling, sumptuous "Main Title" by which his own credit was swiftly to accelerate his career. It also cemented one of the most exciting director/composer partnerships. The romantic motif re-appears for the love story of "Sandy And Jeffrey"; it's as effectively tender as "Frank" is chillingly cold. The jumps between smoothly cool and abrasively atonal can seem haphazard. This is Lynch's trademark, however, as the additional source cues show. Never one to throw in a song for the name-check, his film's soundtracks are instead a textbook of how to score film. --Paul Tonks
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Release date: 31 December 1969
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