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Carter Burwell’s ravishing score is in many ways what allows a hearing audience to embody the perceptions of the film’s two deaf characters, Rose and Ben, as we trace their rhyming journeys through New York City, fifty years apart.
Oct 21, 2022 · Composer Carter Burwell initially thought he’d be responsible for creating the titular fiddle tune for Martin McDonagh‘s “The Banshees of Inisherin.”In the screenplay, the song is one Colm ...
Feb 7, 2018 · Carter Burwell’s unusual style led him to write and compose music for unusual films. In the historical drama Rob Roy , the score remarkably stays away from the blockbuster clichés and subtly blends with the traditional Scottish music that complements, with an unusual softness, the haunting themes composed by Burwell (with the participation of the Scottish band Capercaillie).
Mar 21, 2015 · Carter Burwell in his studio at home in Amagansett. “With some of the writers and directors I work with, for example the Coens, the material isn’t innately warm and humanistic,” he said.
Carter Benedict Burwell is an American film composer. He has frequently collaborated with the Coen brothers, having scored most of their films. He has also scored films by other directors such as Bill Condon, Todd Haynes, Spike Jonze, Martin McDonagh, James Foley, Brian Helgeland, and John Lee Hancock. Burwell received Academy Award nominations for Best Original Score for Haynes's Carol and McDonagh's films Three Billboards Outside Ebbing, Missouri, and The Banshees Of Inisherin.
May 14, 2018 · Carter Burwell is among the most chameleonic of modern film composers. Though his music certainly has recognizable traits, his work for the first seven films by Joel and Ethan Coen is greatly varied in style—far from instantly identifiable, at least when compared to the scores of Angelo Badalamenti for David Lynch , or Bernard Herrmann for Alfred Hitchcock (or for anyone else).
"Carter Burwell delivers a score that, while not the best he would write for the Coens—that would wait for one more film—remains his most wildly inventive, a giddy mishmash of banjo, organ, whistling, and yodeling that plays like the mutant offspring of Marvin Hamlisch and Ennio Morricone." - Christopher Orr, The Atlantic, Sept. 9, 2014.
