Search results
Reviews "Carter Burwell’s score swirls with seduction and longing." - Richard Lawson, Vanity Fair, May 17, 2015. "…Carter Burwell’s haunting score, with its two-step progressions and occasional repetitions, seems an almost perfect distillation of her longing" - Justin Chang, Variety, May 16, 2015.
Nov 2, 2022 · The score for Searchlight Pictures’ The Banshees of Inisherin from Academy Award®-nominated composer, Carter Burwell, stands out as a separate character in t...
- 3 min
- 11.6K
- hollywoodrecords
"Moreover, the cinematography by Bruno Delbonnel, and the score by Carter Burwell, both frequent Coen Brothers collaborators, contribute to the film's power." - Guy Kramer, Salon.com, Dec. 25, 2021. "Carter Burwell's score sets an ominous mood, complemented by what sounds like an executioner's drumbeats." - Justin Chang, NPR, Dec. 23, 2021.
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 -- still one of Hollywood's most overlooked film composers despite scoring classics such as Miller's Crossing -- adds yet another solid soundtrack to his already impressive catalog, although his music here is all too often discarded in favor of dull alt/rock background filler." - Joey O'Bryan, Austin Chronicle, April 19, 1996.
Jun 28, 2024 · Carter Burwell (born November 18, 1954, in New York City, New York) is a Academy Award nominated composer of film soundtracks. As a film composer, Burwell has had a long working relationship with film makers the Coen brothers, scoring every film they have made.
Although it may seem somewhat contradictory to say it, The Jackal is a departure for Carter Burwell, but which still somehow sounds like all his other scores. The stylistics are there, and the familiar instrumentations are still in place, but he uses them in a new and refreshing manner that is highly pleasing to the ear and - more importantly - fits the film.
