Biography Carter Burwell was born on November 18th in New York and started taking piano lessons early on. Resulting in the love for composition he started forming a band after graduation before the sound editor that would work on Blood Simple recommended him to Joel and Ethan Coen to score their movie. Alas, his first motion picture was scored and a unique bond between directors Coen and composer Burwell was born. Burwell directly started to score pictures which people loved from the moment they saw it. Raising Arizona was the second he scored for Joel and Ethan Coen and so the collaboration continued to other successes as Miller's Crossing (capturing one of the best themes ever composed), Barton Fink, The Hudsucker Proxy, the critically acclaimed movies Fargo, The Big Lebowski and O Brother, Where are Thou?, The Man who Wasn't There, Intolerable Cruelty, The Ladykillers and the upcoming Hail Caesar. Burwell on the other hand scored other large movies, like Wayne's World 2, Rob Roy, The Chamber, The Jackal, Gods and Monsters, the other critically acclaimed movies Three Kings and Being John Malkovich, the sequel to Blair Witch entitled Book of Shadows, A Knight's Tale and Simone. Recently he added his voice to The Rookie (Dennis Quaid), Adaptation (Nicholas Cage), the war drama The Alamo, the biography Kinsey and the drama Fur. He seems to create bonds with either directors Joel and Ethan Coen or Spike Jonze and is a composer scoring big movies yet not containing the status of big A-list composer. However his list of feature film that received supreme critique proves that Burwell has got what it takes to become one in the future.
(on the relationship between the Coen brothers) February, 1999 Actually, the word freedom came up again, maybe there is a certain freedom knowing my name is not going to be on it. I can eve try blatant action riffs that I might be embarrassed to do if it were under my name. (on scoring uncredited material for Mercury Rising) December 12, 1999 I prefer a life in which we don't take ourselves too seriously, and the film rather does the opposite. This didn't make the music harder to write, but it made it made me feel a little strained thematically by the end. (on Rob Roy)
" Consider his theme for Miller's Crossing as a sole highlight " |
The Works
лллл лллл ллл |
