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Rob Roy or The Alamo. I can't choose between the two.
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True Grit
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I am a big fan of The Chamber, from 1996. Very oddly affecting, haunting music. The score features lots of space, and is equal parts lyrical, small scale, and acoustic. A great introduction to the creative film music of Carter Burwell.
-rick
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My 2 favorites would be (and they are like day and night!) the original "Twilight" and "In Bruges," both of which are amazing, although many who love one will probably hate the other!
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Carter Burwell is an amazing composer, and, yes, why he wasn't nominated for "In Bruges" has no acceptable answer, except that the musical branch of the Academy probably stuck with the Usual Suspects. And I would be very curious to know why they jumped from him to Desplat when they made the second in the "Twilight" franchise -- his music was so integral to the original movie and it was ridiculous to not keep the continuity, although (1) providing music for "New Moon" was a pretty thankless task, and (2) Howard Shore rescued the series with his music for "Eclipse." But someone had his head on straight when it was decided to bring Burwell back for 4 and 5, and that those films work as well as they do is attributable to both director Bill Condon AND Carter Burwell. Anyone have any details about why Burwell wasn't retained for 2 and 3?
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Carter Burwell is an amazing composer, and, yes, why he wasn't nominated for "In Bruges" has no acceptable answer, except that the musical branch of the Academy probably stuck with the Usual Suspects. And I would be very curious to know why they jumped from him to Desplat when they made the second in the "Twilight" franchise -- his music was so integral to the original movie and it was ridiculous to not keep the continuity, although (1) providing music for "New Moon" was a pretty thankless task, and (2) Howard Shore rescued the series with his music for "Eclipse." But someone had his head on straight when it was decided to bring Burwell back for 4 and 5, and that those films work as well as they do is attributable to both director Bill Condon AND Carter Burwell. Anyone have any details about why Burwell wasn't retained for 2 and 3?
Probably because he butted heads with the studio on the first film, as he describes quite frankly on his website:
http://www.carterburwell.com/projects/Twilight.html
Honestly, I was amazed to see him brought back after that. Perhaps there was some turnover of the executives at the studio and the people he came into conflict with were gone.
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james: Re: "Honestly, I was amazed to see him brought back after that. Perhaps there was some turnover of the executives at the studio and the people he came into conflict with were gone."
I suspect someone at Summit took a look at how "Twilight" worked with Burwell's music and the 2 immediate sequels didn't and wanted to recapture the magic. I've always been able to watch "Twilight" again and again, and much of that comes from the music. I stopped buying the Blu-rays and the CDs when they switched composers, and resumed both when they went back to Burwell.
But I want to check out your link to see what the composer himself had to say about it. Thanks.
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james: Follow-Up, re: "Honestly, I was amazed to see him brought back after that. Perhaps there was some turnover of the executives at the studio and the people he came into conflict with were gone" and "Probably because he butted heads with the studio on the first film, as he describes quite frankly on his website." The whole piece was fascinating, but, no, there's nary a word about why they didn't use Carter Burwell for 2 and 3, only that they used other composers for them but that he was brought back for 4 and 5. And the only "conflict" he seemed to have with a Summit executive was a disagreement over some slight dissonance at the beginning of the cue the studio chose to call "Bella's Lullaby" (against Burwell's wishes), which Burwell, in the end, ignored, although he did incorporate the requested softening of it elsewhere in his score. And, after being proven right, it's very unlikely that that executive was still around to veto Burwell's continued presence! His not doing 2 ("New Moon") and 3 ("Eclipse") could be something so simple as the directors of each sequel misguidedly choosing other composers, and perhaps it was director Condon's choice to use Burwell for 4 and 5, which were filmed simultaneously. Whatever the reasons for his not doing 2 and 3, it's probably irrelevant; what's important is that he was brought back for 4 and 5, which is all that really matters.
Heres that link again from james:
http://www.carterburwell.com/projects/Twilight.html
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My fave Carter Burwell score is anything orchestral. I'm a massive Twilight fan and I've seen all five of them.
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