You dont have any control of the release, but sometimes it all works out.
Ahead, Burwell discusses what went into creating the trio of buzzworthy scores.
He was hinting at it as we were promotingCarola few years ago, Burwell says.
It took quite a while.
Todd and I made three films including the HBO miniseries.
But all those things were done on a minimum budget, basically.
We went to Abbey Road to record it.
As Burwell explains, Wonderstruckis just, formally, a very unusual throw in of film.
A third or more of it is silent, but were not really living in a silent film era.
So it couldnt really be scored the same way you would score a film 100 years ago.
The aesthetics are different.
The film is leading the audience in a state of suspense and anticipation a lot of the time.
That makes it very different than the scores from 100 years ago.
Thats why the film has that really long title.
Its based on guitar, mandolins, those are fundamental instruments to the score.
In some of the emotional scenes, it has more orchestral.
The music is there to bring a little compassion to these characters who are often doing almost unforgivable things.
Those are not the tools you expect to be used in that way.
For me, as a composer, I find it difficult to write carefree music.
The writing for me has this English pastoral quality.
The main theme of the movie is withheld until after Winnie-the-Pooh arrives and youre halfway through the film.
Combined, the three films give Burwell a great chance of adding a second Oscar nomination to his resume.
All three films are in theaters now.
