EXCLUSIVE: Rock Burwell, the composer for Obsession, discusses the disturbing score of the horror sensation.

      Horror enthusiasts are buzzing about *Obsession*, with Rock Burwell's eerie musical score being one of the film's highly praised aspects. Produced on a reported budget of $750,000 with many up-and-coming actors and crew, *Obsession* has earned over $300 million at the box office.

      The film's remarkable success has positioned it among the highest-grossing horror films in history. Director Curry Barker mentioned to The Hollywood Reporter that Focus Features intends to launch an Oscars campaign for *Obsession*, which could make Burwell’s score a potential award nominee.

      In an interview with Digital Trends, Burwell reflected on crafting his first feature-film score for *Obsession*, shared his thoughts on the possibility of an Oscar nomination, and discussed his career following the film's surprising success.

      This transcript has been condensed for clarity and length.

      **Digital Trends:** Since *Obsession* was your inaugural feature film as a composer and has received an outstanding reception, how do you feel witnessing your work take off with this film?

      **Burwell:** It’s been amazing. Completely unexpected. The response to the film is one thing, but the messages I've received about the soundtrack and score have been a surprise as well. I never anticipated being part of something so expansive, so it’s been quite surreal to absorb it all.

      **Digital Trends:** I've heard there's plans for an awards campaign for *Obsession*. Do you think you'll receive a nomination for your work on the score?

      **Burwell:** I hope so. This is new information for me as well, so I’m not really sure how that works given all the surprises so far. I suppose I should keep my expectations open. But it's genuinely exciting to be considered early for something like that. We'll see how things unfold.

      **Digital Trends:** Given that *Obsession* was your first feature as a composer, did you find it particularly challenging to create the film's score?

      **Burwell:** It was challenging in a positive way. I love healthy challenges that push me into new areas or allow me to learn new crafts. Taking on this project was intimidating, but I was eager to do it, balancing my respect for this uncharted territory with the ambition to tackle it head-on.

      **Digital Trends:** Director Curry Barker has also composed music for his films in the past. What was your experience like collaborating with him to develop the score?

      **Burwell:** Absolutely. Curry was the ideal collaborator in this regard. He had a clear vision for what he wanted, and we really synced up. He is quite musically minded, which I appreciated, as I've heard it's not always the case with directors.

      He was very invested in the music. Since he lives nearby, we would often visit each other and delve into the details much more than I had anticipated. It was a fantastic experience.

      **Digital Trends:** Were there any particular composers or film scores that influenced your work on *Obsession*?

      **Burwell:** I have many influences, but the direction and emotions we discussed were pivotal in shaping the score. That emotional journey was my primary source of inspiration. I’ll always cherish Angelo Badalamenti, whose work deeply influenced me, especially the music from *Twin Peaks*.

      **Digital Trends:** Listening to the score, I felt reminded of the music from the horror films *It Follows* and *Hereditary*.

      **Burwell:** Absolutely, I notice the comparisons to *It Follows* often, especially since it’s mostly an electronic score. *Hereditary* was a significant influence too, particularly in the horror aspects.

      **Digital Trends:** What is your favorite piece from the original score of *Obsession*?

      **Burwell:** That’s a tough one. It often depends on my mood. “Bear” is a favorite of mine. I also really like “R U OK,” which follows the moment the wish is made, showing the effect it has on Nikki. It's simple yet meticulously timed, and I felt a strong connection to that scene, as Curry and I synchronized every detail. It’s quite bleak and sets the stage for the impending dread.

      **Digital Trends:** I found that piece very impactful, especially when the music pauses as Nikki tries to process after making the wish, creating a disorienting and haunting effect.

      **Burwell:** Definitely. Those were some of the emotions we aimed to evoke.

      **Digital Trends:** You mentioned in a previous interview that your goal was to explore the “uncanny valley, where emotions are warped into something disorienting.” Can you elaborate on how you conveyed that feeling through your music?

      **Burwell:** Yes, that was a key focus early on, led by Curry’s vision as we began exploring the score. We developed a technique of creating sounds that, on paper, seem sweet and major, then experimenting with pitch bending and modulation to twist these romantic or happy tones over time. This technique produces an emotional landscape that feels unfamiliar