EXCLUSIVE: Rock Burwell, the composer of Obsession, discusses the chilling score of the horror blockbuster.

      Horror enthusiasts are buzzing about *Obsession*, and Rock Burwell’s eerie musical score has been a standout feature of the film. Created with a reported budget of $750,000 and featuring many up-and-coming actors and crew members, *Obsession* has earned over $300 million at the box office.

      The film's remarkable success has positioned it among the highest-grossing horror films of all time. Director Curry Barker has even informed The Hollywood Reporter that Focus Features intends to initiate an Oscars campaign for *Obsession*, making Burwell's score a potential contender for awards.

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

      This transcript has been condensed for brevity and clarity.

      **Digital Trends:** *Obsession* was your debut feature film as a composer, and the response to the film has been phenomenal. How does it feel to see your work resonate so strongly with this movie?

      **Burwell:** It’s been incredible. Completely unexpected. It’s all been a huge surprise...the film’s reception is one thing, but receiving messages directly about the soundtrack and the score has been overwhelming. I didn’t anticipate being part of something so vast. It's been surreal to absorb it all.

      **Digital Trends:** I've heard there will be an awards campaign for *Obsession*. Do you think you’ll receive a nomination for your composition work on the film?

      **Burwell:** I certainly hope so. This is all news to me as well. I have no idea how these things unfold given the surprises so far. I’ll just keep an open mind about it. It’s wonderful to even be considered for something like this early on. We'll see how it plays out.

      **Digital Trends:** Given that *Obsession* was your first feature score, was it a particular challenge to create the film's music?

      **Burwell:** Challenging in a positive sense, I would say. I enjoy healthy challenges that push me into new areas of expertise or allow me to learn new skills. It felt like an intimidating project, but I was excited to take it on, balancing respect for the new experience with a willingness to dive in.

      **Digital Trends:** Director Curry Barker has also composed for his films. What was it like working together to develop the score for *Obsession*?

      **Burwell:** Absolutely. Curry was the perfect collaborator in that regard. He had a clear vision for what he wanted, and we managed to align our ideas seamlessly. He’s very musically inclined.

      I appreciate how much he valued the music, as this isn’t always the case with directors, and he was deeply invested in it. He would come over frequently since he lives nearby, and we would engage in deep discussions and explore many intricate aspects of the score, often delving deeper than I would have expected. That was a rewarding experience.

      **Digital Trends:** Were there any particular composers or film scores that inspired you while working on *Obsession*?

      **Burwell:** I have many inspirations, but the primary influence for the score came from the direction and emotional depths we explored together. That was the most significant influence on the project. However, I greatly admire composers like Angelo Badalamenti, whose work has profoundly shaped my identity as a composer.

      **Digital Trends:** Reflecting on the film, I noticed that the score reminded me of music from horror films like *It Follows* and *Hereditary*.

      **Burwell:** Yes, I often hear comparisons to *It Follows* for its largely electronic score, and *Hereditary* certainly had a significant impact on the more horrific elements.

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

      **Burwell:** That’s a tough question. It probably depends on my mood at the moment. One of my favorites is "Bear."

      I also really like "R U OK." It plays right after the wish is made, showing the impact it has on Nikki, and it’s straightforward yet meticulously timed with crucial scenes. The process was enjoyable, making me feel connected to that moment, and Curry and I carefully timed each moment, imbuing it with a sense of foreboding.

      **Digital Trends:** That's one of my favorites too. The way the music sometimes cuts out when Nikki is still processing things after making the wish is disorienting and haunting.

      **Burwell:** Exactly, those are definitely some of the feelings we intended to evoke.

      **Digital Trends:** I recall you mentioning that your aim for composing *Obsession* was to explore the “uncanny valley, where emotions are warped into something disorienting.” Can you expand on how you achieved that effect through your music?

      **Burwell:** Yes, that was a focal point from the outset, primarily established by