EXCLUSIVE: Rock Burwell, the composer of Obsession, discusses the eerie soundtrack of the horror sensation.

      Horror enthusiasts have been buzzing about *Obsession*, and Rock Burwell’s eerie musical score is among the most praised aspects of the film. Created on a reported budget of $750,000 with several up-and-coming actors and crew, *Obsession* has achieved over $300 million in box office revenue.

      This impressive performance has catapulted it to one of the top-grossing horror films in history. Director Curry Barker even informed *The Hollywood Reporter* that Focus Features intends to initiate an Oscars campaign for *Obsession*, positioning Burwell’s score as a potential contender for awards.

      In a conversation with *Digital Trends*, Burwell shared insights into composing his first feature film score for *Obsession*, his views on the prospect of winning an Oscar, and the trajectory of his career following the film's surprising success.

      This transcript has been condensed for brevity and clarity.

      **Digital Trends:** *Obsession* was your first feature film as a composer, and the film's reception has been outstanding. How does it feel to see your work gain such recognition?

      **Burwell:** It’s been amazing—completely unexpected. It's been a huge shock. The film's reception is one aspect, but receiving messages from people about the soundtrack and score is something I never anticipated being part of something this significant and widespread. It feels quite surreal to take it all in.

      **Digital Trends:** I’ve heard there’s going to be an awards campaign for *Obsession*. Do you think you might receive a nomination for your composition work?

      **Burwell:** I hope so. This is all news to me too, so I really have no clue how it all works given the surprises that have come my way. I guess I must keep an open mind regarding expectations. But it’s certainly exciting to even be considered for something like that. We’ll just have to see how things unfold.

      **Digital Trends:** As it was your first feature as a composer, did you find it particularly difficult to create the score for the film?

      **Burwell:** It was challenging in a positive way, I’d say. I enjoy healthy challenges that push me into new areas of expertise and allow me to learn new skills. It was an intimidating project, but I was thrilled to take it on. I maintained a healthy respect for the task while also being eager and ambitious about confronting it.

      **Digital Trends:** Director Curry Barker has composed his own work for films before. Can you describe what it was like to collaborate with him on developing the score?

      **Burwell:** Absolutely. Curry was an ideal collaborator. He had a clear vision of what he wanted, and we resonated well together; he’s definitely very musically oriented. I appreciate how much he valued the music since that’s not always the case with directors across the industry. He was often present during the process, living nearby allowed us to visit each other’s places easily, and we delved into the details together, exploring aspects more thoroughly than I expected from his involvement, which was really refreshing.

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

      **Burwell:** I draw from many inspirations and influences, but my main motivation for the film's score was truly the direction and emotions we discussed in depth. That had the greatest impact on the project. I must mention that Angelo Badalamenti is one of my all-time favorites, and I still remember how profoundly his work on *Twin Peaks* influenced me as a composer.

      **Digital Trends:** I was listening to the score, and it reminded me of the music from horror films like *It Follows* and *Hereditary*.

      **Burwell:** Yes, I often hear comparisons to *It Follows*, especially because of its nearly entirely electronic score. *Hereditary* also played a significant role in influencing the more horrific elements.

      **Digital Trends:** What would you say is your favorite piece from *Obsession*'s original score?

      **Burwell:** That’s a tough question. It really depends on my mood at the time. One of my favorite cues is "Bear."

      I also love "R U OK," which comes right after the wish is made, as Nikki begins to experience its effects. It’s very simple yet meticulously aligned with those moments, and I felt a strong connection to that scene. Scoring it was one of the most exciting aspects, as Curry and I worked closely to time every beat, creating a somber mood that sets the stage for the ensuing dread.

      **Digital Trends:** That piece was one of my favorites too—especially how the music suddenly stops when Nikki is still processing things right after her wish—it creates a disorienting and haunting effect.

      **Burwell:** Absolutely, those are certainly some of the significant emotions we aimed to evoke.

      **Digital Trends:** In a previous interview, you mentioned your goal for *Obsession* was to explore