There’s an excellent profile of Carter Burwell at The New Yorker. It’s behind a paywall, but I think they give you an article or two for free.
This is the kind of piece I always would have loved to have published back in the day at Film Score Monthly, but you need real top-flight journalists to write them.
And please, for my old pals reading this who used to write for me—you did great work. But it was a different kind of work: it was film score documentation, what was that score like and why did you write it that way? It didn’t go into people’s lives because that was not what our audience wanted.
I don’t find myself listening often to Carter’s scores apart from the picture, but I’m always impressed by them. I remember some years ago watching the mini-series Olive Kitteridge, thinking, wow, this music is really tasteful and top-notch, who is it? And I saw the credit and was like, duh, of course.
I also remember I think the late 1990s when he gave a concert on Wilshire Blvd., not far from our office at the time. It was a small ensemble but very well done.
So a very enjoyable piece about a terrific composer and artist.