"Connection is what one is after in probably most media, but certainly in film, which is an immersive medium"
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Connection is the word Burwell uses to smuggle in a whole philosophy of film scoring without ever saying “music.” As a composer whose work often sits just beneath the dialogue (especially in character-driven cinema), he’s pushing back on the lazy idea that immersion is about sheer sensory overload. Film is “immersive,” yes, but not because it’s louder or bigger; because it traps you inside someone else’s timing: the glance held a beat too long, the silence that lands like a verdict, the cut that changes what you thought you knew. Connection is the desired outcome of that captivity.
The subtext is almost an ethics claim. Media can chase spectacle, novelty, or status, but Burwell frames the medium’s real success as relational: viewer to character, viewer to filmmaker, viewer to their own buried feelings. It’s a quiet rebuke to algorithmic content culture where “engagement” is measured in clicks and churn. Connection is slower, riskier, harder to quantify. You can’t fake it with craft alone, but craft can make it possible.
Context matters: Burwell comes from a tradition of scoring that respects ambiguity. His best cues don’t tell you what to feel; they create an emotional channel you can step into. By calling film immersive, he’s also pointing at responsibility. If you can pull an audience fully inside a world, you can also manipulate them. The intent, then, isn’t just to celebrate cinema’s power, but to remind us what that power is for: not stimulation, but shared interiority.
The subtext is almost an ethics claim. Media can chase spectacle, novelty, or status, but Burwell frames the medium’s real success as relational: viewer to character, viewer to filmmaker, viewer to their own buried feelings. It’s a quiet rebuke to algorithmic content culture where “engagement” is measured in clicks and churn. Connection is slower, riskier, harder to quantify. You can’t fake it with craft alone, but craft can make it possible.
Context matters: Burwell comes from a tradition of scoring that respects ambiguity. His best cues don’t tell you what to feel; they create an emotional channel you can step into. By calling film immersive, he’s also pointing at responsibility. If you can pull an audience fully inside a world, you can also manipulate them. The intent, then, isn’t just to celebrate cinema’s power, but to remind us what that power is for: not stimulation, but shared interiority.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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