What was bellas lullaby

I don't know if Rob Pattinson had ever had a leading role, but she showed me some scenes that they had shot, and I could see that Catherine had gotten something special out of the actors. And she was certain that I would be able to bring something new to it. Something unexpected. And I have a lot of respect for Catherine as a director, so I decided to take her word for it.

You hadn't read the books prior, but once you found out that it had such a strong and intense following, was there any added pressure? The pressure only intensified over time. I don't think even some of the entertainment who were making the film really knew the depth of eagerness that this audience had for the film. I think the last book, I'm not sure when it came out, but it was around the time that we were making the film and the phenomenon was growing the entire time.

Back when I went to visit Catherine in Portland, she had just gotten a memo from Summit [Entertainment] saying that they wanted to add a scene to the movie that wasn't in the script. It was the scene in which Edward plays piano for Bella. And that's, of course, "Bella's Lullaby," [which] is what he calls it in the books. But it hadn't been in the screenplay because it just wasn't important to the story. However, Summit was following what people were saying on blogs, the fans and people were eagerly wondering, What music are they going to use for "Bella's Lullaby"!?

What is it going to be!? And so Summit began to realize that this was an important opportunity that they couldn't miss. So they went ahead and shot a scene—although the music, of course, had not been written—with Rob sitting at the piano with Kristin. Then later, when I had written "Bella's Lullaby," they actually played the piano so his fingers would match the piece. I guess that was just an example of how Summit was becoming aware of this growing anticipation for the film and even for the soundtrack.

You made "Bella's Lullaby" before you were requested to compose it, and it was about your now-wife. Has the meaning of the song changed for you at all over the past 10 years? It hasn't changed for me, but, of course, it became something different. Something that's out of my hands and goes out into the world, it does become a bit different just in the sense that it now means something to all these other people, too.

But for me, no it hasn't changed at all. I think it's interesting because the soundtrack features everyone from Paramore to Linkin Park, yet this instrumental song is what really, to borrow a phrase from the book, "imprinted" on a bunch of teenagers. Did you expect it to resonate as much as it did? I was surprised. If it worked out right, it would be really cool.

In fairness, however, Hardwicke said she can't commit to Pattinson's song until he presents her with the finished product. So, that would be my favorite. This is a general rule in show business so that we don't get sued later by people who claim we've stolen their ideas. For better or worse, this is one reason there are so many layers of "middle-people" like agents, producers, and guilds.

They register the passing of ideas and create a paper trail so that later disagreements can be adjudicated. I know this sounds like a ridiculous headache and one must wonder how anything heartfelt or imaginative can result from it.

Believe me, it's a challenge.. A theme is a musical element, usually a melody, that is associated with some element of the film - a character, a thing, a story.

The composer creates this association by playing the theme whenever the element appears, and the audience unconsciouly forms an association between the two. It need not be a melody. In Twilight , the "Nomads" - James, Victoria and Laurent - have a theme based not on melody but on a bass-line, a drum beat and a distorted guitar sound. When the Nomads interrupt the baseball game, the sound of the guitar tells you they're there before you can see them.

In the case of Bella and Edward, their "Love Theme" is hinted at in the biology scene where they first speak, but is only fully realized in the middle of the film when they climb into the treetops and then Edward plays "Bella's Lullaby" for her on piano.

Another theme in Twilight is the "Predator Theme". It is the opening music in the film, playing as someone is chasing a deer through the woods and continuing over Bella in the desert. You may suspect that it is Edward chasing the deer, and the Predator theme is intended to play his vampire nature and his discomfort with it.

It develops as Bella starts to investigate his nature and confronts him about it, and reaches an operatic pitch in the final showdown in the ballet studio where Edward fights James and questions whether he has the self-control to save Bella. Finally there is a theme for The Cullens. It only appears twice in the film - when we first see them in the school cafeteria and when Bella is at their house for dinner.

It took 8 to 9 weeks to compose the music and another week or so to orchestrate it. It was recorded in about 9 days and mixed in about 6. This is actually considered a generous schedule as film scores go, but a lot of this time was not well spent. There was a lot of composing of music that no one wanted to put in the film, just so that everyone could feel that we'd exhausted all the options.

About versions of cues as we call each piece of music were written and sketched for the director, although there are only 32 cues in the final film. When you arrange a piece of music for an ensemble of musicians - selecting exactly which notes will be played by which instruments and in what ways - you are orchestrating.

For instance, a composer might write a piano score and hand it to an orchestrator who can expand it some say "explode it" onto a full piece symphony orchestra score.

I chose to orchestrate Twilight myself because I felt it was important that all the nuances of the music be as personal as possible. Also, a lot of the musical arrangements in the score are unusual. For instance the Predator theme as in "I Know What You Are" is often played by string quartet, oboe, clarinet, bassoon, piano, harp, acoustic bass, electric bass, three electric guitars, drum kit, quite a lot of percussion and electronics.

Because this is not a standard ensemble to say the least it would be hard for anyone other than myself to know how I intended it to sound.

Even for myself it was challenging. I have to admit the only audience I consider when I'm composing is myself. Of course I ultimately have to satisfy the director of the film, and sometimes the producers, and in this case even the studio executives. But I never really know what any of those people is going to think, so there's no chance at all that I'll be able to guess what those millions of unknown audience members will think.

In the case of Twilight , I hope that this attitude results in the score refusing to condescend to the audience, but to instead respect the maturity and depth of their hearts, minds and ears. Stephenie Meyer did this in her books and Catherine Hardwicke has done it in the film, and I aspired to do the same in the music. In addition to the credits given above , these were the key people working on the score:. The score was recorded in late September, at Air Lyndhurst Studios in London, a wonderful studio built inside an old church.

Two pieces of music were recorded with about 24 players - "Bella's Lullaby" and "Showdown in the Ballet Studio," and the rest were done with a core ensemble of 4 strings, 3 woodwinds, piano, harp, bass, guitar and percussion.

Many of these pieces also had electric guitar parts played by David Torn in my studio in New York, where Kaki King also played on a few pieces. David is a unique guitarist and composer in his own right with whom I've been working for years, and I can't overstate the importance of the sounds he brought to this, and many other, scores. I've recorded music with orchestras of 80 players or more, but this kind of small ensemble is much more challenging for the players.

They aren't playing the same note as the person sitting next to them and each of them can be heard quite clearly - for better or worse. It's more challenging for the orchestrator myself in this case to get a full, rich sound from about ten instruments.

It's also more fulfilling. The vocal part in the middle of "Who Are They? There's a tension between the intimacy of this small ensemble and the occassional outbursts of darkness and aggression in the score and story , and this shifting is one of my favorite things about the movie.

No bombast or big orchestral wows. Taken as a whole, Burwell's music for the film is often less brooding than the songs on the soundtrack and adds as much subtlety to a film about a teenage girl falling in love with an year-old vampire as can be added. Despite titles like 'How I Would Die' and 'The Most Dangerous Predator,' his score is rarely heavy-handed, using chilly atmospheres and drones to keep things from getting too obvious. Burwell's work is often steeped in yearning and melancholy, making him a good fit for writing music for a love story that would probably result in death if it were consummated.

The romantic pieces are the score's strongest and most interesting moments: 'Phascination Phase' telegraphs how gripping infatuation can be with an insistent acoustic guitar and a piano melody that wraps around it; 'I Dreamt of Edward' brings an eeriness to its longing with slight atonality; and 'Bella's Lullaby' is romantic without being sentimental.

Burwell makes sure that the story's underlying threat isn't forgotten, mixing suspense and romantic tension on 'I Know What You Are' and 'The Skin of a Killer,' which, with its complex emotions and undulating melody, is one of the most quintessentially Burwell cues in the score. Breaking Dawn Part 1. Breaking Dawn Part 2. Burn After Reading. A Serious Man. Catherine Hardwicke and Stephenie Meyer.