Once I landed in Maine I was a bit less upset and offered to try some variations on the “Love Theme”, writing at night so it wouldn’t interfere with my family’s days. It turned out that removing the B flat also removed all the interest from the melody. Eventually I had 5 or 6 variations, ranging from vapid to acceptable, and I sent them to Catherine. I don’t know how many she played for Summit. One was approved, and I put it on paper for Rob to play (which he did very well). Catherine and I tried to come up with a title for the piece that would more accurately convey its purpose, but Summit insisted it be called “Bella’s Lullaby,” and I’m happy to think of it as such. The opening piano melody is the original version I wrote so many years ago (I kept it in the movie despite Summit’s objections), and the melody Rob plays toward the end is the variation that Summit approved. You will hear both peppered throughout the film. I comfort myself that the original tune predominates, because, for me, it’s more memorable.
The story of how this song came about is so sweet (Carter had the melody composed entirely before Twilight came along) and kind of sad (ugh, Summit). It was originally written for his wife:
Years ago I was in love with an amazing and challenging woman named Christine Sciulli. She left me, I was heartbroken, and I wrote a piece of music that tried to express the thrill and pain of having my heart pierced. She wouldn’t speak to me, so I sent her the music to speak in my place.
I should mention that Christine, the woman for whom I first wrote the melody years ago, is now my amazing and challenging wife. In my heart the tune will always be ours, but now it’s yours (and Bella and Edward’s) as well.