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  1. FOR IMMEDIATE RELEASE

    BATMAN: ASSAULT ON ARKHAM ORIGINAL SOUNDTRACK
    TO BE RELEASED BY LA-LA LAND RECORDS

    Composed by Robert J. Kral

    (August 6, 2014 - Burbank, CA) – La-La Land Records will release the soundtrack for BATMAN: ASSAULT ON ARKHAM composed by Robert J. Kral (SUPERMAN: DOOMSDAY, DUCK DODGERS) on CD August 26, 2014. This limited edition CD (1500 units) will contain 4 exclusive tracks not available elsewhere.

    “BATMAN: ASSAULT ON ARKHAM marks a departure from what we normally do from a music standpoint,” said director Jay Olivia. “We usually do the operatic epic music that we've all become accustomed to in the live action and animated comic book films for the last twenty five years…. James Tucker, my producer, was very supportive of the idea of doing a more contemporary take on the superhero music and when Rob sent us his first pass of the score, we were tremendously pleased.”

    BATMAN: ASSAULT ON ARKHAM is a direct-to-video animated superhero that is part of the DC Universe Animated Original Movies. The film is based on the universe of the BATMAN: ARKHAM video game franchise, and is a direct sequel to BATMAN: ARKHAM ORIGINS. Jay Oliva and Ethan Spaulding direct, with a script by Heath Corson and James Tucker producing. The film was screened at the 2014 San Diego Comic-Con International on July 25, 2014, and was released digitally on July 29 and on physical media on August 12.

    In the universe of BATMAN: ASSAULT ON ARKHAM, the government teams up a group of supervillains with the code name Suicide Squad and forces them to break into Arkham Asylum to bring back top secret information the Riddler has stolen, and Batman soon becomes involved. Things go from bad to worse when one of the Squad (Harley Quinn) frees the Joker, who has the means to not only blow up the asylum, but most of Gotham City as well.

    “In terms of influence, for this movie most of the approach I knew would be different, with influences coming from Guy Ritchie movies or even OCEAN’S 11 in places,” explains Kral. “Jay and I definitely wanted some funk grooves. We wanted the flavor of setting up the story to feel like a heist movie but set in the Batman world.”

    Robert Joseph Kral, born 5 July 1967, is an Australian film and television composer. He scored the TV series, ANGEL, and the spin-off of BUFFY THE VAMPIRE SLAYER for most of the entire series. He also composed the scores for the TV series MIRACLES for ABC / Touchstone, DUCK DODGERS for Warner Bros. Animation, THE INSIDE for Fox Television, Lionsgate motion picture THE HAUNTING IN CONNECTICUT and the Lionsgate / Sci Fi series, THE LOST ROOM. His animated film scores include SUPERMAN: DOOMSDAY, GREEN LANTERN: FIRST FLIGHT, SCOOBY- DOO! LEGEND OF THE PHANTOSAUR and SUPERMAN vs. THE ELITE. He scored the animated TV series, SCOOBY-DOO! MYSTERY INCORPORATED. In 2005, Kral won an Annie Award for Best Music in an Animated Television Production, for his work on DUCK DODGERS.

    “Rob was able to transition from scene to scene fluidly all the while changing the tone and mood without blinking,” described Olivia. “Arkham would not be the film it is without Rob's immense contribution and translation of my crazy ideas and I feel that amongst all of the crazy fight scenes, insulting banter, and double crosses. Rob was able to find the heart.”

    DC Animation presents BATMAN: ASSAULT ON ARKHAM is currently available digitally and will be available on physical media on August 12. The BATMAN: ASSAULT ON ARKHAM - Original Motion Picture Soundtrack will be available digitally and on CD from www.lalalandrecords.com on August 26, 2014.

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    For more information contact: cinemediapromo@yahoo.com or @cinemediapromo on Twitter
    •  
      CommentAuthorSouthall
    • CommentTimeAug 13th 2014
    cinemediapromo wrote
    “BATMAN: ASSAULT ON ARKHAM marks a departure from what we normally do from a music standpoint,” said director Jay Olivia. “We usually do the operatic epic music that we've all become accustomed to in the live action and animated comic book films for the last twenty five years…. James Tucker, my producer, was very supportive of the idea of doing a more contemporary take on the superhero music and when Rob sent us his first pass of the score, we were tremendously pleased.”


    Oh my.
  2. My thought exactely.
    Bach's music is vibrant and inspired.
  3. biggrin

    rolleyes
  4. I remember a comtemporary Batman that had plastic nipples and a rubber cod piece, that apparently a director was very pleased about.....
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 14th 2014
    Kral haunting in connencticut score was very good for a beginning of career. Haven't heard this yet but everything else since has disappointed so far.
    Love Maintitles. It's full of Wanders.
  5. Well, I am not against some modernisation in sound and orchestration. Based on what I have heard of the "Son of Batman" score, that's an Elfman/Walker pastiche. I don't need that either. But "contemporary take" suggest RC droning.

    Volker
    Bach's music is vibrant and inspired.
  6. I'm not against it either, but the idea that these people think doing a "more contemporary take" on superhero music as if it's something revolutionary is pretty damn hilarious. And simultaneously a bit sad.
    •  
      CommentAuthorErik Woods
    • CommentTimeAug 14th 2014
    cinemediapromo wrote
    “BATMAN: ASSAULT ON ARKHAM marks a departure from what we normally do from a music standpoint,” said director Jay Olivia. “We usually do the operatic epic music that we've all become accustomed to in the live action and animated comic book films for the last twenty five years…. James Tucker, my producer, was very supportive of the idea of doing a more contemporary take on the superhero music and when Rob sent us his first pass of the score, we were tremendously pleased.”


    suicide
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  7. I just read this interview a few days ago at www.RunMovies.eu, done with composer Michael J. Lewis:

    There was producer interference on that movie [THE MADWOMAN OF CHAILLOT]. It was a couple of years after THE GRADUATE came out. There were a couple of sequences where they wanted to use a pop rhythm section. And like all producers do, they don’t want originality; they want what is selling at the moment. The biggest thing in film music at that time was THE GRADUATE. Some of the rhythm tracks were influenced by the whole [G]raduate thing, but when you listen to them now they’re hopelessly, horribly, dated. The real lesson is that if you score a movie with a full symphony orchestra, the music is going to stay fresh for decades to come. If you follow the current trend, then in a couple of years your movie is going to sound horribly out of date.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  8. Captain Future wrote
    But "contemporary take" suggest RC droning.


    Dub-step.

    More. Fucking. Dub-step.
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
    •  
      CommentAuthorCaliburn
    • CommentTimeAug 15th 2014
    I saw this movie yesterday. The movie it self is different than the others. So I can understand why the score is different. I still need to decide if I like it or not though.
    •  
      CommentAuthorsdtom
    • CommentTimeAug 15th 2014
    all of the preceding comments don't look too promising.
    Tom
    listen to more classical music!
    •  
      CommentAuthorCaliburn
    • CommentTimeAug 15th 2014
    What do you mean the score of the movie? I liked the movie. It was a bit different than the other ones. I should give the score a chance with the movie in mind.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 17th 2014
    Synchrotones wrote
    Captain Future wrote
    But "contemporary take" suggest RC droning.


    Dub-step.

    More. Fucking. Dub-step.


    You can easily go ahead and blame, yes, Zimmer and his team again, for this new plague in film scores. Again.
    Love Maintitles. It's full of Wanders.