Lolita Ritmanis: THE KILLING JOKE is a deeply psychological film.
How did this film’s perspective dictate how you would approach its music, and have you treated the animated film differently that you’ve done in previous BATMAN iterations? Q: THE KILLING JOKE was a particularly cynical treatment of the character in its original graphic presentation. SPOGLIATI, PROTESTA, UCCIDI! (Morricone/Quartet), THE WELTS (Konarski/Caldera) Jones/Varèse Sarabande), SENSORIA (Ilfman/ScreamWork7s), NOW YOU SEE ME 2 (Tyler/Varèse), ORPHANS & KINGDOMS (Rotondo), THE MEMORY OF FISH (Talmi/Konsonant ), NERVE (Simonsen/Lakeshore),
ANTHROPOID (Foster/Lakeshore), ASSAULT ON A QUEEN (Duke Ellington/Dragon’s Domain), THE AWAKENING (Bolling/Quartet), THE BANNER SAGA 2 (Wintory/T-65b), BEYOND (Barnhoorn), The Chamber Suites (Cmiral/MovieScore Media), DARK WAVES (Cimini/Kronos), GHOSTBUSTERS (Shapiro/Sony), GODZILLA RESURGENCE (Sagisu/King), HALT AND CATCH FIRE (Haslinger/Lakeshore ), I.T.(Timothy Williams/Lakeshore), INDEPENDENCE DAY/RESURGENCE (Wander &Kloser/Sony), KATTENOOG (Hermy/Kronos), LOVE BETWEEN THE COVERS (Talmi/Konsonant), THE MAGNIFICENT SEVEN (Horner-Franglen/Sony),
