Original composer distinguishes electronic approach; physical premises unresolved.
Christopher Drake’s original Under the Red Hood interview describes the director’s restrained electronic approach and a change from early gothic orchestral material to synthesized and processed guitar textures. He distinguishes it from the prior Public Enemies score. No named physical recording premises is supplied, and instrumental style does not prove a live orchestra venue, generic Warner campus or another film’s recording room. Work-only source-method scope; no Place, Moment or pin.
Scope evidence ↗