Batman Returns

 

Batman Returns

(Original Motion Picture Soundtrack)

Music Composed by

Danny Elfman

This year marks the 85th anniversary of Batman's first appearance in comic book history, and to celebrate, Renovatio Records presents a new release of Danny Elfman’s acclaimed score for the 1992 sequel Batman Returns. Directed by Tim Burton and starring Michael Keaton, Danny DeVito, Michelle Pfeiffer, Christopher Walken, Michael Gough, and Pat Hingle, the film follows Batman as he confronts the power-hungry crime lord known as the Penguin, who schemes to control Gotham City alongside the corrupt businessman Max Shreck. At the same time, Catwoman emerges as a volatile, morally ambiguous figure with her own agenda for revenge. As the dark underworld of Gotham comes to life, Batman is caught in a battle not only to protect the city but also to navigate a tangled web of allies and enemies who blur the line between heroism and villainy. While the film received mixed reviews from critics, it was a box office success, grossing over $266 million worldwide and cementing its place in pop culture.

For the score, Burton once again turned to his longtime creative partner, Danny Elfman, marking their fifth collaboration. Elfman’s music for Batman Returns is a triumph of creativity, perfectly capturing the film’s darker and more eccentric tone. Departing from the more straightforward superhero sound of his original Batman score, Elfman crafted a richly complex and surreal composition. One of the most impressive aspects of the score is how Elfman tailored it to the film’s expanded roster of villains. While the iconic gothic theme for Batman, established in the 1989 film, returns, it is the two new themes for the villains that steal the spotlight.

The Penguin’s theme is an intricate blend of tragic operatic lyricism and circus-like whimsy, employing twisted woodwinds, low harp, and a haunting female choir. This mix of tragedy and carnival-style menace perfectly mirrors the character, sympathetically presenting him as both villain and victim. The development of the theme is nothing short of masterful. Cues like "The Penguin’s Lair" and the beginning of "Batman Vs. The Circus" introduce the theme in darker, more sinister tones, while tracks such as "Birth of a Penguin", "The Cemetery" and "Finale" offer solemn and tragic yet lovely renditions of the theme.

Equally brilliant is Catwoman’s theme, introduced in "Selina’s Transformation". With high-pitched strings mimicking a cat’s meow, the theme perfectly encapsulates her feral yet alluring nature. Elfman cleverly intertwines the themes for Batman and Catwoman, both beginning with the same three notes but diverging in opposite directions, with Batman’s line ascending and Catwoman’s descending. This adds complexity to their relationship, reinforcing the tension between them. Their themes clash and weave in tracks like "Sore Spots", "Rooftop Encounter" and "Final Confrontation", creating a musical narrative that speaks to their intricate dynamic. Similarly, the Penguin’s theme often finds itself in direct combat with Batman’s, particularly in action cues like “Batman Vs. The Circus” and “The Penguin’s Master Plan,” where the two themes battle for musical dominance.

Elfman’s score also blends in Christmas-like tones, maintaining a delicate balance between eerie whimsy and darker, more tragic elements. Some may argue that Batman Returns lacks the heroic grandeur of Elfman’s original Batman score, but it’s clear that Elfman was more focused on exploring new emotional and thematic depths. The score’s richness and complexity make it a fascinating, immersive listening experience, especially for those drawn to Elfman’s unique style.

In addition to the score, Elfman co-authored the song "Face to Face" with the alternative rock group Siouxsie and the Banshees. The song plays during the pivotal masquerade ball scene where Bruce Wayne and Selina Kyle (Batman and Catwoman's alter egos) confront their identities, adding an additional layer to their romantic yet doomed connection. The song seamlessly blends orchestral elements from Elfman’s score, weaving in elements of all three of the major character themes, making it a standout piece in the film’s musical landscape.

Over the years, Elfman’s Batman Returns score has seen multiple releases, each offering different content and sound quality for fans and collectors. The original 1992 release from Warner Bros. Records offered a 54-minute selection of highlights, featuring the major thematic cues and action pieces, but presented them out of chronological order and omitted some of the more intricate transitions. Additionally, the sound quality of this release was a point of discussion, with its mix often described as flat and lacking in depth, causing many elements of the rich orchestral recording to be muted or lost in the background. In 2010, La-La Land Records released a 2-CD edition (reissued in 2014) that presented the complete score, including previously unreleased cues and alternate takes. This edition allowed listeners to dive deeper into the thematic richness and character motifs that Elfman carefully developed. However, for casual listeners, the expanded edition may feel overwhelming, as its extended length and intricate details can be too dense for those looking for a more streamlined experience.

Renovatio Records’ new release strikes a middle ground, offering a more concise, yet still comprehensive, version of the score. Presented in chronological order, it allows for a more cohesive listening experience while preserving the key musical highlights and thematic progression. Batman Returns remains one of Elfman’s most inventive and memorable film scores, a perfect companion to Burton’s dark, fantastical vision of the Caped Crusader, and a testament to Elfman’s unparalleled ability to create mood and character through music.

Track listing:

1. Birth of a Penguin (2:26)

2. Main Title (3:12)

3. Batman Vs. The Circus (4:11)

4. The Penguin's Lair (4:40)

5. Selina's Transformation (5:30)

6. The Cemetery (3:12)

7. Cat Chase (5:22)

8. Sore Spots (3:15)

9. Rooftop Encounter (4:10)

10. Batman's Wild Ride (3:41)

11. The Fall from Grace (3:42)

12. The Penguin's Master Plan (6:48)

13. Final Confrontation (4:47)

14. Finale (2:41)

15. A Shadow of Doubt (2:18)

16. End Credits (4:47)

17. Face to Face (4:18) - Performed by Siouxsie and The Banshees

Total Running Time: 69:00

Download Link

Size: 391.5 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed by Danny Elfman

Produced by Danny Elfman and Steve Bartek

Executive in Charge of Music for Warner Bros. Inc.: Gary LeMel

Business Affairs: Keith Kajic

Orchestrations by Steve Bartek

Additional Orchestrations by Mark McKenzie

Conducted by Jonathan Sheffer

Contractor: Patti Zimmitti

Adult Vocal Contractor: Bobbi Page

Recorded by Shawn Murphy at Sony Music Scoring, Culver City, CA

Mixed by Shawn Murphy at CBS Television City, Hollywood, CA

Music Editors: Bob Badami and Bill Bernstein

Assistant Engineers: Sue McLean and Sharon Rice

Digital Editing and Mastering: Dave Collins at A&M Studios, Hollywood, CA

Copyist: Joel Franklin

Danny Elfman's Filmmusic Representation: Richard Kraft and Lyn Benjamin, The Kraft Agency, Inc.

Danny Elfman's Management: Mike Gormley and Laura Engel, LA Personal Development

Personal Assistant to Danny Elfman: Lisette Joselynn

"Face to Face"

Words and Music by Danny Elfman and Siouxsie and The Banshees

Produced by Stephen Hague

Record Engineered by Mike "Spike" Drake

Film Mix by Bill Jackson

Performed by Siouxsie and The Banshees

Courtesy of Polydor Limited and Geffen Records

Published by Warner-Tarmerlan Pub. Corp./Little Maestro Music BMI/Dreamhouse Music PRS.

Score Published by Warner-Tamerlane Pub. Corp. BMI

Cue Assembly:

Track Title	Cue Title
1. Birth of a Penguin	Birth of a Penguin
2. Main Title	Main Title
3. Batman vs. The Circus	Penguin Spies (Edited) Shadow of Doom (Edited) Batman vs. The Circus (Edited) Introducing the Bat (Edited)
4. The Penguin’s Lair	Intro The Zoo The Lair (Edited)
5. Selina’s Transformation	Kitty Party Selina Transforms
6. The Cemetery	The List Begins The Cemetery (Edited)
7. Cat Chase	Selina’s Shopping Spree Cat Chase (Edited)
8. Sore Spots	Sore Spots Batman’s Closet (Edited)
9. Rooftop Encounter	Roof Top Encounters (Edited)
10. Batman’s Wild Ride	Batman’s Wild Ride (Edited)
11. The Fall from Grace	Fall from Grace (Edited)
12. The Penguin’s Master Plan	Umbrella Source The Children’s Hour War (Edited)
13. Final Confrontation	Final Confrontation (Edited)
14. Finale	Finale
15. A Shadow of Doubt	A Shadow of Doubt
16. End Credits	End Credits (Alternate)
17. Face to Face – Siouxsie and the Banshees	Face to Face – Siouxsie and the Banshees

Batman is a trademark of © DC Comics Inc. Motion picture artwork and photos © 1992 Warner Bros. Entertainment Inc. This compilation and cover artwork © 2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19070]

Minority Report

Minority Report

(Original Motion Picture Score)

Music Composed and Conducted by

John Williams

Renovatio Records’ new release brings you the impressive score for the 2002 science fiction film Minority Report, composed by John Williams. Directed by Steven Spielberg and starring Tom Cruise, Colin Farrell, Samantha Morton, and Max von Sydow, Minority Report is a futuristic thriller set in the year 2054. In this world, a specialized police unit known as Pre-Crime uses the visions of three psychics, or precogs, to predict and prevent murders before they happen. The story follows Chief John Anderton, the head of Pre-Crime, who believes in the system's infallibility—until he himself is accused of a future murder. Now a fugitive, Anderton must uncover the truth behind the accusation and confront profound questions of free will, fate, and justice in a world where the future seems predetermined.

For the score, Spielberg continued his long-standing collaboration with John Williams, marking their 18th project together. Williams' music for Minority Report perfectly complements the film's fusion of futuristic elements and classic film noir style. The score blends electronic textures with suspenseful, emotionally charged orchestral writing in a way only Williams can achieve.

From the very first track, "Murder", Williams sets the tone with a sense of unease. The piece masterfully combines electronic percussion with eerie orchestral effects, evolving into a driving motif for the relentless Pre-Crime and its organization. This motif is an effective circular quick-pace figure that adds urgency as it fittingly mirrors the loop logic of predicting crimes in order to prevent them. The Pre-Crime motif is expanded upon in the track "Pre-Crime to the Rescue," where it gains intensity as Anderton races to prevent a murder predicted by the precogs. As the plot thickens and Anderton becomes the hunted, the motif becomes more aggressive, most notably during the pulse-pounding middle portion of the track "Eye Scan."

Though Minority Report is a science fiction action film, it also delves into the personal tragedy of Anderton's grief over his lost son, Sean. For these moments, Williams introduces a melancholic and poignant melody, most memorably in "Images of Sean." Here, a synthesizer's vocal effect adds a ghostly quality, reflecting Anderton’s uncertainty about Sean’s fate. This theme is explored further in "The Swimming Pool" and "The Confrontation with Leo Crow," which underscore the emotionally charged scenes where Anderton confronts his past. In one of the film's most moving scenes, "'Sean' by Agatha," Williams uses longing strings and woodwinds as the precog Agatha envisions an alternate future for Sean, if he were alive. This theme, rich with noir elegance, flourishes in the final cue, "Main Credits (Sean’s Theme)," offering a hopeful rendition that is as appealing as any other of Williams’ extensive portfolio of highly personal dramatic themes.

Additional motifs enrich the score, with one of the most striking being a siren-like vocal theme for Agatha’s tragic past, introduced in "Visions of Anne Lively." This haunting motif recurs in "The Greenhouse" and the climactic "What Are You Going to Do Now, Lamar?". Another standout is the agitated string motif for the spyders in the track of the same name. Agitated strings and buzzing brass echo the suspenseful style of Bernard Herrmann, humorously underscoring the scene in which tiny spider-like robots are deployed in an apartment complex to look for Anderton.

Minority Report also features several thrilling action sequences, for which Williams composed kinetic, adrenaline-pumping set pieces. Tracks like "Everybody Runs," "The Chase," and "Anderton’s Great Escape" showcase his mastery of orchestral action music, with aggressive percussion and complex brass arrangements driving the excitement. Williams also explores darker, more unsettling passages in cues like "Visions of Anne Lively," "The Swimming Pool," and "What Are You Going to Do Now, Lamar?," each contributing to the film's tense atmosphere.

An important musical idea is also found during the closing cue “A New Beginning”, which transforms the Pre-Crime motif into a redemptive and lyrical figure, a surprising yet fitting conclusion to a score filled with darkness and tension. Spielberg's optimistic outlook shines through in this final theme, balancing the film's grim narrative with a hopeful musical resolution.

The original 2002 release by DreamWorks Records offered a 75-minute presentation of the score, combining several cues into suite-like tracks, which altered the narrative flow. In 2019, La-La Land Records released an expanded 2-disc edition with 120 minutes of music, though its extended length struggled to maintain the listener's engagement. Renovatio Records' new release strikes a balance, retaining the highlights of the score while adhering to the film’s chronological order. This approach enhances the narrative flow and keeps the listener engaged, making it a must-have for both fans of the film and John Williams' work.

Track listing:

1. Murder (2:58)

2. Pre-Crime to the Rescue (6:41)

3. Images of Sean (2:44)

4. Visions of Anne Lively (3:32)

5. Everybody Runs (3:13)

6. The Chase (2:36)

7. Anderton's Great Escape (4:10)

8. The Greenhouse (4:34)

9. The Swimming Pool (4:21)

10. Spyders (3:27)

11. Eye Scan (4:59)

12. The Confrontation with Leo Crow (8:33)

13. 'Sean' By Agatha (4:49)

14. What Are You Going to Do Now, Lamar? (6:37)

15. A New Beginning (3:27)

16. Main Credits (Sean's Theme) (1:56)

Total Running Time: 68:37

Download Link

Size: 361.2 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed and Conducted by John Williams

Produced by John Williams

Supervising Music Editor: Ken Wannberg

Music Recorded and Mixed by Shawn Murphy

Recorded and Mixed at Sony Pictures Scoring Stage, Culver City, CA

Assistant Engineer: Sue McLean

Music Preparation: Jo Ann Kane Music Service

Music Contractor: Sandy De Crescent

Vocal Soloist: Deborah Dietrich

Scoring Crew: Mark Eshelman, Jason Lloyd, Patrick Weber, Adam Michalak

Mastered by Patricia Sullivan FourStar

Mastered at Bernie Grundman Mastering, Hollywood, CA

Published by Fox Film Music Corp./Songs of SKG (BMI)

Cue Assembly:

Track Title	Slate Number and Cue Title
1. Murder	1m1 The Crime 1m2 Creating the Red Balls
2. Pre-Crime to the Rescue	1m6A Stopping the Crime (Part 1) (Edited) 1m6B Stopping the Crime (Part 2) (Edited)
3. Images of Sean	1m9 Images of Sean
4. Visions of Anne Lively	2m2 Agatha Springs Forward (Edited) 2m1 Presenting the Precogs (Edited) 2m5 Anne Lively
5. Everybody Runs	2m6A Elevator Confrontation 3m1 Anderton on the Run
6. The Chase	3m4 Anderton’s Escape
7. Anderton’s Great Escape	3m5 The Conveyor Belt (Edited)
8. The Greenhouse	4m1 The Greenhouse Scene (Edited)
9. The Swimming Pool	4m5 The Swimming Pool Scene 4m3 Dr. Eddie and Miss Van Eyck (Edited)
10. Spyders	5m2 Robotic Spiders (Edited) 5m3 In the Tub
11. Eye Scan	5m4 Saving the Eyeball (Edited) 5m8 Agatha Sees All (Edited)
12. The Confrontation with Leo Crow	6m1A The Man in the Window 6m1B Crow’s Hotel Room (Edited) 7m2 Anderton in Halo (Edited) 6m2 Last Scene with Crow (Edited)
13. ‘Sean’ By Agatha	6m3 Remembering Sean (Edited) 7m1 Run!!! (Edited)
14. What Are You Going to Do Now, Lamar?	7m6 Confronting Lamar (Edited) 7m7 Thought Transference and Finale (Edited)
15. A New Beginning	8m1 A New Beginning

Motion picture artwork, trademarks, and photos © 2002 Twentieth Century Fox Film Corporation and Dreamworks LLC. This compilation and cover artwork © 2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19065]

I, Robot

I, Robot

(Original Motion Picture Soundtrack)

Music by

Marco Beltrami

Renovatio Records invites you on a journey into the future to revisit Marco Beltrami’s thrilling score for the 2004 science fiction action film I, Robot, directed by Alex Proyas and inspired by Isaac Asimov's works. Starring Will Smith, Bridget Moynahan, Bruce Greenwood, James Cromwell, Chi McBride, and Alan Tudyk, the film is set in the year 2035, in a world where robots are an integral part of everyday life, designed to serve and protect humans. The story follows Detective Del Spooner, played by Smith, who is skeptical of robots despite their widespread acceptance. When Dr. Alfred Lanning (Cromwell), a pioneer in robotics, is found dead, Spooner suspects foul play involving a robot, which seems impossible due to the robots' programming to follow the Three Laws of Robotics. As Spooner investigates, he uncovers a conspiracy that could threaten humanity's safety. Alongside Dr. Susan Calvin (Moynahan), a 'robopsychologist', Spooner discovers that an advanced robot named Sonny might hold the key to unraveling the mystery.

Despite mixed reviews from critics, who praised its innovative visual effects but criticized some aspects of its acting and overall plot, I, Robot performed well at the box office. The film offers a well-rounded experience with thrilling action set pieces, remarkable production design, and astounding cinematography. Additionally, it explores themes of trust, autonomy, and the ethical implications of artificial intelligence, culminating in a thrilling confrontation that questions the very essence of what it means to be human.

For the score, Proyas turned to composer Marco Beltrami after Trevor Jones, with whom the director had previously worked on Dark City (1998), had to leave the film due to scheduling conflicts. Despite the challenging circumstances and a tight deadline of 17 days to write and record the score, Beltrami managed to deliver a compelling musical composition that enhances the cinematic experience. Proyas himself praised the score, claiming that when seeing the film with Beltrami’s music, he felt that he was watching it for the first time, the experience taking him back to the excitement he had when reading Asimov’s stories.

Beltrami’s score for I, Robot stands out for its blend of orchestral and electronic elements, creating a soundscape that perfectly mirrors the film’s dichotomy of human and robotic worlds. Thematically, Beltrami resorts to a main theme, a memorable minor-key melody mostly played by the string section and appearing in one form or another in nearly every cue. This primary identity is unquestionably the highlight of the entire score, its progression of sustained notes being both evocative and haunting, encapsulating the film's exploration of the fine line between humanity and artificial intelligence. The theme reaches a dramatic peak during the mid-portion of the cue “Spooner Spills Secret,” as Spooner narrates the traumatic events that have led him to resents robots. Other standout performances of this theme appear during the cue “Round Up,” this time in a lighter tone accompanied by chorus, and in the form of a full ensemble performance to close the score during the end titles (“I, Robot Theme”).

A secondary ‘evil’ theme exists for the robots and their increasing menace to humanity. This theme is hinted at the outset of the cue “Sonny in the Box” and is then developed and heard in full during the cue “Gangs of Chicago,” which finds the robots at their highest point, starting to inflict fear on human society.

One of the most impressive aspects of Beltrami's work is his adept use of orchestration. With a 95-piece orchestra and a 25-member choir, he crafts a rich and dynamic sound, with the electronics playing a complementary role to add texture. The score's orchestral foundation is thus powerful and immersive, providing a robust and dramatic backdrop to the film's intense action sequences and poignant moments. While it can be argued that Beltrami's choice to prioritize the orchestra over electronic elements is a bold decision in a futuristic film such as I, Robot, the composer's approach lends a timeless quality to the score that distinguishes it from other contemporary sci-fi soundtracks.

The action cues, such as "Tunnel Chase,” “Gangs of Chicago,” and “Spiderbots," are particularly noteworthy. These tracks showcase Beltrami's skill in building tension and excitement, with propulsive rhythms, sharp brass ostinatos, and hyperactive strings accompanied by electronic embellishments, all of it fittingly moving like clockwork. The choral inclusions add an epic dimension, heightening the sense of scale in the confrontation scenes of the film’s final act.

While some critics might argue that the score occasionally lacks cohesion, Beltrami's work is undeniably engaging, and his thematic development is both complex and compelling. The emotionally charged solo performances, particularly the electronically altered violin solos, are highlights that add depth and nuance to the score.

Beltrami’s music was released in 2004 by Varèse Sarabande in the form of a 44-minute album that contained its highlights. However, this presentation was not in chronological order and was missing some standout cues. Renovatio Records steps in to address these concerns, presenting a new program that follows the film’s order of cues while introducing previously unreleased material, contributing to the narrative arc of the work.

Feel free to get your favorite Asimov book and read it while you enjoy Marco Beltrami's music for I, Robot, a score that, as the famous sci-fi author, is as intellectually stimulating as it is emotionally impactful.

Track listing:

1. Main Titles (1:35)

2. Chicago 2035 (2:05)

3. Suicide at USR HQ (3:02)

4. Sonny in the Box (2:46)

5. 1001 Robots (3:29)

6. New Arrivals (1:39)

7. Tunnel Chase (3:15)

8. Spooner Spills Secret (4:22)

9. Dead Robot Walking (5:09)

10. Gangs of Chicago (3:18)

11. Man on the Inside (2:26)

12. Need Some Nanites (2:50)

13. Spiderbots (4:22)

14. Round Up (4:40)

15. I, Robot Theme (3:22)

Total Running Time: 48:20

Download Link

Size: 258.1 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music by Marco Beltrami

Produced by Marco Beltrami

Executive in Charge of Music for Twentieth Century Fox: Robert Kraft

Music Supervised for Twentieth Century Fox: Michael Knobloch

Fox Music Business Affairs: Traci Dallas-Opdahl

Score Conducted by Pete Anthony and Marco Beltrami

Orchestrations by Pete Anthony, Frank Bennett, Bill Boston, Chris Guardino, Jim Honeyman, Randy Kerber, Jon Kull, Carlos Rodriguez, Dennis Smith, Ceiri Torjussen, and Marcus Trumpp

Score Recorded and Mixed by John Kurlander

Music Preparation by Jo Ann Kane Music Services

Performed by The Hollywood Studio Symphony

Orchestra Contracted by Sandy De Crescent

Choir: The Hollywood Film Chorale

Vocal Contractor: Sally Stevens

Synth Design by Buck Sanders

Score Recorded at Newman Scoring Stage at Twentieth Century Fox

Recordist: John Rodd

Engineer: Bill Talbott

Stage Managers: Tom Steel and Jason Lloyd

Score Mixed at The Robert Wise Mixing Stage

Recordist: Matt Patterson

Stage Engineer: William Stein

Digital Recordist: Kevin Globerman

Music Editor: Alex Gibson

Assistant Music Editor: Jeremy Raub

Original Film Score Published by T C F Music Publishing, Inc. (ASCAP)

Cue Assembly:

Track Title	Slate Number and Cue Title
1. Main Titles	1m1 Main Titles
2. Chicago 2035	1m3 Chicago 2035 (Edited) 1m5 Purse Pursuit (Edited)
3. Suicide at USR HQ	1m7 Back in the USR (Edited) 2m1a Dr. Calvin (Edited)
4. Sonny in the Box	2m3 Sonny’s Interrogation (Edited) 2m1b Sonny in the Box (Edited) 1m1 Main Titles (Edited) 2m1bAlt Sonny in the Box (Edited)
5. 1001 Robots	2m2 1001 Robots (Edited) 3m1 AM-PM (Edited)
6. New Arrivals	3m3 Dream Weaver 3m4 Bad News City Music (Edited)
7. Tunnel Chase	3m6 Tunnel Chase (Edited)
8. Spooner Spills Secret	4m5 Spooner Spills
9. Dead Robot Walking	5m1 Dead Robot Walking (Edited)
10. Gangs of Chicago	5m2 Rock 'em Sock 'em Robots (Edited)
11. Man on the Inside	5m3 Gangs of Chicago (Edited) 5m4 Man on the Inside (Edited)
12. Need Some Nanites	6m1 Need Some Nanites (Edited)
13. Spiderbots	6m2 Spiderbots (Edited)
14. Round Up	6m3 Round Up
15. I, Robot Theme	7m1 End Credits

Motion picture artwork, photos, and Fox Trademarks and Logos © 2004 Twentieth Century Fox Film Corporation. This compilation and cover artwork © 2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19067]