Business/Industrie John Debney vertont ALEX CROSS

[Soundtrack Composer]

John hats ja im laufe des Tages ja schon über fb öffentlich gemacht:

John Debney has announced on his official Facebook fan page that he will be scoring the thriller I, Alex Cross. The film is directed by Rob Cohen (The Fast and the Furious, xXx) and stars Tyler Perry as James Patterson’s iconic character Alex Cross. Matthew Fox, Edward Burns, Rachel Nichols and Jean Reno are co-starring. The Alex Cross character has previously appeared in the 1997 film Kiss the Girls (scored by Mark Isham) and 2001′s Along Came a Spider (with music by Jerry Goldsmith), both times played by Morgan Freeman. In I, Alex Cross, the character is retired from the FBI and drawn back to find a killer, only to learn it may be the same man responsible for the murder of his wife twelve years ago. Kerry Williamson and Marc Moss (Along Came a Spider) have written the screenplay and Bill Block & Paul Hanson (W., The Hunting Party) are producing through QED International, while Steve Bowen and Leopoldo Gout (Days of Grace) are producing through James Patterson Entertainment. Debney has previously provided additional music for Cohen’s The Mummy: Tomb of the Dragon Emperor, which was scored by the filmmakers’s regular composer Randy Edelman who has written the music for most of the director’s films. I, Alex Cross will be distributed by Summit Entertaiment in the US. A release date towards the end of the year or in early 2013 is expected.

[horner1980]

hmmm war es das vielleicht mit der langjährigen Zusammenarbeit von Randy Edelman und Rob Cohen?.. Ich hoffe nicht.

[ronin1975]

na hin und wieder hat Cohen auch wen anderen genommen und für son Thriller sind Edelmans Sport-Themen und Billig-Synthies/Orchestrationen halt nicht ganz das Richtige. Na für Cohen ja mal was relativ kleines, wenn nicht nachher wieder ganze Städte dem Erdboden gleichgemacht werden... nett, dass er sich an den Add. Music Gig von Debney erinnerte... wie DREAM HOUSE wird das sicher akzeptable, aber unoriginelle Thrillerware...

[Soundtrack Composer]

Kommt am 19. Oktober bei Metropolis Music:

1. Alex Cross Opening

2. Going To Pop Pop

3. Maria Is Pregnant

4. MMA Enterance

5. Picasso Breaks An Arm

6. Picasso Seduces Women

7. Tommy / Monica Talk

8. Alex Accesses Crime Scene

9. Next Target

10. Aqua Building

11. Boom He’s Gone

12. Alex Profiles Killer

13. I Don’t Want To Die

14. Picasso Kills Maria

15. Alex Comforts Janelle

16. Detroit P.D. Breakin

17. Give Me A Name

18. Shutdown Courthouse Square

19. Picasso Takes Train

20. Confronting Picasso

21. Alex / Picasso Do Battle

22. It Ain’t Over Tommy

23. Restrained Satisfaction

24. Alex Walks to House

Hörproben gibts hier:

[neo]

Zwar teils bisschen synthlasting aber klingt sonst nicht schlecht. Ist vorgemerkt

[ronin1975]

gibts auf spotify... ein Glück, Geld ist das Zeug nicht wert... was hat Debney denn da geritten? Nur so Synthie-Schlagzeug Gedöhns... man kann noch nicht mal sagen, das klingt gewollt und nicht gekonnt... das is nur nicht gekonnt...

[Marcus Stöhr]

Bei Randall Larsons Kolumne hat John Debney folgendes in einem Interview erwähnt:

John Debney: ALEX CROSS was really just uber-cool for me, because, especially nowadays, I’m looking for projects where I can stretch and do something different than I'm maybe known for. In the case of ALEX CROSS the director Rob Cohen, who is someone I've worked with before and who I think is a really smart director, wanted to be really, really nasty and distorted – kind of Trent Rezner-esque or taking some of the bands from the era like a Prodigy or Skinny Puppy, and take that music and to see how we can apply it to the fabric of the film. And so, ALEX CROSS is really different for me, and it's really, really nasty and out there. Interestingly enough, in some cases we had to pull back on so that distorted nastiness because it was taking over the movie a little bit! We ended having what I think is a nice blend of the crazy, overly processed music, but it was really fun for me. I think it's probably my most contemporary score to date. It will be fun to see what people think of it. DREAM HOUSE, on the other hand, was very much a psychological ghost story/thriller. They had temped it with my score from DRAGONFLY from a few years ago. So that was a cool situation which doesn't happen that often, where they temped the whole movie with one score of mine, and so when I got the call on that I knew going in what they liked and what they had temped with. So it was a different challenge for me because I had to divorce myself from my own work. It ended up being a very simply-driven melodic score that's just a motivic series of notes on the piano that turned into an evocative theme that people seem to like and was rather effective in the movie because of its simplicity. So, two different movies, two different approaches. Again, the dictates of what you are going to do are really set out, sometimes, in front of you and at other times is just a wide-open book.