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Found 322 results

  1. Haven't been paying much attention to this thread, but are the sessions still going? Saw this today: I wonder if these 300 bars could be from TROS? Could be any film though really...
  2. Found this on instagram, looks like Across the Stars was arranged for her. This is especially interesting since the Yo-Yo Schindler's list one was more of a transcription probably.
  3. There it is. The Original Trilogy plus The Force Awakens, live to projection! http://nyphil.org/concerts-tickets/explore/1718/star-wars
  4. https://www.linkedin.com/pulse/sandy-decrescents-impact-motion-pictures-industry-paksy-plackis-cheng
  5. Admin note: This thread is largely hype for the release before it's release date, and then ordering/shipping/"it's arrived!" talk afterward; Please relocate to the following thread to discuss the actual musical content of the release: http://www.jwfan.com/forums/index.php?/topic/27984-close-encounters-of-the-third-kind-la-la-land-music-discussion/ News from someone in attendance at the CE3K 40th anniversary discussion panel
  6. The Force Awakens by John Williams Complete Score Breakdown & Other Info by Jason LeBlanc Do not repost anywhere without my permission!! I have no clue what any of Williams' original cue names are, so I made up my own names for all of them, usually just using a description of the scene or some dialogue from it rather than trying to imitate Williams' naming style. I'm sure I missed some things here and there so I welcome any at all questions and updates and corrections. Without further ado here we go! # Title On FYC? On OST? THE FILM SCORE 1 Main Title 1:26 01A [0:00-1:26] Main Title 1:26 2 Starry Night 2:09 01A [0:00-2:09] The Attack on the Jakku Village Part 1 2:09 01B [1:26-3:07] The Attack on the Jakku Village 1:41 3 Village Attack 3:18 01B [2:09-end] The Attack on the Jakku Village Part 1 3:18 01C [3:07-5:03] The Attack on the Jakku Village 1:56 4 I Will Show You The Dark Side 0:43 5 Kill Them All 1:53 02 The Attack on the Jakku Village Part 2 1:53 01D [5:03-end] The Attack on the Jakku Village 1:22 6 Submit Your Blaster For Inspection 0:44 7 Rey The Scavenger 2:21 03 The Scavenger 1:52 02A [0:00-2:21] The Scavenger 2:21 8 Lunchtime 1:18 04 Lunchtime 1:12 02B [2:21-end] The Scavenger 1:18 9 BB-8 Meets Rey 0:52 10 It's In The Droid 0:19 11 Not For Sale / You Need A Pilot 1:01 12 I Can Fly Anything 4:09 05 I Can Fly Anything 4:09 03B [0:30-end] I Can Fly Anything 2:41 13 Finn’s Trek 1:35 06 Finn’s Trek 1:35 14 Stolen Jacket 0:36 08B [0:35-1:11] That Girl With The Staff 0:36 15 Follow Me 3:09 07A [0:00-3:09] Follow Me 3:09 05 Follow Me 2:54 16 The Falcon 4:00 07B [3:09-end] The Falcon 4:00 07 The Falcon 3:32 17 Finn, I'm Rey 0:35 08A [0:00-0:35] That Girl With The Staff 0:35 18 The Droid Stole A Freighter? 0:47 08C [1:11-end] That Girl With The Staff 0:47 19 Poisonous Gas 1:33 09A [0:00-1:01] The Rathtars! 1:01 20 You're Han Solo! 2:05 ** released via LEGO The Force Awakens as "MX_HUBFALCON" 2:10 21 Tasu Leech 1:10 22 Rathtars Unleashed 1:19 08 The Rathtars 1:19 09C [1:22-2:13] The Rathtars! 0:51 23 Rey Closes Door 0:16 24 Escape In The Millennium Falcon 1:52 09D [2:13-end] The Rathtars! 1:52 25 Supreme Leader Snoke 2:07 09 Snoke 2:07 17A [0:00-1:02] Snoke 1:02 26 It's True, All Of It 1:19 27 Arrival at Takodana 0:42 10B [0:52-1:17] Finn's Confession 0:25 28 You Got A Name? 1:32 10 You Got A Name? 1:32 10C [1:17-end] Finn's Confession 0:51 29 Informants 0:21 04B [1:10-end] Rey Meets BB-8 0:21 30 I Will Finish What You Started 1:06 31 Maz Examines Finn 1:21 11A [0:00-1:21] Maz's Counsel 1:21 32 I'm No Hero 1:06 11 I’m No Hero 1:06 10A [0:00-0:52] Finn's Confession 0:52 33 Rey Underground 0:36 34 Rey's Vision 0:56 35 Maz and Rey 1:53 11B [1:21-end] Maz's Counsel 1:46 36 The Starkiller 1:52 12 The Starkiller 1:52 12 The Starkiller 1:51 37 Kylo Ren Arrives At The Battle 2:15 13 Kylo Ren Arrives at the Battle 2:15 13 Kylo Ren Arrives At The Battle 2:01 38 The Resistance 1:35 14 The Resistance 1:35 39 The Abduction 2:27 15 The Abduction 1:35 14 The Abduction 2:25 40 Finn and Poe, United 3:08 16 Finn and Poe, United 2:01 15A [0:00-2:52] Han And Leia 2:52 41 Han and Leia Discuss Kylo 2:01 15B [2:52-end] Han And Leia 1:49 42 You Still Want To Kill Me 0:36 43 You Will Never Be As Strong As Darth Vader 1:29 44 Bring Her To Me 1:03 17B [1:02-end] Snoke 1:01 45 Jedi Mind Trick 0:36 46 Ren's Rage 0:53 47 Precint 47 1:35 48 Bring Him Home 1:17 49 Landing At Light Speed 1:12 50 Weapon Charged In 15 Minutes 0:18 51 Group Enters Base 0:57 52 The Bombing Run 2:07 17 The Bombing Run 2:07 53 Escape Now, Hug Later 0:22 54 Bag of Explosives 0:48 18A [0:00-0:48] On The Inside 0:48 55 Planting Charges 2:06 18B [0:48-end] On The Inside 2:06 18 On The Inside 2:05 56 Torn Apart 4:24 19 Torn Apart 4:24 19 Torn Apart 4:19 57 Rey Gets The Lightsaber 0:48 20A [0:00-0:45] The Ways Of The Force 0:45 58 The Trench Run 1:44 20A [0:00-1:20] The Ways of The Force 1:20 59 Rey Vs Ren 2:38 20B [1:20-end] The Ways of The Force 2:38 20B [0:45-end] The Ways Of The Force 2:30 60 Time To Complete His Training 0:51 61 The Journey Home 2:18 21 The Journey Home 2:18 22A [0:00-2:05] Farewell and The Trip 2:05 62 R2 Shows The Map 1:10 22A [0:00-1:10] Farewell and The Trip 1:10 04A [0:00-1:10] Rey Meets BB-8 1:10 63 Rey's Trip 2:42 22B [1:10-end] Farewell and The Trip 2:39 22B [2:13-end] Farewell and The Trip 2:42 64 The Jedi Steps 2:12 23A [0:00-2:12] The Jedi Steps 2:12 23A [0:00-2:12] The Jedi Steps 2:12 65 Finale 7:46 23B [2:12-end] Finale 7:46 23B [2:21-end] Finale 6:39 CONCERT / ALBUM ARRANGEMENTS 66 Rey’s Theme 3:11 06 Rey’s Theme 3:11 67 March of the Resistance 2:35 16 March of the Resistance 2:35 68 Scherzo For X-Wings 2:32 21 Scherzo For X-Wings 2:32 ALTERNATES 69 I Can Fly Anything (Alternate Opening) 0:30 03A [0:00-0:30] I Can Fly Anything 0:30 70 UNUSED MUSIC 0:21 09B [1:01-1:22] The Rathtars! 0:21 Google Spreadsheet version of this table here: https://docs.google.com/spreadsheets/d/1rDuRXT-67ETwF2cy4lNkgp5AV_QcIDivxUwCLtLOGfg/pubhtml# (Third tab) CHRONOLOGICAL ORDER OF OST: THE FILM SCORE: 01 Main Title and the Attack on the Jakku Village (6:25) 02 The Scavenger (3:39) 03 I Can Fly Anything (3:11) 08B [0:35-1:11] (0:36) "Stolen Jacket" 05 Follow Me (2:54) 07 The Falcon (3:32) 08A [0:00-0:35] "Finn, I'm Rey" 08C [1:11-end] "The Droid Stole A Freigher?" 09 The Rathtars! (4:05) 17A [0:00-1:02] (1:02) "Supreme Leader Snoke" 10B [0:52-end] (1:16) "Arrival At Takodana / You Got A Name?" 04B [1:10-end] (0:21) "Informants" 11A [0:00-1:21] (1:21) "Maz Examines Finn" 10A [0:00-0:52] (0:52) "I'm No Hero" 11B [1:21-end] (1:46) "Maz and Rey" 12 The Starkiller (1:51) 13 Kylo Ren Arrives at the Battle (2:01) 14 The Abduction (2:25) 15 Han and Leia (4:41) 17B [1:02-end] (1:01) "Bring Her To Me" 18 On the Inside (2:05) 19 Torn Apart (4:19) 20 The Ways of the Force (3:15) 22A [0:00-2:05] (2:05) Farewell 04A [0:00-1:10] (1:10) "R2 Shows The Map" 22B [2:13-end] (2:42) The Trip 23 The Jedi Steps and Finale (8:51) THE CONCERT ARRANGEMENTS: 06 Rey's Theme (3:11) 16 March of the Resistance (2:35) 21 Scherzo for X-Wings (2:32) DETAILED OST BREAKDOWN: 01. Main Title and the Attack on the Jakku Village (6:25) [0:00-1:26] = cue 1 Main Title [1:26-3:07] = cue 2 Starry Night (FYC 01A [0:00-2:09]) [3:07-5:03] = cue 3 Village Attack (FYC 01B [2:09-end] [5:03-end] = cue 5 Kill Them All (FYC 02) 02. The Scavenger (3:39) [0:00-0:39] = unknown, possibly unused opening of: [0:39-2:21] = cue 7 Rey The Scavenger (FYC 03) [2:21-end] = cue 8 Lunchtime (FYC 04) 03. I Can Fly Anything (3:11) [all] = cue 12 I Can Fly Anything (FYC 05) 04. Rey Meets BB-8 (1:31) [0:00-1:10] = either cue 9 BB-8 Meets Rey or cue 61 R2 Shows The Map (up for debate which is the intended position and which is the tracked) [1:10-end] = cue 29 Informants 05. Follow Me (2:54) [all] = cue 15 Follow Me (FYC07A [0:00-3:09]) 06. Rey’s Theme (3:11) [all] = concert arrangment of Rey's Theme 07. The Falcon (3:32) [all] = cue 16 The Falcon (FYC07B [3:09-end]) 08. That Girl With The Staff (1:58) [0:00-0:35] = cue 17 Finn, I'm Rey [0:35-1:11] = cue 14 Stolen Jacket [1:11-end] = cue 18 The Droid Stole A Freighter? 09. The Rathtars! (4:05) [0:00-1:01] = cue 19 Poisonous Gas [1:01-1:22] = not in film, probably unused opening to next cue [1:22-2:13] = cue 22 Rathtars Unleashed (FYC 08) [2:13-end] = cue 24 Escape In the Millenium Falcon 10. Finn’s Confession (2:08) [0:00-0:52] = cue 32 I'm No Hero (FYC 11) [0:52-1:17] = cue 27 Arrival At Takodana [1:17-end] = cue 28 You Got A Name? (FYC 10) 11. Maz’s Counsel (3:07) [0:00-1:21] = cue 31 Maz Examines Finn [1:21-end] = cue 35 Maz and Rey 12. The Starkiller (1:51) [all] = cue 36 The Starkiller (FYC 12) 13. Kylo Ren Arrives At The Battle (2:01) [all] = cue 37 Kylo Ren Arrives At The Battle (FYC 13) 14. The Abduction (2:25) [all] = cue 39 The Abduction (FYC 15) 15. Han And Leia (4:41) [0:00-2:52] = cue 40 Finn and Poe, United (FYC 16) [2:52-end] = cue 41 Han and Leia Discuss Kylo 16. March of the Resistance (2:35) [all] = concert arrangment of The Resistance theme 17. Snoke (2:03) [0:00-1:02] = cue 25 Supreme Leader Snoke (FYC 09) [1:02-end] = cue 44 Bring Her To Me 18. On the Inside (2:05) [all] = cue 55 "Planting Charges" (FYC 18B [0:48-end]) 19. Torn Apart (4:19) [all] = cue 56 Torn Apart (FYC 19) 20. The Ways Of The Force (3:14) [0:00-0:45] = cue 57 "Rey Gets The Lightsaber" [0:45-end] = cue 59 "Rey Vs Ren" (FYC 20B [1:20-end]) 21. Scherzo For X-Wings (2:32) [all] = concert version of cue 58 "The Trench Run" (FYC20A [0:00-1:20]) 22. Farewell And The Trip (4:55) [0:00-2:05] = cue 61 "The Journey Home" (FYC 21) [2:05-end] = cue 63 "Rey's Trip" (FYC 22B [1:10-end]) 23. The Jedi Steps And Finale (8:51) [0:00-2:12] = cue 64 The Jedi Steps (FYC 23A [0:00-2:11]) [2:12-6:07] = End Credits part 1 (FYC 23B [2:11-6:04]) [6:07-7:28] = Repeated section of "March of the Resistance" (FYC 23C [6:04-8:34]) [7:28-end] = End Credits part 2 (FYC 23D [8:34-end]) QUICK FYC BREAKDOWN: FYC 01 The Attack on the Jakku Village Part 1 (5:27) [all] (5:27) = OST 01 [1:26-5:03] (3:37) Main Title and The Attack on the Jakku Village FYC 02 The Attack on the Jakku Village Part 2 (1:53) [all] (1:53) = OST 01 [5:03-end] (1:22) Main Title and The Attack on the Jakku Village FYC 03 The Scavenger (1:52) [all] (1:52) = OST 02 [0:36-2:21] The Scavenger FYC 04 Lunchtime (1:12) [all] (1:12) = OST02 [2:21-end] The Scavenger FYC 05 I Can Fly Anything (4:09) [0:00-1:00] (1:00) = Previously Unreleased [1:00-end] (3:09) = OST 05 [0:30-end] (2:24) I Can Fly Anything FYC 06 Finn’s Trek (1:35) [all] (1:35) = Previously Unreleased FYC 07 Follow Me and The Falcon (7:09) [0:00-3:09] (3:09) = OST 05 Follow Me (2:54) [3:09-end] (4:00) = OST 07 The Falcon (3:32) FYC 08 The Rathtars (1:19) [all] (1:19) = OST 09 [1:22-2:13] The Rathtars! FYC 09 Snoke (2:07) [all] (2:07) = OST 17 [0:00-1:02] Snoke FYC 10 You Got A Name? (1:32) [0:00-0:45] (0:45) = Previously Unreleased [0:45-end] (0:47) = OST 10 [1:17-end] (0:51) Finn's Confession FYC 11 I’m No Hero (1:06) [all] (1:06) = OST 10 [0:00-0:52] (0:52) Finn's Confession FYC 12 The Starkiller (1:52) [all] (1:52) = OST 12 The Starkiller (1:51) FYC 13 Kylo Ren Arrives at the Battle (2:15) [all] (2:15) = OST 13 Kylo Ren Arrives At The Battle (2:01) FYC 14 The Resistance (1:35) [all] (1:35) = Previously Unreleased FYC 15 The Abduction (1:35) [all] (1:35) = OST 14 [0:56-end] (1:29) The Abduction FYC 16 Finn and Poe, United (2:01) [all] (2:01) = OST 15 [1:13-2:52] (1:39) Han and Leia FYC 17 The Bombing Run (2:07) [all] (2:07) = Previously Unreleased FYC 18 On the Inside (2:54) [0:00-0:48] (0:48) = Previously Unreleased [0:48-end] (2:06) = OST 18 [0:03-end] (2:02) On The Inside FYC 19 Torn Apart (4:24) [all] (4:24) = OST 19 Torn Apart (4:19) FYC 20 The Ways of the Force (3:58) [0:00-1:20] (1:20) = Previously Unreleased [1:20-end] (2:38) = OST 20 [0:45-end] (2:20) The Ways Of The Force FYC 21 The Journey Home (2:18) [all] (2:18) = OST 22 [0:00-2:05] (2:05) Farewell and The Trip FYC 22 Farewell and The Trip (3:49) [0:00-1:10] = OST 04 [0:00-1:10] (1:10) Rey Meets BB-8 [1:10-end] (2:39) = OST 22 [2:13-end] (2:42) Farewell and The Trip FYC 23 The Jedi Steps and Finale (9:58) [0:00-6:53] (6:54) = OST 23 [0:00-6:59] (6:59) The Jedi Steps and Finale [6:53-8:05] (1:12) = OST 16 [tbd-tbd] (tbd) March of the Resistance [8:05-end] (1:53) = OST 23 [6:59-end] (1:53) The Jedi Steps and Finale Simple FYC/OST Combo Playlist, no Editing Required OST 06 Rey's Theme (3:11) OST 16 March of the Resistance (2:35) OST 21 Scherzo for X-Wings (2:32) FYC 01 The Attack on the Jakku Village Part 1 (5:27) FYC 02 The Attack on the Jakku Village Part 2 (1:53) OST 02 The Scavenger (3:39) OST 04 Rey Meets BB-8 (1:31) FYC 05 I Can Fly Anything (4:09) FYC 06 Finn’s Trek (1:35) FYC 07 Follow Me and The Falcon (7:09) OST 08 That Girl with the Staff (1:58) OST 09 The Rathtars! (4:05) FYC 09 Snoke (2:07) FYC 10 You Got A Name? (1:32) FYC 11 I'm No Hero (1:06) OST 11 Maz's Counsel (3:07) FYC 12 The Starkiller (1:52) FYC 13 Kylo Ren Arrives at the Battle (2:15) FYC 14 The Resistance (1:35) OST 14 The Abduction (2:25) OST 15 Han and Leia (4:41) OST 17 Snoke (2:03) FYC 17 The Bombing Run (2:07) FYC 18 On The Inside (2:54) FYC 19 Torn Apart (4:24) OST 20 The Ways of the Force (3:15) OST 22 Farewell And The Trip (4:55) FYC 23 The Jedi Steps and Finale (9:58) TOTAL TIME - 1:30:00 Some notes: I like the concert arrangements first but you could certainly put them after instead Obviously the main title isn't here, but I don't mind. I've been listening to that piece for 20 years and don't need to hear it everytime I listen to this score. Obviously if you can't live without it, you can use OST track 1 instead of FYC tracks 1 and 2. For "The Way of the Force", I went with the OST version to get the great music for Rey getting the saber. The FYC version replaces that bit with the music for the X-Wings attack, which is great but since we have similar music in the Sherzo track it was easy to keep the OST version. For "The Starkiller", and "Torn Apart" you could swap in the OST version if you prefer. Torn Apart has a softer ending on album than the FYC version OST Track 10 Finn's Confession can replace FYC tracks 10 and 11 if you prefer that album arrangement with the Arrival at Takadona music. Longer Chronological Edit of OST + FYC, In-Track Editing Required: THE SCORE OST 01A [0:00-1:26] (1:26) Main Title / FYC 01 The Attack on the Jakku Village Part 1 (5:27) FYC 02 The Attack on the Jakku Village Part 2 (1:53) OST 02 The Scavenger (3:39) FYC 05 I Can Fly Anything (4:09) FYC 06 Finn’s Trek (1:35) OST 08B [0:35-1:11] (0:36) "Stolen Jacket" FYC 07 Follow Me and The Falcon (7:09) OST 08A [0:00-0:35] "Finn, I'm Rey" OST 08C [1:11-end] "The Droid Stole A Freigher?" OST 09 The Rathtars! (4:05) FYC 09 Snoke (2:07) OST 10B [0:52-1:17] (0:25) "Arrival At Takodana" FYC 10 You Got A Name? (1:32) OST 04B [1:10-end] (0:21) "Informants" OST 11A [0:00-1:21] (1:21) "Maz Examines Finn" FYC 11 I’m No Hero (1:06) OST 11B [1:21-end] (1:46) "Maz and Rey" FYC 12 The Starkiller (1:52) FYC 13 Kylo Ren Arrives at the Battle (2:15) or OST 13 if you prefer its version of Kylo's Theme in the middle FYC 14 The Resistance (1:35) OST 14 The Abduction (2:25) note that FYC 15 has an alternate ending if you prefer it OST 15 Han and Leia (4:41) OST 17B [1:02-end] (1:01) "Bring Her To Me" FYC 17 The Bombing Run (2:07) FYC 18 On The Inside (2:54) FYC 19 Torn Apart (4:24) OST 20A [0:00-0:45] (0:45) "Rey Gets The Lightsaber" / FYC 20 The Ways of the Force (3:58) FYC 21 The Journey Home (2:18) FYC 22 Farewell and The Trip (3:49) FYC 23 The Jedi Steps and Finale (9:58) ALBUM ARRANGEMENTS OST 06 Rey's Theme (3:11) OST 16 March of the Resistance (2:35) OST 21 Scherzo for X-Wings (2:32) THE RAW NUMBERS: 102 minutes of score in the final cut of the film (not including Miranda/Abrams source music). 77 of that released between the OST and FYC, leaving 25 completely unreleased. The OST has another 15 minutes of music that isn't used in the film anywhere, meaning in total 92 minutes out of the 175 recorded has been released. With 25 of that being the music heard in the film that is unreleased, this leaves about 58 minutes completely unreleased and unheard. All comments welcome!
  7. OK, back from the film and some general comments on the music: First of all, I was a BIT disappointed by the score. The keyword here, I think, is "whimsical". There's a LOT of rhytmic and energetic stuff with all the usual Williams trademarks, but if you want thematic setpieces like a "The Asteroid Field" or "The Forest Battle" or whatever, you won't find it. In fact, the most striking theme was the "rebel" theme (also in the way it appeared in the film). In that case, it has a lot in common with INDY 4. Rey's theme had some nice renditions -- especially of the more pastoral kind (an extension of what you heard in the TV spot) when she is first introduced. Finn's theme and Kylo Ren's theme are more motivic than thematic, IMO. A big treat was the appearance of the original themes -- they're almost used more extensively than in the first six films. The "Force" theme appearances were undoubtedly those that made the biggest impression. There is dark choral music for one particular scene, but it's not in the big, overt "Duel of the Fates" kind. More like the choral music for Palpatine in REVENGE OF THE SITH. To be fair, I think the music will fare much better on album. At least I hope so. It's mixed fairly high in the film, but there's still a lot getting lost in the sound mix.
  8. MV Gerhard from La-La Land Records just announced: https://www.facebook.com/lalalandrecords/photos/a.181243738754.155532.56031953754/10152525579163755/?type=1&theater It will go up for sale Tuesday, June 24th at 12PM PST at www.lalalandrecords.com and other soundtrack retailers. Stay tuned to JWFan.com (Main Page) for exclusive previews and further information!
  9. Is this new/from IX? No music, but very nice to see!
  10. I know I just said I don't like speculation threads, so I guess I'm breaking my own rules here, but this is really more about the mechanisms at play that would allow a recording in the first place. I'm really clueless about such things, but maybe you know. Btw, this is the first time I've made a poll topic here, so let's hope this works. We all know he was dissatisfied with his symphony, which is why it only has been performed a couple of times and basically shelved.
  11. What's this music? Probably library stuff, but it does sound orchestral.
  12. JAWS 3-D (1983) – Music Composed and Conducted by Alan Parker ***** out of ***** The complete score is arguably the more varied and “bigger” (in terms of number of themes and scope) Jaws score of them all. It could never reach the high level and effectiveness of the John Williams scores but it is a fantastic score on its own deserving a 5 star rating, with an incredible number of themes and motifs and some variations on the Jaws theme. The uncredited borrowings from the “Rite of Spring” can be a bit distracting to people very familiar with that piece, but do work very well in the movie. TV Producer Alan Landsburg made a lot of bad decisions while producing Jaws 3-D (such as scraping the superior electronic composites from PSE and replacing them by hastily prepared poor optical effects and keeping in the movie some unfinished shots like in the underwater tunnel attack scene to meet its release date), but in the music department he did great by hiring composer Alan Parker (no relation to the homonimous movie director) and then calling back Parker alowing him to adapt and rerecord most of the score when the movie was extensively reedited before release. The score was released on LP and tapes at the time of the film release in 1983 as a 35 min. album including several tracks that differed a lot from the music heard in the film. There was some speculation if the album was a rerecording, as the first Jaws was, but in fact the album contained music from the original version of the score, before a lot of the tracks had to be modified and rerecorded for the reedited/shortened version of the movie. More than 36 minutes of rescored music had to be completed by Parker in a very short 6-day period (and these new versions generaly improved on the energy and exitement of the music compared to the original versions). First released on CD in 2007 by Intrada Records as straight reissue of the 35 min. MCA LP program the complete score was finally released by Intrada Records in 2015 as part of their Jaws series releases that year, including all tracks that were recorded for the original cut of the film and for its reedited version, plus the source music, overlays and alternates recorded by Parker with a total time of 108 min. (longer than the 98 min. picture). The 2015 Intrada Release is a fantastic release that I thought I would never see happening. Sound quality is great even if unfortunately, a few tracks present some damage (due to the degradation of the tapes since its recording in 1983). According to the press release on the 2-CD 2015 edition the presentation opted to follow as closely as possible the film sequence, but that is not exactly precise and the main issue I have with this release is the sequencing. In fact the main program at CD 1 includes tracks out of sequence, unused tracks and alternate versions (while some of the actual film versions are at CD2 instead of CD1). So, before I do a track-by-track breakdown of the score, I will do it in the way I preferred to sequence the tracks, to match the film sequence, prioritizing in the main program the music that is actually used in the film, then an alternate program with the original/alternate versions, stingers, unused tracks and keeping the source music separated from the main program. My sequencing in two separated iTunes “albums” (tracks with * are from CD2*): I - JAWS 3-D the film score: 1, 2, 3, 4, 2*, 7, 8, 9, 12, 8*, 14, 16, 17, 11*, 29, 21, 22, 23, 24, 26, 28, 30, 31, 32, 33, 16*, 35, 37 Used source music: 5, 25*, 31*, 27*, 28*, 18, 19, 30*, 20, 29*, 32*. CD 1 track 11 “Dolphin Chase” is not used in the program as it is an oddly edited version (omitting a section with the shark theme) of “Dolphin Chase (Telex Version)”, which is the actual track used in the movie. II - JAWS 3-D original versions, alternates & unused 1*, 6, 4*, 5*, 6*, 10, 7*, 10*, 16, 25, 12*, 13*, 14*, 18*, 15*, 34, 17*, 36, 37 Unused music/alternates: 20*, 3*, 13, 15, 18, 19, 27, 21*, 22*, 23*, 24* Unused source music: 26* Before doing a track-by-track comment it is convenient to do a summary of the main themes and motifs used through the movie: 1) Jaws theme: John Williams classic Jaws theme is somewhat underused in this film, several tracks include portions of the theme (Parker uses only the main two note motif, but not any of the other parts of the theme like the horn melody, the bridge and the "Orca" theme). In some key sequences Parker opted to use different action/suspense music (including a new three-note shark motif). As in the film there are two sharks (a baby shark and a big mother shark) Parker applied different orchestrations to differentiate the sharks: “two horns, woodwinds and the strings” for the baby shark and “six horns and the entire trombone section” for the big mother shark. 2) Three-note shark theme: A new motif used several times during the movie, sometimes in association with the Jaws theme - it kind of replaces the Jaws theme horn melody. 3) Sea World Theme: A beautiful theme used extensively during the score (also used in association with adventurer/photographer Phillip Fitzroyce) and with a powerful rendition for the end credits. The theme is playful and happy but very flexible being also used in sad ominous tone during the score. Interestingly its three-note refrain is similar to the three-note shark motif used in the film (but altering the emphasis from the third to the second note). 4) Love theme: A lovely theme used several times during the movie for the love between the two protagonists Mike Brody and Kay. 5) Ski Theme: A playful and infectious theme that plays over the second half of the main titles and was supposed to be used in other tracks of the movie (Kay Meets Phillip [original version], Sea World Opening Day [original version]) but ended being dialed out of the movie. 6) Dolphin Theme: Another playful theme used for the dolphins, it is used several times in conjunction with the Sea World theme and first appears in the track “Kay Meets Phillip”. 7) Attack motif: Modernistic brass and string clusters that the liner notes refer to as a kind of precursor of similar techniques that Elliot Goldenthal would use in Alien3. It is used during some of the shark attacks in tracks like “Attack”, “Shark Attacks Skiers”, “Shark Attacks Kelly” and “Phillips Demise”. 8) Music derived from Stravinskys’ “Rite Of Spring”: It is said that Rite Of Spring inspired some of John Williams music for Jaws, in Jaws 3-D however there are several passages that are directly quoting almost note for note Rite of Spring, as further detailed in the track-by-track description and on the attached video: I - JAWS 3-D the film score: 1) Jaws 3-D Main Title (film version) – CD1 Track 1 In the previous Jaws movies the Universal Logo was left unscored with some sonar/underwater sounds used. For Jaws 3-D an unique 3-D Universal logo was used (AFAIK the only time that logo was used). No music was composed by Alan Parker for the logo, but in the theatrical version a portion of the track “Baby Shark Dies” was tracked and it is edited in this “film version of the track”. The actual score begins with a string crescendo, then the Jaws theme briefly plays with the underwater shark POV followed by a three note horn motif that is incorporated as a new shark motif for this movie frequently used in conjunction with the Jaws theme, the scene continues with the POV but this time it is not a continuous shot (which strongly diminishes the effect of the POV shots) but several cut shots clearly intending to display the 3-D effects with several fishes swimming around out of the screen with coral reefs in the distance, the music including strings and harps reflecting the underwater environment until it accelerates as the POV approaches a big grouper and bites it with a curtain of blood filing the screen and changing to a shot of the grouper head floating out of screen still opening and closing its mouth (this shot – one of the few electronic composite effects that remained from PSE [much superior to other opticals in the movie] - was extended after the original cut and an insert “Grouper Head” music was added to the film version of the track comparing to the shorter original version in disc two). The POV returns with a fast-paced arrangement of the shark theme with a different punctuation that is much closer to Stravinsky’s Rite of Spring than to the original Jaws theme (see Rite of Spring Part I, 2. The Harbingers Of Spring, Dance Of The Adolescents) and a brass fanfare plays when the title appears in 3-D and “bites” out of the screen. The cut shots of the POV continue as the actor names are displayed with the lovely “Sea World theme” playing and then returning to the shark theme as the POV spots a boat with skiers passing above and starts to follow it. A playful and infectious “ski theme” plays as the camera shows the Sea World skiers rehearsing a pyramid formation (the kind of theme the audience can easily whistle). As the POV continue following the boat the shark theme plays underneath the ski theme and, in the end of the film version of the track, an insert with the shark theme plays as a shot shows the shark fin in the distance. 2) First Underwater – CD1 Track 2 The skiers fall in the water and an underwater POV shows they swimming - only the first 7 seconds of this track plays in the movie (the last 12 seconds are used later for the Overman’s death scene). In the movie as the shark POV approaches (but very slowly – undermining any suspense the sequence could have as the POV camera appears almost static) a tracking of “Shark Thru The Gate” plays and when the boat pulls the skiers and they are safe a tracked version of the ending of the Main Title plays. Interestingly the music does not include the shark theme for the shark POV approaching. 3) Shark Thru Gate – CD1 Track 3 The shark follows the skiers as they enter the Sea World lagoon through a sea gate. As the sea gate starts to close the fin appears and proceeds through the sea channel until a noise of “something” hitting the gate is heard and the gate breaks. This track follows the shark fin moving until it hits the gate. Again, contrary to expectation, Parker does not use the shark theme in this scene. 4) Kay Rides The Whale – CD1 Track 4 After inspecting the broken sea gate, park chief engineer Mike Brody (Dennis Quaid), the eldest son of Sheriff Brody from the first two films, goes to meet his girlfriend Kay (Bess Armstrong) to inform that his brother Sean (John Putch) will arrive that afternoon and they will have dinner together. Kay is the park’s senior biologist and is riding Shamu as Mike appears. In the first part of this track the Sea World theme plays as Kay is riding the whale. The second part of the track (as of 45 seconds) is dialed down in the movie and introduces the love theme for Kay and Mike as they talk while feeding the whale. This is a great track introducing two of the score main themes, unfortunately it is one of the tracks on which some deterioration can be perceived (specially as of the 25 seconds mark when the strings and percussion show some flutter). 5) Attack (telex version) – CD2* Track 2 Against Mike’s orders park employee Overman decides to dive alone that afternoon to lock the broken sea gate. As he locks the gate the shark suddenly appears and eats him. His severed arm floats out of the screen in 3-D and the shark is now locked into the park lagoon. This track fits the theatrical cut of the scene but went unused (the music included in CD 1 “Overman’s Last Dive” was the original version of this track that do not fit the theatrical cut but fitted the original “workprint” cut of the scene). The music consists on sustained strings suspense music with some percussion effects to increase tension and then modernistic brass and string clusters for the attack itself (which Parker will use also for subsequent attacks in the film such as the attack on Kelly and Phillip’s Demise). Again, Parker does not use the shark theme. In the movie this track was replaced by tracked music from the ending of “Underwater Kingdom and Shark Chase” and from the last portion of “First Underwater”. 6) Love Scene – CD1 Track 7 Alan Parker’s personal favorite theme for the film (and the only love theme in the Jaws series). This rescored version is very similar to the original version (Kay and Mike’s Love Theme – CD2 track 4) but, as he had to record a slightly shorter version it is interesting that he opted also to modify the orchestrations, highlighting the piano instead of the clarinet and horns. It is a lovely bittersweet theme for Mike and Kay who are concerned because Mike will move to work in Venezuela. I prefer this version to the original version available at the original LP and CD2. Again, some minor tape deterioration can be perceived in this track. 7) Boys In The Raft – CD1 Track 8 Two guys break-in the park at night to steal some coral from the lagoon. While one is diving the other waits in an inflatable raft. The scene is largely left unscored (no shark theme music even when the flashing light of the guy who is diving disappears indicating he has been eaten) and this very short track consists of two stingers, the first is used in the film when the guy in the boat is pulled into the water and the second (dialed down in the film) should score the guy being dragged underwater by the shark. A "score restore" of this short track: 8) Kay Meets Phillip (Revised) – CD1 Track 9 Kay is training the dolphins when adventurer/photographer Phillip Fitzroyce (Simon MacCorkindale) appears, mocks the training and invites Kay to dinner, which she refuses. This track introduces the dolphin theme, a fast paced “happy theme” that mimics the dolphins spins, then some brief humorous underscore for Fitzroyce mocking the training and continuing with the uplifting Sea World music. It is very good track with an energic version of the dolphin’s theme and a beautiful rendition of the Sea World theme in its final portion. 9) Sub Search (Revised) – CD1 Track 12 The sequencing of the Intrada release is a bit odd with respect to this portion of the movie. It includes the unused original version of this track (CD 1 Track 10 – “Underwater Kingdom And Shark Chase”) then an edited version of the “Dolphin Chase” (while the used unedited version is included in CD2 track 8), then it returns back to the music used in the film with this track. Kay and Mike go down in the lagoon to search for the missing park employee in a small submarine, when they reach the sunken “Spanish galleon” they go out of the sub to investigate. The dolphins are extremely nervous as they go out of the sub. This is the revised music that differ the most from its original version. Alan Parker mentioned in the interview for the liner notes to the Intrada’s release that only one track had to be modified by request of the producers to “make it scarier”. For sure it was this track, as the original version focused on the wonders of the undersea kingdom and this one has a different tone - much more suspenseful (while retaining only one “wonder” moment from the original version for the 3-D shot of the submarine making a turn and the finale of the track). The music begins with ominous low strings as the submarine starts to dive in the lagoon (another track clearly inspired by The Rite of Spring – see the second portion of Rite of Spring Part 2 - 1. Introduction), as the submarine passes in front of the underwater control room a powerful statement of Sea World theme plays, the track returns to suspense music as the submarine continues its search (with Parker’s three note horn shark motif playing in the background), more ominous low strings are used when the submarine passes by the lagoon filtration pipes foreshadowing that the shark is in there. Suspense intensifies when Kay and Mike leaves the submarine to explore the sunken Spanish galleon and the dolphins are very nervous. In this portion a moray eel “scare” (not very effective, comparing to the similar effective scare in Jaws The Revenge) is scored with CD 2 – track 24 [Sting4] but that overlay is not mixed in this track. This is a highlight of the score, a very suspenseful track with several mood variations on which the tension increases gradually. 10) Dolphin Chase (telex version) - CD2* track 08 A shark hits the sunken Spanish galleon and starts chasing Mike and Kay, they hold on the dolphins to swim away and manage to get out of the water. This is another highlight of the score with an exciting action theme for the escape based on Parker’s three note horn motif for the shark, then the more traditional version of the Jaws theme plays for the shark fin rising above the water returning to more dramatic action music for the finale of the chase. As this scene involves the “baby shark” the lighter orchestration of the shark theme is used. 11) Night Capture (Revised) – CD1 track 14 Kay convinces the park owner Calvin Bouchard (Louis Gosset Jr.) to allow them to capture the shark to display it as an exhibit at Sea World. As Kay, Mike and Phillip Fitzroyce go out on a barge at night to capture the shark a suspenseful take on the Sea World theme plays in conjunction with the shark theme, some suspenseful music plays as the team dives and waits for the shark. The shark appears suddenly biting the air tank of Kay and exciting action music follows with the shark theme and powerful statements of Parker’s three note shark motif interpolated until they manage to shoot the shark with tranquilizer and capture it. Another score highlight. The film version is shortened from the original version mainly omitting a middle portion with the shark theme and with an abridged ending. I personally prefer the film version which is more concise and exciting and has more prominent drums in the mix when the shark is attacking Kay. 12) It’s Alive/Sea World Opening Day – CD1 track 16 Kay and Mike are in a tank keeping the tranquilized shark oxygenized when it suddenly awakes and the two have to leave the water quickly, as the situation calms the Sea World theme plays and then a park opening montage starts (a similar sequence to the “tourists on The Menu” montages from the first two Jaws) with a crowd entering the park on its opening day. This track includes an early version of the park opening montage which is longer featuring a playful version of the Sea World theme for the tourists entering the park then moving to the dolphins theme, the ski theme and closing with a more epic take on the Sea World theme for the “Silver Bullet” skiers acrobatics, ending softly with the Sea World theme. It is a very good track summarizing the main Sea World themes, it was replaced in the movie by “Park Opening (Revised)” (but as it is attached to “It’s Alive” I kept it in the main program and placed the used version “Park Opening” after “Baby Shark Dies”). 13) Baby Shark Dies – CD1 track 17 Kay learns that the baby shark has been transferred to an inadequate small display pool. As she arrives there she sees that the shark is dying from lack of oxygen and jumps in the water in an attempt to keep it moving and save him. This tense track plays with ominous strings mimicking the shark’s heart beats slowing down until it stops and the shark is dead, then a sad version of the Sea World first three notes plays as Kay leaves the tank frustrated. 14) Park Opening (revised) – CD2* track 11 This track replaced the original “Sea World Opening Day” as the park opening montage was shortened and split in two different sequences – the two tracks of the film version are joined in this track. The first part starts with a fast-paced version of the dolphin theme and then the Sea World theme (including the playful version of the Sea World theme for the tourists entering the park and a faster version for the glimpse of the dolphins and whales shows), the second part starts with a short version of the ski theme and the Sea World theme for a dancing show (both not used in the movie that replaced it with source music - from the track “Country Music Show”), the used music returns to the more epic take on the Sea World theme for the “Silver Bullet” skiers acrobatics, similar to the original version but “better” with added violins swirls in the backing and with a stronger finale. A "score restore" with this track following It's Alive: 15) Shark Loose – CD1 track 21 The park owner, Calvin, is informed on a malfunction in one of the park water filtration pipes. He orders it to be switched off. As the pumps are switched off and the water flow stops, a giant shark tail starts to move out of the pipe. In the film the shark theme (edited from track CD 1 – track 31 “Shark Wants Out”) plays mixed with this string suspense track as the big shark swims out of the pipe towards the underwater restaurant where Kay is explaining Calvin that, based on the bite radius at Overman’s body, a much bigger shark around 35 feet in length must be inside the park (Calvin: “Are you talkin’ bout some damn shark mutha?” Kay: “Overman was killed INSIDE the park, the baby was caught INSIDE the park, it’s mother is INSIDE the park!”). 16) Shark Attacks Skiers – CD1 track 22 This track actually includes several tracks merged together, it starts with the shark theme for the scene on which the shark fin rises behind skiers performing a show, as the skiers see the shark and loose balance falling in the water a “triumphant” version of the Jaws theme plays (that same music will be tracked at the end of Phillip’s Demise). The ending of that track is cross-faded with the music for the previous scene in the film, on which the shark approaches the underwater restaurant and is seen for the first time, then the music is again cross-faded with an unused fast-paced version of the shark theme (it is difficult to identify which would be the application of that portion of the track, it seems it could be alternate versions for the ending of “Shark Attacks Kelly”). A score restore including the final section of this track in the film: 17) Shark Attacks Kelly – CD1 track 23 Kelly (Lea Thompson in her screen debut) and Sean are in a bumper boat and fall in the water, as they swim the shark rises and starts to attack her, hurting her leg. The shark then bumps on a nearby pier knocking several people in the water and swims away. This is very good action track using the shark theme and then the modernistic brass and string clusters for the attack itself (as used in “Attack” and “Phillip’s Demise”). 18) Shark Rams Tunnel (Revised) – CD1 track 24 As the underwater tunnels are being evacuated the shark is spotted and panic ensues, with tourists running away as the shark rams the tunnel and water starts to flood it. Safety doors are activated leaving the tourists trapped in a small section of the tunnel. This is an action track bookended by the shark theme, this revised version a bit more energetic than the original version in CD 2. 19) Live Bait – CD1 track 26 With the tourists trapped in the underwater tunnel with a limited air supply it becomes necessary to set a rescue plan. Phillip Fitzroyce proposes to trap the shark into the filtration pipe while Mike repairs the tunnel to release the tourists. Phillip proposes act as a “live bait” to lure the shark into the pipe. An ominous version of the Sea World theme plays as Phillip and Mike boards a barge to perform their plan. Kay joins Calvin in the underwater control room where she spots the dolphins in the lagoon and gets concerned with them. 20) Phillip’s Demise (revised) – CD1 track 27 Phillip dives with his associate Jack and uses fish blood and noises to attract the shark. The shark appears, follows Phillip into the pipe and is locked inside the pipe. The safety line Phillip is using to get to the exit breaks and the shark gets him. In the more famous scene of the film (other than the “infamous” scene of shark breaking the control room window) the camera shows Phillip struggling from inside the shark’s mouth. As a last act Phillip tries to ignite a grenade but is chomped with the grenade in his hands. This lengthy track composed of two parts starts with some diving music clearly inspired by Rite of Spring (Part 2: 1. Introduction, in fact the beginning of the track is identical to the Rite of Spring music, even more in the original version of the track), as the shark appears and follows Phillip into the pipe the shark theme is used and then the modernistic brass and string clusters play for the attack itself, as the shark manages to chomp Phillip a sad version of the Sea World theme is used – in the film this final portion was replaced by the triumphant fanfare from “Attack On The Skiers” changing the original mood of the scene from the ‘loss of Phillip’ to the ‘victory of the shark’. 21) Pull The Pin (Revised) – CD1 track 30 As Jack learns that Phillip has not came back he desperately tries to call him and realizes that he must be dead, he them hears the pumps being turned off and concerns that the gates will not be able to hold the shark. A mournful version of the Sea World theme plays as Jack cries and whishes his boss had pulled the pin of the grenade, then some suspense strings as the scene moves to the shark tail pressuring the gate. 22) Shark Theme (Utility No. 2) – CD2* track 19 The shark manages to break the gates with the pressure of its tail, as the Jaws theme plays. 23) Shark Wants Out – CD1 track 31 Mike and Kay are repairing the tunnel as the personnel in the barge are trying to inform them that the shark is approaching. This is a short track with the Jaws theme for the shark swimming towards Mike and Kay. 24) Shark Chases Mike and Kay – CD1 track 32 Mike manages to complete the repair on the tunnel as the shark arrives. The dolphins appear and start to attack the shark. While the shark is fighting the dolphins Mike and Kay swim toward the underwater control room. The shark then start to pursue them and they manage to escape just as the shark was reaching them. This is a very good action track for the fight between the shark and the dolphins and the following pursuit, it is very similar to the original version at CD 2 (track 15 “Saved By The Dolphins”) but with a modified faster tempo finale and using more the Jaws theme as a backing. 25) We’re Saved – CD1 track 33 With the underwater tunnel repaired air pressure is equalized and the safety doors open, releasing the trapped tourists. As they escape a happy version of the Sea World theme plays. 26) Shark Thru The Window (Telex Version) – CD2* track 16 This is a slightly shorter revision of the track for the shark coming towards the control room window. The shark theme starts slowly and accelerates as the shark approaches and breaks the window. 27) The Shark’s Gonna Hit Us – CD1 track 35 The control room floods, the shark chomps a control room technician and gets stuck in the window. Mike and Kay spots the body of Fitzroyce still stuck in the mouth of the shark with the grenade in its hands. They manage to pull the pin of the grenade and the shark explodes. This is an exciting action track, again based on The Rite Of Spring (see Part 1: Dance Of The Earth). 28) Jaws 3D End Titles – CD 1 track 36 The love theme plays as Mike and Kay swims to the surface. They became concerned if the dolphins survived and Kay starts to call for them. As the dolphins jump out of the water a powerful rendition of the Sea World theme plays and continues for the end credits alternating the Sea World theme with the dolphin’s theme. Source Music: 29) Sean Arrives – CD 1 track 5 This track is used in several moments of the movie as park “source music”. It plays first when Mike meets his brother Sean at the park gate. It’s a playful “happy theme” but like other source music in the film it becomes a bit repetitive, with no dramatic progression (reason why I prefer to leave the source music out of the main program). If you want to hear it in film order place it after “Kay Rides The Whale”. 30) Rock Bar Source – CD2* track 25 Sean meets a park skier, Kelly (Lea Thompson), at a Bar were they play a strange game called “stand-off”. The source music is this instrumental rock track. If you want to hear it in film order place it after “Attack (Telex Version)”. 31) Exterior Bar Source – CD2* track 31. This track, a kind of country instrumental, plays after the previous Bar source as Mike, Kay, Sean and Kelly leave the bar. 32) Apartment Source – CD2* track 28 Another light country style source. It plays while Mike Kay and Sean are having breakfast. If you want to hear it in film order place it after “Boys In The Raft”. 33) Lunch Restaurant Source – CD2* track 27 A kind of easy listening source for guitar, flute and drums that plays while Calvin is dining with Phillip and is informed that a shark chased Mike and Kay in the lagoon. Not my favorite among the source cues. If you want to hear it in film order place it after “Dolphin Chase (Telex Version)”. 34) Country Music Show – CD2* track 30 A section of this track plays during the Opening Day montage. It is a fun track with guitar, drums and piano. If you want to hear it in film order place it after “Sea World Opening Day” (in fact it replaces the start of the second half of Opening Day – but it would require editing to place it chronologically) 35) Restaurant Source (Flute & Harp) – CD1 track 20 This source track alternates gentle versions for flute of the dolphin theme, the love theme and the Sea World theme. It is a lovely track but being over 4 min. it becomes a bit repetitive and too long, dragging a bit, reason why I prefer it out of the main program. If you want to hear it in film order place it before “Shark Loose”. 36) Guitar Show – CD2* track 29 Another country style source that plays as background music for the scene of the ski show, while Mike is trying to warn the skiers to get out of the water after the big shark first appeared. In the film it plays right before “Attack On The Skiers” but, as that track also mergers some tracks from a previous scene of the shark appearing on the window of the restaurant, it is not possible to actually place this track chronologically. 37) Hawaiian Drums – CD2* track 32 In the movie this brief drum track plays before “Guitar Show” while Mike is running to the ski show stadium. As it includes a long pause and a stinger in the end it is more appropriate to use it to end the program. II - JAWS 3-D original versions, alternates & unused 1) Jaws 3D – Main Title (original version) CD2* track 1 The original version of the main titles does not have the insert of tracked music for the Universal Logo, the extension of Grouper Head scene and the extension of the finale. Is a bit more straight forward version omitting these additions. 2) Overman’s Last Dive CD1 track 6 The original edit of Overman’s death was different, including an approaching shark POV before the attack. For this different edit Alan Parker applied the Jaws theme (absent from the revised version – “Attack - Telex Version”). Also the ending of the track is shorter as the original version of the scene did not included the “severed arm” 3-D effect. I made a “compare” video of this track and the revised version: 3) Kay And Mike’s Love Theme (Original) CD2* track 4 This original version of “Love Scene” (CD1 track 7) is slightly longer and has a different orchestration with the piano less prominent in the mix with the melody carried by the clarinet. 4) Boys In The Raft (Revised) CD2* track 5 This alternate version is similar to the music used for the theatrical version with a slightly extended second stinger. 5) Kay Meets Phillip CD2* track 6 This original version is extended comparing to the theatrical revised version. The main difference is the use of the ski theme in the middle of the track, possibly scoring some extended acrobatics from the dolphins that was deleted from the movie. 6) Underwater Kingdom and Shark Chase CD1 track 10 This original version of “Sub Search” has a very different tone, emphasizing the wonders of the Undersea Kingdom instead of the suspense. The suspense only starts at the final portion of the track after Mike and Kay leaves the submarine to explore the sunken Spanish galleon. This original version includes variations on the Sea World theme and the dolphin’s theme. 7) Shark Chase And Dolphin Rescue CD2* track 7 The original edit of the scene was shorter without the edited portion of Kay almost getting bitten by the shark. The first part is similar, with the action music based on Alan Parker’s three note shark motif but the final part is completely different, omitting the jaws theme and using a fast paced action music based on Rite Of Spring (see Part 1: Dance Of The Earth) that will be used again at the climax of the movie (“The Shark’s Gonna Hit Us”). 8) Night Capture CD2* – track 10 This extended original version of the track is very similar to the theatrical version but has as the main difference a section (2:45 to 3:10) including the shark theme before the music for the attack on Kay starts. I speculate that in the original cut of the film the shark was spotted approaching / the shark POV approaching was used before the attack started (and when the movie was reedited they opted to take this portion out so the attack would start more as a surprise). The mix is slightly different to the film version with the percussion less prominent. 9) It’s Alive/Sea World Opening Day CD1 – track 16 This and the End Titles are the only tracks I repeat in both programs, as the start of the track (It’s Alive) is used in the film and the Sea World Opening montage is the original version replaced in the film by the revised “Park Opening”. 10) Shark Breaks Loose CD1 – track 29 This is the shark theme for the big shark first appearance, when it leaves the filtration pipe and swims towards the restaurant, in the Intrada’s sequencing apparently it was confounded with the track for the shark breaking loose after being captured by Fitzroyce (Shark Theme Utility 2). In the film this track edited and mixed with “Shark Loose”. 11) Panic At Sea World CD1 – track 25 This unused track apparently scored a deleted scene of panic among the Sea World tourists with the appearance of the shark. It is based on fast paced variations of Alan Parker’s three note motif for the shark. For the sequencing I opted to place it before the original Shark Rams Tunnel, as it was edited in a track of the original LP. 12) Shark Rams Tunnel CD2* – track 12 This original version of the track is slightly longer than the revised version with less emphasis on the jaws theme. 13) Phillip’s Demise CD2* – track 13 This original version of the track is longer than the revised version with an extended opening (quoting Rite Of Spring - Part 2: 1. Introduction) and slightly slower sections of the jaws theme its final portion is almost identical to the revised version. 14) Pull The Pin CD2* – track 14 A very similar version to the film version omitting the final suspense portion. 15) Shark Theme (utility 1) – CD2* – track 18 Similar to “Shark Theme Utility 2” used in the film for the shark escaping the filtration pipe I decided to include this in the same place chronologically for the alternate score. 16) Saved By The Dolphins CD2* – track 15 This original version has a very similar first part to the revised “Shark Chases Mike And Kay” but a slower second half. Apparently the music was revised to make it faster/more exiting in its second half. 17) Shark Thru The Window CD1 – track 34 This original version of the track is longer than the film version (this alternate included in CD1 while the film version is included in CD2), the main differences being that the shark two note theme repeats twice in the beginning (instead of three times as in the theatrical version) and this version has an extended final section. 18) Finale (alternate) CD2* – track 17 After 30 seconds of some string suspense music an alternate take on the final portion of “The Shark’s Gonna Hit Us” plays with a slightly faster tempo at the finale (same track inspired by Rite Of Spring Part 1: Dance Of The Earth) 19) Shark Guts CD1 – track 36 I opted to include this track in the original/alternate version of the score because it was not used in the film. It should score the 3-D effect of the shark’s jaws floating in 3D after the shark’s explosion. A "score restore" of this very short track: 20) Jaws 3D End Titles CD1 – Track 37 To close the alternate score program I included the End Titles also in this program. Unused music/alternates 21) Grouper Head (alternate) CD2* – track 20 An alternate of the insert for the extended grouper head scene during the Main Titles 22) Attack (Revised) CD2* – track 3 Slightly longer version of the Overman’s “Attack Telex Version” track. 23) Sub Search (Short) CD2* – track 9 A very short track that sounds like a TV bumper (using the Love Theme) 24) Phillip’s Gear CD1 – track 13 Another very short unused track similar to the previous track (Sub Search Short), as it is a short track unused in the film I prefer to include it at the extras section. 25) Shark Drop CD1 – track 15 A short unused track. It is a kind of humorous take (possibly associated with the Fitzroyce character) on the Sea World theme. As it is unused and IMO does not plays well with the main program I prefer to include it at the extras section. 26) Tunnels And Tentacles CD1 – track 18 Apparently, this track should be used as source music for the “Captain Sink” cave attraction in fact a very short section of it is used when the fake tentacle attacks a visitor. As this is source music almost completely unused I prefer to include it as an extra. The Underwater Tunnels sequences were some of the most harmed by the late hour changing of the electronic composites for opticals, this sequence in the finished film is much shorter than the music. A "score restore" of this scene (only the very beginning and end of the music fits the sequence that remained in the movie): 27) Almost But No Bite CD1 – track 19 Another track mostly unused, the final portion briefly used for the Overman’s body discovery. As it is mostly unused and a very short stinger I prefer to include it as an extra. 28) Ready To Dive CD1 – track 27 A short unused track. Like the previous track (a kind of humorous take on the Sea World theme). As it is unused and IMO does not plays well with the main program I prefer to include it at the extras section. 29) Sting 1 CD2* – track 21 A short unused stinger sounds like an abridged version of the stinger used in “Boys In The Raft” 30) Sting 2 CD2* – track 22 Short unused stinger similar to Sting 4 31) Sting 3 CD2* – track 23 A stinger similar to the one used for discovery of Overman’s Body (Almost But No Bite 0:16) and the first appearance of the big shark at the restaurant window (Attack On The Skiers 0:38) 32) Sting 4 CD2* – track 24 This stinger was used as an overlay in “Sub Search Revised” for the Moray Eel scare. 33) Rock Bar Source (alternate) CD2* – track 26 An unused alternate for the source bar music. I prefer the version that was used in the film. ***** To finalize I think the movie is a missed opportunity, it had the potential to be so much better - it had a great premise, great talent in the writing department (Richard Matheson[Duel], Carl Gotlieb), a good cast, but poor direction, editing and special effects diminished its potential. Alan Parker score when listened on its own however is an example, among many others, that even mediocre films can inspire great scores.
  13. This morning I listened to a 2014 recording by the BBC Concert Orchestra on Spotify. I don't think it correspond to a physical album. The playing is good, but it contains a way too much echo for me, but the thing is they recorded the End Titles from The Empire Strikes Back. Well, I think it's worth of mention. Except the Gerhardt version, I don't remember any other re-recording of this piece. Please feel free to share your own discoveries!
  14. Hello! This thread is to discuss the Last Jedi score as heard in the film. No spoiler tags are needed but you're welcome to use them in the early days now before it's opened wide. @Oskar has already kicked off the discussion, you can read it here, and let's continue it here!
  15. Uh...what the heck?!? Just saw this on the Entertainment Weekly site!! https://ew.com/movies/2018/11/17/john-williams-new-music-disney-star-wars-theme-parks/
  16. Hello! Just like we did with Jurassic Park (1 2) and ET (1 2), here is a thread to discuss the actual contents of the new release, leaving the existing thread to be where you can post your shipping updates type stuff, so actual discussion is separated from that stuff. I'll re-post here some comments from OneBuckFilms since I forgot to make this thread before he posted them there!
  17. Now here is a long post! I hope you enjoy it as much as I enjoyed writing it. And if there are any correction suggestions fire away, especially on the nuts and bolts of music theory of which I profess very little knowledge. And many thanks to all the people from this messageboard without whose excellent discussion and insights this analysis would not have been possible. You know who you are. UPDATE December 2016: The analysis now includes information and revisions based on the Lala-Land Records The John Williams Jurassic Park Collection which features the complete The Lost World: Jurassic Park score. The Lost World: Jurassic Park John Williams on a symphonic rampage A Complete Score Analysis by Mikko Ojala In 1997 four years after the original box office monster Jurassic Park had stomped onto the big screen and brought the dinosaurs so vividly to life through the magic of special effects wizardry, Steven Spielberg released the much clamored sequel to his hit film. The Lost World: Jurassic Park was loosely based on the novel by Michael Chrichton, whose own initial reluctance for writing a sequel (he had never done so before) was finally assuaged by Spielberg himself, who requested it after the success of the first film. The second Jurassic Park novel was released in 1995 and after the period of adaptation of the book into a script (by David Koepp), the production of the new movie began in 1996. Koepp’s script retains only some major outlines of the novel, mainly the locale of Isla Nublar’s sister island Isla Sorna, forsakes nearly all the characters and uses some broad ideas of the action that took place in the book but replaces the ending with a dinosaur rampage through San Diego. This was actually a suggestion from Spielberg during the late stages of the production and the original ending prepared and storyboarded before the last minute change was much more in line with the novel with an exciting chase involving Velociraptors and Pteranodons. Interestingly some elements of the script migrated right out from the original Jurassic Park novel, in particular the scenes with the small Compsognathi dinosaurs from various points in that story. The only retuning character from the previous film and novel is the nervous and edgy chaos theorist and a mathematician Ian Malcolm (Jeff Goldblum) with a whole new supporting cast of Malcolm’s love interest paleontologist Sarah Harding (Julianne Moore), Malcolm’s teenage daughter Kelly (Vanessa Lee Chester), a big game hunter Roland Tembo (Pete Postlethwaite), John Hammond’s greedy corporate businessman nephew Peter Ludlow (Arliss Howard), a documentarian and environmental activist Nick Van Owen (Vince Vaughn) and Roland’s second-in-command Dieter Stark (Peter Stormare). In addition the film features a cameo apprearance of three main characters from the original film, Richard Attenborough reprising his role as John Hammond the capitalist entrepreneur now turned naturalist and Joseph Mazzello and Ariana Richards as his grandchildren Tim and Lex Murphy. The film takes place several years after the horrifying events of Jurassic Park. Dr. Ian Malcolm, a survivor of the Isla Nublar incident is drawn much against his will back to the world of dinosaurs by John Hammond who invites him to lead a scientific expedition to another island full of dinosaurs. Hammond has kept the knowledge of Isla Nublar’s sister island Isla Sorna secret from the world and reveals that it was originally the site of the creation of the dinosaurs and that they were bred and raised there and then moved to the larger Isla Nublar and the park itself. These beasts are by some miracle still alive and well even though they were supposed to die without human provided nutrients. Malcolm refuses flatly to go but is forced to accept Hammond’s offer as he hears that the millionaire has hired his girl friend paleontologist Sarah Harding to document the dinosaurs in their natural habitat. She jumped at the chance and is already on the island. With no alternative Malcolm wants to mount a rescue operation immeadiately. Thus begins the journey to the island that conincides with the plans of the ruthless head of the InGen Bioengineering Peter Ludlow of salvaging dinosaurs from the island to reap profit from them, the operation going awry, dinosaurs on a rampage, a desperate escape from the island and finally a T-Rex on the loose in the streets of San Diego. The stuff of wildest dinosaur dreams for monster hungry movie crowds. The Lost World proved to be another box office smash even though its world wide gross was considerably less than its predecessor's. It still held the record for the best opening weekend for 4 and half years until another Williams scored film, Harry Potter and the Philosopher Stone (2001) dethroned it and the highest single day box office take for a couple of years until Star Wars Episode I The Phantom Menace claimed the honor, again scored by Mr. Williams. Despite the huge box office success the film got mixed reviews that commented both positively and negatively on the plot, the characters and the action and the movie garnered a plethora of mainly special effects plaudits, award nominations and wins. It was even nominated for Razzies in three categories but lost in all of them (Williams was nominated for an Academy Award for Amistad that year but lost to James Horner's enormously successful and popular Titanic). Whatever the merits or failings of the film itself, its score stands proudly as one of the most unique, daring and energetic of John Williams’ career. Here in his 14th collaboration with Steven Spielberg the composer has once again renewed himself and indeed created in chameleon style a new voice. The music is as much a departure as it is a return to the sound of Jurassic Park, the composer treading different ground in the sequel that contains only hints of the familiar themes and atmosphere that was so effective and made dinosaurs so magical only four years prior. New sound for the sequel Steven Spielberg’s initial impulse was to create something very different for this film, as he well knew that it would certainly not so much about the wonder of the dinosaurs anymore since the audience knew what to expect and more about darker sense of adventure, and so he asked from Williams a different stylistic approach for the score than for its predecessor. He wanted it to be exotic and tropical, percussive and driving, addressing as much the action as it did the location. Williams when interviewed for the The Lost World :Jurassic Park DVD documentary commented on the starting point for the new score: Steven’s idea was that this was all taking place on an island in some Carribean area and that the music might have, might be driven by some drums if you like. Or some sort of ethnic or jungle kind of texture or flavour that might drive the music and might give it a kind of unique flavour. And so much of what in the action sequences I did, to begin with at least, was driven by this drum thing, which I enjoyed and we had some wonderful percussionists come onto the stage and it contributed in a nice flavour, I think, to the film.[1] Themes for a Lost World With the new locale, characters and situations it seems like Williams started his writing almost from scratch and in this respect the score resembles his gripping and thrilling sequel score for Jaws 2, where he created a whole new extension for the franchise’s world to complement the famous Jaws theme with all new musical motifs and ideas. Similarly in this film the familiar and famous main themes from Jurassic Park return but are complemented by prominent all-new thematic material. Returning Themes The Island Fanfare that previously addressed the heroic and adventurous side of the action in Jurassic Park, most notably underscoring the magnificent helicopter approach to Isla Nublar, is used mostly in subtle references, rising only a few times to heroic proportions in the new score. This theme is also heavily referenced for a sense of nostalgia, the subdued variations giving it an air of worn and by-gone glory and often commenting on the broken dream of the Jurassic Park. The actual hymn-like Theme from Jurassic Park (titled Dinosaurs in the original score) appears only in the last scene of the film to signal a happy ending to Ian Malcolm’s adventure. The haunting and ominous 4-note Carnivore motif, that in the first film heralded the appearance of the most dangerous dinosaurs, T-Rex and the Velociraptors in particular, makes fleeting appearances in the sequel e.g. when the dreaded raptors are mentioned for the first time. The Lost World The new primary musical idea of the Lost World is the theme of the same name. This heroic, energetic and questing melody is usually carried by the horns, trombones and strings, augmented by a varied battery of rolling percussion, creating at once the sense of travel, the exotic jungle location of the story and adventure with a hint of danger to it. It begins with a minor key scale ascension that almost builds up through the scale and gives a feeling of progress and movement towards a goal. Williams further elaborated on this theme in his traditional concert version which he wrote for the end credits (this piece can be heard as the opening of the original soundtrack album). Pounding drums announce the theme, playing a forceful rhythm that carries through the whole piece and becomes a sort of musical motif in itself. The swaying melody, almost a Spanish or South American flavoured waltz or sarabande surges forward with dazzling brass and percussion interjections, woodwind runs and subtle synth accompaniment, becoming more and more agitated, hinting danger and sudden dire turn of events in its bridge melody but finally overcoming the obstacles it returns to the main theme, bursting victoriously to a rapturous and rhythmic finale augmented by the whole percussion section with tambourine adding an almost festive colour to the proceedings. Here Williams has created a perfect theme for a jungle adventure that in its contours captures both the excitement of exploration and awe and the danger of an island full of dinosaurs and contains the right amount of exoticism to illustrate locale of the story. Noteworthy is that despite being the main new theme of the score, this musical idea is used sparingly in the context of the film, where its grander readings are reserved for exploration sequences on Isla Sorna and most adventurous moments early in the movie. The theme actually seems to neatly bookend the whole Isla Sorna experience as it is first heard on the voyage there and then again when the protagonists are leaving the island after their adventure. The Island’s Voice The other central musical theme in the score is subtler but ever pervasive, in essence a replacement for the original 4-note Carnivore motif from the first film. This new rising 4-note motif, which from now on is called The Island’s Voice in this analysis, is at least initially more mysterious and ominous than the cruelly rising and direct Carnivore motif from the previous film yet remains a close cousin to it. Williams uses these ascending 4 notes to maximum effect in his music, injecting the score with this signal throughout the film, often cleverly interpolating it to nearly any situation, a grim reminder of the dangers inherent in the encounters between dinosaurs and men. This music often appears to warn the listener of the carnivorous dinosaurs, Velociraptors and the T-Rexes and to create a sense of foreboding that is so clearly and well captured in these 4 simple ascending notes that seem to be telling us that in Jurassic Park the dinosaurs were dangerous but confined to the park but this time on Isla Sorna they are the ones in complete dominance and roaming free. This material is often woven into the frenetic and percussive action sequences with such skill that it is hard to notice this musical backbone of the entire score from its environment. And as the story progresses so does the insistence and weight of this musical signal, assuming highly dramatic, ponderous and exclamatory form in the final scenes of the Tyrannosaurus loose in San Diego. It could be said that over the course of the film this motif becomes the musical glue that binds much of the score together. The Percussion and Jungle Sounds As mentioned above in Williams’ quote, the percussion plays a large part in the orchestrations of this score and lends a very specific texture and feel to the music. This collection of instruments includes e.g. congas, bongos, "jungle drums", taiko drums, gourds, guiro, log drums and tabla alongside the more traditional orchestral percussion of timpani and bass drum providing a pulse and rhythm that drives the events constantly forward. The brooding, tropical jungle atmosphere is further enhanced by other instruments, such as shakuhachi and "animal sounds" effects played by a synthesizer.[2] Williams has several different percussion instruments or sections playing layered rhythms over and under the orchestral textures and motifs and offering them even some solo moments where the pure percussion rhythm independently churns underneath the action before the next burst of thematic ideas from the orchestra. Aleatoric Procompsognathi and Other Musical Terrors Another common stylistic element in this score is aleatoric writing. To create a sense of chaos and terror, Williams provides a series of pitches to a group of instruments and instructs them to play them quickly ad lib for a given number of measures. Although this technique has been used in many scores by Williams and other composers, The Lost World employs this effect with unusual frequency.[3] In fact this chirping, whirling, wild and agitated aleatoric writing becomes in itself a musical signature for the small carnivorous Compsognathi dinosaurs and is heard whenever they appear. This style of writing is also attached to the most frenzied of the action music and underscores the dinosaur attacks throughout the movie but it is especially noticeable in the Raptor sequence towards the end of the film. This bed of sizzling effects adds another layer of raw terror to the proceedings, lending animalistic furore to the music. *** As a whole the sequel score is much darker than its predecessor as the film does not offer us so much moments of awe and marvel as mounting anticipation of the coming terrifying encounters with the dinosaurs. There is less a sense of mystery than there is of foreboding and Williams’ music enhances this feel considerably from the start. At appropriate moments the music will also sound heroic, positive and luminous often quoting the old themes with almost a sense of nostalgia but as a whole Williams roots the score in darker textures and motifs with lots of low woodwind, string and brass writing, earthy tones, complex rhythms and driving beats. The rhythm seems to define this music so much that many pieces seem to revolve solely around them, forgoing themes for pure percussive effect and each track seems to have a nearly unique percussion rhythm and feel to it, with each instrument echoing the percussion at varying points. Williams offers a small personal analysis on the differences of the two Jurassic Park scores in the DVD interview: I have not made an experiment of comparing the two scores but I think we’d find that Lost World is probably more frightening, maybe more dissonant, maybe a little bit more... with little harder edge to it and maybe scarier than Jurassic Park would be, of necessity because of the different styles and look and texture of each film. [4] The new score is as Williams puts it more aggressive and harsher, the action music more propulsive than thematic or balletic like in many previous Spielberg/Williams collaborations perhaps taking its cue from its predecessor Jurassic Park where Williams already constructed his action set pieces around small musical cells like the aforementioned Carnivore motif and built independent yet stylistically connected action sequences for that film. This new sound fits the movie to perfection complementing and enhancing its atmosphere and world considerably. It could be said that The Lost World is to an extent a watershed between the old Williams sound of the early 90’s and the modern Williams of the 2000’s. It contains elements from both worlds and perhaps is reflection of change in the film making as well, the movies demanding more and more rhythmic propulsion and pulse over operatic and balletic thematic development that the composer is so known for, especially in Spielberg films. And surely Williams as an artist is ever self-improving and these shifts in his style could be seen as development of his compositional voice and thinking throughout this period. The Lost World Pillaged in Post Production It is a well-known fact that film music is nearly always presented in some way edited form in the film as the medium often requires adjustments to the one hundreth of a second, fast changes for new edits of scenes or the whole film, the music facilitating special effects work etc. and The Lost World is no different. Steven Spielberg usually affords Williams’ music with enormous respect and has even in some instances done the opposite of the norm and edited his film to music (the finale of E.T. The Extra-Terrestrial is the classic example), but in The Lost World music went through a bit more rigorous editing process. It might have been the last minute special effects work as the movie did have longer scenes with CGI dinosaurs and ILM did a lot of late post production work on the material or Spielberg's absence from the recording sessions since he was in the final stages of shooting his next film Amistad but whatever the reason was, the score was tinkered with quite heavily in places in the post production. Tracking, editing and placing music written for a specific scene into a different one, took place most likely because so late in the post production there was no time for Williams to write replacement material nor prepare additional pick-up scoring sessions before the release of the film and his other film commitments that year (Jean-Jacques Annaud's Seven Years in Tibet and Spielberg’s second film Amistad) would not allow it. Most notable case of tracking, made evident by its frequent use, is the inserting of the concert/end credits version of the Lost World theme into many scenes where Williams had either written different music or that were not scored at all. The reason for this is that Steven Spielberg after hearing the main theme fell in love with it and wanted to make wider use of it in the film although the original concept had been that the theme only underscores the arrival and departure from Isla Sorna and the end credits. The comparison of these replacements with the original musical ideas would indicate that Williams’ original vision of the music is a good deal darker than what Spielberg wanted in the end as the most prominent placements of the tracked main theme suggests a need to add positive, heroic or triumphant feel to the sequences and keep the main theme in the music throughout the score, whereas Williams most often uses it sparingly as was the original plan. As there was no time to revise the music after the director's input late in the post production, tracking was the method chosen to accommodate the director's wishes. Editing and tracking of the music in the film itself present a slightly fragmentary picture of the score as a whole, especially when the finished product is compared to the music as it was originally conceived. It is not the worse case of a film score being edited to pieces (like e.g. Horner's Aliens) in the post production but this is the first so prominent a case in a Spielberg/Williams collaboration even though done here with certain amount of respect to his original ideas. *** The score was recorded at Sony Pictures Scoring Stage in Los Angeles in two chunks in the spring of 1997 (March 18-21 and April 18th, 20-22 1997) with Spielberg away finishing the principal photography of his next film Amistad, much as he had been away in Poland filming Schindler's List when Williams was recording the score for Jurassic Park. The music was orchestrated by Williams' frequent collaborators Conrad Pope and John Neufeld and it was performed by the Hollywood studio musicians. The original soundtrack album released at the time the film came out offered 68 minutes of music from the film, presenting many of the major hightlights from the score and Williams as is his habit, edited together and truncated some musical sequences for listening experience purposes. The complete score runs for almost 2 hours, so well over 40 minutes of music have remained unreleased and also in part unused until LaLa-Land Records' The John Williams Jurassic Park Collection which came out on 29th of November 2016 and included the complete score presentations of both Jurassic Park and the Lost World. TRACK-BY-TRACK ANALYSIS All tracks are named by their original Williams given cue titles. This is followed in parentheses by the disc and track number on the John Williams Jurassic Park Collection and the original soundtrack album if the music can be found on it and the time stamps of where in the track the music can be found. After this comes the the orchestrator information for each cue and the length of the sheet music (in bars). 1. The Island’s Voice (1m1) 3:38 (LLL set D 3 Track 2, OST track 2 The Island Prologue, 0:00-3:32) Orchestrator: John Neufeld Length (sheet music): 68 bars Rumbling contra clarinets, tam tams and ominously murmuring low strings open the score as we see a tropical coastline, hear the crashing of the waves and a title card announces the location: Isla Sorna 87 Miles Southwest of Isla Nublar. As the main titles appear Williams introduces the 4-note Island’s Voice motif on eerie synthesizers (the sound named in the written score as Animal Call) which is repeated twice over a bed of low woodwinds and subtle percussion (0:15-0:32). A solitary flute and brass voices slowly rise, supported by growing orchestral swells and percussion, piano adding sudden icy notes to the building atmosphere. With this musical portent the film introduces us to a luxurious yacht anchored off the coast of the island with the ship’s bustling crew and a rich British Bowman family coming into view. The music is eerie, uncomfortable, full of muted colours from brass, sizzling cold synthesizer sounds, yawning strings, cascades from the harp, a complete opposite of what we are seeing, a well-to-do family on a cruise having a picnic on the shore on a sunny day, but Williams’ music is most expressively hinting that something is not right. It is suppertime on the beach and the family’s little girl Cathy (Camilla Belle) goes off to explore the beach with a sandwich in hand. At 2:04 a curious small melodic snippet on clarinet with synthesizer doubling is introduced as the girl arrives at the tropical forest edge and sees a little green lizard in the underbrush. She approaches it and wonders aloud what it is, even feeding some of her sandwich to the more than eager animal. At this point the music becomes increasingly uncomfortable, with all the different orchestral sections (especially the woodwinds and stopped horns) producing nervous and uneasy sounds until at 2:37 a climbing flute figures announce the arrival of a whole pack of these small green creatures from the jungle, the orchestra mimicing their movement and sounds and creating a slightly dangerous but curious feel as the Compsognathi surround the now frightened girl, jumping for the sandwich. Williams presents here furious aleatoric writing for the Compsognathi that chirps and whirls, pace quickening, percussion pounding more and more agitated, sharp brass, rhythmic jabs from strings, shrill woodwind runs all careening into a rage. As the ship’s crew and the parents hear the little girl’s screams and rush to see what is wrong the Island’s Voice motif sounds again in trombones towards the frenzied finale (at 3:09-3:15) buried underneath the chaos, the final percussion supported woodwind howl underscoring the horrified scream of the mother rushing to the scene. The sudden end of the cue leads to the next scene where we see tired Ian Malcolm yawning in a New York subway, the image mirroring the screaming mother right down to the screeching of the stopping subway train. Spielberg quite cleverly allowed Williams to score the action and letting the music tell us what has happened, the raging orchestra perfectly depicting a furious carnage happening off-screen and the sudden building panic at the end of the scene. *** Ian Malcolm, a chaos theorist and a mathematician, one of the survivors of the original Jurassic Park incident, is on his way to meet John Hammond, the owner of the disastrous dinosaur theme park, who has invited him to his palatial residence for some mysterious reason. He is ushered into the house to the refined sound of Ludvig van Beethoven’s Piano Sonata No. 8 in C Minor, op. 13 "Pathetique" (Performed here by Jeno Jando) playing softly in the background and he meets in the hall Hammond’s grand children Lex and Tim with whom he shares a warm moment. But before Malcolm has a chance to see their grandfather he runs into Hammond's nephew and the current CEO of InGen corporation, Peter Ludlow, with whom he obviously is at odds. The two exchange icy insults, Malcolm finding out that Ludlow has wrested the control of InGen from his uncle due to the recent incident with the little girl and that he has plans of his own for it. We cut to Hammond’s bedroom to hear the old venture capitalist tycoon... 2. Revealing the Plans (2m2) 2:18 (LLL set D 3 Track 3, OST track 8 Hammond’s Plan 0:00-2:13) Orchestrator: John Neufeld Length (sheet music): 37 bars With Mozart’s Piano Sonata in A Minor, K.310 playing softly somewhere in the background John Hammond reveals to Malcolm the tale of the second island, Isla Sorna, and proposes that Ian should lead a four member scientific team to document the dinosaurs living there. Malcolm flatly refuses, remembering all too well the incidents on Isla Nublar four years ago and vows that he will stop the rest of the team from going. The cue starts as Hammond reveals that Sarah Harding is on the team, a smoky alto flute solo opening the piece with an air of mystery and apprehension, the melody seeming to subtly suggest perhaps the Island fanfare or the main theme from Jurassic Park in its contours drifting ominously over low strings. Harp ghosted by a subtle but sharp synthesizer effect (marked “zither” in the manuscript), flute and the string section lend a tentative and enigmatic air to Hammond’s revelation that Sarah is already on the island as Malcolm tries to call her. Here Williams adds a hint of additional foreboding to the moment by cleverly reintroducing very subtly at 1:11-1:15 the Carnivore motif from the first film on the high strings almost as a reawakened horror from Malcom's memories. He is now both furious and worried. Music is waiting, almost holding its breath as Hammond tries to convince Malcolm of the safety of the expedition and Sarah’s situation on the island when a small melodic snippet on oboe with harp and horn support finally seems to finish a quick deliberation and as Ian Malcolm announces that he is going and this will be a rescue mission, the score opens into a heroic full orchestra statement of the Island Fanfare, the orchestration here distinctly recalling the cue Jurassic Park Gate from the original film. And just as Malcolm is leaving Hammond smiles satisfied having just gathered up his team. *** Ian meets up with the other members of his team, a video documentarian Nick Van Owen (Vince Vaughn) and a field equipment expert Eddie Carr (Richard Schiff) at Carr’s busy workshop full of all kinds of travel and survival gear the latest technology only can provide. Not only does he meet the technician and the photographer but also his teenage daughter Kelly, who he had invited to meet at the workshop and who he should be looking after since her mother went off to Paris on short notice. Malcolm is trying to send her off to stay with a friend called Karen for the weekend as he is obviously busy but Kelly refuses. They argue (another Spielberg trope, poor parent/child relationships), the father being outmatched by the daughter and as Malcolm turns his attention elsewhere for a moment in preparation of the coming trip, Kelly goes wandering about in the workshop. 3. To the Island (3m1) 3:40 (LLL set D 3 Track 4, OST track 3 Malcolm’s Journey 0:00-3:37) Orchestrator: Conrad Pope Length (sheet music): 123 bars The music starts as Kelly walks through the busy workshop and steps into a large trailer van full of blinking lights and high tech equipment. Strings, celeste, harp and woodwinds, most notably airy flutes and a distant call of a solo horn create a curious, luminous and almost spellbinding feel as she explores the vehicle. Expectant build-up begins, bubbling woodwinds, synthesizer and upward stirring strings joining rest of the orchestral forces and a percussive “jungle drum” rhythm in triple meter, a first hint of the Lost World theme, emerges as the camera shows a close-up of the map of the sea and coast of Costa Rica and the islands marked Las Cinco Muertes, The Five Deaths. We cut to a barge at sea, the vessel ploughing through the blue waves, the deck full of vehicles. Lower strings and woodwinds repeat a rhythmic pattern, borrowing the triple meter from the percussion that continue to pound their motif underneath the orchestra, the high strings presenting here for the first time in a nearly formal fashion the Lost World theme, the brass joining them in a robust declaration, harp decorating the upper ranges with dazzling slightly rhythmic glissandos. Music implies the sense of movement and travelling with its constant rhythm, the swaying theme itself here suggesting perhaps a sea voyage, brass intoning the main theme with assured spirit of adventure. This rendition forms a thematic bookend for the whole Isla Sorna adventure which Williams and Spielberg chose only to open and close with the theme (the closing statement following in 12m2 Heading North). When the audience sees a wider shot of the mountainous island that is their destination Williams provides a deeper and a hint more ominous rendition of the Lost World theme and continues to develop the material further, adding new instruments, woodwinds passing phrases of the theme around the orchestra accentuated by synthesizers. Ian Malcolm has been discussing with Eddie Carr, their field equipment expert, but now turns to listen to Nick Van Owen who translates the reluctant barge captain’s horror stories about the islands. The Lost World theme continues underneath the dialogue and finally builds into a triumphant crescendo ushered by timpani and colored by tambourine and cymbal crash when the film cuts to the trailer and two cars bursting into view on their way through the jungles of Isla Sorna. Malcolm follows the coordinates provided by Sarah’s satellite phone and tracks her signal in the jungle. He nears a riverbed and to his horror sees her broken and ripped backpack on the ground. Music changes pace accordingly to underscore this tension, the brass and strings sawing furiously, presenting an urgent variation on the Lost World theme, the ever present percussion propelling the men forward. And then the music suddenly comes to a dead stop as Malcolm searches Sarah’s backpack and discovers that her satellite phone is still inside. The trio shouts Sarah’s name trying to locate her but they soon find something else. 4. The Stegosaurus (3m2) 2:13 (LLL set D 3 Track 5 0:00-2:14, OST track 11 The Stegosaurus 0:00-2:12) Orchestrator: Conrad Pope Length (sheet music): 44 bars The men watch in silent awe as gargantuan beasts emerge from the jungle to the rustling of leaves and branches and rumble of the earth under their feet. These creatures are Stegosauri whose massive size and gentle presence and awe they evoke are all reflected in Williams’ luminous score, orchestrationally and stylistically reminiscent of his music for the Brachiosauri and Triceratops in the first film. Slow low string harmonies swell accompanied by bubbling contraclarinets and flutes and a warm horn line, soon joined by the violins and violas and harp, creating an atmosphere of awe and wonder, the melody blooming into a gentle crescendo. Horns present an inquisitive searching melody with the celli and basses plucking a gentle pizzicato underneath to enhance the feel of these gentle giants as more Stegosauri appear from the forest. A clear solo flute and high strings offer a excited and curious melody as Nick Van Owen climbs closer to photograph the animals, the music rising to a sweet string swell as the frame reveals Sarah Harding in the same activity just few feet away. Same awed atmosphere continues as woodwinds, high strings, horns and synthesizers present snatches of the previously heard melodic idea when Sarah notices both Malcolm and Eddie in the background and offers excited report of her findings only to be cut short by Ian holding her torn backpack, the warm music turning slightly ominous as alto flutes and double basses flutter to express Malcolm’s concern. 5. Finding the Baby (3m3) 3:13 (LLL set D 3 Track 5 2:15-end, OST track 11 The Stegosaurus 2:13-end) Orchestrator: John Neufeld Length (sheet music): 91 bars Without a pause Sarah is off to follow the family of Stegosauri, Malcolm and the two other men trailing after her. She continues to explain her findings, Ian protesting and complaining continually. The paleontologist leaves the men behind and creeps closer to get a better shot with her camera, crawling slowly through the underbrush. Tense strings open the piece, sawing away a little urgent motif as Sarah is approaching the Stegosauri, music remaining rhythmic and suspenseful for a brief moment until the dreamy awe-filled musical atmosphere of the previous cue returns when Sarah discovers a baby Stegosaurus behind the bushes. This short opening passage (0:00-0:26) was cut from the film, most likely because it enhanced the tension and suspense of the moment too much and undermined the surprise coming shortly after. The score turns curious and probing as excited Sarah and the animal observe each other with mutual wonder. Same playful and gentle mood that filled My Friend the Brachiosaurus in Jurassic Park is very much apparent here even though this piece is less openly melodic. It is here that Williams presents a subtle and probing atmospheric motivic idea for the Baby Dinosaurs (2:40-4:00) on strings with flute, woodwinds, orchestral chimes and harp all creating a luminous innocent quality around it, the motif repeating in dreamy wandering variations throughout but an unsettling undercurrent takes hold as brass plays threatening bursts underneath and a cold high string line offers gradually growing unease as if to tell us that something is about to happen. And quickly it does. When Sarah starts taking pictures of the baby her camera runs out of film and begins to rewind loudly. The dinosaur baby is alarmed by this new sound and lets out a fearful cry. The orchestra begins an almost march-like repeating rhythmic phrase that is joined by the percussion, the strings, brass and flutes becoming more and more insistent in their reading of the motif as the Stegosauri attack, protecting their baby, tense brass and shrill woodwind runs underscoring the tension and panic as Sarah, who is caught in the middle of the angry lumbering beasts, dives into a hollow log for safety to get away from the deadly spiked tails of the dinosaurs. As one of them rams its tail through the log, nearly impaling her, Williams underscores the impact with a cry from the horn section (at 2:22), low pounding piano notes and percussion (log drums, tablas and timbales) commenting the aftermath, orchestra and percussion slowly winding down as the beasts wander off, strings still playing the rhythmic action motif and fading into silence as the danger recedes into the jungle. 6. Fire at the Camp (4m1) 0:54 (LLL set D 3 Track 6 0:00-0:54) Orchestrator: Conrad Pope Length (sheet music): 25 bars The group is returning to the camp and Nick boasts of the footage he caught of the dinosaurs, dreaming of a Pulitzer prize. Sarah and Malcolm on the other hand are heatedly arguing about the dangers of coming to Isla Sorna. Williams provides a bit of travel music with percussion and jaunty lower strings and horns offering somewhat exotic and eerie jungle atmosphere for their discussion. All of a sudden rhythmic celli and deep horns announce that something is wrong as Eddie spots smoke in their camp. Music continues urgent with the orchestra rumbling to signal danger when all rush to the trailer only to see Kelly, Malcolm’s daughter, coming out with a smoking frying pan, the girl proclaiming her innocent intention of making dinner, the high strings releasing the tension and winding to a stunned finish in the low register, underscoring Malcolm’s reaction. What follows is an argument between Ian, Sarah and Kelly but their familial discussion is soon interrupted by the appearance of 7. Corporate Choppers (4m2) 2:24 (LLL set D 3 Track 6, 0:55-end. Unused in the film 0:40-0:58) Orchestrator: Conrad Pope Length (sheet music): 76 bars InGen transport choppers rumble into view carrying heavy machinery while log drums, jungle drums, marracas and tremoloing strings and horns announce their arrival. Music is marked primitif in the score, the nervous high strings, alto flutes and low horns and trombones creating an ominous feel amidst the constant jungle percussion pulse. A queasy clarinet solo further enhances the sense of something being wrong and the brass finally building to a statement of the Island’s Voice motif at 1 minute mark, repeating several times as we cut to Peter Ludlow and his associate, big game hunter and leader of the expedition, Roland Tembo in their jeep. Music is here with very little subtlety announcing who the bad guys of this story are, tying the Island’s Voice theme as much to the dinosaur hunters as to the most ferocious of the beasts living on the island. As Roland countermands Ludlow’s ill-advised orders to his crew and gives a severe lecture on who is running the show, percussion continues its beat, woodwinds and brass veering into uncomfortable clusters and nervous rhythmic strings and synthetic voices announcing eerily the Island’s Voice again as the InGen team prepares to start 8. The Round Up (5m1) 3:30 (LLL set D 3 Track 7, OST track 4 The Hunt, unused in the film) Orchestrator: Conrad Pope Length (sheet music): 144 bars This is the first actual action set piece of the score. Pounding low piano and percussion, sizzling tambourine notably adding its unique colour into the mix, repeat a rhythm that reveals itself to be the one associated with the Lost World theme, brass galloping to the fore, enhancing momentum and sense of panic and ferocity of the chaotic scene where the dinosaur flee from the pursuing humans. Williams uses variations of the triplet ideas inherent in the Lost World theme to underscore this wild chase, changing the heroic and questing nature of the composition to that of a terror and oppression, the insistent motivic fragments repeating continually in the brass, becoming almost tortured, percussion making heavy bursts, the music building steadily in orchestral power, like some monster rolling forward with unstoppable momentum. Cymbal crashes, flurries of panicked woodwinds, hooting horns, merciless timpani and the ever present snippets of the Lost World theme rhythm propel the cue along and finally to a slowly fading finish on percussion and low piano as the hunters have captured their prey, the music stopping as Dieter’s jeep closes in on the InGen team trying to capture the Parasaurolophus. In the Making Sadly this brilliant aggressive and propulsive music (performance direction to the players marked bestial in the score) was not used in the film due to the fact that the scene was extended and restructured and thus would have created problems in trying to conform the composition to the new picture. Still the original cue captures so vividly the ferocity and sheer terror of the wild chase on-screen that is it hard to believe that it was just discarded. It also cleverly hints that the only monsters in the scene are human, not the dinosaurs, who pursue them relentlessly with high tech equipment and round them up like cattle to be carted away off to an amusement park. Perhaps Spielberg felt that the composition was too powerful for the scene or that it might have dominated it or that it was too difficult to treat properly by editing and decided to use some tracked music in its stead, most notably ending with the heroic Lost World theme, which seems tonally an odd choice for a sequence which is in essence a chase and a panicked stampede. Williams' original idea also strongly emphasizes the brutality of the sequence whereas the tracking would seem to indicate a need for a slightly more adventurous tone. The changes made to the film were in the final stages of the post production and thus denied the composer a chance to re-score the scene properly. Williams was reportedly dismayed to hear that the music was discarded and the pride he took for this particular cue is easy to understand. 9. Big Feet (5m2) 1:40 (LLL set D 3 Track 8; Unused in the film 0:42-1:02) Orchestrator: Conrad Pope Length (sheet music): 21 bars This cue begins as Malcolm’s team is surveying the end of the disheartening round-up, powerful timpani roll, rising strings and horns performing a 2 chord motif (performance marked tortured in the score), chimes in particular adding a fateful feel to the scene. We then shift to Roland Tembo and his companion Ajay at the jungle’s edge, bent over a huge T-Rex footprint. The Island’s Voice motif appears first subtly in basses under a sheen of eerie synthesizer effects when Roland’s and Ajay’s faces are reflected from the puddle formed into the gigantic footprint. When the accompanying dinosaur expert Dr. Burke confirms to him that it is indeed a T-Rex print we hear the Island’s Voice repeated with stronger orchestral backing, horn soloing darkly in the background and woodwinds presenting a high register bird-call style answering motif to enhance the forest atmosphere. English horn over low piano rumble and cold queasy strings and subtle comments from marimba are introduced as Tembo readies his gun, Ludlow arriving to congratulate him and then wondering where he is going. As Tembo walks off “to collect his fee” Ludlow follows a few steps behind but lands his foot into the puddle earning a sudden downward surge from the strings as the camera tilts to show the footprint again ending the piece in a low bass drum thump full of meaning. 10. Spilling Petrol (5m3/6m1) 3:45 (LLL set D 3 Track 9) Orchestrator: John Neufeld & Conrad Pope Length (sheet music): 85 bars This piece begins a two part musical sequence. The cue title refers to an unused part of this particular scene where Sarah and Nick sneak into the InGen camp to release the dinosaurs from their cages while the “hunters” are occupied by Ludlow’s presentation to the InGen board of directors via satellite uplink. In the original cut there was a short segment where the duo sabotaged the vehicles by emptying the petrol from the gas tanks, hence the cue name. The percussion section first presents a rhythmic base (marked driving jungle groove) for suspense and night time jungle atmosphere while synthetic animal sound adds a primal feel to the proceedings as Ludlow is giving his speech and the two “gatherers” creep around in the camp, sinister synth sounds accompanying them, celli, basses and high strings all maintaining tension. Around 1 minute mark ghostly shakuhachi with synth doubling lets out a haunting sigh, violins and brass following a foreboding melodic line, music building around the percussion section, the synthetic animal sound wailing in the background. The orchestral writing comes suddenly to fore when Sarah and Nick open the heavy bolted doors of the dinosaur cages (2:20->), high end orchestral sounds, harp, strings and synths commenting this turn in the events, the music resembling the textures of the Baby Dinosaurs motif as we see a caged baby Stegosaurus among the captured animals. The drums return to focus again when the camera shows us Ludlow’s tent where he continues his sales pitch to the InGen board of directors, recounting the original Jurassic Park’s folly and the existence of park facilities in San Diego and his plan of recouping the company's losses with the captured dinosaurs transported to the main land. At the mention of the Jurassic Park amphitheater in San Diego the percussion give way to a nostalgic, nearly wistful, ghostly reading of the Island Fanfare which passes through the woodwind and horn sections in remembrance of Hammond's dream. Then the music without warning bursts into a Triceratops... 11. Horning In (5m3/6m1 Part II) 1:26 (LLL set D 3 Track 9 3:46-end) Orchestrator: John Neufeld & Conrad Pope Length (sheet music): 45 bars Alarmed ascending hooting horn cries and energetic rhytmically charged strings underscore the Triceratops suddenly crashing into Ludlow’s tent and other dinosaurs escaping from their cages, wreaking bloody havoc around the camp, tearing through the panicking InGen crew and scattering their equipment all around. With merciless percussion and crushing staccato exclamations from the brass section an exploding jeep flies through the air and almost hits Roland and Ajay in their hideout tree where they are stalking the T-Rex, the pair just barely surviving the flaming projectile. Rhythmic strings continue to drive the action from 0:38 onwards backed by sharp snapping percussion beat as Nick finds and rescues the Tyrannosaurus baby (to another briefest hint of the ghostly Baby Dinosaurs music) that is tied to the ground and used as bait by Roland Tembo to capture an adult T-Rex. This is followed by an almost militaristic reading of the previous string idea when Roland returns to the camp, surveying the damage, reprimanding his second-in-command Dieter Stark, deep brass and cold strings underscoring Dieter’s sullen look which promises retribution to whoever did this. The percussion suddenly subsides and the music shifts to an apprehensive orchestral passage as Sarah sees Nick bringing the injured T-Rex baby to their jeep. In the Making The beginning of this cue seems to consist of music re-purposed from a later scene (see cue Truck Stop) with Williams re-orchestrating it for the dinosaur rampage in the InGen camp. This music becomes semi-thematic in the score as roughly the same energetic rhythmically insistent staccato brass and percussion section of the piece is later reprised in another cue (Rialto Ripples) as well. *** In the van Malcolm and Kelly try in vain to contact their ferry when Sarah and Nick burst in with the baby T-Rex, Malcolm horrified and nervous, Sarah going straight for an operating table to find the damage done to the dinosaur by Tembo. Kelly panics and wants to go somewhere safe. Malcolm leads her to Eddie and... 12. Up in a Basket (6m2/7m1 Part I) 3:27 (LLL set D 3 Track 10) Orchestrator: Conrad Pope Length (sheet music): 66 bars Deep drums and alla marcia rhythmic horns begin a taut militaristic and almost funereal procession as we see Eddie Carr asking Malcolm what is happening and the mathematician taking Kelly to the high-hide, a metallic cage that can be hoisted up to the trees with a winch to give an observation platform and safe vantage point for the team. There is a sense of anticipation and preparation in the music, Sarah and Nick trying help the T-Rex baby. Ghostly fluttering flutes, apprehensive strings and brass underscore the high-hide reaching above the tree tops, Kelly fretting about the dinosaurs and Malcolm is trying in vain to comfort her. As he says they are now in a completely different situation than when he was in the Jurassic Park a loud roar of a Tyrannosaurus echoes through the jungle. The following passage of music, that should have started around 1 minute mark, was cut from the finished film. Under the T-Rex roar we hear a constant uncomfortable synthesized sizzling sound and the orchestra begins an urgent churning motif full of foreboding, the music raising the tension when Malcolm attempts in vain to call the trailer, trying to reach Sarah and Nick to warn them. Nick is about to answer the ringing phone but the paleontologist calls him for immeadiate assistance, the ensemble repeating the motif ever insistent. Malcolm decides to descend and get to the trailer to warn the two, Kelly begging him not to go, music changing pace to another rhythmic motif with a low piano groove, percussion and strings forming the basis as Malcolm says he is coming back and dropping out of sight down a rope. Interjections to the nervous orchestral rhythm from lowest brass become more noticeable, underscoring Eddie and Kelly witnessing the T-Rex approaching through the jungle, made visible only by the trees swaying back and forth, Williams’ repeated deep brass motif for trombones underpinned by bass drum here suggesting an almost subliminal connection to Jaws, a beast lumbering almost unseen towards our heroes, personified just by the music. These heavy brass blasts drive Ian Malcolm onward through the rainy jungle and just as he reaches the trailer door and bursts inside to warn Sarah and Nick of the coming threat the orchestra reaches an ominous shuddering crescendo. In the Making This cue plays from 0:00-0:59 in the film as composed but the rest is dialed out, letting the sound effects and silence carry the tension of the scene. The music as written would have immediately continued with 13. Up in a Basket II (6m2/7m1 Part II) 2:21 (LLL set D 3 Track 11) Orchestrator: John Neufeld Length (sheet music): 75 bars Nick, Sarah and Malcolm do not have much time to prepare before the sharp snapping percussion reminiscent of the cue Horning In and brass section making constant nervous blasts inform them and the audience that something is coming, namely the parents of the infant T-Rex they have in their care. As the beasts peer through the windows on both sides, composer introduces first the animal howl-like synthesizer voice echoing menacingly which then flows into cold shimmering orchestral and synthetic writing, the percussion sounds slowly giving away to a high register ghostly melody in the strings that resembles the benevolent musical idea Baby dinosaurs originally used for the Stegosaurus baby from the earlier scene as the T-Rexes view their whimpering offspring inside the trailer, the little motif underscoring an eerie moment of parental concern from these gigantic carnivores (0:42-1:51). The initial rhythm creeps slowly back into the music when the trio lifts the baby and carefully presents it to the parents through the trailer door, the percussion groove and subliminal shimmer synthesizer effects coming to an abrupt silence as Eddie Carr informs via the phone from the high hide that the apparent threat is over and the beasts have decided to return to the jungle with their infant. In the Making The whole cue was cut from the film, perhaps thought too energetic, aggressive and prominent for the scene, adding too much tension and drive where the silence and the eerie noises of rain and dinosaurs was all that was needed to convey the menace of these massive beasts. *** But the safety is only momentary as suddenly the dinosaurs are back and the team has only a few seconds to prepare themselves. With determined rage T-Rexes push the trailer off the cliff face, half of it dangling over the edge, our heroes in the falling half holding on for dear life as everything topples down, the van turned into a corridor to death. *** 14. Pain of Glass (7m2/8m1) 4:05 (LLL set D 3 Track 12) Orchestrator: John Neufeld Length (sheet music): 67 bars With a sharp blast from timpani and trombones Sarah falls to the bottom of the trailer’s up-ended section landing on a rear window pane (hence the pun in the cue title). The celli and basses weave an urgent chaotic motif as she is momentarily knocked out but as she comes to the pane begins to crack, small cobweb of fractures spreading under her weight. The music here has a hint of familiarity, the string idea slightly reminiscent of the Dies Irae-like danger motif from Jurassic Park (found in the cues like The Falling Car (OST CD the latter half of Incident on Isla Nublar) and Highwire Stunts) as Malcolm tries to lower himself to rescue her, the music enhancing the urgency and danger of the scene considerably. He reaches for Sarah’s hand, but the satellite phone left hanging from a tablelamp by the fall slides off and topples down, the suspense peaking fast, high strings racing and brass keening in panic, Sarah reaching for Malcolm’s hand with all her desperation. The glass shatters to the sounds of tortured aleatoric brass and furiously sawing string section but the paleontologist makes a grab for life, Ian catching her with the lucky backpack. Here an extended queasy string glissando facilitates a scene transition to Eddie Carr. Outside Eddie Carr arrives to the site of the half destroyed trailer and frantically searches for survivors as tropical storm starts to spew torrents of rain on the island. The trapped trio hollers to him for help, Williams providing suspenseful jungle beat from the percussion and the brass, piano pouding its own jazzy suspense grooves with rhythmically tugging string accompaniment that add their weight to the field equipment expert's toil and determination as he hurries to safe the team, trying to tow the trailer back up with his jeep cable as a steady rhythm from the percussion section and strings continues to underscore his efforts. 15. Truck Stop (8m2) 5:10 (LLL set D 3 Track 13, OST track 7 Rescuing Sarah [0:00-2:12] (2:12) / Unreleased (1:04) / 7 [2:12-end] (1:48) Orchestrator: John Neufeld Length (sheet music): 156 bars Eddie’s actions come in the nick of time for the trailer is starting to slide on the muddy cliff in the pouring rain, pulled towards the cliff edge by the weight of the fallen section. The music bursts to life as Eddie notices how the vehicle is slowly beginning to move towards the edge and he runs to his jeep and tries to use it to pull the van back, percussion of all kinds among them bongos, congas, logs, bass drum and gourd beating wild rhythms (performance marked brutally) to emphasize the tension and fight against time. The timpani and the rest of the orchestra then join in this seemingly chaotic and driving barrage, which propels as much Eddie’s efforts as they comment the team’s dire predicament. Woodwind trills and runs, panicked and tortured brass exclamations hinting at the Island’s Voice motif, sharp and furious string figures and above all the percussion assault the poor protagonists, filling the air with dire expectation, underscoring the efforts of the trio in the van to escape the death trap, holding on to a rope, making desperately their way up and out of the slowly falling car. Williams keys everything into the rhythmic drive in this orchestral tour-de-force of percussive invention, relentless and primal. Eddie’s valiant rescue efforts and momentary success receive near victorious brass fanfares as he fights to keep the trailer on safe ground, his determination seeming to win them the much needed time to escape. But the score announces more trouble for the team with shrill woodwind runs, queasy muted horns and kinetic string writing. Only to make matters worse, calamity piling atop of another, the two T-Rexes like harbingers of doom return, stomping out of the dark rainy jungle, orchestral chimes, fateful exclamations from the whole brass section and swirling pained and panicked string figures underscoring their footfalls at 2:52, ringing a death knell for poor Eddie as the dinosaurs attack his jeep with fury, the percussion instruments beating an ever present barrage under the orchestra. The furious brass piles on top of the strings in staccato jabs accompanied by wild riffs from the drums and sharp cymbal accents as the monsters tear the car to pieces and Eddie in half, the orchestra and percussion reaching violently racuous heights, sounding like the full ensemble is nearly toppling on itself. The trailer finally falls to its destruction but the team makes a miraculous escape, underscored by fateful deep descending chords from the trombones, orchestra winding slowly down with percussion, brass and woodwinds flailing as in the death throes of the vehicle while the Tyrannosauri return to the jungle and the trio hangs on the rope against the cliff face. When the heroes finally climb up, receiving unexpected helping hand from Roland Tembo waiting at the top of the cliff, the percussion quiets down and a horn led strained but heroic fanfare sounds out, nearly quoting the Island Fanfare but taking a different turn, the music blossoming to a tragic and noble melody of operatic proportions joined by the entire orchesta, wearily celebrating their survival but also mourning the loss of Eddie Carr. 16. Reading the Map (8m3) 3:11 (LLL set D 3 Track 14) Orchestrator: John Neufeld Length (sheet music): 90 bars Percussion returns with the rhythmic low strings to signify preparations as the two teams, hunters and gatherers, decide to join forces despite their differences of opinion in order to trek across Isla Sorna. Williams adds another rhythmic element into the mix, a subtle interpolation of a deep bass synthesizer (marked "Fender Bass" in the score) playing its own jazzy figures underneath the basses and celli to beef up the atmosphere. Roland, Ludlow and Malcolm's group inspect a map of the island and discuss their route to the old InGen facilities and communications center where they want to radio for help, mentioning to Malcolm that the buildings are at the center of island, where unfortunately the carnivores and more specifically Velociraptors live. As these cunning and deadly dinosaurs are mentioned Williams reprises the 4-note Carnivore motif on ghostly shakuhachi flute (doubled on synthesizers) much in the same style as he did in the Opening Titles of Jurassic Park, the theme calling out several times over the dominating rhythms of the percussion section. High strings, horn and woodwind colours creep into the texture of the rhythm, adding deep sonorities to the pace of the music and lending it grim determination. In the Making The first 0:00-1:42 were not used in the film and the music begins when we first hear Ludlow mentioning the Raptors and hear the first rendition of the Carnivore motif. 17. The Trek (8m4-9m1) 5:25 (LLL set D 3 Track 15, OST track 5 The Trek) Orchestrator: John Neufeld Length (sheet music): 138 bars And so the group is on its way in the rain through the jungle towards their destination. Deep resonant exotic drums play a steady softly pounding figure for the jungle trek, the horns rising ominously in series of dark melodic phrases, a Trek motif, strings making nervous jittery interjections, lower woodwinds bubbling subtly underneath and growing into a percussion accompanied horn statement of the Island Fanfare while Ian Malcolm talks to Ludlow and mentions John Hammond and his doomed dream of Jurassic Park. The rising Trek melody from the beginning of the track is repeated more grandly in the brass with woodwinds squirming underneath as we see the long line of people walking through the jungle scenery, cloud capped mountains looming ominously in the background and Roland giving a dark nervous glance as they hear the distant roar of a Tyrannosaurus. When the group arrives to a red wood forest the travelling music gives away to a collection of dark orchestral and percussive sounds that underscore Roland Tembo spotting blood on Sarah’s coat and asking is she hurt, the eerie music enhancing the dangerous situation and environs these people are in. Dieter Stark hears the nature’s call and wanders off to satisfy its demands, hollering to one of the men, Carter, to keep at a shouting distance in case he gets lost. Carter, with a walkman blaring Mexican music ("Tres Dias" by Tomas Mendez), is completely oblivious to this which is announced with foreboding by queasy strings. After stopping for a suitable spot, followed by the unnerving snapping of the orchestra and percussion, Dieter is interrupted by rustling in the underbrush and he grabs his gun, ready for anything, backing away, searching for the assailant. As he sweeps the bushes with his gun he is startled by a single Compsognathus sticking its head out of the undergrowth accented by a shakuhachi wail at 3:48. Dieter is annoyed and tries to tazer the little lizard as he has done once before but it escapes in a sizzle of a rubbed tam-tam and bubbling of woodwinds and strings. But now the mercenary is truly and hopelessly lost and Carter (who still enjoys the fine performance of the Mariachi Los Camperos De Nati Cano) can’t hear his screams from the jungle. Strings pull nervous twittering sounds, shakuhachi howls again and pizzicato violins and the sizzling of suspended cymbals all cry out his panic as he wanders through the woods frantic, woodwinds, choice brass and low strings joining an insistent rhythm as he trips on a tree root and falls down a steep slop. Suspended cymbal swell and synthesized metallic zither notes underscore him hitting the bottom with a thump. In the Making This cue was dialled almost in its entirety out of the film, the Lost World theme tracked from To the Island in its stead, replacing the rising Trek motif for the travelling sequences, the film makers favouring silence and the adventurous feel in the music over Williams’ darker and more tense and grimly determined take on their journey across the island. The eerie underscore of the red wood forest was also removed and Dieter’s predicament left mostly unscored (although the music from 3:20-3:59 for compy's appearance from the underbrush is heard in the film), very likely because Williams’ music added too much tension and foreboding to the preceding dialogue between Roland, Nick and Sarah and could have dampened the horror of the Compsognathi in the following scene. 18. The Compys! (9m2) 1:34 (LLL set D 3 Track 16 0:00-1:34, OST track 1 Island Prologue 3:27-end) Orchestrator: Conrad Pope Length (sheet music): 67 bars This music should have continued without a pause from the previous cue. Dieter has no time to gather his wits after the fall when he is attacked by a swirling pack of Compsognathi, biting and clawing and climbing all over him. Piccolos chirp furiously, sul ponticello strings bow queasily, horns hoot and growl full of menace (performance for the whole ensemble is marked sinistro in the score) and is soon joined by the rest of the orchestra, the percussion pounding mercilessly, many sections of the ensemble playing aleatorically, achieving an organized chaos that describes the little dinosaurs perfectly as they swarm upon the mercenary with blood thirsty glee. The music is very similar to that heard in the first cue of the score, the little dinosaurs characterized by the same orchestral effects but even more frenzied this time around. Dieter repels the attack of the swarm and drives them away, swaying wearily along the river bed, the sinister strings, synthesized breath effects and woodwinds promising him no respite while at the temporary camp Roland calls everybody to continue their march. 19. The Compys Dine (9m3/10mA) 2:54 (LLL set D 3 Track 16 1:35-end, OST track 10 The Compys Dine 0:00-2:47) Orchestrator: Conrad Pope Length (sheet music): 76 bars Carter rises from his place to leave and the camera lowers and catches Dieter’s backpack on the ground forgotten, celli and double basses and a subtle timpani rumble commenting this with quiet and tense notes. Tabla drum and maraca take us back to the river bed where the mercenary is fleeing, still shouting for help. Horns and muted trombones rise menacingly, the woodwinds slowly return to the aleatoric style of the previous cue, all orchestral sections joining in a cacophonic carnage as Compys attack in force, appearing all around, Williams scoring both their action and the sheer terror they evoke with equal precision, the musical texture and performance style becoming a theme of its own for these little carnivores. Dieter stumbles over a large fallen tree and out of sight but the dinosaurs follow in a merciless swarm, music rising to a fever pitch with raging clarinets and piccolos, timpani accenting their menace and the brass announcing the end of the man at 1:10 as we see the water turning blood red, fluttering flutes and unsympathetic strings sighing as if for his last breath. Later Roland Tembo questions Carter about Dieter Stark and atmospheric percussion and rhythmic tugging of double basses underscore his decision to go find his second-in-command. Flutter-tongued shakuhachi carries the danger inherent in the decision and the troop gets moving again, leaderless, to the sound of low ominous brass and woodwinds repeating a subtle quote of the Trek motif from cue The Trek. A light cascade of notes from the harp and percussion transition to the night camp where the dark mood is further enhanced by the cold string lines and drum rumbles as the camera moves past the sleeping men. 20. Rialto Ripples (10m1) 5:53 (LLL set D 4 Track 1, OST track 12 Ludlow's Demise 0:00-1:35) Orchestrator: John Neufeld Length (sheet music): 183 bars As Roland returns from his search double basses start a subtle menacing figure, bass drum beating a ghostly rumble in the background, the big game hunter noting flatly that Dieter is dead. Flutes, rubbed aluminum rod, triangle and vibraphone strike a cold clear sound when Tembo lights his flashlight and Malcolm and Ajay read the map with him and make plans for their next move. Strings continue dark and mysterioso, the woodwinds and brass joining them, a few slow deep bass drum cadences giving the listener a small hint of what is to come as we see Kelly and Sarah sleeping in a tent, Malcolm walking towards them. Then Sarah is suddenly awake and feels a low rumble, alarmed by it. At 1:02 the percussion section starts pounding a steady, simple and menacing march rhythm as trombones and horns flutter and growl full of dark danger, woodwinds joining soon in a repeated figure, the suspense climbing continually, timpani spiking the tension along with the continuous sizzling sounds of a suspended cymbal. Outside Malcolm sees the ripples in a muddy pool, realizing the coming threat (Williams’ cue title refers to this and nods humorously at an old rag time standard by George Gershwin called Rialto Ripples). Inside the tent the paleontologist notices the bloody coat left hanging out to dry inside, realizing that the smell of blood of the baby dinosaur must be attracting the T-Rexes but before she can do anything about it, a huge shadow is cast over the tent. The violins and violas add their cold colours to the mass of sound, suspended cymbal hissing over the bed of repeating churning orchestral effects and timpani attacking violently as the beast approaches. Here the brass becomes more pronounced, the blasts oppressive and demanding underpinned by the rolling overpowering percussion as the T-Rex pushes its head inside the tent, searching, sniffing. Kelly wakes up, and Sarah who is in a state of terror herself tries to keep the girl silent and still. The presence of the dinosaur hammers at them in Williams' music, the coiled, violent bursts of the orchestra threatening to crush them. The strings, first the high and then low register, spin uncomfortable cyclical figures backed up by synthesizers, further ratcheting up the suspense to unbearable levels. But suddenly the bottled up tension is released at 3:24 as Carter wakes up and sees the beast, screams and fires at it with his gun. Strings whip into frenzied action as they flail in rhythmic anger and the whole camp wakes up in panic, the T-Rex turning to face the sudden attackers, the lowest brass ascending ominously in the fashion of monster music of old as we get a wide shot of the dinosaur. To add to the constant sense of energy Williams keeps the pounding march from the opening half of the cue constantly going underneath the action, creating a relentless steady drive to the scene. From 3:35 until 4:06 the music again reprises a furious staccato brass and percussion passage from the cue Truck Stop underscoring here the panicked flight of the people and Tembo’s failed attempt to shoot the T-Rex as Nick Van Owen had emptied the shells from his rifle while Roland wasn’t looking. Panicked, forward hurtling rapid fire brass phrases (with virtuoso playing from the session musicians) and sharply chirping woodwind runs underscore the wild flight of the team through the jungle with the T-Rex on their tail, characterized by the low brass sounds. As the scene shifts rapidly the percussion strike up an agitated jungle rhythm underpinned by aggressive brass blast again when Roland Tembo tries to capture the other T-Rex with a tranquilizer gun, rattling clanging metallic percussive sounds further instilling momentum and tension and the low brass again rising to a monster music style deep exclamation as Tembo hits his quarry. The rhythms from the furious sawing strings, pealing synthetic chime effects and percussion become increasingly frantic as we cut to the T-Rex chase, the score surging to keep up until the ingeniously driving and wildly chaotic orchestral and percussive melange comes to a dead halt when the fleeing protagonists jump through a waterfall for safety. In the Making In the film this piece underwent editorial tinkering and as a result it was re-edited, layered with material taken probably from the unused portion of the Up in a Basket I and mixed very differently resulting in the opening part prior to 3:24 to sound wildly different in the film compared to Williams' original intentions. 21. Steiner in the Grass (10m2) 2:28 (LLL set D 4 Track 2, OST track 8 Hammond's Plan 2:05-end) Orchestrator: Conrad Pope Length (sheet music): 60 bars The survivors of the T-Rex attack (Carter and Dr. Burke didn't make it) continue towards the InGen facilities and cross a meadow of high grass, the line of people filing through high stalks, forming dark furrow as they go while Ajay is in vain trying to stop them. The title of the cue is a wink to the grandfather of film music Max Steiner, whose score for 1933 film King Kong was almost certainly a partial inspiration for this score and contained exotic music for the jungle travel and locale of the Skull Island, Williams is tipping the hat to the old master in styling his piece in somewhat the same vein. Another new jungle rhythm on the percussion and jazzy low piano open the cue and slowly rising ominous brass and string lines continue in the style of the previous Trek motif but spinning unique melodic variations for the scene. Soon colder tones from the tense brass, strings and woodwind stings creep into the texture of the music as we see new dark furrows forming in the grass all around the group. Velociraptors approach and stealthily start picking off people one by one, soon creating another panicked flight. The brass continue to develop the trek material, ever ominous as Raptors go about their bloody business and the protagonists behind the main group appear just at the edge of the meadow. Nick finds Ajay’s bag in the dark, the rhythmic basses and marimba beating almost a countdown and as Malcolm hears the horribly familiar snarling in the darkness and the cries of the dying men, he breaks into a hurried flight, the orchestra following suit and with a swirl at 1:55 mark, releasing the tension, picking up speed, all orchestral sections urging them on with furious flurries as the heroes race towards the forest edge and safety, only to tumble down a slippery slope, a downward string and woodwind surge and a percussion hit signifying the end of their fall. The music continues without a pause with 22. After the Fall (10m3-11m1) 3:05 (LLL set D 4 Track 3, OST track 6 Finding Camp Jurassic) Orchestrator: Conrad Pope Length (sheet music): 58 bars Under a brooding contrabassoon drone, deep trombone sonorities and celli’s and basses’ menacing murmurs the heroes find themselves in what seems like a dinosaur graveyard with huge rib cages surrounding their path. Nick says he is going to find the communications center and radio for help, not staying to wait for Malcolm who has hurt his leg in the fall, piano and harp playing probing notes as the photographer runs through the broken gates of the facility towards the main building with strings rising full of mystery. As he enters through the main entrance of the Camp Jurassic center a percussion rhythm starts over nervous strings and bubbling woodwinds. At 1:11 when Nick first jumps at seeing a T-Rex’s snout in a poster and then looks at a faded advertisement banner of Jurassic Park on the wall, we hear an equally faded and ghostly setting of the Island Fanfare, a reminder of lost dreams and faded glory, Williams again tying the old theme firmly to the earlier park rather than Isla Sorna's situation. As Nick continues to explore the vines and jungle infested main building, part shadowy part enigmatic orchestral and percussive elements take over, heightening the suspense of the exploration until another subtle variation of the Island Fanfare on brass supported by woodwinds at 2:30 announces his success of turning on the power and finding the radio, the percussion slowly fading into silence as he makes contact with the main land. 23. The Raptors Appear (11m2) 3:44 (LLL set D 4 Track 4, OST track 9 The Raptors Appear) Orchestrator: John Neufeld Length (sheet music): 104 bars Malcolm, Sarah and Kelly have finally caught up with Nick, walking past dinosaur bones and huge geothermal pipes. A ghostly wail of the Island’s Voice motif sounds repeatedly on synthesizer accompanied by almost breath like shakuhachi synth effects, tabla drum echoing alone in the distance. The group reaches the gate and the courtyard of the InGen center with strings and subtle percussion keeping up the suspense, when out of nowhere a Velociraptor appears and attacks Sarah, eliciting a rising scream from the horn section and a new action rhythm from the percussion. Luckily the raptor decides to maul Sarah’s backpack instead and so she escapes with her life. Malcolm heroically attracts the attention of the beast as Kelly and Sarah run for safety into an old shed but two more Raptors appear and immediately go after them and try to dig their way in, all the while the women try to dig their way out from the the other side of the building and Malcolm fights for his life in the courtyard. Much as in the cue Truck Stop, the percussion rhythm established at the beginning dominates while brass makes snarling and hooting interjections and drives the music forward by presenting snatches of their own action motif and the Island’s Voice, the synthesized animal noise rising to haunt the protagonists along with aleatoric woodwind screams as three raptors try to kill our heroes. The Island’s Voice calls out in deadly synthesized voices around 1:25 and 2:25, receiving a more ponderous reading with brass accompaniment at 2:42 as the situation grows more dire and until all the orchestral forces, notably including wild aleatoric woodwind section, grow more chaotic by the second and finally the music comes to a staccato halt with brass and percussion hits when the women get the boards loose in the back wall and try to escape that way. 24. High Bar and Ceiling Tiles (11m3-12m1) 4:12 (LLL set D 4 Track 5) Orchestrator: John Neufeld Length (sheet music): 136 bars But another Raptor is waiting outside and a sharp timpani stinger and the percussion rhythm return as the action writing in the style of the previous cue continues fresh and furious. Sarah and Kelly have no choice but to go up climbing toward the roof for safety. Malcolm who has been trapped in a car, succeeds in evading the Raptor and runs inside driven by nervous blasts of brass, only to find himself face to face with another of the vicious carnivores that has nearly gotten in. He decides to climb as well and the orchestra and percussion follow his movements while cruel rhythmic brass exclamations trail the Raptor jumping after him. In the nick of time Kelly saves her father with a well targeted gymnastic move, sending the dinosaur through a window and to its demise below, impaled on a palisade, underscored by cymbal crashes and deep fateful staccato bursts from the brass section starting at 1:19. But the victory is only temporary and after a short pause the Raptor brass sounds return with vengeance as Sarah heads for the roof while Malcolm and Kelly escape through the shed door. Nervous aleatoric woodwinds again creep into the score alongside Sarah’s panic as the vicious beast is after her and she has to make a leap to the roof of another building with the creature in hot pursuit. Her jump falls short, leaving her hanging from the slate roof edge with the score ratcheting up the tension and drive with the ever present percussion drive and sharp trumpet figures. The dinosaur jumps ahead of her so now one Raptor waits Sarah on the roof and another on the ground below. She hangs by the roof tiles and gets a quick idea and begins to pull the slates down. Slowly but surely the shingles give away and take the precariously balanced Raptor with them. Here the raging woodwinds, quick sharp brass bursts and string figures now accentuated by cymbal hits create a feel of deadly unpredictability, the musical chaos climbing to a small crescendo at 2:31 resembling the finale of the previous cue. But as Sarah loses her hold of the tiles and falls, the score shifts to new action rhythm and the two Raptors, now is midst of a scrambling fight with one another battling for the quarry, are scored by keening brass tones and a subtle quote of the Island’s Voice at 2:36. The paleontologist tries to stay out the way of the hissing, biting creatures and suddenly falls through a trap door and out of a window to land safely near Malcolm and Kelly. Brass and percussion continues in staggered bursts, repeating the action motif of the previous two cues, the Island’s Voice howling several times in the brass becoming each time more dramatic and ponderous as the heroes try to make their escape. And almost as if exhausted along with the characters the score comes to a sudden slow fading coda in the strings and weary horns as they get to the helicopter pad of the visitor center with Nick waiting for them and InGen helicopter approaching. In the Making In the film the Lost World theme concert version was tracked in as Sarah falls through the floor and continues when the trio heads for the main building’s helicopter pad, the triumphant feel more suitable for their rescue. Williams original music was much darker and harsher, letting the savage mood and tension continue almost up until the last minute. 25. Heading North (12m2) 2:14 (LLL set D 4 Track 6, OST track 3 Malcolm’s Journey 3:33-end) Orchestrator: Conrad Pope Length (sheet music): 46 bars Weary string lines rise as the helicopter is taking our heroes off the island, offering a melancholy respite from the ordeal they have just experienced, harp and brass offering their own somber tones to the quiet moment of aftershock for the protagonists. Deeper brass creeps into the music assisted by a timpani roll when we are shown Ludlow and Tembo with another InGen team capturing the sedated T-Rex male, the CEO congratulating the hunter for his prize. Tembo, who has lost his friend Ajay, is grim, remarking that he is glad to get away, having spent enough time in the company of death, timpani rumble, husky flutes and low strings underscoring his lines. For a transition shot of the helicopter appearing in the night skyline of San Diego Williams offers a grand yet dark reading of the Lost World theme complete with tambourine flourishes, but even in triumph it is tempered by the horrors experienced on Isla Sorna. And thus the new main theme of the score musically bookends the whole experience on the island. But the story isn't over yet. 26. Ludlow’s Speech (12m3) 3:15 (LLL set D 4 Track 7) Orchestrator: John Neufeld Length (sheet music): 91 bars This cue begins the last act of the film. Ludlow is desperate to re-coup his losses and is transporting the T-Rex to San Diego on a boat, having already spirited the infant Tyrannosaur to the InGen facilities in the city via helicopter. He has gathered media at the docks to greet the arrival of the cargo ship due to land in the early hours of the morning and is holding a press conference. Ian Malcolm and Sarah are there to witness this folly. The music continues very much in the jungle mood as the percussionists set up another rhythmic groove underneath the orchestra that now has both a conspiratorial and expectant feel to it, especially thanks to the dotted nervous woodwind lines that crisscross the composition. As the harbor master interrups Ludlow’s speech and calls him to inspect something in the offices, the inexorably rising orchestral and synthesizer lines of the Island’s Voice motif supported by the percussion section give us a forewarning that something is certainly amiss as the motif is taken over and repeated in turn by several sections of the ensemble. The ship arrives but they can’t make contact with it, the vessel approaching the docks with an alarming speed with no signs of slowing down and when the blinking dot on the radar grows closer and closer the brass and woodwinds present their own nervous dotted figures over ominous high string lines and percussion for the nearing ship. A tense countdown motif begins in the orchestra, rhythmically taut and persistent, gathering up speed with the vessel, a ghostly synthesized wail of the Island’s Voice and full ensemble reaching terrifying intesity and a lengthy thunderous crescendo the score comes to a halt just after the ship appears from the darkness and plows into the pier wreaking chaos and destruction. In the Making In the film the music stops short at 1:59 as people are watching the night sea and hearing the ship approaching, the rest of the mounting tension of the scene is carried just by sound effects. 27. WOMPI’s Wrench/Wreck? (12m4) 2:22 (LLL set D 4 Track 8, OST track 10 The Compys Dine 2:47-end) Orchestrator: John Neufeld Length (sheet music): 36 bars Muted horns and slow ominously tremoloing strings set the mood of building horror for the scene, the Island’s Voice motif performed cruelly by the woodwinds and then passed between different instruments, obviously announcing death. Ludlow, Sarah and Malcolm with the harbour and InGen officials climb to inspect the ship only to find carnage onboard, with bodies littering the decks, victims of unseen assailants. The Island’s Voice is heard again in ghostly synthesizer voices, Ludlow nauceously backing out from the bridge of the ship after seeing the captain’s severed hand holding the wheel. Sarah and Malcolm both notice the big cargo hatch of the ship clanking as if the mechanism had stuck and notice a dead man holding the remote. With tabla playing softly in the background, the brass section starts a slow menacing series of growling bursts that grow in intesity, the Island’s Voice making another exclamation in the midst of mounting dread. Strings shudder, the brass continue their deep ponderous blasts now paced out slower for increasingly foreboding effect as Ludlow wants the cargo hold opened and while Malcolm tries to stop him, one of the police is quicker and obliges. Malcolm calls everybody off the boat. In the Making This cue went completely unused in the film which favours again silence over music. The music would have started immediately in the aftermath of the ship’s crash, as the survivors survey the devastation. 28. Monster On the Loose (12m5) 2:38 (LLL set D 4 Track 9) Orchestrator: John Neufeld Length (sheet music): 50 bars And thus the button is pushed setting the Rex on the loose! The ponderous monstrously deep brass blasts from the previous cue return with even more commanding weight as the T-Rex emerges from the cargo hold, crying havoc, the rhythmic gait of the music underscoring its heavy steps as it disembarks the ship and heads for land. Strings spiral into a tight knot and a percussion and timpani rumble alongside the grave brass heralding a dire reading of the Island Fanfare as Malcolm announces to the trembling CEO of InGen that now Ludlow is like John Hammond, his dream in pieces and a monster set free in the city of San Diego, the theme here another bittersweet reminder of the noble pipe dream gone awry for the second time. The T-Rex crashes past the harbour buildings to the heavy plodding of the orchestral forces, high strings presenting their own fateful rhythmic motif over the cymbal crashes, double bass and timpani, Tyrannosaurus Footfalls, the phrase ending with pounding timpani notes as we see the creature against the silhouette of the city growling its fury. The percussion section offers some suspense accompanied by writing for strings and synthesizers, Malcolm and Sarah inquiring from the InGen technician what was used to tranquilize the beast and demanding from Ludlow where the T-Rex baby was taken, Sarah planning to use the infant to lure the monster back to the ship. The Island’s Voice on ghostly synth voices and strings makes an eerie another appearance, Ludlow sitting despondent and still in shock, telling them the baby is at the InGen waterfront facility, muted sharp horns and clarinets underscoring the duo’s decision to go and get it as they speed off in Malcolm's car. In the Making In the film a portion of this composition was replaced by music tracked from the following cue (A Neighborhood Visitor) when we see the T-Rex against the city lights. 29. A Neighborhood Visitor (13m1) 3:26 (LLL set D 4 Track 10 0:00-3:26, OST track 13 Visitor In San Diego 0:00-3:24; Unused in the film 0:00-22) Orchestrator: John Neufeld Length (sheet music): 72 bars In the middle of the night the T-Rex wanders around a San Diego suburb, seeing a pool in the backyard of a house and stopping for a drink. Deep taiko drums, bass trombones, contrabass clarinets, bassoons, celli and double basses shudder under the steps of the monster, catching its movements, horns growling a throaty and pinched variation of the Island’s Voice motif. The camera moves inside the house and into the bedroom of a small boy. The fish tank beside his bed vibrates to unseen footfalls, the tremors captured by the harp, metallic rub rod,skittery sul ponticello strings, woodwinds and percussion and synthesizers, the Island’s Voice subtly quoted by bass clarinets as the boy wakes up. He sees the T-Rex and backs away, goes to his parents’ room and drags the sleepy and complaining pair to his room babbling all the time about a dinosaur in their backyard, the expectant nervous orchestral effects coalescing, clarinet and flute presenting twice a jumpy variation on the Island’s Voice in a bed of bubbling woodwinds and percussion. At 1:35 very quietly at first a familiar rhythm of Tyrannosaurus Footfalls takes hold of the score, growing slowly in menace under rising string reading of the Island’s Voice, finally reaching a dramatic peak as the parents see the hulking beast through the window with a dog coop hanging by the chain from its jaws, ferocious horns repeating the 4-note Tyrannosaurus Footfalls rhythm and adding a 5th note here imitating the T-Rex’s roar. At 2:09 the Tyrannosaurus Footfalls and its accompanying rhythmic string motif continue as we cut to Malcolm and Sarah speeding towards the InGen facilities, the cymbal crashes coinciding with the moment before the car crashes through a guardpost safety beam. The heroic and urgent Island Fanfare calls out over the string motif as the two arrive at the Jurassic Park facilities and the discovery of the caged baby T-Rex is treated to a brief ethereal passage for flute and synthesized zither, perhaps a textural nod to the earlier music for the infant dinosaurs heard in the film. As our heroes take the infant and get into the car, the forceful string motif from earlier returns and with this determined musical ally the pair prepares to go searching for the adult Tyrannosaurus. In the Making The heavy percussive opening (0:00-0:22) was ultimately not used in the film and T-Rex steps into the backyard in silence, the sound effects again carrying the suspense without musical help. 30. Streets Of San Diego (13m2) 4:14 (LLL set D 4 Track 10 3:27-end, OST track 13 Visitor In San Diego 3:24-end; Unused in the film 0:00-0:41) Orchestrator: Conrad Pope Length (sheet music): 105 bars Meanwhile on the streets the panic is rising. A quick cut to a screaming woman’s face opens the cue as rapid fire trumpets and yelping piccolo runs launch her car away from the T-Rex only to crash into the side of another vehicle. Sharp snapping of piccolo snare drum, percussion, resounding cymbal hits and brass describe the on-screen mayhem with raucous fury, low thumping piano and the strings joining the fray. People flee in panic. The Island’s Voice makes a doom laden announcement in the brass further enhanced by the cymbal crashes at around 0:50. The raging orchestral forces push the action forward, Malcolm and Sarah spotting the monster, Sarah waking the baby and its voice luring the adult T-Rex after them and the beast giving furious chase all captured with brilliant aggressive and blazing music for orchestra, brass and percussion highlighted throughout the cue. Again the rhythm seems to be the key here, the ever driving momentum hurtling the action forward with unstoppable speed. At 2:32 a new action rhythm appears, underpinned by deep blasts from trombones and tuba, the trumpets wild and fervent, horns howling the Island’s Voice, the music underscoring Malcolm and Sarah dashing through the streets and into the harbor, abandoning the car and cutting through the warehouses on foot with the T-Rex in hot pursuit, reaching the ship and dropping off the Tyrannosaurus baby and with the final flourish of the Island’s Voice from the orchestra the pair jumps over the ship's railing into the water, leaving baffled Ludlow to take measure of the situation. In the Making The opening 42 seconds music were not used in the film for the initial shots of the Tyrannosaur attack starting from the transition to the screaming woman backing away from the dinosaur up until the shot where the mauled bus crashes into the video rental store. Interestingly a brief snippet of High Bar and Ceiling Tiles (deep Island's Voice exclamation) makes an appearance for the shot of fleeing Japanese businessmen before the actual cue returns as the script writer David Koepp makes his cameo as the unfortunate pedestrian who gets eaten by the Tyrannosaurus. 31. Ludlow’s End (13m3-14m1) 2:52 (LLL set D 4 Track 11, OST track 12 Ludlow's Demise 1:35-end) Orchestrator: John Neufeld & Conrad Pope Length (sheet music): 74 bars A string motif similar to the one heard under Tyrannosaurus Footfalls (and in snippets in the previous cue) returns in much accelerated guise with full orchestra backing as Ludlow looks down into the cargo hold with a helicopter and a sniper emergimg from the background ready to kill the adult dinosaur. In a shimmer of harp the motif dies down and atmospheric sul ponticello strings and the nervous percussion passages underscore Ludlow descending to the cargohold to find the baby T-Rex, synthesized animal howl further enhancing the edgy moment for the InGen CEO. But soon the adult T-Rex emerges behind the cargohold doors and comes down to find its infant and the previous string action ostinato motif returns with vengeance punctuated by agitated woodwinds, fateful brass rising to an exclamation point of Ludlow’s demise, orchestral hits scoring the baby T-Rex descending on the wounded man and finishing him off. Outside Sarah and Malcolm are determined to safe the dinosaurs, Sarah loading a tranquilizer gun, the string action motif, breathlessly fast brass figures and cymbals raising the tension while in the helicopter the sniper is ready to take the T-Rex down per Ludlow’s orders. Finally the piece reaches its dramatic conclusion with the tortured string and brass lines over percussion pulse rising to a climax, a heavy orchestral thump announcing Sarah’s tranquilizer dart finding its mark. In the Making In the film only the first 15 seconds of the cue are used but the suspenseful underscore is dropped and the T-Rex capturing and crippling Ludlow and feeding the man to his infant and Sarah tranquilizing the creature were tracked with the Lost World theme concert version (and End Credits intro). Williams originally scored the scene much as a continuation of the previous action cues, the string motif heavy and unrelenting, enhancing the ferocity and merciless way the dinosaurs dispatch Ludlow. The film makers’ intention was obviously to highlight justice being done, the bad guy of the movie getting his rightful reward for his actions, with the dinosaurs representing the nemesis and the music celebrating the happy ending for these animals. This could be seen as a continuation of a tradition started in Jurassic Park of showing the T-Rex in a heroic light as it's appearance was re-scored with tracked music (The Island Fanfare) also in the first film to give the finale an optimistic feel. But in some way the original cue fitted the action much better even though it deprived the scene of a victorious sense of closure, which Williams reserved for the next cue. 32. The Saving Dart (14m2) 3:01 (LLL set D 4 Track 12, Film Edit LLL D 4 Track 15, OST track 14 Finale and Jurassic Park Theme 0:00-2:23) Orchestrator: Conrad Pope Length (sheet music): 57 bars Fluttering woodwinds, synthesized celesta/piano and tremoloing strings announce the Tyrannosaurus falling unconscious and into the safety of the cargo hold. Led by the horn section the orchestra rises to a noble but tragic exclamation of victory and the end for the adventure as Malcolm, weary and breathless surveys the scene in front of him, offering Sarah a grateful and relieved look. We cut to a hotel room and see the trio on a couch with a CNN news report showing on the television, Sarah and Malcolm sleeping, Kelly alone watching the transportation of the dinosaurs back to the island. With harp accompaniment flutes, horns and strings present a luminous slow and fragmented major mode variation on the Lost World theme, here warm and comforting, the news showing the cargo ship at sea escorted by the military back to Isla Sorna. When John Hammond offers his own view on the matter in the TV interview, piano enters alone, playing the Dinosaurs theme (or the Main theme) from Jurassic Park offering its gentle blessing to the endeavor and to Hammond’s dream continuing in another form. The film then cuts to Isla Sorna and shows the dinosaurs living in their natural habitat while a wistful and slightly pensive coda using subtle interpolation of the Island's Voice motif on synthetic chorus with gentle harp arpeggio accompaniment trails into silence as a Pteranodon lands on a branch of a nearby tree, letting out a victorious cry. Life has indeed found a way. In the Making In the film the short 38 second ending of the cue was replaced by the Island Fanfare tracked from the concert suite material recorded for the film, ending the movie on a more positive and triumphant note. This editorial version was also included on the LLL set (Disc 4 track 15) while on the original soundtrack album the suite from Jurassic Park followed immediately after the piano rendition of the Dinosaurs theme. Williams original more subdued and pensive ending can be heard on the LLL set for the first time. 33. End Credit Intro (unnumbered) 0:14 Orchestrator: ? Length (sheet music): 11 bars For the End Credits Williams wrote a revised opening for the new theme of the film featuring a bit deeper brass, horns and trombones in particular, and percussion than the original version. This is edited to flow to 34. The Lost World (End Credits) 3:34 (LLL set D 3 Track 1, D 4 Track 14 (with End Credit Intro), OST track 1 The Lost World) Orchestrator: John Neufeld & Conrad Pope Length (sheet music): 134 bars The concert version of the main theme. As with many Williams’ concert suites this seems to almost tell the story of the film. Here the thematic material receives its most adventurous, celebratory and lengthiest development closing the score in the most triumphantly thrilling and satisfying way. 35. Jurassic Park Theme 5:30 (unnumbered) (LLL set D 4 Track 13, OST track 14 Finale and Jurassic Park Theme 2:23-end) To accommodate the length of the end credits Williams re-recorded his concert arrangement of his two main themes from Jurassic Park, which he created after the release of the first film and recorded for one of his Boston Pops compilation albums, Williams on Williams: The Classic Spielberg Scores. In the suite he first presents the Dinosaurs Theme/Theme from Jurassic Park, which starts much as it does on the original soundtrack album, on solo horn, but the performance is markedly faster and there is no choral accompaniment. The composition fuses together thematic development from the Welcome to Jurassic Park and the cue Dinosaurs from Jurassic Park and goes fluidly to the Island Fanfare that has also gotten embellishments in the orchestration, making it a bit more powerful performance percussion-wise than on the Jurassic Park OST and closing with the triumphant music from the end of T-Rex Rescue and Finale. In the Making In the film the Island Fanfare portion of this suite opens the end credits which is then edited to continue with the Lost World theme concert arrangement which in turn is editorially combined with theme's variations from the cue To the Island . The Theme from Jurassic Park section of the suite goes completely unused in the film and the end credits and can only be heard on the album releases of the score. -Mikko Ojala- © Special thanks to Datameister, Jason LeBlanc and Goodmusician for complete cue lists, musical analysis, mock-ups and all the rest. Notes [1]The Lost World DVD documentary: The Making of the Lost World. © 1997 Universal Studios & Amblin Entertainment Inc. © 2001. All Rights Reserved. [2]Wikipedia article: The Lost World Jurassic Park (film score) written by Datameister. [3]Wikipedia article: The Lost World Jurassic Park (film score) written by Datameister. [4]The Lost World DVD documentary: The Making of the Lost World. © 1997 Universal Studios & Amblin Entertainment Inc. © 2001. All Rights Reserved.
  18. Hello! If you've heard the Last Jedi OST album and would like to discuss the music on it, this the place! The original thread can still be used to talk about receiving your physical copy, differences between various editions, where to buy or stream it online, etc, but here, it's all about the music. Starting the thread now because I found this on youtube, and I haven't checked yet to see if its real or fake.
  19. Some REAL updates from Don Williams (JW’s brother and his usual timpanist) grabbed during a meeting at theAcademy of Scoring Arts lecture: Looks like the sessions began a couple of weeks ago and will continue through August and September, with a couple of weeks break because of JW’s commitments at Tanglewood. Don talks about 135 minutes of music (gasp!)
  20. I liked this photo (taken by LSO percussionist and JWO regular David Jackson) of my two favourite musical JWs meeting backstage at the John Wilson Orchestra's recent concert at Royce Hall in Los Angeles. I knew that John Wilson was a big fan of John Williams and it seems as though the admiration is mutual. Larry King photo bombs too, which is nice. Any chance that the John Wilson Orchestra will do an all-Williams concert at the BBC Proms next time? I saw them again at the Royal Festival Hall this week and they were brilliant as ever.
  21. https://www.facebook.com/lalalandrecords/photos/a.181243738754.155532.56031953754/10153426542838755 ~ https://www.facebook.com/lalalandrecords/photos/a.181243738754.155532.56031953754/10153426599788755 It cannot be purchased until 12:00PST on Tuesday, June 16th at www.lalalandrecords.com and other fine soundtrack retailers (Intrada, Music Box, Screen Archives, Movie Music)
  22. If MM gets to produce remastered and expanded soundtrack albums of all Indy films, what would he have to improve on the earlier releases in order to end up with the definitive presentations?
  23. Hello, Some time ago I made that score reductions and analysis of Yoda's Theme and The Throne Room like other scores are analyzed on FilmScoreAnalysis channel. I think that's very interesting to look and analyze some masterworks by John Williams and other composers. I'm also working on analysis of Across The Stars and I will upload it at the end of the month. If you have any ideas what to do to make my analysis better, please, tell me. 🙂 Edit: Here's Across The Stars analysis Edit 2: Here's Anakin's Theme: Edit 3: Han Solo And The Princess https://youtu.be/8lbR7n1DcKE Edit 4: The Emperor's Arrival https://youtu.be/HJXs0HP35p8 Edit 5: Leia Breaks The News Ps. And if you have any ideas what score should I analyze next also please, tell me.
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