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Jurassic Park cue list and complete score discussion

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Hello all! I know the cue list for Jurassic Park has been public knowledge for a while now, and it's not exactly the most complex, lengthy score ever in terms of assembling a complete soundtrack, but I've just put together a complete edit of my own and at Jason's suggestion, I thought I'd share a sort of editing guide or breakdown in case it helps anyone. (This guide assumes that you want to assemble the score as it was intended to be heard in the film, which may not be everyone's intention.)

CUE LIST

Reel 1 Pt. A Opening Titles

Reel 1 Pt. 1 Incident at Isla Nublar

Reel 1 Pt. 2 The Encased Mosquito

Reel 2 Pt. 1 The Entrance of Mr. Hammond

Reel 2 Pt. 3/Reel 3 Pt. 1 To the Island

Reel 3 Pt. 2 The Dinosaurs

Reel 3 Pt. 2A The Entrance of the Park

Reel 3 Pt. 3 Cartoon Demonstration

Reel 4 Pt. 1 Hatching Baby Raptor

Reel 4 Pt. 2 You Bred Raptors

Reel 5 Pt. 1 The History Lesson

Reel 5 Pt. 2 Jurassic Park Gate

Reel 5 Pt. 3 Goat Bait

Reel 6 Pt. 2 An Ailing Monster

Reel 6 Pt. 3 The Coming Storm

Reel 7 Pt. 1 Dennis Steals the Embryos

Reel 8 Pt. 1 The Trouble With Dennis

Reel 9 Pt. 1 The Falling Car

Reel 9 Pt. 2 The T-Rex Chase

Reel 9/10 Pt. 3A A Tree for My Bed

Reel 10 Pt. 1 Remembering Petticoat Lane

Reel 10 Pt. 2 My Friend, the Brachiosaurus

Reel 10 Pt. 3 Eggs in the Forest

Reel 11 Pt. 1 [untitled]

Reel 11 Pt. 2 Preparing to Meet the Monster

Reel 11 Pt. 3/Reel 12 Pt. 1 High Wire Stunts

Reel 12 Pt. 2 Hungry Raptor

Reel 12 Pt. 3/Reel 13 Pt. 1 Into the Kitchen

Reel 13 Pt. 2 March Past the Kitchen Utensils

Reel 13 Pt. 3/Reel 14 Pt. 1 T-Rex to the Rescue

E.C. - Reel 14 Pt. 2 End Credits

3M2 Record Intro and Wompi Ending

EDITING BREAKDOWN

Reel 1 Pt. A Opening Titles: OST track 1 (complete).

Reel 1 Pt. 1 Incident at Isla Nublar: OST track 3 [0:00-2:12], cross-fade to DVD rip for last note.

Reel 1 Pt. 2 The Encased Mosquito: Unreleased, but complete in DVD rip.

Reel 2 Pt. 1 The Entrance of Mr. Hammond: The first 48 seconds are heard unedited in the film, but the final uneasy swell of chords wasn't used in the film. This passage can be heard as background music in the documentary on the DVD at two different points: 10:59-11:09 and 24:58-25:11. Unfortunately, both are covered with dialogue (although the first one is better), and it's not in 5.1 surround, but you can remove the dialogue by duplicating both channels, swapping the left and right channels in the duplicate, and inverting the waveform of the duplicate. When the duplicate is mixed with the original, the dialogue mostly disappears. This does make the music sound like it's in mono, though, so you may want to experiment with making one of the channels start just slightly before the other and perhaps adding some subtle reverb. I also recommend using a program like Paulstretch to fake the very end, since it's just one chord that slowly dies away, and there are sound effects that are hard to remove.

Reel 2 Pt. 3/Reel 3 Pt. 1 To the Island: OST track 4 [0:00-4:31]. The OST contains the correct segue to the next cue, The Dinosaurs.

Reel 3 Pt. 2 The Dinosaurs: OST track 4 [4:31-7:31]. The OST segues to the next cue a little early, whereas in the film, it seems to segue a little bit late. Because OST track 2 contains the same take of The Dinosaurs with a cleaner ending (see Record Intro and Wompi Ending below), you can try mixing in an inverted copy of that to partially isolate the beginning of the next cue, The Entrance of the Park. Then you can move the partially isolated version a little bit later and be creative with your cross-fading.

Reel 3 Pt. 2A The Entrance of the Park: OST track 4 [7:32-end].

Reel 3 Pt. 3 Cartoon Demonstration: Unreleased, but complete in DVD rip. The rear channels are much cleaner than the front channels, but they have a lot less definition, particularly for the xylophone and other instruments with sharp attacks to their sound. You can overlay bits of the front channels to bring out some of these moments. Also, the end of the cue fades out in the rear channels, so you'll need to use the front channels for that, and the last two beats are unfortunately impossible to hear beneath the sound effects.

Reel 4 Pt. 1 Hatching Baby Raptor: OST track 6 [0:00-1:57]. The ending is overlaid with the beginning of Eggs in the Forest on the OST, so you may want to stretch and/or fade out the last note, perhaps with some artificial reverb, in order to fake a clean ending.

Reel 4 Pt. 2 You Bred Raptors: Unreleased, but complete in DVD rip. You may want to do some stretching and fading to fake a clean ending for this one, too.

Reel 5 Pt. 1 The History Lesson: Unreleased, but complete in DVD rip. The rear channels are somewhat cleaner, but the synth celeste is virtually inaudible, and the other instruments are less bright and well-defined.

Reel 5 Pt. 2 Jurassic Park Gate: OST track 13 (complete).

Reel 5 Pt. 3 Goat Bait: OST track 14 [0:00-2:20].

Reel 6 Pt. 2 An Ailing Monster: OST track 8 [0:00-2:27]. The ending is overlaid with the beginning of the cue My Friend, the Brachiosaurus, so you'll want to fake a clean ending by stretching, looping, fading, reverb, and whatever else floats your boat.

Reel 6 Pt. 3 The Coming Storm: Unreleased, but complete in DVD rip.

Reel 7 Pt. 1 Dennis Steals the Embryos: OST track 9. This track actually flows into track 10 with no gap, and the last quiet synth bass note keeps going for a moment. You'll need to fake a clean ending here, too, but the cue is otherwise complete. GoodMusician tells me the orchestra channels are swapped in some parts of this cue, but I'll leave it up to him to describe exactly where the issues are, and I'll leave it up to you to decide whether they're worth fixing or not.

Reel 8 Pt. 1 The Trouble With Dennis: Unreleased, but complete in DVD rip.

Reel 9 Pt. 1 The Falling Car: OST track 3 [2:13-end]. Although there's no material missing from this cue on the OST, the first measure or so has the last note of the cue Incident at Isla Nublar overlaid onto it. Sadly, I can't figure out any way to get rid of this, since the beginning of the cue wasn't used in the film and thus isn't in the DVD rip. Suggestions welcome!

Reel 9 Pt. 2 The T-Rex Chase: Unreleased. The version in the film omits three passages: the beginning as recorded, a bit of action music toward the end, and the very last swell of dissonant strings. The beginning comprises the carnivores' theme in the horns and tuba with ominous burblings from the low woodwinds; the latter can be heard in the DVD rip, but with more silence between them. Then the last note of the theme is heard in the film (albeit shortened), and then the cue continues as written. Just before the chimes enter toward the end, about eight seconds of dwindling action music are missing, and then the last low note in the strings was supposed to lead to a dissonant chord in all the strings that grows louder and then dies away.

Reel 9/10 Pt. 3A A Tree for My Bed: OST track 10. As mentioned above, track 9 flows right into this track, which means that there's a very quiet bass note playing beneath the first few notes of this cue. I recommend running a high pass filter on these first few notes; that bass note seems to be mostly below 250 Hz or so, and the synth celeste is mostly above those frequencies, so you won't be hurting the sound too much. Other than that, the OST track is complete. (Also note that the cue number may be an error; it may have been intended to be Reel 9 Pt. 3/Reel 10 Pt. A. This list keeps the cue number as written, but you can feel free to change it if you like.)

Reel 10 Pt. 1 Remembering Petticoat Lane: OST track 12 (complete). Segue to next cue a few moments after the last note begins.

Reel 10 Pt. 2 My Friend, the Brachiosaurus: OST track 8 [2:27-end]. This cue is supposed to start with a horn solo, but that solo is overlaid with the last string chord of An Ailing Monster on the OST. You can try faking it by repitching and stretching and crossfading other horn notes from that solo and perhaps from the Record Intro to The Dinosaurs (see below).

Reel 10 Pt. 3 Eggs in the Forest: OST track 6 [1:57-end]. The first note is partially covered by the end of Hatching Baby Raptor, so you may want to stretch the clean part of that and fade in. Other than that, this cue is complete on the OST.

Reel 11 Pt. 1 [untitled]: Unreleased, but complete in DVD rip. This cue was apparently never given a title at all, which does happen occasionally; if you want to give it one, "System Ready" is probably the most sensible and common one, but you can also simply leave it as 11M1 or R11P1 or whatever if you're a stickler for original titles like I am.

Reel 11 Pt. 2 Preparing to Meet the Monster: OST track 14 [2:21-end]. This cue is very nearly complete on the OST, but the moment of silence from 5:08 to 5:10 or so in the track has been shortened by a few seconds. The film contains the correct amount of silence at that moment, so if you want to restore it to its correct length, you can use the DVD rip for reference. Then the last note of the cue should be immediately overlapped with the next cue, although this segue was not used in the final cut of the film due to the beginning of the next cue being dialed out.

Reel 11 Pt. 3/Reel 12 Pt. 1 High Wire Stunts: OST track 11. This one is also very nearly complete, but another silence has been shortened - specifically from 0:38 to 0:40. If you want to restore the correct timing here, the music should cut out right as Grant grabs the electric fence and start again as he turns around to smile at the kids. Furthermore, the very last note of the cue has been shortened slightly. The violins are playing quarter notes, but the last two beats have been shortened to one beat. Some creative stretching will fix that. The cutoff should then segue immediately to the next cue.

Reel 12 Pt. 2 Hungry Raptor: Unreleased and partially unused. The first 53 seconds can be heard clean and unedited as the end credits of the documentary on the DVD, with just enough material to overlap with the quieter music heard in the film. This part plays unedited until the material tracked from Into the Kitchen begins. This material replaces an unused and unreleased ending that basically reprises the material heard in the documentary, followed by a brief descent into quietly eerie music featuring a final statement of the carnivores' theme.

Reel 12 Pt. 3/Reel 13 Pt. 1 Into the Kitchen: OST track 5 (complete).

Reel 13 Pt. 2 March Past the Kitchen Utensils: OST track 15 [0:00-4:08]. Complete, but the segue to the next cue is probably slightly later than Williams intended. You may want to fix that.

Reel 13 Pt. 3/Reel 14 Pt. 1 T-Rex to the Rescue: OST track 15 [4:09-end]. Complete.

E.C. - Reel 14 Pt. 2 End Credits: OST track 7 (complete).

Reel 3 Pt. 2 Record Intro and Wompi Ending: OST track 2 [0:00-0:48 and 3:13-end, respectively]. Williams recorded this intro and ending so they could turn The Dinosaurs into a standalone concert suite. Everything on the OST track from 0:49 to 3:12 is just the same take of The Dinosaurs heard in track 4.

NOTE: OST track 16 is mostly useless in assembling a complete score because it's just the last part of the cue End Credits, as heard in track 7. However, it's worth noting that Williams apparently recorded this part of End Credits separately, because the OST track has a truly clean opening, rather than an editorial fade-in from the preceding crescendo. Whether you want to include this is up to you, but know that it is the same take heard in OST track 7.

Anyway, most of this will be old news to most of you, I'm sure, but hopefully it'll be helpful to at least one or two folks. :)

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Don't forget the source:

2M2 La Gaviotas (The Seagulls)

The Madacy Mariachi Band

The Best of Mexico - 20 Great Favorites

(NOTE: As both tracks appear on the same cd, the credits accidentally gave credit to "Que Milagros Chaparita" -- I believe that Goodmusician was the one who figured this out if I am not mistaken)

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"An Ailing Monster" hmmm

'Monster' makes it sound so demeaning. Here's to hoping a cue title change for a hopeful future expanded release.

Yeah, there's also "Preparing to Meet the Monster." Williams has a thing for that word...I seem to recall him using it in one of the Star Wars movies, too, not for a title, but for a written indication of a cue in one of the...cues. Gah. I hate how those two distinct concepts use the same word. Anyway, I think it might have been for the tauntauns in ESB. [EDIT: Meh, all I can find is references to the "snow monster", meaning the wampa, which isn't a very surprising use of the term. Whatever, haha.]

9/10M3A A Tree for My Bed

This more accurately written as 9M3/10MA.

Well, what's literally written on the sheet music is Reel 9/10 Pt. 3A. If it said Reel 9 Pt. 3/Reel 10 Pt. A, following the format of cues such as "To the Island" or "High Wire Stunts", I'd agree. Even Reel 9/10 Pt. 3/A would do. Or if the abbreviated version on the headers after the first page said (9/3-10/A), I'd chalk it up to a mistake. But those all say (9/10 Pt. 3A), which seems to agree with the first page: two different reel numbers, but one part number (albeit comprising a number and a letter). It's not a format I've seen before, and it's possible Williams or Neufeld just made a mistake at some point, but I kind of doubt it.

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He used "Monsters" in Attack Of the Clones - "Entrance Of The Monsters"

And I'm sorry, but A Tree For My Bed is definitely 9M3/10MA. It closes reel nine, continues into reel 10, and plays before 10M1.

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Ah, yeah, that's right about AOTC.

As for "A Tree for My Bed", your logic makes perfect sense, but I'm just reporting what's written on the sheet music. :) I suppose maybe I ought to reformat the list with the original Reel __ Pt. __ format rather than the _M_ format...

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I, too, prefer the more modern format, but this way, there's no room for debate. I'm literally just copying over exactly what's written on the sheet music...zero interpretation involved whatsoever. :D

At least it's not the M-_ _ format. I hate that one so much!

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It was simply a missing "/" on the paperwork, nothing more, nothing less.

It's clearly 9M3/10MA, the same as 2M3/3M1, 11M3/12M1, etc.

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I don't think it's such a clear-cut issue, Jay. Open up "To the Island", "High Wire Stunts", "Into the Kitchen", and "T-Rex to the Rescue." All four cues have the exact same format for the cue numbers. On the front pages, they say, respectively:

Reel 2 Pt. 3/Reel 3 Pt. 1

Reel 11 Pt. 3 - Reel 12 Pt. 1

Reel 12 Pt. 3/Reel 13 Pt. 1

Reel 13 Pt. 3/Reel 14 Pt. 1

Notice there's slight variation in whether they use a slash or a hyphen, but the format is still otherwise identical. The last one was even orchestrated by Alexander Courage, rather than John Neufeld, and the format is still the same. You can open other cues from other scores from the same era and find the same thing. Here's what "A Tree for My Bed" says:

Reel 9/10 Pt. 3A

It's not just missing a slash. The whole thing is different.

But it doesn't stop there. Here are the running heads for the rest of the pages for those four cues:

(2/3 -3/1)

(11/3 - 12/1)

(12/3 - 13/1)

13/3 - 14/1

Again, minor variation; Courage didn't use parentheses, but everything else is identical. Here's what "A Tree for My Bed" says:

(9/10 Pt. 3A)

Again, different. And mind you, these running heads are the same from page to page on all five cues. This isn't just one page that's different.

Like I said, your theory makes sense, Jay, but the only concrete information we have is a format that is consistently different throughout the sheet music for that cue. In my opinion, that leaves enough doubt for me to avoid making "corrections" without all the facts. :)

EDIT: GoodMusician, that's an interesting point. I hadn't really thought about that. I'll mention it in the OP - I mean, it's still all one cue, but Williams does sometimes record different parts of cues separately, and that seems to be what they did here. Thanks! :D

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Sorry, but I still completely disagree with you. The dude just forgot to write a slash. Sometimes they do label cues in this manner. See "Uncovering The Ark" and "Miracle of The Arc" from ROTLA

There's no such thing as a cue being for 2 reels at once with one cue number. it's clearly 9M3 followed by 10MA, I'm sorry.

See 1MA, which comes before 1M1, 3M2A which comes before 3M3, etc.

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If I may interject, I think some of the clues may be in the following Cues.

It does say on the sheet music "Reel 9/10 Pt. 3a"

My question then is, why the A?

The next cue is "Reel 10 Pt. 1"

The next cue then is called "Reel 10 Pt. 2"

This would seem to me to show that "A Tree for my Bed" is really:

"Reel 9 Pt 3, Reel 10 Pt A" or "9m3/10mA"

That's a LONG title... so perhaps for the sake of shortening it, he simply wrote "Reel 9 'to' 10, Part 3a"

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Sorry, but I still completely disagree with you. The dude just forgot to write a slash.

On every single page? :P

Sometimes they do label cues in this manner. See "Uncovering The Ark" and "Miracle of The Arc" from ROTLA

Which are labeled consistently with the rest of the score, and without a single missing slash on any pages...

There's no such thing as a cue being for 2 reels at once with one cue number.

Until POA, I would have thought that there was no such thing as cue numbers like 3M1+2 or 1MC, either. Until TLW, I would have thought that there was no such thing as pairs of cue numbers like 6M2/7M1Pt. I and 6M2/7M1 Pt. II. (They can't both be straddling the reel change...) Until Jaws, I would have thought there was no such thing as cue numbers like M-1105/1200 (which translates to 11M5/12M0, rather than 11M5/12M1). Heck, until TDK, I would have thought there was no such thing as cue numbers like 3m22 v6.00 t p7r! But there's quite a bit of variety between scores, and sometimes weird things happen.

it's clearly 9M3 followed by 10MA, I'm sorry. See 1MA, which comes before 1M1, 3M2A which comes before 3M3, etc.

Again, a perfectly logical theory. The A-before-1 convention is something that does pop up in Williams scores, including Jurassic Park. But the fact that we can even be having this conversation suggests that it's not an open-and-shut case. It's not that I think you're flat-out wrong...I'm just not comfortable changing something like this unless I feel absolutely 100% sure it was an error. Otherwise, I'd rather preserve the notation as written and let people draw their own conclusions about what it was supposed to be. Better to perpetuate what may be an error than to create what may be a new one...

Besides, you capitalize all the first letters in titles, so what do you know? ;) Hahahahaha...

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Tell me about it, I had to relabel your entire JP edit to capitalize the "The"s and "With"s and" In"s and "For"s and "To"s before putting it on my ipod! :P

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Poor dear...unable to escape your own grammatical compulsions, even though they blatantly violate established convention!

http://www.santarosa...ionMLAStyle.pdf

http://ia.juniata.ed...la-capitals.htm

http://owl.english.p...resource/592/1/

http://www.writersbl...ip/tipmar98.htm

http://grammar.ccc.c...ar/capitals.htm

Even specifically regarding song titles:

http://aitech.ac.jp/.../help/caps.html

http://musicbrainz.o...tandard_English

There's even a script that will correct incorrectly capitalized song titles:

http://dougscripts.c...hp?sp=titlecaps

;)

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Can we get Steef in here to say, "Idiot!" ;)

Nah, seriously, we've all got our preferences. Bottom line, feel free to change that cue number, and I'll edit the post to mention the fact that it may be an error.

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I had the pleasure of listening to Data's edit last weekend, and I just wanted to post my thoughts and comments.

While I do think that JW arranged an album experience that sounds great and satisfied me just fine until I got older and paid more attention to unreleased music and chronological order, etc... it is an improvement to listen to in complete, chronological, intended format. It was interesting following the themes and they flow through the score and think about when WIlliams chose to use each one. I actually think JP is one of JW's least leitmotif-ic of his major blockbuster type scores... with this score he seems to always use the theme that fits the emotion best rather than the most leitmotific sense. This is partially due to the fact that none of the themes are for a specific character, I suppose.

It was actually nice listening to something that I was intimately familiar with - both the score and the film - for a change (I've been listened to a LOT of new-to-me scores lately a lot of which I have no connection to the film with) because in doing so I noticed how well spotted the film is. I would listen to a cue and then the next cue would start and I would kind of go "oh wow, we just skipped over that scene, and that scene, and that scene"... but it was always because no music was written for those scenes of course, not because anything was missing. It's just a well-spotted film, one of the last ones where people involved realized that you don't need to have underscore for every.single.scene....

Anyway, some notes about specific cues:

Incident At Isla Nublar - In every fan edit I've ever heard, the final note is taken from the DVD since on the OST it segues to The Falling Car. Just wondering: Has anyone ever tried creating that final note in a mockup program instead of using the DVD rip? The sound effects always ruin for me an otherwise completely clean cue.

The Entrance Of Mr. Hammond - I don't get the extra music at the end that wasn't used in the film. Was it meant to underscore Dodson's car arriving to meet Nedry, or was there a brief scene deleted that would have gone here?

Cartoon Demonstration - Do people generally prefer placing this cue in sequence, or at the end as a bonus track? I have always done the ladder, though that could be due to the large amounts of hiss and sound effects that run throughout the whole track (though Data's is the best I've heard)

The T-Rex Chase - I've personally always overlapped this cue with the end of The Falling Car, like it does in the film. Otherwise the fade out at the end of said cue just seems excruciatingly long to me cause I know the T-Rex Chase should be starting. Anyway, I like the idea of including the danger motif in the beginning of the cue (which would have synced to the water ripple in the T-Rex footprint I believe), but I think the filmmakers were right to drop it - the scene played better with minimal underscore. Not sure about the music at the end that was dropped - would it have understand Grant and the kids listening to the roars in the distance, or some deleted scene?

Remembering Petticoat Lane / My Friend, The Brachiosaurus - I always loved the way Williams intended these two cues to segue together

Preparing To Meet The Monster / High Wire Stunts / Hungry Raptor - I think Joe is spot-on here about how these cues were supposed to all flow together! A fascinating 10 straight minutes of music that is sadly not presented intact on the OST or in the film itself. Preparing To Meet The Monster plays complete in the film as far as I know (maybe the very beginning is missing), but then in the film when it cuts to Grant and the kids approaching the electric fence, the clean ending of the cue plays instead of segueing to High Wire Stunts as intended... and I think this was the right decision! As written, suspenseful music would have built up as Grant's hands approached the fence, paused while he pretended to be electrocuted, then returned to the same suspenseful mini-theme until the danger motif interrupts as the T-Rex roar is heard. Now in the final cut, the initial zoom out to reveal the fence and Grant's fake-out plays better with no music at all, and the music doesn't amp up the suspense until after they hear the T-Rex roar. Surprised it wasn't spotted that way.

Hungry Raptor has always been the red-headed stepchild of the JP score to me. Sure, it features the danger motif, its not some completely non-thematic excursion into the weird.... but it DOES sound just ... well, DIFFERENT from all the other action music in the score. I am not sure how to explain in what way, but it just doesn't "fit". And the bulk of it was rightly dropped form the film! As written, as soon as High Wire Stunts ends while Ellie is celebrating, the action would have IMMEDIATELY cranked up TENFOLD with the extreme ferociousness of Hungry Raptor, adding an unnecessary amount of extra adrenaline. Especially for the brief sequence where Ellie thinks she's been joined by Mr. Arnold, but it turns out to only be his arm - as written the action music doesn't slow down for that at all! In the final cut, the raptor's initial appearance is unscored, then tracked music cresendo's just before she discovers Mr. Arnold's arm, quieting down with Ellie as she thinks she's safe, before amping back up again for her run outside. But the tracked music fits the scenes much better than Williams' original music. It's a shame Spielberg didn't ask JW to rescore it (or perhaps there wasn't time), instead of them tracking in music from other cues. The timing also doesn't exactly fit the return to music used as intended, makes me wonder how the scene was edited when Williams scored it. Maybe the arm scene wasn't even there?

Then at the very end of the cue, as written the adrenaline-fueled danger motif from earlier in the cue would have appeared again as the raptor eats Muldoon. Again, it was the wrong emotion for the scene, and the tracked, more grimacing music fits the scene better, in my opinion.

I think that's about it. Truly a great score that deserves a complete release. It's a shame pretty much any bit of unreleased music on the DVD is covered in sound effects, there's so much music here I'd love to have clean.

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While I do think that JW arranged an album experience that sounds great and satisfied me just fine until I got older and paid more attention to unreleased music and chronological order, etc... it is an improvement to listen to in complete, chronological, intended format. It was interesting following the themes and they flow through the score and think about when WIlliams chose to use each one. I actually think JP is one of JW's least leitmotif-ic of his major blockbuster type scores... with this score he seems to always use the theme that fits the emotion best rather than the most leitmotific sense. This is partially due to the fact that none of the themes are for a specific character, I suppose.

Agreed, agreed, agreed. This is one score that is just plain better in complete, chronological form. It's not a chore or a labor of love to sit through it like that...it's just better all around. I mean, the two solo-celeste-heavy cues ("A Tree for My Bed" and "Remembering Petticoat Lane") do play back-to-back, and you do end up with the action music getting more concentrated in certain places...but overall, it just flows so much better as written for use in the film.

Incident At Isla Nublar - In every fan edit I've ever heard, the final note is taken from the DVD since on the OST it segues to The Falling Car. Just wondering: Has anyone ever tried creating that final note in a mockup program instead of using the DVD rip? The sound effects always ruin for me an otherwise completely clean cue.

I know what you mean. It really is just a simple sustained note, in octaves in the low brass. With the right samples, it shouldn't be hard.

The Entrance Of Mr. Hammond - I don't get the extra music at the end that wasn't used in the film. Was it meant to underscore Dodson's car arriving to meet Nedry, or was there a brief scene deleted that would have gone here?

I assume it was for Dodgson's arrival, yeah.

Cartoon Demonstration - Do people generally prefer placing this cue in sequence, or at the end as a bonus track? I have always done the ladder, though that could be due to the large amounts of hiss and sound effects that run throughout the whole track (though Data's is the best I've heard)

I like it just fine in the body of the edit (obviously :P). It is a source cue, more or less, but it's such a delightful little homage to classic cartoon scoring that I wouldn't want it anywhere else. The hissing is annoying, though. =/

The T-Rex Chase - I've personally always overlapped this cue with the end of The Falling Car, like it does in the film. Otherwise the fade out at the end of said cue just seems excruciatingly long to me cause I know the T-Rex Chase should be starting. Anyway, I like the idea of including the danger motif in the beginning of the cue (which would have synced to the water ripple in the T-Rex footprint I believe), but I think the filmmakers were right to drop it - the scene played better with minimal underscore. Not sure about the music at the end that was dropped - would it have understand Grant and the kids listening to the roars in the distance, or some deleted scene?

Based on the timing of the film, I'd say an overlap was not the original intention. For the final cut of the film, they eliminated the carnivores' theme from the beginning and just looped the low woodwind burblings, but with much longer silences between them. As a result, that whole opening to the cue is a lot longer in the film than as it was originally recorded. If you line up the original cue with the film, it starts after "The Falling Car" has already faded out. Of course, that doesn't mean we can't overlap them just for the sake of a better listening experience, but I personally like the clean opening for "The T-Rex Chase." Not sure about the missing music at the end, either.

Remembering Petticoat Lane / My Friend, The Brachiosaurus - I always loved the way Williams intended these two cues to segue together

Agreed! Could have worked very well on the album.

Preparing To Meet The Monster / High Wire Stunts / Hungry Raptor - I think Joe is spot-on here about how these cues were supposed to all flow together! A fascinating 10 straight minutes of music that is sadly not presented intact on the OST or in the film itself. Preparing To Meet The Monster plays complete in the film as far as I know (maybe the very beginning is missing), but then in the film when it cuts to Grant and the kids approaching the electric fence, the clean ending of the cue plays instead of segueing to High Wire Stunts as intended... and I think once again this was the right decision! As written, suspenseful music would have built up as Grant's hands approached the fence, paused while he pretended to be electrocuted, then returned to the same suspenseful mini-theme until the danger motif interrupts as the T-Rex roar is heard. Now in the final cut, Grant's fake-out about the electric fence still being on plays better with no music at all, and the music doesn't amp up the suspense until after they hear the T-Rex roar. Surprised it wasn't spotted that way.

Yeah, the film definitely plays better with the first part of "High Wire Stunts" omitted, even though it's fantastic music on its own.

Hungry Raptor has always been the red-headed stepchild of the JP score to me. Sure, it features the danger motif, its not some completely non-thematic excursion into the weird.... but it DOES sound just ... well, DIFFERENT from all the other action music in the score. I am not sure how to explain in what way, but it just doesn't "fit". And the bulk of it was rightly dropped form the film! As written, as soon as High Wire Stunts ends while Ellie is celebrating, the action would have IMMEDIATELY cranked up TENFOLD with the extreme ferociousness of Hungry Raptor, adding an unnecessary amount of extra adrenaline. Especially for the brief sequence where Ellie thinks she's been joined by Mr. Arnold, but it turns out to only be his arm - as written the action music doesn't slow down for that at all! In the final cut, the raptor's initial appearance is unscored, then tracked music cresendo's just before she discovers Mr. Arnold's arm, quieting down with Ellie as she thinks she's safe, before amping back up again for her run outside. But the tracked music fits the scenes much better than Williams' original music. It's a shame Spielberg didn't ask JW to rescore it (or perhaps there wasn't time), instead of them tracking in music from other cues. The timing also doesn't exactly fit the return to music used as intended, makes me wonder how the scene was edited when Williams scored it. Maybe the arm scene wasn't even there?

Then at the very end of the cue, as written the adrenaline-fueled danger motif from earlier in the cue would have appeared again as the raptor eats Muldoon. Again, it was the wrong emotion for the scene, and the tracked, more grimacing music fits the scene better, in my opinion.

Again, agreed. Weird cue, with the exception of the quiet part heard in the film.

For me, probably the biggest crime the OST commits is that it places "End Credits" (the cue, not the track) in the middle of the score, rather than at the end. The piano solo that swells with the addition of synth celeste and then the whole orchestra is just such a sublime end to the score, and it doesn't belong anywhere except the end.

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Agreed. That's such a perfect ending to the film and the musical ideas of the score, it shouldn't be heard twice when listening to the score; Only once, at the very end.

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I once did an edit with the unused music over the Dodgeson reveal. I thought it worked brilliantly... but the thing is the film needed an uplift...the whole of the opening was so dark that the first cue that was at all uplifting should go back into the realms of "scary" and foreboding was a bit overkill. It allowed the film to be uplifted...float for a minute or two, then go straight into the literal uplifting of "Journey to the Island."

As for the rest, I always listen to my scores as recorded...not necessarily as intended (no overlaps)

I also always figured that the "Hungry Raptor" music was out of place too... but they also shortened the sequence too and perhaps that had to do with it. William's scored an old cut, they placed the music in and really didn't feel it was right, and by this point they were already working on Schindler's List and just put in the sourced music... similarly to how the kitchen sequence had music from another part of the film (Preparing to Meet the Monster) despite the fact that Spielberg couldn't speak any higher praise about the cue on the album cover. I'm assuming it was too damned scary and it frakkin is! That scene traumatized me as a kid and if it were scarier than it is now, I dunno if I could have stayed in the theater lol

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Incident At Isla Nublar - In every fan edit I've ever heard, the final note is taken from the DVD since on the OST it segues to The Falling Car. Just wondering: Has anyone ever tried creating that final note in a mockup program instead of using the DVD rip? The sound effects always ruin for me an otherwise completely clean cue.

This! Can anyone do a take on this, please?

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