John Williams' theme to The Lost World

[Quintus 5,399]

It's been a long time since I've heard this, but having just listened to Erich Kunzel's wonderful, if a little ott take on it (would we expect anything less), I was suddenly struck by how cool this theme really is. Immediately after I dug out the the Williams original and gave it a spin. People tend to overlook it in favour of Jurassic Park's far more sweeping and romantic themes, but I actually think TLW is just as adventurous as those iconic pieces, and more. There's a real Rudyard Kipling swashbuckling jungle expedition feel to it, even a Heart of Darkness foreboding - the exotic, tribal orchestration evokes black and white imagery of the old Tarzan adventures, of a caravan of travellers cutting their way through the dense jungle thicket, unknown predatory beasts stalking them as they go - it's dark and dangerous, wild; yet steady and driven - Williams was really onto something with this music. And I think he had fun with it too; the winds and the reeds are very reminiscent of his old sixties tv stuff like Land of the Giants - wrapping like vines around the deep, brooding strings, but right at the end listen as the brass joins the slalom and punctuates the final statement of the melody with a heroic finish so deeply embedded in the style of the quintessential Williams we love him for. It's marvellous.

This cue is seriously under-appreciated! Now, onto the rest of the score...

[Incanus 5,713]

I agree. Williams was onto something really groovy and unique with this theme. It is really a wonderful adventure theme that captures a lot of the elements of the story while being highly coherent in the concert version. It is a shame it was relatively little used in the score proper though. I would have loved to hear new exciting variations of it but the film does not exactly allow the heroism of the theme to burst out but a scant few times.

As I wrote in my analysis of the score:

The Lost World

The new primary musical idea of the Lost World is the theme that carries 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, exotic location and adventure with a hint of danger to it. The theme 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 composed a concert version 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 events in its bridge melody but finally overcoming the obstacles and returning to the main theme, bursting victoriously to a rapturous and rhythmic finale augmented by the whole percussion section, 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 such places as an island full of dinosaurs and contains the right amount of exoticism. Noteworthy is that despite being the main theme of the score, this musical idea is used sparingly in the context of the film where its grander readings are reserved for exploration and most adventurous moments and slower somber variations for more meaningful scenes.

[Gruesome Son of a Bitch 6,488]

I think the coolest appearance of that theme is in Malcolm's Journey when they approach the island. Kick-ass drums, strings and woodwinds at the beginning musically nailing this vibe of adventure and the mysteries in this primordial lost world. Williams' music applies perfectly to the material. Not that the film doesn't deliver the goods when it comes to the dinosaurs, but I really love all the anticipatory scenes in between each encounter and attack. The trekking and the scenes of suspense in the forest. Williams' score is wondrous, with musical treasures to satiate desires both subtle and gross.

[Incanus 5,713]

I think the coolest appearance of that theme is in Malcolm's Journey when they approach the island. Williams' music applies perfectly to the material. Kick-ass drums, strings and woodwinds musically nailing the vibe of adventure and the mysteries of this primordial lost world. Not that the film doesn't deliver the goods when it comes to the dinosaurs, but I really love all the anticipatory scenes in between each encounter and attack. The trekking and the scenes of suspense in the forest. Williams' score is wondrous, with musical treasures to satiate desires both subtle and gross.

It is also surprising how much darker and moodier the score is than its predecessor. It is interesting how the film makers tracked the Lost World theme into a number of scenes (those trek scenes included) where Williams' original take on the film was considerably darker and grittier. Most likely the reason is that it must have been too late in the post production to let him rescore them when they found that they needed to have more heroic or optimistic mood for these scenes. And quite interestingly Spielberg claims to love TLW score over JP.

[Faleel 5,340]

I love the tracked bit for when Malcom and the others escape to the helicopter.

[Gruesome Son of a Bitch 6,488]

Well, one instance where the tracking was good is that part where they're trekking through a clearing and hear a dinosaur off-screen. All the guys turn with their guns. Supremely cool moment. I believe it was Malcolm's Journey there.

TLW wasn't actually discussed by JW on the JP Blu-rays. He never seems to be specifically interviewed regarding it, which is extremely disappointing.

[#SnowyVernalSpringsEternal 10,265]

It's a very cool theme. Very primal and wild sounding, yet with some sense of adventure. It lacks the "hummability" of the Jurassic Park themes, but it's very suitable for this "Dino's gone wild story".

It is still strange that Williams did not take this theme further beyond Malcolm's Journey. Maybe to him it represented the anticipation of adventure rather then the actual event (Spielberg plastering it all over the film ruined that concept though).

Williams core is brilliant, and it was really the first thoroughly "modern" Williams score for a blockbuster.

It was confusing in 1997 though. The big themes from Jurassic Park were all but gone. The big new theme was abandoned after a few tracks, and the action music placed rhythm over thematic content.

Of course, looking back, there were precursors to this style in his previous scores. But to hear this in a Spielberg film, a sequel to a score with such profound themes....It was weird.

It took me a few listens to really get into it...and then I got it?

[Quintus 5,399]

It was confusing in 1997 though. The big themes from Jurassic Park were all but gone. The big new theme was abandoned after a few tracks, and the action music placed rhythm over thematic content.

... to hear this in a Spielberg film, a sequel to a score with such profound themes....It was weird.

Fuck me Steef old friend you just nailed my initial feelings toward the score right there. It was downright jarring, at the time. A new era in their partnership was indeed well under way.

That's not to say I didn't like the music back then *cough, raptor jazz, cough*?

Fantastic.

[#SnowyVernalSpringsEternal 10,265]

I assumed it would be like previous JW sequel scores and the previous themes would appear often. I remember my first listen, constantly on the look (hear) out for those themes.

Then suddenly I would hear a snippet of Journey To The Island, veer up....and it was gone again.

[Quintus 5,399]

It is still strange that Williams did not take this theme further beyond Malcolm's Journey. Maybe to him it represented the anticipation of adventure rather then the actual event (Spielberg plastering it all over the film ruined that concept though).

That's a very plausible theory. I'm leaning towards it heavily.

@Mikko

I read your post and found it to be eloquently written, as per. We basically say the same things, but as usual, your delivery of details is both exhaustive and indispensable. By all accounts, a pleasure to read.

[Faleel 5,340]

Visitor in San Diego was always a highlight from my firstg listen.

[Gruesome Son of a Bitch 6,488]

I was of the generation that experienced Jurassic Park as kids. Let me tell you, it was the shit. So when Lost World came out, we planted our asses right in the seats like a group of paleontologists boarding totally top of the line, non-polluting spared no expense Ford Explorers running on a track in the middle of the roadway into Jurassic Park. The movie and the score were different...but in an awesome way? I feel like all the guys with guns and badass technology, the murders by dinos and the general brooding nature of the flick made it feel a lot cooler than the first to me. Of course, the movie doesn't take itself that seriously. Even Williams with his deliciously sinister woodwinds for the compys got it.

Lost World is actually my favorite of the two JP movies. As for the scores, I may prefer a lot of Jurassic's stuff, but they both certainly deliver the goods in their own ways.

[KittBash 282]

I've often wondered why this score doesn't get the love it deserves! I actually had this one before I ever got the first one and I must say I still love it more then the first. Don't get me wrong I have a special place in my heart for all of Willams' scores but this one will always beat the original for me.

[#SnowyVernalSpringsEternal 10,265]

Well, it was an almost complete 100% departure, not only from the first Jurassic Park score, but from the general style of the Spielberg/Williams collaboration. (a few scores like Empire Of The Sun and Always had already strayed a bit from the path, but this was the first full-blooded Spielberg action blockbuster that did not have rich, abundant themes.

[Quintus 5,399]

I was of the generation that experienced Jurassic Park as kids. Let me tell you, it was the shit. So when Lost World came out, we planted our asses right in the seats like a group of paleontologists boarding totally top of the line, non-polluting spared no expense Ford Explorers running on a track in the middle of the roadway into Jurassic Park. The movie and the score were different...but in an awesome way? I feel like all the guys with guns and badass technology, the murders by dinos and the general brooding nature of the flick made it feel a lot cooler than the first to me. Of course, the movie doesn't take itself that seriously. Even Williams with his deliciously sinister woodwinds for the compys got it.

Lost World is actually my favorite of the two JP movies. As for the scores, I may prefer a lot of Jurassic's stuff, but they both certainly deliver the goods in their own ways.

I'm not going to lie - I was about 19 at the time and I too thought TLW was the better movie. I went with a girlfriend and some mates and it was a riot. We all left the theatre laughing and joking about how fun it was, exhilarated we were.

Whilst I've since changed my mind about that, I still enjoy the movie a lot and I do rate it higher than most, it seems. It's a fun adventure well made - far superior to the contrived likes of Transformers and Clash of the Titans.

Spielberg on autopilot is still a cut above, nine times out of ten.

[#SnowyVernalSpringsEternal 10,265]

As a film is is less then the sum of it's parts, but those parts are very good. Like you said. Spielberg does know how to build action and suspense.

[Incanus 5,713]

The Lost World was my first soundtrack CD (along with Schindler's List) so I have had a long relationship with this score. At first I was, since I loved the first Jurassic Park score to pieces, a bit disappointed how little those themes I knew and loved and that had made me a film score fan in the first place were played on the album. But on the other hand this new music from Williams was fascinating and adventurous on its own. On the whole I liked the score from the start despite a lack strong connection to the first one. And over the years my appreciation for the score has only grown as my tastes have matured. Also I can't deny some of the nostalgia of youth has become attached to it.

[Josh500 1,615]

It may be underrated on this board, but for me, it's definitely not!

I still listen very often to three tracks from the OS album! "Rescuing Sarah," "The Hunt," and "The Lost World" (first track). These are such cool, atmospheric, adventurous pieces, there's nothing like turning the volume all the way up and driving through the countryside . . . or through the city, for that matter. Definitely some of the best writing JW did for percussions.

[Incanus 5,713]

Definitely some of the best writing JW did for percussions.

It is without a doubt most extensive writing for percussion he has ever done. It is such a central element of the whole score.

[Josh500 1,615]

I've said this several times here already, but according to the Japanese liner notes to TLW, the percussionists apparently had the hardest time, simply because some of the pieces are so complex. So JW made them do it over and over again, until they finally got it right. I seem to remember reading that it took several days to record some of the more complex pieces, when usually it will take only half a day or so, or even less...

The pieces were not specified, but I am thinking these must have been "Rescuing" and "The Hunt" (among others).

[pete 906]

I saw Williams perform the concert version of the theme (with a snazier intro and ending) in London in '98 and it was one of the highlights of the night. It sounded louder and more powerful than I could have ever imagined and all the while I kept expecting a T-Rex to come crashing through the walls.

Just found the scanned program on my hard drive:

[Omen II 1,235]

I saw Williams perform the concert version of the theme (with a snazier intro and ending) in London in '98 and it was one of the highlights of the night.

Yes! I was there too Pete and it was an amazing concert all round, wasn't it? It's a shame that those concerts were not filmed for posterity, to the best of my knowledge. Williams was on top form and I distinctly remember how energetically he conducted the LSO in The Lost World, at some points crouching on the podium like a velociraptor. I've seen the piece performed since by the CBSO and it's a real crowd pleaser, as well as a real workout for the percussionists.

[Score_Fan 36]

I think TLW is a fantastic score, but I'm in 100% agreement of the dropped theme arguement.

I think the first (both movie, score, and book) are superior, but I don't dislike it. I dont even dislike JP3, but I find it such a shame that "the hunt" went unused. I would have loved to see that in the movie.

[Brónach 1,301]

I totally love what I've heard of this score (only the OST). The mood of it, the adventure feeling. I wonder what else is there.

[stewdog1 50]

One of my favorite scores too and some of the past action music JW has ever written.

Funny how the the Lost World theme is very similar to Goldsmith's Capricorn One main theme. One of the very few times where Williams and Goldsmith wrote something similar. Actually there is a lot of Goldsmithian influence in the Lost World score.

[indy4 155]

It's an interesting theme, in that rather than using its melody to derive minor motifs, Williams focuses more on its rhythm. The motif used in "The Hunt" seems to be based on a rhythm from the main theme. Probably because if you get rid of the chords behind each individual note and just play the isolated melody, you get a minor scale.

[#SnowyVernalSpringsEternal 10,265]

I see...

[mahler3 478]

Well, one instance where the tracking was good is that part where they're trekking through a clearing and hear a dinosaur off-screen. All the guys turn with their guns. Supremely cool moment. I believe it was Malcolm's Journey there.

TLW wasn't actually discussed by JW on the JP Blu-rays. He never seems to be specifically interviewed regarding it, which is extremely disappointing.

Are you sure? I remember the music with session footage being covered on the old DVD doc, which was copied across to the Blu-ray.

I saw Williams perform the concert version of the theme (with a snazier intro and ending) in London in '98 and it was one of the highlights of the night.

Yes! I was there too Pete and it was an amazing concert all round, wasn't it? It's a shame that those concerts were not filmed for posterity, to the best of my knowledge. Williams was on top form and I distinctly remember how energetically he conducted the LSO in The Lost World, at some points crouching on the podium like a velociraptor. I've seen the piece performed since by the CBSO and it's a real crowd pleaser, as well as a real workout for the percussionists.

Very happy memories! 2 nights back to back, sheer heaven! The Sleepers encore is still my most fondest memory of the first night.

[JoeinAR 1,949]

I was fortunate to see and hear it live at a John williams concert in Little Rock, it was for me the Highlight of the concert.

[Faleel 5,340]

I think TLW is a fantastic score, but I'm in 100% agreement of the dropped theme arguement.

I think the first (both movie, score, and book) are superior, but I don't dislike it. I dont even dislike JP3, but I find it such a shame that "the hunt" went unused. I would have loved to see that in the movie.

I would prefer a TLW expanded release to a JP1 expanded release, JP is pretty much complete already.

[crocodile 7,989]

The Lost World was my first soundtrack CD (along with Schindler's List) so I have had a long relationship with this score. At first I was, since I loved the first Jurassic Park score to pieces, a bit disappointed how little those themes I knew and loved and that had made me a film score fan in the first place were played on the album. But on the other hand this new music from Williams was fascinating and adventurous on its own. On the whole I liked the score from the start despite a lack strong connection to the first one. And over the years my appreciation for the score has only grown as my tastes have matured. Also I can't deny some of the nostalgia of youth has become attached to it.

If you don't count the Skywalker Symphony SW Trilogy, then TLW would be my first soundtrack by John Williams. I remember enjoying it, but was so surprised how little it resembled the first film's score (which I knew quite well from the film).

Karol

[Josh500 1,615]

I think TLW is a fantastic score, but I'm in 100% agreement of the dropped theme arguement.

I think the first (both movie, score, and book) are superior, but I don't dislike it. I dont even dislike JP3, but I find it such a shame that "the hunt" went unused. I would have loved to see that in the movie.

I would prefer a TLW expanded release to a JP1 expanded release, JP is pretty much complete already.

Agreed!

Maybe they will do TLW first, at that! Kinda like with HA.

[wanner251 17]

I just recently revisited the this score. Back when I first bought it, I was very disappointed by it. But of course in these instances it seems to always take me a great deal of time to appreciate the genius involved. Anyway, on further and more experienced listen, there is a great deal of fantastic material, albeit so much more subdued than its predecessor. Williams obviously wanted to go for a much more rhythmic score, and rightfully so. Very unfortunately though, the problems the score faces are inherently paralleled to the material it is trying to make sense of. The suffering of the score is definitely production-based. It definitely seems to me that we're not hearing all of JW's ideas that he may have proposed for the film. Also, there are points in the visual content that are just so ridiculous, that it would prove too fragmented a score to follow the emotions from serious to zany.

On a personal note: I really wish that when that girl did her silly gymnastics routine, that the velociraptor would have just jumped up and eaten her in mid-swing.

[Josh500 1,615]

I just recently revisited the this score. Back when I first bought it, I was very disappointed by it. But of course in these instances it seems to always take me a great deal of time to appreciate the genius involved. Anyway, on further and more experienced listen, there is a great deal of fantastic material, albeit so much more subdued than its predecessor. Williams obviously wanted to go for a much more rhythmic score, and rightfully so. Very unfortunately though, the problems the score faces are inherently paralleled to the material it is trying to make sense of. The suffering of the score is definitely production-based. It definitely seems to me that we're not hearing all of JW's ideas that he may have proposed for the film. Also, there are points in the visual content that are just so ridiculous, that it would prove too fragmented a score to follow the emotions from serious to zany.

Great opinion of yours!

And here's my opinion: TLW is one of John Williams's best "modern" scores. This score ushered in a new JW era, it seems. I wouldn't say that this is inferior to the original JP score... just different. And in a good way. "Edgier," as JW said. More rhythmic, more wild, more primitive. But the movie TLW was one of Spielberg's weaker efforts, no doubt about that!

[wanner251 17]

I just recently revisited the this score. Back when I first bought it, I was very disappointed by it. But of course in these instances it seems to always take me a great deal of time to appreciate the genius involved. Anyway, on further and more experienced listen, there is a great deal of fantastic material, albeit so much more subdued than its predecessor. Williams obviously wanted to go for a much more rhythmic score, and rightfully so. Very unfortunately though, the problems the score faces are inherently paralleled to the material it is trying to make sense of. The suffering of the score is definitely production-based. It definitely seems to me that we're not hearing all of JW's ideas that he may have proposed for the film. Also, there are points in the visual content that are just so ridiculous, that it would prove too fragmented a score to follow the emotions from serious to zany.

Great opinion of yours!

And here's my opinion: TLW is one of John Williams's best "modern" scores. This score ushered in a new JW era, it seems. I wouldn't say that this is inferior to the original JP score... just different. And in a good way. "Edgier," as JW said. More rhythmic, more wild, more primitive. But the movie TLW was one of Spielberg's weaker efforts, no doubt about that!

Exactly... It would seem to me that the only way to score a movie like The Lost World would be to take a more "modern" approach. For many composers that approach kind of serves as a generic way to cover anything without having to completely buy into every bit of action going on. To me that is the difference between the neo-romantic style scores and the more modern ones.

And as with so many things John Williams... this is one of the best modern scores out there. He did essentially re-set the bar without even trying...... again....

[JamieC 13]

I saw JW conduct the London Symphony Orchestra here in the UK at Birmingham Symphony Hall, in July 1997, and his rendition of The Lost World theme (a brand new piece at that time of course) outdid the cd performance as I recall.