REMIXED & RESTORED: Jurassic Park

[Muad'Dib 1,801]

Agreed, this has been the best. 

 

Good luck with TLW!

[Disco Stu 15,495]

5 hours ago, Mr. Breathmask said:

A quiet version of the main theme plays on the pianoas the survivors fly away, each lost in their own thoughts. 

 

The celeste doubling piano for the Hymn Theme is one of my favorite musical moments of the film.  So beautiful.

[Mr. Breathmask 555]

Yes, it's gorgeous. I mentioned the celeste in an earlier draft of that text. Now I can't remember why I took it out. 

[Jay 37,287]

6 hours ago, Mr. Breathmask said:

 

The La La Land set features two versions of the end credits track, but the only difference I could find was a teeny tiny microedit before the adventure theme starts halfway through the end credits in the album version. For this video, I have used the track listed as the film version.

 

The piano performance at the end of track is different between the two versions, isn't it?

[Mr. Breathmask 555]

If it is, my ears aren't trained enough to hear it. Which is very well possible.

 

I could create another video using track 7, just for the heck of it.

[Jay 37,287]

I also just wanted to say I haven't had a chance to watch your latest videos but I love what you are doing here and can't wait to sit down and watch them.

[Brundlefly 2,385]

7 hours ago, Jay said:

 

The piano performance at the end of track is different between the two versions, isn't it?

So I'm not the only one who thought that.

[Incanus 5,713]

Really excellent work on all of this Marc.

 

Looking forward to seeing you tackle the sequel!

[Mr. Breathmask 555]

Here's a little bonus track for you all:

 

 

25. Welcome to Jurassic Park (album version) *

14m2 End Credits

Pretty much the same as the previous track, except for a micro-edit halfway through the end credits and some alternate performances (although I personally don't hear it, I'm willing to take this board's word for it).

 

Enjoy!

[Mr. Breathmask 555]

The sequel thread is now up.

 

Enjoy!

[JohnnyD 1,220]

I finally took a look at your video of Remembering Petticoat Lane / My Friend, the Brachiosaurus. You made an error with Remembering Petticoat Lane. You let the entire cue play, but part of the cue is actually not used in the film. It was micro-edited. You should revisit the film, and then fix this.

[BloodBoal 7,538]

The thread is called REMIXED AND RESTORED.

 

The point of it is to restore music that was unused in the film.

[Incanus 5,713]

Quite.

[Disco Stu 15,495]

lol

[Jay 37,287]

LOL

[JohnnyD 1,220]

I know the thread! Take a look at the video. The segue into My Friend, Brachiosaurus is not right! The unused few seconds of Remembering Petticoat Lane should be a blank screen, and then the music should continue as heard in the film.

[Jay 37,287]

No, that's not right. He wrote the ending knowing it would be segued to the next cue in the film, but still wanted it to have a "clean" ending for album purposes. It's the same with the final chord of To The Maintenance Shed

[JohnnyD 1,220]

Wait, so the final note for harp and strings is meant to segue into the first note on the horn for My Friend, the Brachiosaurus?

 

Not as it was in the final film. I knew about To the Maintenance Shed and High Wire Stunts.

 

Are you certain?

[Jay 37,287]

Hmm, you may be right. I'd have to revisit it again tbh. 

[Brundlefly 2,385]

19 hours ago, Jay said:

He wrote the ending knowing it would be segued to the next cue in the film, but still wanted it to have a "clean" ending for album purposes.

It should have been on the OST, like that. The segue sounds soooo beautiful!

[Jay 37,287]

I love it too

[JohnnyD 1,220]

On 8/16/2017 at 7:15 PM, Jay said:

Hmm, you may be right. I'd have to revisit it again tbh. 

 

I am pretty sure it was intended as is in the final film. Only a very small section of Remembering Petticoat Lane (1:52 to 1:57 mark) was micro-edited to accommodate the scene. Remembering Petticoat Lane is suppose to segue into My Friend, the Brachiosaurus at the 2:37 mark of Remembering Petticoat Lane.

[Jay 37,287]

Are you saying Mr. B's video failed to noticed that the 1:52-1:57 section was removed, so everything after that is out of sync?  I can't view any videos right now

[JohnnyD 1,220]

23 hours ago, Jay said:

Are you saying Mr. B's video failed to noticed that the 1:52-1:57 section was removed, so everything after that is out of sync?  I can't view any videos right now

 

EXACTLY!

 

My Friend, the Brachiosaurus is fine, though.

[Mr. Breathmask 555]

There do appear to be some syncing issues with the final parts of Remembering Petticoat Lane indeed. I'll try to have a look at it over the weekend.

[JohnnyD 1,220]

On 9/8/2017 at 8:46 AM, Mr. Breathmask said:

There do appear to be some syncing issues with the final parts of Remembering Petticoat Lane indeed. I'll try to have a look at it over the weekend.

 

Thank you. It should be fixed.

[Mr. Breathmask 555]

Updated!
 

[JohnnyD 1,220]

Awesome. Thank you. I guess that other video can be removed. Thanks again for correcting that issue.

[Mr. Breathmask 555]

The old video has already been replaced by this one. 

[JohnnyD 1,220]

Oh, I forgot to mention. System Ready. The synthesizer note at 0:38 IS actually in the film.

[Muad'Dib 1,801]

Does anyone know if the final fanfare of T-Rex Rescue and Finale is based on anything? Like a motif or something like that.

[Jay 37,287]

Bump!

So, I recently rewatched all these videos again, and wanted to share my thoughts on all of them.

 

I actually think what @Mr. Breathmask has done here is just as important as what Mike M did to restore the music: Getting to see all of Williams music put back in and resynced to the footage he wrote it for is pretty powerful and important experience to go through.  OK, all that is probably more true for The Lost World than Jurassic Park, but I wanted to rewatch this one before I got into that one.

 

Anyway, here are some notes and observations I made about every track, and I hope anyone who hasn't watched these yet gets a chance to do so!  Oh, and I heartily recommend watching them on a TV hooked up to a nice sound system, and not on a laptop or something

 

1. Opening Titles/Incident at Isla Nublar

 

I wasn't sure at first how I felt about both these cues being combined in one video since they clearly don't overlap and were never intended to, but it turns out it really freaking works, letting the tension build between the end of the logos music and the start of the raptor transfer sequence.  I love that hard hitting thump that begins the score and film, and how the throbbing synth line then runs under the first real cue.  The final note transitioning us from the action to Gennaro is pretty neat too.

 

2. The Encased Mosquito

 

I love how Williams holds back on the choir until after the minor is done delivering his line, and then how darker and more ominous choir is used as we zoom in on the encased mosquito, but then lighter and more elegant choir is used as they uncover the velociraptor skeleton in Montana.  Smart use of a choir they probably only had one day with.

 

3. Entrance of Mr. Hammond *

 

Not much to say about this one other than I love how Williams transitions from the celebratory music in the trailer into more ominous music for the shot of Dodgson arriving to meet Nedry.  Williams probably knew that final bit wouldn't be used due to the source music but it makes the cue feel complete with it, and it wouldn't have hurt the film at all had it been left in.

 

4. Journey to the Island

 

Truly one of the most glorious synergies of film and score in the history of cinema.  An interesting part is a few minutes in when we have a little sequence that is basically just shots of a helicopter flying over a part of Hawaii intercut with some interior shots, but the amazing and glorious fanfare Williams gives the scene elevates it to an entire other level and makes the whole sequence so iconic.  Even with this part of the film containing a bit of silliness with Grant fiddling with his seat belt, Williams manages to work music that covers it into the otherwise sincere sequence expertly.  The entire sequence where the dinosaurs are revealed is so perfectly done, the way Spielberg delays the reveal as long as possible by showing all the characters reacting to them one by one first is brilliant.  I love the final cue for the jeep ride into the visitors center, and especially the way Williams brings in a little hint of darkness in an otherwise entirely upbeat track and the camera zooms in on the t-rex skeleton.  Great stuff all around.

 

5. Stalling Around **

 

Such a fun piece of music, I would say Williams nailed the homage he was going for.  I like how he scored the unseen ending of the cartoon, and how that ending kind of syncs with the bars in the room unlocking and coming down.

 

6. Hatching Baby Raptor

 

I still can't believe the flub of the disappearing robot arm made it into the final picture.  I never noticed before how obvious yet detailed the robotic baby raptor is.  Weird to see a young Whiterose here!  The choir in this cue is really something special.

 

7. You Bred Raptors?

 

The way Williams brings back the subtle ominous music here is great.

 

8. The History Lesson

 

This adorable cue should have been on the OST!  I think it scores the scene perfectly.

 

9. Jurassic Park Gate **

 

I love how when the jeeps being moving, Williams brings in some jungle percussion for the first time in the score; Previously the only really jungle-y sound design was the jungle noises that opened the film before the first cue started.  That little jungle section always stood out to me as a really fun part of the OST (it comes along at just the right time there), and I recall it being mixed kinda low in the film so it was nice to hear it in fuller force here.  The little bit of scoring that covers the panning shot of the empty jungle when the dilophosaurus don't appear is pretty neat, really capturing the emotions of the disappointed passengers.

 

10. Goat Bait *

 

The first really big instance of the film diverging from Williams' intentions.  Hearing this synced back to picture, I have to say that the problem isn't HOW Williams scored the scene; He scored it fine, with the changes in tone matching the on-screen action, and the general mood fitting the mood the characters have.  And Williams must have liked the cue to include it on the OST.  The thing is, the whole scene truly does work better without any score at all.  Spielberg (Lucas?) was right to drop it.  But it sure is great to see how things could have gone thanks to this video!

 

11. The Saboteur *

 

Another cue entirely dropped from the final cut... and rightfully so.  I was really curious to see this one, since we never even knew the cue existed before the set was announced, and while its a perfectly fine if inconsequential cue on its own, it doesn't really add anything to the film to be put back in.  Kind of makes it a bit silly to play such ominous music in the control room as it pans over to Nedry.

 

One thing I noticed is that by dropping this cue and the previous one, they kind of make it so in the final film you only have music when dinosaurs are part of the scene or characters are excited to go see them, with few exceptions.  So having no music in the T-Rex area especially during the goat baiting part makes the latter scene in the T-Rex paddock when he shows up all the more powerful (more on that later)

 

12. Ailing Triceratops *

 

You know, watching this it seems like it take place almost immediately after the last video ending; I wonder if it would make sense, @Mr. Breathmask,  to create a new video with both The Saboteur and Ailing Triceratops in one video, like how the first video had the first 2 cues in it even though they don't overlap?  I might actually strengthen the Saboteur cue to hear it paired right up with the Ailing Triceratops cue, acting almost as like an intro to it.  I think that would be neat to see.

 

I like how the tone of the cue changes when we leave the group with the triceratops to Ellie in investigation mode a bit away.

 

13. The Coming Storm

 

Unlike the Saboteur cue which provided music for the control room that didn't need to be there, this time the control room music really works; The thunderclap in the triceatops scene really drives home that the storm that has been warned about is really coming, and really kicks the end of the first act of the film into gear.  So when our heroes make their plan and we cut to Nedry talking to his associate on the dock, the music really heightens the tension and makes the threat of the storm feel all the more real.

 

BTW, the little flub of having a progress bar under the video that's supposed to be a live stream of the guy on the dock gets me every time

 

14. Dennis Steals the Embryo

 

I love how Williams reworked his Conspirators cue from JFK for this; It really amps up the suspense and intensity as we arrive at the massive T-Rex sequence that ends the first act.  The cutting back and forth between Nedry's antics, the control room, and the people in the Jeeps realizing they are stopping is really well done, and the cue makes it all seamless.

 

---

 

Now, here is where the film and score experience depart DRASTICALLY.  Up until this point, both film and score have been building and building up to the explosive moment of the amazing T-Rex attack, and the film delivers on that buildup in spades and the score... does not.  There's simply no cue that covers this giant narrative hole left behind, in any album configuration (though, I suppose, especially pronunced in a complete & chronological one).  Now, it was absolutely the right call to not have the T-Rex attack scored, as the final film version is brilliant in all regards (how its shot and edited, and the sound design).  But boy, do I wish for some alternate reality where Spielberg at some point thought it should be scored and Williams wrote music for it all that we could hear even though it wouldn't be used in the film.  Who knows what he might have come up with!

 

---

 

15. Race to the Dock

 

Matessino's liner notes do a great job of pointing out how impactful that T-Rex attack was on audiences, and how when we finally cut back to the control room after that long and intense sequence, the cue coming in sort of signals to the audience that they can breath and the terror is over.  This cue was actually one of my long-time most desired unreleased cues, and I was bummed when it wasn't added to the 20th anniversary edition.  Luckily the LLL edition came along to finally present it to us!  The fast-paced section for the ending of the cue covering the end of Nedry's jeep driving is really great.

 

16. The Falling Car and The T-Rex Chase *

 

Well, I think the way this cue begins when paired with the on-screen action is definitely too busy.  They were wise to not have any score for the car initially falling and only come in a bit later.  I almost wonder if Williams new it might not be used, and wrote the music to segue out from the opening Incident cue on album, cause it really is a great album combo on the OST that way.  The rest of the cue, for the end of the falling car sequence and the whole bit of Ellie and Muldoon finding Malcom and the empty car is a really nice bit of scoring.

 

The highlight of this video is seeing the opening of The T-Rex Chase restored; The way Williams originally wrote those opening notes to sync with the ripples in the puddles is brilliant!  And it sounds really good too, I'm not sure why they needed to change it in the final film.  Likewise, at the end of the chase when there is a bit of a switch to kind of up-beat and jolly music for the final shot of the jeep driving away sounds neat on album, but it was wise to not use it in the film (or was it used, but at a really low volume?)  The final chord for the kids and Grant hearing the roar and beginning to climb the tree was really neat to see synced to picture too.  It makes sense to drop it because it could definitely take away from the roar sound, but it works nicely in this configuration too.

 

 

17. A Tree for My Bed

 

This delicate music comes in at a perfect time after all the action sequences that had recently dominated the film.  I like how it doesn't even really change much when the scene changes from Grant and the kids to Ellie and Hammond, it works great in both scenes.

 

18. Petticoat Lane **/My Friend the Brachiosaurus **

 

I love how the Petticoat Lane discussion is scored with music similar to the previous cue, but then takes a darker/more ominous tone when Hammond starts to talk about the NEXT dinosaur park experiment, and then the cue never really returns to its former delicate-ness for Ellie's response to him.  Really smart scoring.

 

The transition from Petticoat Lane into My Friend the Brachiosaurus is great!  I remember when I was a kid and made my first C&C version of the score by just recording the audio fo the film for all the unreleased music, I noticed how these two cues were meant to segue and I did that in a WAV editor and was surprised by how well it sounded;  This transition should have been on the OST like this!  It makes such a lovely 4 1/2 minute track that really sounds like it is just one long cue.  The more whimsical music for the feeding bit is really neat, and the ending for the sneeze reminds me of Hook.

 

19. Life Finds a Way *

 

I love how this combines the recent kind of delicate/ominous music with the earlier choir from the first egg sequence.  It was really smart to combine this with the latter cue on the OST album.

 

20. System Ready *

 

A relatively inconsequential cue that amps the tension in a control room scene up a bit; In the end it probably wouldn't have made much difference if it was dropped.  The  interesting thing here is the little synth riff that was dropped, that was probably wise as it likely would have interfered with the dialogue.  It makes the cue more interesting on album, though!

 

21. To the Maintenance Shed **/High-Wire Stunts */Hungry Raptor *

 

To The Maintenance Shed is such an awesome cue.  One cool part in this video is how Williams drops the music entirely for Muldoon to deliver his line "we're being hunted", and then when the music comes back, its the return of the jungle percussion like in Jurassic Park Gate.  The fast paced bit for Ellie running into the shed is awesome!

 

Unfortunately, there is a mistake in the way this video is put together, @Mr. Breathmask  The entirety of "To The Maintenance Shed" is perfect, all the way up until it ends at 4:03.  BUT!  As soon as that very next shot begins, "High Wire Stunts"  is supposed to start RIGHT there, right on that wide shot of them approaching the fence.  if you move up the music that way, it actually flows perfectly; The final chord of "To The Maintenance Shed" ends up being basically unheard entirely, but that's OK, that's intentional; It's something only heard when you're presenting a clean ending on album, and it gets masked when properly segued into the next cue.

 

So once you make that change, you'll see that everything else fits if you just "extend" the silence when Grant pretends to be electrocuted (it was shortened for album listening).  Everything after his electrocution fake-out is fine!

 

So anyway, it was probably wise in the final cut to drop all the music up until the T-Rex roars, letting the arrival at the fence and Grant's fake-out entirely unscored.  That being said, if the opening of the cue had been left intact, I don't think it would have been too detrimental to the film.  The ending of the cue and transition into Hungry Raptor is another story.  Hungry Raptor always stood out as a bit of an odd cue because it sounds so different from all the other action music in the score, and also because its so insanely intense and frenetic for what isn't the most intense of frenetic scene in the film.  I think in the end, it was quite wise to drop the action portion of the cue entirely and use something else.  I just wish there had been time for Williams to compose an insert (revised opening) that was more reflective of the tone Spielberg/Lucas wanted, instead of the hacked tracking job they had to do.  Oh well.

 

The way this section of the video edited is probably perfect, though; The intensity of Hungry Raptor kicking in right as the Raptor appears behind Ellie is really quite startling and amps up the tension to the max.  I have always wondered if they didn't just drop shots from the version Williams composed, but also changed stuff around and brought back in stuff that was previously deleted; The whole bit where Ellie finds Arnold's arm is just too slow of a scene for the frenetic music Williams composed, and the film doesn't give an explanation for why Ellie is suddenly limping at the end of the scene.  I'd love to see the cut of the scene he was given to score.

 

Moving on to the second half of the cue for Muldoon outside with the raptor, I have to say the final loud and frenetic iteration of the carnivore motif that was written to underscore the raptor's assault on Muldoon sounds awesome on its own (especially when you're listening to this entire 10 minutes sequence as one long track), but it was a good idea to drop it from the film and have the actual attack not be scored like that, it works way better.  I love the final iteration of the carnivore motif as the raptor watches the snake.

 

22. The Raptor Attack *

 

I remember as a kid trying to line this track up with the film and being unable to do it, and concluding the scene must have been re-edited after scoring; This video brilliantly shows that it still syncs to picture just fine!  I actually think it was quite smart in the final cut to not feature the opening of the cue as Lex sees the shadow of the raptor behind Tim - the scene is much more chilling without music; but I think everything once they get into the kitchen works perfectly, and I don't think they should have tinkered with it like they did!  This is a great video.

 

23. T-Rex Rescue and Finale *

 

This has long been one of my favorite film score tracks of all time, and seeing it all synced to picture did not disappoint in one bit!  Since it is mostly intact in the final cut, the biggest portion worth mentioning is of course the climax for the T-Rex saving the day.  I actually consider the original music that Williams actually wrote for the scene to be one of my favorite sections of the entire score - it's utterly brilliant what he does with the carnivore motif there.  Now, I totally get the idea behind wanting to replace it with an upbeat fanfare instead in the film.. it works that way, too (and in the end, it kind of makes more sense in a way).  I just wish, once again, that there had actually been time to have Williams go write and record and Insert that uses that theme but orchestrated to perfectly fit into the cue as-is, instead of them just tracking in Journey To The Island.  Such a bummer!

 

It's funny to think, though, that if say that had been done, and the original OST album also had that insert.... then this LLL CD might have been when we finally got to hear what Williams originally wrote for the scene after 23 years.  It would kind of be like the AOTC situation, where the Imperial March insert was later recorded for the finale and also put on CD, so after 16 years we still haven't heard his original version of the cue.

 

24. Welcome to Jurassic Park (film version) **

 

You know, the previous cue ends so nicely with the dinosaur shot after they drive away from the visitor's center, and this cue begins so nicely on the shot of the fly in amber when they're already inside the helicopter, you have to wonder about the shots in between of Hammond looking back before boarding the helicopter.  When Spielberg and Williams sat down to spot the film, did they think that little scene wouldn't need score?  Or was it originally not in the cut of the film Williams scored to?

 

These final 2 cues are such a brilliant way to end the film and score presentation, just great great stuff.  I never noticed before how much was cut around the shot of the flying birds, maybe that shot originally went on longer, weird.  The very end of the end credits, the awesome subdued carnivore motif and then unresolved final chord, are one of my favorite score ends ever!

 

Thanks so much for making these videos, @Mr. Breathmask, you really did GREAT GREAT work here!  Thanks again!

[Brundlefly 2,385]

I almost absolutely agree, although I don't like the Island Theme Insert when the t-rex saves the day. The dramatic music fits the scene much better, in my opinion.

But every time when music was dialed out, it was the great decision. This is also the case in The Lost World, where a shitload of music was rightfully left off the film.

[Jay 37,287]

32 minutes ago, Brundlefly said:

I almost absolutely agree, although I don't like the Island Theme Insert when the t-rex saves the day. The dramatic music fits the scene much better, in my opinion.

 

You word that as if you are disagreeing with me, but that is literally the exact same thing I said...

 

32 minutes ago, Brundlefly said:

But every time when music was dialed out, it was the great decision.

 

For the most part yea, most of the scenes really do play better without any score, yea.  Most of the time, what Williams wrote was a little too intense/busy for what was actually happening on screen.  Boy is it great to listen to on its own, though

 

32 minutes ago, Brundlefly said:

This is also the case in The Lost World, where a shitload of music was rightfully left off the film.

 

Ooooh, I dunno about that.... a lot of it should have been left in.  But more on that in that thread.

[Brundlefly 2,385]

7 hours ago, Jay said:

For the most part yea, most of the scenes really do play better without any score, yea.  Most of the time, what Williams wrote was a little too intense/busy for what was actually happening on screen.  Boy is it great to listen to on its own, though

I'm also happy that it was composed and recorded, but not used. So we have more great music and the film still uses the absense of it to become more intense.

[Jay 37,287]

Exactly!

[FC4L 87]

Sucks that there is no film version of T-rex Rescue and Finale on the LL release. It works much, much better than the original scoring. It gives Rexy the heroic fanfare she deserves. 

[Holko 9,499]

I think it's terrible.

 

Tracking Petticoat Lane (?) in front of the film version Welcome to Jurassic Park (kind of like they did with the film ending of Lost World) would have made much more sense instead of giving us virtually the exact same track again.

[Kasey Kockroach 2,343]

The raptors Rexy ate would likely agree with you.

[Brundlefly 2,385]

4 hours ago, FC4L said:

Sucks that there is no film version of T-rex Rescue and Finale on the LL release. It works much, much better than the original scoring. It gives Rexy the heroic fanfare she deserves. 

It's a terrible music edit. The dramatic original is much less clichéd hollywood and sustains the tension much longer. That change is typical for Spielberg - and not in a good way. He did the same thing several times in the sequel.

[Jurassic Shark 12,030]

I think it works well. The edits could probably have been improved for an album release of the cue.

[Jay 37,287]

10 hours ago, FC4L said:

Sucks that there is no film version of T-rex Rescue and Finale on the LL release. It works much, much better than the original scoring. It gives Rexy the heroic fanfare she deserves. 

 

There is no "film version".  Spielberg (or Lucas) simply tracked in a passage directly from "Journey To The Island" (same exact take and everything) replacing what Williams wanted there.  It's an edit made after the fact, not anything Williams had anything to do with.

[FC4L 87]

3 hours ago, Jay said:

 

There is no "film version".  Spielberg (or Lucas) simply tracked in a passage directly from "Journey To The Island" (same exact take and everything) replacing what Williams wanted there.  It's an edit made after the fact, not anything Williams had anything to do with.

 

Um, the "film version" is the version in the film. If we got a complete soundtrack of all the music for the film that SHOULD include the music that, you know, is actually in the film.

 

And those whining that it's not better are only doing so because no matter who says what about anything if it isn't in the Maestro's original music sheets it will always be wrong to you. It's a triumphant moment that works perfectly as noted by the film maker himself who, you know, has a pretty damn good idea of what makes a film fantastic.

 

There's no reason BOTH versions weren't on the LL release. But go on spewing your hate with nothing else to fill your lives. I'll have to edit the song myself so when I listen to the complete score I don't get disappointed each time I'm expecting the triumphant fanfare for the hero of the film.

[Jay 37,287]

spewing hate?  What?

[Holko 9,499]

"edit the song" lol

 

It's vastly different from the cue it was tracked into rythmically, orchestration-wise and just in the overall feel. It doesn't fit. It's the type of move the director(s - remember, Lucas basically did most of the postproduction) just throw together in editing, because they did not pay enough attention at the recording sessions to realise what's being recorded is not what they want and can't request a rewrite and insert anymore.

[Kasey Kockroach 2,343]

It fits the moment, would be awkward on its own as an edit. 

Spielberg saw Rexy as the hero, Williams saw her as a monster.

[Brundlefly 2,385]

The original (and technically only) version is the more naturalistic one. This moment is a moment of awe and wonder without the music over-confirming that. It should focus on the danger the protagonists are still in. The film version is Hollywood Spielberg setting a comfortable tone at the end of each film.

 

1 hour ago, FC4L said:

I'll have to edit the song myself.

What the...?!?!?!

[FC4L 87]

4 hours ago, Brundlefly said:

The original (and technically only) version is the more naturalistic one. This moment is a moment of awe and wonder without the music over-confirming that. It should focus on the danger the protagonists are still in. The film version is Hollywood Spielberg setting a comfortable tone at the end of each film.

 

What the...?!?!?!

 

So Hollywood director Steven Spielberg made a Steven Spielberg Hollywood director's choice? Got it. Hate on the director who contracted the composer and found a way to use the composed music to elicit the exact feeling the director, who hired the composer, wanted.

 

This board is a good reason why classical music in general gets such a terrible reputation. You can't be nice about anything and rather have to interject your own nihilistic and complete fanboy-ish ideals onto everything.

 

I don't listen to recording sessions and gleam over what was recorded and never used. If it's not in  the film then it's the same as 12 frames cut off the end of a shot. It doesn't exist. If you choose to enjoy the music as written and recorded ONLY and ignore what is presented in the film then you have an extremely narrow mind because what wasn't used could be utter crap and you'd still stand behind it screaming loudly and proudly.

 

Alternate cues are nice to have as a collection but both the original soundtrack and now the "complete" LL release do not include the music as presented fully within the film. I guess LL cares more about those who'll cry about mean 'ol George than about presenting what they claim to be doing.

 

And for all the "expert" knowledge being spewed it is NOT a simple track-in from Journey to the Island. The timing doesn't line up. But yeah, keep telling us how smart you are and how beneath you anyone who doesn't agree with your head up your ass attitude are.

 

The Rex WAS the hero. That's why the entire end sequence of the film was changed. And a hero deserves, and rightfully so go, a heroes fanfare.

 

Enough of this garbage. I'm out.

 

PS.

 

What the indeed. This board is full of "how to edit your own specific playlist version of songs because what's released doesn't fit the film exactly as presented" threads. But again, your head is so far up your own ass you can't tell if it's shit you are eating or food you are shitting.

[Jay 37,287]

You sure let yourself get worked up over a non-issue. We all love William's music. We all love Spielberg's film.

 

Music edits made late in post production on a film generally aren't replicated on specialty label catalog expansions, as their goal is generally to present the music that the composer recorded. It's how the composer wants his work to be heard and what the majority of the market wants to hear.  It's really not any more complicated than that. 

 

If you're interested in the edited versions made for the final cut of the film, fans have recreated them and shared them online, like at that place that worships that JRPG, for example. 

[Holko 9,499]

6 hours ago, FC4L said:

Hate on the director who contracted the composer and found a way to use the composed music to elicit the exact feeling the director, who hired the composer, wanted.

 

How about talking to the composer about what you want when he can still rewrite and rerecord it instead of snipping in bloody concert pieces?