GoodMusician

To a degree it was. The concept of the father looking for his son was there, but the mother wasn't in the picture (she'd died which had caused the rift). The main female role was a love interest but was the Fathers secretary and so it was a kinda... unrequited / hidden love. (There was no Ben Hildebrant so that corpse was someone else) Then she gets eaten.

No I agree. I'm just saying any opportunity / chance for williams to have provided anything extra (ala SUP IV, Solo, etc) if it had been intended or wanted at all, was impossible once the script got thrown out and the story had to be kinda rebuilt on set / editorially.

perhaps if the script hadn't been thrown out a week before Filming Williams might have been able to do a bit more. But Williams was present during the spotting session and when they discussed what the score could do so in that way he was involved.

Listening again and doing some comparisons, I think the biggest thing about this score that bothers me isn't the composition: it's the mixing. Don Davis i felt did an amazing job with what time he had and having to adjust as much as he did. Reading an interview with him recently, I learned that the entire opening of the film was reshot and that the main titles kept adjusting. Changes like this are inevitable, but the ability to adjust and keep things at a high level of quality is very very difficult. As far as the mixing goes, I recognize everyone has thoughts on how to mix. One thing I'm not a HUGE fan of is that the French Horns are mixed in the Right Channel. Comparing to other Don Davis scores though it appears that's something he likes to do and compositionally it makes sense as there's a lot of hand off in his music from the upper strings to the horns. But when you start to listen to Williams scores this way--especially the re-recording of the credits, it FEELS off. (Roughly 4:20 on Track 19, Disc 2) Add to this that Harp 1 is mixed far left and Harp 2 is mixed center? Listening to the triumphant JP theme re-recording in the credits ( ~4:20) was always a bit... disorienting? When I ripped the 5.1 and tried to downmix, it never SOUNDED right. because the two harps are handing off glissando's and the center is so BRIGHT and vibrant and loud... if Harp 2 were mixed to the far right, it would have worked MUCH better.... and if they were a bit more periferal. Also, given the size of the orchestras used to record this, Its odd to me that the center channel mix of the winds, chimes, etc was so vibrant and loud. It feels to me more like how youd mix a TV score. It reminded me of like a Star Trek TV score tbh... and its interesting that the mixing engineer is credited as a "thanks" on those too. Looking at Armin Steiner's work further, he worked on SPACECAMP with Williams which kinda flagged in my brain because I recall the boot of that sounded VERY narrow. I widened it a lot on my own personal listening. I'm not trying to point fingers at anyone mind you, just some observations I've made which might help explain why some have felt the score SOUNDED wrong or mono. EDIT: I should add too, I can't help but wonder if this is why the film ops to drop the horns ENTIRELY in several scenes. All the horns exist mostly in the Center or Right channel, so dropping them freed up some of the audio space for sfx and also kept the overall mix from sounding too center heavy. EDIT EDIT: Looking up the stage where they recorded, it's definitely no stranger to film scores and Williams has used it many times. It is perhaps a tighter sound and using brighter / closer spot mics (like in 'Home Alone I') but the difference between Home Alone's mix and JP3 is JP3 seems to lack much of the room sound to backup the close micing on the winds etc. https://www.imdb.com/search/title/?companies=co0003378&sort=year,asc

If it helps here are the sheets with John Williams name listed below Don Davis 1m2 Dinosaur Man 2m1 Raptor in the Cabin 2m2 The Dinosaur Fly-By 2m5 Clash of Extinction (assuming because it uses the Trex Motif prolifically) 4m4 Brachiosaurus on the Bank 4m7 River Reminiscence 5m1 Raptor Harassment 5m2 Bloody Billy / End Credits possibly, it just isn't what's written on the conductors score (so it had to have gotten at least that far) and since that's what they archived it was provided to Don Davis

I think the F Horn players did. They clearly BLARED the CORRECT theme once given the chance. Also if I'm not mistaken, they were the same horn players from JP 1 and 2 (based on my IMDB searches) This has been my understanding. If you look at the conductors score for the end credits to Jurassic Park, the trumpet melody at 63 (and repeated at 67) is notated like this: You can see that the A is repeated instead of Bb being repeated. It IS corrected later at measure 82 when the melody is doubled in the horns: Similarly, the sheets for JP3 show the same transcription error (so they clearly used this as the source). You can hear this at 4:27 in the extended credits on Disc 2. Here the trumpets play the melody with the double A instead of a Bb. And later at measure 102 (05:20ish), its corrected... BUT they do perform it as if it were not. Then at 5:33, the solo horns BLARE the melody CORRECTLY... which having played in an orchestra is... usually something you do to signal to other performers they've been doing something wrong... That's my interpretation of all this at least is that it was copied from the conductors score which didn't either have a correction to the error or didn't have an updated correction changing that note and thus, in JP3 its WRONG and TECHNICALLY recorded as written lol

That was kinda the intention to my understanding... specifically the moment they approach the Visitor Center (3m2A The Entrance to the Park) The melody is a bit adjusted but its the idea yea...

Although in some cases I do appreciate the remastered OST, I feel like that's the biggest gripe a lot of people have with releases lately is the presentation of the OST taking up space of unreleased material. Luckily re-building the OST with this release wouldn't be hard and to me its better to get new material.

I mean, the sound they posted is literally heard mixed strongly at this moment: so it was at least used for that. There's a good amount of synth percussion in this cue

such a COOL discovery! I've studied the score but I never quite knew what was going on at that moment. I'm also finding now comparing the original DTS that THIS sound is mixed MUCH HIGHER and earlier in the film at the cut to Nedry arriving at the main gate So cool to know what synth it was! Also i had noticed that the boom-bams are performed live too but thought i was going crazy. You can hear the stage noise of them being performer (which got claned out unfortunately in the '22 release) which wouldn't have existed if they were synth hah As for HOME ALONE, I can definitely confirm that the DX7 was used. i've used it to replicate the gold tooth sound and such. goldtooth.wav looking at the Synclavier, I'm also realizing this was probably what was used to perform some of the LADD Company Logo music too?

I don’t generally watch Klaytons videos. I wrote the original articles explaining how both scenes worked heh The paddock scene isn’t so much inconsistent as perhaps visually not as clear as it could be. I have the blue prints for the set showing the hole the car was pushed into and the part at road level where the goat had been (between the cars) where the rex exist. With everything going on and the repetitious nature of the fence, not to mention the need to try and match it to an existing location they couldn’t do any real earth works to, it matches as best as they could at the time. The rex entering the rotunda… the only way it works is there’s damage to the freshly made facade on that side by the hurricane… otherwise… movie magic haha

There’s was a notepad sold at auction with notes from Phil Tippet discussing the return of the rex. In earlier scripts the rex chases the cars to the helicopter and even attack the helicopter (you can see this even made it into the coloring book). With those scenes removed, there was this question of how to have the rex return one final time. There was discussion of having the rex attack the raptors outside the VC but by this point in filming they’d lost the location sets to the hurricane. Between Tippet and Spielberg or whoever the decision switched to have the Rex save them inside the VC and Rick Carter—the films production designer—even tried to figure out how the Rex got in but Spielberg was thinking cinematically, not in how it actually got into the building. And I think its important to remember the issue with the rex fence is due to the need to marry location with sound stage, and they did their best. This was pre CG environments. We didn’t really get those till JP3.

Which may be why it wasn’t, but the performance is so different It’s something those of us in the JP community and many in the film score community have wanted. So I’m grateful for it. Yes please! I could give an itemized list… haha To my understanding they never filmed anything but the final ending. it’s worth knowing that it would have been one of the last effect sequences turned in because after they filmed the finale (a film wrap for Ariana and Joey), they cleaned the rotunda and the next day filmed the queue videos for River Adventure and then began tearing the set down. the final shots filmed were Hammond, Grant, and Ellie in the trailer as Hammond invited them. Williams would have had a locked cut but with no effects to score to. Also realize that Williams scored the film with almost NO alternates. He has unused cues, sure, but no alts. Any changes after the locked cut would have been a mix of work between George Lucas and Spielberg in Poland. So any changes—such as the shortening of Raptor in the Shed and making a new cue with tracked music or starting the credits a few seconds earlier and trimming some of the music—and the replacement of music 1:1 in the rex finale would have been one of their ideas

Hey, look. I get it. You wanna be contrary. But for those of us who want to support music archiving… and future proofing of these assets… these releases are important. For one, its Mike. He knows what he’s doing. For two, the original is out of print and I don’t know many people who wanna spend close to $300 online for it. Then there’s the fact it finally includes the only real missing performance from the old set AND the corrected film mix of another. Add to it the fact that the 20th Anniversary set many people do have is deeply flawed. This corrects that too. It’s ok to not want it but it’s ok for others to want it. It’s at least not whole sale deception like some other labels do or including poorly done editing / mastering…. I’d be one of the first to say it if so. You should also know as well as I do that these separate re-releases are usually how they go about EXPANDING things (superman anyone?) and seeing as there are 5 other film scores that could be released… I think it would be ignorant to think this will be just a one off thing. So in the end I WELCOME this and hope that we continue to get more of the music from the series!

I’d love for all those tracks to be released. one version was on the original IOA album, then the reprinted album replaced it with a version not using JW’s themes and there’s a whole other version too. I recorded all that too hah