Docteur Qui

La-La Land Records, Universal Pictures and Amblin Entertainment, Universal Music Group and Geffen Records present THE LOST WORLD: JURASSIC PARK, a limited 2-CD re-issue presentation of maestro John Williams’ (JAWS, E.T., JURASSIC PARK) original motion picture score to the 1997 blockbuster THE LOST WORLD: JURASSIC PARK, the first sequel in the legendary JURASSIC PARK franchise, starring Jeff Goldblum, Julianne Moore and Pete Postlethwaite and directed by Steven Spielberg. Maestro Williams’ sensational and powerful orchestral score thrills and awes, ranking as one of the composer’s most celebrated and unique works.
 
Produced, edited and mastered by Mike Matessino, the 96k/24 bit master files utilized in our previous 2016 collection have been newly output and remastered, including minor sonic improvements throughout. Newly added to this 2-CD expanded reissue are never before released takes of “On The Glass,” “Rescuing Sarah” and “The Raptors Appear,” all featuring alternate instrumentation, plus the unique film version of “Ripples” The 28-page CD booklet features liner notes by Matessino (adapted from our 2016 collection) and the new art design is by Jim Titus. This is a limited edition of 5000 Units.
 
TRACK LISTING:
 
DISC 1
SCORE PRESENTATION
1. The Lost World 3:33
2. The Island’s Voice 3:34
3. Revealing the Plans 2:17
4. To the Island 3:39
5. The Stegosaurus (Extended Version) 5:28
6. Fire at Camp and Corporate Helicopters 3:20
7. The Hunt 3:35
8. Big Feet 1:40
9. Spilling Petrol and Horning In 5:06
10. Up in a Basket 3:24
11. In the Trailer 2:20
12. On the Glass 4:04
13. Rescuing Sarah (Extended Version) 5:09
14. Reading the Map 3:07
15. The Trek 5:24
16. The Compys! 4:29
17. Ripples 5:50
18. The Long Grass 2:29
Disc 1 Total Time: 68:58
 
DISC 2
SCORE PRESENTATION (Continued)
1. Finding Camp Jurassic 3:04
2. The Raptors Appear 3:42
3. High Bar and Ceiling Tiles 4:10
4. Heading North 2:12
5. Ludlow’s Speech 3:14
6. The Wrecked Ship 2:22
7. Monster on the Loose 2:36
8. Visitor in San Diego (Extended Version) 7:40
9. Ludlow’s End 2:51
10. Tranquilizer Dart 3:00
11. Jurassic Park Theme (End Credits) 5:30
Total Score Time: 109:25
 
ADDITIONAL MUSIC
12. The Lost World (Alternate) 3:34
13. On the Glass (Alternate Excerpt) * 2:18
14. Rescuing Sarah (Alternate) * 5:07
15. Ripples (Film Version) ** 5:51
16. The Raptors Appear (Alternate) * 3:41
17. Tranquilizer Dart and End Credits (Film Version) 4:53
Disc 2 Total Time: 66:00
 
Total Additional Music Time: 25:33
 
Total Two-Disc Time: 2:15:00
 
*previously unreleased
**contains previously unreleased material
 
This is a CD format release.

Nice! T-Rex has teeth.

Yes I'm absolutely loving the music. Nayru's song is so eerie and beautiful.
 
 
So literally hours after writing this I unlocked the fast travel item (Gale Seeds), and now my only main criticism isn't really much of an issue anymore. 

I hope they do at some point, and bring Ryo Nagamatsu back for them!

Funny, I've spent the past couple days writing about exactly this magical passage you've brought up, @AGiambra! Williams's harmonic vocabulary is incredibly rich, and progressions like you mention do not always lend themselves to "explanations" in a standard, functionally tonal sense. Which is not to say they're constructed in an arbitrary way at all!
 
The harmonic weirdness doesn't end with the C|Db chord either! Immediately afterwards, you get C|A and finally C|Eaug. And then the section with the iconic piccolo solo, which is a *tiny* bit more explicable -- basically, a prolonged C(b6) chord, with the piccolo suggesting a C-mixolydian(b6) scale.
 
These augmented chord complexes--and the scales that go along with them (wholetone, hexatonic, mix-b6)--have a fair bit of history in suggesting ~~cosmic~~ states. To offer just a little bit more for you to explore, check out Vaughan Williams's Sinfonia Antartica, the eerie textures and harmonic effects of which I imagine were in Williams's ear  -- and certainly Jerry Goldsmith's a few years later in the sublime ST:TMP!.
 
 
I also suspect you'll find the introduction to Schreker's Die Gezeichneten up your alley:
 

Yes, welcome and this is a favorite topic of many of us here.  Basically, how did he know to do that thing he did.  This particular instance is a very famous "spacey" example and is a space cliche (time honored tradition).  He's immediately setting the location of distant, mysterious location using musical tropes of polytonality just like others did before every time they wanted to evoke the same thing.  The lesson here is that JW didn't invent this but studied this.  Many other works do this exact same thing as Loert points out.  Holst's Planets which you absolutely must study but also Vaughan Williams Sinfonia Antarctica which similarly referenced this vernacular.  Major up high and minor a half step above down below is suggestive of mysteries expansiveness.  In Holst, Neptune uses E minor in the trumpets and G# major in the trombones.  This works because it's tonally unsettling.  You have E, G, B, G#, C, D# (everything's a half step off) this minor second is unsettling but separated in tonal space just feels otherworldly.  We can even dive in to this deeper by showing that dissonances separated are more pleasing.  Of course, JW knew this.  He wasn't looking for harshness but for ambiguity...setting the stage most succinctly.  Every great artist looks to say the most with the least words.  JW did so musically in the example you are asking about. 

It's very much a comedy, but with some strong commentary on the world we live in.
I feel it really has to be seen to be believed or understand.
I wasn't to sure what it would be, but I laughed out loud multiple times, got quite emotional.
And it was very special for me to see my mom, sister and friend react to this. It was amazing, it meant a lot to them.

Saw Barbie yesterday, what a rollicking good time that movie is. Endlessly charming and hilarious, and chock-full of reverent cinematic references. I particularly loved the classic Hollywood sound-stage musical numbers, they were a real visual treat. Gerwig knocked it out of the park and, while not perfect, it was wonderful to see a movie that has captured the cultural moment with such confidence and clarity. The auditorium was full in my session, with pink as far as the eye could see. Clearly many "casual" moviegoers unfamiliar with Gerwig - when the credits rolled all I could hear were murmurs of "that was actually really good", "I was surprised at how good it was" etc. I'm happy for her, Robbie et al. for the critical and commercial reaction. It's good to see movies appealing to huge (i.e. not niche or franchise) audiences are still around.

It's still surprisingly very sharp, if there was executive meddling at any stage they've done a great job at hiding it.
 
 
Barbie was written and directed by genuinely talented people with interesting styles (Gerwig and Baumbach as writers, Gerwig directing), and with a marketing budget comparable to the The Force Awakens. DoD's marketing was pretty poor IMO and definitely contributed to its wet-blanket reception (that and the Cannes debacle) - it's clear Disney are pulling back in a major way. The whole Barbenheimer meme was also a tremendous - and crucially, organic - push for Barbie; you can't compete with the zeitgeist. 

I like the map data download sequence cue

That statement doesn't necessarily mean he's not doing any more series after the second, but just that he's going to start working on other things as well after that time. It could've been in his contract that he couldn't take any other roles until that time, or (more likely) is the fact that the new production will be a well-oiled machine by the end of 2024, and scheduling will be much easier.
 
The whole interview is well worth a read, even just for the gorgeous photo shoot they did with Ncuti and the outfits he's wearing. He touches on Doctor Who, Barbie, and Sex Education - the latter of which he's surprisingly frank about through some criticism. He has such an exciting and alluring energy about him and I can't wait to see him in action as the Doctor. Not to mention just how beautiful he is.

http://sndup.net/sk85
 
I did my own version of a credits suite as well (please delete if not allowed). I used the following:
 
- Raiders March - New York, 1969 from DoD (I quite like the robust performance of this, but I pitched it up a semitone which sped it up, and it's much better faster IMO)
- Raiders March from KotCS for a short transition
- End Credits from TLC for a short transition
- Prologue to Indiana Jones and the Dial of Destiny - pretty much the entire track minus the short intro
- The last big statement of Helena's Theme, using the Marion's Theme quote to transition back into the Raiders March
- Raiders March from KotCS again, to finish it off. I tried to bring back the recording from DoD but the arrangement, key and tempo made it too difficult. 
 
It's a very satisfying listen, though truth be told I actually quite like the theme suite being at the beginning of the album - it makes sense as an overture and really sets you up for all the themes throughout.
 

This is great!
I've been thinking about trying to achieve something similar, but putting Helena back at the end along with this little transition...... Indyedit.mp3  
 

It's quite usual for actors to do other stuff, in-between filming DW.
I'm confident that Gatwa will complete at least three whole seasons, as well as any specials.

The Nazi theme is kind of like if Anthem of Evil was actually used in the TROS score (the melody itself is a lot more simple and effective too). 
 
Also it has a great "villain's destruction" moment that we never really got in the ST (Snoke and Palpatine's deaths were both scored with the upbeat renditions force theme)

Hedwig's Theme was so titled before JW had seen any of the film. The original short version was written based on his impressions of the first book and it was expanded into a few versions for the trailers. Then he used it where it felt right in the actual film score and arranged a full-length credits version based on the trailer cues. That version made it onto the OST with the Hedwig's Theme name.
 
 

He uses it for everything in the first one

"Bird's Flight" from POA, definitely. 
 
And of course JW uses it a lot for the owls in general in the first one. 

Not to mention the "Ambush on Coruscant" actually being the arrival at Kamino...
 
Johnny and his silly track titles... that jokester!

But he did it.  

He should just retitle it Germans 1944 and be done with it

I absolutely adore the turbulent ballet of The Airport and harsh brutality of Battle of Syracuse (plus Centuries Join Hands). Williams going all Golden Age. Hell, yeah! I now wish he had a chance to do a "sword and sandal" picture. And I really like the Archimedes's theme.
 
Karol

Eh, it's not like Marion or Leia's themes are anything like their respective characters either - both have similarly abrasive and interesting personalities that are nothing like the emotionally charged and passionate themes Williams gave them. It's just a thing he does to inject some romanticism into his scores, it works fine.

Eh, it's not like Marion or Leia's themes are anything like their respective characters either - both have similarly abrasive and interesting personalities that are nothing like the emotionally charged and passionate themes Williams gave them. It's just a thing he does to inject some romanticism into his scores, it works fine.

I'm falling quite in love with the Archimedes theme. At first I brushed it off as just Williams doing his usual modal mystery style and lamented the lack of bells and whistles in its orchestration, just the usual kind of thing that you'd hear in the dénouement of a Williams score. But the more I listen to it the more it reveals itself, and it's quite sublime. The noble but ghostly orchestration; the ethereal nature of it, the unexpected melodic shifts and how it opens up into something more romantic and beautiful... The modal shift in the horn phrase that begins at 4:28 of Prologue just gives me chills. 
 
It reminds me a little of Luke's exile material in TLJ, which did a similar thing for me - what I thought initially was meandering underscore was in fact a very subtle and intentionally structured theme.
 
I also love how he ends the Prologue track with the theme, melancholic and sinister... I can't help but think of the carnivore motif rounding out the end credits of Jurassic Park.