Mr. Breathmask
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Posts posted by Mr. Breathmask
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Because there's a notable beat in the scene when Malcolm talks to Kelly and it's longer than what's on album. I figured the cue was meant to be split in two that way.
And I need the time to prepare new videos.
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15. The Raptors Appear */High Bar **
11M2 The Raptors Appear
11M3/12M1 High Bar and Ceiling Tiles (part 1)Note: This video has been redacted. Scroll on or go here to view the entire raptor sequence, including the music originally featured in this video.
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9 hours ago, Anka said:
Nice work Mr. Breathmask! I'm a true fan of your job restoring the music to the film. Actually I never realised that in the liberation of the Baby T-Rex by Nick (around 4:25 in the video) a bottle of wine and a small pot (the one which can be seen in the picture above) appear in the scene! Which has no sense in the final version of the film haha. Now I know that they belong this cut scene of Ludlow getting drunk.
Why, thank you. Now you know!
I finally got around to making some new videos based on your suggestions. First up, @JohnnyD's resequencing of The Hunt:
On 27-4-2017 at 2:46 AM, JohnnyD said:Granted, this is a guess, but I think it should be done this way, and if you can re-upload the sequence this way, would you? Here it is: the sequence starts with the shot of Nick setting up his camera, followed by the shot of the heroes viewing the hunters driving towards the stampeding dinosaurs. After that, the rest of the sequence follows as is in the finished film. The shot of the jeep and bike jumping, followed by the rest of the sequencing shots. Try it that way, and I think the music will sync up even more with the sequence. Give it a shot.
I can see where you were going with this, but the musical shift at 0:27 doesn't really make sense in the middle of that shot. It lines up nicely at 0:38, though. But there's lots of places where it feels just slightly off.
As I was editing this again, I realised there's a bunch of weird continuitiy errors in the sequence. Roland's hat switches on and off his head, the guy being punched through the jeep is Carter, who is supposed to be in the car with Dieter at this point, and when we cut to Dieter and Carter in their car, there's a shot that clearly shows Burke driving behind them in the position he's in when he arrives at the Pachy.
This led me to believe the original sequencing might have been more like this:
But then, when you put The Hunt to it, it doesn't really sync up either. I know I excluded the heroes overlooking the chaos, but that didn't help either. And I'm starting to wonder if the fade out at the end is supposed to play over Burke's arrival. But then why have Roland direct the snagger to the pachy? Questions, questions... So I guess the video above serves the purpose of both showing you a possible alternate sequencing and demonstrating how impossible it is to properly sync this thing.
On 29-4-2017 at 10:56 AM, Luke Skywalker said:If you dont mind the suggestion, i think maybe the cues weren't meant to overlap (though they mix very well, really) because i feel that the final infant theme part comes too early, and the music ends too soon.
Can you check (i did, and i think it fits) to start Part II just when the 1st rex appears in the window and roars behind them? The infant theme starts just as the infant mourns (camera inside the truck). and the cue ends with the pecussion fading out as eddie tells them the rexes are gone. The final infant theme ends justs as sarah releases it.
I tried this, but it doesn't work as well. If you do this, a lot of music seems to go on for too long. There's wondrous infant music for Sarah staring down a full grown T-Rex and the percussion that follows that doesn't end until we're a short bit into the next scene with Eddie and Kelly, which is a bit awkward. I also maintain that when to cues are labeled Part I and Part II, they're supposed to segue into each other. So I'm sticking to the original version I made of this (although I've updated the transition, so it should be a little more accurate now). If you really want to see this alternate interpretation though, you can do so here.
- Jay and Pieter Boelen
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14. The Long Grass **/Finding Camp Jurassic *
10M2 Steiner in the Grass
10M3/11M1 After the FallSteiner in the Grass, named for its homage to Max Steiner’s King Kong music, plays mostly as is, but it’s slightly longer than the accompanying scene. The scene was likely trimmed and some of the score was removed with it.
After the group slides down the hill, the next cue starts, overlapping with Steiner in the Grass. The opening atmospherics are longer on album than they are in the film. There may have been some trimming at the start of the scene. Nick then moves into the island’s abandoned worker village. The adventure theme from Jurassic Park reappears as Nick discovers a mural painting of the original park. There seems to be a slight pause in the score when Nick opens the door, as the music goes out of sync there. I have recreated the pause by editing the music accordingly. The final part of the track, where the adventure theme reappears over drums is unused. It starts right as Nick switches the power back on. The music ends at a slightly odd place, so I do wonder if this scene was re-edited after Williams scored it, but I have decided to let the scene play as it does in the film.
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13. The Compys! part 2/Ripples *
9M3/10MA The Compys Dine
10M1 Rialto RipplesFrantic strings and winds underscore Dieter’s death in The Compys Dine, before we go back to more atmospheric material. The Island’s Voice makes an appearance as Roland departs on a search for Dieter. The score finally settles on more moody atmosphere as we see everyone asleep in a new camp. This cue is used in its entirety and segues straight into the next one. It is also the last cue in the entire film that appears unedited!
Upon his unsuccessful return, Roland sets up the next stage of the plan: to wait until morning and then go for the camp that’s nearby. Some tense atmospheric underscore accompanies this scene.
After that, Malcolm is seen walking around the camp when the ground shakes and ripples form in small puddles of water around him. Percussion starts. In the film, this is mixed remarkably low. It builds over Sarah’s realization that her jacket has drawn the T-Rexes and the Rex entering the tent. The music is also noticeably different from this point on, consisting of music layered and tracked from elsewhere in the film. Williams’ original score continues to build upon the percussion until Kelly wakes up. Then, the percussion drops out and tense stringwork scores the newly building panic in Kelly - an interesting shift in musical perspective.
Once Carter wakes up and starts screaming, the music returns to its written form. There’s an edit when Malcolm is seen crawling across the ground, cutting about eight seconds of score. Parts of Truck Stop are re-recorded to underscore the panic as one of the Rexes gives chase, along with some new material. Frantic percussion returns as Roland pulls out a tranquilizer to shoot the other Rex. The music finally culminates into a final percussion hit as the female Rex’s head bursts through the waterfall for a tense scene that plays without score.
- Jay, Not Mr. Big, Amer and 2 others
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Well, going to see it was free.
Also, there were free drinks.
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King Arthur: Legend of the Sword
In typical Guy Ritchie fashion, the legend of King Arthur is told as the story of a street thug rising to become a king. There's a bunch of Ritchieisms that work well and I loved seeing an unabashed high fantasy tale in the cinema (this is not your dour, "gritty" Clive Owen King Arthur). But good Lord, this is one of the most overstuffed and poorly paced films in recent memory. Clocking in at 126 minutes, this movie feels like it's at least 45 minutes longer. And it's a shame, because there's a decent cast, good effects work and a whole bunch of lovely costumes. The potential is there, but throughout the picture I kept thinking this should have been a six or even eight-hour miniseries. How anyone came to the decision to stuff all this in a mere two hours of screen time in this golden age of television is beyond me.
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That's because Spielberg never drew attention to his effect shots by using crazy impossible camera moves or having animated characters defy the laws of physics.
I don't think that ever happened before Tintin, where it's justified by the mere nature of it being a crazy colorful 3D cartoon (I dig the falcon sequence).
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6 minutes ago, Disco Stu said:
I assumed Kurt Russell.
SpoilerCorrect.
And it was flawless.
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19 hours ago, Stefancos said:
Better than the first? In what way?
Well, for one thing, I didn't give a shit about any of these characters during the first movie. Here, not only do I care, but every single character has a story arc with a beginning, a middle and an end. It's very well handled. I also felt the movie wasn't trying too hard like the first one was. There's a lot less mindless screaming this time. In terms of character and story, I found Vol. 2 all around to be a step up from the previous film. And even with the progression made in this film, there's still places to go with these characters, which makes me look forward to Vol. 3.
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Guardians of the Galaxy, vol. 2
It's good. Better than the first, actually. A deftly handled ensemble piece with plenty of laughs, thrills and cheers. I look forward to seeing more of these characters in Vol. 3.
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11. On the Glass/Rescuing Sarah **/Reading the Map */The Trek *
7M2/8M1 Pain of Glass
8M2 Truck Stop
8M3 Reading the Map
8M4/9M1 The TrekHere we come to a long stretch of overlapping cues that had several parts dropped or replaced by other music.
Pain of Glass plays in its entirety in the film. It’s the first cue to do so since Fire at Camp and the first album track since Revealing the Plans.
Pain of Glass then goes straight into Truck Stop. The final fanfare starts slightly later in the film and is then microedited before it finishes, but otherwise, this track plays as is. There are some synchronization problems with the final part, as the film appears to be longer than the music and there was likely some looping going on. For the purpose of this video, I have trimmed the shot of the tire rising up by about a third of a second.
Truck Stop goes straight into Reading the Map, the first half of which is dropped from the film. The music doesn’t come in until Ludlow mentions velociraptors, a minute forty into the piece. For the occasion, Williams reprises the carnivore motif from the first film. When syncing to this point, the start overlaps with the end of Rescuing Sarah, eliminating the short rest as the two teams get to know each other. When the music comes in it is mixed notably low, as the sudden start of percussion might have been slightly jarring.
Then, out of the five and a half minutes of music written for The Trek, only about forty seconds was used. The first part of this track, which is supposed to overlap with the end of Reading the Map, was infamously replaced by the concert version of the Lost World theme in the final film. The driving percussion that underscores the journey in the original version is more subdued and ominous than the heroic theme. The adventure theme from Jurassic Park makes a brief appearance when Malcolm mentions Hammond to Ludlow. There’s some atmospheric scoring for the group’s stop and Dieter heading into the woods. In the film, the written music isn’t heard until Dieter is alone and encounters the first compy. The music drops out after the animal appears. The music for him getting lost and rolling down the hill is unused.
When syncing this track to the film, the first part overlaps slightly clumsily with the end of Reading the Map. The start may not be 100% accurate, but I’ve synced up the used part halfway towards the end and let both the music and the film run as is.
So there it is. About 17 minutes of music, a lot of which went unused. Although I can see why. The movie needs a brief "mission statement" after the trucks go over the cliff, so the groups come together and come up with a new plan. As they set out, the movie can't slow down, so there's some heroic music, followed by some silence to let the audience breathe and build tension before the compys are thrown back into the mix. Still, it's interesting to see what could have been...
By the way, I've read your comments regarding the previous few videos. I'm working on some alternates for your viewing pleasure, but they probably won't be up until tomorrow or the day after. Stay tuned!
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10. Up in a Basket */In the Trailer *
6M2/7M1 Part I Up in a Basket
6M2/7M1 Part II Up in a BasketThis six-minute sequence features almost five minutes of unused music. Of the first cue, only the first minute is used in the film. The music cuts off the moment Malcolm, Eddie and Kelly hear the distant T-Rex roar. Williams then proceeds to underscore the mounting tension as Malcolm has to choose between his daughter and his girlfriend and the danger continues to grow closer every second.
In the Trailer is marked as Part II of Up in a Basket on the sheet music and it's entirely unused. There’s a stretch of silence longer than this track until On the Glass begins, but the Part II title is indication enough to me that it’s meant to overlap with Up in a Basket. This also produces a few interesting sync points. The infant motif returns for the baby Rex making contact with its parents while it’s still in the truck and the percussion returns the moment Nick removes the animal’s muzzle. All this plays without score in the final film, playing to the danger of the Rexes outside, rather than the miracle of parenting dinosaurs. This is an action adventure, after all.
The attack on the trailers plays without score, until Sarah falls down the dangling truck and lands on the rear window. This will kick off an almost 18 minute long stretch of film that was originally scored back to back, but had various parts dropped or replaced with tracked music. Tomorrow, we're going to see all of those 18 minutes with score!
- Sharkissimo, Jay and Incanus
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9. Spilling Petrol and Horning In *
5M3/6M1 Spilling Petrol
5M3/6M1 Part II Horning InHere we get to another sequence that was quite heavily cut down: the nighttime camp sequence. The conversation overlooking the camp is unscored in the film. When we cut to Ludlow down below, we're already 45 seconds into the track. Between these scenes, the August 22 script features a lot more stuff. There's much more dialogue between the team on the ridge, featuring Nick recounting a previous encounter with Roland and Sarah mentioning her fear of heights. Then there is a scene where Ludlow gets drunk and accidentally breaks the baby T-Rex’s leg (so this explains that it wasn’t Roland or Ajay who broke the baby’s leg to get it to cry for its parents - which always seemed particularly cruel to me - and why Ludlow is staggering about as he gives his business presentation).
There is no indication these parts were scored. As scripted, the baby T-Rex scene would certainly be longer than 45 seconds. But the very next part has Nick and Sarah sabotaging the InGen group’s vehicles and draining their fuel tanks. Evidence of these scenes exists in published stills as well as of course the cue title Spilling Petrol.
55 IN THE CAMP, they creep along, hiding behind a stack of fuel barrels. They lean around the edge for a look. They're directly behind the row of vehicles. They move into the open, covering the ground between them and the jeep. Reaching them, Nick hits the dirt and wriggles under the first one. Sarah stands lookout. UNDER THE JEEP, Nick pulls the bolt cutter from his back pocket. He squirms along until he finds the jeep's fuel line -- -- and he snips it. He ducks out of the way just as the stream of fuel begins to pour into the dirt. SARAH, moves slowly down the line, standing watch as Nick crawls out from under the first jeep and proceeds to the second. She hears another SNIP, then keeps moving, to cover him as he moves to the third.
So I assume the first part of Spilling Petrol was meant to accompany at least this last scene that was cut. So rather than starting the track early and having the first part play over the conversation atop the ridge, this video starts with almost a minute of blank screen, representing the deleted scene above.
The sequence cutting between Ludlow’s speech and Nick and Sarah’s trek across the camp was also probably trimmed at various points. Because the rest of the track, leading up to the Triceratops charging into the camp, is heavily edited. I don’t know quite where and if the picture cuts coincide with the music edits, but for the purpose of this video I have synced up the score to the places it appears in the film as much as possible, so you at least get a sense of how much was removed. The August 22 script that I've been referring to doesn't actually feature Ludlow's speech (most of it is featured in the board room scene at the start of the film instead). In this version, he is talking to Burke about the progress they've made when the triceratops bursts through their tent.
So clearly, this is a part of the film that went through many changes late in the game.
The final part of the track, Horning In, underscoring the dinosaurs rampaging across the camp and Nick freeing the baby T-Rex to the sounds of the infant motif appears pretty much as written, save for a few micro-edits around effects shots.
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Rogue One
This movie makes no sense.
Star Wars: Episode IV - A New Hope
Thanks to all of its sequels, prequels and spin-offs, neither does this one.
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On 27-4-2017 at 2:46 AM, JohnnyD said:
Your video of The Hunt is good. However, it is better with the sequence as seen in the finished film. Now, if you want it as close as possible to how the Maestro originally scored it, I have a suggestion. Granted, this is a guess, but I think it should be done this way, and if you can re-upload the sequence this way, would you? Here it is: the sequence starts with the shot of Nick setting up his camera, followed by the shot of the heroes viewing the hunters driving towards the stampeding dinosaurs. After that, the rest of the sequence follows as is in the finished film. The shot of the jeep and bike jumping, followed by the rest of the sequencing shots. Try it that way, and I think the music will sync up even more with the sequence. Give it a shot.
I could give it a go, but I probably won't get around to it before the weekend.
On 27-4-2017 at 5:02 AM, crumbs said:I think if we can determine the music that originally accompanied the "epic" wide shot of the herd being chased (tracked with the big statement of the main theme in the final film), it will help place the original edit of the sequence.
Yes. As it is now, it also feels odd to me that the only "reaction" shot we see of the hero group is the back of their heads. Which is why I think I may need to put the shot of Nick back in.
On 27-4-2017 at 5:10 AM, Selina Kyle said:The music doesn't really fit with the Burke pachy scene, does it? He's like whispering to the other guy about the distinctive dome-shaped skull and then there's pounding Williams action music on the score? There are no break points in that cue, so...
On 27-4-2017 at 7:43 AM, Incanus said:That pachycephalosaurus exposition is among the oddest moments for the original cue to underscore, Burke's explanation accompanied by this tense and kinetic music. Which makes me wonder what did the original cut Williams scored contain.
Yeah, that scene gave me a headache. But it feels like it has the most "subdued" part of the track underneath it now. And it still feels a bit off. Of course, the music is now mixed much, much louder than it would be in the film, so that might give you a skewed view of the scene.
22 hours ago, Luke Skywalker said:Could Williams have score this somehow as diegetic music?
This I highly doubt. But it does have a notable constant drive compared to other tracks, rather than a lot of sync points. Then again, I think the action music in this score overall has less sync points than, say, its prdecessor.
That being said, it's on to the next track!
8. Big Feet *
5M2 Big FeetThe next cue starts soon after where The Round Up ended. As our heroes look down on the events below, Williams switches from action to drama. Below in the valley, Roland, Burke and Ajay are huddled over a T-Rex footprint. After Burke identifies the print, there’s about 25 seconds of unused music. In the script, the scene proceeds with Ajay explaining where the Rex went by examining the prints:
AJAY, Roland’s tracker, studies the rex’s trail. It goes sideways, bisecting the game trail. AJAY He sprang from the foliage. Picked off a calf -- that’s this smaller set of tracks that disappears. Then carried it back into the bush. That way. Roland gets up and goes to his jeep. At the back, he opens a wood and leather case, revealing -- -- his gun. It’s an antique elephant gun, double barreled .600 Nitro Express. Nearly a hundred years old, its rosewood stock is worn buttery smooth, but is nicked and scarred by two lifetimes of campaigns. Cape buffalo are delicately engraved along its silver breech.
It is quite possible this was still in the version of the film Williams scored. After this, Roland heads to his car to get his rifle, which is where the film picks up. As the cue ends, we get to the scene with Dieter, Burke and the compy, which was scripted to go before the footprint scene (notice how Dieter and Burke end their scene in the positions they start in when Roland calls Burke over), but I see no indication that suggests these scenes were in another order when Williams scored this sequence.
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48 minutes ago, Luke Skywalker said:
In your edited version, the pachycephalosaurus scenes dont make sense, as the one captured by the truck is the one that attacks burke previously. (Roland says "Snagger, Friar tuck's on the loose")
Yes. The screenplay (the August 22, 1996 version, which appears to be the most recent version that's available) also has the sequence in the order they appear in the film. But then there's the storyboards on the Lost World Bluray that has the sequence in an alternate order. In it, the dinosaur is caught by the snagger, then escapes from its pen and headbutts a guy through a car (you can view these boards here, but they are undated and end after the car stunt).
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Bring back Mazzello and Richards!
(no, seriously, please don't)
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Han Solo pretended to be Indiana Jones and that turned out quite well.
REMIXED & RESTORED: The Lost World: Jurassic Park
in JOHN WILLIAMS
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Well, sorry.
I'll make a deal and upload a vid with the whole thing tomorrow.