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Mr. Breathmask
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Posts posted by Mr. Breathmask
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A.I. the movie bores me to tears (even if it's gorgeous to look at), while Minority Report is a decently fun action thriller.
A.I. the score is far superior to Minority Report, though. It's a large, lushly orchestrated score that still manages to feel extremely intimate and emotional.
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51 minutes ago, Disco Stu said:
All hail St. Mattessino the Infallible!
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It's good. The adventure theme statement in The Trek lines up perfectly with Malcolm pissing off Ludlow. Not quite done on videos that far off yet, though.
But we'll get to it soon.
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6 minutes ago, Jay said:
Curious to hear how deftly you segued Corporate Choppers into The Hunt; I tried a bunch of times and could never get it to sound perfect.
The roaring engines help a lot.
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Well, don't stop watching after that. There's better stuff than The Hunt!
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6. Fire at Camp
4M1 Fire at CampA very brief cue underscores the fire and the discovery of Kelly. It was paired wirh the next cue on the La-La Land set, but in the film there's several minutes of silence in between. This cue is used in its entirety.
The next two cues overlap, so tomorrow, we get to look at a whole bunch of unused music. Including... The Hunt!
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Got Rogue One on Blu-Ray because I could. For all the disappointment, there's still some cool scenes in the film that I'd like to revisit at some point.
But why the hell are all the bonus features in cinemascope? Whyyyyyyyyyyyy?!
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1 hour ago, Jay said:
Side note: This is a freaking brilliant score eh?
Yes. Yes it is.
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Right you are.
Still, the version in Tranquilizer Dart is much more subdued. This and the Heading North rendition are the only versions of the track that feature the same setting as the concert version.
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Yes, the action music is too much. And it breaks the wondrous mood they had going up until then. You really don't want the danger to be underlined until the camera whirr goes off.
We know there was more to the end of this sequence. There's a script online that has a whole extended bit with a bunch of other dinosaurs appearing:
28 IN THE CLEARING, Sarah crawls free of the log and scrambles away on all fours as the stego herd darts away, disappearing into the brush, moving surprisingly quickly for animals their size. The team members run to Sarah, help her to her feet, and pull her back, against a massive tree trunk. But the tree trunk lifts right up off the ground. It’s no tree, it’s a DINOSAUR’S LEG, a massive one, six feet across, God knows how many feet high. The Group gasps and looks up as a MAMENCHIASAURUS, an enormous sauropod over a hundred feet from nose to tail, lumbers away from them. It stops and HONKS furtively, its long neck stretched out above them. Now a second mamenchiasaur neck cranes out of the surrounding forest trees and wraps around the first. The first mamenchiasaur THUNDERS around in a semi-circle, getting into position behind the second. Nick swings his video camera straight up as the group finds itself in the middle of a mamenchiasaur mating. The mighty tails swing and SNAP around them as the two animals come together. Trees start snapping and falling, CRASHING to the jungle floor. The noise and chaos is deafening, drowning out the LAUGHTER and SCREAMS of the fascinated and terrified group. There is a momentary lull and the group dashes out from underneath the animals, disappearing into the thick forest. 29 A SHORT DISTANCE AWAY, the Group collapses to the ground, breathless, chests heaving with wild, frightened laughter. Sarah dives to top of Malcolm, grabs his head, and kisses him again, exhilarated. SARAH Isn’t it great!? Malcolm pulls out her satellite phone, and shows it to her angrily. MALCOLM When it RINGS -- you ANSWER it! CUT TO: 30 EXT. JUNGLE TRAIL - DAY NICK and EDDIE march quickly back toward their base camp, their energy and excitement palpable. MALCOLM is furious, however, and is in an argument with SARAH. MALCOLM When Hammond called you, why didn't you say something to me?!
I don't know if that was ever shot as scripted. For one thing, that start of scene 30 you see there was moved forward to come in between the first encounter and Sarah going up to the baby stegosaurus (the rest of scene 30 is Sarah berating Nick for lighting a cigarette and the ensuing conversation between Malcolm and Sarah, which is in the film in the same place it was in this script). There's more things in this version of the script that were possibly changed before shooting (like how Burke has a much larger role in this and some of the dialogue from the deleted board room scene was moved to Ludlow's pitch to the investors). I have seen no evidence of the Mamenchiasaurus scene ever being shot or even developed. It looks like quite a complicated scene that almost tells the same things as the stegosaurus scene, so I wouldn't be surprised if that was cut before filming.
But that bit with Sarah getting back to the group and calling out "isn't this great?" has been featured in behind the scenes footage and stills and was even in the original trailer.
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5. The Stegosaurus, part 2 *
3M3 Finding the BabyThis cue features the first significant stretch of music that was dropped from the film in its entirety. The brief bit of action scoring that starts the cue was dropped in favor of silence. It amounts to about thirty seconds of unused music (and we're about to see much bigger pieces dropped).
The film picks up the music as Sarah starts taking pictures of the baby stegosaurus, again underscoring the wonder of nature. This particular sound and motif used for the encounter with the baby stegosaurus will return when we see the infant animals in captivity and will culminate in a piece of music for the baby T-Rex that was dropped from the film in its entirety. We’ll call this the infant motif. The cue continues as written, except for a small edit as the stegosauruses attack Sarah. It’s likely some last-minute trims were made to the effect shots. Notice how the percussion is present, but works in tandem with the orchestra, rather than driving the music forward. We won’t hear that until the film’s antagonist team arrives. The music then fades out slightly earlier than it does on album, leaving Nick’s speech about winning the Pullitzer Prize unscored.
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6 minutes ago, Quintus said:
If it was a movie which supported that kind of impressionistic visual artistry I'd probably agree. But as it is, I prefer the more realistic sky of the blu-ray version.
But for that scene, it kinda was. It was fine. Why bother making it look more drab and boring?
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But it's a throwback to the old B-movie serials! It's supposed to look crappy. They're all deliberate creative decisions!
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4. The Stegosaurus, part 1
3M2 The StegosaurusFor the first appearance of these majestic herbivores, Williams employs a sound reminiscent of the wonder featured in My Friend, the Brachiosaurus (albeit with a slightly darker tone befitting the sequel score). This cue was coupled with the next cue on the original soundtrack album and the La-La Land release, but they’re actually two cues separated by a few minutes of musical silence in the film. This cue is used in its entirety.
Tomorrow, we get our first significant piece of dropped music!
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I did. I felt it diminished the surreal painterly look that added to the unabashed romance if the scene.
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I hate that new sunset. That alone was reason enough to hang on to my old DVD.
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3 hours ago, I Need About Tree Fiddy said:
I think we'll get two great epic choral pieces. They'll be called... Wait for it... Dual of the Fates.
Or The Great Dual.
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On 21-4-2017 at 7:27 PM, kaseykockroach said:
Well yeah, but I don't give a hoot about digital. I like my shiny CD's that take up space, confound it!
Sure.
I'm just saying you could have been listening to those cues almost three years ago.
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Ridley? Is that you?
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I don't think the Dutch theater chains have confirmed which version of Alien they're showing yet.
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3. To the Island **
3M1 To the IslandThis track features the first of two renditions of the Lost World theme. The theme was tracked into various places in the final film, but was written to play only on the heroes’ arrival and departure of the island. An edited version of this track plays in the film. It is likely the boat scene was slightly truncated after the score was recorded.
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11 minutes ago, azahid said:
I said the same thing. They should have gone with the entire OST album lot and foregone the expansions this time.
Yes. I used a stupid way of saying I agree.
REMIXED & RESTORED: The Lost World: Jurassic Park
in JOHN WILLIAMS
Posted
7. Corporate Helicopters */The Hunt *
4M2 Corporate Choppers
4M3/5M1 The Round Up
So now we get to... The Hunt. Or The Round Up as it was originally called. It took a lot of experimenting and I think I still haven't gotten quite as close to what it was originally like as I'd want to. This time, rather than posting just one video, I'll try to take you through the process and show some different results. The final video featuring both The Round Up and the overlapping preceding cue is at the very bottom of this post.
But we start off with Corporate Choppers.
In the film, the music doesn’t start until we actually see the choppers, but by then we’re already a few seconds into the cue. As you can see, the score now starts right when Kelly first notices the distant sounds of the choppers. The arrival of this other team also signals a significant change in the score's sound: as the already dubious tranquility of the island is about to be brutally disturbed, the percussion becomes the driving factor in the music. This percussive drive will become the signature sound of The Lost World.
The first part of Corporate Choppers is heavily edited in the film, with large chunks lifted out. It’s likely we originally saw more of Ludlow’s crew landing and unloading and the team's reactions to their arrival. Now, we simply cut from approaching helicopters to the all-terrain vehicles racing across the island. The Island’s voice is featured prominently throughout the cue as the motif is repeated and swells over the arrival of the antagonists.
There is some looped music in the conversation between Ludlow and Roland, as the scene is longer than what we hear on album. I’ve synced the end of the track to the film, so when we first cut to Roland and Ludlow, the music isn’t quite the same as what we hear in the picture.
When Corporate Choppers ends, The Round Up is supposed to begin right away. This track is really hard to sync up. The Round Up is particularly difficult to edit back into the picture, as the cue is entirely unused, likely written for an alternate edit of the sequence and features very few possible sync points. For my first attempt, I simply started the track The Hunt right where Corprorate Choppers ends and let it play as is:
As you can see, it doesn’t quite sync up. So I started tinkering about and ended up with some alternate versions that might represent the original sequence better.
By experiment, I started by removing a few shots that I felt where out of place. I have cut the shot of Ludlow racing the camouflage as he watches the motorcycle race amongst the dinosaurs, as well as the shot of Nick placing his long-range microphone on the edge of the cliff. This seemed to solve some minor syncing issues, but still felt off (if you really want to, you can view this version here).
Then, in addition to cutting the aforementioned shots, I rearranged some of the scenes, basically switching the introduction of Burke with the capture of the infant Pachysephalosaurus. Musically, this seemed to make slightly more sense. Of course, all this still doesn't account for other possible edits. For one thing, I have only moved entire shots around, while some of this might have been trimmed or extended after Williams scored the sequence. And this version sort of hinges on me removing the right bits. But what you see here is probably my best guess at this point:
And finally, here is the entire thing, with Corporate Choppers leading into The Hunt set to the re-edited sequence: