Mr. Breathmask
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Posts posted by Mr. Breathmask
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Just now, Disco Stu said:
I admit some vinyl sets become dumb extravagances, that's the nature of the nerd-exploitation business. But I take umbrage at the implication that all vinyl releases are for hipsters who don't actually care about the music. I've listened to my vinyl copy of the TFA OST dozens of times at this point, probably my favorite way to listen to it.
Oh, I'm fine with people wanting to buy vinyl.
But what pisses me off is stuff like the remastering of the original Star Wars trilogy albums Sony did last year. Those were released digitally and on vinyl, but not on CD. The point here is that absence of a CD release bothers me more than the existence of the vinyl.
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Oh, sure.
But I just don't want them to wait too long and have the CD become obsolete. I want these babies on shiny disc (and not just a bunch of downloads or streams or a stupid bulky hipster vinyl set).
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I doubt they'd do a once-a-year release schedule, though. They'd have to sustain the market's interest in these score releases for nine consecutive years. And who knows where the physical music business will be nine years from now?
Now releasing a box set for each trilogy in consecutive years... That sounds doable.
Or release each score three or four months apart, for all I care. Surely, they can come up with something?!
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14 minutes ago, Stefancos said:
Wasnt it cancelled prematurely?
Yes.
14 minutes ago, Stefancos said:Does it end in a satisfactory way?
No, because it was cancelled prematurely.
There's a ton of great setup for season 4 (which would have been the final season) in season 3 that never gets followed through simply because season 4 never got made.
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I doubt it will. But it's hard to restore it properly anyway, since the sequence was likely heavily restructured after scoring and any re-editing I do of the finished film to line it up to the score will be nothing more than my best guess.
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It's a great track, but as far as impact on the scene, I can think of several examples that do more for the film when put back in than The Hunt.
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That being said, on its own it's still quite good.
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Kingdom of the Crystal Skull is as well crafted as, say, The Force Awakens. It actually reminds me a lot of that one. Only it lacks a theme as strong as Rey's Theme.
Attack of the Clones sounds kinda dull at first, until you realize there's actually a pretty cool action thriller score in there (and that somehow the music tells the whole story more coherently than the final film does).
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Patience!
There's still some work to do on The Hunt, actually.
But hey, it's track 7, so it shouldn't take too long before you get to see it.
And to be honest, The Hunt isn't my favorite restored music at all. There's so much other really cool stuff.
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1 minute ago, Stefancos said:
Your standards have just dropped. It's as mediocre as it ever was.
I'd say film music standards in general have dropped. In today's film music climate, Indiana Jones and the Kingdom of the Crystal Skull is a breath of fresh air!
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It's certainly better than I remembered.
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On 20-4-2017 at 5:37 AM, kaseykockroach said:
The most wide-eyed little childish grin formed on my mug upon finally hearing "The Encased Mosquito" (my favorite of the unreleased cues), as well as hearing the music for the T-rex jeep chase (though Laura Dern's fantastic screaming in that scene is ingrained into my head more than the music in that case).
You're going to get a kick out of this: both those cues were officially released digitally in 2013 for the 20th anniversary of the film.
22 hours ago, Incanus said:He just repurposed his music from Mr. Holland's Opus for that Logan and Rogue theme!
Well, what do you know? I'm going to have to seek out a copy of Mr. Holland's Opus now. The Logan & Rogue theme has always been my favorite part of Kamen's X-Men score. It's the kind of scoring too many films lack these days! Particularly the (superhero) blockbusters. Where have all the properly romantic love themes gone?!
Meanwhile, I've been listening to Indiana Jones and the Kingdom of the Crystal Skull. It's quite good, actually.
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I also wouldn't count on a complete Episode IX release until several years after that film has been released. Otherwise, the OST becomes obsolete far too quickly. That puppy needs some shelflife to bring in the $$$!
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That's a lot of X's. Must be pretty hardcore porn then.
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2. Revealing the Plans
2M2 Revealing the PlansA brief atmospheric cue for Malcolm's sinking realization that Sarah is already on the island ends with a reprise of the adventure theme from Jurassic Park. Apart from this brief "mission statement" rendition, the adventure theme is used exclusively for references to the old park or John Hammond throughout The Lost World. This cue plays in the film as written.
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And for completion's sake, they should probably include some stuff by Jerry Hey as well...
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23 minutes ago, Disco Stu said:
Nice one, including the Goldsmith fanfare
You can never have enough Goldsmith.
Also, The Lost World was actually the first Universal release to feature this track. So how could I not include it?
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REMIXED & RESTORED: The Lost World: Jurassic Park
Quick links:
1. Universal Logo/The Island's Voice **
7. Corporate Helicopters */The Hunt *
7a. The Hunt (alternate configurations) *
9. Spilling Petrol and Horning In *
10. Up in a Basket */In the Trailer *
11. On the Glass/Rescuing Sarah **/Reading the Map */The Trek *
13. The Compys! part 2/Ripples *
14. The Long Grass **/Finding Camp Jurassic *
15. The Raptors Appear */High Bar and Ceiling Tiles *
* contains unused music
** micro-edited in the film
Previous editions:
Introduction
Four years after Jurassic Park, Steven Spielberg returned to the world of dinosaurs. The Lost World: Jurassic Park finds us not in another adventure-filled theme park, however, but on another island completely: Isla Sorna, a second InGen facility dubbed Site B. This island is where the real dinosaur research happened. Here, the animals were cloned and brought up, before being moved to Isla Nublar for park display. After a hurricane strikes Isla Sorna, the island is abandoned, leaving the animals to survive on their own. They flourish, and it creates what is known as a Lost World: a habitat stuck in prehistoric time, unlike any ecosystem anywhere in the world.
When the movie opens, the abandoned island is accidentally discovered by a British family on holiday. But when the young daughter encounters a group of small dinosaurs, she is attacked and subsequently hospitalized. Afraid of what this could mean for the animals living on the island, JOHN HAMMOND (Richard Attenborough), businessman turned environmentalist on his deathbed, tries to persuade IAN MALCOLM (Jeff Goldblum) to join an expedition to document the habitat to gather support for preservation. Malcolm, still shaken from his experience on Isla Nublar, rejects Hammond’s offer, but as it turns out, Hammond has already persuaded Malcolm’s girlfriend SARAH HARDING (Julianne Moore) to join the expedition. A strong and independent woman, Sarah jumped at the chance to study the extinct animals in the wild and has already departed to the island. So starts a rescue mission that will have to venture deep into dinosaur territory.
But there’s more trouble on the horizon. In an effort to recoup the losses InGen has suffered after the park incident and the hurricane, PETER LUDLOW (Arliss Howard), the new director of InGen and nephew of John Hammond, has decided to put in motion a plan to gather a bunch of animals off the island to display them in an amphitheater in San Diego. As if trying to navigate an island inhabited with dangerous prehistoric animals isn’t enough, Malcolm and his group now find themselves at odds with Ludlow’s team as well…
The sequel’s setting is much more primal and dangerous than that of its predecessor and harkens back to jungle adventure films of old. Similarly, where Jurassic Park felt like a Greatest Hits collection of Williams’ other works, The Lost World sees the composer venture into unique territory. This score is not anchored around a big, ballsy theme. You may remember the Lost World theme from the film, but in more than one occasion it replaced other original music written for the scene. Not counting the end credits, the theme only appears twice in the original score. Instead, much of The Lost World is textural, with percussion being the driving force and a single four-note motif representing the island and its inhabitants making numerous appearances.
By the time The Lost World was scored, there was still some work to be done on the film’s picture editing. With Spielberg already off to work on Amistad, the score was recorded to the picture as it was at the time and then adapted in the editing bay to match a later cut. This meant The Lost World ended up with an unusual amount of music edits for a Spielberg film. Several scenes were edited after the scoring and because of the cue titles, we know of at least one scene that was scored and then deleted entirely. The dark tone of the film set by Williams’ music was also alleviated by tracking in the concert suite of the more adventurious Lost World theme at certain points in the film.
The original album assembly for The Lost World: Jurassic Park tried to recreate the kind of sequencing that worked so well for the original film’s album. Unfortunately, devoid of the individual melodies that made Jurassic Park such an interesting listen, the original Lost World album has a hard time matching its predecessor. As Williams develops the score’s sound over its running time, it’s important to hear certain moments before others. The album’s sequencing is all over the place and the score’s original development is lost. It also features one of the most infamously frustrating edits within a track of Williams’ entire discography.
Thanks to La La Land Records, we are now able to hear The Lost World: Jurassic Park in its entirety and in its proper order. The score’s designed progression has been restored, and previously unreleased and unused music has been unearthed. This release deserves all the praise it can get, because The Lost World, as it turns out, is not only a powerhouse action score with a unique sound for Williams, but also a far better work than the film and the original album made it seem.
As I did with Jurassic Park, I’ll be looking at the score restored to picture to see how it works in the film. I will be less analytical in a lot of my descriptions this time, because music theory isn’t my forte and there’s already an excellent analysis on these boards that you can read here.
Expect to see a lot more edits and and unused music in this one compared to Jurassic Park. When all is said and done, Williams' version of The Lost World is quite different from the final film.
But of course we start at the beginning.
1. Universal Logo/The Island’s Voice **
Universal Logo1M1 The Island's Voice
After Jerry Goldsmith’s Universal fanfare announces the start of the film, we are plunged into darkness. The sounds of wind and the deep rumble of the sea (or is it the sound of primordial forces awakening?) takes us into the film, already setting a darker and more ominous tone than the birds chirping over the company logo in the original.
Right away the film’s primary motif is introduced. Taking a cue from the trak's title, we’ll refer to it as the island's voice. It represents danger throughout the score. Already, the first track features some micro-editing in the film. These edits probably occurred because of picture edits made after the score was recorded, so restoration may not be entirely accurate and the music’s placement may not be as intended either. You’ll notice the music ends slightly earlier here than it does in the final scene. In the film, there is a small music loop during the scene’s final shot.
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I know I've read about Joseph Williams writing source music for Star Wars here on this site, but that was for Attack of the Clones.
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That's what your profile says anyway.
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You didn't miss much.
I wanted to see if they could do it. I wanted to see if they could maybe even turn it around towards the end.
Nah.
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Well, that was shit.
Did anyone else manage to sit through this incoherent borefest?
Will we see a new box set for 40 years of Star Wars?
in JOHN WILLIAMS
Posted
Not if they'd released it instead of the double discs, which would have actually made the set more coherent.
That's the kind of complacency that keeps proper releases out of our hands!