Mr. Breathmask
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Posts
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Posts posted by Mr. Breathmask
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6 hours ago, DominicCobb said:
Makes me wonder if there'll be any source music in TLJ, and, if so, will JW score it himself.
Probably not. The source music for TFA wasn't written by him. Neither was the source music in AotC. I think TPM was the last time Williams wrote source music for Star Wars himself.
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Here's a little bonus track for you all:
25. Welcome to Jurassic Park (album version) *
14m2 End Credits
Pretty much the same as the previous track, except for a micro-edit halfway through the end credits and some alternate performances (although I personally don't hear it, I'm willing to take this board's word for it).
Enjoy!
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1 minute ago, Jay said:
Or even a "The Music of Lucasfilm" book
I hope it covers the Ewok scores!
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Plot twist: Jay is Mike Matessino.
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41 minutes ago, Stefancos said:
I've seen 1080 projected on a big screen before and it looks fine.
A 2K DCP isn't even that far off in resolution.
The difference with simply projecting a Bluray of course is the color space and the larger dynamic range that DCP offers.
Also, projecting the Bluray might present some problems for subtitle placement on a cinema screen.
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If it is, my ears aren't trained enough to hear it. Which is very well possible.
I could create another video using track 7, just for the heck of it.
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22 minutes ago, Jay said:
But is it an actual 35mm print, or is the theater just projected the blu ray?
Not a chance it'll be 35mm. I don't think that cinema even has 35mm projectors.
It'll probably be a DCP, but it'll do. I'm going to see it on a big screen in a darkened room with an audience, so it's good enough.
I also don't know if it'll be the original cut or the special edition. Either one is fine by me.
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Yes, it's gorgeous. I mentioned the celeste in an earlier draft of that text. Now I can't remember why I took it out.
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1 hour ago, Stefancos said:
I wonder where Vue will put the intermission? Perhaps in the middle of the "looking for Jonesy" scene?
I considered watching it at Pathé, just to see it without an intermission.
But I can watch it at Vue for free and I'm a cheap bastard, so...
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I still can't get excited for Alien: Covenant. Still, they're doing a limited re-release of the original Alien to promote the upcoming new movie, so I'm excited to see that on the big screen soon. Hurray!
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Well, he did sign a six-picture deal with Netflix a while back. I think this is the second or third? So there's a bunch more coming. Hurray....?
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24. Welcome to Jurassic Park (film version) **
14m2 End CreditsAs everyone makes their way to the helicopter, Hammond looks out over his creation one last time. Originally unscored, this scene featured music tracked in from Petticoat Lane in the film. The final cue Williams wrote for the film starts as we cut inside.
The La La Land set features two versions of the end credits track, but the only difference I could find was a teeny tiny microedit before the adventure theme starts halfway through the end credits in the album version. For this video, I have used the track listed as the film version.
A quiet version of the main theme plays on the piano as the survivors fly away, each lost in their own thoughts. As Grant turns to look out the window and sees a flock of birds flying along with the helicopter, the rest of the orchestra joins in and we’re back to admiring the beauty of nature one last time.
In the film, there is a music edit when we cut to the birds for the second time. There is either missing footage here, or the cue was started later than it was supposed to, to make room for the music tracked under Hammond’s quiet farewell. In that case, the piano would come in right as Grant takes hold of Hammond and pulls him away towards the helicopter. This sort of works, but then the first orchestral accompaniment no longer syncs up with Grant spotting the birds for the first time, so I’m assuming the music starts in the right place in the film and something was simply excised from this scene at the last second.
As the helicopter heads towards the setting sun the music builds to an orchestral crescendo as we FADE OUT and leave Jurassic Park behind us. Over the end credits, we revisit the main theme, the adventure theme, the main theme again and finally the carnivore motif as we close on the AMBLIN logo and fade out for the last time.
That brings us to the end of Jurassic Park. I hope you've enjoyed this project and I'd love to hear your thoughts. What did you think about the unused music put back in place?
Meanwhile, stay tuned for the REMIXED & RESTORED version of The Lost World: Jurassic Park, which will feature a lot more unused music and blank screens as the film appears to have been heavily re-edited after Williams scored it. There's some great music left on the cutting room floor that works wonders when put to images. Stay tuned!
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Let the unbridled speculation commence!
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I don't think it would. There's clearly a music edit in the film at 7:45 in the video. Are you saying all the music before the edit is out of sync in the final film mix? Because if I remove the video edit I made there and keep the cue ending in the same place, it will start 18 frames earlier, but there's a number of points where the music goes notably out of sync (like the fanfare for Grant and the kids starting to climb the fence and the cut back to Ellie after Malcolm telling her to follow the pipes).
Unless the pause left for "I guess that means the power's off" is supposed to be longer. That would mean the cue could have started earlier and make the transition from To the Maintenance Shed a bit smoother. But I have no indication that that's the case.
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Which timing issues are you referring to?
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23. T-Rex Rescue & Finale *
13m2 March Past the Kitchen Utensils
13m3-14m1 T-Rex to the RescueAs the raptors react to the spoon dropping off the rack where Tim is hiding, the film's musical climax kicks into gear. The music for the raptor reacting to Lex’s reflection is slightly different in the film, probably tracked or looped from music nearby, but leaving the CD track intact makes the music line up perfectly with what follows. Williams goes into full urgent action mode for the childrens’ escape from the kitchen and the ensuing siege of the control room. A celebratory rendition of the adventure theme hails the return of power and control to the park.
As Grant phones Hammond, there is a brief pause in the CD track. The music starts earlier in the film. I have edited the music to let the scene play as is. All that is removed is a few seconds of silence.
When the raptor crashes through the ceiling underneath Lex, there’s some very minor music editing going on in the film. I assume the visual effect shot of her fall was slightly trimmed at the last second (these things happen). I have left a blank screen where I assume the film edits took place and retained the flow of the music, although the music edit actually happens somewhere in the middle of the shot.
The action music continues for the scene in the visitors’ center’s main hall, until Grant, Ellie and the kids are cornered. Just as the first raptor is about to pounce, the T-Rex’s head swoops in and saves the day! For this moment, Williams originally employed the carnivore motif in full force. The cue as written is slightly longer than the scene in the film. I assume something was trimmed off the start of one of the effect shots. You’ll notice the group goes from stationary to in motion within the span of a cut, so I’m guessing that’s where the edit was made. Again, I’ve left the screen blank to maintain the flow of the music.
A final flurry of low strings scores the group’s dash down the stairs before the track culminates in a giant fanfare finale, coinciding with the T-Rex’s final bellowing roar.
As far as unused music in Jurassic Park, this is it. But there is one more track left to go...
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22. The Raptor Attack *
12m3-13m1 Into the Kitchen
The climax of the film kicks off with the tense kitchen sequence. For this sequence, the music is at its most primal and atonal. Using strings, deep brass and choir, Williams captures the threat of the prehistoric predators stalking the children.In the film, the music doesn’t start until the raptors open the kitchen door, but by then we’re over a minute into the track. As the door opens and the children cower behind the stainless steel counters, we hear the only piece of music from this track that is actually in the film in what we can assume is its proper place. When the raptors start barking, the film mix replaces Williams’ written score with pieces of To the Maintenance Shed, right up until Tim hides near the spoon rack. If we line up the used music for the raptors’ entry and let the music play, the ending syncs up perfectly. Working backwards, we find the music originally started right as Lex spots the shadow of a raptor behind the glass wall over Tim’s shoulder.
It’s interesting to note that Spielberg makes special mention of Williams’ raptor music in his liner notes, yet drops this cue almost entirely in favor of more traditional scoring.
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By the way, I never realised until I did this video that there's only ten minutes of screen time between Ellie and Muldoon setting off on their mission and Muldoon getting brutally murdered by one of the Velociraptors. Poor guy.
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Don't forget about the money.
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21. To the Maintenance Shed **/High-Wire Stunts */Hungry Raptor *
11m2 Preparing to Meet the Monster
11m2-12m1 High Wire Stunts
12m2 Hungry RaptorTo signal the transition into the a new mission for the heroes, Williams plays a militaristic version of the adventure theme, as Muldoon and Ellie gather their gear to venture outside. Once they are out in the open, the score returns to the familiar texture of the ominous jungle. The carnivore motif gets a big rendition as the broken raptor fence is revealed. Jungle drums up the tension as Ellie makes herself ready to storm the power shed. Another frantic action cue underscores her dash before the music becomes more subdued as she makes her way inside. A final chord takes us to Grant and the kids arriving at the perimeter fence. This first cue plays pretty much in its entirety, but making the video required some editing to get everything to line up correctly. The first chord fades in slightly later in the film, with the music not starting until we cut to Ellie on the stairs. There’s also a minor edit somewhere in the first part of the track. You’ll notice the video go black for a moment at my best guess at where footage was cut from the film. The cue then continues exactly as it does on CD, except that the gap left for Muldoon’s “Because we’re being hunted” is longer in the film. I have edited the music accordingly, to leave the flow of this scene intact.
The next cue is the tense build-up of High Wire Stunts, which underscores Grant and the kids’ climb into the perimeter, intercut with Ellie switching on the power. The first minute of the cue is unused in the film, with the music not coming in until after the distant T-Rex roar. In the film, a short clip from the start of The T-Rex Chase is used to kick off the cue. High Wire Stunts was supposed to overlap with the end of Preparing to Meet the Monster, starting right as we cut to the perimiter fence. The pause for Grant's fake electrocution was shortened for album purposes. Another big statement of the carnivore motif is cut from the film here, originally overlapping with the roar heard from off-screen. As Lex and Tim react to the sound, the music turns more urgent and this is where the film first picks up the track. When playing this scene with music, the music brings an urgency to the scene right from the start. In the final film, the T-Rex roar is what triggers the urgency in the characters, so the scene works very well without music at the start. The silence actually elevates the scene more than the tense music, lending room to some levity with Grant and the kids and saving the danger for after the T-Rex kicks the kids into gear.
The cue continues as is, until a clumsy music edit in the film removes the short drumroll that is heard as Grant turns to the fence to go up and get Tim. The final two chords of the track were also dropped to make way for Ellie’s dialogue and a brief silence before a hungry raptor comes crashing through the pipes…
And here we find the most notable passage of dropped music in Hungry Raptor, as Ellie is ambushed by a vicious velociraptor. Iterations of the carnivore motif follow in rapid succession over a frantic action motif accompanied by synthesizer percussion as Ellie hauls ass out of the maintenance shed. Stylistically, it’s slightly different from the other action music in the film. If it wasn’t for The Making of Jurassic Park using this piece for the end credits, we might not have known a piece like this was written for the film until the release of the 20th Anniversary Edition soundtrack in 2013!
In the film, this sequence was tracked with various pieces of the film’s finale. For a piece that was created by editing bits together, it actually works quite well.
The dropped piece is longer than the chase in the film, so we can assume something was cut. If we start the cue right when the raptor appears next to Ellie - which would have it start exactly where the unused conclusion of High-Wire Stunts ends - the music lines up pretty well until the raptor jumps onto the metal floor. I assume an edit was made here. To pick up the film image again, I have synced the latter half of the cue with its start in the film and worked backwards from there.
After Ellie's mad dash from the maintenance shed, the written score returns in the film as Muldoon hunts the escaped raptors. Tense jungle textures with the carnivore motif overlaid accompany him getting into position. The final part of the cue, starting with the raptor’s head appearing next to Muldoon is dropped in favor of music from the end of The Raptor Attack and a mix favoring the sound design. As written, Williams uses a loud and aggressive rendition of the carnivore motif to underscore the attack on Muldoon.
This concludes ten minutes of continuous score, from which a large chunk went unused. But it doesn't end here. Up next is another unique bit of scoring that was almost entirely dropped from the film...
- scallenger, Incanus and bruce marshall
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It's been Friday for almost 17 hours now. Give us the trailer already!
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Hey, man. They're professionals. They can take it.
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20. System Ready *
11m1 System Light OnAnother brief thriller cue signals the start of the third act, as Hammond orders everyone into the emergency bunker. The cue plays without edits, but the short synthesizer line heard at 00:38 is dropped from the film.
Up next: ten minutes of continuous scoring, featuring some of the score's most interesting dropped material!
What to expect from Episode VIII's Score?
in JOHN WILLIAMS
Posted
He wrote the source music in Attack of the Clones.
The Ultimate Edition for The Phantom Menace credits John Williams for all music included, so I'm assuming he wrote the source music on that one himself.