Mr. Breathmask
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Posts
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Days Won
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Posts posted by Mr. Breathmask
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Cuaron seems to have had a very clear idea for what he wanted Dumbledore to be. And Michael Gambon was perfectly suited for it.
Newell had no clue and had him shouting all the time, which was really weird.
In Yates' films, Dumbledore was just sort of... there.
Gambon seems to mostly have gone by what the directors told him to do.
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19. Life Finds a Way *
10m3 Eggs in the ForestAnother very brief pause in the score allows us to hear the bickering of Lex and Tim, before the score returns to signal Grant’s worrying discovery: the dinosaurs are breeding. The angelic choir heard in Hatching Baby Raptor returns to underscore the miracle of birth. The cue's final chord was replaced by a more ominous one in the film, tracked in from another cue.
Up next: the shortest cue from the film as we move to disc 2 of the La-La Land set.
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Idiots!
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Or at least release the original Round Up and Spilling Petrol scenes so I can use them in my videos!
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43 minutes ago, Disco Stu said:
Nice! I wasn't sure if you were doing the sequel. I can't wait! What on earth are you going to do for "The Hunt"?!
Yes. This whole project is basically a warmup for The Lost World.
The Hunt is a nightmare to restore. It's entirely unused, there are very few points in the music that could be used as sync points and the whole sequence was likely heavily re-edited late in the game. I'm currently working on three different versions of the The Hunt video and all of them are guesses. And that's probably the best I can do, unless a workprint miraculously leaks somewhere.
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Ah, right. I got confused by the word "passages". I thought you meant skipping passages of music. Never mind.
So yeah, I'll be doing that every time the music is longer than the film. You'll see it a few more times in upcoming Jurassic Park videos.
Then you'll be seeing a lot of that when we get to The Lost World...
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No. Did you watch the video? I've left a blank screen for the music to play over so that it syncs up again later. I will do this every time the written music is longer than the film (it also happened in the Stalling Around video).
So far the only music editing I've done was lengthening the pause between To the Island and The Dinosaurs and shortening the pause between The Falling Car and The T-Rex Chase. Both of these were done to make sure the latter cue properly syncs up to its use in the film.
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The Lost finale is one of those love-to-hate things on the internet, apparently. I'm not sure if it deserves all the hate it gets, but I will say this: I think it was fine, but it could have been much better. Overall, I think the whole of season six was quite lackluster. The flash sideways were occassionally fun (I'm still waiting for the Miles/Sawyer cop spinoff show), but were dragged out for far too long to reach an ultimately disappointing conclusion. Especially after the playful way the show's time-jumping structure was used to great effect in seasons four and five (which are both great pulpy sci-fi, by the way).
As a creator, I can sort of get behind this "we wanted to end the show on our own terms, so this is what we did" thing. But as a viewer, after five seasons of mystery I want some more concrete answers in what I know is going to be the final season. Because here's the last chance, right? To then suddenly go all philosophical mumbo jumbo on us felt like a slap in the face. The producers of Lost seemed to be very well in tune with their viewers in the preceding years, but all that went out the window for the show's final year - with lots of fan backlash as a result.
It doesn't help that the island story of season six (which is the actual conclusion to the plot - the flash sideways are more of a philosophical epilogue) was slow, plodding and had several disappointing resolutions (Widmore's unceremonious death being the main one in my opinion). It also seems a lot of people who were disappointed by the conclusion tuned out somewhere halfway through the series and only returned for the final episode, which led to a lot of misinterpretation. I've had several conversations with people saying they were disappointed by the show as a whole because of the finale, because it revealed the characters "were dead all along," which simply isn't true.
If anything though, season six of Lost was certainly an ambitious piece of television. But it failed to deliver on the spectacular endgame promise of its preceding two seasons.
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Quite a poorly edited book then.
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TV manufacturers have stopped releasing new 3D TV's. The focus is now on pushing 4K and that curved screen bullshit. 3D home cinema is all but dead on the hardware end.
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18. Petticoat Lane **/My Friend, the Brachiosaurus **
10m1 Remembering Petticoat Lane
10m2 My Friend, the BrachiosaurusAfter a brief pause, Hammond’s ruminations of his old flea circus are underscored by a piece orchestrated similarly to A Tree for My Bed, but this time in a more melancholy key. Petticoat Lane plays almost entirely uncut, except for a small micro-edit about two minutes into the video. My Friend, the Brachiosaurus was written to overlap and the two tracks are presented here in one video. The awe and playfulness from earlier in the score returns, as Grant and the kids feed an innocent herbivore breakfast. There might have been some trimming done here late in the game, as there is some micro-editing done as Lex approaches the brachiosaurus. The cue has been restored here in its entirety.
Up next: a discovery in the forest, featuring more unused music!
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Any thoughts on the unused music synced to film though?
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16. The Falling Car and The T-Rex Chase *
9m1 The Falling Car
9m2 The T-Rex ChaseAll the way up in a tree, stuck between a long fall and a damaged car, Grant and Tim have to find their way down to the ground. The first part of the cue is dropped in the film, having the car start its first drop in the silence. The frantic action music then starts as Grant and Tim increase their pace down the tree.
As written, the cue starts about 15 seconds earlier, when the car first starts moving. The start of the music is slightly edited in the film. It has been restored here as written. The action music continues as Tim and Grant make their way down the tree and end up back in the car. Meanwhile, Grant and Muldoon find Malcolm to the sounds of a slow tense string figure. As they uncover the injured Malcolm, the music is dialed out for about 9 seconds to make room for the ominous sound of a T-Rex roaring in the distance. It returns as we jump cut to Ellie trampling the scattered park maps in search of the rest of the group.
When syncing up the audio for this clip, the audio was about half a second longer than the video. Since that part consisted of a short pause in the music, I have edited out this part of the music to retain the flow of the scene and give you a better idea of how this transition might have played.
A very brief silence seperates The Falling Car and The T-Rex Chase on the La-La Land album and in the film, but they were likely meant to overlap. There’s a slight edit somewhere in the first twenty seconds of the cue in the film, because when lining up the track at the moment the T-Rex bursts from the trees, the timing of the first part is off. Curiously, when you sync the track that way, Williams’ string figures that signal the coming of a predator line up perfectly with the ripples forming in the T-Rex’s footsteps. It is possible this was moved around in editing to make way for the sound of the animal’s footsteps instead. I have kept this part unedited here, so the music for the approaching footsteps plays slightly different from the way it does in the film.
The action music for the car chase is kept intact. After escaping the T-Rex’s final roar, the music ends in the film before we cut to Lex and Grant hearing the distant roars. As recorded, the track continues with an ominous chord for Grant hearing the sounds and realizing the ground will not be a safe place to spend the night. It fades out slowly and amounts to about 25 seconds of unused material. It is likely this chord too got in the way of the dinosaur sound and was therefore dropped. As the dinosaurs will take on a more prominent role in both the story and the film’s soundtrack, this pattern of dropping music in favor of letting the sound design do the work is one we will be seeing more of as we near the film’s climax.
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Anyway.
15. Race to the Dock
8m1 The Trouble with DennisWhen music returns to the sound mix the moment we leave the T-Rex sequence (which marks the film’s halfway point), the audience’s tension is released. But only briefly, as Williams immediately signals things might get worse before they get any better. The consequences of Nedry’s actions are about to unfold as Arnold combs through the system's code, accompanied by the same low conspiratorial tones Williams used earlier. This builds to a forceful figure for Muldoon and Ellie leaving to go and find Hammond’s grandchildren, which in turn changes to panicky bursts of action as Nedry tries to find his way to the docks. The cue’s slightly abrupt ending is facilitated by the sound of Nedry’s jeep crashing down an embankment in the film. This cue plays in its entirety.
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At least it's not as blatant as this:
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14. Dennis Steals the Embryo
7m1 Dennis Steals the EmbryosOur thriller subplot comes to a heat as Nedry puts his plan into effect. Reminiscent of JFK’s The Conspirators, Williams heavily employs synthesizer to back the orchestra. The cue hits every escalating beat as systems go offline, Nedry collects his embryos and heads into the park and the tour vehicles are stranded somewhere in the park. As Muldoon, Arnold and Hammond realize they are in trouble, the cue ends in the film right where it should. For the next ten minutes we’ll have to do without the comfort of John Williams’ music to guide us, making the events that are about to unfold all the more terrifying.
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13. The Coming Storm
6m3 The Coming Storm
As uncontrollable as anything in nature, the weather is about to turn for the worse. The breaking waves are scored like the coming of disaster and we return to more thriller score as Nedry pleads with his contact to wait for him to deliver the embryos. This cue is uncut in the film.
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12. Ailing Triceratops *
6m2 An Ailing MonsterAs Grant leaves the group behind, bassoon and strings accentuate the mystery of what he saw. This start of the cue was not used in the film. Instead, the music starts as Tim reaches the clearing and the sick Triceratops is revealed. This ends a seven-minute stretch of film without music for which about four minutes of score was written. The last time we went this long without score was during the debate section between seeing the baby raptors and getting in the cars. Interestingly, this last score-less stretch also featured debate on the park’s workings and the vain attempts at controlling nature.
The majestic and touching music for the sick Triceratops plays out the same in the film, until the very end of the track. Ellie’s realization the West Indian Lilac might have something to do with the disease plaguing the Triceratops herd is unscored in the film, as is her idea to investigate the droppings. A short horn line and the very end of the cue were dropped from the film (starting at 2:13 in this video).
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Cool. I forgot about that. I'll put it in there.
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11. The Saboteur *
6m1 The Menace DennisAlso dropped in its entirety, this is another cue that is almost exactly as long as the scene it was meant to underscore. We return to the sound of suspense and intrigue, as the control room realizes a flaw in the tour’s design and we revisit Nedry, who’s biding his time at his work station, getting ready to pull his scam. The final chord takes us back to Grant and co.
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10. Goat Bait *
5m3 Goat BaitThis is the first cue that was dropped from the film in its entirety and it kicks off a short stretch of unused music. I’ve started this cue on the cut to the cars arriving at the Tyrannosaur paddock and it lines up pretty well. I personally think the scene works better without the music, but it's cool to see how it would play with score (although the music obviously wouldn't have been mixed in as prominently as it is here). The sound used for the Dilophosaurus pen turns darker and more ominous. The music tries to ramp up the tension and condition us to fear the jungle. Some of the orchestration is quite similar to the sound Williams will use for Ellie and Muldoon’s jungle adventure in the third act (the cue was combined with music from that scene on the original album). The cue runs right from the start of the scene to the end, concluding with the goat sitting down and fading out as we cut to Hammond in his control room. In the film, the scene plays entirely without music. The focus on sound and dialogue shifts the tone of the scene from one of threat to one of dry wit and disappointment in the tour.
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Either way, I just unraped it for you. You're welcome.
Star Wars is better than everything
in General Discussion
Posted
lol @ the simultaneous announcement of a whole marketing line.
Yes, ladies, Disney is now coming for your money too. Equality hurray!