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Mr. Breathmask

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  1. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    13. The Compys! part 2/Ripples *
    9M3/10MA The Compys Dine
    10M1 Rialto Ripples
    Frantic 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.
  2. Like
    Mr. Breathmask got a reaction from Incanus in REMIXED & RESTORED: The Lost World: Jurassic Park   
    13. The Compys! part 2/Ripples *
    9M3/10MA The Compys Dine
    10M1 Rialto Ripples
    Frantic 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.
  3. Like
    Mr. Breathmask got a reaction from Amer in REMIXED & RESTORED: The Lost World: Jurassic Park   
    13. The Compys! part 2/Ripples *
    9M3/10MA The Compys Dine
    10M1 Rialto Ripples
    Frantic 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.
  4. Like
    Mr. Breathmask got a reaction from Muad'Dib in REMIXED & RESTORED: The Lost World: Jurassic Park   
    13. The Compys! part 2/Ripples *
    9M3/10MA The Compys Dine
    10M1 Rialto Ripples
    Frantic 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.
  5. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    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 Trek
    Here 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!
  6. Like
    Mr. Breathmask got a reaction from Incanus in REMIXED & RESTORED: The Lost World: Jurassic Park   
    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 Trek
    Here 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!
  7. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    10. Up in a Basket */In the Trailer *
    6M2/7M1 Part I Up in a Basket
    6M2/7M1 Part II Up in a Basket
    This 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!
  8. Like
    Mr. Breathmask got a reaction from Sharkissimo in REMIXED & RESTORED: The Lost World: Jurassic Park   
    10. Up in a Basket */In the Trailer *
    6M2/7M1 Part I Up in a Basket
    6M2/7M1 Part II Up in a Basket
    This 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!
  9. Like
    Mr. Breathmask got a reaction from Josh500 in The Adventures Of Tintin: The Secret Of The Unicorn VS. War Horse   
    Tintin all the way.
  10. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    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:
     

  11. Like
    Mr. Breathmask got a reaction from Will in Will we see a new box set for 40 years of Star Wars?   
    I expect Lucasfilms' priority right now is to market and profit from their latest products. It'll take some quiet waters for them to go back to the old stuff. And with new movies lined up for the next several years, I don't see these re-releases happening anytime soon.
  12. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    9. Spilling Petrol and Horning In *
    5M3/6M1 Spilling Petrol
    5M3/6M1 Part II Horning In
    Here 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.
     
    54 EXT EDGE OF HUNTERS' CAMP NIGHT At the edge of the hunters’ camp NICK and SARAH scramble down a hillside and stop at the edge of the laser barriers. There are three beams, each about two feet apart, the tallest almost six feet off the ground. Nick reaches the edge and crouches. Sarah steps up onto his back and jumps over the top, landing with a CRUNCH. Nick backs up a few steps, jogs towards the lasers, and does the Fosbury Flop right over the top. 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.
  13. Like
    Mr. Breathmask reacted to Disco Stu in A.I. Artificial Intelligence VS. Minority Report   
    I'll bring the spinach, you bring the crushing existential horror!
  14. Like
    Mr. Breathmask got a reaction from DarthDementous in Indiana Jones and the Dial of Destiny (James Mangold, June 30 2023)   
    Han Solo pretended to be Indiana Jones and that turned out quite well.
  15. Like
    Mr. Breathmask got a reaction from Brundlefly in REMIXED & RESTORED: The Lost World: Jurassic Park   
    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:
     

  16. Like
    Mr. Breathmask got a reaction from Muad'Dib in REMIXED & RESTORED: The Lost World: Jurassic Park   
    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:
     

  17. Like
    Mr. Breathmask got a reaction from Incanus in REMIXED & RESTORED: The Lost World: Jurassic Park   
    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:
     

  18. Like
    Mr. Breathmask got a reaction from Amer in REMIXED & RESTORED: The Lost World: Jurassic Park   
    Nope. I don't have a personal edit. The La-La Land release is perfect as it is.
  19. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    6. Fire at Camp
    4M1 Fire at Camp
    A 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!
  20. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    5. The Stegosaurus, part 2 *
    3M3 Finding the Baby
    This 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.
  21. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    4. The Stegosaurus, part 1
    3M2 The Stegosaurus
    For 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!
  22. Like
    Mr. Breathmask got a reaction from Gruesome Son of a Bitch in No Time To Die (James Bond #25)   
    Ridley? Is that you?
  23. Like
    Mr. Breathmask got a reaction from Amer in Will we see a new box set for 40 years of Star Wars?   
    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.
  24. Like
    Mr. Breathmask got a reaction from Jay in REMIXED & RESTORED: The Lost World: Jurassic Park   
    REMIXED & RESTORED: The Lost World: Jurassic Park
     
     
    Quick links:
     
    1. Universal Logo/The Island's Voice **
    2. Revealing the Plans
    3. To the Island **
    4. The Stegosaurus, part 1
    5. The Stegosaurus, part 2 *
    6. Fire at Camp
    7. Corporate Helicopters */The Hunt *
    7a. The Hunt (alternate configurations) *
    8. Big Feet *
    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 *
    12. The Compys! part 1
    13. The Compys! part 2/Ripples *
    14. The Long Grass **/Finding Camp Jurassic *
    15. The Raptors Appear */High Bar and Ceiling Tiles *
    16. Heading North */Ludlow's Speech */The Wrecked Ship */Monster on the Loose */Visitor in San Diego, part 1 *
    17. Visitor in San Diego, part 2 */Ludlow's End */Tranquilizer Dart */Jurassic Park Theme (End Credits) */The Lost World (alternate)
    18. Visitor in San Diego, part 2 */Ludlow's End */Tranquilizer Dart */The Lost World (alternate)/Jurassic Park Theme (End Credits) *
     
    Bonus tracks from the 2023 remaster:
    11a. On the Glass (with alternate excerpt) */Rescuing Sarah (alternate) *
    13a. The Compys! part 2/Ripples (film edit) **
    15a. The Raptors Appear (alternate) */High Bar and Ceiling Tiles *
     
    * contains unused music
    ** micro-edited in the film
     
     
    Previous editions:
    Jurassic Park
     
     
    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 Logo
    1M1 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.
  25. Like
    Mr. Breathmask got a reaction from Disco Stu in REMIXED & RESTORED: The Lost World: Jurassic Park   
    REMIXED & RESTORED: The Lost World: Jurassic Park
     
     
    Quick links:
     
    1. Universal Logo/The Island's Voice **
    2. Revealing the Plans
    3. To the Island **
    4. The Stegosaurus, part 1
    5. The Stegosaurus, part 2 *
    6. Fire at Camp
    7. Corporate Helicopters */The Hunt *
    7a. The Hunt (alternate configurations) *
    8. Big Feet *
    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 *
    12. The Compys! part 1
    13. The Compys! part 2/Ripples *
    14. The Long Grass **/Finding Camp Jurassic *
    15. The Raptors Appear */High Bar and Ceiling Tiles *
    16. Heading North */Ludlow's Speech */The Wrecked Ship */Monster on the Loose */Visitor in San Diego, part 1 *
    17. Visitor in San Diego, part 2 */Ludlow's End */Tranquilizer Dart */Jurassic Park Theme (End Credits) */The Lost World (alternate)
    18. Visitor in San Diego, part 2 */Ludlow's End */Tranquilizer Dart */The Lost World (alternate)/Jurassic Park Theme (End Credits) *
     
    Bonus tracks from the 2023 remaster:
    11a. On the Glass (with alternate excerpt) */Rescuing Sarah (alternate) *
    13a. The Compys! part 2/Ripples (film edit) **
    15a. The Raptors Appear (alternate) */High Bar and Ceiling Tiles *
     
    * contains unused music
    ** micro-edited in the film
     
     
    Previous editions:
    Jurassic Park
     
     
    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 Logo
    1M1 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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