Mr. Breathmask

19. Life Finds a Way *
10m3 Eggs in the Forest
Another 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.

20. System Ready *
11m1 System Light On
Another 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!

21. To the Maintenance Shed **/High-Wire Stunts */Hungry Raptor *
11m2 Preparing to Meet the Monster
11m2-12m1 High Wire Stunts
12m2 Hungry Raptor
To 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...

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.

23. T-Rex Rescue & Finale *
13m2 March Past the Kitchen Utensils
13m3-14m1 T-Rex to the Rescue
As 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...

24. Welcome to Jurassic Park (film version) **
14m2 End Credits
As 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!

One of The Force Awakens' strengths was certainly its characters and the possible dynamics it sets up. I walked out of the cinema eagerly anticipating how their story would continue. I haven't felt that way about characters in a film franchise in a long time.

21. To the Maintenance Shed **/High-Wire Stunts */Hungry Raptor *
11m2 Preparing to Meet the Monster
11m2-12m1 High Wire Stunts
12m2 Hungry Raptor
To 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...

Don't forget about the money.

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.

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...

They're going to re-release the Star Wars saga. On a shelf.
 
SRP: $800
 
In stores soon!

They're going to re-release the Star Wars saga. On a shelf.
 
SRP: $800
 
In stores soon!

Indeed.
 
Plus, that'd be weird to have a set containing only HP1 and HP3, and then a separate release for Ross' HP2.

17. A Tree for My Bed
9m3-10mA A Tree for My Bed
After all the action, it's time for a brief rest. A gentle version of the main theme plays as Grant and the kids settle in for the night. This cue plays uncut in the film.

12. Ailing Triceratops *
6m2 An Ailing Monster
As 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).

11. The Saboteur *
6m1 The Menace Dennis
Also 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.

My 'collection'.

10. Goat Bait *
5m3 Goat Bait
This 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.

6.  Hatching Baby Raptor
4m1 Hatching Baby Raptor
After escaping from the automated tour (life will not be contained and all that), the group moves to the hatchery. As a dinosaur egg hatches before the eyes of the group, Williams returns to scoring the beauty of nature and the the angelic choir of awe returns. This cue plays in the movie as it was written.

7. You Bred Raptors?
4m2 You Bred Raptors
The awe of nature makes way for ominous tones as Grant realizes he is holding a baby velociraptor. This brief cue appears in the film its entirety.

8. The History Lesson
5m1 The History Lesson
After meeting Muldoon, a short debate and the introduction of LEX and TIM MURPHY plays out without any music, the group is about to go off and meet the dinosaurs. A playful cue featuring variations on the adventure theme underscores Grant trying to get away from fanboy Tim, who is every bit as obnoxious as Grant feared a child would be. Another cue that plays in the film as written.

Well, here's another one then. And good morning to you!
 

 
9. Jurassic Park Gate **
5m2 Jurassic Park Gate
Hold on to your butts, the second act is about to kick off. As RAY ARNOLD starts the tour program, Hammond watches the cars start from his control room. The jungle drums return as the cars depart. Here again, the music plays like theme park music. It might as well have been playing over the car speakers. The low register string chord connecting the swelling adventure theme to the music for Hammond talking over the intercom is dialed out in the film. Instead, we hear the loud echoing sound of the Jurassic Park gate closing behind our heroes. This is the only part of the track that is not in the film. As the cars drive past the seemingly empty Dilophosaurus pen, Williams quiets down and uses mostly strings to score the unknown jungle, a sound he'll return to in the next cue, which was dropped from the film entirely.
 
Starting tomorrow, we'll be looking at a stretch of tracks that was either dropped entirely from the film or had large chunks removed. So stay tuned!

7. You Bred Raptors?
4m2 You Bred Raptors
The awe of nature makes way for ominous tones as Grant realizes he is holding a baby velociraptor. This brief cue appears in the film its entirety.

One thing is for sure: if Ford had been Alan Grant, The Lost World would not have focused on Ian Malcolm.