Mr. Breathmask

An early one today!
 

 
5. Stalling Around **
3m3 Cartoon Demonstration
This source cue is used for the introduction film the tour group is shown. However, Williams still manages to underscore Malcolm’s amazement as he realizes how Hammond pulled off the trick of cloning dinosaurs. It's a small departure from the rest of the score and until The Adventures of Tintin came along in 2011 it was the only bit of animated scoring Williams had done!
 
There's a small music edit in the film during the shot of the scientist that starts at 1:57. I've left a small gap after that shot to make sure the rest of the cue syncs up. Other than that, this cue is heard in its entirety. To mark the micro-edit in the film, this track has been marked with **.

It's time for our first video featuring unused music. Hurray!
 
From now on, you'll quickly be able to see if a video features unused music. These titles have been marked with a *.


 
3. Entrance of Mr. Hammond *
2m1 The Entrance of Mr. Hammond
 
So this is the first cue to feature unused material, even if it is only very brief. After the disruptive arrival of a helicopter at the dig site, Alan Grant first meets JOHN HAMMOND, who makes Alan and his colleague/girlfriend ELLIE SATTLER an excellent business offer. As Hammond blows the pair away with his generous offer, this brief cue underscores the celebration of the two. In the film, this is where the score ends. But when we cut to a distant foreign location, Williams underscores LEWIS DODGSON exiting a beat-up taxi with an ominous coda, as the film’s corporate espionage subplot is about to begin.

Our first long video is here!
 

 
4. Journey to the Island
2m3-3m1 To the Island
3m2 The Dinosaurs
3m2A The Entrance of the Park
 
After witnessing the shady deal between Dodgson and DENNIS NEDRY, we smash cut to a helicopter over a bright blue ocean. Williams’ first setpiece of scoring begins, kicking off nearly nine minutes of continuous score that is used in its entirety and lines up almost perfectly with the film. Williams showcases his many sensibilities in this track, starting with a playful tune for IAN MALCOLM's introduction. He then goes into full on bombast for the island approach and introduces the adventurous theme for the park. We’ll dub it the adventure theme for the purpose of this writing and it is indeed perfectly fitting theme park music. This is followed by an incidental piece for the car journey into the park, that plays around with the adventure theme.
 
Tense strings build as Grant spots something off-camera, before the theme from Jurassic Park (which I’ll refer to as the main theme) makes its first appearance as the visitors lay their eyes on a giant brachiosaurus. After Grant's astonishment, Williams rounds out the cue with a short march that takes us to the park’s visitor’s center. As Hammond takes our heroes inside, Williams lays a sped-up version of the main theme over a playful version of his march.
 
This track is notable for introducing the two big themes from the score (the main theme and the adventure theme) in their full force, before Williams starts offering variations. Thematically, this actually makes sense, since Jurassic Park is about to unravel. It may hold great promise at this point, but unlike a character’s journey leading from humble beginnings to a grandiose finale, this park is at its grandest during this sequence. So instead of introducing these themes in a reduced form and developing them throughout the score, Williams plays them for the first time at full orchestrated force instead.
 
Two minor edits were made in this video. First, the pause before the main theme starts is slightly longer than on disc, so I lengthened the pause accordingly. Second, the march for the arrival at the visitor's centre is slightly longer in the film and appears to be looped. I have trimmed the beginning of the footage for the cars' arrival by about a second to maintain the integrity of the track and the flow of the music.

Our first long video is here!
 

 
4. Journey to the Island
2m3-3m1 To the Island
3m2 The Dinosaurs
3m2A The Entrance of the Park
 
After witnessing the shady deal between Dodgson and DENNIS NEDRY, we smash cut to a helicopter over a bright blue ocean. Williams’ first setpiece of scoring begins, kicking off nearly nine minutes of continuous score that is used in its entirety and lines up almost perfectly with the film. Williams showcases his many sensibilities in this track, starting with a playful tune for IAN MALCOLM's introduction. He then goes into full on bombast for the island approach and introduces the adventurous theme for the park. We’ll dub it the adventure theme for the purpose of this writing and it is indeed perfectly fitting theme park music. This is followed by an incidental piece for the car journey into the park, that plays around with the adventure theme.
 
Tense strings build as Grant spots something off-camera, before the theme from Jurassic Park (which I’ll refer to as the main theme) makes its first appearance as the visitors lay their eyes on a giant brachiosaurus. After Grant's astonishment, Williams rounds out the cue with a short march that takes us to the park’s visitor’s center. As Hammond takes our heroes inside, Williams lays a sped-up version of the main theme over a playful version of his march.
 
This track is notable for introducing the two big themes from the score (the main theme and the adventure theme) in their full force, before Williams starts offering variations. Thematically, this actually makes sense, since Jurassic Park is about to unravel. It may hold great promise at this point, but unlike a character’s journey leading from humble beginnings to a grandiose finale, this park is at its grandest during this sequence. So instead of introducing these themes in a reduced form and developing them throughout the score, Williams plays them for the first time at full orchestrated force instead.
 
Two minor edits were made in this video. First, the pause before the main theme starts is slightly longer than on disc, so I lengthened the pause accordingly. Second, the march for the arrival at the visitor's centre is slightly longer in the film and appears to be looped. I have trimmed the beginning of the footage for the cars' arrival by about a second to maintain the integrity of the track and the flow of the music.

Our first long video is here!
 

 
4. Journey to the Island
2m3-3m1 To the Island
3m2 The Dinosaurs
3m2A The Entrance of the Park
 
After witnessing the shady deal between Dodgson and DENNIS NEDRY, we smash cut to a helicopter over a bright blue ocean. Williams’ first setpiece of scoring begins, kicking off nearly nine minutes of continuous score that is used in its entirety and lines up almost perfectly with the film. Williams showcases his many sensibilities in this track, starting with a playful tune for IAN MALCOLM's introduction. He then goes into full on bombast for the island approach and introduces the adventurous theme for the park. We’ll dub it the adventure theme for the purpose of this writing and it is indeed perfectly fitting theme park music. This is followed by an incidental piece for the car journey into the park, that plays around with the adventure theme.
 
Tense strings build as Grant spots something off-camera, before the theme from Jurassic Park (which I’ll refer to as the main theme) makes its first appearance as the visitors lay their eyes on a giant brachiosaurus. After Grant's astonishment, Williams rounds out the cue with a short march that takes us to the park’s visitor’s center. As Hammond takes our heroes inside, Williams lays a sped-up version of the main theme over a playful version of his march.
 
This track is notable for introducing the two big themes from the score (the main theme and the adventure theme) in their full force, before Williams starts offering variations. Thematically, this actually makes sense, since Jurassic Park is about to unravel. It may hold great promise at this point, but unlike a character’s journey leading from humble beginnings to a grandiose finale, this park is at its grandest during this sequence. So instead of introducing these themes in a reduced form and developing them throughout the score, Williams plays them for the first time at full orchestrated force instead.
 
Two minor edits were made in this video. First, the pause before the main theme starts is slightly longer than on disc, so I lengthened the pause accordingly. Second, the march for the arrival at the visitor's centre is slightly longer in the film and appears to be looped. I have trimmed the beginning of the footage for the cars' arrival by about a second to maintain the integrity of the track and the flow of the music.

It's time for our first video featuring unused music. Hurray!
 
From now on, you'll quickly be able to see if a video features unused music. These titles have been marked with a *.


 
3. Entrance of Mr. Hammond *
2m1 The Entrance of Mr. Hammond
 
So this is the first cue to feature unused material, even if it is only very brief. After the disruptive arrival of a helicopter at the dig site, Alan Grant first meets JOHN HAMMOND, who makes Alan and his colleague/girlfriend ELLIE SATTLER an excellent business offer. As Hammond blows the pair away with his generous offer, this brief cue underscores the celebration of the two. In the film, this is where the score ends. But when we cut to a distant foreign location, Williams underscores LEWIS DODGSON exiting a beat-up taxi with an ominous coda, as the film’s corporate espionage subplot is about to begin.

Thanks, everyone!
 
It's going to take a while to get all these videos out, but don't worry. There's cool stuff coming. Here's the second video, brief as it is:
 

 
2. The Encased Mosquito
1m2 The Encased Mosquito
 
Inside the amber mine, the choir returns as we push in on the very source of our adventure: a tiny prehistoric mosquito encased in amber. We cut to a dinosaur bone being unearthed. The choir turns from low and ominous to high and awestruck as the remains of the extinct animal are uncovered by the many diligent hands of paleontologists. A misterioso oboe and clarinet line coincides with the appearance of the legend “BADLANDS - Near Snakewater, Montana”. This is where we're about to meet our hero. As ALAN GRANT rises into frame for the first time and states his position on the film’s nature vs. technology theme, Williams underscores the comment with a final ominous chord in the orchestra's lower registers.
 
This cue is heard in its entirety.

Our first long video is here!
 

 
4. Journey to the Island
2m3-3m1 To the Island
3m2 The Dinosaurs
3m2A The Entrance of the Park
 
After witnessing the shady deal between Dodgson and DENNIS NEDRY, we smash cut to a helicopter over a bright blue ocean. Williams’ first setpiece of scoring begins, kicking off nearly nine minutes of continuous score that is used in its entirety and lines up almost perfectly with the film. Williams showcases his many sensibilities in this track, starting with a playful tune for IAN MALCOLM's introduction. He then goes into full on bombast for the island approach and introduces the adventurous theme for the park. We’ll dub it the adventure theme for the purpose of this writing and it is indeed perfectly fitting theme park music. This is followed by an incidental piece for the car journey into the park, that plays around with the adventure theme.
 
Tense strings build as Grant spots something off-camera, before the theme from Jurassic Park (which I’ll refer to as the main theme) makes its first appearance as the visitors lay their eyes on a giant brachiosaurus. After Grant's astonishment, Williams rounds out the cue with a short march that takes us to the park’s visitor’s center. As Hammond takes our heroes inside, Williams lays a sped-up version of the main theme over a playful version of his march.
 
This track is notable for introducing the two big themes from the score (the main theme and the adventure theme) in their full force, before Williams starts offering variations. Thematically, this actually makes sense, since Jurassic Park is about to unravel. It may hold great promise at this point, but unlike a character’s journey leading from humble beginnings to a grandiose finale, this park is at its grandest during this sequence. So instead of introducing these themes in a reduced form and developing them throughout the score, Williams plays them for the first time at full orchestrated force instead.
 
Two minor edits were made in this video. First, the pause before the main theme starts is slightly longer than on disc, so I lengthened the pause accordingly. Second, the march for the arrival at the visitor's centre is slightly longer in the film and appears to be looped. I have trimmed the beginning of the footage for the cars' arrival by about a second to maintain the integrity of the track and the flow of the music.

It's time for our first video featuring unused music. Hurray!
 
From now on, you'll quickly be able to see if a video features unused music. These titles have been marked with a *.


 
3. Entrance of Mr. Hammond *
2m1 The Entrance of Mr. Hammond
 
So this is the first cue to feature unused material, even if it is only very brief. After the disruptive arrival of a helicopter at the dig site, Alan Grant first meets JOHN HAMMOND, who makes Alan and his colleague/girlfriend ELLIE SATTLER an excellent business offer. As Hammond blows the pair away with his generous offer, this brief cue underscores the celebration of the two. In the film, this is where the score ends. But when we cut to a distant foreign location, Williams underscores LEWIS DODGSON exiting a beat-up taxi with an ominous coda, as the film’s corporate espionage subplot is about to begin.

Thanks, everyone!
 
It's going to take a while to get all these videos out, but don't worry. There's cool stuff coming. Here's the second video, brief as it is:
 

 
2. The Encased Mosquito
1m2 The Encased Mosquito
 
Inside the amber mine, the choir returns as we push in on the very source of our adventure: a tiny prehistoric mosquito encased in amber. We cut to a dinosaur bone being unearthed. The choir turns from low and ominous to high and awestruck as the remains of the extinct animal are uncovered by the many diligent hands of paleontologists. A misterioso oboe and clarinet line coincides with the appearance of the legend “BADLANDS - Near Snakewater, Montana”. This is where we're about to meet our hero. As ALAN GRANT rises into frame for the first time and states his position on the film’s nature vs. technology theme, Williams underscores the comment with a final ominous chord in the orchestra's lower registers.
 
This cue is heard in its entirety.

REMIXED & RESTORED: Jurassic Park
 
 
Quick links:
 
1. Opening Titles/Incident at Isla Nublar
2. The Encased Mosquito
3. Entrance of Mr. Hammond *
4. Journey to the Island
5. Stalling Around **
6. Hatching Baby Raptor
7. You Bred Raptors?
8. The History Lesson
9. Jurassic Park Gate **
10. Goat Bait *
11. The Saboteur *
12. Ailing Triceratops *
13. The Coming Storm
14. Dennis Steals the Embryo
15. Race to the Dock
16. The Falling Car and The T-Rex Chase *
17. A Tree for My Bed
18. Petticoat Lane **/My Friend the Brachiosaurus **
19. Life Finds a Way *
20. System Ready *
21. To the Maintenance Shed **/High-Wire Stunts */Hungry Raptor *
22. The Raptor Attack *
23. T-Rex Rescue and Finale *
24. Welcome to Jurassic Park (film version) **
25. Welcome to Jurassic Park (album version) *
 
Bonus tracks from the 2022 remaster:
4a. Journey to the Island (film version)
14a. Dennis Steals the Embryo (film version)
 
* contains unused music
** micro-edited in the film
 
 
More REMIXED & RESTORED:
The Lost World: Jurassic Park
 
 
Introduction

In 1993, Steven Spielberg unleashed dinosaurs upon the world. Jurassic Park, one of those perfect popcorn blockbusters and a revolution in computer graphics, bringing dinosaurs back to life in a way no one had ever seen before, dominated the summer box office.
 
In Jurassic Park, billionaire John Hammond (Richard Attenborough) and his company InGen have found a way to recreate dinosaurs. Ever the entrepreneur, Hammond decides to build a theme park around his creation. After one of the animals kills a worker, Hammond’s investors call for an investigation into the park. He recruits paleontologists Alan Grant (Sam Neill) and Ellie Sattler (Laura Dern) to inspect the island. Also along for the ride are Ian Malcolm (Jeff Goldblum), a charismatic but skeptical mathematician, Hammond’s lawyer Donald Gennarro (Martin Ferrero) and Hammond’s grandkids (Joseph Mazzello and Ariana Richards).
 
But despite Hammond’s repeated claims that he has "spared no expense" on his dazzling theme park, there is still one disgruntled employee (Wayne Knight), who is willing to spy for a rival company, steal a bunch of dinosaur embryos and cause a whole lot of mayhem in the process. What looked like stunning achievement soon turns out to be an uncontrollable danger, calling into question the range of control man has over nature and putting everyone’s lives in the balance…
 
An expertly made film, Jurassic Park grew a large fanbase and spawned a franchise that - although long dormant at the start of the 21st century - is still going today. Jurassic Park also gave us - like 11 out of the 12 preceding theatrical releases directed by Spielberg - a brand new John Williams score. One that would - like many of Williams' most famous works - join the ranks of seminal adventure blockbuster scores. In several places, Jurassic Park is also a thriller score, amping up the tension created by the corporate espionage subplot running through the first half of the film that finally causes the park to unravel.
 
John Williams’ Jurassic Park is the composer in full-on blockbuster adventure mode. In fact, I’d argue Jurassic Park - particularly on album - feels like a John Williams compilation. It features both a slow, majestic theme that mirrors the awe of Close Encounters of the Third Kind and a rousing, bombastic adventure theme that can sit snugly beside material from the Indiana Jones series. It has some ethereal music for the young and vulnerable dinosaurs that sounds like a precursor to Williams’ work on A.I. eight years later, pensive material slightly reminiscent of Home Alone and a tense conspiratorial cue that sounds like an adaptation of material from JFK.
 
Indeed, to many John Williams fans Jurassic Park is a seminal score and album. A gateway into the work of a man who has defined the Hollywood blockbuster sound for several generations.
The original soundtrack album presents the music not in chronological order, but rather clustered around the various ideas and sounds running throughout the score. Many tracks feature a pairing of cues that are spread out in the film but are thematically or texturally similar.
 
Now, with La La Land’s wonderful recent complete release in our players, we are able to enjoy the entire score in chronological order and get an exact idea of what music was dropped or replaced.
 
Because as with most films, the presentation of the score in the final film differs slightly from what was recorded. One interesting recurring decision you’ll find when lining up the score to the finished picture is that the carnivore motif that is first heard in the opening titles, features almost exclusively in passages that were dropped from the film. It is given several loud plays that were cut in favor of Gary Rydstrom’s stellar sound design or replaced with other music.
 
Over the coming weeks, we’ll be looking at each of the pieces written for the film, what music was dropped, how that would have played in the picture and discuss how these editing decisions change the shape of the final film. The idea for these videos is not to provide an isolated score track or to function as a fan mix that replace the original mix. Instead, I aim to bring the score into the foreground while keeping most of the dialogue and effects intact wherever possible. Jurassic Park has a very well-designed soundscape, where music and effects often go hand in hand and I wanted to honor that. It also works well when restoring unused music. When we get to stuff like Goat Bait, you'll get to hear how the music interacts with the dialogue, while still keeping the music in the foreground of the mix.
 
Once I'm done with Jurassic Park, expect to see something similar for The Lost World, which is a veritable treasure trove of unused material!
 
But first, let’s start right at the beginning.
 
 

 
1. Opening Titles/Incident at Isla Nublar
1mA Opening Titles
1m1 Incident at Isla Nublar

As the movie starts with the reveal of the Universal logo, there is no music. The quiet of the theatre is broken only by sounds of the jungle. A deep drumbeat disrupts the jungle sounds and opens the film and the score. Along with choir and the first iteration of the carnivore motif, it sets a tone of danger right off the bat.

After the credits, we open the film proper on moving tree branches and the faces of tense Jurassic Park workers. After a brief moment of sound design, it is revealed something mechanical is moving the trees. Williams’ score kicks in again right as we cut to ROBERT MULDOON, whose commanding presence will lead the following scene and who will return for a large role later in the film.

Williams starts the cue with a synthesizer baseline, strings and metallic sounds. Right away, the synthetic and the organic are intertwined with ominous results. This builds until the dinosaur crate is opened and all hell breaks loose. The frenetic style of action music that will be heard during more of the dinosaur attacks later in the film is heard for the first time, this time also accompanied by an ominous low choir. As the cue ends, we hear for the first time how well music and sound design are integrated in the final film. The cue fizzles out a bit on the complete score album, but in the film the echoing gunshots take over from Williams’ frantic action scoring and take us into the contrasting serenity of the Dominican Republic’s jungle.

Both these cues are played in the film in their entirety.
 

So doesn't this: 
 
 
basically contradict this?
 
 
Also, it's not as if deleted scenes with unfinished effects have never been released...
 
And to think there used to be an age where some filmmakers would actually finish visual effects shot for the DVD deleted scenes section.
 
Oh well.

REMIXED & RESTORED: Jurassic Park
 
 
Quick links:
 
1. Opening Titles/Incident at Isla Nublar
2. The Encased Mosquito
3. Entrance of Mr. Hammond *
4. Journey to the Island
5. Stalling Around **
6. Hatching Baby Raptor
7. You Bred Raptors?
8. The History Lesson
9. Jurassic Park Gate **
10. Goat Bait *
11. The Saboteur *
12. Ailing Triceratops *
13. The Coming Storm
14. Dennis Steals the Embryo
15. Race to the Dock
16. The Falling Car and The T-Rex Chase *
17. A Tree for My Bed
18. Petticoat Lane **/My Friend the Brachiosaurus **
19. Life Finds a Way *
20. System Ready *
21. To the Maintenance Shed **/High-Wire Stunts */Hungry Raptor *
22. The Raptor Attack *
23. T-Rex Rescue and Finale *
24. Welcome to Jurassic Park (film version) **
25. Welcome to Jurassic Park (album version) *
 
Bonus tracks from the 2022 remaster:
4a. Journey to the Island (film version)
14a. Dennis Steals the Embryo (film version)
 
* contains unused music
** micro-edited in the film
 
 
More REMIXED & RESTORED:
The Lost World: Jurassic Park
 
 
Introduction

In 1993, Steven Spielberg unleashed dinosaurs upon the world. Jurassic Park, one of those perfect popcorn blockbusters and a revolution in computer graphics, bringing dinosaurs back to life in a way no one had ever seen before, dominated the summer box office.
 
In Jurassic Park, billionaire John Hammond (Richard Attenborough) and his company InGen have found a way to recreate dinosaurs. Ever the entrepreneur, Hammond decides to build a theme park around his creation. After one of the animals kills a worker, Hammond’s investors call for an investigation into the park. He recruits paleontologists Alan Grant (Sam Neill) and Ellie Sattler (Laura Dern) to inspect the island. Also along for the ride are Ian Malcolm (Jeff Goldblum), a charismatic but skeptical mathematician, Hammond’s lawyer Donald Gennarro (Martin Ferrero) and Hammond’s grandkids (Joseph Mazzello and Ariana Richards).
 
But despite Hammond’s repeated claims that he has "spared no expense" on his dazzling theme park, there is still one disgruntled employee (Wayne Knight), who is willing to spy for a rival company, steal a bunch of dinosaur embryos and cause a whole lot of mayhem in the process. What looked like stunning achievement soon turns out to be an uncontrollable danger, calling into question the range of control man has over nature and putting everyone’s lives in the balance…
 
An expertly made film, Jurassic Park grew a large fanbase and spawned a franchise that - although long dormant at the start of the 21st century - is still going today. Jurassic Park also gave us - like 11 out of the 12 preceding theatrical releases directed by Spielberg - a brand new John Williams score. One that would - like many of Williams' most famous works - join the ranks of seminal adventure blockbuster scores. In several places, Jurassic Park is also a thriller score, amping up the tension created by the corporate espionage subplot running through the first half of the film that finally causes the park to unravel.
 
John Williams’ Jurassic Park is the composer in full-on blockbuster adventure mode. In fact, I’d argue Jurassic Park - particularly on album - feels like a John Williams compilation. It features both a slow, majestic theme that mirrors the awe of Close Encounters of the Third Kind and a rousing, bombastic adventure theme that can sit snugly beside material from the Indiana Jones series. It has some ethereal music for the young and vulnerable dinosaurs that sounds like a precursor to Williams’ work on A.I. eight years later, pensive material slightly reminiscent of Home Alone and a tense conspiratorial cue that sounds like an adaptation of material from JFK.
 
Indeed, to many John Williams fans Jurassic Park is a seminal score and album. A gateway into the work of a man who has defined the Hollywood blockbuster sound for several generations.
The original soundtrack album presents the music not in chronological order, but rather clustered around the various ideas and sounds running throughout the score. Many tracks feature a pairing of cues that are spread out in the film but are thematically or texturally similar.
 
Now, with La La Land’s wonderful recent complete release in our players, we are able to enjoy the entire score in chronological order and get an exact idea of what music was dropped or replaced.
 
Because as with most films, the presentation of the score in the final film differs slightly from what was recorded. One interesting recurring decision you’ll find when lining up the score to the finished picture is that the carnivore motif that is first heard in the opening titles, features almost exclusively in passages that were dropped from the film. It is given several loud plays that were cut in favor of Gary Rydstrom’s stellar sound design or replaced with other music.
 
Over the coming weeks, we’ll be looking at each of the pieces written for the film, what music was dropped, how that would have played in the picture and discuss how these editing decisions change the shape of the final film. The idea for these videos is not to provide an isolated score track or to function as a fan mix that replace the original mix. Instead, I aim to bring the score into the foreground while keeping most of the dialogue and effects intact wherever possible. Jurassic Park has a very well-designed soundscape, where music and effects often go hand in hand and I wanted to honor that. It also works well when restoring unused music. When we get to stuff like Goat Bait, you'll get to hear how the music interacts with the dialogue, while still keeping the music in the foreground of the mix.
 
Once I'm done with Jurassic Park, expect to see something similar for The Lost World, which is a veritable treasure trove of unused material!
 
But first, let’s start right at the beginning.
 
 

 
1. Opening Titles/Incident at Isla Nublar
1mA Opening Titles
1m1 Incident at Isla Nublar

As the movie starts with the reveal of the Universal logo, there is no music. The quiet of the theatre is broken only by sounds of the jungle. A deep drumbeat disrupts the jungle sounds and opens the film and the score. Along with choir and the first iteration of the carnivore motif, it sets a tone of danger right off the bat.

After the credits, we open the film proper on moving tree branches and the faces of tense Jurassic Park workers. After a brief moment of sound design, it is revealed something mechanical is moving the trees. Williams’ score kicks in again right as we cut to ROBERT MULDOON, whose commanding presence will lead the following scene and who will return for a large role later in the film.

Williams starts the cue with a synthesizer baseline, strings and metallic sounds. Right away, the synthetic and the organic are intertwined with ominous results. This builds until the dinosaur crate is opened and all hell breaks loose. The frenetic style of action music that will be heard during more of the dinosaur attacks later in the film is heard for the first time, this time also accompanied by an ominous low choir. As the cue ends, we hear for the first time how well music and sound design are integrated in the final film. The cue fizzles out a bit on the complete score album, but in the film the echoing gunshots take over from Williams’ frantic action scoring and take us into the contrasting serenity of the Dominican Republic’s jungle.

Both these cues are played in the film in their entirety.
 

So doesn't this: 
 
 
basically contradict this?
 
 
Also, it's not as if deleted scenes with unfinished effects have never been released...
 
And to think there used to be an age where some filmmakers would actually finish visual effects shot for the DVD deleted scenes section.
 
Oh well.

So doesn't this: 
 
 
basically contradict this?
 
 
Also, it's not as if deleted scenes with unfinished effects have never been released...
 
And to think there used to be an age where some filmmakers would actually finish visual effects shot for the DVD deleted scenes section.
 
Oh well.

It comes in pints?

I think it'll be around. Althought it may not be as active as before.
 
But I'm sure at least Stefan will keep posting here.
 
I guess the real question is: what will JWFan be like after Cosman kicks it?

After a tight race and a final judging by the festival, we were very happy to recieve the award yesterday evening.
 
Thanks to everyone who voted!
 

After a tight race and a final judging by the festival, we were very happy to recieve the award yesterday evening.
 
Thanks to everyone who voted!
 

This thread is creepy.

This thread is creepy.

If it's as bonkers as Temple of Doom, I'm all for it.
 
But it won't be.
 
It would need a proper score for that.

A heads up for those interested to read more discussion of the music as used (and unused) in the films:
 
I'm working on a score restore feature for both Jurassic Park and The Lost World. Expect to see the first videos somewhere in the next month.

A heads up for those interested to read more discussion of the music as used (and unused) in the films:
 
I'm working on a score restore feature for both Jurassic Park and The Lost World. Expect to see the first videos somewhere in the next month.