Mr. Breathmask

I'm getting this. And my wife is a big Zorro fan, so she practically told me to get it. Married life is hard sometimes.

Instant purchase. A truly complete Hook has been a holy grail release for over twenty years to me. This looks like just that. Amazing.

I'm getting this. And my wife is a big Zorro fan, so she practically told me to get it. Married life is hard sometimes.

I'm getting this. And my wife is a big Zorro fan, so she practically told me to get it. Married life is hard sometimes.

Instant purchase. A truly complete Hook has been a holy grail release for over twenty years to me. This looks like just that. Amazing.

I think your placement of the car crash is spot on. 
 
I didn't want to go into The Hunt yet, but I have one more video coming on that sequence that's currently unfinished, based on the new-found script and the storyboards. We'll get to that one soon, but I need some more time to finish it.
 
In the meantime, here's some music Williams didn't necessarily compose, but was much asked for after the previous release:
 

 
13a. The Compys! part 2/Ripples (film edit) **
9M3/10MA The Compys Dine
10M1 Rialto Ripples
Edited from the individual music stems, the film version of Rialto Ripples offers more of a slow build-up than the cue as composed. I've included The Compys Dine as well, as the whole thing basically flows into each other. Rialto Ripples starts at 2:58, with the alternate material going from 3:45 to 6:18. Funnily enough, there's still an 8-second edit required at 6:41 to sync up the last part of the track.

I think your placement of the car crash is spot on. 
 
I didn't want to go into The Hunt yet, but I have one more video coming on that sequence that's currently unfinished, based on the new-found script and the storyboards. We'll get to that one soon, but I need some more time to finish it.
 
In the meantime, here's some music Williams didn't necessarily compose, but was much asked for after the previous release:
 

 
13a. The Compys! part 2/Ripples (film edit) **
9M3/10MA The Compys Dine
10M1 Rialto Ripples
Edited from the individual music stems, the film version of Rialto Ripples offers more of a slow build-up than the cue as composed. I've included The Compys Dine as well, as the whole thing basically flows into each other. Rialto Ripples starts at 2:58, with the alternate material going from 3:45 to 6:18. Funnily enough, there's still an 8-second edit required at 6:41 to sync up the last part of the track.

Since this thread has come up again I figured I might as well add this - I did my own synchronisation of The Hunt for a video I posted a month or so ago - 
My approach was to have the main ideas in the right place - even if that meant adding in pauses and what not - rather than having a continuous sequence that doesn't quite fit. It's definitely not perfect, and there are several points that don't really work but I am definitely happy with how the car smash section turned out - I think that that is potentially more accurate. Any discussion is welcomed :))

11a. On the Glass (with alternate excerpt) */Rescuing Sarah (alternate) *
7M2/8M1 Pain of Glass
8M2 Truck Stop
This video has by far the most interesting new material from the 2023 remaster We start off with the alternate performance of the second half of Pain of Glass. It's mostly just that: an alternate performance of the same piece, but fun to hear nonetheless. It starts at 1:54 (the first part of the video is the same as before, featuring the first half of Pain of Glass sourced from the 2016 4-CD set).
 
After Pain of Glass, we come to an interesting rarity: the first performance of Truck Stop (and if I recall Jay's comments on The Legacy of John Williams correctly, it was the first cue ever recorded for The Lost World). It's much heavier on the synthesizer than the final version and the fanfare at the end is slightly shorter, but it's just as pulse-pounding as the final track.
 
I have made two video edits in this section: I've cut four frames of Eddie crawling to the truck after his fall, as there appeared to be a slight syncing problem around that area. I've also removed the insert of the tire flying up and the pan to our heroes at the end of the sequence. There's another sync problem there and that tire shot just strikes me as a late VFX addition to put a button on the whole thing. So you should basically ignore that tire flying up in the wide shot at 8:21, as you'll see it magically disappear on the next cut.
 
Enjoy!

14a. Dennis Steals the Embryo (film version)
7m1 Dennis Steals the Embryos
And here's the second new track from the 2022 remaster: the film performance of Dennis Steals the Embryo. Enjoy!

Alrighty then.
 
Here's the first one:
 

 
4a. Journey to the Island (film version)
2m3-3m1 To the Island
3m2 The Dinosaurs
3m2A The Entrance of the Park
 
Not much changes for Journey to the Island when lining up the film takes. There was a small edit in the original video just before the main theme starts. That's gone now, as this version lines up.
The previous video also had the cut to the cars arriving at the visitor's center trimmed. There's now actually a few frames of black, as the transition is slightly longer now.
 
Check back tomorrow for the film version of Dennis Steals the Embryo.
 
Enjoy!
 

So some new things have come to light.
 
For some earlier posts in this thread, I referred to a version of the script that has been posted online at the Daily Script and Jurassic Outpost, among other places. It's a PDF that’s labeled “production draft” and dated August 22, 1996. 
 
However, it turns out David Koepp actually has a scanned copy of the Final Shooting Script on his website. It is dated August 22, 1996 and comes with ten rounds of revisions going all the way up to December 12, 1996 as well as an additional scene dated as late as February 8, 1997.
 
It offers some interesting new insights into things previously discussed here.
 
First off, there’s the Memenchiasaurus scene described in this post. I mentioned at the time it seemed quite elaborate and that I couldn’t find any evidence of it ever being shot.
 
Well, I suppose it wasn’t, because it’s gone from the yellow revision dated September 12, 1996. This revision also has scene 30 as we know it from the film, starting with Nick talking about winning the Pullitzer (as is usual in screenplays, changed passages have an * in the right margin):
 
 
Interestingly, the scene with Malcolm, Sarah and Kelly in the trailer is a very late addition, written for pick-ups.  It’s not incorporated in the main body of the script, but comes at the very end preceded by a page that reads “Additional scene shot 2/8/97. To be inserted after scene 32.” Originally, Malcolm was going for the trailer with Kelly, only to hear the choppers just as he puts his hand on the door. He then turns and walks to the edge of the ridge. Notice how Malcolm is still/again holding Kelly’s hand when he “exits” the trailer in the final film.
The new scene is actually slightly longer than what ended up in the final cut and it’s a very welcome addition, offering us the only glimpse into the Macolm/Sarah/Kelly dynamic before things really take a turn.
 
We then go into the landing of the InGen party, which is told differently in Koepp’s final version. In the August 22 production draft, we cut back and forth between the party landing and our heroes. Right away, this is the first place where a lot of Burke’s role has been omitted, as he was previously seen setting up the camp with Ludlow right when the InGen party lands. This setting up camp sequence has been omitted entirely, because in the final version, we now stay with our heroes as they spot the helicopters, climb to the top of a ridge to overlook what’s going on and then we finally shift perspective to the InGen party after Nick has set up his cameras etc. (which we see him doing during The Hunt in the final cut of the film). The shooting script then cuts to Roland and Ludlow in their jeep before the hunt commences as it always did.
 
The scene with Ajay described here remains unchanged.
 
The break-in to the camp discussed here was another spot where the production draft differed from the final film, featuring Ludlow and Burke discussing what they have found on the island so far, instead of the teleconference that’s in the final film. Koepp’s final script does feature the teleconference, as well as additional material as Nick and Sarah enter the camp. This is from the green revision dated September 23, 1996:
 

So there it is. Some script changes from the last time I looked at this. No new musical insights, but some interesting tidbits nonetheless.
 
Oh yeah, and there's been a bunch of alternates released in the meantime. Look for videos with those in the coming days.
 
Cheers!

I really couldn't tell you, to be honest. This was back in 2017 and I'm not that proficient at hearing the differences. "It sounded the same to me" is as far as I can get... 
 
Although that performance did feature a choir that replaced all of the synth choir from the original score.
 
 
 
Jerry Goldsmith is disturbingly absent from pretty much every film music program I've seen since bloody Úbeda. It's disconcerning, to be honest. Such a legacy going to waste.

So far, I've been to these:
 
The Kid
The Gold Rush
The Lord of the Rings: The Fellowship of the Ring (twice)
The Lord of the Rings: The Two Towers (once, but I already have tickets for another performance in Antwerp next year)
Titanic
West Side Story
Gladiator
Star Wars: Episode IV - A New Hope
Star Wars: Episode V - The Empire Strikes Back
Star Wars: Episode VI - Return of the Jedi
Pirates of the Caribbean: The Curse of the Black Pearl
Jurassic Park
 
Predictably, PotC was the weakest of the bunch. They're doing Dead Man's Chest in The Netherlands this Christmas, but I can't really be bothered. At World's End could be good live, though.
 
The final thirty minutes of RotJ is madness for the orchestra to play in one go. Really impressive! T-Rex Rescue and Finale also sounded like quite the workout.
 
On my wishlist are:
The Lord of the Rings: The Return of the King
How to Train Your Dragon
E.T. the Extra-Terrestrial
and a few Potters could be fun.
 
Didn't they also do The Matrix and Independence Day at the RAH at some point? Those would be sweet to hear live too.

So some new things have come to light.
 
For some earlier posts in this thread, I referred to a version of the script that has been posted online at the Daily Script and Jurassic Outpost, among other places. It's a PDF that’s labeled “production draft” and dated August 22, 1996. 
 
However, it turns out David Koepp actually has a scanned copy of the Final Shooting Script on his website. It is dated August 22, 1996 and comes with ten rounds of revisions going all the way up to December 12, 1996 as well as an additional scene dated as late as February 8, 1997.
 
It offers some interesting new insights into things previously discussed here.
 
First off, there’s the Memenchiasaurus scene described in this post. I mentioned at the time it seemed quite elaborate and that I couldn’t find any evidence of it ever being shot.
 
Well, I suppose it wasn’t, because it’s gone from the yellow revision dated September 12, 1996. This revision also has scene 30 as we know it from the film, starting with Nick talking about winning the Pullitzer (as is usual in screenplays, changed passages have an * in the right margin):
 
 
Interestingly, the scene with Malcolm, Sarah and Kelly in the trailer is a very late addition, written for pick-ups.  It’s not incorporated in the main body of the script, but comes at the very end preceded by a page that reads “Additional scene shot 2/8/97. To be inserted after scene 32.” Originally, Malcolm was going for the trailer with Kelly, only to hear the choppers just as he puts his hand on the door. He then turns and walks to the edge of the ridge. Notice how Malcolm is still/again holding Kelly’s hand when he “exits” the trailer in the final film.
The new scene is actually slightly longer than what ended up in the final cut and it’s a very welcome addition, offering us the only glimpse into the Macolm/Sarah/Kelly dynamic before things really take a turn.
 
We then go into the landing of the InGen party, which is told differently in Koepp’s final version. In the August 22 production draft, we cut back and forth between the party landing and our heroes. Right away, this is the first place where a lot of Burke’s role has been omitted, as he was previously seen setting up the camp with Ludlow right when the InGen party lands. This setting up camp sequence has been omitted entirely, because in the final version, we now stay with our heroes as they spot the helicopters, climb to the top of a ridge to overlook what’s going on and then we finally shift perspective to the InGen party after Nick has set up his cameras etc. (which we see him doing during The Hunt in the final cut of the film). The shooting script then cuts to Roland and Ludlow in their jeep before the hunt commences as it always did.
 
The scene with Ajay described here remains unchanged.
 
The break-in to the camp discussed here was another spot where the production draft differed from the final film, featuring Ludlow and Burke discussing what they have found on the island so far, instead of the teleconference that’s in the final film. Koepp’s final script does feature the teleconference, as well as additional material as Nick and Sarah enter the camp. This is from the green revision dated September 23, 1996:
 

So there it is. Some script changes from the last time I looked at this. No new musical insights, but some interesting tidbits nonetheless.
 
Oh yeah, and there's been a bunch of alternates released in the meantime. Look for videos with those in the coming days.
 
Cheers!

So some new things have come to light.
 
For some earlier posts in this thread, I referred to a version of the script that has been posted online at the Daily Script and Jurassic Outpost, among other places. It's a PDF that’s labeled “production draft” and dated August 22, 1996. 
 
However, it turns out David Koepp actually has a scanned copy of the Final Shooting Script on his website. It is dated August 22, 1996 and comes with ten rounds of revisions going all the way up to December 12, 1996 as well as an additional scene dated as late as February 8, 1997.
 
It offers some interesting new insights into things previously discussed here.
 
First off, there’s the Memenchiasaurus scene described in this post. I mentioned at the time it seemed quite elaborate and that I couldn’t find any evidence of it ever being shot.
 
Well, I suppose it wasn’t, because it’s gone from the yellow revision dated September 12, 1996. This revision also has scene 30 as we know it from the film, starting with Nick talking about winning the Pullitzer (as is usual in screenplays, changed passages have an * in the right margin):
 
 
Interestingly, the scene with Malcolm, Sarah and Kelly in the trailer is a very late addition, written for pick-ups.  It’s not incorporated in the main body of the script, but comes at the very end preceded by a page that reads “Additional scene shot 2/8/97. To be inserted after scene 32.” Originally, Malcolm was going for the trailer with Kelly, only to hear the choppers just as he puts his hand on the door. He then turns and walks to the edge of the ridge. Notice how Malcolm is still/again holding Kelly’s hand when he “exits” the trailer in the final film.
The new scene is actually slightly longer than what ended up in the final cut and it’s a very welcome addition, offering us the only glimpse into the Macolm/Sarah/Kelly dynamic before things really take a turn.
 
We then go into the landing of the InGen party, which is told differently in Koepp’s final version. In the August 22 production draft, we cut back and forth between the party landing and our heroes. Right away, this is the first place where a lot of Burke’s role has been omitted, as he was previously seen setting up the camp with Ludlow right when the InGen party lands. This setting up camp sequence has been omitted entirely, because in the final version, we now stay with our heroes as they spot the helicopters, climb to the top of a ridge to overlook what’s going on and then we finally shift perspective to the InGen party after Nick has set up his cameras etc. (which we see him doing during The Hunt in the final cut of the film). The shooting script then cuts to Roland and Ludlow in their jeep before the hunt commences as it always did.
 
The scene with Ajay described here remains unchanged.
 
The break-in to the camp discussed here was another spot where the production draft differed from the final film, featuring Ludlow and Burke discussing what they have found on the island so far, instead of the teleconference that’s in the final film. Koepp’s final script does feature the teleconference, as well as additional material as Nick and Sarah enter the camp. This is from the green revision dated September 23, 1996:
 

So there it is. Some script changes from the last time I looked at this. No new musical insights, but some interesting tidbits nonetheless.
 
Oh yeah, and there's been a bunch of alternates released in the meantime. Look for videos with those in the coming days.
 
Cheers!

It was worth it just to hear "Hard to Starboard!" and The Sinking live.
 
I loveTitanic, btw, and I never feel the movie's 3h14m running time. That film flies by.
 
In fact, I would argue the LotR concerts are much more intense (for the orchestra in particular), as those films also clock in at 3 hours and there are some significant stretches without score in Titanic, which there aren't in Lord of the Rings. And at 3h20m, the theatrical cut of RotK is even longer than Titanic. 
 
 
That sounds amazing.
 
I've been really into the Matrix scores lately, after finally picking up the expanded sequel releases. But I love how wild the original is too. I just can't think of any other action film that has ever dares to sound like that.

I really couldn't tell you, to be honest. This was back in 2017 and I'm not that proficient at hearing the differences. "It sounded the same to me" is as far as I can get... 
 
Although that performance did feature a choir that replaced all of the synth choir from the original score.
 
 
 
Jerry Goldsmith is disturbingly absent from pretty much every film music program I've seen since bloody Úbeda. It's disconcerning, to be honest. Such a legacy going to waste.

Some other cool stuff up there, I'd appreciate a like and or subscribe
 
 
 
 

I treated myself over at La-la Land Records last month. Twice.
 
First with this:
 

 
Then with these:
 

 
And it looks like I managed to pick up both The World Is Not Enough and The Matrix Revolutions just in time before they sold out. Hurray!

I treated myself over at La-la Land Records last month. Twice.
 
First with this:
 

 
Then with these:
 

 
And it looks like I managed to pick up both The World Is Not Enough and The Matrix Revolutions just in time before they sold out. Hurray!

I treated myself over at La-la Land Records last month. Twice.
 
First with this:
 

 
Then with these:
 

 
And it looks like I managed to pick up both The World Is Not Enough and The Matrix Revolutions just in time before they sold out. Hurray!

I have to admit: Die Another Day can be rather overbearing. I'm usually pretty done with it by the time I reach the end. But The World Is Not Enough is pretty good and I already had Tomorrow Never Dies (because it's the best) and I wanted to complete the set.

I treated myself over at La-la Land Records last month. Twice.
 
First with this:
 

 
Then with these:
 

 
And it looks like I managed to pick up both The World Is Not Enough and The Matrix Revolutions just in time before they sold out. Hurray!

I treated myself over at La-la Land Records last month. Twice.
 
First with this:
 

 
Then with these:
 

 
And it looks like I managed to pick up both The World Is Not Enough and The Matrix Revolutions just in time before they sold out. Hurray!