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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 Pak Theme (End Credits) */The Lost World (alternate) 18. Visitor in San Diego, part 2 */Ludlow's End */Tranquilizer Dart */The Lost World (alternate)/Jurassic Pak Theme (End Credits) * * 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.
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) * * 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 NublarAs 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.
Inspired by Bloodboal's thread, I thought there would maybe be some interest to put pure score to scenes, and take out all the dialogue, and sound effects to enjoy the music fully? I started a project way back ago, but I could not get all the edits exact, but it is still enjoyable to watch Here are a few I did ages ago for fun: Test Drive from How to Train Your Dragon The Might of Rome from Gladiator War from Avatar