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Jurassic Park and The Lost World Complete Release coming from LaLa-Land Records on 29th of November


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Jim Titus' article about the making of the artwork: https://www.behance.net/gallery/57863925/Welcome-(Back)-to-Jurassic-Park

In Japan, in the big record stores in Tokyo, you can just buy these Specialty Label soundtrack albums off the shelves.... They always have 3 or 4 copies in stock.   How amazing is that? 

Finally I can kind of put my finger on what my biggest peeve with Jurassic Park is - it "blows its load" very, very early - in the 5th track out of 28 movie score tracks! The Brachiosaur scene's score

15 minutes ago, Fal said:

Just wondering is that a subtle reference to the "Lost World" theme in The Trek at 1:31 (and maybe 1:05?)

 

It strikes me as a very subtle reference to the opening bar of the main theme, yes. Same chord progression, I think.

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1 hour ago, Fal said:

Just wondering is that a subtle reference to the "Lost World" theme in The Trek at 1:31 (and maybe 1:05?)

While it might be related to the Lost World theme I called this little idea the Trek motif in my analysis as it is repeated during the cue and later appears in Compys Dine very subtly.

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7 hours ago, Incanus said:

While it might be related to the Lost World theme I called this little idea the Trek motif in my analysis as it is repeated during the cue and later appears in Compys Dine very subtly.

 

Am I imagining things or does the same motif appear here in Malcolm's Journey?

 

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Just read filmtracks' updated review for this set and was thoroughly disappointed by his analysis and thoughts on the previously unreleased material. I think the revelations of this expanded set really cements my opinion that it makes the score, not hinders it. Before this expansion I was only really interested in a handful of cues - the ones available on the OST, but the expansion revealed an entirely different side of the score I hadn't considered even after seeing the film countless times.

 

In CC's original review he reflects on the score as Williams having a 'bad hair day' and seems to imply as he does in other franchise score reviews that lack of continuity in themes from the previous score is an unforgivable sin. I can't help but disagree entirely with this assessment! With the dark, brooding, percussive and propulsive elements and the darker theme for this story I would easily place TLW in my most-listened scores since its release!

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6 hours ago, Fal said:

Interesting about the ABC thing, are you referring to how it is structured in the track "The Lost World Theme" or the theme itself? do the additions to the standard version of the theme that is only heard in concert affect this?

 

It's the theme itself, and by that I mean the most complete form that can be considered self-contained (musically, I mean an eight-bar theme). Additions can be understood as embellishments to this self-contained core, or that core can be part of a larger structure, like when it's an A section to a larger ABA.

 

So for TLW, this core is what's heard between 0:13 and 0:34, which has a structure of ABCD, as I mentioned. It's relatively rare in his main themes:

 

 

What I find fascinating is how different this is from most of his other main themes.

 

In Williams' more fantasy-based scores generally, a common structure for the main themes is AA' AB (or AA' AA'). Hedwig's theme is a great example of this one in its AA' AB form. This of course is the A section of a larger form that goes on to a B section. The part I mean is from 0:00-0:18 below:

 

 

Another common structure in his fantasy-based scores is AA A'B. Take, for example, the full form of the Mountain Theme from CE3K heard in the end credits (from 0:50-1:32 below):

 

 

 

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28 minutes ago, Ludwig said:

 

It's the theme itself, and by that I mean the most complete form that can be considered self-contained (musically, I mean an eight-bar theme). Additions can be understood as embellishments to this self-contained core, or that core can be part of a larger structure, like when it's an A section to a larger ABA.

 

So for TLW, this core is what's heard between 0:13 and 0:34, which has a structure of ABCD, as I mentioned. It's relatively rare in his main themes:

 

 

What I find fascinating is how different this is from most of his other main themes.

 

In Williams' more fantasy-based scores generally, a common structure for the main themes is AA' AB (or AA' AA'). Hedwig's theme is a great example of this one in its AA' AB form. This of course is the A section of a larger form that goes on to a B section. The part I mean is from 0:00-0:18 below:

 

 

Another common structure in his fantasy-based scores is AA A'B. Take, for example, the full form of the Mountain Theme from CE3K heard in the end credits (from 0:50-1:32 below):

 

 

 

Forgive my ignorance, but I'm not familiar with the use of apostrophes in the melody structure breakdown.  Is that just to denote that that A' ends differently than A?

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18 minutes ago, Disco Stu said:

 

Forgive my ignorance, but I'm not familiar with the use of apostrophes in the melody structure breakdown.  Is that just to denote that that A' ends differently than A?

 

Exactly, or that it's just somehow a bit different, a variation of A, you might say.

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  • 4 weeks later...

Just noticed that Christian Clemmensen at Filmtracks gave The Lost World 3/5 stars! :o

 

I guess he isn't a fan of sequel scores that deviate too much from the mold set by the first scores in franchises.

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4 hours ago, Incanus said:

Just noticed that Christian Clemmensen at Filmtracks gave The Lost World 3/5 stars! :o

 

I guess he isn't a fan of sequel scores that deviate too much from the mold set by the first scores in franchises.

 

It's a note given for the OST... which was "ordinary" and not so well balanced between action cues and slower ones.

 

Nothing compared to the expanded score, which is "PERFECT".

 

I never loved the OST, in fact I truly discovered this score with the expanded set.  I wonder if I really listened the OST once completely...

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On 31.5.2018 at 8:03 PM, kaseykockroach said:

He gave Rogue One four stars, every other John Powell score gets a hideously dismissive three stars, Poltergeist gets four instead of five stars, he hates Link, he burned our crops, poisoned our water supply and delivered a plague onto our houses!!

There are more crimes:

Alien only 4 stars,

Total Recall only 4 stars,

JFK only 2 stars,

The Prisoner of Azkaban only 4 stars,

The Mummy only 3 stars,

Alien 3 only 2 stars,

...

...

...

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On 1.6.2018 at 1:52 AM, Batman's Diet Coke said:

The Lost World is Williams' best score. There was something in the water there in SoCal in the mid-to-late 90s which caused Williams, Horner and Arnold to compose their best shit. Goldsmith had a Brita.

 

Goldsmith did some of his most-beloved work in that period, what are you babbling about? 

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1 hour ago, publicist said:

Goldsmith did some of his most-beloved work in that period, what are you babbling about? 

What are you refering to?

 

And BTW, you once said that also Goldsmith made a lot of shit. What were you refering to back then?

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But it's bad, like too many others of that period. Minding or liking it is another matter. 'Bad Girls' is a rather bad score - the synclavier main theme is obnoxious, the action material is warmed-over Rambo - but i enjoy certain cues. Doesn't mean you can't call a spade a spade.

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6 hours ago, publicist said:

It's pretty self-explanatory what is what, isn't it?

Not without my Daughter

Bad Girls

The Vanishing

Mom and Dad Save the World

Mr. Baseball

Caboblanco

Six Degrees of Separation

 

First Knight

The Shadow

The Ghost and the Darkness

The Edge

Mulan

The Mummy

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