Jump to content

The John Williams Jurassic Park Collection from La-La Land MUSIC Discussion


Recommended Posts

  • Replies 1.1k
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

Popular Posts

So...I visited the official Jurassic world exhibition yesterday...and look what I found in the tyrannosaur panel ... Anyone see something familiar? LOL

Ah, the OS album of The Lost World....

 

It took a lot of flak, many people hated it, the words and phrase most often mentioned in connection with it are "dissonant" and "dark" and "hard to get into." And, yes, it was hard to get into for me, as well, except the instantly memorable first track and main title.... 

 

But then something strange happened. Over the course of "decades" (it took me a very long time) I began to discover "little gems." First it was "The Hunt" and then "Sarah's Rescue" and then "Stegosaurus" and then "Visitor to San Diego" etc. And I never stopped listening to it!

 

No, it's a great score and great OS album (I will always treasure it!). The LLL version just puts it over the top.

Link to post
Share on other sites

There is certainly great music on the OST. It's just not presented in a digestible program.

 

Editing the OST into a chronological program already makes a difference, but the OST and the complete score are night and day in terms of listening experience. 

Link to post
Share on other sites

Sure, but that's also pretty much a matter of taste. I for one rarely listen to an OS album chronologically from start to finish (even the most popular ones, like Star Wars, Jurassic Park, etc.) so that never bothered me.

 

One thing I realize now looking back is that this soundtrack (and as a consequence this soundtrack album) always held a certain fascination for me. I never stopped listening to it, like I do with some JW albums. Come to think of it, it's like the "Island's Voice" beckoning me to give it a try and revisit it over and over again.....

 

But yeah, no doubt, the addition of the never before released music on the LLL album is absolutely mind-blowing and fantastic. 

Link to post
Share on other sites

The Lost World is a good example of a score that really improved upon getting a complete release. E.g. the recent Intrada release of The Rocketeer added significant amount of material between the central setpieces found on the original OST album but the original album was very well put together and works extremely well on its own and thus the unreleased material while great to have to bolster the musical structure and narrative, didn't actually prove to be a huge revelation.

 

With TLW I feel the 40 minutes of additional music have a much bigger impact and adds significantly to the whole score from start to finish and actually reveals qualities the OST just didn't fully have space to explore in-depth in those 68 minutes of its running time. Plus many of the pieces are if not major setpieces significant and interesting cues in their own right.

 

The Visitor in San Diego in its entirety is one of the most viciously riveting action setpieces from Williams in the 1990's an absolute tour-de-force for the percussion section and orchestra that leaves me breathless every time.

Link to post
Share on other sites
11 minutes ago, Luke Skywalker said:

My god, this release slipped my radar or I must have forgotten about it when announced.

It's still worth it even if you already have the OST. ;)

Link to post
Share on other sites

Listened to a few more of the unreleased tracks of TLW yesterday and they're becoming more brilliant with each listen!

 

Once more the short little piano bit in "Ripples" stood out to me. Does anyone happen to know what that was meant to underscore?

It seems like such a random thing to throw in there, but I'm sure there must be a very good reason for it.

 

Also, does anyone have any idea how come TLW turned out to be so very different from the first Jurassic Park?

Is that something Spielberg asked for? Or was it John Williams being exceptionally inspired to do something quite new instead?

I've got to say, it totally works very well, but it is totally unexpected too.


And who in his right mind follows up the two upbeat themes of the original Jurassic Park with a theme like "The Lost World"?

How he managed to make something so much darker, yet still with such a sense of adventure, is beyond me. :D

I can't think of anything that Williams wrote that is quite the same.

Link to post
Share on other sites

Whoever says I didn't already do exactly that?

Oh wait, *I* said that. Several weeks back.

I even remember you being annoyed because I happened to receive it sooner than you did.

Sorry about that, by the way. If I would have had any choice in the matter, you would have been quite welcome to get it first.

 

That is the second time this week that you try to scold me for very little reason.

Do you have a problem with me? Actually, don't answer that. I don't even care to know.

 

As it is, I figured my previous post was an interesting subject very much in line with the intended purpose of this thread.

The liner notes don't really answer all of my questions and certainly not in the detail I'd be interested in.

As mentioned by other people as well, they focus more on the historical background behind the making of the films rather than the music.

 

So I'd be far more interested to hear your thoughts on that instead!

Link to post
Share on other sites

I indeed haven't been able to keep up with everything being discussed on the forum.

Seriously, there is SO MUCH here, and often not on topic, so with my limited time I have to focus on only those threads that seem to be the most interesting.

 

This particular thread though I have been keeping up on ever since it started for obvious reasons.

I don't remember my questions being answered here before, but maybe I won't rule out that I missed it.

Or maybe it happened as part of an off topic discussion somewhere else.

Either may very well be the case, but I wouldn't know.

If anyone still remembers, I wouldn't mind a link to the bit that I accidentally missed.

Link to post
Share on other sites

With regards to your second question. The second film lacks the awe aspect and is darker in tone. So i think its just a case of the score reflecting that. Both the film and score feel like stylistic exercises. Not much in the way of substance. But excellent displays of technical prowess.

 

 For once neither seemed like they felt particularly bogges down by the legacy of the first film. At least that the feeling I always had.

Link to post
Share on other sites

I think Spielberg's original brief of making TLW score more exotic and percussive with jungle or tribal drums rhythms as the driving element also indicates that Spielberg wanted to really diffrentiate between the two films in tone and style. It also gave Williams a great opportunity to go into a new direction which seems to be the instinct for most composers anyway and Williams is not an exception despite having big leitmotivic score series under his belt. He always is quick to note how much of his sequel scores contain new material, which he usually writes in abundance, and also constructs his albums to highlight his new music (often at the expense of old established themes).

Link to post
Share on other sites
On 8-1-2017 at 0:30 PM, Pieter_Boelen said:

Once more the short little piano bit in "Ripples" stood out to me. Does anyone happen to know what that was meant to underscore?

 

The Rex bares his teeth over Kelly's head, then we pan over to Kelly and see a tear rolling down her face. It's the last shot before it cuts back to Malcolm outside. The piano comes in right as the shot moves to Kelly's face.

Link to post
Share on other sites
6 hours ago, Mr. Breathmask said:

I get the deadline Williams chose to score the first half of the film's title rather than then the second. That idea was then slightly turned around in editing by using the TLW theme more prominently via tracking.

 

Maybe its because I haven't had coffee yet, but I've read this 3 times and don't understand what you're saying.  Can you reword?

Link to post
Share on other sites

"I get the deadline" should be "I get the idea". Stupid autocorrect.

 

My point was that the original idea was probably to go with a jungle sound (as you'd expect from a film called The Lost World). After scoring, there might have been some doubt if the score was adventurous enough for a Jurassic Park score, as it doesn't have a prominent adventure theme like the first one. This was then fixed by tracking the concert theme into the film at various places.

Link to post
Share on other sites

I think I get it.  When you say "the first half of the film's title", you mean "The Lost World", because the full title of the film is "The Lost World: Jurassic Park".  Is that right?

Link to post
Share on other sites
14 minutes ago, Mr. Breathmask said:

After scoring, there might have been some doubt if the score was adventurous enough for a Jurassic Park score, as it doesn't have a prominent adventure theme like the first one. This was then fixed by tracking the concert theme into the film at various places.

Now, after having seen TLW again as an adult, it had a sour aftertaste to me, as i had the impression that the movie as well as the use of music were edited, changed and cut to make it more comfortable to all the mainstream viewers. Without that coward producers it could probably have been a more interesting, unique film. Then the score would have been used with more respect, too.

Link to post
Share on other sites

You can agree or disagree with certain creative decisions regarding music edits for The Lost World but I hardly think it makes Spielberg a coward for deciding to track the main theme in certain places.  That's a little strong.  The original intentions were really cool and it's kind of a shame they weren't used.  That's it.

Link to post
Share on other sites

I don't really follow Spielberg's logic with that much myself either.  Tracking in the Main Theme for "heroic" scenes I can understand, but that is far from a heroic scene

Link to post
Share on other sites

TLW had much potential to become an ambitious movie, more than a simple entertainment movie, but editing the music to get a brighter/more heroic atmosphere was the first step away from that, as was the chaotic post-production and the will to limit its running time to 2 hours. To be less stocky it would have needed at least a running time of 150 minutes.

Link to post
Share on other sites
7 hours ago, Jay said:

I think I get it.  When you say "the first half of the film's title", you mean "The Lost World", because the full title of the film is "The Lost World: Jurassic Park".  Is that right?

I got that, guys.... and im not a english native... :sarcasm:

 

 

Link to post
Share on other sites
5 hours ago, Jay said:

I don't really follow Spielberg's logic with that much myself either.  Tracking in the Main Theme for "heroic" scenes I can understand, but that is far from a heroic scene

 

I think the tracking in the round-up scene was as simple as Spielberg saying, "I want the main theme statement over the epic shot of the whole herd, so work backwards from there." The tracked music fits amazingly well for that shot; it strikes me as SS wanting a "Welcome to Jurassic Park" awe-inspiring moment for the sequel.

 

I was only 10 when I first saw TLW but I was a huge fan of the music in JP, without really understanding film music. I still remember seeing that moment and immediately thought, "this is the new Lost World theme!" because I didn't understand why the original JP theme was mostly absent.

 

Of course, imagine my confusion after getting the soundtrack and hearing this amazing action track called The Hunt at the start of the album. In a funny way, maybe that's what sparked my interest in this score, John Williams and film music generally?

Link to post
Share on other sites

After giving the complete chronological JP many listens, I believe I'll have to make some changes for a better listening experience. I thought the 20th was a great presentation of the score. It had the best unreleased parts to sequence into an already strong album.

 

One of my issues with the complete JP are all these short cues and cues with no resolve that make absolutely no musical sense. "Incident At Isla Nublar" is a great album track, but the film cue ends awkwardly. It just sounds stupid to me while I'm listening through. "You Bred Raptors" and "The Saboteur" are pointless. Hell, "Entrance of Mr. Hammond" was better segueing into "The History Lesson". "Race to the Docks" is another short cue with an awkward abrupt end. This is stuff that works in the film, but not as a listening experience. It's why it was never on the OST or expanded version.

 

I realize I'm in the minority here and you all worship every note of this score. But every time I hear "You Bred Raptors" I'm wondering why the hell you guys wanted it so badly.

Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.