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


Jay

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The first minute or so of the cue was written for the Raptor chasing Ellie in the electric shed, in the final cut it was replaced by tracked music from other cues.  The second minute of the cue is for the "clever girl" scene with Muldoon and the raptors.

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48 minutes ago, Josh500 said:

 

Both scores deserve 5 stars, obviously. 

 

They're different, though, because the movies are different

 

It's hard for me to describe what I mean. JP is a 5 star classic, Lost World is a 5 STAR CLASSIC. I love all 4 JP scores so far, however.

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8 minutes ago, Score_Fan said:

 

It's hard for me to describe what I mean. JP is a 5 star classic, Lost World is a 5 STAR CLASSIC. I love all 4 JP scores so far, however.

 

Methinks:

 

Jurassic Park and The Lost World: *****

Jurassic Park III: ***

Jurassic World: ****

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Just now, Josh500 said:

 

Methinks:

 

Jurassic Park and The Lost World: *****

Jurassic Park III: ***

Jurassic World: ****

 

 

I would say essentially the same, but reverse JP3 with JW. Giacchino wrote some fantastic music, but Don Davis composing was so sublime to JP3, which is more than the pos movie deserved. :lol:

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57 minutes ago, Score_Fan said:

 

 

I would say essentially the same, but reverse JP3 with JW. Giacchino wrote some fantastic music, but Don Davis composing was so sublime to JP3, which is more than the pos movie deserved. :lol:

 

How old are you? 16?

 

Can't you praise something without putting down something else?

 

I mean, pos. Really? 

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2 hours ago, Score_Fan said:

 

 

I would say essentially the same, but reverse JP3 with JW. Giacchino wrote some fantastic music, but Don Davis composing was so sublime to JP3, which is more than the pos movie deserved. :lol:

 

I rather like JP3 the movie, but aside from that, I agree. I've never really been drawn that much to Giacchino's score outside of the major highlights, whereas Davis' score is full of awesome moments. Certainly I think he's the better action composer, although I think Giacchino's main theme is better.

 

Now if Davis had come back for JW, that would've been potentially awesome in my book.

 

Hence:

 

JP: *****

TLW: *****

JP3: ****

JW: ***

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9 minutes ago, Richard Penna said:

JP: *****

TLW: *****

JP3: ****

JW: ***

This.

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It's really hard to follow JW, isn't it? Davis was almost slavish to the original theme, to his own detriment. While Giacchino mostly did his own thing and it was pretty ordinary.

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Hmm, not sure whether JPIII or Jurassic World is better.

 

Movie: JW > JPIII

Score: JW < JPIII 

 

But it's close. 

 

I rather like the bird nest scene from JPIII. 

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5 minutes ago, BloodBoal said:

 

I'm sure JW2 will be a better score than JW.

 

Maybe if Gia stops doing 5 orchestral scores a year and actually starts favouring quality over quantity.

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There was a tweet from J.A. Bayona on Gia's birthday intimating it. Plus Trevorrow is basically EP of the series now that Spielberg's stopped caring (except for checking his bank statements after the opening weekend).

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19 hours ago, Josh500 said:

 

How old are you? 16?

 

Can't you praise something without putting down something else?

 

I mean, pos. Really? 

 

 

I'm 25, and yes, JPIII is indeed a POS movie.

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After listening to Ripples, can we assume that the JPIII Pteranodon introduction percussion is tracked from this, or any other cue from TLW? I always thought it was Davis quoting Williams, but recently someone said it had been said to be library music. (TLW music would be some kind of library music as they own it, dont they?)

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Has anyone started a "Score Restored" for TLW yet? I'm fascinated by this score in complete form, easily the most revelatory score expansion I've experienced.

 

It was a score I thought I was familiar with... geez, was I wrong! What Williams was trying to convey did not come in across in the film presentation, comfortably the worst butchering of a score in his esteemed career with Spielberg. But hearing the score as intended in chronological form was like listening to an entirely new score. I will say it's very depressing how his score was treated in the final cut -- this is Williams at his best. If he ever produces another score with writing as extroverted as this one, we'll be very lucky fans.

 

I just love the contrast with his writing for the first film. This score is downright disturbing for extended periods. That stretch between The Trek and The Compys! is Williams in flat out horror movie mode...  and it's amazing!

 

And whoever described this score as the most "jazz influenced" of his career was spot-on. That's a brilliant way to describe the way he used percussion to enhance his cues and give the score a unique character. For all the horror and dissonance and atonality he infused the score with, he maintains a through-line of percussive force that drives the score (and the film) with forward momentum. Simply masterful.

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25 minutes ago, Score_Fan said:

 

i'm calling JP3 a piece of shit lol

Bespin is right.We use too many abbreviations here. :P 

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20 minutes ago, crumbs said:

Has anyone started a "Score Restored" for TLW yet? I'm fascinated by this score in complete form, easily the most revelatory score expansion I've experienced.

 

It was a score I thought I was familiar with... geez, was I wrong! What Williams was trying to convey did not come in across in the film presentation, comfortably the worst butchering of a score in his esteemed career with Spielberg. But hearing the score as intended in chronological form was like listening to an entirely new score. I will say it's very depressing how his score was treated in the final cut -- this is Williams at his best. If he ever produces another score with writing as extroverted as this one, we'll be very lucky fans.

I think the reason for the chopping of the music is simply that Spielberg wasn't around at the sessions to give his input on time to Williams which led to the tracking. Dialling out music is a normal procedure when the film makers decide not to use a cue or part of it for some reason, obviously because they think silence works better. As we know it has happened to Williams' cues in the past and recent times.

 

I did some comparisons of laying the unused pieces and original unedited versions of the music on top of the film when I was writing the analysis but those contained mock-ups and ripped material with sound effects, so it would be interesting to see how the actual full cues work in the film. If I remember correctly Matessino mentioned that the new issue of Film Score Monthly features such videos.

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8 minutes ago, Incanus said:

I think the reason for the chopping of the music is simply that Spielberg wasn't around at the sessions to give his input on time to Williams which led to the tracking. Dialling out music is a normal procedure when the film makers decide not to use a cue or part of it for some reason, obviously because they think silence works better. As we know it has happened to Williams' cues in the past and recent times.

 

I did some comparisons of laying the unused pieces and original unedited versions of the music on top of the film when I was writing the analysis but those contained mock-ups and ripped material with sound effects, so it would be interesting to see how the actual full cues work in the film. If I remember correctly Matessino mentioned that the new issue of Film Score Monthly features such videos.

 

Are most in agreement that Up In A Basket and In The Trailer were best left dialled out? That stretch of music was the most intriguing to me upon first listen.

 

I like both cues as standalone pieces but after lining them up with the film the latter is just... horrible. A total miscalculation of what the film needed (I can't even work out why they spotted this scene to have music) and the cue JW wrote was far too busy for such a tense scene. The synth is... interesting.

 

Conversely, Up In A Basket does a beautiful job ratcheting up the tension with every shot; great use of dissonance here.

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I don't think it is all that uncommon to have more music spotted than is ultimately needed and I think Spielberg likes to use music as much as possible in his films. Sometimes it becomes obvious once you line up the composition to the picture that it has the wrong tone or intensity and those can be addressed during the sessions but again it is not uncommon to find out that the scene might work just best without any music with sound effects carrying the tension so that you don't have enhance it by any other means. E.g. A.I. illustrates that even with a normal recording sessions schedule and chances to massage the cues with director's input and Williams writing revisions, some of the music still has to be editorially shaped for the final film.

 

The In the Trailer cue is a good example of this where the presence of the animatronic T-Rexes was so powerful it was decided the scene needed no music to enhance the tension, just the sound effects. Which I think was the right decision for the film.

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Have you got a rough idea of where the cue was meant to begin? The only place is seems to line up with all the sync points (Kelly in the high hide, "Hang on, this gonna be bad") is starting immediately after the Bull Rex nudges the trailer with his snout.

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I think it was meant to begin when Malcom is seen bursting  through the jungle on his way to the trailer. Here:

 

 

The music would have ended when the trio is trying to give the baby T-Rex to the parents through the trailer door.

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55 minutes ago, Incanus said:

I think it was meant to begin when Malcom is seen bursting  through the jungle on his way to the trailer. Here:

 

 

The music would have ended when the trio is trying to give the baby T-Rex to the parents through the trailer door.

 

 

Well the crescendo that ends Up In A Basket perfectly coincides with Malcolm bursting into the trailer (after lining up the cue with the music they didn't dial out in the film). Your suggestion doesn't line up with the film -- it does when Malcolm bursts into the trailer, though -- but so does starting it when the Rex nudges the trailer, due to sync points with the Kelly scene. I'm trying to work out if there's a sync point with the first Rex popping into view outside the trailer window; surely JW would've given that moment orchestral recognition? And surely the synths starting at 0:42 are meant to line up with something?

 

Of course, I'm happy to post a score restored example here but not going to post anything that gets the forum into trouble.

 

Still lining up music with the rest of the film, there's even more music in The Trek they dialled out than I thought. Even little things like Nick eyeing off Roland's shotgun, and Carter not hearing his friend as he disappears into the jungle.

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Hosting videos on YouTube, vimeo, or Google Drive, etc and then embedding them in a forum post is completely fine. The only thing you can't do is store copyrighted material on our actual server ie as a post attachment. 

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Also, can anyone explain what the deal is with Ripples? The film version is radically different to the LLL version, but I'm assuming it was created via music editing?

 

Just comparing the two, I really miss those repetitive, tense strings that build throughout the film version; I always assumed it was JW's intention because it does such an effective job ramping up the tension until its unbearable (the moment Carter wakes up). In JW's original intention it feels slightly underdone because the strings dissolve away and it's just the brass and percussion that carries into the orchestral flourish as Carter wakes up.

 

3 minutes ago, Jay said:

Hosting videos on YouTube, vimeo, or Google Drive, etc and then embedding them in a forum post is completely fine. The only thing you can't do is store copyrighted material on our actual server ie as a post attachment. 

 

Thanks Jay, good to know what's AOK on JWFan. Don't want any trouble but would like to share. :)

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I think the last 40 seconds of Tranquilizer Dart are quite interesting. The impression you get from The Lost World on the OST is even more distorted than the impression you get from the A.I.-OST!

 

I didn't buy the 2013 digital release, so - what is the previously unreleased material in the T-Rex Chase?

And honestly - what's the deal with Ripples?!

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The final chord in T-Rex Chase was not included on the 2013 digital anniversary edition. Now, the cue is complete.

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7 hours ago, crumbs said:

Also, can anyone explain what the deal is with Ripples? The film version is radically different to the LLL version, but I'm assuming it was created via music editing?

I assume the film version of the piece was created later editorially. Again I think this was due to the lack of time for revisions, which is attested by the complete lack of alternate material for the score.

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23 hours ago, rough cut said:

If I wanted to recreate the 14-track OST of The Lost World from the JP Collection, how should I put that together (in a way that doesn't require too much effort, just the tracks... )

 

See here:

 

https://docs.google.com/spreadsheets/d/e/2PACX-1vQVQ3-6XtN44Izw8DdfPboJ3UlFcCaRJLSd4IUkptki45UkHHYFMK65v59Wc5QhpIzsW_mTNCvTIXyd/pubhtml

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10 hours ago, Incanus said:

If I remember correctly Matessino mentioned that the new issue of Film Score Monthly features such videos.

 

Yes, but they're both from Jurassic Park (specifically: Goat Bait and The Saboteur).

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Ah well darn. TLW would have been interesting candidate for such videos, perhaps even more interesting.

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So if anyone else is interested, based on Jay's notes, this is a quick fix on assembling the OST from the JP collection (if someone other than me would be inclined to do that):

 

3-1, 3-2, 3-4, 4-6, 3-7, 3-15, 4-3, 3-13, 3-3, 4-2, 4-4, 3-16, 4-8, 3-5, 4-1, 4-11, 4-10, 4-12, 4-13.

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