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REMIXED & RESTORED: Jurassic Park


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Our first long video is here!     4. Journey to the Island 2m3-3m1 To the Island 3m2 The Dinosaurs 3m2A The Entrance of the Park   After witnessing the shady deal be

REMIXED & RESTORED: Jurassic Park     Quick links:   1. Opening Titles/Incident at Isla Nublar 2. The Encased Mosquito 3. Entrance of Mr. Hammond *

So Hollywood director Steven Spielberg made a Steven Spielberg Hollywood director's choice? Got it. Hate on the director who contracted the composer and found a way to use the composed music to elicit

Anyway.

 

 

15. Race to the Dock
8m1 The Trouble with Dennis

When music returns to the sound mix the moment we leave the T-Rex sequence (which marks the film’s halfway point), the audience’s tension is released. But only briefly, as Williams immediately signals things might get worse before they get any better. The consequences of Nedry’s actions are about to unfold as Arnold combs through the system's code, accompanied by the same low conspiratorial tones Williams used earlier. This builds to a forceful figure for Muldoon and Ellie leaving to go and find Hammond’s grandchildren, which in turn changes to panicky bursts of action as Nedry tries to find his way to the docks. The cue’s slightly abrupt ending is facilitated by the sound of Nedry’s jeep crashing down an embankment in the film. This cue plays in its entirety.

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16. The Falling Car and The T-Rex Chase *
9m1 The Falling Car
9m2 The T-Rex Chase

All the way up in a tree, stuck between a long fall and a damaged car, Grant and Tim have to find their way down to the ground. The first part of the cue is dropped in the film, having the car start its first drop in the silence. The frantic action music then starts as Grant and Tim increase their pace down the tree.

 

As written, the cue starts about 15 seconds earlier, when the car first starts moving. The start of the music is slightly edited in the film. It has been restored here as written. The action music continues as Tim and Grant make their way down the tree and end up back in the car. Meanwhile, Grant and Muldoon find Malcolm to the sounds of a slow tense string figure. As they uncover the injured Malcolm, the music is dialed out for about 9 seconds to make room for the ominous sound of a T-Rex roaring in the distance. It returns as we jump cut to Ellie trampling the scattered park maps in search of the rest of the group.

 

When syncing up the audio for this clip, the audio was about half a second longer than the video. Since that part consisted of a short pause in the music, I have edited out this part of the music to retain the flow of the scene and give you a better idea of how this transition might have played.

 

A very brief silence seperates The Falling Car and The T-Rex Chase on the La-La Land album and in the film, but they were likely meant to overlap. There’s a slight edit somewhere in the first twenty seconds of the cue in the film, because when lining up the track at the moment the T-Rex bursts from the trees, the timing of the first part is off. Curiously, when you sync the track that way, Williams’ string figures that signal the coming of a predator line up perfectly with the ripples forming in the T-Rex’s footsteps. It is possible this was moved around in editing to make way for the sound of the animal’s footsteps instead. I have kept this part unedited here, so the music for the approaching footsteps plays slightly different from the way it does in the film.

 

The action music for the car chase is kept intact. After escaping the T-Rex’s final roar, the music ends in the film before we cut to Lex and Grant hearing the distant roars. As recorded, the track continues with an ominous chord for Grant hearing the sounds and realizing the ground will not be a safe place to spend the night. It fades out slowly and amounts to about 25 seconds of unused material. It is likely this chord too got in the way of the dinosaur sound and was therefore dropped. As the dinosaurs will take on a more prominent role in both the story and the film’s soundtrack, this pattern of dropping music in favor of letting the sound design do the work is one we will be seeing more of as we near the film’s climax.

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18. Petticoat Lane **/My Friend, the Brachiosaurus **
10m1 Remembering Petticoat Lane
10m2 My Friend, the Brachiosaurus

After a brief pause, Hammond’s ruminations of his old flea circus are underscored by a piece orchestrated similarly to A Tree for My Bed, but this time in a more melancholy key. Petticoat Lane plays almost entirely uncut, except for a small micro-edit about two minutes into the video. My Friend, the Brachiosaurus was written to overlap and the two tracks are presented here in one video. The awe and playfulness from earlier in the score returns, as Grant and the kids feed an innocent herbivore breakfast. There might have been some trimming done here late in the game, as there is some micro-editing done as Lex approaches the brachiosaurus. The cue has been restored here in its entirety.

 

Up next: a discovery in the forest, featuring more unused music!

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No. Did you watch the video? I've left a blank screen for the music to play over so that it syncs up again later. I will do this every time the written music is longer than the film (it also happened in the Stalling Around video).

 

So far the only music editing I've done was lengthening the pause between To the Island and The Dinosaurs and shortening the pause between The Falling Car and The T-Rex Chase. Both of these were done to make sure the latter cue properly syncs up to its use in the film.

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16 minutes ago, Mr. Breathmask said:

No. Did you watch the video? I've left a blank screen for the music to play over so that it syncs up again later. I will do this every time the written music is longer than the film (it also happened in the Stalling Around video).

That is what I meant. I didn't want to say "skip", but "interrupt". My Fault:blush2:

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Ah, right. I got confused by the word "passages". I thought you meant skipping passages of music. Never mind.

 

So yeah, I'll be doing that every time the music is longer than the film. You'll see it a few more times in upcoming Jurassic Park videos.

 

Then you'll be seeing a lot of that when we get to The Lost World...

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7 hours ago, Mr. Breathmask said:

When lining up My Friend, the Brachiosaurus the two tracks overlap and they are presented here in one video

 

 

I love that musical transition and wish he had combined the cues that way on the original OST, since they weren't connected on the LLL set either.

 

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43 minutes ago, Disco Stu said:

Nice!  I wasn't sure if you were doing the sequel.  I can't wait!  What on earth are you going to do for "The Hunt"?! 

 

Yes. This whole project is basically a warmup for The Lost World.

 

The Hunt is a nightmare to restore. It's entirely unused, there are very few points in the music that could be used as sync points and the whole sequence was likely heavily re-edited late in the game. I'm currently working on three different versions of the The Hunt video and all of them are guesses. And that's probably the best I can do, unless a workprint miraculously leaks somewhere.

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1 minute ago, Mr. Breathmask said:

The Hunt is a nightmare. I currently have three different versions and all of them are guesses. And that's probably the best I can do.

 

Well I really appreciate it.  I've always wanted to see an attempt to add the original music back to that sequence.

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5 minutes ago, Mr. Breathmask said:

And that's probably the best I can do, unless a workprint miraculously leaks somewhere.

 

I would KILL to be able to watch the cut Williams scored to for several films: The Lost World, The Phantom Menace, Hook, The Force Awakens..... would be fascinating.  I wish Spielberg, being such a huge fan, would allow something like this to be a bonus feature on blu rays.  Special feature on Disc 2, the John Williams cut!  Isolated score track synced to picture!  And its the cut of the film he scored, not the final cut.

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Spielberg's never really been the kind of director who releases alternate cuts of films.  Close Encounters and that 20th anniversary E.T. fiasco are the exceptions that prove the rule.  I've always been mostly disappointed by the bonus features included with Spielberg DVD releases, even in the heyday of the early 2000s when money was being thrown at those kinds of releases.

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Right, that's what I mean:  Don't advertise it as an alternate cut, and don't even include the voice and sound effects.  Just have it be the original Williams score (restored from session tapes by Mike M) synced to the actual cut of the film he wrote the music to.  And include it with bonus features as a music feature, don't list it as an alternate cut at all.

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19. Life Finds a Way *
10m3 Eggs in the Forest

Another very brief pause in the score allows us to hear the bickering of Lex and Tim, before the score returns to signal Grant’s worrying discovery: the dinosaurs are breeding. The angelic choir heard in Hatching Baby Raptor returns to underscore the miracle of birth. The cue's final chord was replaced by a more ominous one in the film, tracked in from another cue.

 

Up next: the shortest cue from the film as we move to disc 2 of the La-La Land set.

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20. System Ready *
11m1 System Light On

Another brief thriller cue signals the start of the third act, as Hammond orders everyone into the emergency bunker. The cue plays without edits, but the short synthesizer line heard at 00:38 is dropped from the film.

 

Up next: ten minutes of continuous scoring, featuring some of the score's most interesting dropped material!

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Yet I can fully understand why some passages were dropped from the movie. Especially "The Falling Car" and "High Wire Stunts" are more intense and noticeable when the music suddenly comes in like in the film. I can also understand why "Hungry Raptor was almost completely dropped, because except the calm passages it hardly fits the overall style of the rest of the music. It's just weird.

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By the way, I never realised until I did this video that there's only ten minutes of screen time between Ellie and Muldoon setting off on their mission and Muldoon getting brutally murdered by one of the Velociraptors. Poor guy.

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How awesome to finally see some of the most interesting dropped music in context with the film! I also agree, however, that they made the right choice in dropping it. The music is really cool on its own, but the dropped sections really don't work nearly as well in the film. Especially that unused majority of Hungry Raptor. When I originally heard it at the end of the "Making of" documentary, I honestly thought it was some cool remix someone did or something. LOL. It just didn't seem like Williams to me, due to the style change. However, I think it was Brachio who revealed to me through the sheet music before the 2013 release that it was indeed for the film's shed sequence. My immediate thought was "seriously? how did THAT ever work?". And well... sure... it hits some points well in the film, but overall to me it DOESN'T work, lol. It moves too fast for what is going on, robbing the scary intensity of the scene.

 

Still, I do LOVE that music on its own. It's really fun!

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22. The Raptor Attack *
12m3-13m1 Into the Kitchen
The climax of the film kicks off with the tense kitchen sequence. For this sequence, the music is at its most primal and atonal. Using strings, deep brass and choir, Williams captures the threat of the prehistoric predators stalking the children.

 

In the film, the music doesn’t start until the raptors open the kitchen door, but by then we’re over a minute into the track. As the door opens and the children cower behind the stainless steel counters, we hear the only piece of music from this track that is actually in the film in what we can assume is its proper place. When the raptors start barking, the film mix replaces Williams’ written score with pieces of To the Maintenance Shed, right up until Tim hides near the spoon rack. If we line up the used music for the raptors’ entry and let the music play, the ending syncs up perfectly. Working backwards, we find the music originally started right as Lex spots the shadow of a raptor behind the glass wall over Tim’s shoulder.

 

It’s interesting to note that Spielberg makes special mention of Williams’ raptor music in his liner notes, yet drops this cue almost entirely in favor of more traditional scoring.

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23. T-Rex Rescue & Finale *
13m2 March Past the Kitchen Utensils
13m3-14m1 T-Rex to the Rescue

As the raptors react to the spoon dropping off the rack where Tim is hiding, the film's musical climax kicks into gear. The music for the raptor reacting to Lex’s reflection is slightly different in the film, probably tracked or looped from music nearby, but leaving the CD track intact makes the music line up perfectly with what follows. Williams goes into full urgent action mode for the childrens’ escape from the kitchen and the ensuing siege of the control room. A celebratory rendition of the adventure theme hails the return of power and control to the park.

 

As Grant phones Hammond, there is a brief pause in the CD track. The music starts earlier in the film. I have edited the music to let the scene play as is. All that is removed is a few seconds of silence.

 

When the raptor crashes through the ceiling underneath Lex, there’s some very minor music editing going on in the film. I assume the visual effect shot of her fall was slightly trimmed at the last second (these things happen). I have left a blank screen where I assume the film edits took place and retained the flow of the music, although the music edit actually happens somewhere in the middle of the shot.

 

The action music continues for the scene in the visitors’ center’s main hall, until Grant, Ellie and the kids are cornered. Just as the first raptor is about to pounce, the T-Rex’s head swoops in and saves the day! For this moment, Williams originally employed the carnivore motif in full force. The cue as written is slightly longer than the scene in the film. I assume something was trimmed off the start of one of the effect shots. You’ll notice the group goes from stationary to in motion within the span of a cut, so I’m guessing that’s where the edit was made. Again, I’ve left the screen blank to maintain the flow of the music.

 

A final flurry of low strings scores the group’s dash down the stairs before the track culminates in a giant fanfare finale, coinciding with the T-Rex’s final bellowing roar.

 

As far as unused music in Jurassic Park, this is it. But there is one more track left to go...

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On 15/4/2017 at 5:18 AM, Mr. Breathmask said:

 

21. To the Maintenance Shed **/High-Wire Stunts */Hungry Raptor *
11m2 Preparing to Meet the Monster
11m2-12m1 High Wire Stunts
12m2 Hungry Raptor

To signal the transition into the a new mission for the heroes, Williams plays a militaristic version of the adventure theme, as Muldoon and Ellie gather their gear to venture outside. Once they are out in the open, the score returns to the familiar texture of the ominous jungle. The carnivore motif gets a big rendition as the broken raptor fence is revealed. Jungle drums up the tension as Ellie makes herself ready to storm the power shed. Another frantic action cue underscores her dash before the music becomes more subdued as she makes her way inside. A final chord takes us to Grant and the kids arriving at the perimeter fence. This first cue plays pretty much in its entirety, but making the video required some editing to get everything to line up correctly. The first chord fades in slightly later in the film, with the music not starting until we cut to Ellie on the stairs. There’s also a minor edit somewhere in the first part of the track. You’ll notice the video go black for a moment at my best guess at where footage was cut from the film. The cue then continues exactly as it does on CD, except that the gap left for Muldoon’s “Because we’re being hunted” is longer in the film. I have edited the music accordingly, to leave the flow of this scene intact.

 

The next cue is the tense build-up of High Wire Stunts, which underscores Grant and the kids’ climb into the perimeter, intercut with Ellie switching on the power. The first minute of the cue is unused in the film, with the music not coming in until after the distant T-Rex roar. In the film, a short clip from the start of The T-Rex Chase is used to kick off the cue. If we sync up the starting point in the film with the corresponding point in the track, we find that the cue starts exactly as the “DANGER 10,000 volts” sign enters the frame, overlapping with the end of the previous cue. Williams leaves a perfect pause for Grant’s “I guess that means the power’s off”. Another big statement of the carnivore motif is cut here, originally overlapping with the roar heard from off-screen. As Lex and Tim react to the sound, the music turns more urgent and this is where the film first picks up the track. When playing this scene with music, the music brings an urgency to the scene right from the start. In the final film, the T-Rex roar is what triggers the urgency in the characters, so the scene works very well without music at the start. The silence actually elevates the scene more than the tense music, lending room to some levity with Grant and the kids and saving the danger for after the T-Rex kicks the kids into gear.

 

The cue continues as is, until a clumsy music edit in the film removes the short drumroll that is heard as Grant turns to the fence to go up and get Tim. The final two chords of the track were also dropped to make way for Ellie’s dialogue and a brief silence before a hungry raptor comes crashing through the pipes…

 

And here we find the most notable passage of dropped music in Hungry Raptor, as Ellie is ambushed by a vicious velociraptor. Iterations of the carnivore motif follow in rapid succession over a frantic action motif accompanied by synthesizer percussion as Ellie hauls ass out of the maintenance shed. Stylistically, it’s slightly different from the other action music in the film. If it wasn’t for The Making of Jurassic Park using this piece for the end credits, we might not have known a piece like this was written for the film until the release of the 20th Anniversary Edition soundtrack in 2013!

 

In the film, this sequence was tracked with various pieces of the film’s finale. For a piece that was created by editing bits together, it actually works quite well.

 

The dropped piece is longer than the chase in the film, so we can assume something was cut. If we start the cue right when the raptor appears next to Ellie - which would have it start exactly where the unused conclusion of High-Wire Stunts ends - the music lines up pretty well until the raptor jumps onto the metal floor. I assume an edit was made here. To pick up the film image again, I have synced the latter half of the cue with its start in the film and worked backwards from there.

 

After Ellie's mad dash from the maintenance shed, the written score returns in the film as Muldoon hunts the escaped raptors. Tense jungle textures with the carnivore motif overlaid accompany him getting into position. The final part of the cue, starting with the raptor’s head appearing next to Muldoon is dropped in favor of music from the end of The Raptor Attack and a mix favoring the sound design. As written, Williams uses a loud and aggressive rendition of the carnivore motif to underscore the attack on Muldoon.

 

This concludes ten minutes of continuous score, from which a large chunk went unused. But it doesn't end here. Up next is another unique bit of scoring that was almost entirely dropped from the film...

 

I really wish they'd left the ending to this one intact. The carnivore motif played on those high strings lined up with the shot of the Raptor eye and the snake is absolutely chilling. And I love when Williams uses that effect, like with the pirate theme in Hook. Wonderful stuff.

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I don't think it would. There's clearly a music edit in the film at 7:45 in the video. Are you saying all the music before the edit is out of sync in the final film mix? Because if I remove the video edit I made there and keep the cue ending in the same place, it will start 18 frames earlier, but there's a number of points where the music goes notably out of sync (like the fanfare for Grant and the kids starting to climb the fence and the cut back to Ellie after Malcolm telling her to follow the pipes).

 

Unless the pause left for "I guess that means the power's off" is supposed to be longer. That would mean the cue could have started earlier and make the transition from To the Maintenance Shed a bit smoother. But I have no indication that that's the case.

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24. Welcome to Jurassic Park (film version) **
14m2 End Credits

As everyone makes their way to the helicopter, Hammond looks out over his creation one last time. Originally unscored, this scene featured music tracked in from Petticoat Lane in the film. The final cue Williams wrote for the film starts as we cut inside.

 

The La La Land set features two versions of the end credits track, but the only difference I could find was a teeny tiny microedit before the adventure theme starts halfway through the end credits in the album version. For this video, I have used the track listed as the film version.

 

A quiet version of the main theme plays on the piano as the survivors fly away, each lost in their own thoughts. As Grant turns to look out the window and sees a flock of birds flying along with the helicopter, the rest of the orchestra joins in and we’re back to admiring the beauty of nature one last time.

 

In the film, there is a music edit when we cut to the birds for the second time. There is either missing footage here, or the cue was started later than it was supposed to, to make room for the music tracked under Hammond’s quiet farewell. In that case, the piano would come in right as Grant takes hold of Hammond and pulls him away towards the helicopter. This sort of works, but then the first orchestral accompaniment no longer syncs up with Grant spotting the birds for the first time, so I’m assuming the music starts in the right place in the film and something was simply excised from this scene at the last second.

 

As the helicopter heads towards the setting sun the music builds to an orchestral crescendo as we FADE OUT and leave Jurassic Park behind us. Over the end credits, we revisit the main theme, the adventure theme, the main theme again and finally the carnivore motif as we close on the AMBLIN logo and fade out for the last time.

 

 

That brings us to the end of Jurassic Park. I hope you've enjoyed this project and I'd love to hear your thoughts. What did you think about the unused music put back in place?

 

Meanwhile, stay tuned for the REMIXED & RESTORED version of The Lost World: Jurassic Park, which will feature a lot more unused music and blank screens as the film appears to have been heavily re-edited after Williams scored it. There's some great music left on the cutting room floor that works wonders when put to images. Stay tuned!

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