REMIXED & RESTORED: The Lost World: Jurassic Park

[Faleel 5,340]

On 5/12/2017 at 4:03 PM, kaseykockroach said:

I've gathered that! My 1-disc experience is purely for when I'm on a road trip and need to focus on the GPS instructions rather than when it's time to put in the second CD. 

CD Switcher!

[Wojo 2,453]

On 5/12/2017 at 4:03 PM, kaseykockroach said:

I've gathered that! My 1-disc experience is purely for when I'm on a road trip and need to focus on the GPS instructions rather than when it's time to put in the second CD. 

 

If you're already listening to music and the GPS at the same time, are you really worried about fumbling with swapping the CD? Why don't you have a digital music player connected to the head unit? And how can you predict you won't need to change the discussion during a long stretch of driving with no turns or exits? Is your drive exactly the length of one CD? How do you choose the next album? 

[Faleel 5,340]

Kaseykockroach is a CD/physical media purist.

[Kasey Kockroach 2,343]

The GPS tells me how long the trip will be, so I choose my CD's in accordance to that. For example, If I'm making a 45-minute long trip, I'll be choosing, say, Goldsmith's Under Fire!

[Brundlefly 2,385]

On 13.5.2017 at 5:39 PM, Richard said:

Does THE HUNT fade in, like on the OST?

No.

 

On 14.5.2017 at 6:07 AM, kaseykockroach said:

The GPS tells me how long the trip will be, so I choose my CD's in accordance to that. For example, If I'm making a 45-minute long trip, I'll be choosing, say, Goldsmith's Under Fire!

And if you arrived to early?

[Muad'Dib 1,801]

Do we have any cases of polyrhythm on TLW?

[Muad'Dib 1,801]

On 2017-5-20 at 1:14 AM, Muad'Dib said:

Do we have any cases of polyrhythm on TLW?

 

I invoke the great powers of @TheGreyPilgrim and @Sharky!

[Sharkissimo 1,973]

On 20/05/2017 at 5:14 AM, Muad'Dib said:

Do we have any cases of polyrhythm on TLW?

 

You mean like 3:2 or 5:4? I don't remember anything like that off the top of my head but I'll have to check through the sheets. That tends to be more of a feature of Don Davis's music, so JP3 would be a likely candidate. In TLW you're mainly talking clave-derived Afro-Cuban rhythms and the displacement of determinant motifs and so on.

[Muad'Dib 1,801]

11 hours ago, Sharky said:

 

You mean like 3:2 or 5:4? I don't remember anything like that off the top of my head but I'll have to check through the sheets. That tends to be more of a feature of Don Davis's music, so JP3 would be a likely candidate. In TLW you're mainly talking clave-derived Afro-Cuban rhythms and the displacement of determinant motifs and so on.

 

Well, I was thinking more about this particular Stravinsky moment when I referred to polyrythm (maybe the term wasn't correct) and if by chance, consdering the music in TLW deals with a lot of savagery and raw primal brutality, Williams had employed any of that.

 

[Muad'Dib 1,801]

I live to find stuff like this

 

[crumbs 14,301]

What's that in reference to?

[Muad'Dib 1,801]

55 minutes ago, crumbs said:

What's that in reference to?

 

It's for The Raptors Appear, for the trombone and trumpets and the viola at approx 03:25 on the track itself.

[Jay 37,287]

1. Universal Logo/The Island's Voice **

 

I'm curious what made you decide to include the Universal Logo in the video, since Williams had nothing to do with it?  Starting this presentation on the back screen with just the jungle noises would have been pretty neat   I think this cue is a great start to the store, since it instantly tells you you're in for a darker ride than the first film/score.  The ending of this where the woman's screen overlays on Malcolm yawning is still classic

 

2. Revealing the Plans

 

I love how Williams manages to write such interesting music that just underscores two people talking; and when Malcolm turns and calls it a rescue operation that's leaving now, the little cameo of the adventure theme from the first film is awesome.

 

3. To the Island **

 

It's interesting to see here that the scene must have been originally longer due to the two black screen sections you have.  I wonder if the conversation was actually meant to be edited the way it was in the final film, and the missing shots actually would have bridged the shot of Eddie reacting on the boat to the shot of the trailers already rolling through the island.  The little drum roll buildup to that shot might have been meant to underscore some sort of establishing shot rather than the shot of Eddie; Hard to say.  Oh yea - boy, does Vince Vaughn look young here!

 

4. The Stegosaurus, part 1

 

Boy, I've been seeing Julianne Moore in a lot of things lately, and she looks SOOo much younger here!  I always liked this cue and the next for the small sense of wonderment, its as close to a cue from the first film as this score really gets.

 

5. The Stegosaurus, part 2 *

 

Boy, they were wise to drop the action-y opening to the cue from the film, it's way to over the top for what it actually scores (which is just Sarah running ahead a little bit).  Other than that, the first half of this cue is very nice and brings us basically the last bit of wonderment style music we'll get in the score; Once Sarah's camera starts auto-rewinding the film cannister and the Stegosaurus arrive to protect their baby, the cue and film gets a bit silly in my opinion.  In other words, the scene is almost like a pointless little action sequence just to make the first act of the film a little more interesting I guess, and the music follows suit by not really being super interesting on its own either.  From here on out the entire rest of the score is freaking brilliant though....

 

6. Fire at Camp

 

I really like the way Williams scored this silly little scene

 

7. Corporate Helicopters */The Hunt *

 

Corporate Choppers is one of my favorite cues in the score for whatever reason.  For some reason, I didn't remember that the scene is the film is so different than the length of the cue.  I don't think Williams would have had the cue begin as Kelly hears the choppers like your video starts though; I think originally the big panning shot of the helicopters was longer, and the cue would have began at the beginning of that shot, which is now gone.  Also, the spot you put a the longest black screen section I don't think is right, I don't know how much more dialogue could have fit in there originally.  Rather, I feel like all the shots of them talking about the helicopters is probably unedited in the final cut, but the missing footage has to do with the helicopters landing and then unloading and stuff like that.  Hard to say!

 

As forThe Hunt - wow, what a nightmare, eh?  I knew it wouldbe hard to resync this, and I appreciate that you tried mulitople different versions because there's so many unanswered questions about it.  One thing I think might actually be right is JohnnyD's idea to have the sequence actually start with the scene of Nick setting up the antennae thingy and t hem all watching, and then only featuring that shot of the car going up in the air later - that video actually worked really nicely!

 

The toughest part of the sequence to figure out is probably when that Burkey guy has all that quietish dialogue about the pachy dinosaur, etc.  The fast paced freneit cjmuic just doesnt work with it no matter what you do.  I wonder if originally that scene was cut and it was only put back in after this cue was recorded.  It would be great to see WIlliams original sketch to see what notes it has about the on-screen action, or even better the actual cut of the film he scored would be amazing to see.  Great work here trying to piece together this crazy mystery!

 

8. Big Feet *

 

Another cue I hadn't realized was so much longer than the scene in the final film.  It's interesting, all the music that plays over the black screen in teh video here could be right out of Temple of Doom!  I wish Spielberg would put more deleted scenes on his home video releases.

 

9. Spilling Petrol and Horning In *

 

This was great!  It's too bad they cut Ludlow getting drunk and accidentally breaking the infant T-Rex's leg as well as the actually petrol spilling sequence the cue is named after; We need an extended cut of this film!  I think you did a great job lining up what footage is left with where it probably was when Williams scored it. Really cool!

 

10. Up in a Basket */In the Trailer *

 

This was also awesome to see!  The first minute of the first cue works well in the film, and I kinda see why they just dialed out everything after the T-Rex roar, the scene really does play fine with no score.  This video proves though, that had the music been left it, it also would have been a very valid choice, and maybe even made the scene better.

 

The In The Trailer cue, though, I'm not as sure about; I think it really was the right call to drop it completely.  I mean, this video shows so greatly Williams intention, to build and the the tension during part 1, and have it explode into percussion-backed action as soon as Malcolm busts into the trailer door. But the thing is, what actually happens in the trailer doesn't need music like that to be effective.  In fact, when the car goes crashing by, and then they stare in one direction only to have the T-Rex show up behind them, it just works SO much better to have no score there at all instead of this score!  On the other hand, using hte infant theme for the whole sequence of the mother seeing it inside and them setting it free would have been nice to have used.

Fascinating video, great job putting it together!

 

11. On the Glass/Rescuing Sarah **/Reading the Map */The Trek *

 

Pain of Glass - not much to say since it was all used in the film, other than it sure is an effective piece of scoring.

 

Truck Stop - one of my favorite Williams cue titles, and I realized watching this that the cue begins exact when the Truck (well, the trailer) beings moving, and Eddie has to Stop it   It's too bad they seemed to have mucked with the edit in the final cut (that explosion with tires flying up is so stupid, too), because this is just a great action cue that didn't need to be edited at all!

 

OK, I get what you are doing here be combining the next 2 cues with the previous 2 in one video, but personally, I don't know if it was really necessary;  the overlap isn't exactly a musical one, nor probably how Williams intended them to be heard.  I think it would make a stronger video if after the rescue, the full ending of Truck Stop is allowed to finish and ring out over a black screen.  And then a new video would   begin with the clean opening of Reading The Map on the shot you have it synced to here.  I think that would present Williams compositions and the scenes they were written for in the strongest light possible.  It seems possible a little bit of footage was trimmed from the final film somewhere in there that would have led to the cues not overlapping originally, and overlapping them like you didn't make either half of this video any stronger.  Just my opinion!

 

Reading The Map - Another one of my favorite cues, the bass line is so funky.  I love how Williams brings back the carnivore motif from the first film when Ludlow mentions the Raptors; I'm glad they kept that in the final cut even though they dialed out all the music before then.  Speaking of that, hearing the music synced back in isn't bad; If it was played at a relatively low volume, it wouldn't have hurt the scene.  But as Mr. B points out in his post, the film needed a breather coming off the giant trailer attack and rescue scene.  Maybe if there was some deleted scene that was supposed to come after it that didn't have score, then playing Reading The Map in its entirety could have worked.

 

12. The Compys! part 1

 

So I noticed this video begins with the same shots of Dieter as the previous video ended with; I wonder if it wouldn't make sense to combine them into one video?  Musically, they go together very well, too.

 

13. The Compys! part 2/Ripples *

 

Woah, this was all awesome.  I never noticed how perfectly The Compys Dine leads right into Rialto Ripples; in fact when I was watching this, I wasn't even sure when one ended and the next began!  Boy, Rialto Ripples is a cool cue!  And honestly, out of all the cues in this score Spielberg messed with, I think this is the one that would have been the most fine left untouched; Watching this video shows how well Williams scored the sequence!  I love the way the tension ratchets and ratchets up, how the action music begins when the whole party finally awakes, and how frantic the ending is.  It's somewhat odd how the cue ends, almost like Williams just stopped writing at some point without actually finishing it, or something, it is hard to explain.  But still, buried in the mix in the film, the entire cue could have worked really well I think.

 

And that's all for me for the night; I'll have to watch the rest of the videos tomorrow night!  Thanks again for making these videos @Mr. Breathmask, I'm having a great time watching them all over again!

[Gruesome Son of a Bitch 6,488]

TLW was the first movie to feature the JG Universal logo. It's a part of the experience.

[Nick Parker 3,040]

A few thoughts after watching some of these clips (thanks so much Breathmask!):

 

This score is one of John Williams' absolute coolest.

 

This movie is one of Spielberg's most sadistic: usually violence in his movies have a certain "weight" or empathy to them, even in something like Raiders of the Lost Ark it never feels like he staged deaths in a way that said, "Awwwwwww man! Did you see how cool that was!?" (something about Tarantino's stuff that I get pissed off at). Here it feels like he did that.

 

I forgot that Pete Postelthwaite is no longer with us

[artguy360 1,843]

Well, TLW is Spielberg's take on the monster movie genre. You can see him having fun with a ton of different monster movie tropes and conventions. 

[Brundlefly 2,385]

I like TLW for feeling so evil and bad-ass. It can get quite sadistic but it is still unpleasant.

[Kasey Kockroach 2,343]

Unlucky Bastard deserves his own spin-off book series.

[Nick Parker 3,040]

Responding to all three of you:

 

Yeah, you're right about the monster movie thing. Man, Spielberg must have really felt the need to let loose after Schindler's List. 

 

It varies from moment to moment. The dude's death scene with the compys, and the guy getting pulled apart by the T-Rexes are more "traditional" Spielberg movie deaths, where it doesn't feel glorified or revelled in, but then you have stuff like the dude getting trampled by the T-Rex, etc. I check out when I see that stuff (yeah I'm the kind of person who would've complained about that woman's death in Jurassic World).

 

Of course, all bets are off in the San Diego scene...at that point it's just so stupid and ridiculous that it feels more permissible there. It also is one of the highlights of the movie. (Unlucky Bastard is David Koepp right? I dunno, writing jank-ass screenplays for decades and still having a career sounds pretty lucky to me.)

[Kasey Kockroach 2,343]

Those deaths were never gory ENOUGH for my tastes.

 

 

[Naïve Old Fart 9,498]

What the heck?! 

I'm sure that was filmed in the same mall as LOGAN'S RUN.

 

[Nick Parker 3,040]

3 hours ago, kaseykockroach said:

Those deaths were never gory ENOUGH for my tastes.

 

 

 

For me it's never the intensity of the violence, it's more the way it's portrayed. I can watch stuff like Total Recall, RoboCop, and Predator without being fazed by it, but when I see stuff like a Mortal Kombat game or Alien vs Predator: Requiem: "Piss off! Get outta here!"

[Brundlefly 2,385]

19 minutes ago, Nick Parker said:

For me it's never the intensity of the violence, it's more the way it's portrayed. I can watch stuff like Total Recall, RoboCop, and Predator without being fazed by it, but when I see stuff like a Mortal Kombat game or Alien vs Predator: Requiem: "Piss off! Get outta here!"

Why is Verhoeven okay, but Tarantino is not?

[Nick Parker 3,040]

10 minutes ago, Brundlefly said:

Why is Verhoeven okay, but Tarantino is not?

Like I said, I get this vibe from Tarantino...I think he's an excellent director, but when I watch his movies I see a ten year old with his action figures sayin' "Bang, bang, bang! BOOOOOMMM! Fuck yeah, did you guys see that!? Did you see how fuckin' awesome Hitler getting shot over and over in the face was, did you see!? FUCK YEAH, VIOLENCE!!!" I think he's very articulate about why he does that (he wants to give the audience a sense of catharsis), and I respect that he doesn't bow down to people who try to claim that movies like Pulp Fiction inspire people/kiddos to violence; but still, it just feels he bathes in that sort of thing.

 

I don't feel that with any Verhoeven film I've seen, except maybe Starship Troopers, but with that movie there's a sharp point behind it.

[Brundlefly 2,385]

53 minutes ago, Nick Parker said:

Like I said, I get this vibe from Tarantino...I think he's an excellent director, but when I watch his movies I see a ten year old with his action figures sayin' "Bang, bang, bang! BOOOOOMMM! Fuck yeah, did you guys see that!? Did you see how fuckin' awesome Hitler getting shot over and over in the face was, did you see!? FUCK YEAH, VIOLENCE!!!" I think he's very articulate about why he does that (he wants to give the audience a sense of catharsis), and I respect that he doesn't bow down to people who try to claim that movies like Pulp Fiction inspire people/kiddos to violence; but still, it just feels he bathes in that sort of thing.

 

I don't feel that with any Verhoeven film I've seen, except maybe Starship Troopers, but with that movie there's a sharp point behind it.

I couldn't agree less. This is not the way Tarantino depicts violence. The director who says "Fuck yeah, violence!" is (if at all) Verhoeven.

[Nick Parker 3,040]

1 hour ago, Brundlefly said:

I couldn't agree less. This is not the way Tarantino depicts violence. The director who says "Fuck yeah, violence!" is (if at all) Verhoeven.

 

Interesting. 

[Muad'Dib 1,801]

I'm sorry but I didn't know where else to post this

 

LOOK AT THIS BEAUTY

 

 

[Corellian2019 383]

On March 26, 2018 at 2:22 PM, Nick Parker said:

(Unlucky Bastard is David Koepp right? I dunno, writing jank-ass screenplays for decades and still having a career sounds pretty lucky to me.)

 

lol well, at least he wrote Carlito's Way and Panic Room

[JohnnyD 1,220]

I love revisiting this. Fantastic job, especially syncing the unused cues and sections of music to the finished picture.

[Brando 1,856]

The film mix of Ludlow's End is the opening of The Lost World (Alternate) and then it switches toThe Lost World? And the end credits is strictly the Alternate right? Or did i misread something?

[Jay 37,287]

I can't follow what it is you're trying to ask

 

The LLL track "Ludlow's End" is the cue "13M3/14M1 Ludlow’s End" in its entirety in its own track. 

 

The LLL track "Tranquilizer Dart" is the cue "13m2 The Saving Dart" in its entirety in its own track. 

 

--

 

The LLL track "The Lost World (Alternate)" is the short cue "End Credit Intro" seguing into most of the cue "The Lost World (End Credits)".

 

The LLL/OST track "The Lost World" is "The Lost World (End Credits)" in its entirety in its own track.

 

The two tracks are identical to each other after 14 seconds or so; same performance mix and master. Only the old opening vs the "End Credit Intro" opening is different. 

 

--

 

The LLL track "Jurassic Park Theme (End Credits)" is a recording made at the TLW recording sessions of the concert arrangement he made of the original score's themes in 1993.

 

The LLL track "Tranquilizer Dart and End Credits (Film Version)" is the first 2:13 of "Tranquilizer Dart" seguing into 3:01-end of "Jurassic Park Theme (End Credits)". This is done to mimic the editorial decision made for the final cut of the film, and doesn't reflect how JW intended the music to be edited. It just gives the LLL set a big finish. 

 

--

 

In the actual film, most of "Ludlow's End" isn't used. After the opening, Spielberg went with no music at all for a bit, then tracked in "The Lost World" (and even some of the End Credit Intro").  For "The Saving Dart", he dropped the beginning, and also replaced the ending by instead starting the "Jurassic Park Theme" early to finish the main film and score the beginning of the end credits. He then plopped in some tracked music and the "The Lost World" cue with its "End Credit Intro" as well to finish the end credits. 

 

I hope that helped... 

 

[Brando 1,856]

Sorry, I see how my question could be confusing. What I meant was, were both "The Lost World" and the Alternate tracked or did they use just one? When I read the original analysis on it, it seemed to me he said they tracked in the opening of the Alternate and then switched back the "The Lost World" for the rest, but I could be mistaken.

[Jay 37,287]

Sorry, I'm still not understanding what you're confused about.  There is no such thing a completely alternate version of "The Lost World".  He just wrote a new 14 second intro, that replaced the original 14 seconds opening.  After that point in either track, they are 100% identical.  Mike just crafted the new opening into the rest of the original recording (and the film's music editors did that for the film in 1997 too).  In other words, they didn't record the entire rest of the cue again just because he wrote a new intro; They just recorded the short intro knowing editors would edit it into the rest of the original recording.

 

I hope that explains it, if not, I have no idea what you're still confused by...

[Brando 1,856]

7 hours ago, Jay said:

Sorry, I'm still not understanding what you're confused about.  There is no such thing a completely alternate version of "The Lost World".  He just wrote a new 14 second intro, that replaced the original 14 seconds opening.  After that point in either track, they are 100% identical.  Mike just crafted the new opening into the rest of the original recording (and the film's music editors did that for the film in 1997 too).  In other words, they didn't record the entire rest of the cue again just because he wrote a new intro; They just recorded the short intro knowing editors would edit it into the rest of the original recording.

 

I hope that explains it, if not, I have no idea what you're still confused by...

Ohh, I see now. Yea, the "Alternate" title is what was confusing me. Thanks for clarifying!

Edit: I saw this- "The two tracks are identical to each other after 14 seconds or so; same performance mix and master. Only the old opening vs the "End Credit Intro" opening is different." I read it late last night and it didn't click what you were saying haha. But now I understand it completely!

[Jay 37,287]

Phew!  Glad we got there!

[Mr. Breathmask 555]

Due to a security update to Google Drive last year, it appears that new users have unfortunately been barred from viewing the video's embedded in this thread for quite some time. This only came to my attention today and some rummaging about in the security settings for these files should have fixed this now.

 

Let me know if anyone still has trouble viewing these videos. Enjoy!

[JohnnyD 1,220]

Loved revisiting this!

[Faleel 5,340]

[Mr. Breathmask 555]

So some new things have come to light.

 

For some earlier posts in this thread, I referred to a version of the script that has been posted online at the Daily Script and Jurassic Outpost, among other places. It's a PDF that’s labeled “production draft” and dated August 22, 1996. 

 

However, it turns out David Koepp actually has a scanned copy of the Final Shooting Script on his website. It is dated August 22, 1996 and comes with ten rounds of revisions going all the way up to December 12, 1996 as well as an additional scene dated as late as February 8, 1997.

 

It offers some interesting new insights into things previously discussed here.

 

First off, there’s the Memenchiasaurus scene described in this post. I mentioned at the time it seemed quite elaborate and that I couldn’t find any evidence of it ever being shot.

 

Well, I suppose it wasn’t, because it’s gone from the yellow revision dated September 12, 1996. This revision also has scene 30 as we know it from the film, starting with Nick talking about winning the Pullitzer (as is usual in screenplays, changed passages have an * in the right margin):

 

Quote

28   IN THE CLEARING,                                             28

 

     Sarah crawls free of the log and scrambles away on all fours
     as the stego herd darts away, disappearing into the brush,
     moving surprisingly quickly for animals their size.

 

     The team members run to Sarah.  Malcolm and Eddie help her to    *
     her feet, Nick swoops in with another, longer lensed camera      *
     and continues to shoot pictures of the fleeing herd.  Sarah      *
     throws her arms around Malcolm, eyes wild, exhilirated.          *

 

                                SARAH
                  Isn’t it great!?

 

     Malcolm pulls out her satellite phone, and shows it to her
     angrily.

 

                                MALCOLM
                  When it RINGS -- you ANSWER it!

 

                                                      CUT TO:

 

29   OMITTED                                                    29   *

 

30   EXT    JUNGLE TRAIL    DAY                                  30

 

     MALCOLM is furious, in an argument with SARAH as they all        *
     march quickly back toward their base camp, their energy and      *
     excitement palpable.  NICK, with EDDIE, unloads his cameras,     *
     handling the exposed film carefully.                             *

 

                                NICK                                  *
                  These are incredible images,                        *
                  legendary, guys shoot a whole                       *
                  lifetime and never get stuff half                   *
                  this good!                                          *

 

                                EDDIE                                 *
                       (dazed, still overwhelmed                      *
                        by it all)                                    *
                  Wow.                                                *

 

     Nick kisses the film, seals it in a canister and puts it         *
     carefully in a pocket in his vest.                               *
 
                                NICK                                  *
                  I mean, that’s it, gimme the                        *
                  Pulitzer, right now, today please.                  *

 

                                EDDIE                                 *
                  WOW.                                                *

 

                                MALCOLM                               *
                       (to Sarah)                                     *
                  When Hammond called you, why didn’t                 *
                  you say something to me?!                           *

 

                                SARAH
                  Because you would have tried to stop
                  me from coming.

 

Interestingly, the scene with Malcolm, Sarah and Kelly in the trailer is a very late addition, written for pick-ups.  It’s not incorporated in the main body of the script, but comes at the very end preceded by a page that reads “Additional scene shot 2/8/97. To be inserted after scene 32.” Originally, Malcolm was going for the trailer with Kelly, only to hear the choppers just as he puts his hand on the door. He then turns and walks to the edge of the ridge. Notice how Malcolm is still/again holding Kelly’s hand when he “exits” the trailer in the final film.

The new scene is actually slightly longer than what ended up in the final cut and it’s a very welcome addition, offering us the only glimpse into the Macolm/Sarah/Kelly dynamic before things really take a turn.

 

We then go into the landing of the InGen party, which is told differently in Koepp’s final version. In the August 22 production draft, we cut back and forth between the party landing and our heroes. Right away, this is the first place where a lot of Burke’s role has been omitted, as he was previously seen setting up the camp with Ludlow right when the InGen party lands. This setting up camp sequence has been omitted entirely, because in the final version, we now stay with our heroes as they spot the helicopters, climb to the top of a ridge to overlook what’s going on and then we finally shift perspective to the InGen party after Nick has set up his cameras etc. (which we see him doing during The Hunt in the final cut of the film). The shooting script then cuts to Roland and Ludlow in their jeep before the hunt commences as it always did.

 

The scene with Ajay described here remains unchanged.

 

The break-in to the camp discussed here was another spot where the production draft differed from the final film, featuring Ludlow and Burke discussing what they have found on the island so far, instead of the teleconference that’s in the final film. Koepp’s final script does feature the teleconference, as well as additional material as Nick and Sarah enter the camp. This is from the green revision dated September 23, 1996:

 

Quote

54   EXT     HUNTERS’ CAMP     NIGHT                              54

 

     Seen from a distance, LUDLOW strides quickly back into camp,     *
     as a HUNTER calls out to him.                                    *

 

                                HUNTER                                *
                  Mr. Ludlow!  We’re set to transmit,                 *
                  and they’re all assembled in San                    *
                  Diego.                                              *
 

                                LUDLOW                                *
                  Time for the dancing bear act again,                *
                  eh?                                                 *

 

     Ludlow follows him, headed over toward the satellite setup       *
     outside the open tent.                                           *
 

     AT THE EDGE OF CAMP,                                             *
 

     NICK and SARAH have reached the edge of the hunters’ camp,       *
     and are watching this exchange, crouched just outside the        *
     laser barriers.  There are three beams, each about two feet      *
     apart, the tallest almost six feet off the ground.               *

 

     As Ludlow reaches the main tent, even more bright lights flick   *
     on across camp, attracting some of the Hunters and distracting   *
     the rest.  This is their chance.                                 *

 

     Nick bends over.  Sarah steps up onto his back and jumps over
     the top of the beams, landing with a CRUNCH.  Nick backs up a
     few steps, jogs toward the lasers, and does the Fosbury Flop
     right over the top.

 

55   IN THE CAMP,                                                 55

 

     they creep along, hiding behind a stack of fuel barrels.  They
     lean around the edge for a look.  They’re directly behind the
     row of vehicles.

 

     They move into the open, covering the ground between them and
     the jeeps.  Reaching them, Nick hits the dirt and wriggles
     under the first one.  Sarah stands lookout.

 

     UNDER THE JEEP,
 

     Nick pulls the bolt cutter from his back pocket.  He squirms
     along until he finds the jeep’s fuel line --

 

     -- and he snips it.  He ducks out of the way just as the
     stream of fuel begins to pour into the dirt.

 

     SARAH

 

     moves slowly down the line, standing watch as Nick crawls out
     from under the first jeep and proceeds to the second.

 

     She hears another SNIP, then keeps moving, to cover him as he
     moves to the third.

So there it is. Some script changes from the last time I looked at this. No new musical insights, but some interesting tidbits nonetheless.

 

Oh yeah, and there's been a bunch of alternates released in the meantime. Look for videos with those in the coming days.

 

Cheers!

[Brando 1,856]

Fascinating find!

[Luke Skywalker 1,792]

On 03/11/2023 at 8:34 PM, Mr. Breathmask said:

.

So there it is. Some script changes from the last time I looked at this. No new musical insights, but some interesting tidbits nonetheless.

No musical insight??

 

Now fire at camp and corporate choppers being back to back in the LLL sets makes complete sense as maybe that is the version williams scored!

[Mr. Breathmask 555]

 

11a. On the Glass (with alternate excerpt) */Rescuing Sarah (alternate) *
7M2/8M1 Pain of Glass
8M2 Truck Stop

This video has by far the most interesting new material from the 2023 remaster We start off with the alternate performance of the second half of Pain of Glass. It's mostly just that: an alternate performance of the same piece, but fun to hear nonetheless. It starts at 1:54 (the first part of the video is the same as before, featuring the first half of Pain of Glass sourced from the 2016 4-CD set).

 

After Pain of Glass, we come to an interesting rarity: the first performance of Truck Stop (and if I recall Jay's comments on The Legacy of John Williams correctly, it was the first cue ever recorded for The Lost World). It's much heavier on the synthesizer than the final version and the fanfare at the end is slightly shorter, but it's just as pulse-pounding as the final track.

 

I have made two video edits in this section: I've cut four frames of Eddie crawling to the truck after his fall, as there appeared to be a slight syncing problem around that area. I've also removed the insert of the tire flying up and the pan to our heroes at the end of the sequence. There's another sync problem there and that tire shot just strikes me as a late VFX addition to put a button on the whole thing. So you should basically ignore that tire flying up in the wide shot at 8:21, as you'll see it magically disappear on the next cut.

 

Enjoy!

[Jay 37,287]

6 minutes ago, Mr. Breathmask said:

if I recall Mike's comments on The Legacy of John Williams correctly, it was the first cue ever recorded for The Lost World

 

That was me who said that!

 

 

6 minutes ago, Mr. Breathmask said:

that tire shot just strikes me as a late VFX addition to put a button on the whole thing

 

Very interesting!

 

 

Can't wait to check out the video!

[Mr. Breathmask 555]

14 minutes ago, Jay said:

That was me who said that!

 

Whoops. Well, at least I remembered the content. Fixed!

[Pat_S 69]

Since this thread has come up again I figured I might as well add this - I did my own synchronisation of The Hunt for a video I posted a month or so ago - 

My approach was to have the main ideas in the right place - even if that meant adding in pauses and what not - rather than having a continuous sequence that doesn't quite fit. It's definitely not perfect, and there are several points that don't really work but I am definitely happy with how the car smash section turned out - I think that that is potentially more accurate. Any discussion is welcomed :))

[Mr. Breathmask 555]

I think your placement of the car crash is spot on. 

 

I didn't want to go into The Hunt yet, but I have one more video coming on that sequence that's currently unfinished, based on the new-found script and the storyboards. We'll get to that one soon, but I need some more time to finish it.

 

In the meantime, here's some music Williams didn't necessarily compose, but was much asked for after the previous release:

 

 

13a. The Compys! part 2/Ripples (film edit) **
9M3/10MA The Compys Dine
10M1 Rialto Ripples

Edited from the individual music stems, the film version of Rialto Ripples offers more of a slow build-up than the cue as composed. I've included The Compys Dine as well, as the whole thing basically flows into each other. Rialto Ripples starts at 2:58, with the alternate material going from 3:45 to 6:18. Funnily enough, there's still an 8-second edit required at 6:41 to sync up the last part of the track.

[Pat_S 69]

21 minutes ago, Mr. Breathmask said:

I didn't want to go into The Hunt yet, but I have one more video coming on that sequence that's currently unfinished, based on the new-found script and the storyboards. We'll get to that one soon, but I need some more time to finish it.

That's great news, very much looking forward to seeing it. I have to say this is simply an excellent thread, I come back to it very often. Many thanks to you

[Mr. Breathmask 555]

 

15a. The Raptors Appear (alternate) */High Bar and Ceiling Tiles *
11M2 The Raptors Appear
11M3/12M1 High Bar and Ceiling Tiles

Here's the alternate performance for The Raptors Appear from the 2023 remaster. The differences are mostly in performance, although I did manage to remove a black screen from the old video around 3:08. I still have no idea why the music was trimmed around 1:25, so I've left the blank screens within the unbroken shot of the gang hiding from the raptor there. The Raptors Appear ends at 3:54 and is followed by High Bar and Ceiling Tiles from the 2016 release as in the old video.