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REMIXED & RESTORED: The Lost World: Jurassic Park


Mr. Breathmask
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48 minutes ago, Luke Skywalker said:

In your edited version, the pachycephalosaurus scenes dont make sense, as the one captured by the truck is the one that attacks burke previously. (Roland says "Snagger, Friar tuck's on the loose")

 

Yes. The screenplay (the August 22, 1996 version, which appears to be the most recent version that's available) also has the sequence in the order they appear in the film. But then there's the storyboards on the Lost World Bluray that has the sequence in an alternate order. In it, the dinosaur is caught by the snagger, then escapes from its pen and headbutts a guy through a car (you can view these boards here, but they are undated and end after the car stunt).

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hmmm interesting.

 

 

Anyway as i said i dont think williams composed this stepiece with wall-to-wall music in mind. He just created an action cue for the total length of it.

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I remember not too long ago when Conrad Pope shared the cue on his Facebook page saying that the original cut matched the music pretty damn well.

 

But it was long ago and it was far away. And it was so much better than it is today.

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Your video of The Hunt is good. However, it is better with the sequence as seen in the finished film. Now, if you want it as close as possible to how the Maestro originally scored it, I have a suggestion. Granted, this is a guess, but I think it should be done this way, and if you can re-upload the sequence this way, would you? Here it is: the sequence starts with the shot of Nick setting up his camera, followed by the shot of the heroes viewing the hunters driving towards the stampeding dinosaurs. After that, the rest of the sequence follows as is in the finished film. The shot of the jeep and bike jumping, followed by the rest of the sequencing shots. Try it that way, and I think the music will sync up even more with the sequence. Give it a shot.

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I think if we can determine the music that originally accompanied the "epic" wide shot of the herd being chased (tracked with the big statement of the main theme in the final film), it will help place the original edit of the sequence.

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The music doesn't really fit with the Burke pachy scene, does it? He's like whispering to the other guy about the distinctive dome-shaped skull and then there's pounding Williams action music on the score? There are no break points in that cue, so...

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2 hours ago, Selina Kyle said:

The music doesn't really fit with the Burke pachy scene, does it? He's like whispering to the other guy about the distinctive dome-shaped skull and then there's pounding Williams action music on the score? There are no break points in that cue, so...

That pachycephalosaurus exposition is among the oddest moments for the original cue to underscore, Burke's explanation accompanied by this tense and kinetic music. Which makes me wonder what did the original cut Williams scored contain. Did he have a chance to score a full scene with CG dinosaurs or just plates with the photographed action without the dinos or some kind of CG mock-ups?

 

Also the lack of clear and distinct sync points feels very odd considering the score has them in abundance elsewhere.

 

Oh and good job Marc! Trying to unravel this sequence is challenging indeed.

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Or Williams just wanted to keep the energy of the whole piece on the same level throughout the piece.

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On 27-4-2017 at 2:46 AM, JohnnyD said:

Your video of The Hunt is good. However, it is better with the sequence as seen in the finished film. Now, if you want it as close as possible to how the Maestro originally scored it, I have a suggestion. Granted, this is a guess, but I think it should be done this way, and if you can re-upload the sequence this way, would you? Here it is: the sequence starts with the shot of Nick setting up his camera, followed by the shot of the heroes viewing the hunters driving towards the stampeding dinosaurs. After that, the rest of the sequence follows as is in the finished film. The shot of the jeep and bike jumping, followed by the rest of the sequencing shots. Try it that way, and I think the music will sync up even more with the sequence. Give it a shot.

 

I could give it a go, but I probably won't get around to it before the weekend.

 

On 27-4-2017 at 5:02 AM, crumbs said:

I think if we can determine the music that originally accompanied the "epic" wide shot of the herd being chased (tracked with the big statement of the main theme in the final film), it will help place the original edit of the sequence.

 

Yes. As it is now, it also feels odd to me that the only "reaction" shot we see of the hero group is the back of their heads. Which is why I think I may need to put the shot of Nick back in.

 

On 27-4-2017 at 5:10 AM, Selina Kyle said:

The music doesn't really fit with the Burke pachy scene, does it? He's like whispering to the other guy about the distinctive dome-shaped skull and then there's pounding Williams action music on the score? There are no break points in that cue, so...

 

On 27-4-2017 at 7:43 AM, Incanus said:

That pachycephalosaurus exposition is among the oddest moments for the original cue to underscore, Burke's explanation accompanied by this tense and kinetic music. Which makes me wonder what did the original cut Williams scored contain.

 

Yeah, that scene gave me a headache. But it feels like it has the most "subdued" part of the track underneath it now. And it still feels a bit off. Of course, the music is now mixed much, much louder than it would be in the film, so that might give you a skewed view of the scene.

 

22 hours ago, Luke Skywalker said:

Could Williams have score this somehow as diegetic music?

 

This I highly doubt. But it does have a notable constant drive compared to other tracks, rather than a lot of sync points. Then again, I think the action music in this score overall has less sync points than, say, its prdecessor.

 

That being said, it's on to the next track!

 

 

8. Big Feet *
5M2 Big Feet

The next cue starts soon after where The Round Up ended. As our heroes look down on the events below, Williams switches from action to drama. Below in the valley, Roland, Burke and Ajay are huddled over a T-Rex footprint. After Burke identifies the print, there’s about 25 seconds of unused music. In the script, the scene proceeds with Ajay explaining where the Rex went by examining the prints:

 

	AJAY, Roland’s tracker, studies the rex’s trail. It goes
	sideways, bisecting the game trail.

				AJAY 
		He sprang from the foliage. Picked
		off a calf -- that’s this smaller
		set of tracks that disappears. Then
		carried it back into the bush. That
		way.

	Roland gets up and goes to his jeep. At the back, he opens a
	wood and leather case, revealing --

	-- his gun. It’s an antique elephant gun, double barreled
	.600 Nitro Express. Nearly a hundred years old, its rosewood
	stock is worn buttery smooth, but is nicked and scarred by
	two lifetimes of campaigns. Cape buffalo are delicately
	engraved along its silver breech.

 

It is quite possible this was still in the version of the film Williams scored. After this, Roland heads to his car to get his rifle, which is where the film picks up. As the cue ends, we get to the scene with Dieter, Burke and the compy, which was scripted to go before the footprint scene (notice how Dieter and Burke end their scene in the positions they start in when Roland calls Burke over), but I see no indication that suggests these scenes were in another order when Williams scored this sequence.

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11 hours ago, Mr. Breathmask said:

 

I could give it a go, but I probably won't get around to it before the weekend.

 

Yeah; go ahead and do it the way I suggested, with Corporate Choppers leading up to it as well. I think it will sync up much better.

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9. Spilling Petrol and Horning In *
5M3/6M1 Spilling Petrol
5M3/6M1 Part II Horning In

Here we get to another sequence that was quite heavily cut down: the nighttime camp sequence. The conversation overlooking the camp is unscored in the film. When we cut to Ludlow down below, we're already 45 seconds into the track. Between these scenes, the August 22 script features a lot more stuff. There's much more dialogue between the team on the ridge, featuring Nick recounting a previous encounter with Roland and Sarah mentioning her fear of heights. Then there is a scene where Ludlow gets drunk and accidentally breaks the baby T-Rex’s leg (so this explains that it wasn’t Roland or Ajay who broke the baby’s leg to get it to cry for its parents - which always seemed particularly cruel to me - and why Ludlow is staggering about as he gives his business presentation).

 

Ekta013.jpg

 

There is no indication these parts were scored. As scripted, the baby T-Rex scene would certainly be longer than 45 seconds. But the very next part has Nick and Sarah sabotaging the InGen group’s vehicles and draining their fuel tanks. Evidence of these scenes exists in published stills as well as of course the cue title Spilling Petrol.

 

55	IN THE CAMP,

	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 jeep. 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.

Breakin1lg.jpg

 

Breakingin3.jpg

 

So I assume the first part of Spilling Petrol was meant to accompany at least this last scene that was cut. So rather than starting the track early and having the first part play over the conversation atop the ridge, this video starts with almost a minute of blank screen, representing the deleted scene above.

 

The sequence cutting between Ludlow’s speech and Nick and Sarah’s trek across the camp was also probably trimmed at various points. Because the rest of the track, leading up to the Triceratops charging into the camp, is heavily edited. I don’t know quite where and if the picture cuts coincide with the music edits, but for the purpose of this video I have synced up the score to the places it appears in the film as much as possible, so you at least get a sense of how much was removed. The August 22 script that I've been referring to doesn't actually feature Ludlow's speech (most of it is featured in the board room scene at the start of the film instead). In this version, he is talking to Burke about the progress they've made when the triceratops bursts through their tent.

 

So clearly, this is a part of the film that went through many changes late in the game.

 

The final part of the track, Horning In, underscoring the dinosaurs rampaging across the camp and Nick freeing the baby T-Rex to the sounds of the infant motif appears pretty much as written, save for a few micro-edits around effects shots.

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very nice. while i can appreciate the dropping of the music for the tension, having it there also adds a level of tension.

 

If you dont mind the suggestion, i think maybe the cues weren't meant to overlap (though they mix very well, really) because i feel that the final infant theme part comes too early, and the music ends too soon.

 

Can you check (i did, and i think it fits) to start Part II just when the 1st rex appears in the window and roars behind them? The infant theme starts just as the infant mourns (camera inside the truck). and the cue ends with the pecussion fading out as eddie tells them the rexes are gone. The final infant theme ends justs as sarah releases it. 

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Yeah, I also think the part when Malcolm approaches to the window is supposed to be a little moment of silence.

 

Nevermind, the scene is just completely different with "In the Trailer", but I prefer it to be left off.

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Up In a Basket and In the Trailer are actually meant to be one after the other, flowing as one entire musical sequence; In the Trailer is meant to overlap with the final percussion note of Up In a Basket.

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Two notes from me:

 

One, I always found it curious/funny that JW chose to sync the flutes with the hug Kelly gives to Malcolm by the end of the Truck Stop sequence. About 8:54 on the video, though I remember it was closer on the original version (I could be wrong).

 

And two, it's also curious that they chose to spot the map reading sequence considering the most logical thing would be to have no score at all -like in the finished film. I guess they decided to score it just in case and use it as they pleased when the time to make the decision came.

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12. The Compys! part 1
9M2 The Compys!

Just a short one today, with nothing spectacular going on in terms of unused or material. This brief cue is used in the film as written.

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well that was a big discussion in the earlier topics, how it was the biggest difference between the film and original recording

I can see why some of it was redone, even if it were mixed lower, the music for the scene where Sarah notices her own shirt sounds a bit too overdramatic

(also I feel like the music for the tent scene is off by like a few seconds for the first half, but maybe thats just me)

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I can understand why Ripples was edited in the movie. But on album the original version is much more interesting.

I guess the reason why the film version was not on the JP collection is because you need the sound effects to hide the edit points.

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14. The Long Grass **/Finding Camp Jurassic *
10M2 Steiner in the Grass
10M3/11M1 After the Fall

Steiner in the Grass, named for its homage to Max Steiner’s King Kong music, plays mostly as is, but it’s slightly longer than the accompanying scene. The scene was likely trimmed and some of the score was removed with it.

 

After the group slides down the hill, the next cue starts, overlapping with Steiner in the Grass. The opening atmospherics are longer on album than they are in the film. There may have been some trimming at the start of the scene. Nick then moves into the island’s abandoned worker village. The adventure theme from Jurassic Park reappears as Nick discovers a mural painting of the original park. There seems to be a slight pause in the score when Nick opens the door, as the music goes out of sync there. I have recreated the pause by editing the music accordingly. The final part of the track, where the adventure theme reappears over drums is unused. It starts right as Nick switches the power back on. The music ends at a slightly odd place, so I do wonder if this scene was re-edited after Williams scored it, but I have decided to let the scene play as it does in the film.

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On 28/4/2017 at 10:09 AM, Mr. Breathmask said:

Then there is a scene where Ludlow gets drunk and accidentally breaks the baby T-Rex’s leg (so this explains that it wasn’t Roland or Ajay who broke the baby’s leg to get it to cry for its parents - which always seemed particularly cruel to me - and why Ludlow is staggering about as he gives his business presentation).

 

 

Ekta013.jpg

 

 

Nice work Mr. Breathmask! I'm a true fan of your job restoring the music to the film. Actually I never realised that in the liberation of the Baby T-Rex by Nick (around 4:25 in the video) a bottle of wine and a small pot (the one which can be seen in the picture above) appear in the scene! Which has no sense in the final version of the film haha. Now I know that they belong this cut scene of Ludlow getting drunk.

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The junior novelisation of the films have many 'deleted' scenes as williams may have scored them (as oposed to a more extensive shooting scrip that may not have ended filmed. The above scene is there.

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9 hours ago, Anka said:

Nice work Mr. Breathmask! I'm a true fan of your job restoring the music to the film. Actually I never realised that in the liberation of the Baby T-Rex by Nick (around 4:25 in the video) a bottle of wine and a small pot (the one which can be seen in the picture above) appear in the scene! Which has no sense in the final version of the film haha. Now I know that they belong this cut scene of Ludlow getting drunk.

 

Why, thank you. Now you know!

 

I finally got around to making some new videos based on your suggestions. First up, @JohnnyD's resequencing of The Hunt:

 

On 27-4-2017 at 2:46 AM, JohnnyD said:

 

Granted, this is a guess, but I think it should be done this way, and if you can re-upload the sequence this way, would you? Here it is: the sequence starts with the shot of Nick setting up his camera, followed by the shot of the heroes viewing the hunters driving towards the stampeding dinosaurs. After that, the rest of the sequence follows as is in the finished film. The shot of the jeep and bike jumping, followed by the rest of the sequencing shots. Try it that way, and I think the music will sync up even more with the sequence. Give it a shot.

 

 

I can see where you were going with this, but the musical shift at 0:27 doesn't really make sense in the middle of that shot. It lines up nicely at 0:38, though. But there's lots of places where it feels just slightly off.

 

As I was editing this again, I realised there's a bunch of weird continuitiy errors in the sequence. Roland's hat switches on and off his head, the guy being punched through the jeep is Carter, who is supposed to be in the car with Dieter at this point, and when we cut to Dieter and Carter in their car, there's a shot that clearly shows Burke driving behind them in the position he's in when he arrives at the Pachy.

 

This led me to believe the original sequencing might have been more like this:

 

 

But then, when you put The Hunt to it, it doesn't really sync up either. I know I excluded the heroes overlooking the chaos, but that didn't help either. And I'm starting to wonder if the fade out at the end is supposed to play over Burke's arrival. But then why have Roland direct the snagger to the pachy? Questions, questions... So I guess the video above serves the purpose of both showing you a possible alternate sequencing and demonstrating how impossible it is to properly sync this thing. :( 

 

On 29-4-2017 at 10:56 AM, Luke Skywalker said:

If you dont mind the suggestion, i think maybe the cues weren't meant to overlap (though they mix very well, really) because i feel that the final infant theme part comes too early, and the music ends too soon.

 

Can you check (i did, and i think it fits) to start Part II just when the 1st rex appears in the window and roars behind them? The infant theme starts just as the infant mourns (camera inside the truck). and the cue ends with the pecussion fading out as eddie tells them the rexes are gone. The final infant theme ends justs as sarah releases it. 

 

I tried this, but it doesn't work as well. If you do this, a lot of music seems to go on for too long. There's wondrous infant music for Sarah staring down a full grown T-Rex and the percussion that follows that doesn't end until we're a short bit into the next scene with Eddie and Kelly, which is a bit awkward. I also maintain that when to cues are labeled Part I and Part II, they're supposed to segue into each other. So I'm sticking to the original version I made of this (although I've updated the transition, so it should be a little more accurate now). If you really want to see this alternate interpretation though, you can do so here.

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- REMOVED -

 

15. The Raptors Appear */High Bar **
11M2 The Raptors Appear
11M3/12M1 High Bar and Ceiling Tiles (part 1)

Note: This video has been redacted. Scroll on or go here to view the entire raptor sequence, including the music originally featured in this video.

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Because there's a notable beat in the scene when Malcolm talks to Kelly and it's longer than what's on album. I figured the cue was meant to be split in two that way.

 

And I need the time to prepare new videos.

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It's a purposeful pause written right into the music; It isn't meant to be split into 2.  The silence is part of the music.

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Never mind. I'm having a shitty day, so I might have been a bit snappy. Sorry about that.

 

Either way, more TLW music tomorrow!

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6 hours ago, Jay said:

It's a purposeful pause written right into the music.  It isn't meant to be split into 2.  The silence is part of the music.

 

He is right. High Bar and Ceiling Tiles is one entire cue; it is one entire sequence.

 

5 hours ago, Mr. Breathmask said:

I'll make a deal and upload a vid with the whole thing tomorrow.

 

Are you able to re-do this one? The sequence should be as follows: The Raptors Appear / High Bar and Ceiling Tiles.

 

The pause is meant for Ian Malcolm's line, "The school cut you from the team?" The second half of High Bar and Ceiling Tiles begins right when Sarah tells Ian and Kelly to get out of there. Also, there does not need to be a black pause in the video after Kelly kicks the Raptor, as the music comes to a pause right on Malcolm's line.

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2 hours ago, JohnnyD said:

Are you able to re-do this one? The sequence should be as follows: The Raptors Appear / High Bar and Ceiling Tiles.

 

7 hours ago, Mr. Breathmask said:

I'll upload a vid with the whole thing tomorrow.

 

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To replace the finale of Ceiling Tiles was the worst of Spielberg's musical decisions. That last part is so awesome and keeps the tension until the end! Looking forward to it!

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You know what you should do for the next video: Just have the next musical sequence be as follows -

 

Heading North / Ludlow's Speech / The Wreaked Ship / Monster On the Loose / Visitor In San Diego, part 1 & 2 / Ludlow's End / Tranquilizer Dart.

 

I mean, the pause between A Neighborhood Visitor and The Streets of San Diego is only five to seven seconds in the film, so it does not seem necessary to have another video. Wouldn't it be simpler to just have the entire thing in one whole video. I know it is a long stretch, but it works.

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A Neighborhood Visitor and Streets of San Diego are two separate cues, so there's going to be a split there (as there also was between other cues that are separated by only a few seconds of silence). I also want to spare people having to stream over half an hour of the movie in one go.

 

You'll have the final parts soon enough.

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16. Heading North */Ludlow’s Speech */The Wrecked Ship */Monster on the Loose */Visitor in San Diego (part 1) *
12M2 Heading North
12M3 Ludlow’s Speech
12M4 Wompi’s Wrench
12M5 Monster on the Loose
13M1 A Neighborhood Visitor

NOTE: This video and the accompanying text have been updated to reflect new findings discussed below.

 

Heading North is supposed to start soon after High Bar and Ceiling Tiles, right as we first see the captured Tyrannosaur. Contemplative strings underscore the sight of the captive T-Rex and Ludlow’s conversation with Roland. After Roland speaks his final line, the music swells. It’s here that the score comes in in the film. As our heroes fly over the site and spot the captive T-Rex, the Lost World theme plays. It’s one of many renditions in the film, but in the score as written, it’s only the second time we hear this theme and we won’t hear it again in this full setting until the end credits. Heading North goes straight into the next cue.

 

The Island’s Voice is featured prominently in the start of Ludlow’s Speech. It’s set over repeating percussion and an interesting line that’s reminiscent of the synth percussion from Dennis Steals the Embryo. As the S.S. Venture approaches the shore, the music builds. After the dockworkers turn towards the sound of the oncoming boat, the music cuts out in the film, but there’s about another minute of pounding score written for the approach and eventual crash of the Venture.

 

As The Wrecked Ship starts, The Island’s Voice is now dominating the score, even though we’re now off the island. The first part of this track features the motif in a setting similar to the opening of the film. This cue is entirely unused. Instead, the exploration of the S.S. Venture is mostly accentuated by the sound of the cargo door drive motor. There is also more music than there is film until the score re-enters the film mix. Because both the end of the previous cue and the start of the next are unused, and the track is longer than the scene it accompanies, it’s pretty hard to say for certain where this music goes. For this video, I have synced Ludlow’s Speech and Monster on the Loose to their respective latest and earliest sync points and put in this track so that the start of The Wrecked Ship overlaps with the end of Ludlow’s Speech and the final bars of The Wrecked Ship flow into the start of Monster on the Loose. The most likely trim point I found in this sequence is when Ludlow reaches the deck. Notice the change in the amount of people present when we cut to the wide shot, as well as the security guard standing next to Ludlow suddenly holding a large flashlight.

 

The first two bars of Monster on the Loose are marked as an "optional repeat" and are not used in the film. The music starts right as the Rex bursts free at bar 3. The original version of this video contained the first two bars of Monster on the Loose with The Wrecked Ship ending right before it. After some discussion (which you can read below) I did some fiddling about and ended up cutting the first two bars of Monster on the Loose, letting The Wrecked Ship go straight into bar 3 of Monster on the Loose. The result of this change was that from the moment we cut back to the film after Ludlow has made his way to the deck, we are now eight seconds earlier in The Wrecked Ship and it lines up much better than the original video.

 

When Malcolm tells Ludlow “now you’re John Hammond,” the adventure theme appears again - a callback to its use earlier in the score when Malcolm was telling Ludlow he wasn’t Hammond (this happened in The Trek, which was cut from the film and replaced with the Lost World concert sutie). Then, as the Rex crashes through immigration, the movie tracks in music from Visitor in San Diego, but Williams wrote a short fanfare for this moment that will be reprised soon. After the Rex roars into the night, the film returns to the written score for the following dialogue scene.

 

The very first part of A Neighborhood Visitor, underscoring the Rex walking around a suburban area, is not used in the film. The music comes in as we cut inside. When syncing to this point, the end of Monster on the Loose goes straight into this cue. The "dinosaur in our backyard" scene has the score pretty much intact. Then there are some minor edits as Malcolm and Sarah reach Jurassic Park San Diego, where the deleted fanfare from Monster on the Loose is reprised, this time with the adventure theme overlaid. A Neighborhood Visitor was coupled with The Streets of San Diego on the original album and the La-La Land Release, but they are actually two separate cues with a few seconds of silence in between. This was originally the last unscored moment, although there is still a bunch of dropped and replaced music to come in our final video...

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I think that i would start montster on the loose as the t-rex blasts open the cargo doors. imo, The change in the metal wind instrument is weird  with the shot of the guard geting the remote control device.

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