Released in early 2022, Jurassic World Primal Ops is an action-combat mobile game filled with dinosaurs. Almost a year later, composer Winifred Phillips‘ musical score for the game has been nominated in the “Outstanding Score For Interactive Media” category at the 2023 SCL (Society of Composers & Lyricists) Awards!
Original Video Game Score composed by Winifred Phillips
“A listening experience that’s both fun and sophisticated!”
– Film Score Monthly
“Video game composer extraordinaire Winifred Phillips has composed an exciting score for the game!”
Winifred Phillips is an award-winning, BAFTA nominated composer whose credits include titles in six of the biggest franchises in gaming: Assassin’s Creed, God of War, Lineage, LittleBigPlanet, The Sims, and Total War.
Click here to listen to the entire score, which is exciting, fun, and very Jurassic!
Celebrate one of the most thrilling franchises of all time with this in-depth look at the making of the Jurassic World trilogy. Following the release of director Colin Trevorrow’s smash hit Jurassic World in 2015, the dinosaurs of Isla Nublar once again dominate the public imagination. Jurassic World: The Ultimate Visual History is the definitive account of the franchise – and a companion book to Jurassic Park: The Ultimate Visual History (released in 2021) – delivering a comprehensive look at the making of the first hit film as well as its thrilling sequels Jurassic World: Fallen Kingdom (2018) and Jurassic World Dominion (2022). Through rare and never-before-seen imagery and exclusive interviews with key creatives, the deluxe volume explores the entire creative process, from the films’ stunning dinosaur designs to the epic location shoots and the creation of the films’ incredible visual effects.
The book also includes sections on the DreamWorks Animation animated series ‘Jurassic World: Camp Cretaceous’, various games, toys, theme park attractions, and even the short film ‘Battle At Big Rock’. This is the first time any of the ‘Jurassic World’ films have received a behind-the-scenes book, which already makes it vital for this reason alone. But is it truly a “definitive account of the franchise” for this trilogy of films, or is it met with some the same (perhaps nitpicky) issues found in the previous book? Let’s have a look!
VISUAL & WRITING STYLE
Just like in the previous ‘Jurassic Park’ version, this book is visually pleasing. It’s filled with as much colorful artwork and photographs as possible. The text is neatly placed within it all, and nothing ever feels too crammed or out of place. The previous book had more going on with the borders around each page, whereas this ‘Jurassic World’ version has a more barren approach. It simply features gray tabs on the sides with gray/amber-tinged headlines for each new section. This simpler approach feels appropriate with the sleeker look of the films themselves, particularly the first ‘Jurassic World’ and its park’s design.
The writing itself is clear and precise, which is vital in stitching together different information from different sources. James Mottram, who also penned the previous book, weaves the information into a distinct fabric to tell its story.
This book includes a foreword by Bryce Dallas Howard (“Claire Dearing” in the trilogy), introduction by Colin Trevorrow (director of ‘Jurassic World’ & ‘Jurassic World: Dominion’, writer of the trilogy), preface by J.A. Bayona (director of ‘Jurassic World: Fallen Kingdom’), & an afterword by Frank Marshall (producer of the trilogy). Mysteriously absent from this list is Chris Pratt, but I suppose he is too busy voicing Mario these days. These exclusive passages are great bookends for the entire presentation, with each person adding their own personal tribute. They even reveal fun information, like J.A. Bayona as he details Michael Giacchino‘s fantastic music score for ‘Fallen Kingdom’:
One of my most cherished memories from making Fallen Kingdom was working with composer Michael Giacchino. We spent hours talking about film music and listening to soundtracks. There was one specific piece of music we paid attention to: Bernard Herrmann’s work for Mysterious Island (Cy Endfield, 1962). Our common goal while venturing into the musical tapestry of our movie was expressing our love for this kind of film. When I listen to Michael’s music for Fallen Kingdom, I sense our mutual desire to travel back in time and bring back the same unparalleled fascination and heartwarming happiness that those movies gave us.
FANTASTIC COLLECTION OF IMAGES
While many of the book’s images have been revealed online over the years by various concept artists who worked on the films, it is still great to have them all cobbled together in one book as the trilogy’s history is told. Even better, there are some art and photographs that have never been seen before! Here is just a tease of what to expect!
NEW & OBSCURE INFORMATION
Making a book like this requires many sources for quotes, stories, and other information. Website articles, television interviews, Blu-Ray bonus features; everything was sifted through to collect the data. While some, maybe even a lot, of the details could be considered “old news” to people deeply invested in this trilogy’s history, it is all well-arranged while even including new details sprinkled throughout. [NOTE: I will be honest and admit I am not as familiar with the history of the ‘Jurassic World’ trilogy as I am with the ‘Jurassic Park’ trilogy, so forgive me if any of this is not truly “new”.]
For ‘Jurassic World’, some of these fun new details include Derek Connolly never having seen a ‘Jurassic Park’ movie before when he was tasked with co-writing the script with Colin Trevorrow; production designer Ed Verreaux had sent his art department team to the Universal Studios theme park in Hollywood to photograph everything (including signage) to see what they wanted their fictional park to resemble; and concept artist David Lowery came up with an unused idea for a “Pteranodon Terrace” where guests traveled in glass gondolas hanging from a huge cable that stretched across a vast expanse of jungle (and included “food Frisbees” that would be shot out of the gondolas and snapped up midair by the flying reptiles.). However, one of the most exciting new details for me was a little more about the script written by Rick Jaffa and Amanda Silver right before Trevorrow & Connolly were brought in to pen their draft.
Spielberg also wanted to revisit the idea of a hero character capable of training and commanding dinosaurs. These ideas manifested in the character Vance who, in the Jaffa/Silver draft’s opening scene, is seen jumping out of a helicopter with a pack of trained raptors and landing in a compound belonging to a Colombian drug dealer. Although [John] Sayles used the bipedal Deinonychus in his draft, Spielberg felt that the physically similar Velociraptors, first seen in Jurassic Park, would be a better fit for the role. The story also focused on a Chinese paleontologist who visits the now-open Jurassic Park with her sons. The scientist has a secret agenda, believing that the park’s owners have stolen DNA from bones she unearthed of a previously undiscovered dinosaur—the Malusaurus. The corporate side of the park is run by Whitney, a female manager who views the dinosaurs as commodities and nothing more. Inevitably, the Malusaurus created using the stolen DNA escapes from its enclosure, and Vance must use his raptors to hunt it down.
‘Fallen Kingdom’ includes interesting tidbits, such as Benjamin Lockwood originally having very little connection to John Hammond and the past of ‘Jurassic Park’; in its original draft they went from Isla Nublar to England where a small village gets destroyed by dinosaurs (until Steven Spielberg told them there was no credible way to make that journey happen); and the film’s fantastic opening sequence was originally just over a single page in the script, with Bayona fleshing it out further with an extended climax on the helicopter ladder while also adding Jurassic staples (like the pouring rain and the yellow raincoat worn by the tech that resembles Nedry’s apparel from Jurassic Park). The film’s title itself (along with the next film’s) proves to also have its own unique history:
“I wanted to call [the first film] Jurassic World. And the second one was Jurassic Earth, and then the third Jurassic Kingdom. The studio was like, ‘You can’t keep changing the title of the movie. You already did it once.’” Taking Universal’s feedback into consideration, Trevorrow decided to combine the overall franchise name with a subtitle, taking the word kingdom from his proposed third film and adding it to fallen, suggesting the decline of the dinosaurs’ domain.
Even the small section on the short film ‘Battle At Big Rock’ gets a nice detail on its inspiration: a YouTube video titled “Battle at Kruger“, in which tourists witness a water buffalo being attacked by lions and an alligator.
The section on ‘Dominion’ reveals that a scene featuring Daniella Pineda (Zia Rodriguez) had to be recast with another actor, Varada Sethu, when COVID restrictions kept her from being able to leave another production she was on; production designer Kevin Jenkins ensured that the equipment seen in BioSyn’s abandoned amber mines displayed 1990s-style Biosyn logos, a detail reminiscent of the old rivalry between the company and InGen (although I suppose footage containing it must have been cut, because I can’t seem to spot it in either version of the film); and animatronic creature effects artist John Nolan took inspiration from Frontier Developments’ 2018 video game ‘Jurassic World: Evolution’to get a better sense of the Dilophosaurus’s locomotion for the film. In fact, Nolan’s team had created a device that would allow the animatronic version of the dinosaur to travel on a dolly track with eleven puppeteers following behind it using levers, rods, and cable controls to create the dinosaur’s walk. However, Trevorrow was not happy with the result. But perhaps one of the biggest pieces of interesting information involved our favorite clone girl, Maisie.
When it came to casting the role of Maisie’s mother, Charlotte Lockwood, Trevorrow considered using digital tools to graft Isabella Sermon’s face onto a body double and age her features appropriately. However, during a casting section for the body doubles, he made a remarkable find. “I had been given a set of faces whose bone structure was similar enough to Isabella Sermon’s,” says Trevorrow. Among those faces was Irish-born Elva Trill. As Trill began reciting lines with the director, he quickly came to realize that she would be perfect as Charlotte and abandoned the digital augmentation idea. “I’ve never seen an actor come in and just grab a role by being so good,” says Trevorrow.
The section near the end of the book that details ‘Camp Cretaceous’ scored some of its own interesting details, such as the showrunner’s original plan to feature Owen Grady and Claire Dearing; there was an early version of the story where Ben doesn’t survive past Season 1; and most interestingly how the originally intended final shot of the film trilogy was instead used as the final shot for this series:
Camp Cretaceous also brought Trevorrow full circle, back to his early meetings with Steven Spielberg when he pitched the arc of the Jurassic World franchise, which would ultimately lead to dinosaurs entering our everyday lives. Specifically, the image of a child looking out his window on a suburban street and seeing a traffic jam caused by a Brachiosaurus at an intersection. “We actually ended up making that the very last shot of the entire [Camp Cretaceous] series,” says Trevorrow. “After nine years, that idea found its way back into the story.”
As usual with Insight Edition’s Visual History books, there are numerous “inserts” on certain pages that feature unique items. While some are still applied with an adhesive per the previous book, many of the inserts this time are more technically “part of the book” and not meant to be removed entirely. Some are just meant to be unfolded beyond the confines of the book’s dimensions, while a few are even in the form of actual booklets to flip through. The only real negative is that it is focused more on the first film than the rest. Here is a complete list of what you will find:
From ‘Jurassic World’: Poster art advertises Jurassic World’s Gyrosphere ride; Storyboards by David Lowery from an early iteration of Jurassic World’s evolving storyline; A map of Isla Nublar showing the island’s topography and the location of Jurassic World; Dr. Wu’s Jurassic World security pass; Concept art by Glen McIntosh for Jurassic World’s petting zoo; The sketches that Steven Spielberg drew for Colin Trevorrow to illustrate his feedback on the Indominus rex breakout sequence; A tourist map of Jurassic World highlights the theme park’s attractions; & Storyboards by Glen McIntosh for the scene in which the raptors pursue a pig in the Raptor Research Arena.
From ‘Fallen Kingdom’: Raptor movement study by Glen McIntosh; A sticker sheet featuring production design art created for the Dinosaur Protection Group; & Production design art for the jacket of Dr. Ian Malcolm’s book, God Creates Dinosaurs (not actual size).
From ‘Battle At Big Rock’: Concept Art Booklet.
From ‘Dominion’: Storyboards by Glen McIntosh for Jurassic World Dominion’s prologue scene & Malta Concept Art Booklet.
From ‘Camp Cretaceous’: Concept Art Booklet.
WHAT COULD HAVE BEEN BETTER?
A fan wouldn’t be a fan without needing to nitpick, right? (Don’t answer that.) Despite being mostly pleased with this book, there are still a few areas that could have been improved upon (perhaps in a revised edition, which Insight Editions have done before).
WHAT ABOUT ‘JURASSIC PARK 4’?
The opening of the book does briefly go into ‘Jurassic Park 4’ (the obvious working title before it eventually was named ‘Jurassic World’), mostly delving into some details on the John Sayles script and then eventually a little more about Jaffa/Silver’s script before Trevorrow/Connolly did their own version. But what about the rest? There were numerous versions of the film, by other writers, that were tackled in the 14 years between ‘Jurassic Park 3’ and ‘Jurassic World’. Given that it was such a long range of time where the studio kept throwing ideas around to try to make things happen, most of it shrouded in secrecy, this had been one of my most anticipated sections. Instead, it was only a few pages, and generalized.
Also, while they mention the dinosaur/human hybrids, it’s a shame that none of the wild concept art (that has been online for many years) was included at all. Perhaps they couldn’t get the rights to feature them?
Speaking of art from this period: where was John Bell‘s art? Last year’s book featured loads of art by Bell for the original trilogy, plus a tease of two pieces of artwork he did for ‘Jurassic Park 4’. And yet, this book didn’t feature any of it. This is another case where the art has been online for years, on Bell’s very own site. And there is some fantastic stuff, including his concepts for gyrospheres and even a version of the park’s map that perhaps coincided with the Jaffa/Silver script. This book even mentions Bell in the “special thanks” section, making the exclusions even more mystifying.
Look, I get it: this book can’t be 1,000 pages long like all of us die-hard fans would like it to be. Putting the complex histories of three massive films into one book is a huge undertaking (just like it was in the previous book). Still, there were some things I wish had been mentioned or visually included in this book. Because when and where else would it be, apart from random online articles & videos that eventually get buried with the rest? Perhaps that’s why some of these details were possibly missed to begin with?
Seamus Blackley, the creator of the XBOX and the ‘Lost World’-related game ‘Trespasser‘, had pitched a video game that he titled ‘Jurassic World’ (before anyone else); which would later inspire several ideas for the new film trilogy. None of this important revelation is mentioned at all (although to be fair it wasn’t publicly known until very recently). Also for ‘Jurassic World’, there is no mention of the “Stegoceratops“: a second hybrid dinosaur that was originally planned to be in the film, and even had a toy made for it!
The previous book had spent a lot more time detailing most of the different scripts for the films. This book does this at times but to a lesser degree. While it was nice to learn a little more about the Jaffa/Silver script for example, it still just grazed the surface. And since this script can’t be found anywhere online currently, a more detailed summary would have been amazing. For example, was the concept art that was shown in one of the Blu-Ray bonus features (and not in this book) of the Indominus attacking a robotic T-Rex coming out of a waterfall (ala ‘Jurassic Park: The Ride’) something from this script?
MORE LOVE FOR THE SEQUELS
This is another reoccurring issue, but it just feels like more focus is given to the first film of the trilogy (despite me just complaining I wanted more from it!) with less invested in the sequels; ‘Fallen Kingdom’ and ‘Dominion’. More details about their different scripts, more inserts related to them (A pull-out Hammond painting from ‘Fallen Kingdom’ would have been awesome!), or even the mention of certain deleted scenes we know were filmed thanks to still images (that aren’t in this book): such as Iris’s death from the Indoraptor & a dead/decayed Stegosaur that Owen and his team come across as they search for Blue on Nublar.
According to more “hush-hush” behind-the-scenes stories, we also know that ‘Fallen Kingdom’ was going to originally involve Isla Sorna, a ‘Gene Ship’ for Wu’s experiments, and more of Ian Malcolm. He was going to try and sabotage the rescue mission on the Arcadia! ‘Dominion’ was originally going to be two films that would have been filmed at the same time. But again, none of these details are brought up.
In an ideal world, each film in the series would have gotten its own book. This would have allowed much more breathing room to fully explore all these things, and more. Perhaps that is just not economically feasible anymore, even for a big franchise? Especially when, let’s be honest, the sequels in each trilogy are not as popular or well-regarded as their first entries. While a slew of die-hard fans would have clamored for a ‘Fallen Kingdom’ making-of book, for example, is it really something that would sell well? Especially now? Sometimes these sorts of “package deals” are the only way to at least get what we are able to.
SO, SHOULD I GET IT?
I think‘Jurassic World’ fans shouldabsolutely get this book. My complaints, as you’ve read, only really dwell with what isn’t in it. While the omissions are disappointing, it isn’t so egregious that it takes away from what is included. There’s a wealth of information, concept art, photographs, and nice inserts (the “concept art booklets” being my favorite) that are all woven together wonderfully. In most ways it improves upon their ‘Jurassic Park’ book, and in retrospect I may have originally been a little too critical on it. But if being a little harsh helped make this book better, well, that’s why I still felt the need to point some things out this time, too.
What I didn’t expect to feel while reading and looking through this book was how much nostalgia it gave me. The first film in this trilogy is nearly a decade old, and it’s crazy how time flies. Books like Jurassic World: The Ultimate Visual History help preserve these films beyond the screen, along with all our memories that come with them.
The feelings we had in anticipation for these films, the news as details were revealed, the organized screenings every time they came out, and the events we attended where other people obsessed with this series finally felt like they belonged. Friendships made, perhaps even hearts broken, or miraculously the bond of marriage formed. We all have our stories. And when you go through these pages, I can almost guarantee that at least one image, maybe something obscure not literally in the film that you would never expect to elicit an emotion, reminds you of a time that once was. And you remember your place in that time, and perhaps realize just how different you are now; or the same.
This trilogy, and our time in it, is over. But like everything in nature, it will evolve. And so will you.
What are some of your favorite memories related to the ‘Jurassic World’ trilogy? Did you go to a fun event, see any of the films with someone you loved, or make new friends because of it? Share your thoughts in the comments below, and may the joy you have for these films never go away!
ADDENDUM: In celebration of the release of “Jurassic World: The Ultimate Visual History”, Insight Editions presents author James Mottram in conversation with Jurassic World Animation Director/Paleoartist Glen McIntosh. Discussion moderated by Derrick Davis, Writer at Jurassic Outpost & Creator of Jurassic Time! Intro/Outro by Insight Edition’s Marketing & Publicity Strategist Amanda Hariri. Live Book Release Event via Crowdcast (10/25/22).
‘Jurassic Park’ has an earth-shattering music score that every fan of the films has always been blown away by. The memorable themes and cues expertly crafted by composer/conductor John Williams are filled with wonder, action, and intense horror that are forever engrained in our ears. Now, nearly 30 years after it was heard by the world, the music score to the classic film gets a definitive release in a brand-new 2-CD set from La-La Land Records. But how definitive is it, and what sets it apart? To learn that, let’s have a little “history lesson.”
In 1993, the soundtrack was released on CD in the form of a 70-minute album via MCA records (also available on cassette and LP). This 1-CD release was assembled by John Williams himself, combining some cues together to form certain tracks, and arranging it all in his own personal sequence. For example, the actual “End Credits” from the film happen in the middle of this album, titled as “Welcome To Jurassic Park.” Then at the end of the album the track titled “End Credits” is actually just the second half of the same cue. Why? We shall perhaps never know, but it is a very curious choice.
While the 1993 album featured a large chunk of the score it did leave off several cues, including the “T-Rex Chase” when our favorite Rex goes after Ellie and the others in the Jeep; the “History Lesson” Tim gives Grant as they attempt to decide which tour car they want to go in; and Mr. DNA’s whimsical music as he is “Stalling Around” in his cartoon while explaining how they obtained dino-DNA. Thankfully, in 2013 these cues, combined with a few more, were introduced as bonus tracks for a digital-only 20th Anniversary Release by Geffen Records. Not only was this an expanded release, but it also featured a brand-new remaster. (Note: Mondo also did a limited-edition LP release of this remaster, sans the bonus tracks.) Several of the previously unreleased cues were combined (despite chronologically being from different scenes), and in some cases omitted the tail end of some of the music. One of the most interesting additions was actually “Hungry Raptor,” which was the original version of the music for when Ellie is attacked by a raptor in the shed; followed by Muldoon’s death. In the film, only the middle portion of this cue is used, with the rest using music “tracked” from other scenes. Amusingly enough, the opening of the cue was first publicly heard during the end credits of the original ‘The Making Of ‘Jurassic Park” documentary that was narrated by James Earl Jones.
The 2013 release was a godsend for fans of the music score at the time. But just three years later, in 2016, La-La Land Records released a 2-CD expanded edition that was part of a 4-CD collection that had included John Williams’ score to ‘The Lost World: Jurassic Park’ (also expanded and remastered for the first time). Using the source from the 2013 remaster, they did further mastering of their own (producing even better sound quality) while also going back to the original elements and providing every cue of the score for the very first time. This included Grant’s realization of “You Bred Raptors?”, Dennis Nedry’s “Race to the Dock” after the T-Rex gets out, and even a cue that was not heard in the film at all known as “The Saboteur.” That cue was meant to score the scene where Nedry is left at his messy workstation as the camera pans over to his inconspicuous Barbasol can. In presenting the complete score, the set also separates the unnaturally combined cues of both previous releases so they can be heard on their own for the first time, and without a single note being cut off or faded out. It also featured an extensive booklet detailing the making of both films and scores.
While many units of the 2016 set were produced, it did eventually go out of print. This led to second-hand sellers taking over the reins of offering this presentation of the score to people online, often selling for well over $100. While the 1993 Album remains in print and the 2013 digital-only expansion remains online, neither offer the perfect sound quality or the complete score that the 2016 release contains.
La-La Land Records, Universal Studios and Amblin Entertainment, Universal Music Group and Geffen Records present JURASSIC PARK, a limited 2-CD re-issue presentation of maestro John Williams’ (JAWS, STAR WARS, SCHINDLER’S LIST) original motion picture scores to the 1993 blockbuster JURASSIC PARK starring Sam Neill, Laura Dern and Jeff Goldblum and directed by Steven Spielberg. Williams’ monumental JURASSIC PARK score teems with thematic orchestral wonder and is celebrated as one of the composer’s most accomplished works. Produced, edited and mastered by Mike Matessino, (with fresh outputs of the 192k/24 bit master files utilized in our 2016 collection) this re-issue utilizes that material to re-create the original 1993 soundtrack album. This is featured on Disc 2 and is followed by the source music track “Stalling Around” (the composer’s homage to classic Warner Bros. cartoon music for Jurassic’s “Mr. DNA” sequence). Disc 1 showcases the entire main Score Presentation, which now includes, for the first time, the performances and mixes of “Journey To the Island” and “Dennis Steals The Embryo” as heard in the film. The 28-page CD booklet features liner notes by Matessino (adapted from our 2016 collection) and the new art design is by Jim Titus. This is a limited edition of 5000 Units.
As mentioned, having the film-version performances and mixes of both “Journey To The Island” and “Dennis Steals The Embryo” are quite special. Sometimes, the film performance or “version” of a cue can be different than what is presented on the released albums. In this case, neither had ever been heard before, apart from the film itself. In the film, and now on this new release, “Journey To The Island” features a bit of a faster and more timed tempo of the adventurous “Island Theme,” most notably a snappier pace when it transitions to the park visitors beginning their ride in the Jeeps. The moment for when the Brachiosaur appears is also now properly timed to how it is in the film, as well as later when the Jeeps begin their ride to the Visitor Center. “Dennis Steals The Embryo” fixes a mixing issue that has somehow always been present on every single release: the orchestra had been improperly mixed against the synth. Now it can be heard properly mixed, as it is in the film, for the very first time.
The inclusion of a rebuilt/remastered version of the 1993 Album is a nice addition on the second disc (where the Mr. DNA “source music” was decidedly put since it couldn’t fit on the first CD). Whatever qualms anyone may have had (such as myself) with that initial release, for many it is a bit nostalgic to hear the takes/mixes/editorial choices John Williams had created for it. In fact, for some fans of the score, the takes John Williams preferred for the album of certain cues are preferable to them as well! With this release, you get the best of both worlds by having it all together, and all sounding the best it ever has.
The booklet included in this release is very much the same as the one from the 2016 release, but of course only focuses on ‘Jurassic Park’ this time. The artwork and layout is a bit different this time, making it unique enough to be different from the former release. There are some additional credits this time as well, including a special thanks to yours truly due to years of nerdy insight made on old forum posts (as well as Jurassic Outpost friend Bernard Kyer).
By far the most important aspect of this release isn’t what is new, but simply the fact that it is available again. Generations of old and new film score fans, and even those who would like to study such a masterful score as this, should have a comprehensive presentation that is accessible. As good as the previous releases were for their time, having every single cue available, and now different variations of them, is integral for preserving this important milestone of music.
If you have never purchased the music score to ‘Jurassic Park’ before, this release is a massive no-brainer. It is the definitive release, finally back in print and with some great new inclusions that bests every release that came before it. If you only have the 1993 Album or the digital 2013 release, I can promise you that this is still worth getting. It’s presented in a much better way, and with much better sound. For those that have the 2016 CD set paired with ‘The Lost World: Jurassic Park’… I can understand skipping this. There may not be enough to fully justify shelling out more money for it again, but that will just depend on who you are.
Since this is my favorite music score of all time, to my favorite film of all time… the choice was pretty easy. This new edition is a must-have. And who knows, perhaps ‘The Lost World: Jurassic Park’ will be similarly visited down the line? Maybe even ‘Jurassic Park 3’? We can only hope!
The full score album will be available digitally, on CD, Vinyl via Mondo, and in Dolby Atmos June 10th. One brand new track, “Da Plane and Da Cycle”, was released early today – you can listen to it via Apple Music, Spotify, and via YouTube below!
Giacchino has returned with his signature bombastic Jurassic musical style and pun-filled track titles. The album boasts 32 tracks – plenty of music for the massive film that Jurassic World: Dominion is shaping up to be. We are enjoying the score so far and can’t wait to hear more when Dominion releases next week!
What do you think of this new track from Jurassic World: Dominion and the album details we’ve learned today? Let us know in the comments, and follow Jurassic Outpost for all the latest as we head towards June 10th!
Both Michael Giacchino and Colin Trevorrow have enriched social media timelines with looks behind the scenes of the ‘Jurassic World: Dominion’ scoring process over the last couple of weeks. The teases were strictly in photo form, but as of today both Giacchino and Trevorrow have shared the very first audio snippets from the new film!
Giacchino’s audio tease features a calm and rather affecting full orchestra rendition of the main theme from ‘Jurassic World’. The wooden T. rex from past photos makes an appearance along with the full orchestra in London via Zoom in the background. The camera pans down to reveal two partial orchestral score pages from the recording session. It’s really satisfying to hear the main musical theme returning for this film. The nature and dynamics of the music in this tease could lend themselves to a solemn scene somewhere in the film, or perhaps a majestic scene featuring a dinosaur landscape.
Trevorrow’s audio tease is an entirely different story. The video features him playing what looks to be Dark Souls III with a recording from Giacchino’s new ‘Dominion’ score serving as the music for the video game. The music in this tease is starkly different from that of Giacchino’s post. It features jarring strings, woodwinds, brass, and percussion musically punching and stabbing in a truly terrifying way. It is reminiscent of Bernard Hermann’s ‘Psycho’ score and also composer Igor Stravinsky’s wild musical works. Giacchino has previously said that these two composers were major influences for his ‘Jurassic World: Fallen Kingdom’ score. This music is clearly meant for a horrifying moment in the film. It’s exciting to hear these musical styles and influences returning for ‘Dominion’ after building through the first and second ‘Jurassic World’ films.
Giacchino also teased that the haunting main theme from ‘Jurassic World: Fallen Kingdom’ might make an appearance in Dominion’s score:
Most importantly, Giacchino shared that the scoring process for ‘Jurassic World: Dominion’ has been completed!
Last day of scoring for @JurassicWorld Dominion. It’s been an incredible 10 days with the orchestra and crew at @AbbeyRoad . Thanks for making an incredibly difficult process seem effortless! Big kudos to my team and engineers Peter Cobbin and Kirsty Whalley! pic.twitter.com/YY9SIwNZhS
The process was slightly different and took longer than normal in order to observe safety protocols, but Giacchino’s team along with Trevorrow and everyone at Abbey Road got the job done. Giacchino even sent everyone at Abbey Road cupcakes to thank them for their hard work:
The completion of the scoring process and these musical teases for ‘Jurassic World: Dominion’ are very exciting. This is a huge step towards the completion of the film and release next summer. Music is an integral part of the Jurassic franchise and we can’t wait to see and hear more from the score! What do you think about these Jurassic score teases and what do you want to hear from the score for ‘Dominion’? Let us know below!
Composer Michael Giacchino has shared what is likely the first of many teases for the scoring process of Jurassic World: Dominion. It comes in the form of a photo of an orchestral score page (with only a few notes visible) in his Los Angeles studio.
While Giacchino is observing, monitoring, and participating in the process from L.A., the orchestral musicians are recording remotely in London. Looking closely at the photo, recording seems to be taking place at Abbey Road. It’s clear that the very best in recording and visual technology is being used to synchronize the scoring process.
Spread out across two studios – properly distanced – all safety measures in place!
According to Giacchino, the London musicians are spread out between two separate studios (likely within Abbey Road) to ensure proper social distancing and safety measures are in place.
What is very cool about this tease is that Colin Trevorrow himself represents the “boots on the ground” for Giacchino at the studio in London. It’s exciting to see this kind of artistic collaboration happening over great distances, and amazing that it is possible. While the incredible musicians in London create the score, Trevorrow and Giacchino discuss and produce the score despite being thousands of miles apart.
Giacchino later added a progress update to his thread with the top of another orchestral score page. The musical cue fits perfectly into the world of Jurassic with the title “Alan For Granted.”
As far as what is happening musically in the first photo, it is a bit hard to tell. There don’t seem to be any discernible Jurassic musical themes, which is probably purposeful on Giacchino’s part. The top of the orchestral score isn’t clear, but the string section, harp, and piano that are visible on the page seem to be playing rather dissonant, incidental music. This could be heard in a moment between musical themes or perhaps even in a frightening or suspenseful moment. The musical portion of the second photo is silent (at least on the visible page), but that title is truly great and very intriguing.
What do you think of this ‘Jurassic World: Dominion’ score tease from Michael Giacchino? We are grateful for his willingness to share tidbits during the scoring process and hope to see (and hear) more as we move closer tothe film’s release! Let us know your thoughts below!
RICK CARTER’S ‘JURASSIC PARK’ was an epic project born out of the dire 2020 pandemic lockdown. Author Derrick Davis, the creator of JURASSIC TIME and writer at JURASSIC OUTPOST, had acquired many rare and previously unseen selections of concept art, storyboards, scripts, and other materials related to the original ‘Jurassic Park’. One of the most interesting items he acquired was a unique script that had many elements that would eventually be scrapped, but would also shape the final film, and beyond.
“I was brought onto ‘Jurassic Park’ about two years before we finally started shooting […] On most shows, the production designer is brought in and handed a script and asked to visualize it. Not so on this one. I was in on many early meetings with Steven where we would break down the scenes in the book and discuss which ones would work best for the film.”
In the beginning, Michael Crichton had provided severaldrafts of the screenplay for his novel before passing the pen to whoever would take a crack at future drafts. Director Steven Spielberg went on to film ‘HOOK’, as Jurassic Park’s production team continued to work.
“While Spielberg was doing ‘HOOK’, I would go to him with all these different ideas of how to make things work. It was a very managed production.”
“After our last script meetings, I began collecting together my notes. I realized that the only way for me to see how the ideas might actually play out in the story was for me to “collage” them into Michael’s latest script. Well, one thing led to another and I found myself going through the entire story.”
Out of all the scripts written for ‘Jurassic Park’, Carter’s version is perhaps the most interesting. It includes the early process of making John Hammond a more sympathetic character, the sick triceratops replacing the sick stegosaurus, and other changes from Crichton that will feel more familiar to how the film ended up. At the same time, the script introduces some interesting changes that would not carry over. This includes using the opening of the novel at the Costa Rican clinic, a condensed version of the river sequence, the removal of Donald Gennaro, Hammond’s idea of recruiting Grant and Sattler to work at the park, the discovery of a raptor den secretly nestled far beyond their pen, trees that are deforested by the giant dinosaurs, and the inclusion of lava fields. There’s even an umbrella designed to look like a “spitter” that is used as a distraction against a velociraptor; an idea similarly used in ‘Jurassic World’.
It’s not every day that a production designer writes a screenplay to get his ideas across in order to make the film a success. But Rick Carter was a special production designer. While his version of the script would not end up being used for the film, it wasn’t his intent anyway. He simply wanted the best way to further continue the production progress of ‘Jurassic Park’, and he felt altering the script was the best way to do it.
But what if it had been made? What would it have been like? Would it have felt just as grand, just engaging, and just as memorable? Or would it have had its own unique flavor that no one else could have concocted?
After nearly 30 years since it had been written, Derrick Davis had discovered the script and wanted to know the answers to all of those questions. He decided the best way to experience this early version of the film was to bring it to life. This led to him teaming up with another fan of the franchise, music composer Bernard A. Kyer. Derrick presented him with the idea of creating an audio drama experience from the script. He would do this by using concept art, storyboards, and other official artwork to illustrate it; many of which had never been seen before. Bernard took the script and adjusted it to flow in this format, while Derrick went to several fans of ‘Jurassic Park’ that could perform various roles, including himself as Tim Murphy and John Hammond.
Within almost a year’s time, Bernard assembled all the character performances while providing the script narration and additional voices, such as Dennis Nedry. The process included mixing a vast library of sound effects, many obtained from the film itself to instill further authenticity. Once that was completed, he composed a fantastic music score to bring it all to life; inspired not only by John Williams but other composers like Jerry Goldsmith, James Horner, and Danny Elfman.
After the audio was completed, Derrick assembled all the artwork he could find to match what was described, while enhancing it for high definition. Despite obtaining rare materials for years, including an entire binder of storyboards from ‘Dinosaur Supervisor’ Phil Tippett‘s collection, there was still much more that he needed. One of the people he had been in contact with over the years that had a great source for artwork and storyboards from the film was fellow collector and fan Astríd Vega of The Jurassic Park Collection and its YouTube channel. Derrick had shared and discussed the Rick Carter script with her long ago, and had even offered her various voice roles in an earlier-proposed version of the audio drama. Tragically, Astríd passed away in May of 2019… almost a year since Derrick had finally met her in-person at Universal Studios Hollywood’s Jurassic Park 25th Anniversary Event in May of 2018. Without her collection that she had shared, large portions of the video for this audio drama would not have been possible. The production is dedicated in her memory.
Despite amassing quite a collection of original and official materials, there was still a need for additional artwork. This task was completed by fellow fan and artist Felipe Humboldt. Felipe created several character sketches and scenic paintings based on descriptions in the script, which sometimes differed greatly from how they ended up in the final film. It should also be noted that character appearances changed even during the process of the original production itself, creating unavoidable inconsistencies throughout. Felipe also illustrated some additional moments from the script where no official artwork existed or could be found.
The end result is a one-of-a-kind experience that was an ultimate labor of love from everyone involved. While the debate can rage forever if this early version of the film would have been better than what we got, it is still fascinating to see it performed in such a dramatic way. It is also great to finally have an engaging way of presenting the art from those who worked on the film, such as Art Director John Bell, instead of having it locked away or forgotten forever.
Derrick Davis thanks everyone in the production for bringing his dream to life and realizing the imaginations of those who worked so hard to create our cherished, classic film: ‘JURASSIC PARK’.
Learn more about Bernard’s process of crafting the sound design and music score for the illustrated audio drama by checking out eachofhisfour in-depth articles from his site. Be sure to also hear Bernard’s album release of his music score for the project!
No strangers to the Jurassic Franchise, Mondo have announced today the they will be offering Michael Giacchino’s ‘Jurassic World: Fallen Kingdom’ soundtrack as a 2 disc limited vinyl pressing. In record time too given the Official Release only dropped only days ago!
Mondo’s web exclusive version of this 2XLP comes pressed on either a stunning looking 180 Gram Indo-Raptor colored vinyl (Translucent Green with Orange Stripe and Yellow Splatter), or for the more reserved collector on traditional Black vinyl. Featuring original new artwork by JC Richard, this set will fit right in with Mondo’s previous Jurassic Park and World offerings.
Here’s what Mondo had to say about the score:
“JURASSIC PARK: FALLEN KINGDOM is some of the most fun we’ve had in the theaters this year. And Giacchino’s score, which returns more to his penned JURASSIC WORLD score than the John Williams’ cues that bridged the gap in the last film, is evocative of classic Universal horror and haunted house movie scores, breaking from the pack of previous JURASSIC scores. Much like the film itself, Giacchino creates a fun, fresh take on the music of the “Man creates Dinosaurs… Dinosaurs eat Man” series.”
Hey Mondo? Can we get ‘The Lost World’ and ‘Jurassic Park III’ too please? The set goes up for sale this Wednesday at Noon (CST) over at MondoTees.com
Hold on to your butts, and grab a pair of headphones as you can now listen to the first previews of the Fallen Kingdom soundtrack!
The latest Jurassic Park sequel has already roared its way into overseas theaters, and one of the main things fans can’t stop talking about is the new soundtrack from Oscar-winner Michael Giacchino. Reprising his role of composer from Jurassic World, Giacchino has brought a darker style to the latest installment, embracing its extinction level and Gothic undertones. I’ve seen the film myself, and I cannot stop thinking about the music, and how badly I wish I had access to it already.
Thankfully, Entertainment Weekly has an exclusive first look at a track from the Fallen Kingdom Soundtrack! The new theme accompanies the opening of the film, and plays during some tense storm action at night prior to the title reveal.
Give “This Title Makes Me Jurassic” a listen below:
The Jurassic World: Fallen Kingdom soundtrack hits stores next week, and features the following pun filled tracks:
1. This Title Makes Me Jurassic (2:54)
2. The Theropod Preservation Society (3:47)
3. Maisie and the Island (2:07)
4. March of the Wheatley Cavalcade (2:14)
5. Nostalgia-Saurus (1:05)
6. Double Cross to Bear (2:31)
7. Lava Land (3:16)
8. Keep Calm and Baryonyx (2:46)
9. Go With the Pyroclastic Flow (3:43)
10. Gyro Can You Go? (2:16)
11. Raiders of the Lost Isla Nublar (3:20)
12. Volcano to Death (1:38)
13. Operation Blue Blood (3:43)
14. Jurassic Pillow Talk (2:47)
15. How to Pick a Lockwood (3:10)
16. Wilting Iris (1:11)
17. Shock and Auction (2:28)
18. Thus Begins the Indo-Rapture (3:41)
19. You Can Be So Hard-Headed (2:28)
20. Between the Devil and the Deep Blue Free (3:29)
21. There’s Something About Maisie (1:20)
22. World’s Worst Bedtime Storyteller (2:27)
23. Declaration of Indo-Pendence (4:02)
24. To Free or Not to Free (3:00)
25. The Neo-Jurassic Age (3:33)
26. At Jurassic World’s End Credits/Suite (10:55)
Previews for all these tracks are up on iTunes here, so get listening! While there are some returning themes, Giacchino offers many new flavours that are sure to turns some heads! If you need your regular dose of Jurassic however, I recommend giving the End Credits a listen!
Speaking to Entertainment Weekly, Giacchino had this to say:
“John Williams certainly set the tone, so I wanted to stay in that realm, but now here we are, five Jurassic Parks in, and I didn’t want to do the same thing I did on the last film. This film has a very different tone, so I basically went to the director, Juan Antonio Bayona, who I’ve known for many years, and said, ‘What if Bernard Hermann and Stravinsky had a baby who wrote the score for this film?’”
Michael Giacchino is no stranger to the Jurassic franchise. Before composing the music for Jurassic World he wrote and composed the soundtracks for both Jurassic Park: Warpath and The Lost World’s PlayStation game – which are still considered fan favorites by many.
It was no surprise that the composer, who handles multiple projects a year, would return to the franchise.
With the sequel headed for US cinemas on June 22nd, Michael Giacchino’s score will be available for purchase and digital download on June 15th! The date can be seen on the Amazon listing for the soundtrack but unfortunately no other details have been revealed.
Over the past few weeks during the scoring sessions for Jurassic World: Fallen Kingdom the composer shared a number of images and videos from inside the studio, revealing new music and the return of key themes and more importantly, revealing his excitement to be back and working on Jurassic.