Spoilers have become an increasingly big problem for filmmakers, and most tend to overcompensate for them in one way or another. Movie shoots are often incredibly secretive places, with scripts numbered and collected at the end of the day and excessive at filming locations. This makes some sense, as any set photo or leaked plot details might affect the public’s desire to see a film. Of course, leaks are bound to happen and there are a variety of ways to respond to them. You can completely ignore them, which is the most common tactic. You can take the J.J. Abrams route and deny them even though Benedict Cumberbatch is obviously playing Khan. You can simply shut down your movie before it ever gets started, like Quentin Tarantino did after the entire script for his film The Hateful Eight leaked earlier this year. Or, you can do what Colin Trevorrow, the director of Jurassic World, the upcoming fourth entry in the Jurassic Park series, did when the general plot of his film leaked. He confirmed the rumors about his film, while taking time to lament the era of the spoiler.
The third CD that I ever bought was a film soundtrack (the first two were Michael Jackson’s “Dangerous” and Garth Brooks’ “Greatest Hits”). It was the soundtrack to Independence Day, and I actually bought it in the hopes of it having R.E.M.’s “It’s the End of the World as We Know It (And I Feel Fine)” which for some reason I really wanted on CD. I was disappointed when the song was missing from the soundtrack album, but after listening to the CD I realized how much I enjoyed the score, composed by David Arnold. Thus began my obsession with film scores, and my collection of albums showcasing them.
I’ve been listening to the Jurassic Park soundtrack for the past week or so on my commute to work, and I’ve realized that there are several very big problems with the film score album as a whole in the industry. I don’t know why it’s so damn hard to put together a decent album from a film score, but I’ve come up with a list of several of the problems: Continue reading
Jurassic Park is, to me, a perfect film, one of a very small handful of films which can not be improved in any way. I’ve already talked at some length about my opinion of the film, so I’ll let that stand on its own and instead discuss the new 3D version here. We’re currently living the era of 3D re-releases, when 3D screens are commonplace, 3D is the chosen viewing experience of the worldwide masses, and conversion technology has become not only cost effective but immensely profitable. In fact, last weekend’s top release, G.I. Joe: Retaliation, was delayed almost a year so it could undergo conversion to 3D, a move that proved successful with $232 million in box office receipts so far.
Jurassic Park 3D is without a doubt the best 3D conversion I have seen. Continue reading
Before our recent IMAX 3D viewing of Oz the Great and Powerful we were treated to a preview for the 3D re-release of Jurassic Park on April 5th (coincidentally, exactly 50 years before First Contact between humans and Vulcans, according to Star Trek). This preview was in the form of a 3 or 4 minute clip, slightly edited to make it “suitable for all audiences”, from the T. rex attack on the tour vehicles. Despite the volume being at levels that could do permanent hearing damage, my biggest recurring complaint about our local IMAX screen, and my general negative feelings about 2D-3D converted films, as opposed to movies filmed with 3D cameras, the scene was still absolutely captivating. And while I wish they would just re-release Jurassic Park in 2D IMAX like they did with Raiders of the Lost Ark, and even considering that I saw Jurassic Park on the big screen at our local 1920s Fox Theatre, I’m still now officially excited for April 5th.
I still have vivid memories of first seeing Jurassic Park, almost 20 years ago. Continue reading