Here is the change list for my upcoming edit of Vivarium.
Added Starlight Fan Edits Logo.
Rescored the intro with “Main Title” by Wendy
Carlos and Rachel Elkind taken directly from The Shining.
Added a title card stating “The Meeting” similar
to The Shining.
Removed scene of Tom and Gemma prior to meeting
Martin. This is so the ending will match up with the first scene of the film
bringing the film full circle.
Added “Midnight the Stars and You” by Al Bowlly
playing faintly in the background of the Yonder real estate office.
Added “Rocky Mountains” by Wendy Carlos and
Rachel Elkind taken directly from The Shining during the driving scene
to Yonder.
Trimmed down the whole driving sequence to fit
the music and remove the original music.
Rescored the scene of Tom and Gemma driving to
get out of Yonder with “Music for Strings, Percussion, and Celesta: III. Adagio”
by Béla Bartók (same recording used in The Shining).
Added a title card stating “The First Night” before
we cut to them spending their first night in the house.
Added a timecard stating “Day 1” before cutting
to Tom climbing up the ladder.
Rescored the scene of Tom and Gemma walking
around the neighborhood with “Coptic Light” by Morton Feldman. The ending of
the piece is blended in a bit with the original score.
Rescored the scene of Tom burning the house down
with “Pithoprakta” by Iannis Xenakis and “De Natura Sonoris No. 1” by Krzysztof
Penderecki (same recording used in The Shining). These two tracks are
layered on top of one another.
Added a time cardstating “Day 2” before cutting
to them waking up in the aftermath.
Added “Star-Child 3rd Movement” by George Crumb
during the scene where Tom and Gemma discover the baby and the box.
Added a timecard stating, “Day 98.”
Added “Three Quarter-Tone pieces for Two Pianos
Largo Movement” by Charles Ives during the scene where we see Tom and Gemma now
entering their 98th day of taking care of “The Boy”. Only minor trims have been
made to make the piece sync up with the actions of the characters.
During the scene of Tom noticing a weird
substance in the ground after dropping his cigarette, “Zmartwychwstanie: Kanon
Paschy” by Krzysztof Penderecki (same recording used in The Shining) has
been added.
Removed scene of Gemma and Tom getting the
pickaxe in the car to reduce padding.
Added “Lontano” by György Ligeti (same recording
used in The Shining) during the scene as they dig the strange ground,
Gemma notices the box has vanished. Some elements of the original score are
left in since they blend in well with the piece.
Removed a brief sex scene and instead cut down the
bedroom scene to have The Boy spying on their conversation.
Added a timecard stating, “Day 99.”
Added “Music for Strings, Percussion, and
Celesta Adagio Movement” by Béla Bartók (same recording used in The Shining)
during the scene of Tom and Gemma waking up, having breakfast, and as Gemma sits
next to the washing machine.
Moved the scene of Tom digging at night to after
the washing machine scene as the piece hits its climatic note.
Added the Warsaw Philharmonic Orchestra
recording of “The Awakening of Jacob” by Krzysztof Penderecki from The
Shining when we first see The Boy watch a weird program and as Gemma tucks
him to bed.
Removed the scene of Tom and Gemma in the car and
the scene of them and The Boy dancing to the music from the car. This is to
keep the tone consistently suspenseful and tense.
Removed scene of The Boy screaming and telling
Gemma if he can “do this”.
Added a timecard stating, “Day 100.”
Removed long sequence of Tom and Gemma getting
waken up by The Boy’s screaming and them brushing their teeth since it’s a bit
redundant. Instead, we just cut to them having breakfast.
Trimmed down the breakfast scene.
Added a brief segment of “Zmartwychwstanie: Ewangelia”
by Krzysztof Penderecki (same recording used in The Shining) when Tom
hears some strange noises under the ground. This will be repeated for similar
scenes of him doing this and is used in the scene where Tom is awakened by those
same strange noises. Like its usage in The Shining, the choir chanting
sounds add to the horrifying creepiness of the situation.
Added the Polish National Radio Symphony recording
of “The Awakening of Jacob” (or “Dream of Jacob”) by Krzysztof Penderecki during
the scene of Gemma telling The Boy to turn off the TV.
Added a timecard stating, “Day 101”.
Added this sequence of tracks during this
sequence of scenes from Tom snapping at Gemma over her behavior towards The Boy
all that way to Gemma sleeping with The Boy: the Warsaw Philharmonic Orchestra
recording of “The Awakening of Jacob” by Krzysztof Penderecki, the Polish
National Radio Symphony recording of “The Awakening of Jacob” (or “Dream of
Jacob”) by Krzysztof Penderecki, and “Cello Concerto No. 1” by Krzysztof
Penderecki, and “Music for Strings, Percussion, and Celesta: I. Andante
tranquillo” by Béla Bartók.
Added a timecard stating, “Day 102” before
cutting to Tom waking up in the ditch he has dug.
Added “Lontano” by György Ligeti (same recording
used in The Shining) during this long Kubrick-like symmetrical zoom out
of Tom eating breakfast in frustration.
Rescored the scene of Gemma and The Boy outside
with “Home” by Henry Hall and the Gleneagles Hotel Band (taken directly from The
Shining soundtrack) which is also thematically fitting. This piece
continues to the scene of Gemma asking Tom the next day where The Boy is.
Trimmed certain scenes of Gemma in bed and Tom
sleeping in the ditch to match up with the music.
Added a timecard stating, “Day 103.” This would
be the last time we would see this kind of title card.
Added “Polymorphia” by Krzysztof Penderecki (same
recording used in The Shining) during the scene of Gemma reading through
an odd cryptic book The Boy gave her and the scene where Gemma is pleading to The
Boy that she “want to go home” after being horrified of The Boy imitating a “friend”
he met.
Added a title card stating “Home” after this
sequence.
Trimmed down the scene of The Boy eating.
Added a timecard stating “4 PM.”
Removed scene of Gemma helping Tom taking a
shower.
Rescored the sequence of Gemma trying to follow The
Boy with “String Quartet No. 7 “Angels” by Gloria Coates “De Natura Sonoris No.
1” by Krzysztof Penderecki (same recording used in The Shining).
Added a dissolve transition in between shots of
Gemma going from one block to another to tighten pacing.
During the scene where Tom’s health deteriorates
for the worst after digging up a corpse in a vacuum bag, added the unused track
“Heartbeats and Worry” by Wendy Carlos and Rachel Elkind from The Shining
Rediscovering Lost Scores – Volume 1 Album. This also goes adding a brief hint
of “Zmartwychwstanie: Ewangelia” by Krzysztof Penderecki (same recording used
in The Shining).
Added “De Natura Sonoris No. 1” by Krzysztof
Penderecki (same recording used in The Shining) during the scene of
Gemma knocking on the door after The Boy locks them out. The track continues up
until the scene where The Boy inspects Tom’s condition.
Added a timecard stating “9 AM.” This is the
last timecard that will be scene for the rest of the edit.
Rescored the scene of a dying Tom talking to
Gemma with “Grey Clouds” by Franz Liszt. Unlike the other tracks, this is taken
directly from Stanley Kubrick’s 1999 film Eyes Wide Shut. The track was
used originally during the scene of Bill going into the morgue finding out about
the girl she met at the secret society gathering dead. The last chords of the
piece are timed to the last words Tom says to Gemma before dying.
Added a dissolve transition from Gemma crying
after Tom’s passing to her sleeping on the floor at night.
The following tracks are used during the
sequence of Gemma attacking The Boy and discovering the horrifying underbelly
of the neighborhood: “Kanon” by Krzysztof Penderecki (same recording used in The
Shining), “Fluorescences” by Krzysztof Penderecki, “Zmartwychwstanie: Kanon
Paschy” by Krzysztof Penderecki (same recording used in The Shining), “Zmartwychwstanie:
Ewangelia” by Krzysztof Penderecki (same recording used in The Shining),
and Polish National Radio Symphony recording of “De Natura Sonoris No. 2” by Krzysztof
Penderecki. Only one scene was trimmed down in order for the cut from Gemma to
a young The Boy watching TV to sync up with “Kanon Paschy.”
Rescored the scene of Gemma going outside after
seeing the horrors with the 1972 recording of “De Natura Sonoris No. 2” by Krzysztof
Penderecki (same recording used in The Shining). The scene is trimmed to
match the music.
Added “Rocky Mountains” by Wendy Carlos and
Rachel Elkind taken directly from The Shining during the scene of The
Boy driving back from Yonder.
Added a dissolve transition from The Boy
finishing his burial of Gemma to him driving back to the Yonder real estate
office to match with the music.
Reused footage of the countryside used in the
first driving montage and reversed it and darkened in the color grading it to alter
it from the original version. The idea of it is to mirror the ending to the
beginning.
Removed the original score used during the scene
of The Boy putting Martin’s corpse in the vacuum bag and in the drawer.
Added in “Midnight the Stars and You” by Al Bowlly
which at first plays faintly in the background before increasing in its volume.
The idea is to have the ending mirror the beginning similar to how The
Shining utilizes symmetry in a figurative manner through its music and visual
presentation (this is also presented if you played The Shining backwards
and forwards in which they match with each other creating this insane narrative
symmetry).
The end credits music is replaced with the rest
of “Midnight the Stars and You” by Al Bowlly similar to The Shining's end credits.
Added music credits and a “A Starlight
Fan Edits Feature Presentation” credit. Certain credits are such as the co-production
credits are squished into one section to match up with the song’s timing.
Removed the scrolling credits with the filming
ending with a “The End” similar to the manner of Stanley Kubrick’s works.
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