Vivarium: The Kubrick Horror Cut Is Now Available

"Vivarium: The Kubrick Horror Cut" (a fan edit of the 2019 film Vivarim) is now released on this blogspot. Info can be found on the edit page.

Vivarium: The Kubrick Horror Cut Change List

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.

Vivarium: The Kubrick Horror Cut Announcement

So I just want to announce that my next fan edit is finally reaching the point of completion. It is a fan edit of the 2019 horror film Vivarium. The film takes place in a (liminal) suburbia environment where Tom (Jesse Eisenberg) and Gemma (Imogen Poots) are trapped and forced to take care of a child if they want to be "released".

The film is visually amazing and I first learned about it through my interest of liminal spaces. However, the film does have some issues with pacing and the fact that it can be tedious at times. So for this edit, it is based on/inspired by Stanley Kubrick's The Shining which also features a plot involving characters stranded in a single location with the Overlook slowly taking its course on the characters. The other reason has to do with it being really easy to rescore due to the minimal score used in the film.

The main goals are for me to cut down some of the scenes for pacing and rescore the entire film with Classical music that is heavily experimental and modernist (like Krzysztof Penderecki and Charles Ives). Some of the tracks are taken directly from The Shining like Wendy Carlos and Rachel Elkind's music (and an unused track that can be found from The Shining Rediscovering Lost Scores Album). This also goes for adding in time cards similar to The Shining and using Al Bowlly's "Midnight the Stars and You" and Henry Hall and the Gleneagles Hotel Band's "Home" (the former being used as bookends). Music editing techniques utilized in The Shining such as Mickey Mousing and sandwiching several different pieces on top of one another are also used.

The full changelist will be made available soon on r/starlightfanedits and here.

For now, the trailer can be found on my Starlight Fan Edits YouTube Channel and selected clips will be released for viewing.

Chicken Little and the War of the Worlds Fan Edit (New Update)

Just want to announce that an updated version of my Chicken Little-War of the Worlds Fan Edit will be releasing soon (links will be updated and I will contact Firemerk about the update). This updated version will not involve major changes to the edit (my narration will still be intact because I want to preserve the edit's original presentation), however, I'm using a new 1080p blu-ray source rather than an upscaled 720p source. This means the video quality will be much more clearer and more visually appealing. With that, this is more of a video quality upgrade rather than altering more of what I've already done.

2001: A Space Odyssey - The Interstellar Rescore is now out!

My 2001: A Space Odyssey Interstellar Rescore fan edit is now available to download on this blogspot website. Just go to the Fan Edits tab and you'll find it along with some information.

Information about 2001: A Space Odyssey The Interstellar Rescore.

Unlike other Interstellar edits of 2001: A Space Odyssey I've seen, I decided to rescore the whole film from beginning to end while trying to keep in as much footage as I possibly can. I was inspired by u/Tykjen's Interstellar edit of 2001 and a lot of other videos I found that dabbled in this concept. I don't know if someone has already done something like this so consider this as my personal take. Some of the rescored scenes are based from various sources as I think they are perfect and will work well with this edit.

So here's the change list to give you an idea of what to expect.

- Replaced Ligeti's Atmosphères with the first half of "Do Not Go Gentle into That Good Night". This intro has also been cut down to fit with the music.

- Added Starlight Fan Edits Logo

- Replaced Strauss' Also Sprach Zarathustra with "Dreaming of the Crash" by Hans Zimmer for the opening. The opening has been sped up to align with the music.

- Replaced Ligeti's Requiem with "Day One (Dark) by Hans Zimmer" during the first Monolith scene.

- Replaced Strauss' Also Sprach Zarathustra with "Cornfield Chase" by Hans Zimmer during the bone scene.

- Replaced Strauss II's Blue Danube with "Murph" and "Entering Enterprise" (from the Expanded Sessions) by Hans Zimmer during the first space scene. The ending of "The Wormhole" is used at the end of the sequence.

- Replaced Strauss II's Blue Danube with "Dust" by Hans Zimmer during the moon travel scene. The sequence have been cut down to fit with the music.

- Replaced Ligeti's Lux Aeterna with "Running Out" during the Mooncraft scenes. Sequence of shots are directly based from u/Tykjen's edit.

- Replaced Ligeti's Requiem with "The Wormhole" by Hans Zimmer during the second monolith scene . The sequence of shots and editing in this scene are directly based from u/Tykjen's edit.

- Replaced Khachaturian's Gayane Adagio with "Message from Home" by Hans Zimmer. Certain shots of the Discovery have been cut down to align with the music.

- Added "Murph" and "Entering Enterprise" (from the Expanded Sessions) by Hans Zimmer during the Discovery space scene. Some shots have been cut down to fit it with the music.

- Added "Afraid of Time" by Hans Zimmer during the scene where Dave and Frank discuss about HAL.

- Replaced Ligeti's Atmosphères with the second half of "Do Not Go Gentle into That Good Night" during the Intermission (which is shorten).

- Added "No Time For Caution" by Hans Zimmer during the whole sequence of Dave finding Frank's body after HAL kills him. The sequence of shots and editing in this scene are directly based from u/Tykjen's edit.

- Added "A Place Among the Stars" by Hans Zimmer" during the famous pod bay doors scene. Directly based from u/Tykjen's edit.

- Added "Imperfect Lock" by Hans Zimmer during the scene of Dave heading back to the Discovery. This is inspired from this YouTube video I found on r/fanedits.

- Added "Where We're Going" by Hans Zimmer during the scene of Dave deactivating HAL. This is directly based from a concept video from r/fanedits. (This might change in the future)

- Replaced Ligeti's Requiem and Atmosphères with "Tick-Tock" and "Day One (Dark)" by Hans Zimmer during the Stargate sequence. Some shots have been trimmed to fit it in with the music.

- Added "Where We're Going" by Hans Zimmer during the ending of the film. The cuts in this scene are directly based from this YouTube video.

- Replaced Strauss II's Blue Danube with "Day One (Interstellar Theme)" by Hans Zimmer during the end credits.

- Replaced the credits of the original music with a credit for Hans Zimmer.

- Added "A Starlight Fan Edits Feature Presentation" at the end of the credits.

- The blank outro after the "The End" credit has been cut out.

Here's a link to a playlist containing all of the sources.

I've returned to working on Fan Edits. Here's a poster for my next fan edit. More information to come.