Vivarium: The Kubrick Horror Cut

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Vivarium: The Kubrick Horror Cut

Official Trailer

Basic Info:

Video:

1080p

7.77 GB

1 hr 20 min (originally 1 hr 37 min)

Audio:

Stereo

448 kbps

Rating: R

Fan Edit Type: FanMix

Edit Completed: July 24, 2024

Synopsis:

Hoping to find the perfect place to live, Tom (Jesse Eisenberg) and Gemma (Imogen Poots) travel to an odd liminal suburban neighbourhood in which all the houses look identical. But when they try to leave, each road mysteriously takes them back to where they started. Eventually they are forced to take care of a child to set themselves free. However, strange occurences would take place resulting in the couple to slowly lose their minds.

Background:

"Vivarium: The Kubrick Horror Cut" is a Stanley Kubrick/The Shining inspired fan edit of Vivarium that rescores the film with Modernist Classical music (and some ballroom music from The Shining), edits the film in the style of The Shining's progression of time (such as adding time cards), removes padded out scenes, and removes certain scenes that goes against the uneasy tone of the edit. This is to help improve the film as it has great cinematography, liminal imagery, and creepy visuals, but an overall flawed execution of the premise. Music editing techniques utilized in The Shining such as Mickey Mousing and sandwiching several different pieces on top of one another are also used.

Goals:

The main goals are to trim down the padding and to rescore the film with Modernist Classical music (the majority of them coming from The Shining). With the original score being minimal, it was relatively easy for the most part to rescore certain scenes. AI Vocal Remover has been used to split the music from the dialogue in order for this to be accomplished. Aside from just trimming down padding, certain scenes that offset the tense tone of the film have been removed. The first scene after the film's intro now mirrors the ending of the film to somewhat replicate how The Shining in its narrative is symmetrical.

Change List:

• 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.

Link(s):

Archive.org

MEGA