Jurassic Park

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More on Development

Paleontologist Jack Horner supervised the designs, to help fulfill Spielberg's desire to portray the dinosaurs as animals rather than monsters.

This led to the entry of certain concepts about dinosaurs, such as the theory that dinosaurs had very little in common with lizards.

Thus, Horner dismissed the raptors' flicking tongues in Tippett's early animatics, complaining, "The dinosaurs have no way of doing that!"


Taking Horner's advice, Spielberg insisted that Tippett take the tongues out. Winston's department created fully detailed models of the dinosaurs before molding latex skins, which were fitted over complex robotics.

Tippett created stop-motion animatics of major scenes, but, despite go motion's attempts at motion blurs, Spielberg still found the end results unsatisfactory in terms of working in a live-action feature film.

Muren declared to Spielberg that he thought the dinosaurs could be built through computer-generated imagery, and the director asked him to prove it.


ILM animators Mark Dippé and Steve Williams developed a computer-generated walk cycle for the T. rex skeleton, and was approved to do more.

When Spielberg and Tippett saw an animatic of the T. rex chasing a herd of Gallimimus, Spielberg said, "You're out of a job," to which Tippett replied, "Don't you mean extinct?"

Spielberg later wrote both the animatic and his dialogue between him and Tippett into the script, as a conversation between Malcolm and Grant.


Although no go motion was used, Tippett and his animators were still used by the production for knowing how the dinosaurs should move correctly.

Tippett acted as a consultant regarding dinosaur anatomy, and his stop motion animators were re-trained as computer animators.

Malia Scotch Marmo began a script rewrite in October 1991 over a five-month period, merging Ian Malcolm with Alan Grant.

Screenwriter David Koepp came on board afterward, starting afresh from Marmo's draft, and used Spielberg's idea of a cartoon shown to the visitors to remove much of the exposition that fills Crichton's novel.

Spielberg also excised a sub-plot of Procompsognathus escaping to the mainland and attacking young children, as he previously found it too horrific.

This sub-plot was eventually used as a prologue in the Spielberg-directed sequel, The Lost World.


Hammond was ultimately changed from a ruthless businessman to a kindly old man, because Spielberg identified with Hammond's obsession with showmanship.

He also switched the characters of Tim and Lex; in the book, Tim is aged 11 and into computers, and Lex is only seven or eight and into sports.

Spielberg did this because he wanted to work with the younger Joseph Mazzello, and it also allowed him to introduce the sub-plot of Lex's adolescent crush on Grant.

Koepp changed Grant's relationship with the children, making him hostile to them initially to allow for more character development.

Koepp also took the opportunity to cut out a major sequence from the book, for budgetary reasons, where the T. rex chases Grant and the children down a river before being tranquilized by Muldoon.

This scene was eventually revived in part in Jurassic Park III with the Spinosaurus replacing the T. rex.


Filming

After 25 months of pre-production, filming began on August 24, 1992, on the Hawaiian island of Kaua'i. The three-week shoot involved various daytime exteriors.

On September 11, Hurricane Iniki passed directly over Kaua'i, which caused the crew to lose a day of shooting. Several of the storm scenes from the movie are actual footage shot during the hurricane.

The scheduled shoot of the Gallimimus chase was moved to Kualoa Ranch on the island of Oahu and one of the beginning scenes had to be created by digitally animating a still shot of scenery.


Additional scenes were filmed on the "forbidden island" of Niihau. The crew moved back to the mainland U.S. to shoot at Universal Studios's Stage 24 for scenes involving the raptors in the kitchen.

The crew also shot on Stage 23 for the scenes involving the power supply, before going on location to Red Rock Canyon for the Montana dig scenes.


The crew returned to Universal to shoot Grant's rescue of Tim, using a fifty-foot prop with hydraulic wheels for the car fall, and the Brachiosaurus encounter.

The crew filmed scenes for the Park's labs and control room, which used animations for the computers lent from Silicon Graphics and Apple.

While Crichton's book features Toyota cars on Jurassic Park, Spielberg got a deal with the Ford Motor Company to get jeeps and Ford Explorers.




Resources: Wikipedia.org, imdb.com,
jurassicpark.wikia.com, blushots.weebly.com








Jurassic Park - 1993 | Story and Screenshots


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Riveted, he slowly stands up in his seat, as if to get closer. He moves to the top of the seat, practically on his tiptoes. He raises his head, looking up the length of the trunk. He looks higher. And higher. And higher. That's no tree trunk. That's a leg. Grant's jaw drops, his head falls all the way back, and he looks even higher, above the tree line.


Ellie oblivious of her surroundings as she stares at the leaf, goes on about it's details. Grant, never tearing his eyes from the brachiosaur, reaches over and grabs Ellie's head, turning it to face the animal. She sees it, and drops the leaf.


Grant gets out of the jeep, and Ellie follows. Grant points to the thing and manages to put together his first words since its appearance.

Grant: Uh... it's... it's a dinosaur!


A dinosaur. Chewing the branches. Technically, it's a brachiosaur, of the sauropod family, but we've always called it brontosaurus.


It crushes the branch in its mouth, which is some thirty-five feet up off the ground, at the end of its long, arching neck. It stares down at the people in the car with a pleasant, stupid gaze.


Ellie looks up at the sauropods in wonder. They're pretty light on their feet - a far cry from the sluggish, lumbering brutes we would have expected.


Hammond looks like a proud parent showing off the kid. Ian Malcolm looks at Hammond, amazed, and with an expression that is a mixture of admiration and caution.


In their amazement, Grant and Ellie talk right over each other. Several of the top branches are suddenly ripped away. A sauropod, reaching for a branch high above their heads, stands effortlessly on its hind legs.


Malcom: You did it. You crazy son of a bitch, you did it.


Even the lawyer is in awe.

Gennaro: We're gonna make a fortune with this place.


Grant and Ellie continue walking, following the dinosaur.

Grant: How fast are they?

Hammond: Well, we clocked the T-Rex at 32 miles an hour.

Ellie: T-T-Rex?

Hammond [nodding]: Mm-hm.

Ellie: You said you've got a T-Rex?

Hammond [nodding]: Uh-huh.

Grant [grabbing Hammond's shoulder]: Say again?

Hammond [smiling]: We have a T-Rex.

Grant feels faint and sits down on the ground.


Hammond walks in front of them and looks out.

Hammond: Dr. Grant, my dear Dr. Sattler... Welcome to Jurassic Park.

They turn and look at the view again.

Grant: They're moving in herds. They do move in herds.


It's a beautiful vista, reminiscent of an African plain. A whole herd of dinosaurs crosses the plain.


Grant questions Hammond how he did this.

Hammond: I'll show you.


Main Compound: The main of Jurassic Park is a large area with three main structures connected by walkways and surrounded by two impressive fences, the outer fence almost twenty feet high. Outside the fences, the jungle has been encouraged to grow naturally. The largest building is the visitor's center, several stories tall, its walls still skeletal, unfinished. There's a huge glass rotunda in the center.

The second building looks like a private residence, a compound unto itself, with smoked windows and its own perimeter fence. The third structure isn't really a building at all, but the impressive cage we saw earlier, overgrown inside with thick jungle foliage. The jeeps pull up in front of the visitor's center.


Visitor's Center: Two ladies open the doors to the Visitor Center. The lobby of the still-unfinished visitor's center is a high-ceilinged place, and has to be house its central feature, a large skeleton of a tyrannosaur that is attacking a bellowing sauropod. Workmen in the basket of a Condor crane are still assembling skeletons.

Hammond: The most advanced amusement park in the entire world. And I'm not just talking about rides, you know? Everybody has rides. No, we have made living biological attractions so astounding, that they'll capture the imaginations of the entire planet.


A staircase climbs the far wall, to another wing. Hammond leads the visitors up the stairs, talking as he goes. Grant stares up at the dinosaur skeletons and just shakes his head. Ellie catches his reaction.

Ellie: So, what are you thinking?

Grant: We're out of a job.

Malcom [pops in between them]: Don't you mean extinct?




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