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More on Filming

The Explorers were modified by ILM's crew and veteran customizer George Barris to create the illusion that they were autonomous cars by hiding the driver in the car's trunk.

The crew moved to Warner Bros. Studios' Stage 16 to shoot the T. rex's attack on the SUVs.

Shooting proved frustrating due to water soaking the foam rubber skin of the animatronic dinosaur, which caused the animatronic T. rex to shake and quiver from the extra weight when the foam absorbed the water.

The ripples in the glass of water caused by the T. rex's footsteps was inspired by Spielberg listening to Earth, Wind and Fire in his car, and the vibrations the bass rhythm caused.


Lantieri was unsure of how to create the shot until the night before filming, when he put a glass of water on a guitar he was playing, which achieved the concentric circles in the water Spielberg wanted.

The next morning, guitar strings were put inside the car and a man on the ground plucked the strings to achieve the effect. Back at Universal, the crew filmed scenes with the Dilophosaurus on Stage 27.

Finally, the shoot finished on Stage 12, with the climactic chases with the raptors in the Park's computer rooms and Visitor's Center.

Spielberg brought back the T. rex for the climax, abandoning his original ending in which Grant uses a platform machine to maneuver a raptor into a fossil tyrannosaur's jaws.

The film wrapped twelve days ahead of schedule on November 30, and within days, editor Michael Kahn had a rough cut ready, allowing Spielberg to go ahead with filming Schindler's List.


Post-production

Special effects work continued on the film, with Tippett's unit adjusting to new technology with Dinosaur Input Devices: models which fed information into the computers to allow themselves to animate the characters traditionally.

In addition, they acted out scenes with the raptors and Gallimimus. As well as the computer-generated dinosaurs, ILM also created elements such as water splashing and digital face replacement for Ariana Richards' stunt double.

Compositing the dinosaurs onto the live action scenes took around an hour. Rendering the dinosaurs often took two to four hours per frame, and rendering the T. rex in the rain even took six hours per frame.

Spielberg monitored their progress from Poland during the filming of Schindler's List. The sound effects crew, supervised by George Lucas, were finished by the end of April. Jurassic Park was finally completed on May 28, 1993.


Release and Promotion

Universal spent $65 million on the marketing campaign for Jurassic Park, making deals with 100 companies to market 1,000 products.

These included three Jurassic Park video games by Sega and Ocean Software, a toy line by Kenner that was distributed by Hasbro, and a novelization aimed at young children.

The film's trailers only gave fleeting glimpses of the dinosaurs, a tactic journalist Josh Horowitz described as "that old Spielberg axiom of never revealing too much" when Spielberg and director Michael Bay did the same for their production of Transformers in 2007.

The film was marketed with the tagline "An Adventure 65 Million Years In The Making." This was a joke Spielberg made on set about the genuine, thousands of years old mosquito in amber used for Hammond's walking stick.

The film premiered at the National Building Museum on June 9, 1993, in Washington, D.C., in support of two children's charities. Two days later it opened nationwide, in 2,404 theater locations and an estimated 3,400 screens.


Following the film's release, a traveling exhibition began. Steve Englehart wrote a series of comic books published by Topps Comics.

They acted as a continuation of the film, consisting of the two-issue Raptor, the four-issue Raptors Attack and Raptors Hijack, and Return to Jurassic Park, which lasted nine issues.

All published issues were republished under the single title Jurassic Park Adventures in the United States and as Jurassic Park in the United Kingdom.


Jurassic Park was broadcast on television for the first time on May 7, 1995, following the April 26 airing of The Making of Jurassic Park.

Some 68.12 million people tuned in to watch, garnering NBC a 36 percent share of all available viewers that night.

Jurassic Park was the highest-rated theatrical film broadcast on television by any network since the April 1987 airing of Trading Places. In June–July 1995 the film was aired a number of times on the TNT network.


"The Jurassic Park Ride" went into development in November 1990 and premiered at Universal Studios Hollywood on June 15, 1996, at a cost of $110 million.

Islands of Adventure in Orlando, Florida, has an entire section of the park dedicated to Jurassic Park that includes the main ride, christened "Jurassic Park River Adventure", and many smaller rides and attractions based on the series.

The Universal Studios theme park rides have been designed to support the film's plot, with Hammond supposedly having been contacted to rebuild the Park at the theme park location.




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








Jurassic Park - 1993 | Story and Screenshots


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Showroom: Grant, Ellie, and Malcom take their seats in the front row of the fifty seat auditorium. Gennaro sits behind them. Hammond walks over to the giant screen in front of them. Behind him, a huge image of himself beams down at him from the giant television screen. Realizing he has lines in this show, he fumbles with his three by five cards. He scans them, looking for his place. The screen Hammond continues without him. He talks to the screen-Hammond . . .

Hammond: I'll need a drop of blood.

The screen-Hammond extends his finger and the stage-Hammond reaches out and mimes pocking it with a needle. While the two Hammonds rattle on, the screen image splits into two Hammonds, then four then eight, and so on, like a shampoo commercial. Grant, Ellie, and Malcolm huddle together excitedly in the audience. They are discussing how did they get 100 million year old dinosaur blood.


In the film: the screen-Hammond is joined by another figure, this one animated. Mr. DNA is a cartoon character, a happy-go-lucky double-helix strand of recombinant DNA. Mr. DNA jumps down onto the screen-Hammond's shoulder.


Mr. DNA has taken over the show, and is speaking to the audience from the screen. A DNA strand is a blueprint for building a living thing.

And sometimes animals that went extinct millions of years ago, like dinosaurs, left their blueprints behind for humans to find, they just had to know where to look. The screen image changes from animated to a nature-photography look. It's an extreme close-up of a mosquito, its needle stuck deep into some animal's flesh, its body pulsing and engorging with blood it's drinking.


A hundred million years ago, there were mosquitoes, just like today. And, just like today, they fed on the blood of animals. Even dinosaurs. The camera races back to show the mosquito is perched on top of a giant animated brachiosaur. The image changes, to another close-up, this one of a tree branch, its bark glistening with golden sap.


Sometimes, after biting a dinosaur, the mosquito would land on a branch of a tree, and get stuck in the sap. The engorged mosquito lands in the tree sap, and gets stuck. Now the tree sap flows over them, covering up the mosquito completely. After a long time, the tree sap would get hard and become fossilized, just like a dinosaur bone, preserving the mosquito inside.


The fossilized tree sap -- which they call amber, waited millions of years, with the mosquito inside until Jurassic Park's scientists came along.


A science laboratory, the place buzzes with activity. Everywhere, there are piles of amber, tagged and labeled with scientists in white coats examining it under microscopes. One scientist moves a complicated drill apparatus next to the chuck of amber with a fossilized mosquito inside and bores into the side of it. Mr. DNA escapes through the drill hole as the Scientist moves the amber onto a microscope and peers through the eyepiece.


Through the microscope, we see the greatly enlarged image of a mosquito through the lens. Using sophisticated techniques, they extract the preserved blood from the mosquito, a long needle is inserted through the amber, into the thorax of the mosquito, and makes an extraction -- Dino DNA.

A full DNA strand contains three billion genetic codes. Since the DNA IS so old, it's full of holes. That's where their geneticists take over. In a Genetics Lab, scientists toil in a lab with two huge white towers at either side. Thinking Machine supercomputers and gene sequencers break down the strand in minutes - - One scientist, in the back has his arms encased in two long rubber tubes.


He's strapped into a bizarre apparatus, staring into a complex headpiece and moving his arms gently, like Tai Chi movements. Virtual Reality displays show their geneticists the gaps in the DNA sequence.


Since most animal DNA is ninety percent identical, they used the complete DNA of a frog - - On the V.R. display, we see an actual DNA strand, except it has a big hole in the center, where the vital information is missing.


Mr. DNA bounds into the frame, carrying a butch of letters in one hand. He puts it in the gap and turns back against it, grunting as he shoves into place. They filled in the holes to complete code, Now they can make a dinosaur.


And the tour moves on: Hammond throws a switch and safety bars appear out of nowhere and drop over their seats, clicking into place. The row of seats moves out of the auditorium. The row of seats moves slowly past a row of double-panned glass window beneath a large sign that reads "Genetics/Fertilization/Hatchery." Inside, technicians work at microscopes. In the back is a section entirely lit by blue ultraviolet light.


Mr. DNA voice continues over a speaker in each seat. The fertilization department is where the dinosaur DNA takes the place of the DNA in unfertilized emu or ostrich eggs -- and then it's on to the nursery. Gennaro has a wondrous grin plastered on his face, just loving everything now.

Gennaro [pointing at the scientists in the lab]: This is overwhelming, John. Are these characters... auto-erotica?

Hammond: No, no, no. We have no animatronics here. These are the real miracle workers of Jurassic Park.

Grant, Ellie, and Malcom are frustrated, leaning forward, straining against the safety bars for a better look. But the cars keep going. They have questions regarding the hatchery, but the cars are already moving on to another set of windows, which give a glimpse into what looks like a control room.


Grant strains to look back into the labs, but the cars move past again, no intention of slowing down. The three team up on the safety bars. Grant shoves his all the way back with one foot and Malcolm does the same. They stand up and head for the door of the hatchery to the protests of Gennaro.




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