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bonkwosher · 1 year

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Hey! I just want to say that I love your story about Alan Grant and as I saw you are open to requests can I ask an Alan!hurt story? Maybe he is injured during Jurassic park while trying to protect the kids and Ellie has to help him to get out of there, but will they make it? All angst possible would be great and a happy ending would be even better. I hope it’s not bother. Thank you!

A/N: This seems like an Alan x Ellie & I don't write character x character but I'll make you a deal. I'll make the character a paleobotanist friend of Alan & you can just replace Y/N with Ellie. For the sake of continuity, I'll just kind of lightly remove Ellie from the storyline so that you can add her in the Y/N place.

Pairing(s): Alan Grant x GN!Paleobotanist!Reader

Contains: A lot of movie content, jealous Alan unable to control his emotions, fear of death, sad Alan, (I literally didn't follow the request, I'm sorry. Explained at the bottom)

"Why don't you come down, just the pair of ya', for the weekend? I'd love the opinion of a paleobotanist as well!" Hammond's words rang in your head as you sat next to Alan in the helicopter.

Yes, you were technically getting a lot of funding for your dig just to do this trip but the selling point was really getting to spend time with Alan outside of digging up bones. You felt as though Alan was just here for the money but honestly, the thought of spending more time with you had Alan extremely excited. You both managed to think the other had no interest & you were just friends.

Alan sat at the window seat, playing with his velociraptor claw. You hadn't realized you were zoning out watching him, his brows furrowed as he spun the small object between his fingers.

"So you two- uh, dig up- dig up dinosaurs?" Ian pulled your attention away from Alan.

You let out a laugh, "Well."

"Try to," Alan spoke softly with an equally soft smile on his face.

Ian let out an awkward yet somehow adorable laugh then looked you up & down. He had once already when you weren't looking but he wanted you to know he thought you were attractive.

"You'll have to excuse Dr. Malcolm, he suffers from a deplorable excess of personality. Especially for a mathematician," Hammond practically apologized as he turned to you.

"It's fine, it's sweet," you laughed, not noticing Alan turn away, not wanting to hear this.

"Chaotician! Chaotician actually, John doesn't subscribe to chaos, particularly what it has to say about his little science project."

"Hoggswallop, Ian. You have never been able in sufficiently explain your-"

"Oh, John, John, John because the behavior of the system is faith-based-"

"A load, if I may say, of fashionable number crunching."

The two continued bickering & you stretched in your seat.

"Dr. L/N, Dr. Grant, you've heard of chaos theory?" Ian asked, hopeful.

"No," you looked at Alan.

"No, non-linear equations? Strange attractors?" Ian paused as you shook your head, "Dr. L/N, I-I refuse to believe that you are unfamiliar with the concept of attraction."

You blushed & gave Ian a smile, Alan would be lying if he said this didn't make him upset. He tried his best not to give you the cold shoulder after that.

It got to time for lunch & you all sat down. You were a little shocked when Alan didn't sit next to you but you brushed it off. Opinions on the park quickly became the topic of conversation. You agreed wholeheartedly with Ian. Maybe it was the flirting with Ian, no, it was definitely the flirting. Despite agreeing with the two of you, Alan's mind was clouded with jealousy. To avoid conflict, Alan stood up & walked out of the room. The plan would've worked if you hadn't followed, worried about him.

"Alan! What's wrong?"

He couldn't stop himself, "Leave me alone Y/N. Go hang out with Dr. Malcolm. You clearly enjoy his presence more than mine."

"Alan, that's not-"

"Just- shut up, Y/N!"

You were shocked, unable to even respond. Alan knew he hurt you but his conscience wasn't loud enough to get him to apologize. You walked outside quietly, ironically, Ian Malcolm had seen the entire thing & ran to your aid. His arm found its place on your shoulders but you quickly shrugged it off.

"Not the time, Dr. Malcolm."

He muttered an apology & John Hammond finally caught up to the group with two kids in tow. He announced that you'd be split into two cars & you quickly announced, "I'll sit with the kids."

You were upset with Alan but saving him from spending time with two kids (Knowing he hates children) was second nature at this rate. You always handled field trips to the dig site & grew to like kids. Maybe they could distract you from your previous argument.

The tour had turned around due to the storm. The kids kept you distracted but Alan's words still floated in your mind. Alan mindlessly stared at the back of your head the whole trip. His apology was stuck at the back of his throat still, he couldn't tell if he was mad at you or himself. Ian managed to worsen his mood by asking if you were available. He was about ready to yell at Ian when the fence broke. The two of them went dead silent & watched the series of stupid decisions that the children made despite you telling them not to. The car was flipped upside down & Alan ran to your aid while Ian distracted the T-Rex.

"Y/N, grab my hand!" Alan instructed as he kneeled down into the mud, reaching his hand as far as he could into the car.

You insisted that he helped the kids first, pushing Lex towards Alan. There wasn't enough time to get you or Tim out because the T-Rex had returned, pushing the car around. You wound up hitting your head hard against the dash as the car was pushed off the cliff, effectively knocking you out. When Alan made it to the floor he set Lex down & ran to the tree, calling out for you. Alan hates trees, heights, all of it, but he has never climbed faster. As he got closer he could hear Tim crying.

"Please wake up, please!" he repeated, shaking you by the shoulders.

Alan assumed the worst, completely shouting, "Tim what happened?!"

"Y/N won't move! I think they're-" Tim stopped, unable to finish his sentence as Alan finally saw you.

You had a couple abrasions & cuts, otherwise fine, but Alan couldn't tell in this light. He cursed under his breath.

"Come on, kid. I'll get Y/N after you're out."

Tim hesitated but he got up soon after & Alan directed him to begin climbing down. Alan paused to just look at you for a moment. If you really are dead this might as well be the worst day of his life. He yelled at you, the person who understood him & cared for him.

"I'm so sorry, Y/N," he couldn't speak over a whisper as he entered the car, trying to grab you.

He moved forward cautiously, knowing that the car was suspended by a few vines & weak branches. He sat against the floor of the car, pulling your head into his lap. You were so peaceful & now that he was close, he could see that you were breathing. The wave of worries slowly washed away. I wish I could say that was the end of this nightmare of a trip.

Within seconds of Alan grabbing you, the car jerked downward. The branches were breaking. Tim screamed & began climbing down faster. Alan froze for a moment, cursing himself for letting you end up in this situation. He protected your head with one arm & braced himself against the passenger seat with the other. He held you tight, repeating apologies like that would somehow save you as each & every branch broke beneath the car. He wanted to tell you he loved you at this moment. You were unconscious & likely about to die but he wanted you to know. He was being burned by fate, he waited too long & treated you like shit today. This is all his fault. The words were stuck in his throat as you continued to fall.

You hit the ground hard, still in the car with Alan. The pain jolted you awake. Alan was dazed & In shock. You both somehow lived & you were staring at him, terrified. You led him out from under the car. The kids ran up, celebrating that you both had lived. Alan wouldn't talk, just staring at you with wide eyes. You instructed the kids to hide in a nearby tree & wait for you. They complained but listened.

"Alan? Are you okay?" You spoke with a hand on his shoulder.

You were met with Alan swallowing, trying still to figure out how to speak again. Your hands moved to cup his cheek.

"Alan, I don't understand. Are you still mad at me? What's going-"

He pulled you by the shirt into a kiss. It was short & sweet. His shaky hands found your cheeks as yours fell to your lap.

"I-I'm not mad, I'm- I'm sorry, this is my fault."

"How could this be your fault?"

"I yelled at you. I yelled when I shouldn't have. I wanted to apologize but I didn't. I love you! I love you, Y/N!"

You didn't even hesitate before pulling Alan into a deeper kiss. Only after you both needed to gasp for air did you consider pulling away. You rested your forehead on his, smiling in the thick of this horrible nightmare jungle.

"I love you too."

A/N: I'm working on my like month old requests. Shhhhhh. Also, I totally didn't follow the request. I just realized this is completely different from what you asked (LIke I said this is like a month later & I had this half-written already) as I am writing this second a/n. I'm sorry lol, request again & I'll do it but I like this one.

#alan grant x reader #alan grant #jurassic world dominion #jurassic park fanfiction #jurassic world #jurassic park lost world #jurassic park #ellie sattler #dinosaur #gender neutral reader #gay #lgbt #lgbtq

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edmundodiazz · 11 months

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Just finished reading the Jurassic Park novel, and after reading and watching other peopels opinions on it online (especially the divide between the book vs the movie), I was kinda bummed to see how everyone was hating on novel John Hammond, saying he is the cliche of the "evil rich dude" and the movie version is much more sympathetic, a character with redeeming qualities.

People have the right to their own opinions, but I wonder, are there more people who, like me, prefer the novel version?

I like to look for the shades of grey in characters too, but I don't believe that everyone has to presented in a positive light, not everyone has to be sympathetic. The novel version of Hammond just seemed to fit much more into the story.

His character was far more realistic for me not only because his shortcomings were, in big part, the cause behind the disaster (apart from the chaos theory and messing with nature, bringing an extict species into the world that has changed so much), it also showed what I see in today's world - the greed of capitalism. How treating your employees like shit and trying to spare yourself as much money as possible at the expense of the product always comes with consequences that, in one way or the other, ruin people's lifes.

His greed to make as much money as possible with no care in the world when it came to the people and the world around him masked as a wish to provide people, especially children, with amazing entertainment, is such a glaring theme in today's world. Everyone is so focused on improvement and progress and making money and becoming sucessful and rich and famous… oftentimes at the expense of other people, the world, or the created product itself.

The lack of mention of this additional message that is present in the book just started grating on my nerves so I had to vent… There is more to be said, and, of course, much more smartly than my emotion-driven word vomit, but I just had to get it out and see if maybe there are some ppl here who'd share my view and/or would like to present an alternative interpretation.

#jurassic park #jurassic park novel #jp #personal #to delete later?

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advoirsmovies · 9 months

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Prior to Jurassic Park (1993), it wasn’t common for anyone to think dinosaurs may have evolved into birds, or to have even heard of a velociraptor. But my favorite is the introduction of chaos theory, effectively summarized by Jeff Goldblum’s Ian Malcolm in the words, “Life, uh, finds a way.” Sci-fi has always warned against thinking we can tame or overpower nature, but not in such way as to conceptualize evolutionary forces as mathematically unknowable. True to concept, this story has lots of little things going unexpected directions, not a lone culprit responsible for all the destruction. I can’t think of any way this film could’ve been done better. Especially the epic score by John Williams. It’s probably not going to change your life, but as far as thrilling adventures go, this is a perfect movie.

2023 08 02

#film #movies #sci fi #adventure #thriller #jurassic park #jeff goldblum #life uh finds a way #john williams

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queenofthemilkcowboogieblues · 10 months

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~~~~~~~~~~~~~~~ Masterlist ~~~~~~~~~~~~~~~

Doctor Who

The Fruits of Eternity

Summary:

Alexandra Jane Crowley: The only daughter of Crowley and Aziraphale. Her short life has already been wrought with pain, but will a 900 year old alien be able to help her move on from memories that she would rather forget? Or will her adventures with the Doctor only add more pain to her life?

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Broadchurch

A Forget Me Not at the Crime Scene

Summary:

Evelyn Alexandra Smith. She stopped travelling with her mother and father through space and time when it was time for her to go off to University. However, there were more reasons behind it than just school. She became a police officer, and rose through the ranks to become a DI as Broadchurch CID. What happens when the death of Daniel Latimer puts her in the path of DI Alec Hardy?

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Cobra Kai

Muscle Memory

Summary:

When Anastasia moves to the San Fernando Valley half way through college, she wouldn't have believed in the idea that she'd bump into a down on his luck, former karate champion, Johnny Lawrence. She definitely would have laughed if someone had told her that not only would they become best friends, but she would come to love this oblivious man, who tends to take no notice of the love she feels and display's quite clearly on her sleeve. However, how will her decision to help Johnny open his own karate dojo affect their relationship, and will she finally get a taste of the love she's so desperately craves?

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ghostbusters

Echoes of the Future Series:

Echoes of the Future

Summary:

Starlette Malcolm has known Egon Spengler, Peter Venkman, and Ray Stanz for five years. It's plainly obvious to Ray and Peter that their coworkers have feelings for each other. However, the start of the successful Ghostbusters business will put Starlette and Egon's budding romance to the test as well as the mysterious circumstances surrounding Starlette herself.

Higher and Higher

Summary:

Five Years after the Ghostbusters saved New York from Gozer's wrath they have fallen into their own routines and patterns after being forced to give up the very profession that had saved the city. However, when strange occurrences begin to crop up around the city centering around a mysterious pink slime, it's up to them to take up the mantle as Ghostbusters once again and save the city.

Stranger Things Have Happened

Summary:

At this point, Starlette has come to accept the fact that strange and unusual things will always happen in her life, and she's just going to have to live her life with Egon around them. In other words, these are the events that happen between Ghostbusters II (1989) and Ghostbuster: Afterlife (2021).

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Jurassic Park/World

Chaos Theory Series:

Chaos Reigns

Summary:

Dr. Amaryllis Grant, much like her brother Dr. Alan Grant, has, for as long as she can remember, longed to see the dinosaurs that her brother told her stories about when they were younger, and it came as no surprise when she followed in his footsteps with the sole purpose of digging up fossils just for the opportunity to reach out and touch all that remains of them. However, when John Hammond, quite literals drops the opportunity to get to see dinosaurs alive and in all their glory, will she jump at the opportunity, or will she see be able to put aside her passions and see the consequences of using science to play God with nature. Will those consequences catch up with her in a personal and intimate way?

Ornithoscelidaphobia

Summary:

Or∙ni∙tho∙sce∙li∙da∙pho∙bi∙a – A noun referring to the extreme or irrational fear of dinosaurs.

It's been four years since Dr. Amaryllis Grant had nearly died during the accident at Jurassic Park, and she's been tasked with the mission to observe the dinosaurs that were left to their own devices on one of Isla Nublar's sister islands in an effort to ensure that they are left alone, and nobody else has to be injured or killed. However, when has anything ever gone right on these islands?

Convergence

Summary:

It has been eight years since the original events that took place at Jurassic Park, and four years since the unfortunate incident that took place on Isla Sorna and in San Diego. Needless to say, Amaryllis Grant-Malcolm has gotten to the point where she thought those events were long behind her, and it happily enjoying life with her husband, her daughters, her brother, sister-in-law, and her nephew and niece. However, money to continue a dig in Montana is rapidly drying up, and when the opportunity comes to get the money needed to keep it running, her brother jumps at the chance. What else is Amaryllis to do, but go with him on an what was supposed to be a simple trip flying over Isla Sorna? What could possibly go wrong?

Playlist for Amaryllis: https://open.spotify.com/playlist/5n3dH6PsoYMBnJ5wCjkMYN?si=d2c4919d38d24b5a

The Cost of Scientific Discovery

Summary:

Chrysanthemum Alana Malcolm, the youngest daughter of Doctors Ian Malcolm and Amaryllis Grant-Malcolm, is offered a position at Jurassic World, and she's apt to take it since she's been dreaming of working with dinosaurs since she was little, hearing the stories that her parents told her. However, her decision comes at a cost, not only to herself, but her family.

The Divide Between Worlds

Summary:

It's been three years since the events that took place at Jurassic World, and every one has seemingly moved on. However, the threat of an extinction level event due to an impending volcano eruption, throws Chrysanthemum Malcolm right back into the mix, and into a plot to exploit the dinosaurs.

Butterfly Effect Series:

The Cost of Scientific Discovery

Summary:

Playlist for Chrysanthemum: https://open.spotify.com/playlist/5kblAWsYEvM0hrxLaFWdCI?si=b217e8ffd7a9445c

The Divide Between Worlds

Summary:

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Independence Day

Stardust Within

Summary:

Apollonia Martin, a former tactical aircraft maintenance specialist, had settled happily into her job as a satellite technician at Compact Cable. However, she never expected to be dragged front and center into a full-on alien encounter as she begins to experience visions of the invaders' movements, and secrets from her past are brought to light in the worst way possible.

Play list for Apollonia: https://open.spotify.com/playlist/6jpNfaWrZTSeWIvflPaTIP?si=0947a2ebe77e4eb8

~~~~~~~~~~~~~~~~~~~~~~~~~

West Wing

The Person Behind the Camera

Summary:

Photography is an important aspect of any Presidency as it not only helps to record memorable events that occur throughout the course of that President's term in office, but also plays a crucial role in shaping the President's public image to garner support. However, the field of photography, and more importantly, the individual's behind the lens are often ignored in favor of more prominent roles. This is the story of Winifred Ludwig, the Chief Official White House Photographer throughout the Bartlet Administration.

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kleebis-and-fombus · 9 months

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Can we please have "Jurassic Park the Musical"?

I already have an outline (it's super rough):

ACT I

1. Open with same opening scene as movie, a guy gets eaten by a caged raptor, but have the cast sing an opening ballad "Clever Girl" that ends with the violence, fade that song into a scene at the amber mine where the lawyer sings a short final verse about needing the safety certification 2. In the Badlands, Alan Grant sings an introduction about rocks and bones, how much we learn from rocks, how dinosaurs have evolved into birds. Have the kid in the group challenge him with the “6 foot turkey” comment, Alan sings a verse about how deadly raptors are and scares the kid. Have the crowd disperse, continue the song between Alan and Ellie, about why Alan doesn’t like kids. 3. "I Spared No Expense" - John Hammond arrives, sings a cryptic song convincing them to visit his island. They sing no, song goes until everyone is singing the same chorus with a “yes” tone instead of a “no” tone because they’ve been convinced. 4. Denis Nedry and Lou Dodgson meet in Costa Rica, sing about their evil plan and about why Nedry is disgruntled with Hammond 5. Group arrive at the island and sing a “holy crap, real dinosaurs!” song 6. Visitor’s center - “Life Finds a Way”: A song about DNA, breeding, etc - all the biology explained and Ian Malcom’s famous quote. We see the baby raptors hatching. 7. Group visits raptor pen, reprise song 1, this time raptor handlers are singing about how intelligent the raptors are, etc. 8. Group has lunch, reprise song 3 where Malcom, etc criticize Hammond’s playing god. 9. Kids arrive, song 2 instrumental. Grant is visibly annoyed 10. Tour - "Chaos, Chaos, Chaos!" Malcom explains chaos theory 11. Sick triceratops - Ellie reprises song 2, sings her own version about the plant life and starts helping the dino 12. Storm starts. Group breaks up/heads back. Reprise song 4. Nedry and Hammond have words, Nedry leaves to steal the embryos. He sings his part about his plan while he executes it, and the control room techs sing about the technical difficulties. They and Hammond also sing about what a crappy worker Nedry is. Nedry sings until the moment he dies - the last verse is one of denial/regret. Slow it down, but finish it with a bang.

INTERMSSION

ACT II

1. T-Rex paddock scene: animatronics, duh. reprise song 1 but make it super dramatic and varied based on who has to be quiet when, etc. Meanwhile Ellie and Muldoon are searching for them, find Ian instead. T-rex chases them in car but they get away, possibly singing 2. Alan helps kids and reprises song 2 as a lullaby. Then after kids fall asleep, sings a sweet version about how he’s beginning to like kids. 3. Hammond and Ellie sit in the dining room eating ice cream. Hammond reprises a sad, slow song 3 remembering Petticoat Lane and lamenting his past and his failures and Ellie holds him accountable 4. In the morning, Alan and kids encounter brachiosaur in the tree, find dino eggs. Life found a way. Reprise song 6. 5. Cut to control room, Ian Malcom reprises song 10 in an “I told you so” number to Hammond 6. Still in control room, reprise song 4. Hammond sends Arnold to shut down the system, Ellie and Muldoon follow shortly after 7. Alan and kids witness gallimimus stampede, t-rex eating one. Song 5 instrumental 8. Reprise song 1, use instrumentals to show Ellie and Muldoon confrontation with raptors. Muldoon sings “Clever Girl” as he dies. Ellie turns power back on and Tim gets electrocuted on fence 9. Grant takes kids to kitchen, continue reprise of song 1 as they face the raptors in the kitchen 10. Reprise song 4 as Lex hacks and fixes system in control room. Raptors chase group to T-rex skeleton, t-rex shows up to fight raptors as group escapes 11. Helicopter - reprise song 5. Show birds outside window

#jurassic park

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islanublar · 2 years

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Behind the Scenes (1997)

For 65 million years their secrets lay hidden in the earth. Giant, awesome creatures whose majestic presence we could once only visualize in our mind's eye. Then in 1993, imagination , science and technology came together in a spectacular motion picture that became a world wide phenomenon. Click here for the inside story on the making of Jurassic Park.

With Jurassic Park, Steven Spielberg recalled from extinction the greatest creatures our planet has ever known. "My interest is in making a good movie that honors the existence of dinosaurs," Spielberg said during filming of the 1993 biogenetics adventure, which would become the highest grossing motion picture of all time and win three Academy Awards® for its ground-breaking visual and sound effects.

To resurrect these ancient and powerful species who ruled the world for 165 million years, the director and his team of special effects wizards embarked on a three-year journey of discovery, creating new technologies, transforming old ones and ushering filmmaking into the 21st Century.

In May of 1990, Universal Pictures obtained the galleys of best-selling author Michael Crichton's upcoming book Jurassic Park, and within a matter of hours, the studio was intently negotiating to purchase the book on behalf of Steven Spielberg.

"It was one of those projects that was so obviously a Spielberg film," recalls producer Kathleen Kennedy, who has closely collaborated with the filmmaker for 18 years. "If you look at the body of Stevens work, he is very often interested in the theme of extraordinary things happening to ordinary people."

As Crichton began adapting his book about a theme park for genetically engineered dinosaurs into a feature-length screenplay, Kennedy and Spielberg began to recruit the behind the scenes team that would lay the creative foundation for Jurassic Park. First on board was production designer Rick Carter, who started work with a group of illustrators and storyboard artists to translate Crichtons words into cinematic images.

The next challenge was to find an all-star effects team that would bring the dinosaurs to life. Stan Winston was contacted to create the live action dinosaurs, with Phil Tippet serving as dinosaur supervisor, Michael Lantieri handling special dinosaur effects and Industrial Light & Magics Dennis Muren in charge of full motion dinosaurs. Their achievements, individually and collectively, had included box-office successes from Star Wars to Teminator 2: Judgment Day, and they would eventually receive an Oscar for best visual effects for Jurassic Park.

Meanwhile, work continued on the screenplay, beginning with Michael Crichtons first draft. Later, screenwriter David Koepp was brought in on the project and shared screen credit with Crichton.

Casting was a relatively short process, capped by the signing of Richard Attenborough (whose acclaimed work as a film director had distracted him from acting since 1979) for the pivotal role as Jurassic Park developer John Hammond. Rounding out the talented ensemble cast were Sam Neill as Dr. Alan Grant, a renowned paleontologist who is asked to inspect the park; Laura Dern as his colleague, Dr. Ellie Sattler; Jeff Goldblum as a brilliant but eccentric mathematician whose chaos theory explains the dangers inherent in the project; and Ariana Richards and Joseph Mazzello as Hammond's young grandchildren.

In order to tackle the scope and breadth of the project ahead, Winston designated a group of teams that included both artists and engineers. To give you an idea of each team's complex responsibilities, meet "Team rex," which consisted of 12 operators performing widely varying functions. Constructed from a frame of fiberglass and 3000 pounds of clay, the 20 foot tall T-rex was covered with a durable yet delicate latex skin and then painted by a team of artists who blended a rich palette of colors to bring his body to life. The T-rex was then mounted on a "dino-simulator," an imaginative mechanism inspired by hydraulic technology and based on a traditional six-axis flight simulator used by the military. On this motion-based foundation, both the platform and the T-rex could be actuated through a computer control board.

When "Jurassic Park" began principal photography on the island of Kauai on August 24, 1992, it had been exactly two years and one month since the start of pre-production. The lush green resort-land near Lihue was an ideal setting for the Jurassic Park exteriors, but after three weeks of filming under the tropical sun, a real-life drama overshadowed the movie.

Hurricane Iniki was fast approaching Kauai, and the crew was asked by the hotel to pack their suitcases and fill their bathtubs with water in case of future power and water shortages. Next, they were instructed to pack a day bag and meet in the ballroom of the hotel on the basement level.

By 9:00 a.m. the storm was headed straight for the island. Kathy Kennedy recalls, "We started pulling all our supplies into the ballroom, and the camera crew was quickly packing their things in the trucks. But if you're going to be stranded with anyone, be stranded with a movie crew," says Kennedy. "We had generators for lights, and plenty of food and water. We were self-sustaining because we moved around on location all the time."

Camped out in rows of chaise lounges on the ballroom floor, the cast and crew heard the winds pick up at about 4:00 p.m. and rumble by at almost 120 mph. "It sounded like a freight train roaring past the building," recalls the producer.

When water seeped into one end of the ballroom, the crew huddled on the other side of the room. But at 7:30 p.m., Kennedy and Gary Hymes, the stunt coordinator, stepped outside into silence. "It was the eeriest thing I had ever seen," recalls Kennedy. "Here we were that morning on a beautiful tree-lined street adjacent to a golf course, and now virtually every single tree had been flattened."

Although the company had scheduled one more day of filming, the sheer force of Iniki literally struck all the sets. There was no power or working phones on the island, so at dawn the next morning, Kennedy jogged two miles to the airport to explore their options.

"The destruction in the airport was unbelievable," she recalls. "All the windows were blown out in the terminals, and the buildings were full of palms, trees, sand and water. Every single helicopter had been tipped on its side."

Thanks to her relentless efforts among airport and military personnel in Lihue, Kennedy was able to hitch a ride to Honolulu on a Salvation Army plane and began organizing from a pay phone. Over the next 24 hours, she not only coordinated the safe return of the company, but also arranged for more than 20,000 pounds of relief supplies to be transported from Honolulu and Los Angeles into Kauai.

Upon its return to Los Angeles, "Jurassic Park" resumed production at Universal Studios. Stage 24 had become the industrial-size kitchen for Jurassic Park's Visitors Center and it was being visited by two predatory Velociraptors. While Winston's team manipulated every moving part of the full size Raptor from head to tail, actors Ariana Richards and Joseph Mazzello cowered in the corner, deep into their characters of two young children who are trapped in their worst nightmare.

From there, the company packed up and moved to Red Rock Canyon State Park, at the west end of the Mojave Desert. Chosen for its similarities to a Montana dinosaur dig site, Red Rock played host to actors Laura Dern and Sam Neill, both of whom were coached by one of the country's premier paleontologists, Jack Horner. As a professor at the University of Montana and curator of paleontology at the Museum of the Rockies in Bozeman, Horner was a valued member of the crew and the official paleontology consultant.

Returning to Stage 27, the Company began a complicated sequence following a confrontation with the mighty T-rex, who had effortlessly picked up a Ford Explorer and hung it on the branches of a gigantic gnarled tree. Rigged by Michael Lantieri's team and suspended on steel cables, the car slowly slips from branch to branch until it falls to the ground with a reverberating crash. By the end of the shoot, the tropical jungle on Stage 27 had been re-dressed for three additional scenes: an early morning visit from a Brachiosaurus, a surprise attack on Muldoon (Bob Peck) and Dennis Nedry's (Wayne Knight) encounter with a Spitter.

Stage 28 housed the heart of Jurassic Park; a computer control room and dinosaur hatchery. Headed up by Michael Backes, computer effects designer, the Control Room was headquarters for almost a million dollars in high-end equipment, on loan from such industry leaders as Silicon Graphics, SuperMac, Apple and Thinking Machines.

When Nedry's sabotage results in Control Room chaos, the audience will simply watch the display screens in order to understand the problems that face the park visitors who are on the royal tour.

By size and scope, the most memorable "Jurassic Park" set was perhaps the Visitor's Center constructed on Stage 12, but it was closely rivaled by the T-rex Paddock, located on one of the largest sound stages at Warner Brothers Studios. Lantieri and his crew built the riggings that mobilized the 3000 lb. dinosaur, who along with his fellow actors, worked long, hard hours in the wind, rain and mud.

The film's climactic finale was filmed on Stage 12, in Jurassic Park's enormous Rotunda, which, according to the script, is still under construction. As John Hammond escorts his visitors into the main lobby, the first thing they see are two gigantic dinosaur skeletons displayed in the middle of the Rotunda.

Constructed by Toronto-based Research Casting International, the museum-quality pieces are full-size re-creations of a T-rex, which is approximately 40 feet long, and an Alamosaurus, which measures 45 feet long.

As the cast and crew lifted their glasses in a champagne toast on the final night of filming, a weary but enthusiastic Spielberg announced that "Jurassic Park," an ambitious project which had been two years in the planning and four months before the cameras, had finished on budget and 12 days ahead of schedule.

Steven Spielberg is one of the world's most respected, successful and celebrated filmmakers. He has been associated as director or producer on five of the Top 20 grossing films of all time. E.T. The Extra-Terrestrial is still the highest-grossing film in the United States and Canada and is surpassed only by Jurassic Park and The Lion King worldwide. He earned his first Directors Guild Award for The Color Purple and the DGA also nominated him for Empire of the Sun, Jaws, Close Encounters of the Third Kind, Raiders of the Lost Ark and E.T. The Extra-Terrestrial , in addition to Schindler's List , for which he also won. For the last four, he was also nominated for Academy Awards.

Spielberg made his feature directing debut on The Sugarland Express. Teamed with George Lucas, who was executive producer, Spielberg directed Raiders of the Lost Ark, Indiana Jones and The Temple of Doom and Indiana Jones and the Last Crusade. His additional directing credits include Hook and Always . He also co-wrote and co-produced Poltergeist.

With Amblin Entertainment, the production company he formed in 1984, he served as executive producer on more than a dozen films including Gremlins, Back to the Future and its two sequels, An American Tail, Who Framed Roger Rabbit and The Land Before Time. His Amblin Entertainment most recently produced the films Twister and The Trigger Effect.

He is the recipient of The Lifetime Achievement Award from the American Film Institute and the prestigious Irving G. Thalberg Award from the Academy of Motion Picture Arts and Sciences.

In October 1994, Spielberg announced the formation of a new multimedia studio, Dreamworks SKG, with his partners in the venture, Jeffrey Katzenberg and David Geffen.

Eight-time Academy Award winner Dennis Muren is the senior visual effects supervisor at Industrial Light & Magic. Murens eight Oscars, the most of any living member of the Academy, are in recognition of his work on Jurassic Park, Terminator 2, Judgment Day, The Abyss, Innerspace, Indiana Jones and The Temple of Doom, Return of the Jedi, E.T. The Extra-Terrestrial and The Empire Strikes Back. He was also nominated for Academy Awards for Willow, Young Sherlock Holmes and Dragonslayer.

Among Murens credits are The Star Wars Trilogy Special Edition, Twister, Mission Impossible, Casper, Ghostbusters II and Empire of the Sun. Muren, who traces his interest in visual effects to the age of ten when he started making his own films on an 8mm camera, began his career as a visual effects cameraman and worked on such productions as Close Encounters of the Third Kind, Star Wars and Battlestar Galactica.

Stan Winston has won four Academy Awards, three BAFTAs (British Film and Television Academy) and two Emmys for his achievements. He has been nominated for a total of eight Oscars, five BAFTAs and six Emmys.

Winston was nominated for his first Academy Award with Heartbeeps. He then teamed with James Cameron to create The Terminator, starring Arnold Schwarzenegger. Winston reteamed with Cameron on Aliens , heading up the films enormous effects unit. He was nominated for an Academy Award and won. In 1987, he earned his third Academy Award nomination for his work on Predator. He won two Academy Awards--one for visual effects and the other for Best Make-up--for his pioneering work on Terminator 2: Judgment Day , for which he produced hundreds of animatronic effects and prosthetic make-up, which defined the design and technology for special make-up effects.

Winston lead his team of artists to his fourth Academy Award, creating the full size dinosaurs in Jurassic Park . Among his other distinguished credits are Neil Jordans Interview with a Vampire, Congo and Batman Returns. Winstons most recently created the creature effects for The Relic and Ghost and the Darkness . He also directed the widely acclaimed short film Ghosts , starring Michael Jackson.

Stan Winston began his career as a make-up artist at Walt Disney Productions. His first television movie, Gargoyles , resulted in his first Emmy Award and a year later, he won his second Emmy for The Autobiography of Miss Jane Pittman , in which he aged actress Cicely Tyson to 110. Between 1973 and 1979 Winston was nominated for six Emmys and then moved into feature films, providing the special make-up for The Wiz.

In 1993, he partnered with James Cameron and former ILM principal, Scott Ross, in the creation of Digital Domain, a computer effects company headquartered in Venice, California.

Michael Lantieri is one of the motion picture industry's leading special effects artists. An Academy Award-winner for his work on Jurassic Park , he has frequently collaborated with Steven Spielberg and Amblin Entertainment on such projects as Indiana Jones and The Temple of Doom, Back to the Future II and III, Who Framed Roger Rabbit, Hook, The Flintstones and Casper.

Among Lantieri's other credits are: Flashdance, Fright Night, The Woman in Red, Thief of Hearts, The Last Starfighter, My Science Project, Poltergeist II, Star Trek IV, Twins, The Witches of Eastwick, Bram Stokers Dracula and Death Becomes Her the latter of the two which he did simultaneously. Lantieri's most recent projects prior to The Lost World: Jurassic Park were Mars Attack and Congo. Lantieri is now in preproduction on Steven Spielberg's next project, Amistad.

When Phil Tippett was seven years old, his parents took him to see the film "The Seventh Voyage of Sinbad," and he nostalgically asserts that the film changed his life.

An innovator who took stop-motion photography to new heights, Tippett's animation for the 1980 film "Dragonslayer" is regarded as one of the best, if not the best example of the art form.

A filmmaker by the age of 13, Tippett was animating TV commercials just four years later, but he put the work aside to earn a B.A. in Fine Arts from UC Irvine.

During the next few years he would develop relationships with such peers as Jon Berg and Dennis Muren, and all would become major figures in special visual effects. Muren, in fact, recommended Phil to the "Star Wars" production team to animate the miniature chess game.

Tippett began work on "The Empire Strikes Back," followed by "Return of the Jedi," the latter earning him an Academy Award.

In 1983, he left to work on his first independent film, "Prehistoric Bear," a 10 minute film which was shot entirely in his garage and took two years to complete. "Prehistoric Bear" recreates life in the late Cretaceous Epoch, 65 to 75 million years ago.

Since opening his own studio in Berkeley, California, Tippett has created 20 minutes of stop-motion animation for a CBS documentary called "Dinosaur!" which won an Emmy for special effects in 1984. His relationship with Lucasfilm continues, and he has provided sequences for the "Ewok" movies, "Howard the Duck," "Golden Child" and "Willow."

His additional projects have included "House II," "RoboCop," "Honey I Shrunk the Kids" and "Robocop II" and "III."

For "Jurassic Park," Tippett was a key to the development of the individual dinosaur movements: How did various parts of the body move? How fast? How slow? How coordinated? What would be the most accurate interpretation of each species' physical action and body language?

Describing the genesis of Jurassic Park, Steven Spielberg says: "Michael Crichton and I were actually working on another project together, a screenplay,' and I asked him, 'What are you doing in the world of books?' He said, 'Oh, I'm writing this thing about dinosaurs and DNA. My eyes got wide, suddenly I wanted to hear more and I coaxed it out of him until he told me basically the whole story. That's how the whole thing began."

From the beginning, the overriding concern for Spielberg and the rest of the Jurassic Park production company was to bring the dinosaurs to life with absolute credibility. The filmmakers wanted to show us the animals as the immense and beautiful living beings that were once lords of the earth. Through an extraordinary combination of paleontology, artistry and breakthrough technology, they did just that.

As Spielberg conceived his ambitious plan for the movie, and its dinosaurs, it became clear that bringing his vision to life would require an unparalleled level of special effects.

Historically, the action of large creatures had best been achieved with old fashioned stop-motion photography, but the filmmakers had hopes of pushing the special effects envelope and developing technologies that had not been used before. They assembled Hollywood's top special effects talent &emdash; Stan Winston, Phil Tippett, Dennis Muren and Michael Lantieri &emdash; for a unique collaboration, challenging them to go where no movie had ever gone before.

Stan Winston designed the live action dinosaurs &emdash; full-size robotic animals that had to be both quick and mobile. A miracle worker in makeup as well as creature effects whose creations for such films as The Terminator, Aliens and Terminator 2: Judgment Day dazzled audiences around the world, Winston broke the project into three phases: research, design and construction.

Winston and his team spent a full year in the research phase. Consulting with paleontologists, museums and hundreds of texts, Winston's artists prepared detailed sketches and renderings that would later lead to fifth-scale sculptures, and finally, to such enormous creations as a 20-foot Tyrannosaurus-rex.

Meanwhile, a fifth-scale version of the T-rex, resembling an elaborate erector set, had been built so that the identical motion of the scaled down armature could be generated manually by four puppeteers. Once a small T-rex (called a Waldo) had rehearsed the moves and actions required in a specific scene, a computer recorded the movement and programmed the big T-rex to repeat the action exactly. While the Waldo's puppeteers operated the animal's head, torso, tail and arms, additional puppeteers crouched nearby to simultaneously operate the T-rex's eyes, mouth, jaw and claws.

The Stan Winston Studio, which employed more than 60 artists, engineers and puppeteers in the making of Jurassic Park, also created life-sized, articulated versions of a 20 foot Tyrannosaurus rex, a 6 foot tall Velociraptor, the long-necked Brachiosaurus, a sick Triceratops, a Gallimimus, the unusual Dilophosaurus (a.k.a. "the Spitter") and a baby Raptor hatchling

The unprecedented feats of artistry and technology performed by Winston and his team were an important first step in bringing Spielberg's vision of living, breathing dinosaurs to the screen. "If they didn't look real if you didn't believe their skin, their flesh, their eyes, their teeth, everything about them no matter how good their performances were, they wouldn't be real," explains Winston.

With the challenge of creating "live" dinosaurs solved, Spielberg turned his attention to the necessity of miniature photography for the wide angle or full length shots. He took his thoughts to Phil Tippett, an Academy Award® winning animator and effects wizard who devised the Go-Motion System (a much refined version of stop-motion) while working on the film Dragonslayer. Tippett, who formerly worked for ILM, is based in Berkeley, California and eagerly began recruiting a team that would supply more than 50 Go-Motion shots.

In addition to choreographing the movements of the dinosaurs on film, Tippett was also relied on to provide a series of three-dimensional storyboards, or "animatics," as a means of helping the filmmakers to prepare and rehearse the highly complex scenes with T-rex and the Velociraptors.

The computer graphics work in Jurassic Park is the culmination of experimentation and progress that began at Industrial Light and Magic 14 years ago, when George Lucas set up the computer graphics department. It is now their most potent creative tool. Yet, the work in Jurassic Park is more than that: it is a quantum leap forward, forever changing the way films will be made in the future.

Spielberg consulted with ILM early in the process, having collaborated with this effects house on several of his previous films. ILM's effects supervisor Dennis Muren, a seven-time Academy Award® winner, was anxious to participate in Jurassic Park, but since Spielberg hoped to use full scale dinosaurs and Go-Motion, he was unclear about ILM's role in the project.

The initial approach for Jurassic's dinosaurs relied on traditional technology, combining movable miniatures created by Phil Tippett, with a few full-size robotic creatures designed by Stan Winston. Michael Lantieri would supervise the interaction of these elements with actors on the set. And Dennis Muren would lead the team at Industrial Light and Magic in bringing together the elements on film in post-production.

But visual effects experimentation and technology was moving faster than anyone could have imagined; and by 1991, Dennis Muren and ILM were working on Terminator 2: Judgment Day with director James Cameron, pushing the boundaries of computer-generated images, referred to as CGI.

By the time ILM finished Terminator 2, they were able to concentrate on building a herd of Gallimimus dinosaurs and a walking T-rex among the shots they would be called upon to deliver.

Impressed with ILM's test results, Amblin Entertainment soon gave ILM the green light to take on several additional test shots, including a stampede and several wide-angle scenes that illustrate a herd of dinosaurs against a sweeping vista. When Muren next returned to Amblin, he astounded the filmmakers with a computer-generated sequence of the T-rex walking in daylight. It appeared that with the advent of computer-generated images, Go-Motion might soon be extinct.

Although Tippett's work was ultimately reassigned to ILM, he became a valuable member of the Design Team and set up training sessions with ILM's graphic designers to teach them as much as possible about character movement throughout the production.

One of the most critical tasks the ILM team faced was making sure these dinosaurs moved naturally. They wanted them to come across as real animals, not movie monster stereotypes. They were real characters with heart and souls and a distinctive attitude. To accomplish this, the ILM team, under the guidance of Dinosaur Supervisor Phil Tippett, studied animal behavior, including the movements and body language of elephants, alligators, ostriches and lions. ILM's graphic designers received special training, including movement lessons, so their movements would capture these behavioral nuances.

( To ensure the portrayal of scientifically accurate behavior, the filmmakers also enlisted the help of paleontologist Jack Horner, one of the worlds leading dinosaur experts. Horner's research has been instrumental in changing our view of dinosaurs. He contends that birds, not reptiles, represent their closest living link. For Jurassic Park's design team, maintaining realism would mean breaking the reptilian stereotypes associated with dinosaurs.)

Over the next 18 months, a team of over 100 ILM creative and technical artists brought computer graphics to new heights, ultimately contributing over six minutes of computer graphic 3D dinosaur images to Jurassic Park, including 52 wide, medium and unexpectedly realistic shots of the principal dinosaurs.

Muren and ILM's work showed that computer graphics could offer a new level of performance, mobility and realism. It became necessary for the ILM team to continually create new software to achieve these effects. This kind of attention to detail was enormously time consuming, but the end result was thoroughly believable.

Michael Lantieri, who headed the fourth effects unit, had a long association with Amblin projects; he had worked with Robert Zemeckis on Who Framed Roger Rabbit? and Back to the Future Part II and III and had collaborated with Spielberg on Indiana Jones and the Last Crusade and Hook. His team would be responsible for a myriad of mechanical challenges including the construction of exterior cranes and large scale hydraulics that would move the enormous dinosaurs around. Lantieri's group was also responsible for a number of imaginative camera riggings that were customized to move fluidly with Stan Winston's creations.

As shooting began on Kauai, the filmmakers were anxious to see how their dinosaurs would perform. First on the schedule was Stan Winston's full-sized Triceratops.

"It was important that we either got bloodied on our first day of shooting, or we succeeded," Spielberg recalls. "Thank goodness for Stan Winston and his team. The Triceratops worked wonderfully; it looked so pathetic lying there."

The next sequence would star the enormous Brocchiasaur, which would be missing until post-production. Before Jurassic's computer animation breakthroughs, this type of effects shooting went slowly, requiring cumbersome specialized cameras.

Now, though, the filmmakers had the freedom to come up with new ideas on the fly&emdash;and the results were astounding. According to Dennis Muren, "The shot of Sam and Laura walking up from a very low angle, and looking up the neck of the Bracchasaurs where you see its head way up in the treetop, looking almost straight up in the air at him, was one of the shots that really added to the sequence. Previously we never would have gotten it."

By mid-September 1992, shooting in Hawaii was completed and the production moved to California. After two days work in the Mojave Desert, the crew moved indoors to film the rest of the movie on soundstages. Sets included the genetics lab, the inside of the Visitors Center, and largest of all, a complete recreation of the main road and T-rex paddock from Kauai.

Shooting the T-rex attack on a soundstage gave the filmmakers more control for this logistically-complex sequence, which would require both live action and computer-generated dinosaurs, who interact heavily with the actors on the set. No matter what creature we had whether it was a CG-creature, a real creature, whatever we had to figure out how to make it behave in real life, notes Lantieri.

"So, I went about taking anything in the story that was going to be touched by a creature, figuring out how to control it, how to make it crush itself, bend a bench without being there; everything had to basically be controlled from off-screen, on cue."

Stan Winston says filming the T-rex main road sequence was "one of the most amazing shoots of my entire career. Well ahead of time, in pre-production, we talked about how difficult this particular sequence was going to be. But it was wonderful to see this 9,000 pound wonder, 40 feet long, getting in there and acting."

The success of the T-rex sequence inspired Spielberg to change his plans for the climax of the film only weeks before the end of shooting. He recalls, "When I saw the main road attack, I said, 'I think the star of this movie is the T-rex. The audience will hate me if the T-rex doesn't come back and make one more heroic appearance.' So I just concocted the idea there would be a big Raptor/T-rex fight."

The beginning of 1993 saw Jurassic Park enter its most crucial stage. It was time to add over 50 CGI shots.

To ensure a consistent look between the CGI and mechanical dinosaurs, Stan Winston's miniatures, known as maquettes, were sent to the ILM computer artists. This provided a irrefutable frame of reference so that the digital dinosaurs were identical to the ones created by hand.

The enormous Brocchiasaur was the first CGI dinosaur brought to life on the screen. "My job was to look at the CGI shots they were turning out and critique them and make changes," says Spielberg. "I was a real critic about getting the animals to blend in seemlessly to the actual scenes."

Next up was the Gallimimus herd, which required the animation of more than 25 individual dinosaurs.

Computer technology also made it possible to add important details to effects shots. The splashing water made by the Tyrannosaurus' footsteps is one such detail. The water was filmed as a separate element, and the computer was then able to place the splashing precisely around the dinosaur's foot.

Jurassic's animators were creating dinosaurs that looked absolutely real; the only element that was needed to bring them fully back to life was sound.

As raw material for the dinosaur sounds, sound designer Gary Rydstrom and his team collected audio recordings of various living animals- from swans and hawks to rattlesnakes and monkeys -and began to piece them together in interesting ways.

"We'd go out in the field and wed record what ends up to be a lot of garbage," Rydstrom explains. "And then we'd come across something we liked, sample it, put it into the computer and manipulate it."

The fierce scream of the Raptors, for instance, was actually a mix of two rather harmless marine animals, a dolphin and a walrus.

The final challenge of the post-production team was completing Spielberg's new ending, which would push the capabilities of computer animation to its limits.

#source: lost-world.com #circa: 1997 #text post;

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