#Harvey Postlethwaite

[sidonius5]

ℐ 𝓇𝑒𝓂𝑒𝓂𝒷𝑒𝓇 𝓉𝒽𝑒 𝓇𝓊𝓂𝑜𝓇𝓈 𝑔𝑜𝒾𝓃𝑔 𝒶𝓇𝑜𝓊𝓃𝒹 𝓌𝒽𝑒𝓃 ℐ 𝓌𝒶𝓈 𝒾𝓃 𝑔𝓇𝒶𝒹𝑒 𝓈𝒸𝒽𝑜𝑜𝓁 𝓉𝒽𝒶𝓉 𝓉𝒽𝑒𝓇𝑒 𝓌𝑜𝓊𝓁𝒹 𝒷𝑒 𝒶 𝓈𝑒𝒸𝑜𝓃𝒹 𝓂𝑜𝓋𝒾𝑒, 𝒶𝓃𝒹 𝓂𝒶𝓃 𝑜𝒽 𝓂𝒶𝓃, ℐ 𝓌𝒶𝓈 𝓈𝑜 𝒽𝒶𝓅𝓅𝓎 𝓉𝑜 𝓈𝑒𝑒 𝓉𝒽𝑒𝓎 𝓌𝑒𝓇𝑒 𝓉𝓇𝓊𝑒...

#The Lost World. Jurassic Park (1997) #Sci-fi/Action #Camilla Belle #Jeff Goldblum #Ariana Richards #Joseph Mazzello #Arliss Howard #Richard Attenborough ✝︎ #Vince Vaughn #Richard Schiff #Vanessa Lee Chester #Julianne Moore #Pete Postlethwaite ✝︎ #Harvey Jason #Peter Stormare #Thomas Rosales Jr.

[1boblog]

Harvey “Doc” Postlethwaite

[islanublar]

NOTES (1997)

The Lost World: Jurassic Park is the sequel to Steven Spielberg's 1993 film recounting events on a Costa Rican island inhabited by genetically-engineered dinosaurs, which broke all box-office records and showcased an emerging visual effects technology.

Based on the novel by Michael Crichton, the story picks up four years after the disaster at Jurassic Park. Something has survived on a second island Isla Sorna, where the dinosaur manufacturing facility code-named Site B has been destroyed by a hurricane and the animals now run free, constrained only by the laws of nature.

"When I first heard that Michael was going to write the book and that he was thinking of calling it The Lost World, I was thrilled because I'm a big fan of Sir Arthur Conan Doyle's book The Lost World. I was compelled by the idea of being inside a prehistoric world that exists today - not behind electrified fences, not in a theme park, but in a world without the intervention of man. I thought, 'Wow, what a great story.' If I hadn't found a story I was interested in, Jurassic Park would have remained just a nice memory for me," says Steven Spielberg.

For Spielberg, who had been carefully considering a number of projects for his return to directing after a three-year hiatus, Crichton's interest in revisiting the Jurassic saga helped sway his own decision. Universal Pictures and Amblin Entertainment, Spielberg's production company, had begun discussing a sequel to Jurassic Park as the original film was breaking box-office records around the world en route to becoming the highest-grossing motion picture of all time. Now, Spielberg, Crichton and Jurassic Park screenwriter David Koepp entered into a gentleman's agreement to bring The Lost World to the screen, under the Universal-Amblin umbrella.

"I realized that what I really wanted to do was direct. I had started a company and done a lot of other things in those three years. So I was ready to return to it, and I had always wanted to do a sequel to Jurassic Park - both because of popular demand and because I'd had such a great time making the first film," Spielberg reflects.

With the deal in place, Spielberg began to pull together a creative team, nearly every member of which was a veteran of Jurassic Park. Serving with Spielberg were producers Gerald R. Molen and Colin Wilson. Executive producer Kathleen Kennedy would also return to the fold, along with production designer Rick Carter, film editor Michael Kahn and composer John Williams. With full motion dinosaurs by Dennis Muren, live action dinosaurs by Stan Winston and special dinosaur effects by Michael Lantieri, this Academy Award®-winning triad that had combined talents to create the dinosaur effects for the first film also committed to the sequel. Of all the department heads, only director of photography Janusz Kaminski - who had shot Schindler's List for Spielberg - was not an alumnus of Jurassic Park.

In The Lost World: Jurassic Park, Jeff Goldblum reprises his role as chaos theorist Ian Malcolm and Richard Attenborough makes a special appearance as the ambitious entrepreneur John Hammond. Julianne Moore (Nine Months ), Pete Postlethwaite (In the Name of the Father ), Arliss Howard (To Wong Foo, Thanks for Everything! Julie Newmar ), Vince Vaughn (Swingers ), Vanessa Lee Chester (Harriet the Spy ), Peter Stormare (Fargo ), Harvey Jason (Air America ), Richard Schiff (City Hall ) and Thomas F. Duffy (Wolf ) join Goldblum in the cast.

The Lost World: Jurassic Park is Spielberg's first film since 1993, when he directed both Jurassic Park and Schindler's List, which won a total of seven Academy Awards® including Best Picture and Best Director. Jurassic Park was also honored with three Academy Awards® including Best Sound, Best Sound Effects Editing and Best Visual Effects.

It was clear that Universal wanted to talk about doing a sequel in the record-setting period following the release of the original film. (With worldwide ticket sales of more than $916 million, Jurassic Park continued to break records when it was released on home video, where it holds the title of top-selling live-action motion picture of all-time.) The filmmakers had discussions amongst themselves and with Michael Crichton.

While there was interest in a sequel, there was no guarantee that Crichton was going to write another book. Determining a schedule for a second Jurassic Park film was dependent on whether Crichton would proceed.

Meanwhile, Spielberg and screenwriter David Koepp were already talking. Yes, the director confirmed, there would be interest in an encore, if there was a good story to be told.

In those heady months after the release of Jurassic Park, when the question of whether dinosaurs could be made real was answered with a resounding affirmative, there was a new question. "Sure you can do dinosaurs, but what can you do with them?," Koepp remembers thinking.

So began the dialogue between the filmmaker and the screenwriter, who were getting together from time to time to just bounce ideas off one another, recalls Koepp.

Word that Crichton was working on the manuscript for his follow-up novel only served to sharpen Koepp and Spielberg's wild imaginations. "We'd throw ideas at one another and see what kind of reaction it provoked," recounts Koepp. "Suddenly I'd say something and that made him think of something that made me think of something. It just feeds in that way."

Spielberg would go off from these brainstorming sessions and storyboard the ideas. "Steven's got such a wonderful, fertile mind, especially for these sorts of adventure sequences and action sequences," says Koepp. His challenge as a writer was to figure out how to incorporate what he describes as "these fantastic sequences" into the loose structure of a movie that he had in mind and then integrate them with Crichton's work.

"In an interesting way, this is a lot like the way animation works where you start with a visual idea and then, in a very logical way, craft the story," observes executive producer Kathleen Kennedy. "Our story was very dependent on the visual imagery."

"When you have Michael Crichton and the book, you are already in very good shape," says Kennedy. "Add to that the combined imagination of Spielberg and Koepp and you have the basis for a very exciting film."

One of the challenges in approaching The Lost World was the audience's own enormous expectations. As Koepp observes, "audiences tend to feel pretty proprietary about it. Everybody has their own ideas about what should happen in a sequel."

Fortunately, Spielberg has never forgotten his own experiences at the movies going back to his boyhood days when his father took him to see Cecil B. DeMille's The Greatest Show on Earth. He was amazed by the power of the cinematic experience and soon started to make movies with friends and members of his family. "The audience comes first," says Spielberg. "I really think of the audience when I think of a Jurassic Park or a Lost World or the entire Indiana Jones series. A lot of this movie was made for what I hope is the pure pleasure of an audience."

The result is a movie that is both similar and different - an intense, visually stunning adventure that pushes the limits of imagination and technology.

Audiences will embark on this new adventure with a familiar face as their guide. "I cast Jeff Goldblum again because he is Ian Malcolm," says Spielberg. "There is no Ian Malcolm except as played by Jeff." This time, Dr. Malcolm is the anchor for the story. "In the first film, Malcolm was along for the ride and he was kind of a critic," Spielberg continues. "In this sense, he's leading the journey in The Lost World. He has a very strong motivation for returning."

Jurassic Park ushered in a new era of visual effects, brilliant computer-generated images (CGI) blended seamlessly with the state-of-the-art mechanical and animatronic special effects. The combination gave life to creatures believed to be extinct for 65 million years. "I think that people were a little bit amazed that the dinosaurs looked as real as they did," says Spielberg.

But whereas moviegoers in the summer of 1993 were awestruck by the on-screen digital recreations, audiences today will come to the theaters expecting to see nothing less than living, breathing dinosaurs.

"With the first movie, we had no idea how we would make the dinosaurs real," admits Kennedy. "With the sequel, we had a very clear idea of the visual effects and were very comfortable with the technology for computer graphics. So for The Lost World, we were able to focus on the storytelling."

"It was the story that justified doing a sequel, not the technology," Spielberg comments. "CGI has improved since the first movie and the artistry of the people involved has also improved. So there was a good chance that the dinosaurs would look even more believable than they had in the last adventure. But it was really the story that compelled me to make this movie."

The notion of a lost world, a window on earth's distant past, inspires the imagination. The occasional real-life discovery of a prehistoric link - such as the ancient coelacanth: the 400 million-year-old fish found still to be alive or prehistoric insects found perfectly preserved in amber - fuels these dreams. Sir Arthur Conan Doyle visited the subject in his turn of the century Professor Challenger series. Somewhere beyond Doyle's vision of an evolutionary anomaly and John Hammond's technologically marvelous Jurassic theme park is The Lost World.

On another island off the coast of Costa Rica, in a chain called Los Cinco Muertas (The Five Deaths), dinosaurs are living and breeding in the wild. This is Site B. "A genetic laboratory, the factory floor, so to speak," explains Spielberg, where once upon a time experiments and cloning attempts not suited for public exhibition were conducted by InGen scientists.

The behind-the-scenes laboratory was knocked out of commission, but nature found a way. For four years now, dinosaurs have flourished in a perfect ecological system unfettered by man.

As The Lost World begins, the balance of nature is about to be tested once again. Peter Ludlow (Arliss Howard), John Hammond's mercenary nephew, has taken over the nearly bankrupt InGen. In a presentation to the board of directors, he unveils a plan to restore the corporation's financial health by harvesting the "significant productive assets that we have attempted to hide." For him, Site B is a giant cash cow just waiting to be milked.

Hammond (Richard Attenborough) is well aware of the commercial potential in Site B. But he sees another opportunity: a chance to redeem himself by preserving a record of the dinosaurs living in their natural state.

"Finally, what he will have done will not be a terribly tragic thing, but a contribution," says actor Jeff Goldblum.

"He's a dreamer," says Lord Attenborough of his character. "He's not unlike Mr. Spielberg, to a certain extent, in that he is fascinated by the infinite capabilities of human endeavor. Hammond just goes that much farther." The Jurassic Park founder is somewhat chastened and tempered by what has happened before. "But the old temptations and the old adrenaline comes up and he takes risks again."

Hammond organizes an expedition to reach the island before Ludlow lands his own, less noble mission led by Roland Tembo (Pete Postlethwaite), a leathery adventurer and hunter. To accomplish this he commissions Nick Van Owen (Vince Vaughn), a daring video-documentarian, to chronicle the trip; Eddie Carr (Richard Schiff), a field equipment systems specialist, to outfit the team and keep the operation running in the field; and Dr. Sarah Harding (Julianne Moore), a pioneering paleontologist specializing in the nurturing behavior among carnivores - especially carnivorous dinosaurs.

"Sarah is opening up a new field of study, and she uses this as an opportunity to explore her beliefs," Spielberg observes. "She has an insatiable curiosity." Which is exactly why Sarah mentioned none of this to her boyfriend, Ian Malcolm, who would have tried to stop her had he known. When Hammond asks Malcolm to lead the venture, he refuses - until Hammond informs him that Dr. Harding is already there.

The revelation that his girlfriend is alone on an island with dinosaurs drives Malcolm into action. "It's a very monumental moment for me," Goldblum explains. "I go down there with a head full of steam and a gut full of passion."

Of the people who reach the Lost World, only Malcolm comprehends the danger. He knows from experience that people shouldn't be where dinosaurs are. "It's going to be bad for people," Goldblum says dryly. Among these people is Kelly Curtis (Vanessa Lee Chester), a young stowaway, whose presence on the island raises the stakes even higher for Dr. Malcolm.

In Jurassic Park, Malcolm was more of the moral, conscience-driven intellectual drawn to the exotic park out of curiosity. "This time," says Goldblum, "I've got a very emotional, passionate and driving reason to bring me back. I am a force of nature."

"Drama is often like rubbing two sticks together and watching what it sets aflame," notes Spielberg of the confrontation between the two philosophically-opposed expeditions - one sent to protect the sanctity of the habitat and the other to roundup the animals for commercial exploitation - who "end up having to band together just to survive. That creates more than just a lot of running from dinosaurs - there's a great deal of emotional drama, as well."

Screenwriter Koepp remembers a conversation in which Spielberg told him, "I think this movie is about hunters versus gatherers." Koepp adds "that when the two groups are thrust together into survival situations is when it gets really fun."

Jurassic Park raised the question of man's role in trying to control nature. "You decide you'll control nature and from that moment on you're in deep trouble because you can't do it," says Michael Crichton. "You can make a boat, but you can't make the ocean. You can make an airplane, but you can't make the air. Your powers are much less than your dreams would have you believe."

The debate continues in The Lost World; this time the argument is framed by setting the story in the dense forest wilderness, where man's impact on life and the environment is clearly evident. As the Native American Chief Seattle observed a century ago, "Man did not weave the web of life, he is merely a strand in it. Whatever he does to the web, he does to himself."

"The Lost World is exactly what it implies," says Spielberg. "A lot of people who think they can control nature are very presumptuous about their role in the scheme of things and wind up on the short end of the food chain. You have to band together to live and go on."

"It's important in these movies that animals never be characterized as villains, because they are not," Koepp points out. "They're just doing what they do. It's when the humans come into conflict with one another that they may find themselves at the mercy of the animals."

"On one level, this story evolved into one about parenthood and the instinct to protect your young," he continues, echoing a theme that applies to the films human and animal characters. On a more superficial level, the story evolved into one of survival.

Then there is the moral question explored in Jurassic Park. "DNA cloning may be viable, but is it acceptable?" asks Spielberg. "Is it right for man to do this or did dinosaurs have their shot?"

The controversy over cloning - it's possibility implied in Jurassic Park and proved in real life in February 1997 when researchers in Great Britain announced their success in cloning a sheep - raged anew on the front page of newspapers just as The Lost World was in post-production.

Spielberg always respected the science behind Jurassic Park as real, much as he respected real-life research as the basis for his other projects, such as Close Encounters of the Third Kind .

Contained in those news stories was another point that confirmed what Crichton, Koepp and Spielberg suggested in their latest adventure. The failure rate in cloning an animal is presently staggering: on the order of 300 to 1. For every success, there were numerous failures, from death to deformity, if the cloning procedure took at all. As Hammond tells Dr. Malcolm, he needed a factory, Site B, to overcome this ratio and stock Jurassic Park with the perfect specimens visitors saw there.

"A movie like this needs at least a year to 18 months of prep time," says Spielberg. "You can't just throw this together in a normal four-month prep for a drama or a comedy. It takes 18 months to build the animals. We began sketching and designing some of the sequences about two years ago."

In the spring of 1995, production on The Lost World: Jurassic Park started to come together. Producers Gerald R. Molen and Colin Wilson, both longtime Spielberg collaborators who were veterans of the first movie, began to focus their substantial producing skills on the project. Molen roughed out a schedule and budget as Michael Crichton was concluding his novel and Spielberg and screenwriter David Koepp were developing ideas for the screenplay. Colin Wilson, who oversaw the visual effects work and was largely responsible for the post-production on Jurassic Park while Spielberg was in Poland making Schindler's List, reassembled the visual effects team from the first film and began to address the dimensions of the new project. Dennis Muren at ILM, Stan Winston and Michael Lantieri were all eager to apply newly-developed technologies to better what they accomplished with stunning effect on the first film.

Production designer Rick Carter, who also designed the look for Jurassic Park and has been associated with Spielberg and his production company since the Amazing Stories television series, began his work on The Lost World when he and storyboard artist Dave Lowery met over dinner with Spielberg that spring. "We just started storyboarding one of the scenes from the book and it evolved from there. By the fall, we had a full crew of set designers, art directors and illustrators," Carter recalls.

"It's my job to find a lost world and then create The Lost World," Carter continues. "In this particular film, we are coming back to the same type of place where we were in the first film but it's a lot rougher." That this more natural, wild environment is less hospitable to the dinosaur population than the safe containment of the man-made park of the first movie can be seen in the battle-scarred head of the male T-Rex.

Carter and his team constructed various environments based upon what they knew as the outline of the movie. "We would show Steven our ideas for sets and when he approved them, that would often spark ideas - right on the spot we'd come up with more and more scenes, and those would be storyboarded and become part of the actual story."

The preliminary visualization phase continued as Carter, his art directors, draftsmen and illustrators refined the ideas into models. Carter also turned to the computer for help in determining the look of many of the visual effects sequences. He made rough 3-D animations, called animatics, which show characters moving within an approximation of the set.

"In this kind of movie, so much is being constructed visually," notes Carter, contrasting the open, organic process of creating The Lost World with other projects where the look is strictly determined by "a narrative we absolutely adhere to at all times."

The storyboards, animatics, illustrations and models created by Carter's art department provided the foundation for the entire production. The storyboards gave every member of the growing production team a clear idea of Spielberg's vision - information they would use to prepare their portions of the picture. They were constant throughout production with filmmakers using them as a guide from the earliest days of prep right through post-production. On the set, for instance, storyboards for each day's work were posted on a large display board. As pieces of the sequence were shot, the corresponding storyboard was marked as complete.

Storyboards for the big set piece action sequences were released to the visual effects teams early to give them as much time as possible to complete the intricate task of flawlessly interlacing digital, physical and robotic effects. There was no question that the visual effects for The Lost World would be every bit as challenging as they were on the first film. Perhaps even more so because audiences that had modest expectations for the first film's dinosaurs would now expect greatness.

Stan Winston was already well on his way to creating an entire new set of dinosaurs at his studio in Los Angeles' San Fernando Valley. New technology and such seemingly simple things as improved hydraulic systems were developed in the years between Jurassic Park and The Lost World. As dazzled as audiences were with Winston's brilliant work on the first film, he knew that he could do even better and was determined to prove the point.

"People are very aware of the advancements in the computer world since Jurassic Park," Winston comments, "but they tend to forget that the animatronic world has also made some incredible advances, producing characters in which the technology is virtually undetectable. In large part, that is due to the tremendous advances we made in Jurassic Park and in the time since then."

"There were tremendous developments in hydraulic technology - developments that allowed us to manufacture twice the number of creatures in half the amount of time and for slightly less money," Colin Wilson elaborates. "That was quite amazing. We got a lot of improvements in performance and technology. We got double the number of characters, and we paid less for it. But the most important part of the equation was how much better the character performances would be for this movie."

The sequel gave Winston the opportunity to make dinosaurs that were even more lifelike. But it wasn't just a matter of refitting the creatures from the first film with new movements and armatures. To begin with, there are more dinosaurs in The Lost World. So while the retooled T-rex from the first film joins Goldblum and Attenborough as a returning cast member, Winston and his crew built a second adult T-rex from scratch and fabricated nearly 40 creatures in all. The Stan Winston Studio, located in an industrial section of Van Nuys, utilized the talents of more than 100 artists and technicians during the year and a half that it took to design, draw, sculpt, mold, frame, mount and paint the different dinosaurs. There was diversity, too: from the tiny chicken-sized Compsognathus ("compy") to the two-story-tall T-rexes.

The work also involved careful coordination with the other two captains of the visual effects squad. Lantieri, who heads up the mechanical effects team, worked closely with the Winston shop to fabricate the giant T-rex frames and movements, as well as several other design issues. The Winston Studio's maquettes, scale models of the finished dinosaurs, were shared with Muren and his team at ILM, where they matched the colors, textures and movements of the digital creatures so that they would mesh seamlessly with Winston's live-action dinosaurs.

Part of what makes Winston and his creatures so magnificent is his approach. He doesn't think of them in a mechanical sense, and he couldn't tell you exactly how to build them. He doesn't look at his creations as inanimate robots. Instead, he thinks of them as characters, performers and stars. "We give them personalities. They have expressions," he says.

In fact, it is Winston's own background - first as an actor, then as a make-up artist and more recently as a director - that helps him keep his crew focused with this idea. On the set, as he stands next to Spielberg, he speaks to his puppeteers through headsets, intoning cues and direction for their "performance."

The animal characters created by Winston proved to be a benefit for the human actors, as well. It gave them a real representation - an actor, so to speak - to play against.

To add to the authenticity of the dinosaur fabrications, Spielberg once again enlisted noted paleontologist Jack Horner of the Museum of the Rockies, who had served as an advisor on Jurassic Park. This noted scholar, who is one of the world's foremost fossil hunters, worked very closely with Spielberg and Winston in creating lifelike representations of these long extinct creatures. Although much of our dinosaur knowledge is based on speculation, Horner revealed that there is much that can be deduced by putting knowledge of today's skeletal science together with the fossilized bones. Like a detective, Horner and other researchers like him are able to develop detailed ideas of what dinosaurs looked like and how they behaved - knowledge that Spielberg and Winston readily applied to their work in The Lost World .

Horner's work with Winston was especially important because the look and movement of the Winston dinosaurs would become the basis, most notably in terms of appearance and texture, for the digitally created dinosaurs that Muren would produce.

In San Rafael, California, Muren was gathering his legion of digital artists at Industrial Light & Magic. Since Raiders of the Lost Ark, Spielberg has relied upon the collective talent at ILM, and one way or another Muren has been a part of it all.

Digital technology is moving with such velocity that techniques painstakingly developed at the beginning of Jurassic Park were surpassed by improvements before production was over. There was tremendous desire on the part of many who worked on the original film to finesse the visual effects to an even higher level. "This show is a lot different from Jurassic Park in that we were sort of timid on the first one because we didn't know if we could do it," says Muren. "Now we figured out we could do it and have had three years to think about it."

Like Winston, Muren wanted to improve on what he did with the first movie. This time he wanted to give Spielberg something else: freedom. "At the beginning of the show I mentioned to Spielberg that we can do just about anything," Muren relates.

The idea and overarching philosophy driving Muren and ILM is that filmmakers shouldn't have to think about the technology so that they can be free with the images. So, for over 20 years, we've been building up tools to give these directors what they want without restraint.

Examples of this independence include the ability to shoot visual effects shots with complete freedom of movement for the camera and a greater degree of interactivity between the CG creatures and live action actors. Visual effects shots used to mean locked-off cameras and rigid procedures. But technology has advanced to the point where the visual effects camera can be mounted on a steadicam and moved about with total fluidity.

No matter how wonderful and real the work of Winston and Muren appears to be, it wouldn't play as well without the third element of the visual effects team - Lantieri's physical effects. Lantieri, one of Hollywood's most skilled effects men and another longtime member of the Spielberg team, remarked that he had more work to do in the final weeks of the 14-week shoot on The Lost World than he did throughout Jurassic Park. "Everything about this show is big," says Lantieri. "On the last show, we crashed an explorer. This time we dangle a 60-foot-long double trailer off a cliff."

The largest set piece that Lantieri had to create involved the massive field systems trailer, which was designed to provide a base of operations for Dr. Malcolm and his travelers. To begin, there was not one but five trailer sections - all modified Fleetwood motor homes. There were literally hundreds of moving parts both inside and out and all of which had to be rigged by the special effects unit. Before the end of the movie, all manner of damage is inflicted upon the trailer and its human occupants, and Lantieri had to figure out how to make it all happen. The sequence, spread across almost a month of the shooting schedule, was filmed on two soundstages and the side of a parking structure dressed to look like a cliff wall.

Simultaneous to the visual effects development, Carter began a real-life search for a Lost World. He traveled extensively, looking in the Caribbean, Central America and as far away as New Zealand for places that visually conveyed the idea of a Lost World - a place forgotten by time and humanity.

He found his Lost World closer to home - in the Redwood Forests near Eureka, California, about six hours north of San Francisco on California's aptly named Lost Coast. With tremendous cooperation between the filmmakers and the California State Parks, the company was allowed to shoot in the midst of some of California's most spectacular scenery in Fern Canyon, Prairie Creek and Patrick's Point State Parks.

In a film defined by its scope and scale, the tall and massive trees, known as the Coast Redwood, were about the only thing that could dwarf this production. The Redwood settings were interesting for another reason: the trees have an ancient history dating back more than 160 million years. According to John B. Dewitt of the Save-the-Redwoods League, "Redwood Forests, as we know them today, have been present in California for about 20 million years. They represent a unique and beautiful relic flora from the days when dinosaurs roamed the earth."

For the film's opening sequence, Spielberg returned to Kauai, Hawaii, where he previously shot portions of Jurassic Park and Raiders of the Lost Ark .

While Eureka and Kauai provided most of the rich and forested Isla Sorna exteriors, much of the film was shot within Southern California and on the Universal Studios stages and backlot where all of the sets were constructed.

With the project now increasingly defined, Gerald R. Molen and Colin Wilson, joined by associate producer Bonnie Curtis, spent several months lining up the crew and a multitude of production elements. "My job is to provide the director with the tools necessary to do what he wants to do," says Molen. "The most important thing is to find the right people."

By April 1996, a year after Spielberg began to seriously plan the picture, most of the locations were picked, sets designed and the crew was largely in place to prepare for a start date of September 5 - still five months away. While the visual effects teams were already well into their work, others were just getting started, and some were not to start until the end of summer.

In June, construction coordinator John Villarino opened up his office on Universal's Stage 12, the second largest sound stage in the world, and started a job that would ultimately fill six of Universal's biggest sound stages wall-to-wall with sets.

Villarino worked mainly from models, illustrations and prints provided by the art department. By the end of the show, Villarino figured that his crew of 120 actually constructed 80 of the total 100 different sets. "There wasn't enough stage space in Hollywood to do this movie. It would have taken another four stages," he says, but they just didn't exist.

Carter addressed the stage space issue by devising a way to change over the stages from one set to another throughout the show. For instance, on Stage 12 Villarino changed over the set three times. The company would shoot on the stage, leave to shoot on another stage for several days and then return to a completely different set configuration. "It was kind of hectic," Villarino allows.

The massive T-rexes also presented a challenge to the production. Stars in their own right, they required special handling.

The T-rexes, which each weighed 19,000 pounds and ran on tracks, could not be moved from their home on Stage 24. Instead, sets were built around the T-rexes. This occurred regularly throughout production.

One of the largest sets constructed for The Lost World was the workers village on Site B which was left intact after filming to become a part of Universal Studios Hollywood theme park tour. The operational center, where at one time InGen scientists performed feats of genetic engineering that ultimately led to the cloning of dinosaurs for Hammond's Jurassic Park, was built from the ground up to look as if it had been destroyed by a hurricane and abandoned by the company.

So much of The Lost World takes place on this isolated island, and it is a very green world. One of the busiest greens crews ever to work a film feverishly dressed and maintained each stage. Greens coordinator Danny Ondrejko led a team of 14 greensmen, five of whom would normally be completely in charge of a full production. Instead, Ondrejko put each in charge of a stage or a group of sets.

When you're shooting in a forest, like the Redwood Forest, you don't think about having to dress in with greens. "It's like bringing coal to Newcastle," laughs Carter.

But the truth is that lots of greens carefully screened by the supervising park rangers to avoid contaminating the ecological balance were brought into the forest and removed. The reason: only certain kinds of plants were available in Southern California, and since most of the film was shooting in Hollywood, those were the most practical plants to choose. So the greens department brought supplies of Southern California greenery to Northern California so that close-up shots would match.

Principal photography for The Lost World: Jurassic Park began on September 5, 1996 in the spectacular Fern Canyon, about 40 minutes north of Eureka.

The company spent two weeks in Northern California, filming in a combination of state parks and private land. Within a week, Spielberg was already ahead of schedule.

By the time the Eureka shoot was over, key live action scenes had been captured, dinosaurs were on film, and all of the plates for Industrial Light and Magic's (ILM) three major computer-generated (CG) sequences and nearly half the CG plates for the entire show had been filmed. Within days, those plates would be cut into scenes and delivered to ILM to start their computer animation of the CG dinosaurs.

Throughout the fall, the filmmakers shot on stages at Universal and a select group of surrounding locations.

Janusz Kaminski, the director of photography who won an Academy Award® for his work on Schindler's List, noted Spielberg's approach to The Lost World. "The camera became really active and ended up being in more unusual places than in his latest movies."

Kaminksi and his grip and electric crew employed virtually every camera and lighting device known to the industry and more than a few custom tailored for this film. For example, there were two movable camera mounts, one that functioned something like an elevator and another that allowed the camera to dolly - suspended upside-down from the ceiling of Stage 27.

"It's very much a Spielberg movie where the camera sweeps the scenario," Kaminski continues. "It moves from high angles into extreme close-ups, follows the actors and reflects the drama of the movie and the story."

For the actors, The Lost World was the most physically demanding film any of them had ever worked on. Whether they were suspended on wires or being tossed about in the mud, there was seemingly no limit to the physical manifestations of dinosaur encounters. They sometimes likened the experience to being on an amusement park ride. According to Vince Vaughn, "The difference is that in an amusement park, you take the ride once and its over."

"Part of the joy and challenge of working with Steven Spielberg," says executive producer Kathleen Kennedy, "is that he constantly pushes himself to do things in an unconventional and exciting way. He challenges all of us to go beyond anything that's been done before."

The biggest challenge for producer Gerald R. Molen was to keep the production on track and on budget. "The budget was a little bit higher for this movie than it was for the first - which was about $58 million - but we were actually able to get more for our money this time," Molen notes. "We got more from Stan Winston and his people because a lot of the research and development had already been dealt with for Jurassic Park. We also got more from ILM, in part because the cost of CG had decreased. Also, Steven had decided to get as much as he could from the mechanical dinosaurs, without resorting to CG more than was necessary. So even though this movie would have a few more CG shots than Jurassic Park, it wouldn't have a great deal more."

"Steven was able to do that, to plan for it and budget for it, because he is such a visionary. He is able to see the entire movie in this mind long before he starts to shoot so he knows exactly what he needs. He isn't the kind of director who ends up with a lot of film literally on the cutting room floor. There is no waste. Because of that, we were able to budget this movie very carefully and responsibly."

On December 11, Spielberg lifted his glass in a champagne toast to the crew, just as he had on the final night of filming Jurassic Park. Congratulating them for bringing the film in ahead of schedule, he said: "Thank you for a great show."

It was an emotional send off to what had been an exhilarating experience for everyone involved in the making of The Lost World: Jurassic Park. Knowing up front that the toughest thing about a sequel is the expectation that goes along with it, this veteran production team never got distracted worrying about how they were going to top the first movie.

"Our response to that expectation was to make a different, more dramatic movie, while keeping the humor and suspense and all of the things that audiences had liked about the first movie," Spielberg concludes. "I think that's what people want in a sequel, anyway. They want to roll up their sleeves and fall right back into that adventure."

#circa: 1997 #source: lost-world.com

[eddonegan]

Profiles in Courage - Those whose work made Pillory possible

Profile in Courage Misshapen chaos of well-seeming forms!

Our Secret Society Government is just such a form.

Romeo's emotional turmoil also reflects the chaos of Verona, a city divided by the feud between the Montagues and the Capulets. Just as the city is embattled by the feud between the families, Romeo is embattled by his unrequited love for Rosaline.

The British in a Secret Society launched by Cecil Rhodes largely control the USA and have subdued the USA via acts of of terror including overthrow of the POTUS by assassination.

The Emblems of Government in the USA are much like the Feudal Crests on the guns of a great film version of Romeo and Juliet.

William Shakespeare's Romeo and Juliet (often shortened to Romeo + Juliet) is a 1996 romantic crime tragedy film directed, co-produced, and co-written by Baz Luhrmann. It is a modernized adaptation of William Shakespeare's tragedy Romeo and Juliet. The film stars Leonardo DiCaprio and Claire Danes in the title roles of two teenagers who fall in love, despite their being members of feuding families. Brian Dennehy, John Leguizamo, Harold Perrineau, Pete Postlethwaite, Paul Sorvino and Diane Venora also star in supporting roles. It is the third major film version of the play, following a 1936 film and a 1968 film.

This book like most I have written are derived from my life story of State sponsored abuse and Conspiracy Against My Rights the motive for which I discovered upon following the writings of deceased former Tracy California police office Jen Moore who continued work after abuse and tragedy and was silenced, but too later for the silencing of her to work.

The works left by Jen Moore taken as a whole are of world importance and create a Profile of her courage reporting on powerful criminal elites who never were driven from power since the East-India Tea Company days and who remain in power today.

The Espionage Agencies of the USA are subsumed by the British and used against the USA. Today's "hitlist" (referencing the book on the Kennedy Assassination( is the traitor wetdivsion of FBI DOJ of law abiding citizens to complete the cover up of the last stand the Kennedy's made against the Secret Society and the final fall of the USA.

Oh Dwarves so low of head in the tunnels dig

Cecil John Rhodes retrieved from Wikipedia and copied or modified to here

Rhodes, c. 1900 7th Prime Minister of the Cape Colony

Cecil John Rhodes (5 July 1853 – 26 March 1902)[1] was a British mining magnate and politician in southern Africa who served as Prime Minister of the Cape Colony from 1890 to 1896.

An ardent believer in British imperialism, Rhodes and his British South Africa Company founded the southern African territory of Rhodesia (now Zimbabwe and Zambia), which the company named after him in 1895. South Africa's Rhodes University is also named after him. He also devoted much effort to realising his vision of a Cape to Cairo Railway through British territory. Rhodes set up the provisions of the Rhodes Scholarship, which is funded by his estate. Widely acknowledged also as a white supremacist, Rhodes explicitly believed in the superiority of white English people over all others, especially sub-Saharan Africans. He infamously said "to be born English is to win first prize in the lottery of life".[8][9] During his political career he successfully confiscated land from the African population of the Cape Colony, and falsely claimed southern African archeological sites such as Great Zimbabwe were built by European civilisations instead.

Ruby was part of Mafia world (Campisi, Marcello) RFK was deporting, NIXON Mafia was returing Ruby had talked with Sam and Joe Campisi and Marcello who had talked in advance of killing JFK and also Candy Barr stripper at Ruby Free Mason Donald Barr CIA Goerge H.W. Bush Free Mason Knight's of Malta and Free Mason J. Edgar Hoover James Angleton, John ulled Alan Dulles Cabell CIA https://youtu.be/PYI4PqtIyE0?t=5950 Who Was Lee Harvey Oswald? (full documentary) | FRONTLINE Oswald an hour late coming down stairs like to get Ruby in position.

CHORUS. Project Gutenburg * CHORUS.

Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross’d lovers take their life; Whose misadventur’d piteous overthrows Doth with their death bury their parents’ strife. The fearful passage of their death-mark’d love, And the continuance of their parents’ rage, Which, but their children’s end, nought could remove, Is now the two hours’ traffic of our stage; The which, if you with patient ears attend, What here shall miss, our toil shall strive to mend.

To Brian Lamb of CSPAN and John Simpkin of Spartacus

To Lawrence Mark Sanger an American Internet project developer and philosopher who co-founded the online encyclopedia Wikipedia along with Jimmy Wales. If splitting hairs about editorial wind vanes I agree left wing bias is energetic and skewing but I bave found wikipeda a great resource consistent if not better far better than typical MSM information and quicly and easily available.

Sanger's other interests include a focus on philosophy—in particular epistemology, early modern philosophy, and ethics. He taught philosophy at his alma mater Ohio State University.

This likely imbued in him something I have learned recently from Law. Argument, simply making a judgment devoid of a factual assertion is not only unhelpful it is likely destructive. Steps towards truth include facts asserted and competition to most reasonably explain the facts.

Pillory epub

[tflnrush]

#Harvey Postlethwaite #James Hunt #Niki Lauda #Launt #RatHunt #texts from last night #tfln #rush 2013 #rush the movie

[grande-caps]

Sceencaps || Jurassic Park 2: The Lost World (1997) GALLERY LINK : [x] Quality :  BluRay Screencaptures Amount : 2846 files Resolution : 1920x1080px

-Please like/reblog if taking! -Please credit grande_caps/kissthemgoodbye!

#jurassic park #jurassic park 2 #jurassic park 2 the lost world #jurassic park the lost world #jeff goldblum #julianne moore #pete postlethwaite #arliss howard #richard attenborough #vince vaughn #vanessa lee chester #peter stormare #harvey jason #richard schiff #thomas f duffy #ariana richards #robin sachs #camilla belle #capped by randomkiwibirds

[hedleylamarr]

The Lost World: Jurassic Park (1997) with Jeff Goldblum, Julianne Moore, Richard Attenborough, Pete Postlethwaite, Vanessa Lee Chester, Richard Schiff, Arliss Howard and Harvey Jason.

Directed by Steven Spielberg.

#The Lost World: Jurassic Park #The Lost World #The Lost World Jurassic Park #Jeff Goldblum #Julianne Moore #Richard Attenborough #Pete Postlethwaite #Vanessa Lee Chester #Richard Schiff #Arliss Howard #Harvey Jason #1990's #1997 movies #screencaps #movies #Steven Spielberg #Jurassic Park #my posts

[theattainer]

Most Expensive Book Sales from July to September 2020 on Abebooks.com

https://www.abebooks.com/images/collectibles/most-expensive-sales/july-aug-sept-2020/lost-world.jpg

https://theattainer.com/most-expensive-book-sales-from-july-to-september-2020-on-abebooks-com/

Most Expensive Book Sales from July to September 2020 on Abebooks.com

AbeBooks’ list of most expensive sales in July, August and September 2020 features dinosaurs, the wife of a Beatle, a play that flopped, a piece of pop art, the definitive Beat Generation novel, a book signed by 124 movie stars, and a set of legal thrillers.

The Lost World by Michael Crichton, $25,000

An unread, as new first edition complete with its dust jacket. The book is signed by Steven Spielberg, special effects director Stan Winston, and 10 actors from the film adaption of this novel – Jeff Goldblum, Julianne Moore, Vince Vaughn, Pete Postlethwaite, Peter Stormare, Harvey Jason, Richard Schiff, Arliss Howard, Vanessa Chester, and Thomas F. Duffy. Published in 1995, the novel was the sequel to Crichton’s 1990 bestseller Jurassic Park. The Lost World was adapted for cinema in 1997.

Linda McCartney Life in Photographs, $20,000

Published by Taschen in 2011, this is a retrospective of Linda McCartney’s life and photography produced in collaboration with Paul McCartney and their children. Linda died in 1998. This book is one of the 125 copies produced in the ‘Art Edition B’ print run. It includes a print of Paul McCartney titled “Paul, Jamaica, 1971.” Both the book and print are individually numbered and signed by Paul McCartney. The book, enclosed in a clamshell box, is still sealed in its original shipping box.

The Vegetable, by F Scott Fitzgerald, $20,000

A short story that Fitzgerald developed into his only play. The Vegetable is a comedy about a middle class clerk. A first edition, published in April 1923, by Scribner’s Sons. Very good condition. Signed and inscribed by Fitzgerald in black fountain pen on the front free endpaper: “Dear Mr. Selwynn [sic Selwyn] – Here’s the new version of the play. Sincerely, F. Scott Fitzgerald.” Selwyn was a theatrical producer and former actor. The play opened in Atlantic City, but soon closed. It failed to reach Broadway.

Guggenheim, by Richard Hamilton, $18,000

A Perspex piece of pop art created in 1970. Vacuum-formed and spray painted white, the piece mimics the frontage of the Frank Lloyd Wright-designed Guggenheim Museum in New York. Hamilton, who died in 2011, was a versatile artist, best known for his pop art.

On the Road, by Jack Kerouac, $17,500

A 1957 first edition published by Viking. Jack Kerouac’s signature has been laid in. The original dust jacket has been repaired. Filled with jazz and drugs, On the Road describes the experiences of Kerouac and his friends as they travel across the United States. It is the defining work of the Beat Generation. Kerouac completed the first draft in three weeks, typing it on a continuous 120-foot scroll of paper. The two main characters are Sal Paradise (Kerouac) and his friend Dean Moriarty (Neal Cassady).

Emma, by Jane Austen, $16,750

A first edition from 1816, printed for John Murray. Finely bound by Zaehnsdorf, a leading Victorian bookbinding firm, in full reddish-brown morocco with marbled endpapers, gilt-stamped spine in compartments, and elaborate gilt dentelles. All edges gilt. The last of Jane Austen’s novels to be published in her lifetime. One of 2,000 copies.

Stars of the Photoplay, $15,000

A 1930 book published by Photoplay Magazine, an early movie periodical founded in 1911, containing 250 black-and-white photographs of movie stars along with their biographical details. The book’s owner, Janice Clutterham of Chicago, was a radio singer and she persuaded 124 of the movie stars to sign their respective page in the book. The signatures include Jean Arthur, Mary Astor, Lew Ayres, Charlie Chaplin, Maurice Chevalier, Gary Cooper, Marion Davies, Douglas Fairbanks Sr., Douglas Fairbanks Jr., Greta Garbo, John Gilbert, Laurel and Hardy, Myrna Loy, Paul Lukas, Jeanette MacDonald, Mary Pickford, William Powell, Will Rogers, Lillian Roth, and Eric von Stroheim. Clutterham added notes, including the films that the stars appeared in. The book, which has some wear, is a unique collection of autographs from actors bridging the period between the Silent Screen and the Talkies.

Set of signed limited edition John Grisham novels, 1993-2018, $15,000

A complete set of the limited signed edition works of Grisham issued by Doubleday, starting in 1993 with A Time to Kill, The Firm, The Pelican Brief, and The Client, until The Reckoning published in 2018. All bar one are still in shrink-wrap. Grisham, the lawyer-turned-writer, published his debut novel, A Time to Kill, in June 1989 and he has since sold more than 300 million copies during his career.

Ulysses, by James Joyce, $14,775

Published in 1924 by Shakespeare & Co., this is a fourth edition signed by Joyce when he was the guest of honor at an English PEN Club dinner on 5th April 1927. The recipient was Eyre Macklin, an English journalist, editor and publisher. Rebound in full crushed red morocco, the original book itself is browned and brittle.

The Works of Sir Walter Scott , $13,875

Printed in French and English by Didot on behalf of Galignani in Paris, there are 61 volumes in blue-green calfskin. The set belonged to Marie-Caroline de Bourbon-Siciles, Duchess of Berry (1798-1870). Scott’s historical adventures – including Ivanhoe, Rob Roy, Peveril of the Peak and Waverley – are landmarks in fictional narrative.

What do you think?

#All #Books

[thefastf1]

Honda most recently had a work's F1 team between 2006 and 2008, after taking over the British American Racing outfit. They posted largely mediocre results, the only victory of that period coming from Jenson Button in 2006. However, if plans had gone slightly differently, the Japanese manufacturer would have had a brand new team entering the sport in time for the 2000 season. - Honda Racing Developments chose a base in Surrey, England, to begin work on a project in 1998. Harvey Postlethwaite was hired from the defunct Tyrrell team as manager and Dallara were contracted to build a chassis. That, they did and with Mugen Honda engines fitted, the RAO99 was born and ready for action. Joe Verstappen was hired as a driver and completed a some laps in a private test at Varano, Italy, before the team entered into testing alongside other cars at public tests. - What's more, the car appeared to be rapid. On 23rd January 1999, Verstappen was the fastest driver of the session, at Jerez, by an incredible 1.5 seconds in a field that also included BAR, Stewart and Bennetton. However, in April 1999, Postlethwaite suffered a heart attack during a test at Barcelona and passed away. The plans were then shelved, with the F1 world denied the chance to see just how quickly that Honda F1 car really was. 🏁🏁 | CREDITS: HONDA | #F1 #FormulaOne #F1Pics #F1News #F1Memes #F12019 #Motorsport #ItalianGP #Monza #HondaF1 #HondaMotorsports #MugenHonda #Verstappen #JosVerstappen #JensonButton #Jerez #MV33 #Tyrrell #LH44 #TeamLH #ScuderiaFerrari #MichaelSchumacher #CL16 #SV5 #KR7 #RenaultF1Team #SV5 #DR3 #FernandoAlonso #Barichello https://www.instagram.com/p/B2cDUDnB4_T/?igshid=1dejhkhoxnsaw

#f1 #formulaone #f1pics #f1news #f1memes #f12019 #motorsport #italiangp #monza #hondaf1 #hondamotorsports #mugenhonda #verstappen #josverstappen #jensonbutton #jerez #mv33 #tyrrell #lh44 #teamlh #scuderiaferrari #michaelschumacher #cl16 #sv5 #kr7 #renaultf1team #dr3 #fernandoalonso #barichello

[digitalmark18-blog]

Southeast Louisiana People in Business for Sept. 23, 2018

New Post has been published on https://britishdigitalmarketingnews.com/southeast-louisiana-people-in-business-for-sept-23-2018/

Southeast Louisiana People in Business for Sept. 23, 2018

BATON ROUGE AREA

Candace E. Wright, a director with Postlethwaite & Netterville, has been reappointed by the board of trustees of the Financial Accounting Foundation as chair of the Private Company Council for a three-year term.

The council is the primary advisory body to the Financial Accounting Standards Board on private company matters.

Feigley Communications has named Rachael Maas as social media manager, responsible for creation of content and the management, oversight and coordination of all social media-related activities.

Maas was social media manager for Sasso. The Baton Rouge native has a degree in mass communications with a concentration in public relations from LSU.

Phil Hacker has been named chief financial officer for Lane Regional Medical Center.

Hacker, who has more than 33 years of experience in health care financial management, was chief financial officer for White River Health Systems in Batesville, Arkansas, a two-hospital system with 250 total beds, 35 physician clinics and three urgent care centers. The Cincinnati native is a graduate of Texas A&M University in College Station, Texas.

Starmount, the Baton Rouge-based dental and vision unit of Unum Group, has named Paul McLean as vice president of operations, overseeing the expansion of the dental and vision insurance operations across Unum’s national customer base.

McLean was vice president and head of centralized services at Prudential, residing in Newton, Pennsylvania. He has served more than 30 years with increasing roles in financial management, product development, operations, policyholder services, and strategy and administration. McLean is a graduate of Pennsylvania State University.

Blue Cross and Blue Shield of Louisiana has promoted as vice presidents Shawn Leake, accounting; Adrian Serio, underwriting; Duke Williams, treasury and cash management; Ben Vicidomina, analytics and quality improvement; and named Korey Harvey as vice president, deputy general counsel.

Leake is responsible for the financial reporting of the organization. Serio develops and executes corporate pricing and underwriting strategies. Williams is responsible for the treasury functions of the company, including cash management and investments. Vicidomina provides analytical leadership for population health management in government and commercial lines of business. Harvey provides legal services to the company and its subsidiaries.

Frank Opelka has been named deputy commissioner of the Office of Health, Life and Annuity in the state Department of Insurance.

Opelka was with the Louisiana Department of Health as chief of staff and section chief for Medicaid rate setting and audit. He served under former Gov. Bobby Jindal as policy adviser for health, welfare, insurance and finance. Opelka received his bachelor’s degree in psychology/pre-medicine from Loyola University New Orleans and his juris doctorate from Notre Dame Law School.

NEW ORLEANS AREA

Scott Montgomery has been named chief operating officer of Lakeview Regional Medical Center, a 167-bed acute care hospital and a campus of Tulane Medical Center.

He replaces Hiral Patel, who was recently promoted to chief executive officer.

Montgomery served for two years as vice president of operations and co-ethics and compliance officer at TriStar Centennial Medical Center, an HCA Healthcare facility in Nashville, Tennessee, and previously as director of operations, assistant chief staffing officer and project manager for hospital renovations. From 2010 until 2012, Montgomery lived in the New Orleans area and worked for the city of New Orleans. Montgomery earned his undergraduate degree in civil engineering at the University of Mississippi and a Master of Business Administration from Belmont University’s Massey School of Business.

Tiffany Tuberville Adams has been named development coordinator at Mary Bird Perkins TGMC Cancer Center in Houma, responsible for the implementation and growth of its philanthropic development program.

Since 2012, she has led several fundraising initiatives at St. Matthews Episcopal School while also serving on the school’s board. Adams’ background is in teaching science and arts. Adams also served as a board member of The Foundation for TGMC and chaired the organization’s Derby on the Bayou fundraiser.

Corporate and insurance defense firm Wanek Kirsch Davies LLC has named Charles E. Sutton Jr., of counsel, who will head its workers’ compensation practice group.

Sutton graduated from LSU in accounting and obtained his law degree from Baylor University School of Law.

The Deveney agency has named Christian Duplantis as art director, Samantha Kupricka as associate advertising executive and Eve Temonia as associate art director.

Duplantis specializes in print and interactive design, involving print, digital and social platforms, and guides the creative division’s execution and style. Kupricka joined the firm in 2017 as a public relations associate before being hired full time within the advertising division, where she works with clients on marketing strategy. Temonia was an art director at TotalCom Marketing and started her career at The Tuscaloosa News in Alabama.

Norman M. Robinson Jr. of Covington has been promoted to managing partner for Modern Woodmen of America.

The fraternal financial services organization offers financial products and fraternal member benefits to individuals and families throughout the United States.

Source: https://www.theadvocate.com/acadiana/news/business/article_83dc7272-bb6a-11e8-bc2c-c333d31295fe.html

[thomwade]

Rules of Survival (The Lost World: Jurassic Park, 1997)

Rules of Survival (The Lost World: Jurassic Park, 1997)

The Success of Jurassic Park made a sequel pretty inevitable, but Spielberg took time to craft a new adventure, rather than rush out something that just met the obligatory requirements of a sequel.

This film focuses on a second island…the real labs of InGen. When the park went out of business, so did site B.  And the dinosaurs thrived. Hammond fought to leave the island alone and let the…

View On WordPress

#Arliss Howard #David Koepp #Harvey Jason #Jeff Goldblum #Julianne Moore #jurassic park #Jurassic Park 3 #Jurassic Park: The Lost World #jurassic world #Jurassic World: Fallen Kingdom #Michael Crichton #Pete Postlethwaite #Peter Stormare #Richard Attenborough #Richard Schiff #steven spielberg #Vanessa Chester #Vince Vaughn

[theentertainmentnut]

Terrible 2's Reviews: The Lost World - Jurassic Park

*Some people may say that most films lose their way by a third sequel, but that isn’t always the case. For every “Wrath of Khan” or “Toy Story 2,” there’s a dozen ‘number 2’ films that were made, that could not uphold the energy and enthusiasm of the first film. This review section, aims to talk about these “Terrible 2’s”* __________ In 1993, Director Steven Spielberg created an amazing cinematic…

View On WordPress

#Ajay Sidhu #Ariana Richards #Arliss Howard #David Koepp #Dieter Stark #Harvey Hason #Ian Malcolm #ILM #Industrial Light & Magic #Isla Sorna #Jeff Goldblum #John Hammon #John Hammond #Joseph Mazzello #Julianne Moore #Jurassic Park #Lost World #Michael Crichton #Nick Van Owen #Pete Postlethwaite #Peter Ludlow #Peter Stormare #Richard Attenborough #Roland Tembo #San Diego #Sarah Harden #Site B #Stan Winston Studios #Steven Spielberg #T-Rex

[tblpress]

The entire arc of a relationship, if not the entire arc of the epochal indie film era of the mid-1990s, can be seen in the voice mail scene in “Swingers,” from 1996.

Over the course of several desperate messages left after 2 a.m. to a girl he just met in a bar, Mike Peters (Jon Favreau) humiliates himself while delivering one of those classic movie lines that migrated to the lexicon — “It’s not you. It’s me.”

Twenty years later, if you watch “Swingers” on Netflix, you’ll be amazed by how much has stuck with us from a movie that cost $200,000 to make. There is the expression “baby, you’re money,” the notion of the sad side of Vegas as hipster cool, and the stubborn revival of swing dancing.

And that is just one movie from among 35 or 40 that make 1996 the greatest independent movie year from the greatest independent movie decade.

“Fargo,” “Trainspotting,” “Lone Star,” “Sling Blade,” “Big Night.” Must-see indies, foreign films, documentaries, and low budget studio pictures seemed to arrive at a rate of two a week throughout the mid-’90s.

The year 1995 had “Leaving Las Vegas,” “Living in Oblivion,” “Kids” and “Smoke.” The year 1997 had “Waiting for Guffman,” “Good Will Hunting,” “Jackie Brown” and “Chasing Amy.”

But 1996 was the first year that indies dominated the Academy Awards to the point that only one major studio release, “Jerry Maguire,” was even nominated in the best picture category, which was won by “The English Patient.” Indies took all the major awards at all the major ceremonies. Leading the way was the bold white-on-black logo of Miramax Films, run by the Weinstein brothers, Harvey and Bob, and the dominant brand in indie film, with 36 releases in 1996.

These coincided with the first full year of operation of the Embarcadero Center Cinema, a five-screen multiplex dedicated strictly to art house, indie and foreign films. It joined the Bridge, the Clay, the Gateway, Opera Plaza and the Lumiere, fondly known as “the Gloomy Air,” for a total of 15 screens in San Francisco, all under the umbrella of Landmark Theatres.

“Those were the glory days,” says Landmark founder Gary Meyer. “Not only did films do well, but they ran for a long time.”

The year started off slowly as “Dead Man Walking” from 1995, marched slowly toward “Dead Man.” But on March 8, the world was transported to the snowy Minnesota prairie to meet Police Chief Marge Gunderson, crooked car dealer Jerry Lundegaard, and small-time con Carl Showalter. “Fargo” cost $7 million to make and earned $25 million at the box office. That set the standard, and from then on seemingly every American indie featured Steve Buscemi or William H. Macy or both. Every English import had boy-faced Ewan McGregor or cadaver-faced Pete Postlethwaite or both.

Among the new yet worn-out faces, none was newer and more worn out than that of Billy Bob Thornton, who announced himself by writing, directing and starring in “Sling Blade.”

Along with Thornton, just about every major indie director either made his debut or contributed to his legacy in 1996, including Alexander Payne, Todd Solondz, Mike Leigh, Jim Jarmusch, Danny Boyle and John Sayles.

“Everyone Says I Love You,” Woody Allen’s musical, was a clunker, but there were worse. David Cronenberg’s “Crash” cost $9 million to make and earned $2 million in box office, and Robert Altman’s “Kansas City” cost more and did worse, an estimated $19 million for a $1.35 million return.

Those were the over-hyped extremes. The average indie cost $3 million to make and earned it back or doubled it or tripled it. But the most important number was the ticket price: $7.50 and $4.75 for the bargain matinee.

“People would go see films more than once,” says Meyer, “and word of mouth was a simpler process than it is today.”

Sam Whiting is a San Francisco Chronicle staff writer. E-mail: [email protected] Twitter:@samwhitingsf

#crash #crash 1996 #crash movie #1996 #1990s #pre tbl #sf chronicle #link #article #james spader movie

[tflnrush]

#Harvey Postlethwaite #Gemma #James Hunt #texts from last night #tfln #rush 2013 #rush the movie

[somar78]

For Sale: The Last Surviving 1982 Ferrari 126 C2 Formula 1 Car

The Ferrari 126 C2 was developed for the 1982 Formula 1 season to turn Ferrari’s fortunes around and get the team back to the pointy end of the grid.

After a mostly successful period throughout the mid to late 1970s Ferrari had suffered a collapse in form as the 1980s began, largely as a result of their 312T-derived 126CK chassis which had started life back in 1975 and as a result of their new turbocharged engine which needed significant development time.

Tragedy and Triumph – The Ferrari 126 C2

Enzo Ferrari personally hired English engineer Harvey “Doc” Postlethwaite in 1981 to develop an all-new chassis for the team. Postlethwaite Had previously worked at March before being convinced to join the eccentric Hesketh Formula 1 Team when Lord Hesketh and James Hunt got him drunk one evening, a story famously told in Gerald Donaldson’s James Hunt biography.

Despite the Hesketh team’s unusual habits, which included drinking champagne before, during, and after races regardless of the results, Postlethwaite managed to design them a race winning car. By the time Enzo hired Postlethwaite the Englishman had designed race winning cars for two Formula 1 teams despite limited budgets.

The Ferrari 126 C2 was developed in 1981 and into 1982 to replace the 126CK, it featured an all-new aluminum alloy honeycomb monocoque chassis, vastly improved aerodynamics and suspension, and a huge improvement in handling.

1982 would prove to be one of the most difficult years in the history of Scuderia Ferrari despite the fact the team went on to win the Constructor’s Championship with their new car. Beloved Ferrari driver Gilles Villeneuve was killed in an accident at Zolder in Belgium, his teammate Didier Pironi suffered career ending injuries at the German Grand Prix later that same season.

Ferrari brought in Frenchman Patrick Tambay to replace Villeneuve, and former Ferrari driver Mario Andretti to replace Pironi. It was a somber time for the team but despite the exceedingly difficult circumstances both Tambay and the Tifosi-favourite Andretti managed remarkably good results including a win and three podiums for Tambay and a pole position for Andretti at the Austrian Grand Prix that had the crowds on their feet.

The Ferrari 126 C2 (including the 126C2B and 126C3 variants) would go on to win the Constructors’ Championship twice for Ferrari in the years 1982 and 1983, returning the team to winning form and vindicating Enzo Ferrari’s decision to hire Postlethwaite.

The 1982 Ferrari 126 C2 Shown Here

The 1982 Ferrari 126 C2 you see here is the last surviving example of the 126 C2 in existence. This is the car that was driven to victory in the 1982 German Grand Prix by Patrick Tambay as well as 3rd place in the British Grand Prix and 4th in France and Austria. It was also driven by Mario Andretti to his famous pole position in Austria and a 3rd place finish in the Italian Grand Prix.

The car was then owned by the prominent Ferrari collectors (sequentially) Jacques Setton and Michael Willms, and it received a full restoration by Uwe Meissner’s Modena Motorsport approximately 15 years ago and ran in official Ferrari F1 Corse Clienti events.

It’s now due to cross the auction block with RM Sotheby’s with an estimated value of between $2,000,000 and $2,500,000 USD. As the only surviving Ferrari 126 C2 this vehicle’s historic importance is hard to overstate, if you’d like to read more about it or register to bid you can click here to visit the listing.

Images courtesy of Sami Sasso ©2019 Courtesy of RM Sotheby’s

The post For Sale: The Last Surviving 1982 Ferrari 126 C2 Formula 1 Car appeared first on Silodrome.

source https://silodrome.com/ferrari-126-c2-f1-car/

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[tortuga-aak]

People are sharing nice things about celebrities in the wake of mass sexual assault allegations — and some of them are really delightful

Daisy Steiner/Twitter

Numerous celebrities are being accused of sexual harassment and assault in the wake of allegations against Harvey Weinstein.

One Twitter user is asking for positive stories instead.

In response, people are sharing heartwarming anecdotes about lovely celebrities.

  Amid a wave of sexual assault allegations against celebrities, one person is asking for positive stories instead.

"If anyone has any nice allegations against a celebrity that would be great too," the San Francisco-based artist and photographer Oliver Leach tweeted. "Does a famous actor give good christmas presents? Does lady comedian alwyays smoke people out?"

More than 8,000 people replied to the call for stories, which range from Chris Martin making unpublicized visits to children's hospitals to Tom Hiddleston buying someone a new cup of coffee after accidentally spilling one. All of these are unverified, so approach with skepticism. Still, it's nice to see so many everyday folks — and even a few celebrities — talk about how stars can be sweet even with all the fame.

Tweet Embed: https://twitter.com/mims/statuses/928747844332167168?ref_src=twsrc%5Etfw harmony korine paid for a pack of smokes i was short for in a deli onceTweet Embed: https://twitter.com/mims/statuses/928795681673814016?ref_src=twsrc%5Etfw all of the 6 lead actors on the good place are unbelievably kind, cordial, and complimentary, in addition to being way funny & talentedTweet Embed: https://twitter.com/mims/statuses/928748071504117760?ref_src=twsrc%5Etfw Lou Diamond Phillips stuck up for me against a really rude customer at a coffee cart I used to work atTweet Embed: https://twitter.com/mims/statuses/928779485016502272?ref_src=twsrc%5Etfw Billy Gibbons would play acoustic guitar and tell me stories and his GF would bring me coffee while I removed his viruses which were manyTweet Embed: https://twitter.com/mims/statuses/928779653912735744?ref_src=twsrc%5Etfw Kenny G would always tip $100 whenever I came to his house to fix whateverTweet Embed: https://twitter.com/mims/statuses/928779913313665024?ref_src=twsrc%5Etfw Jason Alexander's wife was one of the nicest and most appreciative customers I've ever met. Mr Alexander was a close 2ndTweet Embed: https://twitter.com/mims/statuses/928780362498547712?ref_src=twsrc%5Etfw I helped install Cuba Gooding Jrs home theater and he was SO excited and appreciative when we set him up to play different music in different roomsTweet Embed: https://twitter.com/mims/statuses/928781263489531904?ref_src=twsrc%5Etfw Also at coffee cart I helped Salma Hayek a few times, she always tipped heavy and was very niceTweet Embed: https://twitter.com/mims/statuses/928755960960598016?ref_src=twsrc%5Etfw Will Forte is the kindest and best human I have ever met. Method Man rules too, and he smells FANTASTIC all the time.Tweet Embed: https://twitter.com/mims/statuses/928790186464387073?ref_src=twsrc%5Etfw Danny DeVito and Rhea Perlman let me stay with them when my mom was in the hospital for cancer surgeriesTweet Embed: https://twitter.com/mims/statuses/928836780303855617?ref_src=twsrc%5Etfw Nathan fillion is amazing and often gets food truck service and similar as thanks to the production crews on shows/etc he appears inTweet Embed: https://twitter.com/mims/statuses/928747648269635584?ref_src=twsrc%5Etfw i got to meet pete postlethwaite backstage after watching him do king lear. when i congratulated him on his performances he smiled warmly and tickled me on the belly before wandering offTweet Embed: https://twitter.com/mims/statuses/929184143174275073?ref_src=twsrc%5Etfw I worked on a movie with Brad Pitt back in the late 1980s. He's incredibly funny, talented, and kind. He's also a really good card player, and he taught me how to play poker. He taught me so well that I was finally able beat him.Tweet Embed: https://twitter.com/mims/statuses/929107516960722944?ref_src=twsrc%5Etfw I met Brie Larson once and she was super sweet and made sure we got a good selfie together. As did Liam Hemsworth (he actually took the photo)Tweet Embed: https://twitter.com/mims/statuses/929108098438062081?ref_src=twsrc%5Etfw Sure http://pic.twitter.com/j2kPrMRruCTweet Embed: https://twitter.com/mims/statuses/929083826483032064?ref_src=twsrc%5Etfw I once served Tom Hanks at my old job. Once I was off I was leaving & he was too. I asked if it would be okay for us to take a picture together. He smiled & said “walk with me.” So I did & we talked, he gave me some life advice, then we took a few pictures together. Super nice.Tweet Embed: https://twitter.com/mims/statuses/928867273770700801?ref_src=twsrc%5Etfw One day on the location shoot for Hobbit a group of kid Laketown extras came up to Peter Jackson just as the crew broke for lunch. He sat and chatted with them, signed autographs and pretty much made their lives. I've got photo proof, too! http://pic.twitter.com/IDaUsixxunTweet Embed: https://twitter.com/mims/statuses/929207451211239425?ref_src=twsrc%5Etfw Nicholas Cage and Jared Leto called me and my sister and niece over for an autograph and picture even though we were all roped off while they were filming 'lord of war' next door to my building.Tweet Embed: https://twitter.com/mims/statuses/928746470634807296?ref_src=twsrc%5Etfw i ran into nick offerman in my office building the morning after trump got elected. we commiserated, and when he ran into me later in the day he said "things are looking up. nobody got elected today." first thing that made me laugh about the election. i really appreciated it.Tweet Embed: https://twitter.com/mims/statuses/929152490247000064?ref_src=twsrc%5Etfw One time I tweeted @SarahKSilverman about being too broke to go to her show and was reading her book instead- she DMd me that she put me on the list for the show. My future wife and went to that show togeather. I hope she knows how much that meant to me, I cried with joy.Tweet Embed: https://twitter.com/mims/statuses/928764716012507136?ref_src=twsrc%5Etfw David Tennant not only graciously accepted an academic paper from a random fan in the Richard II stage door line but actually read it and sent me an appreciative note about it

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