#but also by GOING to Sorna

[ivorydragoness44]

Jurassic Park - Robert Muldoon S/O Dialogue Writing Prompts

• "I'm not staying on an island full of dinosaurs during a tropical storm."

• "This fence is supposed to keep that in?"

• "These aren't petting zoo animals, Robert... Does Hammond understand this?"

• "The raptors should be in a sealed room. Not an open Tupperware."

• "Foe, friend, or food."

• "Do we really trust future guests to keep the windows up while they pass the dilophosaurus enclosure? We need some sort of strong, reinforced glass or something."

• "Personally, I don't trust the safety of the paddocks. No offense intended." "Please don't tell me that." "The electric wire looks like spaghetti next to the tyrannosaur."

• "Just knowing that Nedry's workstation looks like that, makes me want to pull my hair out."

• "How many pairs of those shorts do you own? Not that I'm complaining. Just curious."

• "You have some...strong opinions on the raptors, yeah?" "Yeah. Why?" "What do you think about having an extra paddock around the pen that they already have? You know, for extra security."

• "Can I wear your hat?"

• "I prefer the more docile herbivores." "It's a wonder why you're with me."

• "Should we live in one of the emergency bunkers then?"

• "I understand the need for security cameras, but why not also implement security personnel?"

• "Is ten-thousand volts enough?"

• "Got your hat?" "Yep." "I.D.?" "Of course." "Your--" "And my vest, and my boots. Darling, I have everything."

• "Which do you prefer: Kenya or Isla Nublar?" "There's no dinosaurs in Kenya, you know."

• "If the raptors are dangerous and smart... What does that make us?"

• "The sounds they make give me nightmares."

• "Robert, I love you, but please take your boots off of my desk."

• "Do you think the raptors recognize faces?"

• "A park full of dinosaurs. Who in their right mind is going to believe that enough to fly all of the way out here to drop cash on someone's word?"

• "You're being very cautious." "I didn't want to alarm you, your back was turned." "I appreciate that."

• "How on Earth did you find me over here? Wait... Did you track me down?" "You are fearsome to behold." "Your flattery won't make me dismiss my question."

• "Day one-hundred of no one installing locks on the vehicle doors." "Don't remind me, love, please."

• "If anyone can keep the visitors safe when the park opens, it's you."

• "Tomorrow's another transport day?" "Yep. I'll be heading over to Isla Sorna shortly. I have to ensure that all preparations are in-place."

• "You're back late. What happened?" "We tranquilized the raptors for transport to the island, but they woke up. One of the raptors took Jophery...I tried to save him."

• "They still want to keep the raptors? Even after everything?"

• "Maybe if we were to provide enrichment to the velociraptors?" "Enrichment?" "Yeah, you said that they're smart. They solve puzzles and...are looking for a way out--but why not give them something to do?"

• "They're lethal at what age?"

• "Robert, love, may I tell you something about a paddock without you getting upset?" "Sure. As if I could ever get cross with you." "Okay, um... I don't like walking around outside--between the buildings--and having the raptor pen so close. And there's no additional fencing around it. They frighten me."

• "Could your shorts be any shorter?" "You never complained before."

• "With legs like yours, you could jump as high as a velociraptor."

• "Can I go with you next time to Isla Sorna? I've never been there."

Bonus:

• "Well, aren't you a clever boy/girl?"

#jurassic park #robert muldoon #jurassic park writing prompts #jurassic park dialogue prompts #writing prompts #dialogue prompt #prompt list #writing ideas #writing inspiration

[pocket-lad]

CH 14- Epilogue

Prev ; Chapter 1

Adelaide froze. She didn’t know what to do. Ellie was there! Like right there! She’d seen Ian speak on the phone a number of times, and she didn’t think it would be that hard. But in that moment, her head emptied of every word she ever knew.

“Hello?” Ellie repeated.

If she didn't say something soon, Ellie would hang up.

Adelaide hovered over the end of the phone she was supposed to speak into. “Uh, hi! Hi, yes, hello, hi…Ellie? Can you hear me?”

“Yes?” Ellie sounded confused and a little irritated.

“It’s um…it’s Adelaide.”

“...Adelaide? Oh my goodness, hi! Um…what’s…is everything alright?”

“Yeah, yeah, no, everything is okay.”

There was a long pause. Adelaide didn’t think this far ahead. She was surprised they even made it to this point.

“What have you been up to?” Ellie prompted when Adelaide didn’t elaborate.

Adelaide admired Beans’ ability to hold a conversation. She didn’t talk to people ever until Ian, and for a long time, she only said what was necessary to him. Only recently did she start having conversations about things that didn’t necessarily matter. But Beans did that all the time.

“Uh, dinosaurs, hunters, running and screaming, the usual.”

“Were you on Isla Sorna?”

Adelaide’s jaw dropped. They just aired the news on TV. Hell, they were on the island less than twelve hours ago. “Yeah… Wow, news spreads fast in the human world,” she said.

“I can’t believe you guys would head back there.”

“Well, Ian’s girlfriend went so he had to rescue her, and I wasn’t going to let him go without me, so…Really, we were only supposed to be there for a couple minutes. In and out. Obviously that didn’t happen,” Adelaide chuckled.

“Girlfriend?!” Ellie asked incredulously.

“Yeah, I know, right? But she’s cool. I like her.” Adelaide glanced at Sarah, who was still fast asleep.

“Well, I’m glad…You wouldn’t be up to talking about the island, would you?” Ellie couldn’t keep the curiosity at bay, but she also knew she herself was in no position to be discussing any of what happened in Jurassic Park during the months following their trip. It was too much.

“Sure?” Adelaide was currently numb to all of the events. Maybe later she’d freak out, but if she could talk about it now, she should. She also didn’t mind talking on the phone. In fact, it was infinitely easier than talking to Beans in person. There was no fear of offending them or getting snatched up, and if things went sideways, she could just hang up (if she could figure out how).

Ellie asked question after question, and Adelaide answered them to the best of her ability. She could tell Ellie wanted to know about the makeup of the island and the flora and fauna, but she kept her questions as broad and accessible as possible, since Adelaide couldn’t really speak to the science side of things.

“So…what are you up to?” Adelaide asked.

“Well, I’m trying to write a book, but it’s going a lot slower than I imagined,” Ellie huffed.

“Woah! Is it, um…is it on…”

“No, it’s not about Jurassic Park. It’s actually about soil.”

“Oh…Neat.”

Ellie laughed. She didn’t expect anyone else to be that interested in soil. Adelaide’s reaction was the same reaction she got from most people.

Suddenly, a shadow caught Adelaide’s eye, accompanied by a shuffling sound. She whipped her head toward the sound but didn’t see anything.

“Ellie, I gotta go,” she said distractedly.

“Are you okay?”

“Yeah, yeah, I’m…fine. I’ll call you back.”

“Okay-”

Adelaide didn’t know how to hang up, so she just walked away. She took out her hook and slid down her thread, going through the motions but minding her hand. She kept her eyes trained on the giants’ legs hanging over the edge of the couch as she did so, just in case.

Now that Adelaide was on the ground, she didn’t know how to proceed, but if it was a predator, it needed to be taken care of. She didn’t know how long they’d be staying here, but she wanted to spend absolutely zero time with a pest of any kind. It had to be killed.

But now what? She didn’t see what direction it went in. It was at least safe to assume the kitchen would be a good place to start. If animals and bugs weren’t inside for warmth, they were inside for food.

Still sticking close to the walls, Adelaide withdrew her knife and jogged in that direction until the carpet changed to tile.

Clink.

Adelaide angled herself toward the sound, and what she saw made her drop her knife. Never in a million years would she have guessed this. Never in a million years would she have hoped for this. But despite the complete and utter improbability of the situation, Adelaide found herself looking dead in the eyes of another borrower.

#jurassic park #g/t #giant/tiny #jurassic park g/t #gt #size difference #ellie sattler #the end :) #also thank you for reading!

[averygamin2]

I feel like I need to explain my dinosaur story a little better

Basically, the story revolves around Bumpy. Since her parents were killed by the Indominus, she was adopted by a nice dinosaur couple, Becky and Tyson. Becky is a Parasaurolophus and Tyson is a hybrid(his mom is a T Rex and his dad is Godzilla) Tyson’s mom actually happens to be Queen Sammy, the ruler of the herd of both herbivores and carnivores. Her new husband is Rexy, a green T Rex, and they had another son together, Junior.

Of course, every story has to have a villain. The villain is Toro, a Carnotaurus who rebelled against Queen Sammy and swore revenge on Bumpy for all the things her human friends did to him(literally making him cut his face and burning him alive) He also wants to overthrow the monarchy and take over the herd, letting his army of other carnivores devour them.

All of this is happening on Isla Nublar, the main island of the park. Queen Sammy’s parents rule over the Sanctuary, her brother Stompy and his wife Ivy rule over Isla Sorna, and her brother Doug and his wife Poppy rule over Isla Pena.

There is actually another story we have going that takes place in the future, but that’s a whole other post

#averygamin #jurassic world

[jurassicateer]

your querying professor writing you once more, as i’m trying to get information directly from the source, instead of my increasingly unreliable source inside your laboratories.

in broad terms, what type of tour would you cater towards a highly interested professor such as myself? though my research is overwhelming at times, not enough will ever get answered with proper interviews and actual studies of these creatures. my main interests are the creation process for the indominus rex, the rearing of dinosaurs hatched on isla sorna and the processes they go through in being transported from one island to another, and any social development created through the overexposure of humans to dinosaurs during juvenile life stages.

i am also extremely interested in any possible viewing of your facilities on “site b,” if possible.

for disclosure purposes, i am not affiliated with any forms of the press, i cannot effect the status of jurassic world through journalism or media outlets. i am interested in the creatures you have created and concerned about the safety you continue to breach through the creation of previously extinct species.

with masrani’s approval pending, i am planning writing papers about my discoveries here, these are purely scientific in nature and are of my own personal interest. signed, prof. lyle reed.

Ah, Professor Reed. Where would we be without these innocently phrased 'requests' of yours?

If your interest in our park is purely of a scientific nature, the John Hammond package would perhaps suit you. This package includes a more in-depth tour of our Creation Lab and other facilities essential to the de-extinction process. You'll also be able to directly speak with some of our scientific staff, who will be more able to answer some of your questions.

As for Site B, however, unfortunately this facility is largely off limits to all but a select few guests and partners of the Hammond Foundation. This is as much to protect guests against potentially unpredictable new species as it is to protect proprietary information. We're sure you understand.

As always, we appreciate your interest, and look forward to more of your queries in future.

#jurassic world #isla nublar #dinosaurs #jurassic park #camp cretaceous

[emeraldspiral]

Watching JP2 after reading the books and man, they did Sarah Harding so dirty. In the book she’s said to be unapologetically feminist and repeatedly emphasized as being muscular and that’s never framed as being negative or unattractive, nor is she treated as if she’s better than “other girls” for having “masculine” qualities. She’s also a role model to Kelly who teaches her how to reject sexism and learn to take action instead of relying on others to tell her what to do. Even though she doesn’t show up until the middle of the story she still gets the lion’s share of action hero scenes, including the scene where the trailer gets pushed off a cliff, where she’s actually the one who rescues Ian, not the other way around.

In the movie she's an idiot who jumps at the chance to go to Isla Sorna despite warnings from Ian, but in the book Ian asks her to come to rescue a mutual acquaintance and she drops everything despite being uninformed because she trusts that they need her.

#jurassic park #the lost world #the lost world jurassic park #michael crichton

[annymaght]

Reasons Why Daniel Kon is a D*ck

He neglected his son for the entirety of his life in order to succeed as an entrepreneur. This meant that Kenji has missed out on proper Primary Education (social learning given to children by family members).

He became close friends with Mr. Masrani only to steal information from behind his back.

He illegally took dinosaurs from Isla Sorna such as the Spinosaurus and two T-Rexes.

He hired out Eddie to also steal information from the labs (not confirmed).

He blackmailed Sammy’s family who were already in a lot of debt, so that he could get a child to do his dirty work on Isla Nublar.

He locked his son out of his penthouse on Isla Nublar because he was unable to meet his standards (failed Algebra).

He made no attempt to rescue his son whom he had no confirmation was actually dead, despite having enough money and power to do so.

He continued to run Mantah Corp. immediately after the incident on Jurassic World, despite the supposed death of his son and colleagues such as Mr. Masrani.

He hired Dr. Mae Turner to study his dinosaurs without revealing the true intentions behind her research.

He authorised the attempted murder of Dr. Turner and showed no remorse to the belief of her death, only questioning if it was going to be a “setback”.

He subjected dinosaurs to cruelty and mistreatment, including young dinosaurs.

He believes that good entertainment is derived from watching dinosaurs kill each other.

He most likely intended to kill the campers once he trapped them on his Island.

#camp cretaceous #daniel kon #jwcc s5

[tossacointoyourhotmess]

Dr. Ian Malcolm

Born: June 29th, 1955

Significant other: Unknown status. Several ex-wives

Children: Kelly Curtis Malcolm + four other unnamed children

Occupation: Chaotician

Portrayed by: Jeff Goldblum

Along with Dr. Alan Grant and Dr. Ellie Sattler, Ian was invited by John Hammond to Isla Nublar as one of the specialists who was to sign off on the park, declaring it safe and ready to open for the public. Ian, however, had previously told Hammond of his many concerns regarding the park and believed that Hammond had invited him in order to try and prove him wrong.

Although continuing to express his concerns, he joined Alan and Ellie on the park tour along with lawyer Donald Gennaro and Hammond's grandchildren Lex and Tim. During this tour, the group came across a sick triceratops and abandoned the vehicles. Upon the arrival of a tropical storm the group, save Ellie, returned to the tour cars and began their journey back to the visitor centre.

While this was happening Dennis Nedry, the parks computer specialist and program designer, shut down the security systems in order to smuggle embryos out to a Biosyn operative. Due to the shut down, the tour behicles came to a stop outside the T-Rex paddock and the Rex was able to escape her enclosure due to the fences being unpowered.

The Rex attacked the car containing Lex and Tim, the same car that Gennaro had abandoned. In an effort to rescue the children, Ian was wounded by the Rex and knocked unconscious. He was later found by Ellie and game warden Robert Muldoon, and returned to the visitor centre where he received what minimal treatment that he could. When it was decided that they would completely shut down the parks remaining systems, Hammond ordered everyone to the emergency bunker while it was rebooted. It was in this emergency bunker that Ian spent the remainder of his time on the island until they were able to contact the mainland and have a helicopter sent for them.

After the incident on the island, things took a bad turn for Ian. After trying to go public with what had happened, Ian was discredited by Hammond's nephew Peter Ludlow. Ludlow went to great lengths to make Ian appear insane which resulted in Ian losing his university tenure. His book only made matters worse as it was a direct violation of the non-disclose agreement he had signed after leaving the island. However, despite this, he managed to establish a relationship with Sarah Harding, an accomplished paleontologist.

Four years after the events on Nublar, Ian was contacted by Hammond who asked him to document the remaining dinosaurs living on Isla Sorna, Site B. Ian adamantly refused until he learned that Hammond had also contacted Sarah and that she was already on the island. Declaring it now a rescue mission, Ian began working with a team to prep for a journey to Sorna. It was during this time that his daughter Kelly was left in his care by her mother and, not wanting to be left behind, stowed away in the trailer.

After finding Sarah on the island, and discovering that Kelly had stowed away, his priority became removing the ones he loved from the island, fearing what would happen to them. The group, however, saw the arrival of another InGen group and discovered that Ludlow was rounding up dinosaurs for transport to the mainland so that they could appear in Jurassic Park San Diego. While he stayed in the trailer to contact a nearby boat, Sarah and fellow team member Nick Van Own went to free the captured dinosaurs and ended up bringing an injured baby T-Rex back to the trailer. This attracted the parents of the baby to the trailers and they attack the group, pushing the trailers off of the cliff and killing Eddie Carr. They are rescued by the InGen group who also found Kelly in the high-hide where Ian had hid her. The two teams teamed up to access an abandoned facility in the islands centre in order to contact the mainland.

After much difficulty Ian, Sarah, and Kelly reach the facility but are attacked by raptors. After fighting them off, they ran for the helicopter that had been called by Nick who had reached the facility before them. As they flew from the island, they saw the mother T-Rex sedated and loaded for transport to the mainland.

After reaching the mainland Ian and Sarah made their way to the docks to try and stop the arrival of the ship carrying the Rex. However they could not contact the ship due to all the crew members having been killed during the journey. The ship crashed into the dock releasing the Rex onto the San Diego streets. Realising that she was looking for her baby who was also in San Diego, Ian and Sarah learn from Ludlow that the baby was being held at the San Diego attraction. They go and retrieve the baby, using it to lure the mother Rex back to the boat and into the cargo hold before the authorities can kill her. Ludlow is killed by the baby T-Rex in the cargo hold. The ship is then escorted back to Isla Sorna where the Rex family live in peace.

Many years later, after the fall of Jurassic World and just before the imminent destruction of Isla Nublar by Mt Sibu, Ian appeared before the senate declaring his belief that the volcano eruption was a way of nature correcting itself, and that the remaining dinosaurs should be left to go extinct. After they were rescued and released onto the mainland, he appeared before the senate again declaring "welcome to Jurassic World."

By the events of Dominion, he is working as an in house philosopher for Biosyn. Sometime between the events of Isla Sorna and working for Biosyn, he had two more children.

Alan and Ellie bios coming soon

#ian malcolm #jurassic park #jurassic world #jeff goldblum

[squijim]

one thing I wish we had gotten in dominion is more references to the lost world and jurassic park three

like don’t get me wrong I loved the parallels to the OG but to really feel like a culmination of everything up until that point, I feel like mentions of the San Diego incident or the Kirbys or something would’ve tied everything together

it wouldn’t have been that hard either!

• malcolm mentions his kids when he reunites with alan and Ellie, he could’ve slipped in a line like “Kelly just got a new job at [x], she’s doing great” or something

• clips of people interacting with wild dinosaurs were at the beginning and end; maybe we could’ve seen Nick Van Owen photographing some of them, or maybe seeing a home video of Eric, Zach, or Gray playing with one in their yard?

• the wildlife sanctuary in the Dolomites sought out experts, they could’ve referenced Sarah as a behavior analyst? not that she’d work for them, but maybe a line like “we reached out to other professionals in the field, such as Dr. Sarah Harding, but unfortunately she had declined. We’re so grateful Dr. Malcolm decided to join us…”

• at the end of the movie, people are testifying before Congress. This would’ve been a great way to mention Sarah, Nick, Roland, or Billy or show brief footage of them. They also could’ve had interviews in the social media montage at the beginning with Lex or Tim to really bring it home.

• spinosaurus!! I thought they were gonna go for a spino cameo when they mentioned animals from Sorna, but we didn’t really get any? I wish we had though, or maybe cameos of the TLW and JP3 raptor variants

idk just spitballing! this is what fanfiction is for I guess :P

#can you tell I just want updates as to what everyone has been up to since their movies #i just want to see Sarah and Kelly again #just want to hear the kirby paint and tile plus jingle #Is that too much to ask? #jurassic world #jurassic park #the lost world

[captain29thegamer]

10 THINGS THIS FRANCHISE NEEDS

1- Bringing back old ambience less action based , more scince fiction and horror.

2- A new director who gets this series and real meaning of the original movie and books. Not someone who tries to make it like MonsterVerse or MCU

3- Live action series. I think instead of directly getting a new trilogy , we need a solid live action series. There is a lot of stuff they can do.

4- Since last movie finished the whole frog dna thing , we need to have more natural & organic looking designs. I am saying try to be %100 accurate. But put some effort to it. Look at the last dlc of JWE 2 and how much positive reactions it has. In these days , people want dinosaurs to be more realistic.

5- Stop making dinosaurs characters.

6- Having stronger human characters with deeper personalities. One of the big reasons why first 2 movies were great is , because it also had solid human characters. Malcolm , Grant , Hammond , Ellie , Muldoon , Sara & Timbo. All were great.

7- Work with Stan Winston studios again.

8- Go back in time and have some prequel stuff like a movie or a series. There are a lot of stories they can tell. Ingen clean up crew going to nublar short after 1993 incident. BioSyn invading Sorna or some people in Ingen worker village getting stuck in the island. After hurricane shutting down everything.

9- Please add more canon species. There are many canon animals who didn't showed up. We want them. They should have priorities compared to new species. Edmontosaurus , Pachyrhinosaurus , Lesothosaurus , Herrerasaurus , Metriacanthrosaurs , Coelurus and Suchomimus. Those are some examples

10- We need a solid JP/JW survival game.

#reblogs welcome #feel free to ask questions #jurassic park #my options are #Jurassic park series

[jurrasicworldcc]

Jurassic World CC OC Fanfic

Title: April

Setting: Season 4, during “Turning Dr. Turner.”

I do not own anything

Casey sighed as Dr. Mae Turner opened the door to her home on this new island. It was really refreshing to see something that wasn’t Camp Cretaceous or the genetics lab…but Casey still had his suspicions over the hollow forest and how Mae’s bosses managed to get T. Rexes from Isla Sorna seeing how that island is pretty much myth or is it?

Sammy sat down on the couch. “Wow. As far as caves go, this one’s pretty swank.”

“You live here?” Darius asked.

“Live, work, play surprisingly competitive games of poker with my daughter.” Mae answered. “Usually win.”

“Daughter?” Brooklynn asked.

“Oh, yes. More like adopted in the case. April. Come out please.”

“Coming, Mum.” A voice said.

Then stepped out a really beautiful girl that Casey was hypnotized to. She had green eyes, red hair tied into a ponytail, fair skin compared to Mae’s Black skin, and wore a grey shirt that Sammy couldn’t help but see that the logo on the shirt was familiar, she wore a long-sleeved sky blue shirt over the grey shirt, tan shorts, and brown boots. The girl stepped out and asked, “Are these guests, Mum?”

“Yes, they are.” Mae answered. “All right, I’m gonna go whip up some sandwiches.”

She left and April looked at Casey. He was pretty much blushing really hard and April smiled warmly at the boy. She walked over to him and Casey’s mine was on the fritz. OH, GOD! SHE’S COMING RIGHT TO ME!! WHAT DO I DO?!?!?! BE COOL, BE COOL, BE COOL!!!! JUST USE KENJI AND BROOKLYNN’S ADVICE WHEN PRETTY GIRLS TALK TO YOU!

“Ello! I’m April Turner.” April said.

“H-H-Hi. I’m Casey…Casey Johnson.” Casey said while nervously shaking her hand.

“That’s a good name.”

SHE LIKE MY NAME!!!! Casey kept his blush and played with a loose strand of his unkept hair. “S-So…You…Uh…”

“What’s wrong?” April tilted her head in confusion.

Yaz put a hand on Casey’s shoulder and replied, “Sorry. He’s a bit nervous around pretty girls. Also, we haven’t talked to another human being in the last six months expect for a doctor and his gang of mercenaries.”

“Don’t forget Mitch and Tiff…” Casey whispered.

“Don’t worry. I don’t bite. Unless if you have to brand your claws to get some triceratops meat around here.” April giggled.

“W-Wait. Claws?” Casey asks.

“Oh, I’m a human-dinosaur hybrid. Had them when I was a baby.”

“What kind of genes?”

“Raptors.”

“Oh, me too! Actually I’m the first human-Dino hybrid in existence, and my mother, Caroline Johnson, was the one who made the formula to make us who we are.”

“How old are you?”

“Sixteen.”

“Same here. Say, you want a cup of tea while we talk?”

“Sure even though I’m a coffee guy.”

April walked over to make the tea and Yaz looked at Casey. “What was that?”

“What was what?” Casey asked.

“You have feelings for her.”

“What?”

Yaz raised an eyebrow smugly. Casey sighed as there was no fooling this girl and he blushed again. “I…I’m starting to. I mean, she’s beautiful, she’s sixteen, and she’s a hybrid just like me.”

April showed up with two cups of tea and the two sat down. Casey sipped from the cup and it was probably better than coffee. Even better than the coffee he made during the six months trapped on Nublar. Casey sat his cup down and asked, “So, how did you get on this island?”

“Well, Mum has worked at a lab back in London and I attended a private school so I could at least be entertained for a few hours while she was away. I did show some of my hybrid skills once in a while to my classmates. Then, Mum got a job and we dropped me out of school and we moved here.”

“Well, I was born somewhere in Costa Rica. Well, I spent mostly all of my life on Isla Nublar where I was “tortured” into being a dangerous hybrid. It was until my friends saved me and got me into Camp Cretaceous.”

“Camp Cretaceous?”

“It was a summer camp thing that my friends and the staff were testing out six months ago.”

“What made you stuck on that island?”

“Well, it was this hybrid dinosaur called the “Indominus Rex” that got us lost on the island and also these two poachers named Mitch and Tiff. Tiff really wanted my head on Mitch’s wall and she met an…ahem…gruesome death by some Baryonyxes.”

“Must’ve been hell trying to survive.”

“Yeah, it was.”

“At least, you have friends. I didn’t have any except for Mum. She’s pretty much my only family.”

The two smiled and then Mae showed up with plates of sandwiches.

#camp cretaceous oc #yasmina fadoula #jurassic world camp cretaceous #sammy gutierrez #brooklynn jwcc #ben pincus #darius bowman #kenji kon #fanfic #oc x oc ship #mae turner

[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

[clonedchaos]

Joey Drew and John Hammond

Just a connection I made a few days ago when rewatching Jurassic Park. I had a small moment where I was analyzing John Hammond’s character and relating him with Joey Drew. So here’s a short little Ted Talk about 'em!

I know for my crossover fic between Jurassic Park, Bendy, FNAF, and Godzilla, I planned for these two to be sort of old friends back in the day, but now I’m realizing just how similar they are.

Both of them have eccentric, ‘think big’ personalities and they seek to show the world something grand like they’ve never seen before. They’re both visionaries.

Neither of them really have a second thought about their actions, with Joey trying to create life through the ink machine, and John bringing dinosaurs back to life despite the greater implications.

Joey also spends a ton of money, as does John Hammond with his whole “We spared no expense” line. Both for sure underpaid their staff; at least according to Nedry, John was underpaying him.

Both of them have a colleague that they lost touch with due to differences: Joey and Henry Stein split up due to Henry’s working conditions, while John and Benjamin Lockwood split up because of the whole human clone ordeal.

Neither of them seem to see a problem with what they are doing. John thinks he has the park under control and only sees his error after all the dinosaurs break free. Meanwhile, Joey doesn’t see much problem with his workers turning into inky abominations because of the creation of the ink machine and Ink Bendy. He’s not very apologetic over it either, especially after Buddy died.

The biggest difference between them is John isn’t nearly as sinister as Joey was. Though he’s more of a jerk in the books, in the films he comes off more as just a cheerful old man who likes to gush about his dinosaur park to the main characters like “Look! See what I made?! Isn’t it wonderful?!”. He kinda learns his lesson too (I say kinda because he becomes more of an environmentalist rather than a capitalist when it comes to his dinosaurs, but he’s still the reason Sarah and Ian go to Sorna in the Lost World and many people get killed). But still, he’s definitely a much better person than Joey. And he, ya know, didn’t ‘allegedly’ create a copy of his old distant colleague that he used to work with and throw him into a dangerous ink realm *cough* *cough* looking at you, Joey.

#jurassic park #bendy and the ink machine #joey drew #john hammond #rant #My silly rambles #Crossover #Somewhat of a character analysis

[shhthesecretdiary]

Thought Dump (Aug 6, 2023, 12:32 AM)

Go ahead, put anything.

Sorna, yan kasi nakalagay before ako magtype.

Anyway,

This is attempt to produce something rather than spending a shit ton of time scrolling through different social media platforms.

Currently it is Sunday midnight, so day off. And, since I can barely get my shit together, I will write something about my life so far.

It always saddens me how I always fall short of my goals for myself. I can always start, but it is really so hard for me to be consistent and to see something 'til the end.

8th of July, I subscribed to a gym membership for 1 month. I did about 3 sessions and that was it. :( I had a lot of complains, which is true that I always feel pain on my calves, making it so hard to move them. Also, one of my pain points was that I have no effin idea what to do there, I had a personal training session during the first day, but that was too tough, I wished it was a taken a little bit slowly. Feel ko nabigla katawan ko. So I rested, and that lasted for weeks. Mageexpire na yung one month bayad, it's out of my budget to go for another month, so my goal is to lose weight first through waling and AS MUCH AS POSSIBLE, PLEASE, LESSEN FOOD INTAKE AND BE WARY ABOUT WHAT I EAT.

Okay next aspect, work. I had finished my probation period last 24th of July, got the salary increase notification on the 25th, I'd be lying if I said I am satisfied with the increase, but I had to take into account na 'di pa rin ako magaling, 'di ko nababalanse yung tasks ko, nahihiya pa rin ako magtanong, still have no idea with corporates, still struggle with conversations, takot pa rin sa f2f convos with client, and still not in close relations with all of them. Bano pa rin. But I just hope they consider that my pay isn't enough in the first place. Pero sabagay, credentials ko rin.

Another, life. Hay, ang inet jusko. So far neutral pa rin ako, walang travel twing weekend, wala ring masyadong mayayang friends. Pero all in all mainit rin kasi. It takes a lot of energy and money to go out. And I wanna sleep in. Hopefully I'd get to try a lot of things soon. Once the weather is fine and I have enough money. Travel galore na. I'd really like to enjoy my youth and have something to look forward to aside from sleeping. To try something new and to explore. PERO PERA!!! I am also not on track with my budget.

Next, education. Ilang buwan na ako dito sa UAE, ilang buwan na rin akong 'di nagrereview for CPALE. Sometimes I just want to move out of here and live somewhere near the office, with my own apartment. Then sing alone, exercise, make my own food, then lesser time for commute, more time for myself. But still, money, and for sure mama will not agree. I also lost my streak to Duolingo French and finding it hard to go back. Consistency issues. My Coursera certification was buried na, and for the taxes and laws here, idk anymore.

Health, I feel like this has been my shittiest physical appearance, the worst look I've ever been. 73kg with a lot of acne, no menstruation for two months, losing a lot of hair, and I'm already numb. Lack of sleep during weekdays, oversleeping on the weekends.

Creativity, I feel like I am losing touch on the things I loved to do before. Art, music. Singing, Dancing, Recording, Video Editing, trying to do photography. Will make a conscious effort to try and produce some art again.

Hay, for the wins: Got credited for a Lexis Nexis article with Daisy for UAE Corporate Tax, working on another one I absolutely have no idea about, getting a hang of my work so far, and got inspired by Bhavika to read books once again. I loved The Kite Runner so much! Currently reading The Magic Strings of Frankie Presto. Another work of Khaled Hosseini next, which would be A Thousand Splendid Suns.

I am pretty much neutral now. But at the back of my mind, a lot of my "falling short" moments haunt me. But maybe this attempt on being aware of this would be the start to acting towards it.

Checklist:

Create a budget tracker now, kahit through Zoho. Ipon for travel to Caucasus.

Increase steps 10,000-15,000.

Make conscious steps to edit life videos

Start reviewing for CPALE again.

Connect with people more.

Fix sleep sched, and conscious eating (but writing this @ 1am)

Oil hair and minoxidil (pls), skincare

Be organized

Try to do something new often

Embrace your feminine energy and take care of myself more.

Mindet and action.

Marami pa, and this is very vague tbh but ayon, I need to sleep na rin.

Good midnight.

[corvatrix]

Theories Are Just Fantasies | The Lost World (Jurassic Park #2)

RATING ⭐️⭐️⭐️⭐️

💡 REVIEW

Admittedly it's been around a year since I last found myself adventuring through Crichton's fictional world, so I wasn't super fresh on the details of what happens in Jurassic Park. That's okay, though; the second installment is written well enough to stand alone. It's enhanced by your knowledge of the events in Jurassic Park but you can absolutely read it by itself and still enjoy the hell out of it.

Spoilers below. Please keep spoilers out of the comments!

😍 WHAT I LIKED

This was an incredibly quick read (a couple of hours on a flight + an hour or two, cumulatively, in the car back and forth while visiting family) and was gripping from start to finish. I didn't find myself glossing over paragraphs like I sometimes do with science fiction; indeed, I almost hesitate to label this sci-fi because it's so character driven and spends very little time on the intricacies of InGen's meddling, or Dodgson's ultimate plan, or Malcolm's chaos theory. I would've liked to read more into that, honestly.

The book's pacing is breakneck; once you start, you won't want to stop. Even the setup of the dilemma (Levine returning to Costa Rica and Malcom & Co. following to save him) seems fun and fast-paced as we unravel the mystery of what's happening despite already knowing what's going down (seriously, how does Crichton pull that off?) on Isla Sorna. We're invested in the characters from the jump and understand what's at stake--and feel the tension almost immediately.

Also, Ian Malcolm on morphine is an absolute treasure.

💩 WHAT I DISLIKED

Having the perspective of younger children again (a boy, Arby, and a girl, Kelly) helped make the science feel a little more accessible as a layman; however, having similar players to the first novel (two male scientists, a male bodyguard-type, a female scientist, and two kiddos) made this iteration feel very similar to the first book in a not-great way. I also cringed a bit at Sarah's girl power quips throughout the book (for example: "Absence of proof is not proof of absence. All your life, other people will try to take your accomplishments away from you. Don't you take it away from yourself.") as they felt a little forced and a little weird coming from a male author. Having Dodgson return as the smarmy, no-good villain was...okay, but it was the same motivation as the first book, and I'm glad that he was bait for the Rex babies.

On that note, the dinosaurs involved are...one note. We've got the typical flashy Velociraptors, the annoying (and dino-rabies-ridden) Compys, several herbivore species, a couple of nesting T-Rexes, and a couple of chameleon Carnotauruses. The interactions between our heroes and these animals are always high octane, which is fun for a screenplay but not so much for a book, and I found myself wanting to know more about the animals and how they got there, even though a LOT of the book is centered around learning about their behaviors and way of life. At one point there is even a moment when a blood sample is taken--and nothing really came of it. I WANT MORE DINO SCIENCE DAMMIT.

In conclusion, this was a fine, fun read that got me through a very boring pair of flights and was familiar enough that one could zoom through it without paying too close attention and still come out on the other side feeling like they hadn't missed anything. It is my understanding that this is the only sequel Crichton had ever written for any of his works, and I can definitely see why he would be hesitant to give it another shot. It's a good popcorn book: it wouldn't be satisfying enough to serve as a full meal, but it's great as a snack or a quick bite in-between more full plates.

 🗝️ THEMES

The arrogance of educated people

Survival of the fittest

"You were so preoccupied with if you COULD that you didn't bother to stop and think about whether or not you SHOULD."

📖 TROPES

Returning to a dangerous place

"Ah shit here we go again"

Life-or-death stakes

Will-they-won't-they romance

Smart but callous guy gets schooled

Bad guy gets his come-uppance

#scifi #science fiction #jurassic park #the lost world #ian malcolm #michael crichton #books #bookreview

[vidslong]

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The development team also planned to visit (ILM), but the company was too busy creating special effects for the film. Some of the development team members went to the United States to visit the film's sets, which inspired the level designs. The developers had little communication with the film's creators and instead worked mainly with the film's promotional crew. Approximately three months before the game's completion, various materials related to the film were sent to the development team, who then added extra elements to the game. Action scenes from the script were added into the game. The team also faced a tight deadline to get the game finished and released.Early in development, the developers only had access to the film's original script. The development team had difficulty designing the game due to unfamiliarity with Model 3. It was the first shooting game to use Model 3, which Sega AM3 had never used before. Model 3 allowed the game to operate at 60 and 100,000 per second. Sega AM3 utilized Sega's, as was not advanced enough for certain features. Shinichi Ogasawara was the game's director.The development team wanted the sequel to have more tension. AM3 began developing the game in early 1997, after receiving permission from. Additionally hoping that they could make use of Sega's new relationship with Spielberg's company (the two companies were partnered for the chain of entertainment venues), producer presented her ideas to AM3 president, who approved. Having developed the original arcade game, a division of, became interested in making the game after hearing about the film. Development The Lost World: Jurassic Park is based on director 's 1997 film of the same name.

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Killing the dinosaur(s) results in the human rewarding the player with either a temporary weapon upgrade or additional health. At times, the game presents the player with an opportunity to rescue a human who is being attacked by one or multiple dinosaurs. Are also featured as enemies throughout the game., and venom-spitting are also encountered throughout the game. The player controls one of two rangers, whose goal is to find Malcolm and Harding.The game features five levels based on environments from, including a laboratory and a workers' village.įour of the levels feature a boss battle that must be won to advance the game.

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The Lost World Jurassic Park Arcade Game Rom freeloadĪrrow Keys - Ctrl(Select) - Enter(Start) - Z(A) - X(B) Jurassic Park - NES GameJURASSIC PARK starts just after the T-Rex pushes the visitor's van into a pit.

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You are solely responsible for adequate protection and backup of the data and equipment used in connection with using software Jurassic Park 2 - The Lost World. The use of the software and any damage done to your systems. PCWin has not developed this software Jurassic Park 2 - The Lost World and in no way responsible for PCWin freeload center makes no representations as to the content of Jurassic Park 2 - The Lost World version/build 1.0 is accurate, complete, virus free or do not infringe the rights There are inherent dangers in the use of any software available for download on the Internet. Jurassic Park 2 - The Lost World 1.0 download version indexed from servers all over the world. Take a dinosaur-stomping adventure through Site B. Based on the hit feature films by producer Steven Speilberg, both of which were derived from the novels by author Michael Crichton. The dinosaurs are back in this monstrous sequel to Jurassic Park.

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[livesdngrsly]

This states Gerry knew about an embryo plot (he was the park vet, no debate) which means some of JP: TG is now semi-canon or Gerry has prophetic powers.

My Gerry will literally tell any employee he got in touch with post incident this likely happened (as well as discussing his own wild adventure getting off the island).

Gerry would be surprised it took anyone as long as it did to make dinos who wasn’t InGen.

JP canon has been a mess for awhile, but this document at least confirms 1) 1994 was the year it took InGen to retrieve the bodies in the cleanup 2) they still had no idea Biosyn was the responsible party in 1996 but Harding already stated someone was trying to smuggle embryos off the island. Also a note, I think Hurricane Clarissa hit Sorna hit late 1993, which would explain why it took longer to get to Nublar for cleanup.

Anyway don’t be surprised if any of my InGen employees besides Harding have some inkling something was going on if they made it off the island. Harding literally invited everyone he knew to the SD Zoo and told them in an animal enclosure if that was the only way to do so without InGen stopping him.

#⑊ . Diseases of Dinosauria. gharding