The making of Jurassic Park
Dublin Core
Title
The making of Jurassic Park
Subject
Jurassic Park
Description
Contents
Part one:Preproduction
Part two:Production
Part three:Postproduction
Part four:Storyboards
The Making of Jurassic Park is a companion book published in 1993, with the film released in the same year. The book is written by Don Shay and Jody Duncan, and it describes how to make the movie Jurassic Park, which was directed by Steven Spielberg and written by Michael Crichton and David Koepp. Don Shay and Jody Duncan began observing and documenting the film during its preparation phase, following the cast and crew through to the end of the filming. Therefore, this book provides a detailed account of how they went through the pre-script and preparation, mid-shoot and post-production editing, and special effects to create a great science fiction film.
In the pre-production chapter, the author describes how famous novelist Michael Crichton created his seventh novel, Jurassic Park. In 1981, Crichton wrote an original screenplay centered on the concept of genetically modified dinosaurs. 'Clayton's first draft reflected Clayton's fascination with the concept of dinosaurs as seen through the eyes of children'. It was only after three years of inspiration stemming from toy dinosaurs that Clayton gradually refined the novel. In the meantime, Spielberg discovered the novel and wanted to turn it into a film. Spielberg realized that what really fascinated him about Jurassic Park was the fact that it was "a really believable demonstration of how dinosaurs might one day return alongside modern humans," rather than just a simple monster movie. The novel by Crichton was too long, so Spielberg hired screenwriter David Koepp to continue writing the screenplay for the movie Jurassic Park. The screenwriter also included draft drawings of dinosaur animations with the book.
In the production chapters, the author explores the process of making the film and the difficulties and trials under which Spielberg led his team to the successful completion of the film, and the author presents many on-set stills and artistically designed illustrations throughout the book. On August 24, 1992, the cast and crew of Jurassic Park gathered at Okele Canyon on the island of Kauai for the start of their 82-day filming work. Producer Kathleen Kennedy expressed her confidence in the film after two years of long and successful collaboration with director Spielberg.
In the post-production chapter, the author discusses the process and progress of post-production and special effects work on a film. Post-production time proper begins in December 1992 and continues until the film's release on June 11, but it can be argued that post-production tasks have been ongoing throughout production and even pre-production. Many post-production tasks began throughout production and even before production. Nearly two years before post-production began, Industrial Light & Magic began development work on computer-generated dinosaurs in collaboration with dinosaur supervisor Phil Tippett; similarly, the sound editors at Skywalker Sound had begun collecting and recording various sound effects when they were first given the Jurassic assignment a year earlier. Despite the overly entertaining and puritanical nature of the dinosaur story, even simplifying the science in some parts, there is no denying the powerful post-production special effects. (M.H 1993). The use of computer animation in the movie has increased ever since Spielberg and company were first astounded by Ilm's CG tests on the Tyrannosaurus Rex. The author's book contains detailed quotes from staff involved in the post-production process. Steve Williams, a computer graphics animator, says: "At the time Jurassic Park came out, computerizing creatures that had been dead for 150 million years was not so much a matter of competence as it was a matter of sweat. It required a lot of work." In addition to the digital effects, Spielberg's commitment to using digital sound in the film was also described in detail.
In the chapter on storyboards, the authors have selected some of Spielberg's sketched storyboard work, and in adapting Jurassic Park, Spielberg used storyboards in the same way as the early Disney animators—as a means of structuring the storyline and establishing a visual framework.
As a companion book to the film, there is another related book in the archive on this topic called Jurassic Park, which is an official film memorabilia magazine that includes the full story of the film, get-to-know-the-characters, a dinosaur featurette, facts about the real thing, and illustrations from the film. Although both books are appendices to the same film, the two books are not aimed at the same audience or have the same collectible significance. The Making of Jurassic Park is a book that focuses on the production process of the film (from pre-script writing through mid-shoot to post-production of special effects, sound, etc.), although the book contains a large number of illustrations and stills (which only serve to make the book more readable and interesting). In reality, the book is aimed at film enthusiasts. Jurassic Park is a fun magazine that was published even before the film was released, which suggests that the purpose of the magazine was to draw crowds to the background and making of the film and to attract the attention and interest of the audience when the film was released in order to get a higher box office. A large number of photographs of the star dinosaurs and actor characters that appeared in the film are shown in the book. The audience of this book is more towards the fans of the film and the general public.
The book is nearly 200 pages long, and the author spends nearly 100 pages describing and discussing the post-production of Jurassic Park, a sci-fi action film released in 1993, and its post-production, in particular, the on-screen realization of live dinosaurs, which laid the groundwork for the development of computer-generated imagery in the film industry in the years that followed. The film replaced Spielberg's Aliens at the box office in 1982 as the highest-grossing film in the world at the time. The movie made $3.1 million on its opening night in the United States and Canada on June 10, and it made $50.1 million over the course of its opening weekend in 2,404 theaters, shattering the previous record set by the 1982 film Batman Returns. The film held the record for two years until the 1995 film Batman Forever broke it.
There is a need for film companion books to preserve and organize their collections. This is because if efforts are made to preserve film elements and film equipment that are still available to us today, despite the fact that they have been discarded by the market (Farinelli, 2013), there is still a chance that we can find them on the web or in the archives and have the opportunity to appreciate and read them. Therefore, the reorganization of the film companion books is an attempt to make the history of cinema more accessible to a wider audience, thus possibly reinventing some of the best works in cinema history.
Work cited
MARC HORTON Journal Movie Writer. “Spielberg Spins Another Monster Hit; Master of Gee-Whiz Movie-Making Breathes Life into Jurassic Park’s Dinosaurs: Final Edition.” Edmonton Journal, 1993.
Farinelli, Gian Luca. “Film Archives after Film.” Journal of Film Preservation, no. 89, 2013, pp. 13.
Part one:Preproduction
Part two:Production
Part three:Postproduction
Part four:Storyboards
The Making of Jurassic Park is a companion book published in 1993, with the film released in the same year. The book is written by Don Shay and Jody Duncan, and it describes how to make the movie Jurassic Park, which was directed by Steven Spielberg and written by Michael Crichton and David Koepp. Don Shay and Jody Duncan began observing and documenting the film during its preparation phase, following the cast and crew through to the end of the filming. Therefore, this book provides a detailed account of how they went through the pre-script and preparation, mid-shoot and post-production editing, and special effects to create a great science fiction film.
In the pre-production chapter, the author describes how famous novelist Michael Crichton created his seventh novel, Jurassic Park. In 1981, Crichton wrote an original screenplay centered on the concept of genetically modified dinosaurs. 'Clayton's first draft reflected Clayton's fascination with the concept of dinosaurs as seen through the eyes of children'. It was only after three years of inspiration stemming from toy dinosaurs that Clayton gradually refined the novel. In the meantime, Spielberg discovered the novel and wanted to turn it into a film. Spielberg realized that what really fascinated him about Jurassic Park was the fact that it was "a really believable demonstration of how dinosaurs might one day return alongside modern humans," rather than just a simple monster movie. The novel by Crichton was too long, so Spielberg hired screenwriter David Koepp to continue writing the screenplay for the movie Jurassic Park. The screenwriter also included draft drawings of dinosaur animations with the book.
In the production chapters, the author explores the process of making the film and the difficulties and trials under which Spielberg led his team to the successful completion of the film, and the author presents many on-set stills and artistically designed illustrations throughout the book. On August 24, 1992, the cast and crew of Jurassic Park gathered at Okele Canyon on the island of Kauai for the start of their 82-day filming work. Producer Kathleen Kennedy expressed her confidence in the film after two years of long and successful collaboration with director Spielberg.
In the post-production chapter, the author discusses the process and progress of post-production and special effects work on a film. Post-production time proper begins in December 1992 and continues until the film's release on June 11, but it can be argued that post-production tasks have been ongoing throughout production and even pre-production. Many post-production tasks began throughout production and even before production. Nearly two years before post-production began, Industrial Light & Magic began development work on computer-generated dinosaurs in collaboration with dinosaur supervisor Phil Tippett; similarly, the sound editors at Skywalker Sound had begun collecting and recording various sound effects when they were first given the Jurassic assignment a year earlier. Despite the overly entertaining and puritanical nature of the dinosaur story, even simplifying the science in some parts, there is no denying the powerful post-production special effects. (M.H 1993). The use of computer animation in the movie has increased ever since Spielberg and company were first astounded by Ilm's CG tests on the Tyrannosaurus Rex. The author's book contains detailed quotes from staff involved in the post-production process. Steve Williams, a computer graphics animator, says: "At the time Jurassic Park came out, computerizing creatures that had been dead for 150 million years was not so much a matter of competence as it was a matter of sweat. It required a lot of work." In addition to the digital effects, Spielberg's commitment to using digital sound in the film was also described in detail.
In the chapter on storyboards, the authors have selected some of Spielberg's sketched storyboard work, and in adapting Jurassic Park, Spielberg used storyboards in the same way as the early Disney animators—as a means of structuring the storyline and establishing a visual framework.
As a companion book to the film, there is another related book in the archive on this topic called Jurassic Park, which is an official film memorabilia magazine that includes the full story of the film, get-to-know-the-characters, a dinosaur featurette, facts about the real thing, and illustrations from the film. Although both books are appendices to the same film, the two books are not aimed at the same audience or have the same collectible significance. The Making of Jurassic Park is a book that focuses on the production process of the film (from pre-script writing through mid-shoot to post-production of special effects, sound, etc.), although the book contains a large number of illustrations and stills (which only serve to make the book more readable and interesting). In reality, the book is aimed at film enthusiasts. Jurassic Park is a fun magazine that was published even before the film was released, which suggests that the purpose of the magazine was to draw crowds to the background and making of the film and to attract the attention and interest of the audience when the film was released in order to get a higher box office. A large number of photographs of the star dinosaurs and actor characters that appeared in the film are shown in the book. The audience of this book is more towards the fans of the film and the general public.
The book is nearly 200 pages long, and the author spends nearly 100 pages describing and discussing the post-production of Jurassic Park, a sci-fi action film released in 1993, and its post-production, in particular, the on-screen realization of live dinosaurs, which laid the groundwork for the development of computer-generated imagery in the film industry in the years that followed. The film replaced Spielberg's Aliens at the box office in 1982 as the highest-grossing film in the world at the time. The movie made $3.1 million on its opening night in the United States and Canada on June 10, and it made $50.1 million over the course of its opening weekend in 2,404 theaters, shattering the previous record set by the 1982 film Batman Returns. The film held the record for two years until the 1995 film Batman Forever broke it.
There is a need for film companion books to preserve and organize their collections. This is because if efforts are made to preserve film elements and film equipment that are still available to us today, despite the fact that they have been discarded by the market (Farinelli, 2013), there is still a chance that we can find them on the web or in the archives and have the opportunity to appreciate and read them. Therefore, the reorganization of the film companion books is an attempt to make the history of cinema more accessible to a wider audience, thus possibly reinventing some of the best works in cinema history.
Work cited
MARC HORTON Journal Movie Writer. “Spielberg Spins Another Monster Hit; Master of Gee-Whiz Movie-Making Breathes Life into Jurassic Park’s Dinosaurs: Final Edition.” Edmonton Journal, 1993.
Farinelli, Gian Luca. “Film Archives after Film.” Journal of Film Preservation, no. 89, 2013, pp. 13.
Creator
Don Shay and Jody Duncan
Cover and text design by Michaelis/Carpolis Design Associates
Artwork courtesy of:
John Bell
Murray Close
Tom Cranham
Stefan Dechant
Peter iovino
Marry Kline
Dave Lowery
Craig Mullins
Mark “Crash”McCreery
David Negran
Dan Sweetman
Jim Teegarden
Cover and text design by Michaelis/Carpolis Design Associates
Artwork courtesy of:
John Bell
Murray Close
Tom Cranham
Stefan Dechant
Peter iovino
Marry Kline
Dave Lowery
Craig Mullins
Mark “Crash”McCreery
David Negran
Dan Sweetman
Jim Teegarden
Source
Film;Jurassic Park directed by Steven Spielberg
Fiction;Jurassic Park wrote by Michael Crichton
Storyboard sketches by Steven Spielberg
Fiction;Jurassic Park wrote by Michael Crichton
Storyboard sketches by Steven Spielberg
Publisher
Boxtree Limited
Date
1993
Contributor
Yuting Luo
Rights
1993 Universal City Studios, Inc and Amblin Entertainment, Inc. Licensed by MCA Publishing Rights, Inc., a Division of MCA, Inc.
Format
Book:height 274mm; width 214mm; thickness 17mm
Language
English
Type
Text
Identifier
ISBN 1-85283-774-8
Coverage
1992-1993
Text Item Type Metadata
Text
Film Production Process
Original Format
Storyboard, Stills, Illustrations
Files
Collection
Citation
Don Shay and Jody Duncan
Cover and text design by Michaelis/Carpolis Design Associates
Artwork courtesy of:
John Bell
Murray Close
Tom Cranham
Stefan Dechant
Peter iovino
Marry Kline
Dave Lowery
Craig Mullins
Mark “Crash”McCreery
David Negran
Dan Sweetman
Jim Teegarden, “The making of Jurassic Park,” Archival Encounters: Digital Exhibitions form the Bill Douglas Cinema Museum, accessed December 28, 2024, https://humanities-research.exeter.ac.uk/archivalencounters/items/show/6.