It’s a very ‘Jurassic’ year with the new film, ‘Jurassic World Rebirth,’ on the horizon. There’s also a new game (maybe two?) and a new season of Chaos Theory to look forward to. Well, adding to this packed list is a chance for people to see the work by two absolute legends who helped create the ‘Jurassic’ films!
If you’re in the Los Angeles, California area from March 8th-March 29th, be sure to see the ‘Design +’ Cinematic Art Exhibition. It will feature the work of Rick Carter, the production designer of ‘Jurassic Park’ and ‘The Lost World: Jurassic Park,’ as well as Joanna Johnston, the costume designer of ‘Jurassic World: Dominion!’ Their incredible work from various films (ranging from ‘Back To The Future’ to ‘Forrest Gump’) will be on display, along with several other esteemed artists.
‘Design +‘ is a cinematic art exhibition featuring the original designs and artworks of 2 time Academy Award winner Rick Carter, Costume Designer Joanna Johnston, and Production Designer Anne Seibel. The exhibition explores filmmaking through each Artist’s personal and collaborative process. From Midnight in Paris to Forrest Gump, visitors will be able to see the original artworks behind Hollywood set designs and costume designs. The exhibition will run from March 8th until March 29th at the Berrics Art Society and will include weekend programming and discussions with Steve Berra, the Urban Film Festival of Paris’s François Gautret, and Silicon Beach’s Jon V. With the original artworks exhibited, visitors will be able to see collaborations by Los Angeles painters “Aiseborn” and “Kopyeson” from the exhibit “TIME” at ESMoA. Lastly we are proud to have partnered with Studio Auctions to showcase iconic film memorabilia from the films of these Artists and beyond.
Featured at the exhibit are several artworks for sale, including concept designs by Rick Carter for ‘Jurassic Park’ & ‘The Lost World: Jurassic Park!’
Immerse yourself in a world of film history before time runs out! In fact, a DeLorean from ‘Back To The Future’ will be on display to take you back to the time of the dinosaurs!
A special short film festival event will also be held at the exhibit on March 22nd, featuring the following panelists: Production Designer Rick Carter, Costume Designer Joanna Johnston, X-Files Creator Chris Carter, Olympian Andy Anderson, Urban Film Festival Founder Francois Gautret. Print signings will also be available. This is the perfect chance to meet Rick Carter & Joanna Johnston in-person, surrounded by their spectacular work!
Exhibition Dates: March 8th until March 29th
Artists: Rick Carter, Joanna Johnston, Anne Seibel, Aiseborn, Kopyeson, Bastien
Grand Opening: March 8th from 2pm until 6pm
Venue & Hours: Berrics Art Society | 609 South Anderson Street Los Angeles, CA 90023 (Open by appointment during the week, except for the March 22nd ‘Urban Films’ event.)
Exhibition Producers: Steve Berra & Jim Carter
Weekend Programming/Partners: The Berrics, Urban Film Festival, RStyle, Studio Auctions, ESMoA, 608 Studios, Legacy West Media, UC Santa Cruz
For more information about the exhibit & the event, visit Legacy West Media.
Do you plan to attend? Let us know in the comments below, and stay tuned to Jurassic Outpost for the latest!
Universal released more details on their upcoming park in Texas, now set to officially open in 2026!
Initially announced just over a year ago, the Texas park will be Universal’s first ever entirely children and family centered theme park. The other Universal destinations around the globe feature a mixture of attractions, shows, and events for all ages, but the all new Universal Kids Resort will have offerings specifically geared towards a younger audience.
VP and executive producer of Universal Creative Sarah Gibbon stated “At each point, we considered how we could design a place especially for kids where they could explore, imagine and adventure with their families and friends They’ll be able to do all this while being fully immersed in some of their favorite stories – ones full of curiosity, laughter and joy.”
With that in mind, many have wondered what types of attractions, and IP properties we would see In 2024 Universal released two official pieces of conceptual art of an ariel views of all the lands that would make up UKR, and both included portions that appeared to be hinting at potential Jurassic themed sections.
Well, with the announcement of UKR opening in 2026, Universal also released what lands and characters we can expect to see- with Jurassic World being among them!
‘[At Jurassic World] Discoveries abound as kids learn about and come face to face with beloved dinosaurs of Jurassic World in uniquely exciting and interactive ways. The new adventure exclusively created for young explorers will be both exhilarating and awe-inspiring.’
Along with the land synopsis is a picture of everyone’s favorite juvenile ankylosaur Bumpy, from Jurassic World: Camp Cretaceous.
Along with Bumpy (and whatever other dinosaurs and characters from Jurassic World we may encounter,) guests can experience many other iconic lands and characters in this 97-acre theme park including Shrek, Puss in Boots, Trolls, SpongeBob SquarePants, Minions, and Gabby’s Dollhouse .
While there are no official details on what guests can specifically expect as far as rides and shows go for UKR, many fans will no doubt be scouring the previously released concept art for clues. And people can also sign up for news and updates on the official UKR site as well!
Tell us what you think. Are you excited for the all-new Universal Kids Resort? Will you be visiting? What kind of rides and experiences do you hope to see? Let us know in the comments!
The InGen Spinosaurs and Tyrannosaurus facing off in the Aviary showroom of the Jurassic Park Institute Tour. Image courtesy of Rick Bluhm
Since the release of Jurassic Park in 1993, there have been multiple accompanying live shows, exhibits, and experiences across the world that have helped bridge the gap between the fictitious world of the franchise, and our real one.
In the early 00’s, one such exhibit was the Jurassic Park Institute Tour, located in Japan. Designed and produced by Thinkwell Design & Production, the Thea Award Winning exhibit brought the world and science of Jurassic Park alive unlike ever before.
The nearly hour-long experience featured twelve different exhibits, all featuring interactive displays and showcasing breathtaking encounters with dinosaurs using of state of the art technology and theatrical techniques. To bring these environments and exhibits to life, the creative team employed artists who took great great care of the loaned props, and in recreating entire environments from educational museum galleries, to an InGen laboratory, and even a jaunt through the Aviary.
JPIT’s Field Art Director, Rick Bluhm, adjusting a display in the InGen lab. Image courtesy of Rick Bluhm.
To tackle such an endeavor as one of these dino-sized projects, you need a dedicated and creative team. Enter Rick Bluhm, a Field Art Director on the Jurassic Park Institute Tour project. We were lucky enough to be able to connect with Bluhm, and asked him to reflect on his career as well as on his time with the JPIT project.
JO: What got you interested in being in entertainment and ultimately a Creative Director, and how did you make the journey to now helping create some of the most immersive theatrical and ride experiences in the world?
RB: My career began with theatrical set design in the Los Angeles area at dozens of small theatres. Through contacts there I transitioned into Art Direction for television commercials, series and ultimately films. It was while I was on hiatus between those projects that I was asked to join Universal and have been in themed immersive entertainment ever since – although I just retired from my position of Senior Director, Creative, after 12 years developing attractions for the parks in Orlando and Osaka.
I was very proud to be a part of the Thinkwell team that produced Jurassic Park Institute Tour and we had quite an adventure in Tokyo that summer! Prior to [joining JPI], I was the Art Director for several show attractions that we opened in Universal Studios Japan in 2001. Needless to say, I had experience with the culture and that helped me lead the wonderful local prop and set dressing crew for JPIT.
One of the earlier exhibits in the JPIT, showcasing the latest information and research in paleontology. Image courtesy of Rick Bluhm
JO: In the early 00’s with the release of Jurassic Park 3 there was this kind of push with the Jurassic Park Institute branding to kind of be more educational focused. There were books, games, and a website. But then of course there was the inception and creation of this live experience which looks like it bridges a lot of the fantastical elements and universe of the films with science and education. Can you tell us how the tour came to be initially?
RB: Ken Nakashima was the man who brought the idea for the tour to Thinkwell. He was studying paleontology at a university in the L.A. area and was keenly interested in dinosaur DNA. His father, Sam Nakashima brought investors together to create this tour, which would package the education Ken was passionate about into a wonderfully immersive entertainment experience.
An InGen lab showroom. Image courtesy of Rick Bluhm.
RB: The details about developing the concept happened all before I was brought on to the project. Joe Cashman was the Production Designer who oversaw creative and he hired me as a Field Art Director to procure all the set dressing and props, plants etc. and stage them all when we arrived in Tokyo. Before the “Mr. DNA” film pre-show, we had a huge exhibit of dinosaur skeletons with informational graphic panels to anchor the experience with a strong scientific foundation.
The Brachiosaur canopy scene, where guests would come face to face with some of the largest animals InGen created. Image courtesy of Rick Bluhm.
JO: What was one of the hardest aspects of bringing this experience to life?
RB: The biggest challenge was the scene which featured Brachiosaurs feeding. Guests felt as if they were on a bridge, overlooking the canopy of trees through which the long necks of the dinosaurs were grazing. We had limited depth there, so I had a firm in Singapore fabricate trunks with bases and armatures so we could create huge diameters of gingko trees that sat a few feet above the floor and masked it.
This EX-STINKS. Image courtesy of Rick Bluhm.
RB: One particularly silly moment was when we received delivery of the dung pile for the Triceratops yard. It didn’t seem quite real enough, so I asked the prop team to coat it in clear gloss. It worked so well that it elicited big laughs from the crew and guests.
A section of the JPIT that showcased scenic props and models from Jurassic Park 3, including the unused infamous “RED” Velociraptor from early pre-production. Image courtesy of Rick Bluhm.
JO: Did you all have any movie props or pieces that were a part of the tour?
RB: Although we moulded a few props (eggs, for example) from originals from the films, we wanted a special way to feature actual props and wardrobe from the latest film (JP3).
Costumes used by the main cast of Jurassic Park 3 on display at the JPTI. Image courtesy of Rick Bluhm.
RB: We created a post-show before the exit which displayed incubators and other equipment from the scene where they stumble on the dilapidated Ingen lab – plus a couple of full size Raptors and wardrobe from the key characters. I also created an Art Directors’ Studio area to feature blueprints and renderings of the sets from that film.
Concept art, models, and other preproduction and production material from the first three Jurassic films on display. Image courtesy of Rick Bluhm.
RB: I took great care in the authenticity of our props – particularly the genetics lab and medical bay – researching details from the films. Also, the artificial foliage had to have proper scale and species that would be found in the regions from the films.
Rick Bluhm adjusting and adding foliage to one of the various scenes in JPTI. A small compy pops up to keep the creative company. Image courtesy of Rick Bluhm.
JO: What do you think captivates people about Jurassic or dinosaurs in general?
RB: Dinosaurs will always be a source of fascination to us humans. The strength and majesty of those exotic creatures in an ancient world, so different from what it is now. I was obsessed as a boy and have seen my nephews and others continue with that curiosity.
One of the many animal containment areas apart of JPTI, featuring Triceratops and a fully animatronic Jurassic Park 3 style Ankylosaurus. Image courtesy of Rick Bluhm.
While the Tour is no longer, an other interactive Jurassic experiences have now taken its place, you can watch a promotional reel for the Jurassic Park Institute Tour below thanks to archival efforts of The Jurassic Park Collection.
Have you ever experienced a Jurassic exhibit? If so, which one, and what kind of affect did it have on you? Would you like to see more edutainment style experiences and material from the Jurassic brand like with Jurassic Park Institute? Let us know in the comments below!
Islands of Adventure Concept Art (Behind the Gates)
During the pre-production of Jurassic Park, Steven Spielberg already had teams conceptualizing and planning Jurassic Park The Ride, at Universal Studios Hollywood, before the first film was in production. Upon opening in 1996, the attraction was met with high praise and acclaim for its thrilling experience and immersive storytelling.
But Universal parks weren’t finished with Jurassic just yet. During this same time, on the other side of the country, Universal was hard at work expanding their operation in Orlando. And not just a little expansion like a singular new ride or show, no. They were in the process of creating a whole new theme park that would allow guests to enter their favorite literary worlds. Universal’s team was developing a park where guests would be able to skip around with Whos in Suess Landing, explore ancient ruins in Lost Continent, make a splash with their favorite cartoon characters in Toon Lagoon, save the world in MARVEL Superhero Island. It would also be decided that the final land, “rounding” out the park, would be where guests could come face to face with the greatest animals that ever walked the planet in a fully realized Jurassic Park.
Promotional Artwork of Jurassic Park at Islands of Adventure (Universal Destinations & Experiences)
At this new Jurassic Park, guests would be able to come face to face with dinosaurs like never before and be immersed in the world of Jurassic. There was the Discovery Center where raptor eggs would be seen hatching throughout the day, and Triceratops Encounter (later renamed to Triceratops Discovery Trail) where guests could experience one of the majestic three-horned creatures up close. In Camp Jurassic guests can traverse various pathways, explore caverns, or sail through the air like pterosaurs at Pteranodon Flyers. Of course, in the center of it all, would be the main attraction- the Jurassic Park River Adventure (Orlando’s version of Jurassic Park The Ride.)
With all of these pieces integral to “selling” this world, it became apparent that Universal would need a team to help maintain a cohesive vision for what they were attempting to create. Enter Bob Shreve.
Image of Bob Shreve from promotional material of Islands of Adventure
Shreve was brought on to be Show Producer for the entirety of the Jurassic area at Islands of Adventure (or IOA.) With a Masters in theatrical design and years of experience working and designing for theatres and other theme parks, like Walt Disney World, Shreve moved to Universal to take on this titanic project.
We reached out to Shreve to reflect on his work at Islands of Adventure, the process of bringing Jurassic Park to life, and changing the theme park world forever.
JO: To start off, if you could take us back to the beginning of Jurassic being a part of Island’s of Adventure that’d be wonderful. At one time Jurassic Park The Ride was expected to be near where Men in Black now is, but then it was opted for a full land. What did that happen? What was the key moment when Universal said “YES, all in on Jurassic,” and what did that mean for Islands of Adventure?
BOB: I came to the project in 1995 after the IOA project was fully in development and well into the design development phase. As I understand it, once Universal made the decision to develop IOA, JP became a cornerstone for the project, and the idea to develop it like the Hollywood attraction was tabled in lieu of a full-fledged land. All of that occurred before I joined the team.
JO: How did you get the Show Producer title for the Jurassic area at IOA specifically? Was it something about the brand that pulled you or was it assigned? Where does that journey begin?
BOB: In 1995 I was working for Imagineering, living in FL, handling SQS for EPCOT along with Patrick Brennan. I was contacted by Robin Reardon, who I had worked with on projects at WDI. Randy Prinz had brought onto the IOA Project as the Executive Producer and she reached out to me as she felt I would make a good producer. Initially, I was offered SUESS LANDING but, once Lisa Girolami agreed to join the team, they felt she was a better fit for SUESS and transferred me to JP. All of this occurred before I moved to LA to join the team in person.
JO: The Jurassic land, until the inclusion of Harry Potter, felt like the centerpiece. The majestic Discovery Center stands in the center focal point when you enter, demanding your attention. IOA’s original “castle” as it were. Was that intentional?
BOB: Yes, it was very intentional. It was felt that the JP brand was the most iconic as it related to the public at large and would be the central gate driver for ticket sales. By placing it at the center point on the far side of the lagoon, it would drive guest utilization through all the other islands in the park.
JO: How closely did you work with other departments like marketing, promotions, etc. I mean, Island of Adventure was promoted in a Jurassic Park video game, there were exclusive toys, and then everything in park that had to fit the world’s aesthetic. Was collaboration “Universal,” as they say, between you all?
BOB: There was very little integration with marketing at that time at Universal, which, frankly, was one of the downfalls of the project. Most of the brand development was simply lifted from the film efforts. It should be remembered that Universal changed ownership during the development of the project and it had a ripple effect on the development process.
JO: A lot of the production and planning was happening while Crichton released The Lost World, and then The Lost World: Jurassic Park was subsequently filmed, marketed, and released. Were there any changes in the plans for the land/ride/attractions from when it started to when it ended that we’re because of the sequel?
BOB: No, by the time LOST WORLD came out, we were well into construction so no changes were tolerated.
JO: There are several attractions hinted at and teased still throughout the land that unfortunately have not come to be (as of yet.) Helicoptour-tours, Jeep Safari, and several more. Can you recall any rides, attractions, shows, or experiences that we’re on the table but shelved?
BOB: Both Helicoptours and Jeep Safari were developed at a conceptual level, however, further development was placed on hold to allow focus on completion of the IOA project. It was anticipated that, should IOA be successful, these would be some of the first expansion projects undertaken. Sadly, due to underperformance in attendance for the park, this did not happen.
JO: Also, the AMAZING scale model at the entrance of River Adventure (which shows several of these canceled attractions,) it’s to see anything like it! Was there a thought that prompted showcasing it so prominently?
BOB: Frankly, we needed something to fill the queue for guest engagement and we were on a tight budget. Dan Torres, the Production Designer for RIVER ADVENTURE, came up with the idea to simply use the model that was constructed during the design of the IOA project. Each of the lands was modeled in great detail as this was before you could use CGI. Each land and attraction was constructed so it could be removed from the master model for study. Since it was already built and paid for, it was a great idea to use it as a queue prop, especially because we felt it was something John Hammond would do to promote his new Park.
JO: On a similar note, were there any dinosaurs or moments from the opening day attractions that were cut?
BOB: Not that I recall. We took great pride in delivering all of the things we were asked to provide.
JO: Was there talk of building the same River Adventure as Hollywood, or when/why were choices made to change moments in Orlando’s?
BOB: Yes, the project team was initially told to deliver the Hollywood version of the ride intact as a “cookie-cutter” attraction. However, Hollywood was having significant issues with their jeep drop effect so our team was asked to come up with an alternative, so we developed the raptor cage drop.
JO: How did you develop the story for the areas of the land and which characters were “involved?” Many many elements of the island reference or are lifted straight from Crichton’s novel. Some of them really “deep cuts.” What elements from the novel, film, and expanded material were most useful and important to you to include? What material did Amblin and Universal say was most important to include?
BOB: I was not involved in the initial development of the attraction (concept phase), so I do not feel I can properly answer this question. It would be better to direct this question to Dale Mason, Phil Hettema or Gary Goddard.
Interior Nursery of the Discovery Center at Islands of Adventure
JO: How important was it for there to be educational aspects of the area? At its core Jurassic is sci-fi that is grounded in real science. Paleontology, geology, genetics, animal behavior and zoological sciences, and more. Perhaps more than any other offering at IOA or Universal, Jurassic at IOA originally had a sense of adventure and discovery meets learning and inspiration (especially with attractions such as all of the original Discovery Center, and Triceratops Encounter.)
BOB: We felt it was very important to have an educational aspect to JP as it reflected John Hammond’s and InGen’s mission and goals. We were very aware that pretty much every 9-year old would know a lot about dinosaurs when they arrived at the park, so we needed to feed that curiosity and expand on it. We engaged Eisterhold Associates, a leading museum design company, to develop concepts for the Discovery Center and to make it as interactive as possible.
JO: Was the island ever almost Isla Nublar or was it always going to be Isla Aventura? Do you feel like the inclusion of the Jurassic World property with VelociCoaster and Raptor Encounter affects the world originally created at IOA?
BOB: The working title for the project was Isla Nublar but marketing would never have agreed to let it be marketed as anything other than Jurassic Park – too much brand recognition. As for the inclusion of Jurassic World, I think this is a natural evolution of the brand and is fitting. TRICERATOPS ENCOUNTER was always plagued with technology issues – it was far too complex to exist in a theme park environment – and its replacement with the coaster was a good idea to revitalize the area.
Maquette of the Triceratops from Triceratops Encounter (Behind the Gates)
JO: Do you know much about who produced the dinosaur maquettes / sculpts? Stan Winston School of Character Arts recently posted an article about their Stegosaurus and it showcases both the [The Lost World’s] AND [Jurassic Park The Ride/River Adventure’s] stegos (which have differences from one another.) Were the designs for the [new] dinosaurs in-house or did some of them come from partnering with Winston’s team? And did the sculpting and building of them change or evolve as the films were made?
BOB: The dinosaur maquettes were developed for the Hollywood attraction and, I believe, were developed by Winston Studios. I have no explanation for the difference between the two stegosaurs. We developed the maquette for the Triceratops. All design for it was executed by Hall Train, who was recommended to us by Winston Studios when they decided they were too busy to take on the project. Hall deserves a lot of credit for the development of the Triceratops, its functions looks, and manufacture. He was amazing in his skillful talents and the ideas he brought to the attraction.
A section of the mural in the basement of the Discovery Center at Islands of Adventure, showcasing a plesiosaur, stalking tyrannosaurs, and a family of sauropods.
JO: Do you recall much about the story of the murals in the Discovery Center? Apparently, the originals were rumored to be missing or were missing when making IOA from their original usage in Hollywood?
BOB: I seem to recall an issue with the murals, but I do not remember exactly what it was. They may have been missing and we had to recreate them for the IOA attraction, but I honestly do not remember.
JO: How much thought was put into foliage / “no grass” throughout the land?
BOB: A ton. Under the brilliance guidance of Mark Kuskowski, the landscape was a critical component of the design. Due to budget concerns, he was challenged to deliver a believable “jungle” experience using prehistoric plants from day one. Mark traveled extensively to find the perfect specimens for the attraction. I think he succeeded brilliantly.
Fencing inside of Camp Jurassic. You can see that Universal “spared no expense” when it came to the lush foliage that fills the Jurassic area of Islands of Adventure.
JO: What, for you, was the most challenging aspect of bringing Jurassic to life? I mean, it’s probably challenging enough to bring dinosaurs back to life, but were there any surprise problems, hiccups, or changes along the way that wouldn’t have been expected when preparing to showcase creatures dead for 66 million years?
BOB: Several. Mark Kuskowski found a five palm cluster we wanted to use as the icon landscape element as the entered the area. It was placed in front of the Discovery Center adjacent to a central filtration pond that we engineered to clean and circulate all the water in the main lagoon. To get it installed (it was huge) without destroying the surrounding area development, we had to plant it very early in the project. It was the first tree planted on site and we had to take many precautions to protect it as the area grew up around it. I think the pond did not work as well as intended and the landscape around it took off, obscuring the five palm cluster that we so laboriously planted.
Another issue was the Banyan tree for Camp Jurassic. Mark searched long and hard for the perfect tree, which he found in South Florida. We made arrangements to have it transported to Orlando, but the contractor hacked so many branches off the tree that, when it arrived, it was pathetic looking. Mark was distressed and had it planted at the end of Scene 1 in the RIVER ADVENTURE just before the JP gates and found a new tree, which we carefully transported to Orlando and installed in Camp Jurassic. Comically, it did not flourish as well as the original tree.
JO: For you, what was the moment it all came together? Was it riding River Adventure opening day? Getting sneezed on by one of the Triceratops? Seeing a baby raptor hatch? What moment gave you that classic “[We] did it…” Malcolm moment.
BOB: It all came together during the soft opening of the Park. All our attractions, except Triceratops, were fully operational and the guest reactions were very gratifying.
JO: Similarly, what did you find to be the most impactful or important element of the land?
BOB: Without a doubt, it was, as intended, the architecture and landscaping. We purposefully did not want the guests to engage with any dinosaurs as they walked the land. This was to encourage them to enter the attractions to see the dinosaurs. So the area development needed to convey the grandeur of the movies, which I feel it did magnificently.
Old “animal tracker” unit that was in front of the Discovery Center, before being removed for VelociCoaster. A reference to the motion sensor tracking system used in Crichton’s original novel.
JO: Are there any favorite “Easter Eggs” of yours in the land? Are there any that you believe people haven’t discovered yet or aren’t well known? There are literally SO many littered throughout the island.
BOB: We buried a lot of easter eggs in the queue for Triceratops – too many to recount and I am not sure they remain.
JO: If you could see the Jurassic land grow, change, or evolve further- what kind of offerings would you hope to see? More stories told through rides? Shows? More edu-tainment type offerings like the Discovery Center? What do you think should be focused on?
BOB: I think, in synergy with the film franchise, the area needs a lot of “thrill”. I think the VelociCoaster attraction is the right direction for the area.
JO: What is your favorite dinosaur?
BOB: Hands down, it would be the Triceratops.
This Triceratops fossil replica served as the entrance for (the now closed) Triceratops Encounter attraction.
JO: If there are any other details, anecdotes, or thoughts you would like to share during your time as the Show Producer for Jurassic.
BOB: I consider myself fortunate to have been selected to be part of this project. It is one of the highlights of my career and afforded me an opportunity to participate in theme parks at a level I had previously only dreamed of.
JO: What would you say to others who may be interested in a career in themed entertainment?
BOB: I would encourage a career in this industry. It is engaging, challenging, and fun. Developing the proper tools is a pre-requisite for participation in today’s industry and requires a mastery of computer graphics and pre-visualization tools as well as creative talent.
Shreve makes an appearance in this early promotional footage for the island that originally aired on USA Channel in the 90’s, which you can watch below:
With the park opening in 1999, these mighty creatures were no longer merely trapped in museums, books, or movies- they were brought to life right in front of us. With the world of Jurassic Park fully realized, fans of the franchise, dinosaur lovers, and thrill seekers alike finally had a place to live out their own prehistoric adventures.
While the initial opening of Universal’s Islands of Adventure was rocky, the park has since gained great acclaim and notoriety over its twenty-five years of operation, with multiple awards for attractions, restaurants, entertainment offerings, and more. The Jurassic area, specifically, is still considered one of the main pulls for guests visiting the resort. VelociCoaster is considered one of the best rollercoasters ever made, the Discovery Center was used in several Jurassic Park 30th Anniversary marketing videos last year, and River Adventure (even with it showing its age) still has boats filled with people screaming and laughing their way through surviving an encounter with the park’s dinosaurs.
Jurassic Time unveils a very special short documentary: ‘Jurassic Park’s Original T-Rex: The Tim Lawrence Files.’ Discover an unknown history behind the most famous dinosaur ever featured on film. Tim Lawrence was the first to design the Tyrannosaurus Rex for the classic movie. He worked on special creature effects for films like ‘Ghostbusters 2,’ ‘Harry and the Hendersons,’ & ‘Gremlins 2.’ Tim was a man of many talents, and great aspirations, until he sadly passed away in 2019.
During his career, Tim Lawrence was one of the first people employed for Steven Spielberg’s film adaptation of the Michael Crichton novel: ‘Jurassic Park.’ At this time, he helped create the very first incarnation of the film’s T-Rex. Despite this milestone, after the film went on hiatus during Spielberg’s production of ‘Hook,’ Tim was replaced by Stan Winston for unknown reasons. But the story of Tim Lawrence’s time on ‘Jurassic Park’ is still one that should be remembered. It’s an important piece of the film’s history; one that has never been told in any book or program.
Pre-production image featuring Tim Lawrence, in the grey ‘Les Misérables’ shirt, near Steven Spielberg among others.
Years before his death, Tim listed several auctions of his ‘Jurassic Park’ items on eBay. He provided several pictures and context for all of them, and most have never been seen before. Using these sources, and a few others, I (Derrick Davis) compiled them into a story that are all Tim’s words; with short connective phrases to string them together. Voice actor J. Malone respectively recorded them. While this section of the presentation isn’t Tim’s voice, they are his stories. May he live on in memory…
Mark Hallett designs and notes for the T-Rex.
The video includes an array of rare and never-before-seen images from the production of ‘Jurassic Park,’ including concept art by Mark Hallett, designs by Bob Gurr, and images of Tim’s models, and scans of photographs. As J. tells Tim’s story, it is accompanied with music by Bernard A. Kyer from the game ‘Jurassic Explorer.’
Bob Gurr T-Rex animatronic design.
Some may balk at the design being more fantasy-like in approach, but this was what Spielberg asked for. It is clear, through Tim’s words, that Spielberg wanted a more character-oriented approach to the dinosaur than accuracy. Opinions obviously changed over time, and perhaps that is why he was replaced by Stan Winston later on. Still, one wonders why Tim wasn’t simply given another chance at it? We’ll probably never know. ‘Jurassic Park’ had an extensive pre-production phase compared to many films, especially unique in that it began before the book was even published. Early scripts by Crichton himself were dated months before it was on store shelves!
Additional designs by Tim, nicknamed “Curious” & “Furious.”
Tim Lawrence was a talent that will not be forgotten, and I wanted his story about his time on ‘Jurassic Park’ to finally be out there for everyone to appreciate. He was an important piece of this classic film’s history that needed to finally get a spotlight. I hope it was all done in a tasteful manner for everyone. It was an emotional experience working on this. Hopefully that all shows through in the presentation.
What do you think of Tim’s T-Rex design, despite it being more of a movie monster? Do you wish it had at least been used in another film, like an adaptation of Conan Doyle’s ‘Lost World’ or a ‘King Kong’-type story? Share your thoughts in the comments below, and stay tuned to Jurassic Outpost for the latest (and the past)!
All these books discussed the various scripts that were written: a vital part in creating a strong skeleton to support the body of each film. It’s a process that can take a lot of time, and a lot of drafts, to get just right. Their creation is more interesting and complicated than people may realize, making a whole book dedicated to the subject something ‘Jurassic’ fans have wanted for some time. Each of the six films in the franchise (so far) undoubtedly has fascinating stories behind their screenplays. However, the original film, adapted from the bestselling novel by Michael Crichton, had perhaps the biggest challenges.
Thanks once again to Insight Editions, a documented history of this process, with the final screenplay by David Koepp, is finally told in ‘Jurassic Park: The Official Script Book.’
Jurassic Park gave moviegoers an unforgettable thrill ride. Now, on the film’s 30th anniversary, fans can experience Jurassic Park in an all-new way with this deluxe, annotated edition of Michael Crichton and David Koepp’s script. This script book is annotated by franchise expert James Mottram (Jurassic Park: The Ultimate Visual History, Jurassic World: The Ultimate Visual History), offering commentary and insight into the behind-the-scenes story of the film. Fully illustrated with film stills, concept art, and other key visuals, this is a must-have collectible for Jurassic Park fans and a fitting tribute to a landmark film.
There is a lot more to this book than simply David Koepp’s script. To discover what’s beyond the cover, join me on a grand adventure at Isla Nublar via the video below (or an abridged version)! For an even more detailed look, continue reading this article!
WHAT’S INSIDE?
DAVID KOEPP’S 12-11-1992 FINAL CONTINUITY DRAFT
The book features the 12-11-1992 draft by David Koepp, known as the final “Continuity Script.” What sets it apart from a more polished final draft are some beefier descriptions and the inclusion of some alternate dialogue for sequences that director Steven Spielberg would have to choose from. This gives the reader an additional “alternate universe” for certain scenes. The script also includes some moments that were filmed but cut, such as the reveal of why the Triceratops was only sick “every six weeks” and not all the time.
The only part of the script not included are the “Appendices.” These were two pages at the end of the script that had John Hammond’s dialogue heard during the lunch scene as a slide show played behind the characters. Most copies of the script didn’t include thesepages, so their absence isn’t exactly inaccurate to what the majority of cast and crew members had. Thankfully, they do at least get mentioned in one of the book’s many annotations, featuring a summary of what they consisted of.
INTRODUCTION & ANNOTATIONS BY JAMES MOTTRAM
The author of both Insight Editions ‘Jurassic’ Visual History books returns to provide additional content alongside the script. A lengthy introduction details the overall history of the film’s screenplays, before unveiling Koepp’s draft itself. Nearly every spread features an annotated section on the side, containing information that ranges from details exclusively revealed by David Koepp himself, comparisons to earlier drafts, alternate ideas from the previous screenwriters, and other behind-the-scenes intel. The added material James Mottram provides is written in a clear and engaging way that greatly stirs the excitement of the reader as they delve into the film’s script. One of the many exclusive quotes from Koepp explains why his original draft did not include Ian Malcolm; the mathematician who constantly is at odds with what ‘Jurassic Park’ is trying to accomplish.
“Honestly, it was because it was too hard,” he admits. “If you read the book, he talks a lot. He talks about math a lot, and he talks and abstracts a lot. And I just couldn’t figure out how to make it visual. I couldn’t figure out how to. And I thought about all sorts of things.”
INSIGHT ABOUT THE PREVIOUS SCREENWRITERS AND THEIR DRAFTS
As mentioned, the annotations not only cover Koepp and his various drafts but also the screenwriters who tackled the film before him. Michael Crichton was the first to adapt his own novel into a screenplay, producing a pair of completed drafts. One detail James conjures is how a Crichton draft opened with a scene that would later front Spielberg’s film adaptation of ‘The Lost World: Jurassic Park.’
In his revised draft, Crichton opened with a variation on the novel’s second major sequence, where a young vacationer, Tina, is attacked on a deserted Costa Rican beach by a Compy. He also includes another early scene from the novel, set at New York’s Tropical Disease Lab, in which one Dr. Richard Stone and his technician Alice examine Tina’s sketch of the Compy, with Stone reaching the conclusion it’s a lizard.
This book is the first official publication to reveal that Rick Carter, the production designer of ‘Jurassic Park,’ also created his own unique “working document” draft. He wrote and assembled it during the production’s downtime when Steven Spielberg left to film ‘Hook.’ Jurassic Time created an epic “illustrated audio drama” version of his take on the film, which includes a unique item most fans would certainly love: a Spitter umbrella that squirts water from its “mouth.” Rick details the inclusion of this gag, among many other new notes.
“The idea of an umbrella squirting water is pretty ridiculously funny,” says Carter. “You have this thing designed to keep the water out. It’s actually squirting water!” The concept of a branded novelty umbrella came up during brainstorming sessions, adds Carter, when he and others on the team began to consider, “How would the dinosaur experience be commercialized in that park, and that Visitor Center?”
James also had an exclusive conversation with Malia Scotch Marmo, the penultimate screenwriter brought on board. While she only penned a single draft as well, her ideas were still an important part of the screenwriting process until Spielberg ultimately chose another direction. Scotch Marmo even contributed to a vital casting recommendation that became a reality!
Described in the book as “twenty-four and darkly tanned,” with her blonde hair tied back, Dr. Ellie Sattler proved to be a difficult role to cast. “Steven sent me clips of young actresses to play Ellie,” recalls Scotch Marmo. “The clips showcased the actresses in previous film roles. I noticed they were all ingénues. They had youth and a certain naïveté and freshness. I kept thinking they were missing the mark. Ellie is a scientist. Perhaps because my father was an astrophysicist, I couldn’t buy the actors he was showing me as realistic in any way . . . in a science fiction movie like Jurassic Park believability was essential. Steven is very open to push back, and he asked, ‘Who would you like?’” The writer made a case for Laura Dern, who coincidentally had impressed Spielberg in the 1985 film Smooth Talk.
LOADS OF CONCEPT ARTWORK, STORYBOARDS, & OTHER IMAGES
While both ‘Jurassic’ Visual History books were filled with production artwork and other images from the entire franchise, this book is only focused on the first film. Despite the included script being essentially the film that made it to the screen, the pages are filled with seemingly endless concept art, storyboards, and blueprints that cover many iterations. These materials transport the reader into the film’s art department during the creative process that helped shape the story just as much as the scripts did. This includes early designs by John Bell for lead characters before the actors were cast, never-before-seen storyboards of the famous Main Road attack sequence by David Lowery, a pair of slides from the lunch room scene by Caroline Quinn, and numerous artwork showcasing the omitted river and helicopter attack sequences. Peppered throughout are wonderful stills and other photographs from the film itself. Overall, much of the amazing artwork is not present in the other Insight Editions volumes, or any book.
Countless artists worked on the film, for a much longer period than most get these days. All the concept artwork is credited to each artist; however, the storyboards were tricky to identify given several artists often worked on just a single sequence. The final page of the book credits those artists who were able to be identified, but the entire art department should be forever applauded for their immense contributions to this film.
It wouldn’t be an honest article without referring to the “dinosaur in the room”: the front cover of this book. The artwork used was not made during the production of the film, but a recent selection of “key art” provided by Universal. To put it nicely, it’s definitely not the cover I would have chosen. It doesn’t appear inside the book itself, although a small selection of other recent artwork to celebrate the film’s 30th anniversary is present. They are, thankfully, quite a bit more appealing.
However, being asked by James Mottram to join him in the production of this book was a dream come true. I have always been entranced by the many scripts of ‘Jurassic Park,’ as well as the thousands of artwork that was created before cameras ever rolled. After I read the original ‘Making Of Jurassic Park’ book, I was obsessed with peeking further behind the curtain to see the creative process of how it was all done. Over the years, I collected hard to find documents and artwork that would have otherwise been lost in time. Several of these materials, along with my own insights, enhanced this book’s content. To be associated with a book like this, for my favorite film, is something I will be eternally thankful for.
Another fan is given special mention for helping with this book: Astrid Vega (pictured with me, above, in 2018). She once ran The Jurassic Park Collection, until she sadly passed away in 2019. Astrid was a collector of many production materials that she shared with fans for years, and thanks to her, some of those are now showcased in this book.
DIGITAL E-BOOK EDITION ALSO AVAILABLE
While the physical hardcover edition is my preferred way to possess this unique book, there is also a digital e-book version available separately. This is a departure from both “Visual History” books, since those featured additional inserts that were referenced in the text that couldn’t be adapted in this format. Some may prefer a digital version for the cheaper price point and to avoid high shipping costs in certain areas of the world. E-books are also handy for quicker research, with the ability to find text in seconds. The way I see it, having a digital edition also available ensures all ‘Jurassic Park’ fans have a fair chance to seek a copy of this book!
THE PERFECT WAY TO CONCLUDE THE 30TH ANNIVERSARY!
This year’s 30th anniversary of ‘Jurassic Park’ is coming to an end, and what better way to celebrate it than by experiencing every word of the film in this fully illustrated form? Yeah, I know, I may be a little biased in this endorsement. However, I hope this detailed article on what the book consists of, with some exclusive first-look images, will entice you to seek a hardcover or digital copy today! This is the kind of book I have always wanted for ‘Jurassic Park!’ James Mottram, and the staff of Insight Editions, have gone out of their way to make this new entry in their series “spared no expense.” Perhaps someday the other films in the series will get script books of their own? There are definitely more stories to uncover, and artwork that deserves to be unearthed, before becoming extinct.
For an even deeper look at how this book was created, check out an engaging conversation with annotator & author James Mottram and consultant Derrick Davis.
Do you plan on checking out the first script book ever for a ‘Jurassic Park’ film? Would you like to see Insight Editions tackle ‘The Lost World’ next? Share your thoughts in the comments below and stay informed with Jurassic Outpost for the latest!
Production designer Rick Carter’s new art exhibition in Los Angeles, “Trip Outs & In”, is a showcase of his recent original paintings, cinematic collages, and A.I. inspired collages. It includes Rick’s “cinema room,” featuring artworks that reflect his production design process and film memorabilia from ‘Jurassic Park’ in honor of the film’s 30th anniversary! This special exhibit was created by Rick’s son, Jim Carter, through his Artist Agency Legacy West Media. Sponsored by The Container Yard, Excel Image Group, Sierra Nevada, The Lapis Press, & Jurassic Outpost!
Rick Carter’s production design process has been instrumental in bringing classic films to life for decades, such as ‘Forrest Gump’, ‘Back To The Future 2’, & ‘Avatar.’ They all get a spotlight in the “cinema room”, but Rick’s ‘Jurassic’ art features unique collages he created during ‘Jurassic Park’ and ‘The Lost World: Jurassic Park’. For the first film, he cobbled together ideas for the now-iconic Visitor Center, and for the sequel he depicted dinosaurs on and off Isla Sorna.
During this time, prints of some of these collages from the ‘Jurassic’ films are on sale at Rick Carter’s Art site! These limited edition prints are numbered and signed by Rick himself, making for a unique and special addition to any fan’s collection!
The exhibit also features original art by Rick that is not related to any film, including portraits of faces that come to his mind. This collection of art, with prints also available, details Rick’s personal connection to faces of the world.
Rick Carter’s “Yellow Woman.”
“As an artist I have attempted over the years […] to express the spirit of the many people who now travel within me as I continue my journey [around the world]. […] Many of the people I now paint or draw have come from my imagination. I don’t know who will emerge when I begin. But I do know where most of them come from. They are derived mostly from the people I encountered while traveling. Over time, some of them have become embedded and then embellished like pearls into almost real characters within my soul. They resonate as a group inside of me – creating a dialogue amongst my inner collection of people.”
This exhibit will run from December 2nd to December 11th, but the prints will remain online until they are sold out. Don’t miss out on your chance to see or own official prints of production artwork from ‘Jurassic Park!’ It’s amazing that even after thirty years there is still much to see and talk about regarding the original films from the franchise. Rick’s art is a capsule of special moments in time where his creativity gave birth to what we all know and love today. But his vision goes beyond the films he worked on, and this exhibit is an amazing tribute to his inspirational talent, and an amazing human being.
Rick Carter with a Stan Winston animatronic T-Rex during the production of ‘Jurassic Park.’
For a look at how Rick Carter also adapted the script of ‘Jurassic Park’ during the film’s production, watch Jurassic Time’s ‘Rick Carter’s Jurassic Park,’ an illustrated audio drama! Also check out the newly-released ‘Jurassic Park: The Official Script Book‘ that contains new quotes from Rick with a concept sketch he made for the Visitor Center’s rotunda!
Rick Carter’s sketch artwork featured on the page to the right.
Will you be able to visit Rick Carter’s exhibit? Interested in his art prints? Did you know collages like Rick’s are instrumental in the design process of films like ‘Jurassic Park?’ Let us know in the comments below and stay tuned to Jurassic Outpost for the latest!
Thirty years ago, ‘Jurassic Park’ roared its way into movie theaters. The film’s impressive special effects and incredible premise have wowed audiences for decades, cementing it as a true classic.
One vital member of the film’s creative team was Caroline Quinn, the art department coordinator. While her career would later evolve as a set designer on projects like ‘Buffy The Vampire Slayer’, ‘Curb Your Enthusiasm’, ‘Halloween Kills’, and Zack Snyder’s ‘Rebel Moon’; ‘Jurassic Park’ was where everything began. Join Jurassic Time as they discuss her role as an art department coordinator, and the adventure she went on to help bring ‘Jurassic Park’ to life!
Featuring never-before-seen photos and concept work from the film, as Caroline Quinn tells her behind-the-scenes stories! The perfect way to celebrate the 30th anniversary of ‘Jurassic Park’!
They explore her time assisting the film’s art department by assembling storyboard displays, models, and embarking on epic research assignments! Caroline even portrayed Lex Murphy in a “Raptors In The Kitchen” test video created by Stan Winston & Dennis Murren! Hear how she contributed to a famous joke in the film, helped create the memorable slideshow in the Visitor Center’s lunch room, and much more!
After thirty years, the film remains an incredible experience, thanks to the team of creative geniuses that brought to life an adventure 65 million years in the making…
It’s amazing how even after three decades we can learn new behind-the-scenes stories of ‘Jurassic Park’! What were some new details from this interview that you enjoyed the most? Share your thoughts in the comments below, and as always stay tuned to Jurassic Outpost for the latest!
Concept art for the new park proposed for Frisco, TX
Universal Studios Parks and Resorts announced today that they are developing a new park in Frisco, Texas.
The entertainment conglomerate has purchased nearly a hundred acres of land to establish a new park and resort destination for families with children that will include rides, character interactions, and a hotel.
While there is no official word on what specific brands and characters guests will be able to encounter at the new Universal destination, based on the official concept artwork released it seems like there is a heavy emphasis on Dreamworks properties. Among them also looks to be a whole area themed to Jurassic.
Many are already speculating, especially if the park focuses on Dreamworks properties, perhaps the Jurassic section will be heavily inspired or centered around the hit Netflix show Camp Cretaceous.
Tell us, what do you hope to see from Universal Parks and Resorts’ newest park? What would you like to see in the existing parks? Let us know in the comments!
Last year, ‘Jurassic Park’ fans were gifted with the “Jurassic Park: The Ultimate Visual History” book from Insight Editions. While it may not have entirely lived up to what die-hard fans were hoping for, it was overall a great summation of the behind-the-scenes stories for the original ‘Jurassic Park’ trilogy. The entire book was also illustrated with loads of pre-production artwork & rare photographs from all three films, making it a beautiful (but deadly?) addition to any fan’s collection. They also produced a very cool cookbook & children’s book that are also worth checking out.
Celebrate one of the most thrilling franchises of all time with this in-depth look at the making of the Jurassic World trilogy. Following the release of director Colin Trevorrow’s smash hit Jurassic World in 2015, the dinosaurs of Isla Nublar once again dominate the public imagination. Jurassic World: The Ultimate Visual History is the definitive account of the franchise – and a companion book to Jurassic Park: The Ultimate Visual History (released in 2021) – delivering a comprehensive look at the making of the first hit film as well as its thrilling sequels Jurassic World: Fallen Kingdom (2018) and Jurassic World Dominion (2022). Through rare and never-before-seen imagery and exclusive interviews with key creatives, the deluxe volume explores the entire creative process, from the films’ stunning dinosaur designs to the epic location shoots and the creation of the films’ incredible visual effects.
The book also includes sections on the DreamWorks Animation animated series ‘Jurassic World: Camp Cretaceous’, various games, toys, theme park attractions, and even the short film ‘Battle At Big Rock’. This is the first time any of the ‘Jurassic World’ films have received a behind-the-scenes book, which already makes it vital for this reason alone. But is it truly a “definitive account of the franchise” for this trilogy of films, or is it met with some the same (perhaps nitpicky) issues found in the previous book? Let’s have a look!
WHAT’S GOOD?
VISUAL & WRITING STYLE
Just like in the previous ‘Jurassic Park’ version, this book is visually pleasing. It’s filled with as much colorful artwork and photographs as possible. The text is neatly placed within it all, and nothing ever feels too crammed or out of place. The previous book had more going on with the borders around each page, whereas this ‘Jurassic World’ version has a more barren approach. It simply features gray tabs on the sides with gray/amber-tinged headlines for each new section. This simpler approach feels appropriate with the sleeker look of the films themselves, particularly the first ‘Jurassic World’ and its park’s design.
The writing itself is clear and precise, which is vital in stitching together different information from different sources. James Mottram, who also penned the previous book, weaves the information into a distinct fabric to tell its story.
EXCLUSIVE INTROS/OUTROS
This book includes a foreword by Bryce Dallas Howard (“Claire Dearing” in the trilogy), introduction by Colin Trevorrow (director of ‘Jurassic World’ & ‘Jurassic World: Dominion’, writer of the trilogy), preface by J.A. Bayona (director of ‘Jurassic World: Fallen Kingdom’), & an afterword by Frank Marshall (producer of the trilogy). Mysteriously absent from this list is Chris Pratt, but I suppose he is too busy voicing Mario these days. These exclusive passages are great bookends for the entire presentation, with each person adding their own personal tribute. They even reveal fun information, like J.A. Bayona as he details Michael Giacchino‘s fantastic music score for ‘Fallen Kingdom’:
One of my most cherished memories from making Fallen Kingdom was working with composer Michael Giacchino. We spent hours talking about film music and listening to soundtracks. There was one specific piece of music we paid attention to: Bernard Herrmann’s work for Mysterious Island (Cy Endfield, 1962). Our common goal while venturing into the musical tapestry of our movie was expressing our love for this kind of film. When I listen to Michael’s music for Fallen Kingdom, I sense our mutual desire to travel back in time and bring back the same unparalleled fascination and heartwarming happiness that those movies gave us.
FANTASTIC COLLECTION OF IMAGES
While many of the book’s images have been revealed online over the years by various concept artists who worked on the films, it is still great to have them all cobbled together in one book as the trilogy’s history is told. Even better, there are some art and photographs that have never been seen before! Here is just a tease of what to expect!
NEW & OBSCURE INFORMATION
Making a book like this requires many sources for quotes, stories, and other information. Website articles, television interviews, Blu-Ray bonus features; everything was sifted through to collect the data. While some, maybe even a lot, of the details could be considered “old news” to people deeply invested in this trilogy’s history, it is all well-arranged while even including new details sprinkled throughout. [NOTE: I will be honest and admit I am not as familiar with the history of the ‘Jurassic World’ trilogy as I am with the ‘Jurassic Park’ trilogy, so forgive me if any of this is not truly “new”.]
For ‘Jurassic World’, some of these fun new details include Derek Connolly never having seen a ‘Jurassic Park’ movie before when he was tasked with co-writing the script with Colin Trevorrow; production designer Ed Verreaux had sent his art department team to the Universal Studios theme park in Hollywood to photograph everything (including signage) to see what they wanted their fictional park to resemble; and concept artist David Lowery came up with an unused idea for a “Pteranodon Terrace” where guests traveled in glass gondolas hanging from a huge cable that stretched across a vast expanse of jungle (and included “food Frisbees” that would be shot out of the gondolas and snapped up midair by the flying reptiles.). However, one of the most exciting new details for me was a little more about the script written by Rick Jaffa and Amanda Silver right before Trevorrow & Connolly were brought in to pen their draft.
Spielberg also wanted to revisit the idea of a hero character capable of training and commanding dinosaurs. These ideas manifested in the character Vance who, in the Jaffa/Silver draft’s opening scene, is seen jumping out of a helicopter with a pack of trained raptors and landing in a compound belonging to a Colombian drug dealer. Although [John] Sayles used the bipedal Deinonychus in his draft, Spielberg felt that the physically similar Velociraptors, first seen in Jurassic Park, would be a better fit for the role. The story also focused on a Chinese paleontologist who visits the now-open Jurassic Park with her sons. The scientist has a secret agenda, believing that the park’s owners have stolen DNA from bones she unearthed of a previously undiscovered dinosaur—the Malusaurus. The corporate side of the park is run by Whitney, a female manager who views the dinosaurs as commodities and nothing more. Inevitably, the Malusaurus created using the stolen DNA escapes from its enclosure, and Vance must use his raptors to hunt it down.
‘Fallen Kingdom’ includes interesting tidbits, such as Benjamin Lockwood originally having very little connection to John Hammond and the past of ‘Jurassic Park’; in its original draft they went from Isla Nublar to England where a small village gets destroyed by dinosaurs (until Steven Spielberg told them there was no credible way to make that journey happen); and the film’s fantastic opening sequence was originally just over a single page in the script, with Bayona fleshing it out further with an extended climax on the helicopter ladder while also adding Jurassic staples (like the pouring rain and the yellow raincoat worn by the tech that resembles Nedry’s apparel from Jurassic Park). The film’s title itself (along with the next film’s) proves to also have its own unique history:
“I wanted to call [the first film] Jurassic World. And the second one was Jurassic Earth, and then the third Jurassic Kingdom. The studio was like, ‘You can’t keep changing the title of the movie. You already did it once.’” Taking Universal’s feedback into consideration, Trevorrow decided to combine the overall franchise name with a subtitle, taking the word kingdom from his proposed third film and adding it to fallen, suggesting the decline of the dinosaurs’ domain.
Even the small section on the short film ‘Battle At Big Rock’ gets a nice detail on its inspiration: a YouTube video titled “Battle at Kruger“, in which tourists witness a water buffalo being attacked by lions and an alligator.
The section on ‘Dominion’ reveals that a scene featuring Daniella Pineda (Zia Rodriguez) had to be recast with another actor, Varada Sethu, when COVID restrictions kept her from being able to leave another production she was on; production designer Kevin Jenkins ensured that the equipment seen in BioSyn’s abandoned amber mines displayed 1990s-style Biosyn logos, a detail reminiscent of the old rivalry between the company and InGen (although I suppose footage containing it must have been cut, because I can’t seem to spot it in either version of the film); and animatronic creature effects artist John Nolan took inspiration from Frontier Developments’ 2018 video game ‘Jurassic World: Evolution’to get a better sense of the Dilophosaurus’s locomotion for the film. In fact, Nolan’s team had created a device that would allow the animatronic version of the dinosaur to travel on a dolly track with eleven puppeteers following behind it using levers, rods, and cable controls to create the dinosaur’s walk. However, Trevorrow was not happy with the result. But perhaps one of the biggest pieces of interesting information involved our favorite clone girl, Maisie.
When it came to casting the role of Maisie’s mother, Charlotte Lockwood, Trevorrow considered using digital tools to graft Isabella Sermon’s face onto a body double and age her features appropriately. However, during a casting section for the body doubles, he made a remarkable find. “I had been given a set of faces whose bone structure was similar enough to Isabella Sermon’s,” says Trevorrow. Among those faces was Irish-born Elva Trill. As Trill began reciting lines with the director, he quickly came to realize that she would be perfect as Charlotte and abandoned the digital augmentation idea. “I’ve never seen an actor come in and just grab a role by being so good,” says Trevorrow.
The section near the end of the book that details ‘Camp Cretaceous’ scored some of its own interesting details, such as the showrunner’s original plan to feature Owen Grady and Claire Dearing; there was an early version of the story where Ben doesn’t survive past Season 1; and most interestingly how the originally intended final shot of the film trilogy was instead used as the final shot for this series:
Camp Cretaceous also brought Trevorrow full circle, back to his early meetings with Steven Spielberg when he pitched the arc of the Jurassic World franchise, which would ultimately lead to dinosaurs entering our everyday lives. Specifically, the image of a child looking out his window on a suburban street and seeing a traffic jam caused by a Brachiosaurus at an intersection. “We actually ended up making that the very last shot of the entire [Camp Cretaceous] series,” says Trevorrow. “After nine years, that idea found its way back into the story.”
THE INSERTS
As usual with Insight Edition’s Visual History books, there are numerous “inserts” on certain pages that feature unique items. While some are still applied with an adhesive per the previous book, many of the inserts this time are more technically “part of the book” and not meant to be removed entirely. Some are just meant to be unfolded beyond the confines of the book’s dimensions, while a few are even in the form of actual booklets to flip through. The only real negative is that it is focused more on the first film than the rest. Here is a complete list of what you will find:
From ‘Jurassic World’: Poster art advertises Jurassic World’s Gyrosphere ride; Storyboards by David Lowery from an early iteration of Jurassic World’s evolving storyline; A map of Isla Nublar showing the island’s topography and the location of Jurassic World; Dr. Wu’s Jurassic World security pass; Concept art by Glen McIntosh for Jurassic World’s petting zoo; The sketches that Steven Spielberg drew for Colin Trevorrow to illustrate his feedback on the Indominus rex breakout sequence; A tourist map of Jurassic World highlights the theme park’s attractions; & Storyboards by Glen McIntosh for the scene in which the raptors pursue a pig in the Raptor Research Arena.
From ‘Fallen Kingdom’: Raptor movement study by Glen McIntosh; A sticker sheet featuring production design art created for the Dinosaur Protection Group; & Production design art for the jacket of Dr. Ian Malcolm’s book, God Creates Dinosaurs (not actual size).
From ‘Battle At Big Rock’: Concept Art Booklet.
From ‘Dominion’: Storyboards by Glen McIntosh for Jurassic World Dominion’s prologue scene & Malta Concept Art Booklet.
From ‘Camp Cretaceous’: Concept Art Booklet.
WHAT COULD HAVE BEEN BETTER?
A fan wouldn’t be a fan without needing to nitpick, right? (Don’t answer that.) Despite being mostly pleased with this book, there are still a few areas that could have been improved upon (perhaps in a revised edition, which Insight Editions have done before).
WHAT ABOUT ‘JURASSIC PARK 4’?
The opening of the book does briefly go into ‘Jurassic Park 4’ (the obvious working title before it eventually was named ‘Jurassic World’), mostly delving into some details on the John Sayles script and then eventually a little more about Jaffa/Silver’s script before Trevorrow/Connolly did their own version. But what about the rest? There were numerous versions of the film, by other writers, that were tackled in the 14 years between ‘Jurassic Park 3’ and ‘Jurassic World’. Given that it was such a long range of time where the studio kept throwing ideas around to try to make things happen, most of it shrouded in secrecy, this had been one of my most anticipated sections. Instead, it was only a few pages, and generalized.
Also, while they mention the dinosaur/human hybrids, it’s a shame that none of the wild concept art (that has been online for many years) was included at all. Perhaps they couldn’t get the rights to feature them?
Speaking of art from this period: where was John Bell‘s art? Last year’s book featured loads of art by Bell for the original trilogy, plus a tease of two pieces of artwork he did for ‘Jurassic Park 4’. And yet, this book didn’t feature any of it. This is another case where the art has been online for years, on Bell’s very own site. And there is some fantastic stuff, including his concepts for gyrospheres and even a version of the park’s map that perhaps coincided with the Jaffa/Silver script. This book even mentions Bell in the “special thanks” section, making the exclusions even more mystifying.
OTHER OMISSIONS
Look, I get it: this book can’t be 1,000 pages long like all of us die-hard fans would like it to be. Putting the complex histories of three massive films into one book is a huge undertaking (just like it was in the previous book). Still, there were some things I wish had been mentioned or visually included in this book. Because when and where else would it be, apart from random online articles & videos that eventually get buried with the rest? Perhaps that’s why some of these details were possibly missed to begin with?
Seamus Blackley, the creator of the XBOX and the ‘Lost World’-related game ‘Trespasser‘, had pitched a video game that he titled ‘Jurassic World’ (before anyone else); which would later inspire several ideas for the new film trilogy. None of this important revelation is mentioned at all (although to be fair it wasn’t publicly known until very recently). Also for ‘Jurassic World’, there is no mention of the “Stegoceratops“: a second hybrid dinosaur that was originally planned to be in the film, and even had a toy made for it!
The previous book had spent a lot more time detailing most of the different scripts for the films. This book does this at times but to a lesser degree. While it was nice to learn a little more about the Jaffa/Silver script for example, it still just grazed the surface. And since this script can’t be found anywhere online currently, a more detailed summary would have been amazing. For example, was the concept art that was shown in one of the Blu-Ray bonus features (and not in this book) of the Indominus attacking a robotic T-Rex coming out of a waterfall (ala ‘Jurassic Park: The Ride’) something from this script?
MORE LOVE FOR THE SEQUELS
This is another reoccurring issue, but it just feels like more focus is given to the first film of the trilogy (despite me just complaining I wanted more from it!) with less invested in the sequels; ‘Fallen Kingdom’ and ‘Dominion’. More details about their different scripts, more inserts related to them (A pull-out Hammond painting from ‘Fallen Kingdom’ would have been awesome!), or even the mention of certain deleted scenes we know were filmed thanks to still images (that aren’t in this book): such as Iris’s death from the Indoraptor & a dead/decayed Stegosaur that Owen and his team come across as they search for Blue on Nublar.
According to more “hush-hush” behind-the-scenes stories, we also know that ‘Fallen Kingdom’ was going to originally involve Isla Sorna, a ‘Gene Ship’ for Wu’s experiments, and more of Ian Malcolm. He was going to try and sabotage the rescue mission on the Arcadia! ‘Dominion’ was originally going to be two films that would have been filmed at the same time. But again, none of these details are brought up.
In an ideal world, each film in the series would have gotten its own book. This would have allowed much more breathing room to fully explore all these things, and more. Perhaps that is just not economically feasible anymore, even for a big franchise? Especially when, let’s be honest, the sequels in each trilogy are not as popular or well-regarded as their first entries. While a slew of die-hard fans would have clamored for a ‘Fallen Kingdom’ making-of book, for example, is it really something that would sell well? Especially now? Sometimes these sorts of “package deals” are the only way to at least get what we are able to.
SO, SHOULD I GET IT?
I think‘Jurassic World’ fans shouldabsolutely get this book. My complaints, as you’ve read, only really dwell with what isn’t in it. While the omissions are disappointing, it isn’t so egregious that it takes away from what is included. There’s a wealth of information, concept art, photographs, and nice inserts (the “concept art booklets” being my favorite) that are all woven together wonderfully. In most ways it improves upon their ‘Jurassic Park’ book, and in retrospect I may have originally been a little too critical on it. But if being a little harsh helped make this book better, well, that’s why I still felt the need to point some things out this time, too.
What I didn’t expect to feel while reading and looking through this book was how much nostalgia it gave me. The first film in this trilogy is nearly a decade old, and it’s crazy how time flies. Books like Jurassic World: The Ultimate Visual History help preserve these films beyond the screen, along with all our memories that come with them.
The feelings we had in anticipation for these films, the news as details were revealed, the organized screenings every time they came out, and the events we attended where other people obsessed with this series finally felt like they belonged. Friendships made, perhaps even hearts broken, or miraculously the bond of marriage formed. We all have our stories. And when you go through these pages, I can almost guarantee that at least one image, maybe something obscure not literally in the film that you would never expect to elicit an emotion, reminds you of a time that once was. And you remember your place in that time, and perhaps realize just how different you are now; or the same.
This trilogy, and our time in it, is over. But like everything in nature, it will evolve. And so will you.
What are some of your favorite memories related to the ‘Jurassic World’ trilogy? Did you go to a fun event, see any of the films with someone you loved, or make new friends because of it? Share your thoughts in the comments below, and may the joy you have for these films never go away!
ADDENDUM: In celebration of the release of “Jurassic World: The Ultimate Visual History”, Insight Editions presents author James Mottram in conversation with Jurassic World Animation Director/Paleoartist Glen McIntosh. Discussion moderated by Derrick Davis, Writer at Jurassic Outpost & Creator of Jurassic Time! Intro/Outro by Insight Edition’s Marketing & Publicity Strategist Amanda Hariri. Live Book Release Event via Crowdcast (10/25/22).
