Recently we had the incredible opportunity to step into a world that felt like a scene straight out of Jurassic World. Thanks to the amazing team at Scenic World, who invited Jurassic Outpost for an exclusive look at their Dinosaur Valley attraction, we experienced one of Australia’s most immersive dino adventures!
Welcome to Dinosaur Valley
Nestled in the breathtaking Blue Mountains, Scenic World’s Dinosaur Valley offers an experience that’s as close as you can get to a real-life Jurassic Park. Right as I entered, I was greeted by lifelike baby dinosaurs, including a cousin of the Ankylosaurus, a massive T-Rex, and even an impressively animated Dilophosaurus! Each animatronic dino brought so much personality and realism to the experience, making me feel like I’d walked into a prehistoric world.
The Scenic Railway: A Ride Into the Past
One of the highlights was hopping aboard the Scenic Railway, which felt like stepping into a Jurassic World film. The steep descent into the valley is an adventure on its own, with the dense foliage, misty mountains, and distant dinosaur roars setting an epic atmosphere. It’s no surprise that this spot is often referred to as one of the best ways to experience the beauty of the Blue Mountains, now made even better with a Jurassic twist!
A Journey Through Dinosaur Valley
After getting a map, it was time to begin exploring. My first stop was at the family of Parallophosaurus, a stunning and lifelike group that brought so much charm to the trail. Walking through the valley surrounded by mountains and ancient rainforest, I was immersed in the environment, with the roars of dinosaurs echoing through the jungle, adding an unmatched authenticity to the adventure.
Meeting the Spinosaurus
No Jurassic adventure is complete without a fan-favorite dinosaur, and for me, that’s the Spinosaurus! Seeing it in this setting, surrounded by lush vegetation, felt surreal—it was as if the dinosaur had truly come to life in its natural habitat. Another cool feature Scenic World added was a sign language board that teaches visitors how to sign dinosaur terminology, adding an educational and inclusive element to the experience.
Plan Your Visit to Dinosaur Valley
Scenic World’s Dinosaur Valley is perfect for fans of Jurassic Park, families, and adventure lovers. The immersive scenery, incredible dinosaur models, and the stunning landscape of the Blue Mountains create a unique Jurassic adventure that feels authentic and fun. So, if you’re looking for the ultimate dino experience, this is the place to be!
For more information on Dinosaur Valley and ticket options, visit Scenic World’s website. Don’t miss out on this limited-time event—explore a real-life Jurassic adventure in Australia’s most picturesque landscape!
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.
On Monday, April 29th, Universal Orlando officially announced a plethora of new attractions and entertainment offerings coming to the resort this summer, several of which will include Jurassic characters and scenes.
Three new shows, one new themed land, and an all-new tribute store are all set to open throughout this summer. On June 14th, 2024 there is the simultaneous opening of an all-new DreamWorks-inspired land, the CineSational: A Symphonic Spectacular (both on the Universal Orlando side,) and Hogwarts Always nighttime show (on the Islands of Adventure side.) Then, on July 3rd, Universal will debut its newest parade, the Universal MEGA MOVIE Parade.
At the new DreamWorks Land, you’ll ‘let your imagination soar as your favorite characters from Shrek, Trolls and Kung Fu Panda come together in one colorful new land at Universal Studios Florida. Meet Shrek and splash in his swamp. Scream with laughter on the Trollercoaster. Learn kung fu with Po. Plus, ignite your sense of wonder with the new live show DreamWorks Imagination Celebration.’
For Hogwarts Always, guests will experience ‘a journey through iconic moments of a year at the beloved school of witchcraft and wizardry, all set against the majestic background of Hogwarts™ castle in The Wizarding World of Harry Potter – Hogsmeade™. On select nights.’
TheCineSational: A Symphonic Spectacularlagoon show will feature 228 fountains that reach heights up to 131 feet, new 4K projection mapping, an original composition featuring newly arranged scores meticulously crafted to each scene, and more than 600 drones. The show will also highlight past, present, and future Universal attractions including “Jurassic World,” “Jaws,” “Shrek,” “Ghostbusters,” “Trolls,” “Back to the Future,” “Universal Monsters,” “Transformers,” “How to Train Your Dragon,” “E.T.,” “Fast and Furious,” “The Super Mario Bros. Movie,” “Minions,” “The Mummy” and “King Kong, and “Harry Potter and Fantastic Beasts” films.
Capping off the summer fun in July, the highly anticipated new parade show debuts. At the Universal MEGA MOVIE Parade ‘your favorite characters will leap off the screen and onto the streets for a daytime parade. Feel the roar of the T.rex, enjoy the adventure of E.T., embrace your true colors with Trolls, and more. On select days.’ The parade is said to be Universal’s biggest daytime parade to date, combining 13 brand new floats, nearly 100 performers – including dancers, skaters, stilt walkers, performers and more – and special effects to create a jaw-dropping experience where guests can relive classic film moments in a whole new way.
While we don’t have official images of any of the floats or characters that will be present, we encourage everyone to check out videos online of past parades from Universal parks in Japan and Singapore.
In conjunction with the new parade will be this summer’s tribute store, themed to the various movies and characters that will be brought to life in the show. Will this mean that, for the third time, Jurassic will be present in a tribute store? Time will tell!
Tell us, are you excited about the new summer offerings coming to Universal Orlando? What scenes and moments from the Jurassic franchise do you hope to experience in the new parade and nighttime show?
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!
Announced all the way back in January 2018, the Jurassic World Live Tour was the inception of Feld Entertainment Inc.and Universal Brand Development, and promised “arena-sized action, special effects and physical stunts that will leave you on the edge-of-your seat!“
The show opened in Fall 2019 but unfortunately halted it’s North American tour in 2020. None of that matters now, as the Live Tour has returned to take you back to Jurassic World!
#JurassicWorldLiveTour is a must-see, family-friendly show that will have you on the edge of your seat!
— Jurassic Outpost (@JurassicOutpost) June 9, 2023
The incredible show is now touring and may be coming to your city! Check out the list below to see how close you will be to the dinosaurs of Jurassic World, including Blue, Rexy the Rexasaurus, and newcomer to the show, fan favorite Bumpy!
We had a fantastic time visiting the show and witnessing the dinosaurs, vehicles, and impressive cast up close. Be sure to check out the gallery below:
Check out the official website for further information, the schedule, and tickets!
Our very own Jayden was on the ground this week at Melbourne’s Supanova Comic Con event which featured the first of the Comic Con celebrations for Jurassic Park’s 30th Anniversary!
I'm blown away by this experience, going to a Jurassic has always been a dream of mine but to be invited to one is something that will stay with me for life. I just want to say thank you to the people who support me/my content, without you guys I wouldn't be here.
What an event! A huge thanks to Jayden, the Supanova team, and the team at Universal for putting on this event! Here’s to many more Jurassic Park 30th Anniversary celebrations!
One of the Natural History Museum of London‘s shops, the Cranbourne Boutique, has been completely transformed in anticipation of Jurassic Park‘s 30th Anniversary this year!
The brand new store will feature all kinds of Jurassic merchandise, including a Jurassic Park 30th Anniversary line exclusive to the store. The collaboration between NHM London’s retail team, Universal Pictures, and Universal UK is expected to be open until September.
We are thrilled by this incredible shop transformation, especially for our friends in the UK! Here’s hoping that something like this makes its way to museums or similar settings in the US and beyond.
Do you plan on visiting NHM London and the Jurassic Park 30th Anniversary shop? Let us know and share your Jurassic merch in the comments!
Rick Carter was the production designer of ‘Jurassic Park’ and ‘The Lost World: Jurassic Park’, among many other classic films from the ‘Back To The Future’ sequels to ‘Avatar’. Now, immerse yourself in Rick’s visually-stunning mind with ESMoA’s new art exhibit: ‘TIME’.
“TIME, a project by artist and production designer Rick Carter, is an immersive collage that contemplates the concept of time. The exhibition features paintings, drawings, and collages by Carter along with photographs, movie memorabilia, and additional works by eight other artists who were invited to participate.”
Rick Carter further explains:
“Over the past five decades as an artist and film production designer, I am frequently immersed in the realizations of visual concepts. […] This experience at ESMoA provides the opportunity to explore with younger LA-based artists the legacy of my artistic career as both a painter and visual collaborator with movie directors.”
Last weekend I attended a special advance preview of the exhibit, and it was quite extraordinary to see it in person! After being a fan of his production design in films for so many years, it was unique and exhilarating to be in a representation of his vast mind. Below is a gallery that features just a taste of what this exhibit is like.
For fans of ‘Jurassic Park’, there are various interpretations by other artists that are beautiful and engaging. Such highlights include art by Jacori “Aiseborn” Perry that feature a raptor running towards the gates of ‘Jurassic Park’ and a Triceratops hatchling!
There is also a myriad of work by Rick Carter himself, of course; straight from his own production files. This includes a special area at one end of the exhibit where a portion of the wall features several key items that have never been seen before. Unique collages of Jurassic Park’s Visitor Center and pencil sketches done on napkins create an early look into what would eventually be realized on the screen. A glass case at the center of this section displays a miniature Velociraptor model created by Stan Winston’s team. This detailed creation is clearly a cherished item in Rick’s collection that everyone can appreciate.
Left Side, Top to Bottom: Rick Carter’s actual crew badge, a collage concept for the Visitor Center, and a series of sketches done with pen on napkins depicting early layouts of the Visitor Center (and Hammond perhaps?). Center: Stan Winston Studios Raptor model from Rick’s collection. Right Side, Top to Bottom: Another Visitor Center collage concept, café mural collage concept, and DNA collage concept.
One of the coolest things for a ‘Jurassic Park’ fan to see is the mural Rick created that is actually featured in the film’s cafe; most iconically during Richard Attenborough’s portrayal of John Hammond as he tells his ‘Petticoat Lane’ story to Laura Dern’s Ellie Sattler. It was inspired by Pablo Picasso’s Guernica!
Another neat treat is an illustration of a Tyrannosaurus Rex made in 1990 (the first year of pre-production for ‘Jurassic Park’). It is credited to both Rick Carter and his daughter Amee Carter.
However, ‘Jurassic Park’ is just one of many films that Rick Carter was part of that the exhibit showcases. Other artifacts and artistic depictions include ‘Avatar’, ‘The Polar Express’, the ‘Back To The Future’ sequels, ‘Cast Away’, ‘What Lies Beneath’, ‘Star Wars: The Force Awakens’, ‘Forrest Gump’, and a lot more. There are also more abstract and personal pieces not related to any film, including many stunning renderings of human faces.
Walking around this massive room, with art reaching all the way to its tall ceiling, you can’t help but be wonderfully overwhelmed with Rick’s vision and the representations of his entire career (so far). One of the most arresting visuals Rick himself produced for this exhibit are the faces of the four leading directors he has worked with through the years: Steven Spielberg (‘Jurassic Park’), Robert Zemeckis (‘Back To The Future’ trilogy), James Cameron (‘Avatar’), & J.J. Abrams (‘Star Wars: The Force Awakens’). They almost appear to be looking down at the entire exhibit, seeing their entire worlds that Rick helped create with them.
One of the coolest features of this exhibit is the ability to have your own self-guided tour of sorts using ESMoA’s “Grid” feature! Using correlating numbers that are painted on the floor near the items they represent on the walls, you can look up each number on the Grid then select it to view a small cropped version of the artwork along with information about the specific artist and other details. There are even some fascinating sketchbooks that Rick created that you can digitally thumb through! These features are additionally informative if you somehow aren’t able to visit this exhibit in person, presenting a version of everyone’s work to be appreciated by virtually everyone. Or, as John Hammond would say, “Everyone in the world has the right to enjoy these illustrations.”
ESMoA’s “Grid” Feature
Access to Rick Carter’s personal sketchbooks.
Additional artists that illustrated Rick’s mind and career are: Alex Garcia, Luke Hayes, Muraji Khalil, Dalila Paola Méndez, Helena Park, Jacori “Aiseborn” Perry, Ivan “Mr Mustart” Petrovsky, and Carlos “Kopyeson” Talavera. The creation of the exhibit itself was also a massive undertaking, as evidenced in a cool time lapse video that begins with its inception then leads up to the preview event. The exhibit was curated by Dr. Bernhard Zuenkeler.
Rick Carter & Select Illustrators: Bernhard Zünkeler, Carlos “Kopyeson” Talavera, Jacori “Aiseborn” Perry, Rick Carter, Ivan “Mr Mustart” Petrovsky, Muraji Khalil, Helena Park. Sitting on the ‘Forrest Gump’ bench.
While attending the preview event, I saw all of the talented artists and ran into some ‘Jurassic’ veterans, including: Rick Carter (of course), David Lowery (Storyboard Artist), John Bell (Art Director), & Seamus Blackley (creator of the ‘Lost World’ PC game ‘Trespasser’… and a little thing called the XBOX). Seeing this exhibit with so many of the creative leads that were involved with the extraordinary films represented will certainly be a night I will never forget!
Derrick Davis pictured above with Rick Carter and then Rick Carter & David Lowery
While ESMoA is applauded for having an online version of the exhibit accessible to everyone, I must stress just how much more incredible it is to see it all in-person! They really did “spare no expense“! This amazing freeexhibit is open from May 5th to September 17th 2022 in El Segundo, CA, USA. Be sure to plan your trip in advance for the exact location and available hours and days it is open. Also check out their various upcoming programs that include opportunities to see Rick Carter in person!
For another Rick Carter-related experience that is connected to ‘Jurassic Park’, watch Jurassic Time’s illustrated audio drama of ‘Rick Carter’s Jurassic Park’; an adaptation of Rick’s script for the film, featuring thousands of production images from the film and interviews with Rick!
Note: Some images were obtained directly from ESMoA. Special thanks to Rick Carter & Eugenia Torre. ‘Rick Carter & Select Illustrators’ and ‘Installation Shots’ are credited to Mark Knight.
Do you plan to make a trip to this exhibit? And besides the ‘Jurassic’ films, what are Rick Carter’s other films that he worked on that you also love? Share your comments below, and as always stay tuned to Jurassic Outpost for the latest!
The dinosaurs of Jurassic World: The Exhibition are coming back to the United States to continue their worldwide tour – beginning in Dallas, Texas! Produced by CityNeon Holdings, the show had its most recent stops in Chengdu and Guangzhou, China and Seoul, South Korea.
Our precious dinosaurs travel in style onboard the world’s second largest plane – the Antonov-An 124 with skilled handlers taking care of the logistics in this massive move!
Jurassic World: The Exhibition began its first iteration in Melbourne, Australia in 2016 and continued across the globe in cities like Paris, Madrid, Philadelphia, and Chicago. It covers over 20,000 square feet and features full-size animatronic dinosaurs visitors can see up-close. The latest iteration of the exhibition features exciting new features and updates.
Image via CityNeon Holdings
For starters, many of the dinosaur animatronics have been upgraded to film accuracy – most notably the Tyrannosaurus Rex and Blue the Velociraptor. There are also brand new dinosaurs joining the show: a full-size Carnotaurus, Stygimoloch, and Ankylosaurus.
Image via CityNeon Holdings
Perhaps the most exciting update to the exhibition is the addition of a “baby dino encounter.” In this section, guests will be able to see and touch baby dinosaurs with the guidance of expert Jurassic World scientists. This includes a baby Parasaurolophus, Stygimoloch, and yes, even Bumpy the Ankylosaurus.
Image via CityNeon Holdings
True to the world of Jurassic, guests will also encounter a full size Brachiosaurus and Triceratops along their journey. They’ll also see the inner workings of the Jurassic World laboratory, and come face to face with the terrifying Indominus Rex.
Image via CityNeon Holdings
Jurassic World: The Exhibition is truly carrying on John Hammond’s dream for the world to see. It’s starting its return to North America in Dallas, Texas but is expected to continue with stops across the U.S. Where would you like to see Jurassic World: The Exhibition stop next?
When it comes to the Jurassic Park franchise, it is safe to say that there has been a lot of world building over the duration of the five installments which Universal Studios have produced. It is certainly safe to say that a lot has been added to the franchise over the years. The films have added new locations and new animals and characters, whilst the secondary materials – such as the viral marketing – have aimed to add in more continuity between the sequel installments. Canon, however, has not always been maintained – and there have always been issues which have plagued the Jurassic franchise and the continuity it shares between its various outings. We have seen Universal and Colin Trevorrow take steps towards addressing these issues in recent years – but unfortunately, a recent announcement during the press for Jurassic World: The Live Tour has us concerned about the future canonical consistencies within the franchise.
In the past, Colin Trevorrow has stated that he is the overseer of the franchise – and would oversee issues, such as Canon, moving forwards to ensure better continuity and cohesion across the property in the future. This had many of us excited, as it seemed to indicate that both Colin and the studio behind him were willing to take meaningful steps towards building a much more coherent cinematic universe. Indeed, it appeared that the Jurassic franchise would take a similar approach to other great franchises like Star Wars and Marvel, building outwards with meaningful connections to the very core pillars which first established the franchise. For a while, this seemed to hold true – with inconsistencies around the geography of the Isla Nublar report in both Jurassic World and Jurassic World: Fallen Kingdom openly addressed by the director, who proceeded to work with the team behind the viral marketing and surrounding canonical materials (Chaos Theorem) to build a meaningful explanation which alleviated the canon-breaking implications that the change in island geography had. Furthermore, the team working behind the scenes had the opportunity to build upon the background of the franchise – adding in new implications for the canon which alleviated some of the strained connections that the narratives of the more recent films had. It is safe to say that the Dinosaur Protection Group website, and other subsequent ventures, did a lot to build upon the canon in meaningful ways – addressing the concerns of long term fans and creating much more of a cinematic ‘universe’ than we had ever seen for the franchise before.
Whilst the Dinosaur Protection Group faded into obscurity after the cinematic debut of Fallen Kingdom, it appeared canon would continue to grow and expand within the franchise. This brings us to Jurassic World: The Live Tour. Press Events for the tour (see Chris’s coverage from an event in April of this year) got fans excited – with a clear focus on developing a story which could fit within the confines of a pre-established Jurassic World narrative. Indeed, whilst some of the live show would build upon the back of the blockbuster film, showcasing the Indominus rampage on Isla Nublar, the clear majority was stated to be a brand-new story exploring a top-secret InGen Facility in Chile. The story follows Doctor Kate Walker, who was working with dinosaurs in a similar behavioral capacity to Owen Grady, and has essentially been pitched as the other half of the IBRIS project which we see on screen within Jurassic World. This, again, is a project which has always been relatively secretive on-screen, so fans were excited to be able to learn even more about this new piece of lore which was sure to build upon the fundamental ideals explored within the first Jurassic World film. Anticipation was high – and this was only exasperated further by the debut of Battle at Big Rock, which explored more new characters within the same universe, after the events of Fallen Kingdom.
Unfortunately, however, it seems that the story continuity will not last.
Fast forward to the start of November, when the Live Tour is kicking off with its worldwide premiere. Colin was interviewed by the Social Media team working on behalf of Feld Entertainment., and in an Instagram story on the official tour account, Colin was asked where the events of the show fit within the timeline of Jurassic World. His response was as follows:
“We have something we call soft canon – which is that it happens, but it also exists within its own space. You know, Feld’s writers and creators made a new and original story which exists within the context of Jurassic World and I think people are really going to love it.”
This statement is great when we consider how passionate Colin is for the franchise, and it is nice to see how excited he is about the live show – but it also poses a very real problem for the franchise moving forwards. That statement of ‘soft-canon’, and the careful phrasing of this show ‘existing within the context of Jurassic World’, has set alarm bells ringing for many fans – suggesting that the show may not be a meaningful fit within the pre-determined canon of the franchise, as was previously implied. Soft-canon itself is an alarming phrase, considering its what ‘Jurassic World Evolution’ is described as — something that is not canon at all, but adheres to the rules of the universal while carving out its alternate reality.
This becomes problematic as a universe which is built without canon in mind can very quickly crumble and implode if not handle with a degree of oversight and brand management. Disney know this all too well – and it is the reason why the Star Wars Expanded Universe is now referred to as ‘Legends’. Here, Disney told too many stories which conflicted with one another and posed potential problems for the canons of the franchise so they had to restart this from the ground up and discount any of their old stories as being non-canon unless reintroduced into modern films or properties. Whilst this soured many Star Wars fans, Disney could get away with this because of the sheer scale and scope of Star Wars and its fan-base, with many more pre-established stories already under the franchise’s belt. Jurassic, in contrast, is a relatively new and expanding franchise with a smaller fan base, and so the movements made to grow the brand really need to be considered and thoughtful to connect with audiences and build a meaningful and consistent fan base. Therefore, the term ‘soft canon’ being thrown out so early in the growth of the franchise has both I and many other Jurassic fans concerned about the future direction of the franchise.
It should also be noted that Star War’s non-canon ‘legends’ media only consists of expanded fiction that came out prior to The Force Awakens. Everything since then has been carefully cultivated to fit within the ever expanding galaxy, working with their brand team, writers, and directors as to not contradict the films, but add to them all while telling their own stories. Why Jurassic cannot do this, especially given their stable creative team, and smaller universe size, is a frustrating mystery.
Whilst I appreciate that it is hard to canonise a Live Tour (other properties like ‘Marvel Universe Live’ opted to tell entirely separate stories), I think straddling the line between canon and ‘soft canon’ is an attempt for Jurassic to have its cake and eat it too. Whilst it’s a humble attempt at developing upon the IP, I feel that it misses the mark and misses what fans have truly been clamoring for – which are stories which will have larger impacts on the overall franchise whilst enabling them to connect with these characters and these stories in much more meaningful ways. The attitude of utilizing ‘soft canon’ poses a worry for fans, as it brings into question upcoming properties like Camp Cretaceous, and where they will stand in terms of both canon and impact on the other properties within the franchise. Whilst there is certainly an argument for these being more children’s tailored properties, it is important to note that even in that regard a canonical middle ground is achievable. Take, for example, Star Wars: The Clone Wars. This property found a way to tell stories within a pre-existing universe whilst not damaging canon. In fact, Clone Wars could build upon the pre-established in interesting and meaningful ways – connecting with both older and younger fans alike. This was due not only to the creative vision of Dave Filoni, but also due to the creative oversight and brand consistency which Disney and the Star Wars team had in place – and something which Jurassic seems to be sorely missing at this moment in time.
For the Jurassic World Live Tour, the format itself doesn’t entirely mesh with real world antics – so we understand that the action and context that which the story plays out may not be 1:1 to canon. But there is no reasons the overarching story itself of Dr. Kate Walker, InGens facility in Chile, and the events that subsequently played out cannot be canon. A simple “The story is canon, the action within and execution of it is soft canon” would be far more understandable. It was stated numerous times that Colin Trevorrow was involved from the start to make sure the story is hard canon. So what happened?
Make no mistake – I, and many others, are excited for new stories to be explored within the Jurassic universe. Many of us have clamoured for more from this brand for years, so the fact that we are finally getting this is exciting, and is a true testament to the creative passion of individuals like Colin Trevorrow. But, with that said, oversight is important too – and it’s important that this is built into a brand with solid foundations so that these stories can continue to be told for years to come. With that in mind, an organisation like Chaos Theorem or someone else altogether really need to be empowered to get more involved in the day-to-day canon of this universe, so that we can finally have something which feels cohesive. Continuity has always been a matter of discussion for Jurassic – and in some ways, poor continuity adds to the charm of these films. But, if Jurassic is to ever grow into a franchise with the power to do more than beat back other big names at the box office, then it is crucial that canon is considered, and that the time is taken to build a rich universe for these stories to take place within.
What do you all think? Where do you stand on canon in cinema, and is it important to you that these side projects tie in? Sound of in the comments below!
