Crichton had mixed feelings about being offered a further $500,000 to write the film adaptation: "I was so tired of the whole area that I didn't really want to do the screenplay. I was sick of Malcolm and I was sick of Grant–and I was even sick of the dinosaurs. But I really felt that I knew the dimensions of the story." Crichton recognized that, by writing the screenplay himself, the project could avoid the same issues he experienced while developing the novel.
Before writing the film, he met several times with Spielberg to discuss which aspects of the book he liked and disliked. Crichton completed his first draft later in 1990, but said "nobody was happy with it at all"; the draft skipped ahead to action rather than building up to it, as in the novel. At Spielberg's suggestion, Crichton rewrote the script in 40-page increments, with the first batch being better received. Crichton was aided by existing storyboards and sketches as he continued to rework the script, with the remaining 80 pages completed in early 1991.
Crichton had agreed only to write a preliminary version of the film: "I told Steven, 'I'll do a draft for you and cut it down to budgetable size; but then you're going to want somebody else to polish the characters.' I think that sort of surprised him, because writers never say, 'Get somebody else.'" Crichton finished his draft as Spielberg was filming Hook, the latter co-written by Malia Scotch Marmo and produced by Kennedy. While on the set of Hook, Scotch Marmo was reading the Jurassic Park novel and learned from Kennedy about the film adaptation, accepting an offer to work on its screenplay. Scotch Marmo began writing Jurassic Park in October 1991. She chose to start from scratch, with the novel as her basis, although she did read Crichton's screenplay and consulted with him. Spielberg also agreed to provide her with his own copy of the novel, which contained highlighted aspects of the book that he enjoyed. In addition, she looked at the numerous storyboards produced up to that point.
Scotch Marmo focused on building up the characters "to give them more life and more purpose" than in Crichton's novel and screenplay. She removed Malcolm from the story and tried to incorporate his characteristics into Grant, whom she found to be underdeveloped. She also sought to emphasise the major themes of the novel, specifically the "fatal flaw of trying to control nature," for instance by showing jungle vegetation creeping into the park's unfinished visitor center: "The idea was that nature was always in the way, always pushing hard against the intrusion." In the novel, Hammond is killed by a group of Procompsognathus. Crichton's draft had also included a death scene, with Hammond killed by a Velociraptor at the visitor center. In Scotch Marmo's draft, Hammond would choose to stay behind on Isla Nublar, and the other characters would escape after surviving a T. rex attack on their helicopter.
Scotch Marmo spent five months writing her draft and worked closely with Spielberg, noting that their collaboration was unlike most films in which writers "get an assignment, go home, write it and turn it in." She would send him 15 pages at a time, and then would rework them to his liking, sending the revised pages back along with the next 15. She completed her draft in March 1992; Spielberg read it twice and was dissatisfied. She recalled later, "As a writer, that's a terrible feeling. The natural urge is to say: 'Give me another week. I can work it out. I know I can.' But the truth is, sometimes you do hit and sometimes you miss. It's just a shame that it takes so long to find out."
Koepp found it difficult to condense the novel's scientific exposition, especially the dialogue that explains how the dinosaurs were created. Spielberg devised an idea to easily convey the cloning process through a short, animated film shown to the park visitors. Koepp named the film's cartoon narrator "Mr. DNA", after Spielberg jokingly referred to the character as such. Like Scotch Marmo, Koepp also sought to flesh out the characters of the novel while merging Malcolm's traits into Grant, finding the former character too difficult to write: "I told Steven before I started, 'That guy's gotta go. [...] He's just talking for pages at a time about esoteric scientific concepts'."
After Koepp finished his first draft, Spielberg sent it to Scotch Marmo for her opinion, and she replied with 12 pages of input; these were forwarded to Koepp, who found them helpful. He continued to work closely with Spielberg and with additional feedback from Scotch Marmo. Malcolm was written in at Spielberg's insistence, after Jeff Goldblum auditioned for the film and was deemed perfect for the role. Koepp tried to make the characters interesting, with moments such as Malcolm flirting with Sattler, leading to Grant's jealousy. He also tried to avoid excessive character detail because "whenever they started talking about their personal lives, you couldn't care less." Spielberg suggested modifying a scene so that the T. rex pursues characters in a Jeep; originally, it only depicted them driving away after hearing the dinosaur's footsteps.
Rewrites continued until just before the start of filming. Crichton noted that the final draft differed drastically from his earlier script, but praised the changes and said the new screenplay "seems very compatible with my way of thinking—it fits in my mind." Scotch Marmo did not receive credit for her work.
Crichton said that because the novel was "fairly long," at nearly 400 pages, the film adaptation would only have about 10-20% of its content; scenes were dropped for budgetary and practical reasons, and the violence was toned down. Spielberg said, "What I wanted to do was boil the book down and choose my seven or eight favorite scenes and base the script around those." In a departure from the novel, Spielberg sought to reduce the number of dinosaurs, believing it would not be "physically possible" to make the film otherwise. Koepp said the novel was written "more or less like a movie," making it one of the easier book-to-film adaptations he had worked on. He said that, like with any adaptation, the most difficult part of his writing assignment was to determine the overall structure of the story.
Several characters were modified for the film. Originally a ruthless and greedy businessman in the novel, Hammond was rewritten to be sympathetic, as Spielberg related to the character's obsession with showmanship. The ages of Tim and Lex were switched; Spielberg did this because he wanted to work with the younger Joseph Mazzello, and it allowed him to introduce the subplot of Lex's adolescent crush on Grant. For the film, Lex would also take on Tim's interest in computers. In another change, Grant and Sattler are made a couple for the film, adding subtle romance. Koepp changed Grant's relationship with the children, making him initially hostile to them to allow for more character development. This is partly reflected through his relationship with Sattler, who wants them to have children of their own. Removed from the film was Ed Regis, the park's public relations chief, whose cowardly traits were merged into Donald Gennaro. Several other characters were reduced to one scene each, including Henry Wu, Dr. Harding, and Dodgson. The name of InGen's corporate rival and Dodgson's employer, Biosyn, is also omitted and eventually featured in the 2022 film Jurassic World Dominion.
Because much of the film's budget was going toward its dinosaur effects, Spielberg sought to cast relatively unknown actors, saying further: "Basically, I wanted good, solid actors who weren't going to charge outrageous prices. I didn't want to spend three to five million dollars apiece on actors". Kurt Russell and Richard Dreyfuss were considered for the role of Alan Grant, but were deemed too expensive. William Hurt, Harrison Ford, and Tim Robbins turned down the role, which eventually went to Sam Neill. Laura Dern was cast as Ellie Sattler, after Robin Wright and Juliette Binoche turned down offers to play the character. Stacy Haiduk, Gwyneth Paltrow, and Helen Hunt had also auditioned for the role.
In the film, Dodgson gives Nedry a container, disguised as a can of shaving cream, which is used to transport the stolen dinosaur embryos. According to Bell, the script did not specify a brand of shaving cream, so he browsed at a drug store and eventually chose Barbasol for its distinctive design. In addition, Bell designed night vision goggles used by Tim, prior to the T. rex breakout.
After 25 months of pre-production, filming began on August 24, 1992, at Olokele Canyon. The three-week Kauai shoot was focused on exterior scenes, many of them set on Isla Nublar during daytime. Spontaneous cloud coverage occurred frequently, necessitating the use of lighting and film exposure tricks in order to match with previously shot footage. Scenes of the park's visitors arriving and departing Isla Nublar, via helicopter, were filmed at Manawaiopuna Falls, which became commonly known as Jurassic Falls after the film's release. Keopuka Rock, alternatively known as Jurassic Rock, was used for an early shot of the helicopter as it approaches Isla Nublar. The rock is located near the island of Maui, but filming otherwise continued on Kauai.
The exterior of the Jurassic Park visitor center was built on the grounds of the Valley House Plantation Estate. It was constructed as a 60-foot (18 m)-high facade, nearly 200 feet (61 m) in length. A Jurassic Park gate, marking the start of the theme park tour, was built at the base of Mount Waialeale.
Towering fences, standing 24 feet (7.3 m), were among the on-site construction work, representing the electrified perimeters of the T. rex enclosure during daytime scenes. Despite the simple design of the fencing, the project proved to be one of the most difficult for the production crew, as one of the filming sites was the remote Olokele Canyon. Special effects supervisor Michael Lantieri said "we had to haul all of this steel up there, drill holes like you would for telephone poles, pour concrete, and then pull all of the cables, which were three-quarter-inch aluminum with steel in the middle."
The longest stretch of fence measured over 200 feet (61 m), and more than six miles of cable were used in total. Spielberg wanted to avoid sagging in the cables, so the crew hired workers from a local company that was experienced with power lines. Lantieri called the project "an enormous job—and for very little payoff. People will look at the movie and say, 'Oh, there's a fence,' never realizing what it took to get it there." The canyon location was used for a scene in which Grant and the children, on their way to the visitor center, must climb over the fence to proceed.
By September 15, 1992, the cast and crew had moved to California, where the remainder of filming was scheduled to take place, primarily on sound stages. The majority of stage shooting occurred at the Universal Studios Lot in the Los Angeles area. Among the first sets to be used there was an industrial-sized kitchen, for when the raptors stalk Lex and Tim. Because the kitchen was filled with reflective surfaces, Cundey had to carefully plan the illumination while also using black cloths to hide the light reflections. The scene was shot on Stage 24, and other stages at Universal would also be used for Jurassic Park.
Filming moved to Stage 23 for scenes involving the maintenance shed interior, before moving to Red Rock Canyon, which stood in as Grant's paleontological dig site. The filmmakers originally planned to shoot in Montana, where the scene is set, but this was scrapped to save time and money. Jack Horner, the film's paleontological advisor, was consulted to ensure an accurate representation of a dig site, although other paleontologists have found the scene to be overly simplified and unrealistic.
Filming continued to progress ahead of schedule, with Spielberg crediting the project's extensive use of storyboards. Back at Universal, Stage 27 was decorated with real and synthetic jungle vegetation for various scenes. The stage was used initially to depict Grant helping Tim out of a tour vehicle, after it has been shoved over a cliff by the T. rex and into a tree. Upon retrieving Tim, the vehicle begins to drop through the tree foliage, forcing the humans to quickly descend before being crushed. This was one of the most challenging scenes to shoot and required the creation of a 50-foot (15 m) artificial tree, made of steel, with the vehicle dropped down the tree multiple times to acquire the needed footage. Spielberg wanted the tree to appear three times taller than it actually was, so three sides were each decorated to represent a different portion of the vehicle drop. The same steel structure was then redressed to serve as a different tree, for a scene in which Grant and the children take refuge and encounter a Brachiosaurus. Stage 28 was used for scenes taking place in the park's control room and laboratory. Wong shot his scene on the latter set, over the course of a day or two.
An early shot in the sequence focuses on the dashboard of one of the vehicles, with ripples forming in a glass of water, caused by the footsteps of the approaching T. rex. This was inspired by Spielberg listening to Earth, Wind and Fire in his car, and the vibrations the bass rhythm caused. Lantieri was unsure how to create the shot until the night before filming when he put a glass of water on his guitar, which achieved the concentric circles in the water that Spielberg wanted. The next morning, guitar strings were put inside the car, and a man on the floor plucked them to achieve the effect. Like Gennaro, Malcolm was originally scripted to flee in fear from the T. rex. This was changed with an on-set suggestion by Goldblum, who felt that heroic action was better. Instead, the scene features Malcolm using a flare to distract the dinosaur, allowing Grant to retrieve the children from the wrecked tour vehicle.
Winston had one of his company artists, Mark "Crash" McCreery, create numerous dinosaur sketches. These impressed Universal, which eventually hired Winston's team to make the film's on-set dinosaurs. Winston and ILM also worked together on the film Terminator 2: Judgment Day, released in 1991. As with previous films, Winston's workers consisted of two groups: the art department, responsible in this case for the dinosaurs' outer appearance; and the mechanical department, which would handle the technical inner workings. Winston's crew created fully detailed models of the dinosaurs before molding latex skins, which were fitted over complex robotics. Sound stages were considered the most ideal filming environment for the animatronics, allowing sets to be built on elevated platforms with the mechanics of the dinosaurs concealed underneath.
Tippett had assembled a 30-person crew to prepare for the go-motion segments; Spielberg did not wish to lose his expertise, and Muren sought to keep him involved with the project as an advisor to ILM's animators. Muren later noted that "this is the first generation of computer animators, and they are struggling with hardware and software limitations that make the process excruciatingly painful and slow." Although Tippett disliked computers, Muren eventually convinced him to remain involved on Jurassic Park. Tippett and the ILM team spent approximately a month learning each other's respective fields.
Tippett acted as a consultant for dinosaur anatomy, and his animatics were used, along with storyboards, as a reference for what would be shot during the action sequences. ILM's artists were sent on private tours to a local animal park, so they could study large animals – rhinos, elephants, alligators, and giraffes – up close. They also took mime classes to aid in understanding movements. Special effects work continued during post-production, as Tippett's unit adjusted to new technology with Dinosaur Input Devices: models that fed information into computers, allowing them to animate the dinosaurs like stop-motion puppets. In addition, they acted out scenes with the raptors and Gallimimus.
The CGI dinosaurs by ILM, based on Winston's designs, took nearly a year to complete. Compositing the animals onto the live action scenes took around an hour. Rendering the dinosaurs often took two to four hours per frame, while the T. rex in the rain required six hours per frame. Jurassic Park has more than 50 CGI shots, with the end fight between the T. rex and raptors using all-CGI dinosaurs, something that made Spielberg nervous until he saw the finished result. The 127-minute film has 15 minutes of total screen time for the dinosaurs, including nine minutes of animatronics and six minutes of CGI.
Along with the digital effects, Spielberg wanted the film to be the first with digital sound. He funded the creation of DTS (Digital Theater Systems) to allow audiences to "really hear the movie the way it was intended to be heard". The sound effects crew was supervised by Spielberg's friend and ILM founder George Lucas. Spielberg flew on weekends from Poland to Paris, where he met with sound designer Gary Rydstrom for updates. Rydstrom considered the sound process fun, given the film had all kinds of noise—animal sounds, rain, gunshots, car crashes—and at times no music. The process was finished by the end of April 1993.
As well as the CGI dinosaurs, ILM also created elements such as water splashing and digital face replacement for Ariana Richards's stunt double. Software used to create the dinosaurs and other visual effects included Pixar's RenderMan and Softimage 3D. ILM also used the program Viewpaint, which allowed the visual effects artists to paint color and texture directly onto the surface of the computer models. Jurassic Park was completed on May 28, 1993, after ILM concluded its CGI work.
Much care was put into creating a logo that would serve to equally represent the fictional park and promote the movie and its tie-in products. Universal creative director Tom Martin joined forces with the design firm of Mike Salisbury, and out of 100 designs came one created by Sandy Collora, one of Winston's employees. The design took the T. rex skeleton drawn by Chip Kidd for the book's cover, put it into a circle, and added a rectangle with the title to create a badge-like structure. A jungle silhouette was added underneath for scale, and a Neuland typeface was used on the title. John Alvin was hired to design the film's poster; he went through many revisions, with the final design simply using the film's T. rex logo.
Neill recalled that the film was essentially marketed by Universal with the idea that the studio "could make huge blockbusters without 'movie stars", stating, "This was true enough, but I think it slightly irked us, the actors, to be reminded from time to time we were not real 'stars.'" Universal would instead tease the film's dinosaurs as the primary attraction. A teaser trailer was released in December 1992, in which a mine worker discovers a piece of amber that would be used by the theme park. A full trailer debuted shortly thereafter, providing only a fleeting glimpse of the dinosaurs, a tactic described by journalist Josh Horowitz, in 2007, as "that old Spielberg axiom of never revealing too much". The film was marketed with the tagline "An Adventure 65 Million Years in the Making". This was a joke Spielberg made on set about the genuine, thousands of years old mosquito in amber used for Hammond's walking stick. Jurassic Park was heavily marketed against its primary competitor, Last Action Hero, which ultimately struggled at the box office and with critics.
In Australia, the film had the widest release ever and was the first to open with a one-day gross of more than A$1 million, grossing A$5,447,000 (US$3.6 million) in its first four days from 192 screens, beating the opening record of Terminator 2 and the weekly record set by The Bodyguard with a gross of A$6.8 million. In the same weekend, it also set an opening record in Germany with a gross of DM 16.8 million ($10.5 million) from 644 screens. In Italy, it had the widest release ever in 344 theaters and grossed a record Lire 9.5 billion ($6.1 million). After 115 days of release, it surpassed E.T. as the highest-grossing film worldwide of all time. It eventually opened in France on October 20, 1993, and grossed a record 75 million F ($13 million) in its opening week from over 515 screens. Its first week admissions in France of almost 2.3 million surpassed the previous record set by Rambo: First Blood Part II in 1985.
The film set all-time records in, among others, Germany, Hong Kong, Ireland, Israel, Japan (in US Dollars), Malaysia, Mexico, New Zealand, the Philippines, Singapore, Spain, Thailand and the United Kingdom. Ultimately the film grossed $914 million worldwide in its initial release, with Spielberg reportedly earning over $250 million, the most a director or actor had earned from one film at the time. Its record gross was surpassed in 1998 by Titanic, the first film to gross over $1 billion.
The 2011 UK release grossed £245,422 ($786,021) from 276 theaters, finishing at eleventh on the weekend box office list. The 3D re-release in 2013 opened at fourth place in the US, with $18.6 million from 2,771 locations. IMAX showings accounted for over $6 million, with the 32 percent being the highest IMAX share ever for a nationwide release. The reissue earned $45.4 million in the United States and Canada. The international release had its most successful weekend in late August, when it managed to climb to the top of the box office with a $28.8 million debut in China. This helped to bring the film's lifetime gross to $1.03 billion. Jurassic Park was the 17th, and oldest, film to surpass the $1 billion mark, and the only film by Universal to achieve this until 2015, when the studio released Furious 7, Minions, and the fourth Jurassic Park installment Jurassic World.
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DVD Production Notes
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DVD Production Notes
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