Jurrasic Park stuff

[Peter Giordano]

I still have not seen this movie but I pass on the following:

From: ot...@jybox.jyu.fi (Otto J. Makela)
Subject: JURASSIC PARK FAQ 0.3
Date: Tue, 21 Sep 93 03:29:01 EDT

Archive-Name: movies/jurassic-park-faq
Version: 0.3
Last-Modified: 21 Sep 93

PRELIMINARY JURASSIC PARK FAQ FILE -- VERSION 0.3
=================================================

Prepared by Otto J. Makela <ot...@jybox.jyu.fi> except where noted.

Sections B & C sorted more or less in the order things happened on
the film. Please send email on questions you'd like to see answered
(or at least pondered), plot problems (plenty of those), technical
goofs and anything else you'd like to see added to this FAQ file.
First one to send material on something will be credited, notes
inside brackets [] in other people's material are by me.

CONTENTS
--------

A. Answered questions
B. Plot holes
C. Technical goofs/continuity
D. Favorite quotes
E. Film credits
F. Trivia pursuit
G. Further material

A. ANSWERED QUESTIONS
---------------------

1. How accurate to nature are the descriptions of the dinosaurs in
the movie? What do we *really* know of these animals?

Of the fifteen species in the book, they only had seven in the
movie and only six of those are directly identified in the film.

The fifteen saurians in the book are: tyrannosaurs, maiasaurs,
stegosaurs, triceratops, procompsognathids, othenielia,
velociraptors, apatosaurs, hardosaurs, dilophosaurs, pterosaurs,
hypsilophodontis, euoplacephalids, styracosaurs and microceratops.
Note that in the book they didn't have brachiosaurs but their
smaller cousins the apatosaurs.

There is actually a small inconsistency here about the seventh
type. In the scene where they see their first brachiosaur, we
see in the distance several herd animals with the funny-shaped
head drinking from the lake, one of the "duckbill saurians" (the
same animal was seen in the Visitor's Center dining room wall
paintings). Dan Goldman <obi...@deathstar.stanford.edu> notes
that the press kit for JP listed it as "Parasaurus" or
"Parasauropholus". However, "The Official Hunter's Guide to
the Dinosaurs of Jurassic Park", an exhibition at the American
Museum of Natural History in New York listed the seventh as
being Compsognathus, a small carnivore, which they also had
on display as a model. This latter would work well with the
procopsognathus listed in the book, "pro-" being a common
prefix in taxonomy latin meaning "precursor". Of the book
dinosaurs, I think the duckbilled hadrosaur would be the
closest match to the animal seen in the film.

The park should actually have been called Cretaceous Park, since
most of the dinosaurs came from the Cretaceous (145My-65My BC),
instead of the Jurassic (208My-145My BC), but I think this was
just Michael Crichton's way of telling us Hammond & co. didn't
really know what they were doing building the thing.

For some reason, the Visitor Center rotunda featured an alamosaur
skeleton paired with the T-Rex skeleton, though live ones didn't
feature in either the book or the film. "Remember the Alamo?"

We really know nothing about the coloring of these animals, they
might as well have had chess-square patterns as far as we know.
At one point of making the film, they were thinking of giving the
velociraptors tiger stripes.

However, it is true that dinosaurs were close to birds. You
can think of dinosaurs as a transition phase (that lasted
several hundred million years) from what we nowadays typically
call reptiles to what we typically call birds.

Velociraptor ("Quick Plunderer")
6 feet (2 meters), Mongolia, late cretaceous 80My
* no reason to believe intellingence in the range given in
film; we don't think of crocodiles as being particularly
stupid, but they actually have *very* small brains, and are
*not* bright -- dinosaurs have approximately the same brain/
body size ratio which is a *lot* lower then in mammals --
nor do we usually think of birds as very smart ("birdbrain")
* scaled up for the film to 8 feet (2.6 meters); a find of
a few larger bones in Utah resembling a velociraptor and
possibly related has hastily been named the Utahraptor,
but it is not yet a complete find and it hasn't even been
published yet in any paleontological journals
* running speed pure speculation; there is only so much you
can determine from bones with forensics and biomechanics
* pack-hunting; speculation has been rife, but no real hard
evidence of this exists, though whole raptor skeletons have
been found with tooth marks from other raptors on them

Tyrannosaurus Rex ("Tyrant Lizard King")
40 feet (12 meters), Western North America, late cretaceous 65My
Nothing is know of the acuity of the visual system of a T-Rex.

Brachiosaurus ("Arm Lizard")
82 feet (25 meters), North America, East Africa, late jurassic 145My
Head size was exaggerated about threefold in comparison to the body.

Triceratps ("Three-horned face")
30 feet (9 meters), Western North America, late cretaceous 65My

Dilophosaurus ("Two-crested reptile")
20 feet (6 meters), North America, early jurassic 180My
Scaled down for the film, no reason to believe it could spit poison.

Gallimimus ("Chicken mimic")
17 feet (5 meters), Mongolia, late cretaceous 65My
Any kind of herd/flock behaviour is pure speculation.

2. Whatever happened to Gerry Harding (the park veterinarian,
played by the film producer Gerald R. Molen) after he dropped
Ellie Sattler (Laura Dern) back at the Park Visitor's Center?

Bret Barrett <bbar...@halcyon.com>:
Harding specifically states that he can drop off Laura Dern
before he goes to the ship that is leaving for the mainland.
So he either got to the ship and left, or something terrible
that we didn't see happened.

3. How many velociraptors were there?

Three, though Spielberg noted in an interview something about "like
being stalked by _four_ tigers", but I believe this means they weren't
quite settled about the count at that point. Robert Muldoon (Bob
Peck) notes when they visit the velociraptor pen for the first time
that the "new" big velociraptor had killed their herd of eight except
for two. One is locked in the freezer by the kids, two are killed by
the T-Rex (they all look alike to me -- which one is "the big one"?).

4. What was the computer hardware in the park control room?

There was $875,000 worth of Silicon Graphics hardware (mostly Iris
workstations -- "It's a UNIX system; I know this!") and $350,000
worth of Apple hardware (Macintosh with video software) on loan.
Also some $500,000 went into hardware and software for the set and
it's off-stage control room which piped video images to the screens
(yep, that Connection Machine in the set background is just a mock-up).

The park software is supposedly written in Pascal (a program is
clearly visible in one of the monitor closeups on the Unix system),
no wonder it didn't work worth a damn. The graphical interface
recognized as a Unix system is Silicon Graphics' "3D File System
Navigator."

By the way, the computer-generated dinosaurs were first done as
quickie sketches on a Amiga video toaster, the real production
work was all done on Silicon Graphics workstations.

5. e kieran xd/m <etl...@etlxd20.ericsson.se>:
Major differences between the book and the film:
* the concentration in the book on the problem of (and the incidents
of!) the dinosaurs getting off the island
* the concentration in the book on how the dinosaurs are contained
[and enumerated with motion detection systems, the bugs in the
software doing this, causing them to miss the fact that the dinos
are multiplying]
* male dinosaurs are talked about in the book [in the film they
are only implied by the existance of the eggs]
* the young T-Rex and the dactyls [plus the seven other types of
dinosaurs in the book but not in the film]
* the (let's face) quite contrived ending of the film, when the
T-Rex enters the building to eat the raptors [the original idea
was that Alan Grant (Sam Neill) would use a big platform crane
to crush the raptor in the skeletal T-Rex jaws, but Spielberg
decided the audience would love to see the T-Rex again, specially
since the computer-generated T-Rex worked so well]
* in the book, Ellie Sattler is Alan Grant's student, nothing more
[however she does have a PhD of her own]
* in the film, John Hammond is seen as a gentle but disillusioned
man, unlike the book [where he actually is "Somewhat of a sod",
as Richard Attenborough put it in an interview]
* much more is made of eyesight acuity in the film?
* the "Grant and raptor clash in the incubation-room" was
left out of the film
* the "raptors chewing at the window bars" was left out of the
film [and actually the whole thing of Malcom being hurt by
raptors and dying of it due to lack of medical facilities]

6. e kieran xd/m <etl...@etlxd20.ericsson.se>:
How about trying to find out what parts of the film were edited
out (to give us some idea of what might be in a Special Edition,
if there ever is one)?

[According to THE MAKING OF JURASSIC PARK there were no major
scenes filmed that didn't end up in the final production, the
only thing I can think of is the adolescent triceratops, the
model of which was almost ready when the scene was scrubbed.
Also, since the upcoming LaserDisc release will be a deluxe THX
package with talk about four-channel digital sound (about as
special as it gets, THX has only been done in ABYSS and the
STAR WARS 3-pack and announced in the upcoming T2 SPECIAL
EDITION), I think we'll be waiting for a JP Really Special
Edition for some time...

Lewis Stiller <sti...@cs.jhu.edu> notes that a scene in which
Alexis Murphy (Ariana Richards) is pursued by a tyrannosorous was
cut because the tyrannosorous' tongue did not look sufficiently
realistic]

7. Karl Thoroddsen <kar...@rhi.hi.is>:
What I'd like to know is what scenes were made with puppets and what
scenes were computer generated. I thought for instance that the
kitchen scene was 100% ILM but someone stated recently that it was
made with puppets.

[Only ILM really knows the whole truth... The first brachiosaur was
all computer-generated, the tree was shaken with wires which were
then digitally removed (someone mentioned Adobe PhotoShop here).
The sick Triceratops was a finely detailed full-size model flown into
Kauai from Stan Winston studios in California. The T-Rex scene where
Ian Malcolm gets hurt was a mixture of two large hydraulic-driven
computer-controlled models (one head, upper body & tail on an
aircraft simulator base and a set of walking legs) and computer
animation. The Gallimimus herd was all computer-generated, somewhat
based on ostriches. Robert Muldoon's (Bob Peck) death was done with
full-size actuated puppets, positionable stunt puppets, a counter-
weighted head and neck rig and a man in a raptor suit. The
maintenance shed scene with Ellie Sattler (Laura Dern) was done
with the insert head, a full-body locking-joint model with and
articulated head and a set of walking and running raptor legs.
The kitchen scene (first indoors scene done by the 1st unit)
featured two fully mechanical full-size raptor puppets, two raptor
suits, cable-actuated foot extensions (used with a partial suit)
and stunt puppets mainly for the leaps in addition to computer
graphics. The final scene in the Visitor Center rotunda was all
computer-generated. A popular technical magazine in Finland gave
the total of computer-generated footage as six and half minutes]

8. Lewis Stiller <sti...@cs.jhu.edu>:
Sound effects are a critical aspect of the film. The film is intended
to be watched in a DTS-6 theater, that is, a theater using a 6-track
DTS sound system. DTS-S should be avoided. DTS encodes digital timing
information on the film, which a microcomputer uses to synchronize with
a CD-ROM containing the actual encoded sound. DTS tends to be cheaper
than competing digital systems, and results in more accurate sound
reproduction than conventional analogue reproduction. It is unfortunate
that many viewer's negative impression of the sound is formed from
listening in inferior theaters.

Here are some points to listen for:
* After the initial loud drum sound, there are pairs of deep drumbeats
that come throughout the opening credits, like far off heartbeats.
* When the thumper fires the slug at the Montana dig, the sound travels
rapidly but smoothly from the front to the rear of the theater,
concluding in a fading roar behind the viewer.
* The waterfall noise pans right as Donald Gennaro (Martin Ferrero)
walks past it at the mine.
* When Ellie Sattler (Laura Dern) and Alan Grant (Sam Neill) are walking
up the hill after looking at the velociraptor image, there is a low
roar left off screen: this is the helicopter.
* The sound of the raindrops on the car comes from all 6 tracks in the
theater, giving a particularly realistic "in the rain" effect.
* The tyrannosaurus attack on the car from the left is heard from the
left speakers.
* When Tim Murphy (Joseph Mazello) watches the tyrannosaurus eating
the gallimimus, and says "so much blood," the viewer can hear the
eating sounds coming from the rear of the theater.
* When Alan Grant (Sam Neill) finds the dinosaur eggs the score plays
the hatching of the raptors song.
* When Ellie Sattler (Laura Dern) and Robert Muldoon (Bob Peck) are
walking in front of the power station, they look behind them and to
their right; in the theater there is an off-screen bird sound coming
from the left front of the theater. This is salient, as otherwise
there is no reason for them to look in that direction.
* The tyrannosaurus' roar is made up of elephant, alligator, penguin,
tiger and dog sounds layered together. The raptor sounds use human,
dolphin, geese, horse and African cranes. The dilophasourus starts
out with bird sounds, particularly swan calls; when it attacks the
rattling sound is that of an exotic insect. The brachiosaurs use
sounds from whales and donkeys. The supervising sound editor, Richard
Hymns, traveled to the rain forests of Australia to get some of the
sounds used in the movie.
* The way in which the orchestra gradually joins in with the piano
theme in the last song, "Welcome to Jurassic Park" on the compact
disc, is worth noting.

9. What's this about religious symbols appearing in the film?

Lewis Stiller <sti...@cs.jhu.edu>:
There is religious symbolism throughout the movie. When Donald
Gennaro (Martin Ferrero) gets off the raft at the amber mine and
almost falls, Rostagno (Miguel Sandoval) reaches for him. The camera
lingers on them. This seems to be a reference to Michelangelo's
CREATION OF ADAM at the Sistine Chapel. Indeed, the name of the
amber mine is Mano de Dios which means Hand of God. Later in the
amber mine itself, Rostagno asks for light on the amber, a reference
to "Let there be light," and kneels to hold up the piece of amber
while the light changes and an angelic choir crescendos. (Thanks
to Jim Gillogly for pointing out these references.) John Hammond's
(Richard Attenborough) role, white clothing and staff seem to refer
to this as well, as does the long shot of the snake by the raptor
after Robert Muldoon (Bob Peck) is attacked.

B. PLOT HOLES
-------------

1. There was no talk of cloning also plant life at any time, but
Ellie Sattler (Laura Dern) was marveling a plant leaf she said
had been extinct for millions of years just before they see
their first brachiosaur.
Pekka Timonen <pa...@jyu.fi>: Plants being cloned are mentioned
by Sattler also when talking about choosing them for looks,
ignoring their possible toxicity.

2. Open plotline: they never figured out what was wrong with the
triceratops?

Bret Barrett <bbar...@halcyon.com>:
The triceretops in the book was getting sick not because it ate
any of the berries, but because it ate some of the rocks that the
berries had either fallen on or dripped on or something, I can't
remember. Anyway, there was speculation that the animals used
the stones to help mash up vegetable fiber inside their stomachs...
they are called gizzard stones.
After about six weeks, the stones would be ground smooth, the
animal would regurgitate them, and eat more stones (and more
poison). They realized this in the book when they discovered
several piles of smoothed out gizzard stones. Apparently, some
real dinosaur fossils have been discovered with things that
could have been gizzard stones associated with them, but there
is no conclusive proof.

[Some birds, for example the common duck, also use gizzard stones
to compensate for their nonexistant teeth; the dinosaur was a
stegosaurus in the book; the plant the chinaberry or West Indian
lilac (Melia azedarach)]

Lewis Stiller <sti...@cs.jhu.edu> notes that you actually can
see the used-up gizzard stones next to the lilac in the film.
David Bromage <br...@yoyo.cc.monash.edu.au> notes that gizzard
stones are technically known as gastroliths.

3. Why did Dennis Nedry (Wayne Knight) attempt to steal live embryos
when just stealing a copy of the DNA database would have been a
lot safer, more productive for the competition he was selling them
to and quite a lot easier to get away with?

Some objections have been made about the supposed huge size of
the DNA databases. Let's take a look at the numbers (courtesy
of Dr. Geoffrey Yule <ps_re...@wpogate.missouri.edu>)...

According to *the* reference about this kind of stuff (Genes IV,
Benjamin Lewin, 1991):

3.3*10^9 base pairs in the haploid human genome (that is the
amount that you must double to account for a contribution from
each parent, i.e. diploid). In other words, you carry pairings
of each chromosome that represent contibutions from each parent.
6.6*10^9 base pairings are therefore contained in each DNA-
containing cell in your body (excludes such things as the
virtually dead superficial epidermis, the red blood cell, and
the platelet).

Other species (haploid):
Influenza virus 13,500
E. Coli 4.2*10^6
Fruit Fly 1.4*10^8
Mouse 3*10^9

Mouse genes kinda humble the average human. What's interesting
to note is that the progression (once past the unicellular stage)
is not logarithmic as the arrogant human might expect. The scale
of difference in genome-length even within the amphibians can be
100-fold for creatures that for all the world can only be told
apart by experts. That, in fact is the distance separating us
from the rest of the mammals. About 1*10^9 base pairs in the
haploid situation is all that's required to gain entrance into
our mammalian clique.

Now let's calculate: assume 3*10^9 base pairs are sufficient
for your average dinosaur (this is a number given in the book,
and sounds pretty reasonable taken with the above information).
With two bits per base pair (remember, there are four bases:
adenine, thymine, guanine and cytosine) we get 750,000,000 bytes,
which comes to 716Mbytes. Thus, one could fit the DNA data of
all seven of the movie dinosaurs onto one 5Gbyte minitape.

Grabbing a backup tape would thus not have been very cumbersome
for Nedry (actually, the tape would be quite a lot smaller than
the fake shaving foam can), I'm sure they took backups even of
the Jurassic Park computers ("Which have never been offline").

Of course building the full animal from the database would
be pretty expensive (current cost is given by John McLaughlin
<bor...@cairo.anu.edu.au> as $10000 for a 200-nucleotide DNA
chain) but we have to assume that in the book and film DNA
building costs quite a lot less than $50 per nucleotide --
otherwise the dinosaurs would cost several gigadollars each,
even counting the fact that they weren't working with the full
sequence, just the few percent that differed from contemporary DNA!

It still would make a lot more sense then taking the risk of
attempting to clone totally unknown animal embryos.

4. Doug Shaw <dos...@math.lsa.umich.edu>:
If people were not supposed to leave their tour cars, why was
there a working public restroom off the road where the lawyer
Donald Gennaro (Martin Ferrero) got eaten by the T-Rex?

Byrdie <byr...@u.washington.edu>:
Was it public or for staff -- simply decorated for the viewers?
Also, could they not leave the cars at all -- or simply not
leave the unattended by a staff member?

5. How were they going to "invoke the lysine alternative" as Robert
Muldoon (Bob Peck) insisted? The idea was, if the dinosaurs aren't
given high-lysine food they die in a couple of days on their own.
It was hardly solution to their immediate problems, like it was
mentioned in the film (in the book, the raptors on the loose
found a source of lysine -- soy).

6. Ellie Sattler (Laura Dern) leaves one velociraptor locked in the
maintenance shed. How did it get out of there, since the shed had
doorKNOBS, instead of handles like most doors on the island? I can
believe raptors opening handles, cats can figure them out, but knobs?
They simply didn't have the kind of hands to grip and turn them.

Reminds me of the Gary Larson "Far Side" cartoon about the dog
scientists, working day and night to discover the "doorknob
principle", knowing that their work may transform the lives of
dogs everywhere...

Karl Thoroddsen <kar...@rhi.hi.is>: Their mouth, like some dogs do.

7. How did Tim Murphy (Joseph Mazello) get shocked by the fence as
he wasn't touching anything grounded while hanging from it?
I don't think it could have been a phase difference between
different wires or grounded wires amongst the "hot" ones, because
of the interconnecting small wires (which prevented them from
crawling between the main wires) which did not seem to be
insulated in any way from the main wires. Also, Alan Grant
(Sam Neill) had a knife on his belt, why didn't he try cutting
these smaller wires?

8. e kieran xd/m <etl...@etlxd20.ericsson.se>:
And in the scene where Alan Grant (Sam Neill) and Ellie Sattler
(Laura Dern) are trying to hold the door closed against the raptor
while Alexis Murphy (Ariana Richards) is working the computer, why
didn't they just get Tim Murphy (Joseph Mazello) to give them the
gun to shoot the raptor through the glass? Or Tim could have shot
it himself?

[I was thinking the same thing when watching the movie, but then
it occurred to me that Tim is a kid, and you'd not expect a kid
to go around firing shotguns in real life...]

C. TECHNICAL GOOFS/CONTINUITY
-----------------------------

1. Lewis Stiller <sti...@cs.jhu.edu>:
The leftmost light on the fence just past the main gate in the first
shot past the gate does not work.

2. In the scenes where they are sitting in the electric tour cars,
hoping to see some dinosaurs, there is rain on the windows at one
point (before the storm starts) and a few seconds later with a
shot from another direction there is none.

3. Walter Zimmer <walter...@student.uni-ulm.de>:
As Dennis Nedry (Wayne Knight) got stuck with the car, you can see
the sign pointing to the East Dock twice: the first time it faces
straight forward, the second time it faces to the left.
Strange, no? Perhaps the Dilophosaurus turned it ;-)

4. Thomas Hollunder <ro...@mips.complang.tuwien.ac.at>:
Has anybody noticed that the fence of the T-Rex area ends (looking
at it from the outside) on the left side right where the trees begin?
So, instead of waiting for somebody to turn off the juice, big T
could've easily made his way through the bushes.

5. B Moore <bmo...@eleceng.adelaide.edu.au>:
The drop at the T-Rex fence, which the car ends up falling down,
seems to be at least as large as the T-Rex itself, maikng the scenes
where the T-Rex is coming thru the fence all wrong.
I'll have to see it again, but I also think the T-Rex shrinks
considerably once it gets thru the fence. Perhaps an inconsistency
with the head-shoulder robot and the animation.

6. Tony Slack <cco...@prism.gatech.edu>:
When the T-Rex first comes out and the lawyer Donald Gennaro (Martin
Ferrero) runs from the car, he leaves the door to the car open.
Several scenes later the door is shut and then almost the next scene
shows it open again. [How does this tie in with Tim Murphy (Joseph
Mazello) closing the door on the face of the T-Rex?]

7. Rick Smith <sm...@sctc.com>:
When the T Rex is off screen and "stalking" its victim, the ground
shakes with every step. I didn't notice the ground shaking much at
other times when it was on-camera, like when it was moving around
near the vehicles, or chasing the jeep with Ian Malcom (Jeff
Goldblum) and friends, or even just before chomping that raptor
at the end.

[Anyway, nothing *really* walks like that (except RoboCop) --
they'd get concussion or sprain something pretty soon]

8. When the brachiosaurus comes comes to graze from the tree (they
reused the same "tree" in a sound stage the car fell from, by the
way) Alan Grant (Sam Neill) and the kids are sleeping in, you can
see camouflage net in the upper lefthand area of the screen.

9. Lewis Stiller <sti...@cs.jhu.edu>:
There are two shots of the sole of Alan Grant's (Sam Neill) boots:
when he is in the tree with Tim Murphy (Joseph Mazello) and Alexis
Murphy (Ariana Richards), and when he is climbing the fence. In
each case his sole is clean, although it should be dirty as he has
been trekking through mud.

10. Lewis Stiller <sti...@cs.jhu.edu>:
Although the lights are out, as, presumably, the electricity is off,
in the dining room where Hammond is eating ice cream, the ceiling fans
are still working. [Would you believe that I noted this myself on the
2nd watching, but forgot it later on!]

11. e kieran xd/m <etl...@etlxd20.ericsson.se>:
In the scene where John Hammond (Richard Attenborough) is on the
walkie-talkie, giving directions to Ellie Sattler (Laura Dern) on
how she is going to re-start the generator, Hammond tells her to
look for a button with the words, "Push to close," written by it.
Sattler finds it, and the scene goes back to Hammond again. He
then says the words, "Push it!" but if you look closely, his
mouth doesn't actually move and the voice is (apparently)
over-dubbed.

12. Matthew Lee <k5...@cunyvm.bitnet>:
In the scene where the Raptor is in the computer room,what appears
to be the reflection of the computer screen off its face is wrong.
You can read the letters (DNA code?) off of its face, but it should
be a mirror image for a reflection.

13. In the end, where they are sitting in the helicopter looking at
birds flying away (I guess symbolizing escaping dinosaurs), in
the shots inside the copter where you can see out of the copter
window you see the island foliage going by, though they supposedly
are in the middle of the ocean.

Nik Clayton <cs9...@brunel.ac.uk>:
I have a different spin on it. Throughout the book, and the movie,
there is a lot of speculation that birds descended from dinosaurs.
Things like the Triceratops and it's gizzard problem, or the
Gallimuses (Gallimusi?) running and behaving as a flock of birds
would. I think Alan Grant (Sam Neill) mentions the dinosaur->bird
theory at some point. At the end it is not a massive leap to assume
that Grant laments the loss of the dinos (he's been digging fossils
all his life, and the first chance he gets to spend with real ones,
well, chaos ensues). When he sees the birds he gives a little half
smile. I assume this means that he's thinking "Of course, we haven't
lost our chance to be with dinos, they're still here, as birds."

D. FAVORITE QUOTES
------------------

Are some of these paraphrased?
What was that line about the bloodsucking lawyer?
Also Rostagno's line in Spanish about betting Gennaro falls in?

"Here I am, sitting in a car alone talking to myself. That's chaos."
-- Ian Malcolm (Jeff Goldblum)

"Now _that_ is a big pile of shit."
-- Ian Malcolm (Jeff Goldblum)

"You will remember to wash your hands before you eat anything?"
-- Ian Malcolm (Jeff Goldblum)

"Mr. Hammond, after careful consideration, I've decided not to
endorse your park." -- "That's all right."
-- Alan Grant (Sam Neill) and John Hammond (Richard Attenborough)

e kieran xd/m <etl...@etlxd20.ericsson.se>:
"It's... it's a dinosaur!"
-- Alan Grant (Sam Neill)

e kieran xd/m <etl...@etlxd20.ericsson.se>:
"T-Rex? You said you have a T-Rex?"
"Yes!"
"Say that again."
"We have a T-Rex!"
-- Ellie Sattler (Laura Dern), John Hammond (Richard Attenborough)
and Alan Grant (Sam Neill)

Dominic Macika <mac...@emunix.emich.edu>:
"God creates dinosaurs.
God destroys dinosaurs.
God creates man.
Man destroys God.
Man creates dinosaurs.
Dinosaurs eat man."
"Woman inherits the earth."
-- Ian Malcolm (Jeff Goldblum) and Ellie Sattler (Laura Dern)

Big Jay Hawley <j...@loose.apana.org.au>:
"That was an impact tremor.
I'm fairly alarmed here."
-- Ian Malcolm (Jeff Goldblum)

Joachim Lous <joachi...@kih.no>:
"It's a UNIX system; I know this!"
-- Alexis Murphy (Ariana Richards)

Marcus Meissner <msme...@cip.informatik.uni-erlangen.de>:
"I hate being always right."
-- Ian Malcolm (Jeff Goldblum)

Lewis Stiller <sti...@cs.jhu.edu>:
"Welcome to Jurassic Park."
-- Jurassic Park Tour Voice (Richard Kiley)

Lewis Stiller <sti...@cs.jhu.edu>:
"I bring scientists, you bring a rock star."
-- John Hammond (Richard Attenborough)

Lewis Stiller <sti...@cs.jhu.edu>:
"Dr. Grant, my dear Dr. Sattler, welcome to Jurassic Park."
-- John Hammond (Richard Attenborough)

Lewis Stiller <sti...@cs.jhu.edu>:
"Dinner, anyone?"
-- John Hammond (Richard Attenborough)

Lewis Stiller <sti...@cs.jhu.edu>:
"Ah ah ah, you didn't to say the magic word!"
-- Dennis Nedry's (Wayne Knight) alter ego on the computer

Lewis Stiller <sti...@cs.jhu.edu>:
"No wonder you're extinct!"
-- Dennis Nedry (Wayne Knight)

Lewis Stiller <sti...@cs.jhu.edu>:
"I'll run you over when I come back down."
-- Dennis Nedry (Wayne Knight)

Lewis Stiller <sti...@cs.jhu.edu>:
"Thanks, Dad."
-- Dennis Nedry (Wayne Knight)

Lewis Stiller <sti...@cs.jhu.edu>:
"I hate trees."
-- Alan Grant (Sam Neill)

Lewis Stiller <sti...@cs.jhu.edu>:
"I hate trees."
-- Tim Murphy (Joseph Mazello)

Lewis Stiller <sti...@cs.jhu.edu>:
"I refuse to believe that you, Dr. Sattler, are unfamiliar with the
concept of attraction."
-- Ian Malcolm (Jeff Goldblum)

Stein Kulseth <Stein....@nta.no>:
"What do they have in here? King Kong?"
-- Ian Malcolm (Jeff Goldblum)

Stein Kulseth <Stein....@nta.no>:
"Objects in mirror are closer than they appear"
-- Rearview mirror on jeep
[YES! -- my favorite too!]

E. FILM CREDITS
---------------

PRODUCTION STAFF

Directed by ..................................................STEVEN SPIELBERG
Screenplay by ................................MICHAEL CRICHTON and DAVID KOEPP
Based on the novel by ........................................MICHAEL CRICHTON
Produced by .................................KATHLEEN KENNEDY, GERALD R. MOLEN

SAM NEILL
LAURA DERN
JEFF GOLDBLUM
and RICHARD ATTENBOROUGH as JOHN HAMMOND
BOB PECK
MARTIN FERRERO
B.D. WONG
SAMUEL L. JACKSON
WAYNE KNIGHT
JOSEPH MAZZELLO
ARIANA RICHARDS

Director of Photography ...................................DEAN CUNDEY, A.S.C.
Production Designer ...............................................RICK CARTER
Film Edited by ...........................................MICHAEL KAHN, A.C.E.
Music by ........................................................JOHN WILLIAMS
Associate Producers ...................................LATA RYAN, COLIN WILSON
Unit Production Manager ...........................................PAUL DEASON
First Assistant Director ....................................JOHN T. KRETCHMER
Second Assistant Director .............................MICHELE PANELLI-VENETIS
Full-Motion Dinosaurs by ..................................DENNIS MUREN A.S.C.
Live Action Dinosaurs by .........................................STAN WINSTON
Dinosaur Supervisor ..............................................PHIL TIPPETT
Special Dinosaur Effects .....................................MICHAEL LANTIERI
Casting by .....................JANET HIRSHENSON, C.S.A., JANE JENKINS, C.S.A.
Art Directors ........................................JIM TEEGARDEN, JOHN BELL
Set Decorator .....................................................JACKIE CARR
Stunt Coordinator ..................................................GARY HYMES
Camera Operator ................................................RAYMOND STELLA
Sound Mixer .......................................................RON JUDKINS
Paleontologist Consultant .........................................JACK HORNER
First Assistant Camera ............................................CAL ROBERTS
Second Assistant Camera ........................................JOLANDA WIPFLI
Loader ...........................................................STEVE SFETKU
Still Photographer ...............................................MURRAY CLOSE
Boom Operator .....................................................BOB JACKSON
Cable Operator ............................................TOVE BLUE VALENTINE
Video Engineer ......................................................IAN KELLY
Script Supervisor ..........................................ANA MARIA QUINTANA
Women's Costume Supervisor ..........................................SUE MOORE
Men's Costume Supervisor ........................................ERIC SANDBERG
Costumers ..........................................KELLY PORTER, MITCH KENNEY
Textile Artist .........................................PHYLLIS THURBER-MOFFIT
Property Master ....................................................JERRY MOSS
Assistant Property Masters .........................KEN PETERSON, CRAIG RAICHE
Second Second Assistant Director .......................KENNETH J. SILVERSTEIN
DGA Trainee .........................................................FRED ROTH
Unit Publicist ...............................................MARSHA ROBERTSON
Production Office Coordinator ....................................ANGELA HEALD
Assistant Production Coordinator ..............................SHERRY MARSHALL
Production Secretary .........................................LYNNE CANNIZZARO
Make-up Supervisor ............................................CHRISTINA SMITH
Assistant Make-up Supervisor ...................................MONTY WESTMORE
Body Make-up ....................................................JULIE STEFFES
Hair Supervisor ................................................LYNDA GURASICH
Assistant Hair Supervisor .....................................FRIDA ARADOTTIR
Chief Lighting Technician .......................................MARK WALTHOUR
Assistant Chief Lighting Technicians ...........STEVE CHANDLER, O'SHANA WALKER
Rigging Gaffer ...................................................PAT MARSHALL
Lighting Technicians ............EDWARD THOMPSON, ANTHONY WONG, KEITH ROVERUD,
HENRY "HANK" CHARLESTON, RON WOODSIDE, BEN O. GRAHAM
Key Grip .......................................................RON CARDARELLI
Best Boy Grips .....................................................SID LUCERO
Dolly Grip .....................................................DAVlD WACHTMAN
Key Rigging Grip ...................................................BUD HELLER
Grips ....................STEVE CARDARELLI, MARTY DOBKOUSKY, MICHAEL R. HEATH,
BILL VENEGAS, JOHN O'GRADY, JOHN COKER
Special Effects Foreman ............................................DON ELLIOT
Special Effects Shop Supervisor.......................................TOM PAHK
Special Effects Engineer ......................................JOSS GEIDUSCHEK
Special Effects ........................STEVE BUNYEA, BRUCE MINKUS, KIM DERRY,
MARK T. NOEL, CORY FAUCHER, DANIEL OSSELLO, ERIK HARALSTED,
JON PORTER, TERRY W. KING, E. WAYNE RABOUIN,
LOUIE LANTIERI, BRIAN TIPTON, MATTHEW J. McDONNEL
Special Effects Rigging Foreman .....................................TIM MORAN
Assistant Art Directors .................LAUREN CORY, MARTY KLINE, PAUL SONSKI
Set Designers ......................JOHN BERGER, MASAKO MASUDA, LAUREN POLIZZI
Chief Sculptor ....................................................YAREK ALFER
Illustrators ........................................TOM CRANHAM, DAVID LOWERY
Computer Design ................................................STEFAN DECHANT
Art Dept. Coordinator ..........................................CAROLINE QUINN
Leadman ...........................................................TIM DONELAN
Swing Gang .......................................................SCOTT LESLIE
Location Manager ...............................................STUART NEUMANN
Casting Associate ..........................................MICHAEL HIRSHENSON
Casting Assistant ............................................SUSANNA GRIFFITH
Extras Casting ................................................CENTRAL CASTING
Construction Coordinator .......................................JOHN VILLARINO
Construction Foreman ..............MIKE VILLARINO, DAN PEMBERTON, JOHN ELLIOTT
Head Paint Foreman ..................................................PAT GOMES
Paint Foreman .........................NANCY GOMES, TOM HRUPCHO, DAVE TREEVINO
Stand-by Painter ................................................TONY LEONARDI
Tool Foreman ....................................................ANTHONY FEOLA
Head Laborer .......................................................BRIAN ROCK
Plaster Foreman ..................................................DAVID ROBBIE
Head Greensman..................................................DANNY ONDREJKO
Greens Foreman ...................................................KEVIN MAGNAN
Greensmen .................................JEFF BROWN, BOB SKEMP, HUGO HERRERA
Craft Service ....................................................TIM GONZALES
Display Graphics Supervisor ....................................MICHAEL BACKES
Display Graphics ............................................DAVID NAKABAYASHI
24 Frame Computer Sync ............................JOHN MONSOUR, BRIAN CALLIER
Assistant Editors ....................ALAN CODY, PETER FANDETTI, PATRICK CRANE
Apprentice Editor .........................................MICHAEL FALLAVOLITA
Dinosaur Specialists ...................JOHN GURCHE, GREGORY PAUL, MARK HALLET
Skeletal Display ...............................RESEARCH CASTING INTERNATIONAL
Slide Show Coordinator ..........................................PATTI PODESTA
Goat and Body Parts ............................................LANCE ANDERSON
Additional Video Assist ........................................DEBORAH KELMAN
Production Controller ................................................JANE GOE
Production Accountant ..............................................JIM TURNER
Assistant Production Accountant .............................DEBORAH HENDERSON
Construction Accountant ............................................KAY JORDAN
Payroll Accountant ................................................KRISTEN NYE
Assistant Accountants .........................ELENA HOLDEN, CHRISTINE STEWART
Set Dressing Coordinator ........................................JANINE CAVOTO
Assistant to Mr. Spielberg ......................................BONNIE CURTIS
2nd Assistant to Mr. Spielberg ........................KAREN BITTENSON-KUSHELL
Assistants to Ms. Kennedy ..........................BETH CAHN, LESLIE CHEATHAM
Assistant to Mr. Molen ..........................................DIANA TINKLEY
Assistant to Ms. Ryan .........................................REBECCA CHAIRES
Assistant to Sam Neill ...........................................SIMON MILLAR
Production Assistants ..............................CRAIG BARNETT, JOHN SMITH,
JOSEPH J.M. KENNY, ROBERT WEST
Transportation Coordinator ........................................DENNY CAIRA
Transportation Captain ...............................................HAL LARY
Drivers .......................TINO CAIRA, BECKY RAICHE, DON CROW, LEROY REED,
JAMES FREAR, STEVE SORKIN, GORDON JERNBERG, MARK WESTCOTT,
LORIN JORDAN, WAYNE WILLIAMS, STEVE LUCE, MARK YACULLO
Animal Trainer ................................................JULES SYLVESTER
Teacher ............................................................JUDY BROWN
Safety Coordinator ..............................................TIM LITCHAUER
Stand-ins ......................................DON FELDSTEIN, DAVIDA VACCARO,
JOHNNY JOHNSON, JOE ZIMMERMAN, CYNTHIA MADVIG
2nd Unit First Assistant Director .............................CARLA McCLOSKEY
Additional Photography .........................................LLOYD AHERN II
2nd Unit Gaffer ................................................JACK SCHLOSSER
Helicopter ...........................................BLUE HAWAIIAN HELICOPTER

HAWAII UNIT

Location Manager ...................................................KEN LEVINE
Asst. Location Manager ................................................SAM LEE
Asst. Production Coordinator .................................VICTORIA MATTSON
Office Assistant ...............................................TRACI TATEYAMA
Transportation Captain ..........................................HARRY UESHIRO
Grip ............................................................RUBEN VASQUEZ
Electric .......................................................ROGER THOMPSON
Security ..........................................................MARK TRAVIS
Extras Casting ......................................................SHOWLITES

AERIAL UNIT

Aerial Unit Director .............................................DAVID NOWELL
Aerial Coordinator ...............................................BOBBY ZAJONC
Assistant Camera .................................................JOHN CONNELL
Picture Pilot .................................................DAVID CHEVALIER
Safety Coordinator .............................................CYNTHIA ZAJONC

"MR. D.N.A." ANIMATION

Animation by ................................................KURTZ AND FRIENDS
Movement Design .....................................................BOB KURTZ
Layout Design ...................................................ROBERT PELUCE

FULL MOTION DINOSAURS AND SPECIAL VISUAL EFFECTS
BY INDUSTRIAL LIGHT & MAGIC
A Division of Lucas Digital Ltd.

Co-Visual Effects Supervisor ...............................MARK A. Z. DIPP\'E
Visual Effects Producer ...........................................JANET HEALY
Lead Computer Graphics Supervisor .........................STEFEN M. FANGMEIER
Computer Graphics Supervisors ......................ALEX SEIDEN, GEORGE MURPHY
ILM General Manager ................................................JIM MORRIS
Computer Graphics Animators ..............ERIC ARMSTRONG, JAMES SATORU STRAUS,
STEVE SPAZ WILLIAMS, GEOFF CAMPBELL, STEVE PRICE, DON WALLER
Computer Graphics Artists ................JEAN M. CUNNINGHAM, JOSEPH PASQUALE,
CARL N. FREDERICK, ELLEN POON, THOMAS L. HUTCHINSON,
STEVEN ROSENBAUM, JOE LETTERI, JOHN SCHLAG, JEFFREY B. LIGHT,
TIEN TRUONG, JAMES D. MITCHELL, WADE HOWIE
Executive in Charge of Production ...............................PATRICIA BLAU
Supervisor of Software and Digital Technology ..............THOMAS A. WILLIAMS
Computer Graphics Software Developers .......MICHAEL J. NATKIN, ERIC ENDERTON,
ZORAN KA\vCI\'C-ALESI\'C, JOHN HORN, BRIAN KNEP, PAUL ASHDOWN
Visual Effects Coordinator ......................................JUDITH WEAVER
Visual Effects Art Director ................................TYRUBEN ELLINGSTON
Visual Effects Editor .........................................MICHAEL GLEASON
Scanning Supervisor ..............................................JOSHUA PINES
Optical Supervisor .................................................JOHN ELLIS
Plate Photography Camera Assistant ...........................PATRICK McCARDLE
ILM Plate Producer ................................................MARK MILLER
Digital Artists ..........CAROLYN ENSLE RENDU, BART GIOVANNETTI, DAVID CARSON,
RITA E. ZIMMERMAN, SANDY HOUSTON, KATHLEEN BEELER,
BARBARA BRENNAN, GREG MALONEY, LISA DROSTOVA
Computer Graphics Camera Matchmovers ..PATRICK T. MYERS, CHARLIE CLAVADETSCHER
Computer Graphics Technical Assistants ............STEVE MOLIN, MICHAEL CONTE,
JOEL ARON, CURT I. MIYASHIRO, EDWIN DUNKLEY, PATRICK NEARY
Scanning Operators ...............RANDALL K. BEAN, GEORGE GAMBETTA, MIKE ELLIS
Computer Graphics Systems Support .......KEN BEYER, LINDA J. SEIGEL, JAY LENCI
Video Engineers .......................................FRED MEYERS, GARY MEYER
Computer Graphics Coordinators .............GINGER THEISEN, NANCY JILL LUCKOFF
CG Department Production Manager ..................................GAIL CURREY
CG Department Operations Manager ......................JOHN ANDREW BERTON, JR.
Senior CG Department Manager ................................DOUGLAS SCOTT KAY
Visual Effects Camera Operators ....................PAT TURNER, TERRY CHOSTNER
Additional Plate Photography .....................................SCOTT FARRAR
Camera Assistants ...................................ROBERT HILL, JEFF GREELEY
Matte Artists .................................CHRISTOPHER EVANS, YUSEI UESUGI
Assistant Editor ..............................................ROBERTO McGRATH
Negative Cutter ..................................................LOUIS RIVERA
Projectionist ............................................TIMOTHY A. GREENWOOD
Editorial Coordinator ............................................DAVID TANAKA
Chief Model Makers ...........................BARBARA AFFONSO, LORNE PETERSON,
STEVE GAWLEY, IRA KEELER, CHRISTOPHER REED
Stage Technicians ............................PAT FITZSIMMONS, TIMOTHY MORGAN,
ROBERT FINLEY, JR., WILLIAM BARR
Optical Camera Operators .......................KEITH L. JOHNSON, JAMES C. LIM
Optical Line Up ............................JOHN D. WHISNANT, KRISTEN TRATTNER
Optical Lab Technician ...........................................TIM GEIDEMAN
Optical/Scanning Coordinator ......................................LISA VAUGHN
Camera Engineers ...............................DUNCAN SUTHERLAND, MIKE BOLLES
Production Accountant ..............................................PAMELA KAY
Courier Coordinator ............................................JERRY SIMONSEN
Production Assistant ............................................TINA MATTHIES

STAN WINSTON STUDIO

Art Department Coordinators ......................JOHN ROSENGRANT, SHANE MAHAN
Mechanical Department Coordinators ........RICHARD LANDON, CRAIG CATON-LARGENT
Concept Artist...........................................MARK "CRASH" McCREERY
Mechanical Design .............CHARLES LUTKUS III, RICH HAUGEN, EVAN BRAINARD,
RICHARD GALINSON, TIM NORDELLA, ALFRED SOUSA,
JEFF EDWARDS, JON DAWE, PATRICK SHEARN, J. ALAN SCOTT
Technical Coordinator T-Rex ........................................CRAIG BARR
Hydraulic Engineer .................................................LLOYD BALL
Master Welder ................................................ARMANDO GONZALEZ
Key Artists .........MIKE TRCIC, SHANNON SHEA, CHRISTOPHER SWIFT, DAVE GRASSO,
JOEY OROSCO, ROB HINDERSTEIN, ANDY SCHONEBERG, JOSEPH READER,
GREG FIGIEL, IAN STEVENSON, BILL BASSO, PAUL MEJIAS
Master Mold Maker ..............................................ANTHONY McCRAY
Dinosaur Skin Fabricators ..RICHARD DAVISON, MARILYN DOZER-CHANEY, KAREN MASON
Art Department ....BETH HATHAWAY, NICK MARRA, MICHIKO TAGAWA, ROBERT RAMSDELL,
DAVID BENEKE, SCOTT "GWIDGE" URBAN, MARK JURINKO, FRANCESCA AVILA,
MITCH COUGHLIN, SEBASTIN CAILLABET, NATHALIE FRATTI-RAPOPORT,
ANTHONY GAILLARD, LINDSAY McGOWAN, PIERRE OLIVIER THEUENIN,
JEFF PERIERA, LEN BURGE, KEVIN McTURK, EILEEN KASTNER-DELAGO,
ERIC OSTROFF, KEVIN WILLIS, BRAD KRISKO, ADAM JONES
Mechanical Department .............................BRIAN NAMANNY, BRUCE STARK,
MATT DURHAM, GREGORY MANION
Production Coordinators ......................TARA MEANEY-CROCITTO, MARK LOHFF
Production Assistants .........................CHUCK ZLOTNICK, KIMBERLY VERROS

TIPPETT STUDIO

Production Supervisor ...........................................JULES TIPPETT
Computer Interface Engineer .......................................CRAIG HAYES
Senior Animator ...............................................RANDAL M. DUTRA
Animator ........................................................TOM ST. AMAND
Computer Systems ..................................................ADAM VALDEZ
Production Coordinator .........................................SHEILA DUIGNAN
Production ...............................SUZANNE NIKI YOSHII, REBECCA SCHIROS
Engineering .....................................NICHOLAS BLAKE, BART TRICKEL,
CONRAD BONDERSON, GARY PLATEK, STUART ZIFF
Animatics ...........ERIC SWENSON, MIKE BIENSTOCK, KIM BLANCHETTE, PETER KONIG
Computer Technicians ...............................STEVE REDING, DOUGLAS EPPS

Post production sound services provided by
Skywalker Sound, a division of
Lucas Digital LTD.
Marin County, California

Re-Recording Mixers .................GARY SUMMERS, GARY RYDSTROM, SHAWN MURPHY
Sound Design ....................................................GARY RYDSTROM
Supervising Sound Editor ........................................RICHARD HYMNS
Sound Effect Editors ...................KEN FISCHER, TIM HOLLAND, TERRY ECKTON
ADR Editor ....................................................LAUREL LADEVICH
Dialogue Editors .................................MICHAEL SILVERS, SARA BOLDER
Foley Editors ..........................SANDINA BAILO-LAPE, MARY HELEN LEASMAN
Asst. Supv. Sound Editor ...........................................RUTH HASTY
Assistant Sound Designer ..........................................CHRIS BOYES
Assistant Sound Effects Editors ..................J. R. GRUBBS, SCOTT GUITTEAU
Assistant ADR Editor ................................................BOB MARTY
Assistant Dialogue Editors ............................DONNA JAFFE, MAIA VERES
Assistant Foley Editor .........................................SUSAN POPOVICH
Apprentice Editor ................................................ANDRE FENLEY
Foley Artists .....................................DENNIE THORPE, MARNIE MOORE
Foley Recordist ...................................................CHRIS BOYES

Music Editor .................................................KENNETH WANNBERG
Music Contractor .............................................SANDY DECRESCENT
Music Preparation ...................................JO ANN KANE MUSIC SERVICE
Music Scoring Mixer ..............................................SHAWN MURPHY
Scoring Crew ....................................SUSAN McCLEAN, MARK ESHELMAN,
GREG DENNEN, RICHARD DEARMAS, BILL TALBOT
Orchestrations ................................JOHN NEUFELD, ALEXANDER COURAGE
Post Production Assistant .........................................ROBERT WEST
ADR Mixer .........................................................DEAN DRABIN
ADR Recordist .....................................................ANN HASDELL
ADR Re-Recorded at .................................TODD-AO/GLEN GLEN STUDIONS
ADR Voice Casting ..............................................BARBARA HARRIS
Music Recorded At .......................................SONY PICTURES STUDIOS
Color Timers .......................................DALE CALDWELL, ART HALISSI
Negative Cutter ..................................................GARY BURRITT
Amblin Projectionist ............................................RENE GONZALEZ
Dolby Stereo Consultant ....................................DOUGLAS GREENFIELD
Titles and Opticals by ..........................................PAClFIC TITLE
Remote Control Camera Systems by ............................NETTMANN/MATTHEWS
Process Compositing by ................................................HANSARD
Crane and Dollies by ..................................................CHAPMAN
Gyrosphere by ..........................................PRESTON CAMERA SYSTEMS

CAST

Grant ...............................................................SAM NEILL
Ellie ..............................................................LAURA DERN
Malcolm .........................................................JEFF GOLDBLUM
Hammond ..................................................RICHARD ATTENBOROUGH
Muldoon ..............................................................BOB PECK
Gennaro ........................................................MARTIN FERRERO
Wu ..................................................................B.D. WONG
Tim ...........................................................JOSEPH MAZZELLO
Lex ...........................................................ARIANA RICHARDS
Arnold ......................................................SAMUEL L. JACKSON
Nedry ............................................................WAYNE KNIGHT
Harding ...........................................................JERRY MOLEN
Rostagno ......................................................MIGUEL SANDOVAL
Dodgson ..........................................................CAMERON THOR
Volunteer #1 ..........................................CHRISTOPHER JOHN FIELDS
Volunteer Boy ...................................................WHIT HERTFORD
Mate ..............................................................DEAN CUNDEY
Worker in Raptor pen ............................................JOPHERY BROWN
Helicopter Pilot ..................................................TOM MISHLER
"Mr. D.N.A." Voice ................................................GREG BURSON
Worker at Amber Mine ...........................................ADRIAN ESCOBER
Jurassic Park Tour Voice ........................................RICHARD KILEY

PUPPETEERS

LLOYD BALL SHANE MAHAN
CRAIG BARR KAREN MASON
BILL BASSO MARK "CRASH" McCREERY
DAVID BENEKE PAUL MEJIAS
LARRY BOLSTER TIM NORDELLA
EVAN BRAINARD JOEY OROSCO
CRAIG CATON JEFF PERIERA
MITCH COUGHLIN JOSEPH READER
RICHARD DAVISON JOHN ROSENGRANT
JON DAWE ANDY SCHONEBERG
JEFF EDWARDS J. ALAN SCOTT
GREG FIGIEL SHANNON SHEA
RICK GALINSON PATRICK SHEARN
ARMONDO GONZALEZ ALFRED SOUSA
AVE GRASSO IAN STEVENSON
BETH HATHAWAY CHRISTOPHER SWIFT
RICHARD HAUGEN MICHIKO TAGAWA
RICHARD LANDON MIKE TRCIC
CHARLES LUTKUS III MATT WINSTON

STUNTS

NATALIE BOLINGER GARY EPPER
LAURA DASH DONNA EVANS
RUSTY HANSON LARRY DAVIS
NORMAN HOWELL GARY McCLARTY
LES LARSON PAT ROMANO
BRIAN SMRZ R.A. RONDELL
PATRICK TALLMAN
[A misquote in the credits, should be PATRICIA TALLMAN who did stunts for
Laura Dern, for example hanging from the rotunda skeletons in the end]

Filmed at Universal Studios and Kauai, Hawaii

The Producers Wish to Thank the Following:
GEORGE LUCAS
THE ISLAND & PEOPLE OF KAUAI -- MAYOR JOANN YUKIMORA
KAUAI FILM COMMISSIONER JUDY DROSD
STATE OF HAWAII FILM OFFICE
CALIFORNIA FILM COMMISSION
IRIS INDIGO ELANS AND 4D/440 VGXT COMPUTER SYSTEMS
PROVIDED BY SILICON GRAPHICS
APPLE COMPUTER, INC.
SUPERMAC TECHNOLOGY
3D WEATHER SOFTWARE BY EARTHWATCH
COMMUNICATIONS MINNEAPOLIS
4D CREATIVE ENVIRONMENT PROVIDED BY SOFTIMAGE
ELECTRIC IMAGE
NEWER TECHNOLOGY
KAIMBU ISLAND RESORT, FIJI
TURTLE ISLAND, FIJI
TROPICALS BY GORDON COURTRIGHT (C)1988, BY
TIMBER PRESS
RIXAN & ASSOCIATES, INC.
GENETIC ENGINEERING NEWS, MARY ANN LEIBERT, INC.
PUBLISHERS
CARL ZEISS, INC.
HELICOPTER TOUR OPERATORS OF KAUAI
THE DINOSAUR SOCIETY-DON LESSEM
CONNECTION MACHINE (CM-S) SUPERCOMPUTER SYSTEM
BY THINKING MACHINES CORPORATION

"QUB MILAGRO CHAPPARITA"
Written by Dolores Ayala Olivares
Performed by Madacy Mariachi Bond
Courtesy of Madacy Music Group

[Andres Grino Brandt <agr...@enkidu.mic.cl>
points out this should most probably read:
"QUE MILAGRO CHAPARRITA" ("What a miracle, small woman")
Written by Dolores Ayala Olivares
Performed by Madacy Mariachi Band
Courtesy of Madacy Music Group]

ORIGINAL SOUNDTRACK ON MCA CDS AND CASSETTES
THIS FILM MIXED AND RECORDED IN A THX SOUND SYSTEM THEATRE
FILMED WITH PANAVISION CAMERA & LENSES
Color by DELUXE
DOLBY STEREO in Selected Theaters

THIS FILM MIXED AND RECORDED IN A THX SOUND SYSTEM THEATRE
EASTMAN COLOR FILM
DIGITAL THEATRE SYSTEM

CERTIFICATE NO IATSE
MPAA SEAL INSIGNIA

COPYRIGHT 1993 UNIVERSAL CITY STUDIOS, INC. AND
AMBLIN ENTERTAINMENT, INC.
All Rights Reserved.

Country of First Publication: United States of America.
Universal City Studios, Inc. and Amblin Entertainment, Inc. are the
authors of this motion picture for purposes of the Berne Convention and
all national laws giving effect thereto.

THE ANIMALS USED IN THIS FILM WERE IN NO WAY MIS-
TREATED AND ALL SCENES IN WHICH THEY APPEARED
WERE UNDER STRICT SUPERVISION WITH THE UTMOST CON-
CERN FOR THEIR HANDLING.

THE CHARACTERS AND EVENTS DEPICTED IN THIS PHOTO-
PLAY ARE FICTITIOUS. ANY SIMILARITY TO ACTUAL PER-
SONS, LIVING OR DEAD, IS PURELY COINCIDENTAL.

THIS MOTION PICTURE IS PROTECTED UNDER THE LAWS OF
THE UNITED STATES AND OTHER COUNTRIES. UNAUTHO-
RIZED DUPLICATION, DISTRIBUTION OR EXHIBITION MAY
RESULT IN CIVIL LIABILITY AND CRIMINAL PROSECUTION.

A STEVEN SPIELBERG FILM

AMBLIN ENTERTAINMENT

F. TRIVIA PURSUIT
-----------------

Lewis Stiller <sti...@cs.jhu.edu>:
William Hurt was offered the part of Grant and turned it down without
reading the book or the script.

Lewis Stiller <sti...@cs.jhu.edu>:
The electric jeeps' headlights are on during the tyrannosaur attack
although the power is out. This is implicitly explained by Arnold when
he complains to Nedry about the glitch, earlier in the film, that the
lights are running on car batteries.

Lewis Stiller <sti...@cs.jhu.edu>:
Sam Neill (playing Alan Grant) looks unusually animated when the car
almost drops on his head; this was shot with an actual car almost
falling on his head. In his words: "This was a top crew and I relied
on their judgment. If they said the car was going to stop six inches
above my head, I was prepared to take their word for it."

Lewis Stiller <sti...@cs.jhu.edu>:
After the feeding of the raptors scene, there is a shot of
Sattler looking distastefully at her "sea bass."

Lewis Stiller <sti...@cs.jhu.edu>:
A lifesize model of the triceratops, made from original casts, can
be seen at the Museum of Natural History in New York. In the movie,
not only do the triceratops' tongue, foot, eyes and chest move,
but her nostrils move when she breathes.

Lewis Stiller <sti...@cs.jhu.edu>:
I am not sure if this is intentional, but when Ellie Sattler (Laura Dern)
says "Something went wrong" to Jeff Goldblum (playing Ian Malcolm), I
believe Geena Davis used the exact same words in THE FLY to describe
another DNA-related accident that hurt Goldblum (Seth Brundle in that
film). My memory could be off here, or it could just be coincidence.

Lewis Stiller <sti...@cs.jhu.edu>:
The principal photography for the movie was finished 12 days ahead
of schedule, despite a hurricane on the island that delayed filming
for a day [there is a (probably unfounded) rumor that Spielberg went
out while the eye of the storm was over them to marvel the view].
Spielberg tried to shoot all the dialogue scenes within 5 takes, and
to use less famous actors, in order to save money, which was spent
on special effects.

Lewis Stiller <sti...@cs.jhu.edu>:
Ariadne Richards, the actress who plays Alexis Murphy ("Lex"), had
her 13th birthday party on Kauai interrupted by a hurricane. She
said that Spielberg entertained the kids on the sets with ghost
stories while they were waiting for the power to come back on.
She also says that Spielberg is a big dinosaur fan who imitated
the dinosaurs, particularly the velociraptors which he did
especially well, during filming.

Lewis Stiller <sti...@cs.jhu.edu>:
According to JURASSIC NEWS Dennis Nedry, the Director of Computer
Technologies, graduated from MIT at the age of 19, worked for the
Department of Defense, and later moved to private industry where he
set up worldwide phone systems. Note that "Dennis Nedry" anagrams
to "nerdy sinned."
Chief Engineer John Arnold is a former systems engineer who worked
on the Polaris submarine missile program, and supervised the
construction of Universal Studios Hollywood and Universal Studios
Florida.
Game Warden Robert Muldoon was raised in Kenya and worked as a guide
for African big game hunters. He has worked more recently for
conservation groups and as a wildlife consultant. He is quoted
as saying: "As a child, I remember elephants and rhinoceroses
roaming the land behind our house, so it's not surprising for me
to see a herd of gallimimus running across a patch of park land."

Lewis Stiller <sti...@cs.jhu.edu>: