JURASSIC PARK - Card #21 - Entombed By Time - TOPPS 1993 for Sale

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JURASSIC PARK - Card #21 - Entombed By Time - TOPPS 1993:
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JURASSIC PARK - Individual vintage card from the Base Set issued by Topps 1993

JurassicPark isa 1993 American science fiction action film directed by StevenSpielberg and produced by Kathleen Kennedy and Gerald R. Molen. It isthe first installment in the Jurassic Park franchise,andthe first film in theJurassic Parktrilogy, and isbased on the 1990 novel of the same name by Michael Crichton and ascreenplay written by Crichton and David Koepp. The film is set onthe fictional island of Isla Nublar, located off Central America\'sPacific Coast near Costa Rica. There, wealthy businessman JohnHammond and a team of genetic scientists have created a wildlife parkof de-extinct dinosaurs. When industrial sabotage leads to acatastrophic shutdown of the park\'s power facilities and securityprecautions, a small group of visitors and Hammond\'s grandchildrenstruggle to survive and escape the perilous island.

BeforeCrichton\'s novel was published, four studios put in offers for its filmrights. With the backing of Universal Studios, Spielberg acquired therights for $1.5million before its publication in 1990; Crichtonwas hired for an additional $500,000 to adapt the novel for thescreen. Koepp wrote the final draft, which left out much of thenovel\'s exposition and violence and made numerous changes to thecharacters.

Filmingtook place in California and Hawaii from August to November 1992, andpost-production rolled until May 1993, supervised by Spielberg inPoland as he filmed Schindler\'s List. The dinosaurs werecreated with groundbreaking computer-generated imagery by IndustrialLight & Magic (ILM) and with life-sized animatronic dinosaursbuilt by Stan Winston\'s team. To showcase the film\'s sound design,which included a mixture of various animal noises for the dinosaurroars, Spielberg invested in the creation of DTS, a companyspecializing in digital surround sound formats. The film alsounderwent an extensive $65million marketing campaign, whichincluded licensing deals with over 100 companies.

JurassicPark premiered on June 9, 1993, at the Uptown Theater inWashington, D.C., and was released on June 11 in the United States.It went on to gross over $912million worldwide in its originaltheatrical run, becoming the highest-grossing film of 1993 and thehighest-grossing film ever at the time, a record held until therelease of Titanic in 1997. It received highly positivereviews from critics, who praised its special effects, acting, JohnWilliams\' musical score, and Spielberg\'s direction. Following its 3Dre-release in 2013 to celebrate its 20th anniversary, JurassicPark became the seventeenth and oldest film in history to surpass$1billion in ticket sales. The film won more than twentyawards, including three Academy Awards for its technical achievementsin visual effects and sound design. Jurassic Park isconsidered a landmark in the development of computer-generatedimagery and animatronic visual effects. The film was followed by fourcommercially successful sequels: The Lost World: Jurassic Park(1997), Jurassic Park III (2001), Jurassic World(2015), and Jurassic World: Fallen Kingdom (2018), with afifth sequel, Jurassic World: Dominion, scheduled for a 2022release.

In2018, the film was selected for preservation in the United StatesNational Film Registry by the Library of Congress as being\"culturally, historically, or aesthetically significant\".

Plot

IndustrialistJohn Hammond has created a theme park of cloned dinosaurs, JurassicPark, on Isla Nublar, an island off the Costa Rican coast. After adinosaur handler is killed by a Velociraptor, the park\'sinvestors, represented by lawyer Donald Gennaro, demand that expertsvisit the park and certify its safety. Gennaro invites mathematicianand chaos-theorist Ian Malcolm, while Hammond invites paleontologistDr. Alan Grant and paleobotanist Dr. Ellie Sattler. Upon arrival, thegroup is shocked to see a live Brachiosaurus.

Atthe park\'s visitor center, the group learns that the cloning wasaccomplished by extracting dinosaur DNA from prehistoric mosquitoespreserved in amber. DNA from frogs was used to fill in gaps in thegenome of the dinosaurs, and to prevent breeding, all the dinosaurswere made female by direct chromosome manipulation. The groupwitnesses the hatching of a baby Velociraptor and visits theraptor enclosure. During lunch, the group debates the ethics ofcloning and the creation of the park; Malcolm warns about theimplications of genetic engineering and scoffs at the park\'sconceptualization, saying that it will inevitably break down.

Thegroup is joined by Hammond\'s grandchildren, Lex and Tim Murphy, for atour of the park, while Hammond oversees the tour from the controlroom. The tour does not go as planned, with most of the dinosaursfailing to appear and the group encountering a sick Triceratops;it is cut short as a tropical cyclone approaches Isla Nublar. Most ofthe park employees leave for the mainland on a boat while thevisitors return to their electric tour vehicles, except Sattler, whostays behind with the park\'s veterinarian to study the Triceratops.

JurassicPark\'s disgruntled lead computer programmer, Dennis Nedry, has beenbribed by Dodgson, a man working for Hammond\'s corporate rival, tosteal fertilized dinosaur embryos. Nedry deactivates the park\'ssecurity system to gain access to the embryo storage room and storesthe embryos inside a container disguised as a shaving cream can.Nedry\'s sabotage also cuts power to the tour vehicles, stranding themjust as they near the park\'s Tyrannosaurus rex paddock. Mostof the park\'s electric fences are deactivated as well, allowing theTyrannosaurus to escape and attack the group. After theTyrannosaurus overturns a tour vehicle, it injures Malcolm anddevours Gennaro, while Grant, Lex and Tim escape. On his way todeliver the embryos to the island\'s docks, Nedry becomes lost in therain, crashes his Jeep Wrangler, and is killed by a Dilophosaurus.

Sattlerhelps the game warden, Robert Muldoon, search for survivors; theyrecover an injured Malcolm, but are chased away by the returningTyrannosaurus before they can find Grant, Tim, and Lex, whotake shelter in a treetop and encounter a Brachiosaurus. Thosethree later discover the broken shells of dinosaur eggs, and Grantconcludes that the dinosaurs have been breeding, which occurredbecause of their frog DNA—some West African frogs can change theirsex in a single-sex environment, allowing the dinosaurs to do so aswell.

Unableto decipher Nedry\'s code to reactivate the security system, Hammondand chief engineer Ray Arnold reboot the park\'s system. The groupshuts down the park\'s grid and retreats to an emergency bunker, whileArnold heads to a maintenance shed to complete the rebooting process.When Arnold fails to return, Sattler and Muldoon head to the shed.They discover the shutdown has deactivated the remaining fences andreleased the Velociraptors. Muldoon distracts the raptors,while Sattler goes to turn the power back on, before being attackedby a raptor and discovering Arnold\'s severed arm. Meanwhile, Muldoonis caught off-guard and killed by the other two raptors.

Grant,Tim, and Lex reach the visitor center. Grant heads out to look forSattler, leaving Tim and Lex inside. Tim and Lex are pursued by theraptors in a kitchen, but they escape and join Grant and Sattler, whohave returned. The group reaches the control room, where Lex uses acomputer to restore the park\'s power, allowing Hammond to call forhelp. As the four try to escape by the front entrance, they arecornered by the raptors, but they escape when the Tyrannosaurusappears and kills the raptors. Hammond arrives in a jeep withMalcolm, and the group boards a helicopter to leave the island.

Cast

Sam Neill as Dr. Alan Grant
Laura Dern as Dr. Ellie Sattler
Jeff Goldblum as Dr. Ian Malcolm
Richard Attenborough as John Hammond
Bob Peck as Robert Muldoon
Joseph Mazzello as Tim Murphy
Ariana Richards as Lex Murphy
Samuel L. Jackson as Ray Arnold
Wayne Knight as Dennis Nedry
Martin Ferrero as Donald Gennaro
B.D. Wong as Dr. Henry Wu
Jerry Molen as Dr. Harding
Miguel Sandoval as Juanito Rostagno
Cameron Thor as Dodgson
Greg Burson as the voice of Mr. DNA
Whit Hertford as Volunteer Boy

RichardKiley has a cameo appearance as the voice of the Jurassic Parktour vehicle guide.

Production

MichaelCrichton originally conceived a screenplay about a graduate studentwho recreates a dinosaur. He continued to wrestle with hisfascination with dinosaurs and cloning until he began writing thenovel Jurassic Park. Before its publication, Steven Spielberglearned of the novel in October 1989, while he was discussing ascreenplay with Crichton that would become the television series ER.Spielberg recognized what really fascinated him about JurassicPark was it was \"a really credible look at how dinosaursmight someday be brought back alongside modern mankind\", goingbeyond a simple monster movie.

Beforethe book was published, Crichton had demanded a non-negotiable fee of$1.5million for the film rights and a substantial percentage ofthe gross. Warner Bros. and Tim Burton, Columbia Pictures and RichardDonner, and 20th Century Fox and Joe Dante offer for the rights, butUniversal Studios eventually acquired them in May 1990 for Spielberg.After completing Hook, Spielberg wanted to film Schindler\'sList. Sid Sheinberg, president of Music Corporation of America(Universal Pictures\'s parent company at the time) gave the greenlight to Schindler\'s List on the condition Spielberg makeJurassic Park first. He said later by choosing acreature-driven thriller, \"I was really just trying to make agood sequel to Jaws, on land.\" Spielberg also citedGodzilla as an inspiration for Jurassic Park,specifically Godzilla, King of the Monsters! (1956), which hegrew up watching. During production, Spielberg described Godzillaas \"the most masterful of all the dinosaur movies because itmade you believe it was really happening.\"

Tocreate the dinosaurs, Spielberg thought of hiring Bob Gurr, whodesigned a giant mechanical King Kong for Universal StudiosHollywood\'s King Kong Encounter. Upon reflection, he feltlife-sized dinosaurs would be too expensive and not at allconvincing. Instead Spielberg sought the best effects supervisors inHollywood. He brought in Stan Winston to create the animatronicdinosaurs; Phil Tippett (credited as Dinosaur Supervisor) to creatego motion dinosaurs for long shots; Michael Lantieri to supervise theon-set effects; and Dennis Muren of Industrial Light & Magic(ILM) to do the digital compositing. Paleontologist Jack Hornersupervised the designs, to help fulfill Spielberg\'s desire to portraythe dinosaurs as animals rather than monsters. Certain concepts aboutdinosaurs, like the theory they evolved into birds and had verylittle in common with lizards, were followed. This prompted theremoval of the raptors\' flicking tongues in Tippett\'s earlyanimatics, as Horner complained it was implausible. Winston\'sdepartment created fully detailed models of the dinosaurs beforemolding latex skins, which were fitted over complex robotics. Tippettcreated stop-motion animatics of the raptors in the kitchen and theTyrannosaurus attacking the car. Despite go motion\'s attemptsat motion blurs, Spielberg found the end results unsatisfactory for alive-action feature film. Muren told Spielberg he thought thedinosaurs could be built using computer-generated imagery; thedirector asked him to prove it. ILM animators Mark Dippé and SteveWilliams developed a computer-generated walk cycle for the T. rexskeleton and were approved to do more. When Spielberg and Tippett sawan animatic of the T. rex chasing a herd of Gallimimus,Spielberg said, \"You\'re out of a job,\" to which Tippettreplied, \"Don\'t you mean extinct?\" Spielberg later injectedthis exchange into the script, as a conversation between Malcolm andGrant. Although no go motion was used, Tippett and his animators werestill used by the production to supervise dinosaur movement. Tippettacted as a consultant for dinosaur anatomy, and his stop motionanimators were re-trained as computer animators. The animatics madeby Tippett\'s team were also used, along with the storyboards, as areference for what would be shot during the action sequences. ILM\'sartists were sent on private tours to the local animal park, so theycould study large animals – rhinos, elephants, alligators, andgiraffes – up close. They also took mime classes to aid inunderstanding movements.

Writing

Universalpaid Crichton a further $500,000 to adapt his own novel, which he hadfinished by the time Spielberg was filming Hook. Crichtonnoted that because the book was \"fairly long\" his scripthad about 10 to 20 percent of the novel\'s content; scenes weredropped for budgetary and practical reasons, and the violence wastoned down. Malia Scotch Marmo began a script rewrite in October 1991over a five-month period, merging Ian Malcolm with Alan Grant.

Spielbergwanted another writer to rework the script, so Universal presidentCasey Silver recommended David Koepp, co-writer of Death BecomesHer. Koepp started afresh from Marmo\'s draft, and usedSpielberg\'s idea of a cartoon shown to the visitors to remove much ofthe exposition that fills Crichton\'s novel. While Koepp tried toavoid excessive character detail \"because whenever they startedtalking about their personal lives, you couldn\'t care less\", hetried to flesh out the characters and make for a more colorful cast,with moments such as Malcolm flirting with Sattler leading to Grant\'sjealousy. Some characterizations were changed from the novel. Hammondwent from being a ruthless businessman to a kindly old man, becauseSpielberg identified with Hammond\'s obsession with showmanship. Healso switched the characters of Tim and Lex; in the book, Tim is agedeleven and interested in computers, and Lex is only seven or eightand interested in sports. Spielberg did this because he wanted towork with the younger Joseph Mazzello, and it allowed him tointroduce the sub-plot of Lex\'s adolescent crush on Grant. Koeppchanged Grant\'s relationship with the children, making him hostile tothem initially to allow for more character development.

Twoscenes from the book were ultimately excised. Spielberg removed theopening sequence with Procompsognathus attacking a young childas he found it too horrific. For budgetary reasons Koepp cut the T.rex chasing Grant and the children down a river before beingtranquilized by Muldoon. Both parts were included in film sequels.Spielberg suggested adding the scene where the T. rex pursuesa jeep, which at first only had the characters driving away afterhearing the dinosaur\'s footsteps.

Casting

WilliamHurt was initially offered the role of Alan Grant, but turned it downwithout reading the script. Harrison Ford was also offered the roleof Grant, before Sam Neill was ultimately cast three or four weeksbefore filming began. Neill said \"it all happened real quick. Ihadn\'t read the book, knew nothing about it, hadn\'t heard anythingabout it, and in a matter of weeks I\'m working with Spielberg.\"Janet Hirshenson, the film\'s casting director, felt Jeff Goldblumwould be the right choice to play Ian Malcolm after reading thenovel. Jim Carrey also auditioned for the role. According toHirshenson, Carrey \"was terrific, too, but I think prettyquickly we all loved the idea of Jeff.\"

CameronThor had previously worked with Spielberg on Hook, andinitially auditioned for the role of Malcolm, before trying out forthe role of Dodgson. In the film, Dodgson gives Nedry a containerdisguised as a can of shaving cream that is used to transport theembryos. Thor said about his casting, \"It just said\'shaving-cream can\' in the script, so I spent endless time in a drugstore to find the most photogenic. I went with Barbasol, which endedup in the movie. I was so broke that I took the can home after theaudition to use it.\" Laura Dern was Spielberg\'s first choice forthe role of Ellie Sattler though she was not the only actress offeredthe part. Robin Wright turned down the role. Spielberg chose to castWayne Knight after seeing his acting performance in BasicInstinct, saying, \"I waited for the credits to roll andwrote his name down.\"

ArianaRichards who plays Lex Murphy, said, \"I was called into acasting office, and they just wanted me to scream. I heard later onthat Steven had watched a few girls on tape that day, and I was theonly one who ended up waking his sleeping wife on the couch, and shecame running through the hallway to see if the kids were all right.\"Christina Ricci also auditioned for the role. Joseph Mazzello hadscreen-tested for a role in Hook, but was deemed too young.Spielberg promised him they would work together on a future film.

Filming

After25 months of pre-production, filming began on August 24, 1992, on theHawaiian island of Kauaʻi. While the Dominican Republic and CostaRica were considered as locations, given they are the novel\'ssettings, Spielberg\'s concerns over infrastructure and accessibilitymade him choose a place where he had already worked. The three-weekshoot involved various daytime exteriors for Isla Nublar\'s forests.On September 11, Hurricane Iniki passed directly over Kauaʻi,costing a day of shooting. Several of the storm scenes from the movieare of actual footage shot during the hurricane. The scheduled shootof the Gallimimus chase was moved to Kualoa Ranch on theisland of Oahu. One of the early scenes had to be created bydigitally animating a still shot of scenery. The opening scene wasshot in Haiku, on the island of Maui, with additional scenes filmedon the \"forofferden island\" of Niihau. The exterior of theVisitor Center was a large façade constructed on the grounds of theValley House Plantation Estate in Kauai. Samuel L. Jackson was tofilm a lengthy death scene where his character is chased and killedby raptors, but the set was destroyed by Hurricane Iniki.

Bymid-September, the crew moved to California, to shoot the raptors inthe kitchen at Stage 24 of the Universal studio lot. Given thekitchen set was filled with reflective surfaces, cinematographer DeanCundey had to carefully plan the illumination while also using blackcloths to hide the light reflections. The crew also shot the scenesinvolving the power supply on Stage 23, before going on location toRed Rock Canyon for the Montana dig scenes. The crew returned toUniversal to shoot Grant\'s rescue of Tim, using a fifty-foot propwith hydraulic wheels for the car fall, and the Brachiosaurusencounter. The crew filmed scenes for the Park\'s labs and controlroom, which used animations for the computers lent by SiliconGraphics and Apple. While Crichton\'s book features electric-poweredToyota Land Cruisers as the tour cars in Jurassic Park, Spielbergmade a deal with the Ford Motor Company, who provided seven FordExplorers. The Explorers were modified by ILM\'s crew and veterancustomizer George Barris to create the illusion they were autonomouscars by hiding the driver in the car\'s trunk. Barris also customizedthe Jeep Wranglers featured in the production.

Thecrew moved to Warner Bros. Studios\' Stage 16 to shoot the T. rex\'sattack on the LSX powered SUVs. Shooting proved frustrating becausewhen water soaked the foam rubber skin of the animatronic dinosaur,it caused the T. rex to shake and quiver from the extra weightwhen the foam absorbed it. This forced Stan Winston\'s crew to dry themodel with shammys between takes. On the set, Malcolm distracting thedinosaur with a flare was included at Jeff Goldblum\'s suggestion. Hefelt a heroic action was better than going by the script, where likeGennaro, Malcolm was scared and ran away. The ripples in the glass ofwater caused by the T. rex\'s footsteps were inspired bySpielberg listening to Earth, Wind and Fire in his car, and thevibrations the bass rhythm caused. Lantieri was unsure how to createthe shot until the night before filming when he put a glass of wateron a guitar he was playing, which achieved the concentric circles inthe water Spielberg wanted. The next morning, guitar strings were putinside the car and a man on the floor plucked them to achieve theeffect. Back at Universal, the crew filmed scenes with theDilophosaurus on Stage 27. Finally, the shoot finished onStage 12, with the climactic chases with the raptors in the Park\'scomputer rooms and Visitor\'s Center. Spielberg changed the climax tobring back the T. rex, abandoning the original ending whereGrant uses a platform machine to maneuver a raptor into a fossiltyrannosaur\'s jaws. The scene, which already included thejuxtaposition of live dinosaurs in a museum filled with fossils,while also destroying the bones, now had an ending where the T.rex saved the protagonists, and afterwards made what Spielbergdescribed as a \"King Kong roar\" while an ironic bannerreading \"When Dinosaurs Ruled the Earth\" flew. The filmwrapped twelve days ahead of schedule on November 30, and withindays, editor Michael Kahn had a rough cut ready, allowing Spielbergto go ahead with filming Schindler\'s List.

Dinosaurson screen

Despitethe title of the film\'s referencing the Jurassic period,Brachiosaurus and Dilophosaurus are the only dinosaursfeatured that actually lived during that time; the other speciesfeatured did not exist until the Cretaceous period. This isacknowledged in the film during a scene where Dr. Grant describes theferocity of the Velociraptor to a young boy, saying: \"Tryto imagine yourself in the Cretaceous period...\"

Alamosaurus appears as a skeleton in the Jurassic Park visitor center.
Brachiosaurus is the first dinosaur seen by the park\'s visitors. It is inaccurately depicted as chewing its food and standing up on its hind legs to browse among the high tree branches. According to artist Andy Schoneberg, the chewing was done to make the animal seem docile, resembling a cow chewing its cud. The dinosaur\'s head and upper neck was the largest puppet without hydraulics built for the film. Despite scientific evidence of their having limited vocal capabilities, sound designer Gary Rydstrom decided to represent them with whale songs and donkey calls to give them a melodic sense of wonder. Penguins were also recorded to be used in the noises of the dinosaurs.
Dilophosaurus was also very different from its real-life counterpart, made significantly smaller to ensure audiences did not confuse it with the raptors. Its neck frill and its ability to spit venom are fictitious. Its vocal sounds were made by combining a swan, a hawk, a howler monkey, and a rattlesnake. The animatronic model, nicknamed \"Spitter\" by Stan Winston\'s team, was animated by the puppeteers sitting on a trench in the set floor, using a paintball mechanism to spit the mixture of methyl cellulose and K-Y Jelly that served as venom.
Gallimimus are featured in a stampede scene where one of them is devoured by the Tyrannosaurus. The Gallimimus was the first dinosaur to be digitized, being featured in two ILM tests, first as a herd of skeletons and then fully skinned while pursued by the T. rex. Its design was based on ostriches, and to emphasize the birdlike qualities, the animation focused mostly on the herd rather than individual animals. As reference for the dinosaurs\' run, the animators were filmed running at the ILM parking lot, with plastic pipes standing in as the tree that the Gallimimus jump over. The footage inspired the incorporation of an animal falling as one of the artists did trying to make the jump. Horse squeals became the Gallimimus\'s sounds.
Parasaurolophus appear in the background during the first encounter with the Brachiosaurus.
Triceratops has an extended cameo, depicted as sick from eating a toxic plant. Its appearance was a logistical nightmare for Stan Winston when Spielberg asked to shoot the animatronic of the sick creature earlier than expected. The model, operated by eight puppeteers in the Kaua\'i set, wound up being the first dinosaur filmed during production. Winston also created a baby Triceratops for Ariana Richards to ride on, a scene ultimately cut from the film for pacing reasons. Gary Rydstrom combined the sound of himself breathing into a cardboard tube with the cows near his workplace at Skywalker Ranch to create the Triceratops vocals.
Tyrannosaurus was acknowledged by Spielberg as \"the star of the movie\", and he rewrote the ending to feature the T. rex for fear of disappointing the audience. Winston\'s animatronic T. rex stood 6.1 metres (20ft), weighed 17,500 pounds (7,900kg), and was 12 metres (40ft) long. Jack Horner called it \"the closest I\'ve ever been to a live dinosaur\". While the consulting paleontologists did not agree on the dinosaur\'s movement, particularly its running capabilities, animator Steve Williams decided to \"throw physics out the window and create a T. rex that moved at sixty miles per hour even though its hollow bones would have busted if it ran that fast\". The major reason was the T. rex chasing a Jeep, a scene that took two months to finish. The dinosaur is depicted with a vision system based on movement, though later studies indicated the T. rex had binocular vision comparable to a bird of prey. Its roar is a baby elephant mixed with a tiger and an alligator, and its breath is a whale\'s blow. A dog attacking a rope toy was used for the sounds of the T. rex tearing a Gallimimus apart, while cut sequoias crashing to the ground became the sound of the dinosaur\'s footsteps.
Velociraptor plays a major role in the film. The creature\'s depiction is ultimately not based on the actual dinosaur genus in question, which was also significantly smaller. Shortly before Jurassic Park\'s theatrical release, the similar Utahraptor was discovered, although it proved to be even bigger in appearance than the film\'s raptors. This prompted Stan Winston to joke, \"We made it, then they discovered it.\" For the attack on character Robert Muldoon and some parts of the kitchen scene, the raptors were played by men in suits. Dolphin screams, walruses bellowing, geese hissing, an African crane\'s mating call, tortoises mating, and human rasps were mixed to formulate various raptor sounds. Following discoveries made after the film\'s release, most paleontologists theorize that dromaeosaurs like Velociraptor and Deinonychus were fully covered with feathers like modern birds. This feature is included only in Jurassic Park III for the male raptors, who are shown with a row of small quills on their heads.

Post-production

Specialeffects work continued on the film, with Tippett\'s unit adjusting tonew technology with Dinosaur Input Devices: models which fedinformation into computers to allow them to animate the characterslike stop motion puppets. In addition, they acted out scenes with theraptors and Gallimimus. As well as the computer-generateddinosaurs, ILM also created elements such as water splashing anddigital face replacement for Ariana Richards\' stunt double.Compositing the dinosaurs onto the live action scenes took around anhour. Rendering the dinosaurs often took two to four hours per frame,and rendering the T. rex in the rain took six hours per frame.Spielberg monitored their progress from Poland during the filming ofSchindler\'s List, and had teleconferences four times a weekwith ILM\'s crew. The director described working simultaneously in twovastly different productions as \"a bipolar experience\",where he used \"every ounce of intuition on Schindler\'s Listand every ounce of craft on Jurassic Park\". Some of thesoftware used to create dinosaurs and other visual effects wasPixar\'s RenderMan and Softimage 3D.

Alongwith the digital effects, Spielberg wanted the film to be the firstwith digital sound. He funded the creation of DTS (digital theatersystem), which allows audiences to \"really hear the movie theway it was intended to be heard\". The sound effects crew,supervised by George Lucas, were finished by the end of April. Sounddesigner Gary Rydstrom considered it a fun process, given the filmhad all kinds of noise—animal sounds, rain, gunshots, carcrashes—and at times no music. During the process, Spielberg wouldtake the weekends to fly from Poland to Paris, where he would meetRydstrom to see the sound progress. Jurassic Park was finallycompleted on May 28, 1993.

Music

Mainarticle: Jurassic Park: Original Motion Picture Soundtrack

ComposerJohn Williams began scoring the film at the end of February, and itwas recorded a month later. John Neufeld and Alexander Courageprovided the score\'s orchestrations. As with Close Encounters ofthe Third Kind, another Spielberg film he scored, Williams felthe needed to write \"pieces that would convey a sense of \'awe\'and fascination\" given it dealt with the \"overwhelminghappiness and excitement\" that would emerge from seeing livedinosaurs. In turn more suspenseful scenes such as the Tyrannosaurusattack required frightening themes. The first soundtrack album wasreleased on May 25, 1993. For the 20th anniversary of the film\'srelease, a new soundtrack was issued for digital download on April 9,2013, including four bonus tracks personally selected by Williams.

Release

Universaltook the lengthy pre-production period to carefully plan the JurassicPark marketing campaign. It cost $65million and includeddeals with 100 companies to market 1,000 products. These included:three Jurassic Park video games by Sega and Ocean Software; atoy line by Kenner distributed by Hasbro; McDonald\'s \"Dino-Sizedmeals\"; and a novelization for young children.

Thefilm\'s trailers provided only a fleeting glimpse of the dinosaurs, atactic journalist Josh Horowitz described as \"that old Spielbergaxiom of never revealing too much\" after Spielberg and directorMichael Bay did the same for their production of Transformersin 2007. The film was marketed with the tagline \"An Adventure 65Million Years in the Making\". This was a joke Spielberg made onset about the genuine, thousands of years old mosquito in amber usedfor Hammond\'s walking stick.

Thefilm premiered at the Uptown Theater (Washington, D.C.) on June 9,1993, in support of two children\'s charities. The film had previewson 1,412 screens starting at 9:30pm EDT on Thursday, June 10,1993 and officially opened on Friday in 2,404 theater locations andan estimated 3,400 screens. Following the film\'s release, a travelingexhibition called \"The Dinosaurs of Jurassic Park\" began,showcasing dinosaur skeletons and film props. The film began itsinternational release on June 25, 1993 in Brazil before furtheropenings in South America and then rolling out around most of therest of the world from July 16 until October.

Television

JurassicPark was broadcast on television for the first time on May 7,1995, following the April 26 airing of The Making of JurassicPark. Some 68.12million people tuned in to watch, garneringNBC a 36 percent share of all available viewers that night. JurassicPark was the highest-rated theatrical film broadcast ontelevision by any network since the April 1987 airing of TradingPlaces. In June–July 1995 the film was aired a number of timeson the Turner Network Television (TNT) network.

Theatricalre-releases

Inanticipation of the Blu-ray release, Jurassic Park had adigital print released in UK cinemas on September 23, 2011. It woundup grossing £245,422 ($786,021) from 276 theaters, finishing ateleventh on the weekend box office list.

Twoyears later, on the 20th anniversary of Jurassic Park, a 3Dversion of the film was released in cinemas. Spielberg declared thathe had produced the film with a sort of \"subconscious 3D\",as scenes feature animals walking toward the cameras and some effectsof foreground and background overlay. In 2011, he stated in aninterview that Jurassic Park was the only one of his works hehad considered for a conversion. Once he saw the 3D version ofTitanic in 2012, he liked the new look of the film so muchthat he hired the same retrofitting company, Stereo D. Spielberg andcinematographer Janusz Kamiński closely supervised the nine-monthprocess in-between the production of Lincoln. Stereo Dexecutive Aaron Parry said the conversion was an evolution of whatthe company had done with Titanic, \"being able tocapitalize on everything we learned with Jim on Titanic andtake it into a different genre and movie, and one with so manytechnical achievements.\" The studio had the help of ILM, whichcontributed some elements and updated effects shots for a bettervisual enhancement. It opened in the United States and seven otherterritories on April 5, 2013, with other countries receiving there-release over the following six months. In 2018, the film wasre-released in select theaters to celebrate its 25th anniversary.

Homemedia

Thefilm made its VHS and LaserDisc debut on October 4, 1994. With 17million units sold in both formats, Jurassic Park is the fifthbest-selling VHS tape ever.

JurassicPark was first released on a Collector\'s Edition DVD and VHS onOctober 10, 2000, in both Widescreen (1.85:1) and Full Screen(1.33:1) versions, and as part of a box set with the sequel TheLost World: Jurassic Park and both movies\' soundtrack albums. Itwas the 13th best-selling DVD of 2000 counting both versions,finishing the year with 910,000 units sold. Following the release ofJurassic Park III, a new box set with all the films calledJurassic Park Trilogy was released on December 11, 2001; itwas re-released on VHS and DVD as part of its 15th anniversary onOctober 8, 2004. It was repackaged as Jurassic Park Adventure Packon November 29, 2005.

Thetrilogy was released on Blu-ray on October 25, 2011, debuting atnumber five on the Blu-ray charts, and nominated as the best releaseof the year by both the Las Vegas Film Critics Society and the SaturnAwards. In 2012, Jurassic Park was among twenty-five filmschosen by Universal for a box set celebrating the studio\'s 100thanniversary, while also receiving a standalone 100th anniversaryBlu-ray featuring an augmented reality cover. The following year, the20th anniversary 3D conversion was issued on Blu-ray 3D.

OnJune 1, 2016, Jurassic Park, along with its sequels TheLost World and Jurassic Park III, were added to theNetflix streaming service.

Thefilm, alongside The Lost World, Jurassic Park III andJurassic World, was released as part of a 4K Ultra HD Blu-raybox set on May 22, 2018, in honor of the original film\'s 25thanniversary.

ReceptionBoxoffice

JurassicPark became the highest-grossing film released worldwide up tothat time, replacing Spielberg\'s own E.T. the Extra-Terrestrial(1982). It grossed $3.1million from Thursday night screeningsin the United States and Canada on June 10, and $47million inits first weekend from 2,404 theaters, breaking the opening weekendrecord set by Batman Returns the year before. By the end ofits first week, Jurassic Park had grossed a record$81.7million, and remained at number one for three weeks. Iteventually grossed $357million in the U.S. and Canada, rankingsecond of all-time behind E.T. Box Office Mojo estimates thefilm sold over 86.2million tickets in the US in its initialtheatrical run.

Thefilm also did very well in international markets and was the first togross $500million overseas, surpassing the record $280millionoverseas gross of E.T. It broke opening records around theworld including in the United Kingdom, Japan, India, South Korea,Mexico, Germany, Australia, Taiwan, Italy, Denmark, South Africa andFrance. In Japan, Jurassic Park grossed $8.4million from237 screens in two days (including previews) In the United Kingdom,it also beat the opening weekend record set by Batman Returnswith a gross of £4.875million ($7.4million) from 434screens, including £443,000 from Thursday night previews, and alsobeat Terminator 2\'s opening week record, with £9.2million.After just three weeks, it became the highest-grossing film ofall-time in the UK surpassing Ghost, eventually doubling therecord with a gross of £47.9million. In Australia, the filmhad the widest release ever and was the first film to open with aone-day gross of more than A$1million, grossing A$5,447,000(US$3.6million) in its first four days from 192 screens beatingthe opening record of Terminator 2 and also beating the weeklyrecord set by The Bodyguard with a gross of A$6.8million.In the same weekend, it also set an opening record in Germany with agross of 16.8million Deutsche Mark ($10.5million) from644 screens. In Italy, it also had the widest release ever in 344theaters and grossed a record 9.5billion lire ($6.1million).It eventually opened in France on October 20, 1993 and grossed arecord 75 million French franc ($13million) in its opening weekfrom over 515 screens.

Thefilm set all-time records in, among others, Germany, Hong Kong,Ireland, Israel, Japan (in US Dollars), Malaysia, Mexico, NewZealand, the Philippines, Singapore, Spain, Thailand and the UnitedKingdom. Ultimately the film grossed $912.7million worldwide inits initial release, with Spielberg reportedly earning over$250million from the film, the most a director or actor hadearned from one film at the time. Its record gross was surpassed in1998 by Titanic, the first film to gross over $1billion.

The3D re-release of Jurassic Park opened at fourth place at theUS box office, with $18.6million from 2,771 locations. IMAXshowings accounted for over $6million, with the 32 percentbeing the highest IMAX share ever for a nationwide release. Theinternational release had its most successful weekend in the lastweek of August, when it managed to climb to the top of the overseasbox office with a $28.8million debut in China. The reissueearned $45.4million in the United States and Canada and$44.5million internationally as of August2013, leading toa lifetime gross of $402.5million in the United States andCanada and $628.7million overseas, for a worldwide gross of$1.029billion, making Jurassic Park the 17th film tosurpass the $1billion mark. It was the only Universal Picturesfilm to surpass the $1billion mark until 2015, when the studiohad three such films, Furious 7, Minions, and thefourth installment of the Jurassic Park franchise, JurassicWorld. The film earned an additional $374,238 in 2018 for its25th anniversary re-release. In June 2020, Jurassic Parkreturned to 230 theaters (mostly drive-ins). It grossed $517,600,finishing in first for the fourth time in its history. It became thefirst time a re-issue topped the box office since The Lion Kingin September 2011. It currently ranks as the 37th highest-grossingfilm of all time in the United States and Canada (not adjusted forinflation) and the 40th highest-grossing film of all time.

Criticalresponse

Reviewaggregation website Rotten Tomatoes retrospectively reported anapproval rating of 92% based on 130 reviews, with an average ratingof 8.40/10. The site\'s critical consensus reads: \"JurassicPark is a spectacle of special effects and life-likeanimatronics, with some of Spielberg\'s best sequences of sustainedawe and sheer terror since Jaws.\" Metacritic gave thefilm a weighted average score of 68 out of 100, based on reviews from20 critics, indicating \"generally favorable reviews\".Audiences polled by CinemaScore gave the film an average grade of \"A\"on an A+ to F scale.

JanetMaslin of The New York Times called it \"a true moviemilestone, presenting awe- and fear-inspiring sights never beforeseen on the screen [...] On paper, this story is tailor-made for Mr.Spielberg\'s talents [but] [i]t becomes less crisp on screen than itwas on the page, with much of the enjoyable jargon either mumbledconfusingly or otherwise thrown away.\" In Rolling Stone,Peter Travers described the film as \"colossal entertainment—theeye-popping, mind-bending, kick-out-the-jams thrill ride of summerand probably the year [...] Compared with the dinos, the charactersare dry bones, indeed. Crichton and co-screenwriter David Koepp haveflattened them into nonentities on the trip from page to screen.\"Roger Ebert gave the film three stars out of four, saying, \"Themovie delivers all too well on its promise to show us dinosaurs. Wesee them early and often, and they are indeed a triumph of specialeffects artistry, but the movie is lacking other qualities that itneeds even more, such as a sense of awe and wonderment, and stronghuman story values.\" Henry Sheehan of Sight & Soundargued, \"The complaints over Jurassic Park\'s lack ofstory and character sound a little off the point,\" pointing outthe story arc of Grant learning to protect Hammond\'s grandchildrendespite his initial dislike of them. Empire magazine gave thefilm five stars, hailing it as \"quite simply one of the greatestblockbusters of all time.\"