When you're Steven Spielberg, you get to keep such trinkets in your trouser pockets. It is a fossil, recently discovered and acquired by Spielberg. As he watches the readying of a disturbingly lifelike replica of a dinosaur, he turns the claw – dark brown and glowing dully under the studio lights – over and over in his hands. We are standing on the Universal Pictures soundstage knee-deep in jungle weeds that are hiding trap doors and pits full of cameras, cables and hydraulic platforms, and Steven Spielberg is doing what he does best: waiting patiently while his veteran crew hasten to show him what they know he wants to see. "The sickle claw of a velociraptor," says Steven Spielberg quietly. made no money, I might have been permitted to delve into The Colour Purple and Empire Of The Sun with a little more respect. And improve on it Spielberg and his huge team of specialist colleagues most certainly did.
#Jurassic park the movie movie
When you're making a movie like Jurassic Park, reality is very rarely good enough – as a rule, you are required to improve on it. "Steven's not going to like this."Īnd, sure enough, Steven didn't like it, opting instead to create his dino-labs from scratch with just his imagination – and that of production designer Rick Carter – as a blueprint. "Where are the lights, where are the buttons?" they asked, gazing, around Laurence's workaday lab. It was a representative from Steven Spielberg's Amblin Entertainment saying they were preparing to produce a screen adaptation of Michael Crichton's best-selling novel, Jurassic Park, and could they come and have a look at his lab? Clearly expecting something special from a man working at the very forefront of medical science, the entourage that arrived the very next day from Los Angeles were deeply disappointed with the room they were ushered into. Jeffrey Laurence – possibly the world's leading AIDS researcher – received a call at his laboratory in New York City. During the pre-production of Jurassic Park, Dr.