All language subtitles for Episode 03 Jurassic Park

In an ancient time...

...where dinosaurs roamed...

...awkwardly,

and special effects looked,
well, pretty good.

You just can't make nine tons
of hydraulics run.

A team of moviemaking titans...

Spielberg was immediately excited
about it.

...worked out how to open
a door to a prehistoric future...

And it looked really good.

...that's now the opposite of extinct.

This technology in ten years
is gonna be awesome.

That ancient time was...

The early 1990s, of course.
And that movie...

Jurassic Park.

But Jurassic Park made waves
far bigger than these tiny ones.

It's vodka.

Completely upended the way
movies were made to this day.

It makes me feel extinct.

But creating
this billion-dollar movie...

This is going to be amazing.

...was far from a walk in the...

He broke his drawing arm.

In fact, this years-long quest...

It's an idea he had had since 1981.

...would take bravery...

Everyone was afraid.

It was termed as being impossible.
No.

...ingenuity...

How're you gonna do this?
We didn't know how we'd do this.

...bad weather...

Stephen said, "Get the camera.
We're gonna shoot."

...and bad boys.

I was suspended three times from ILM.

I still include it on my resume.

It's time
to lace up your boots...

These boots were made
for kicking dinosaurs.

...arm yourselves...

...and...

Hold onto your butts.
...crunch some numbers.

It's a simple equation.
Steven Spielberg... plus dinosaurs.

Bit of a no-brainer.

These are
The Movies That Made Us.

Just around the bay from San Francisco
lies the city of San Rafael,

built around a historic Spanish mission.

But in the early 1990s, this town was
home to another historic mission,

a secret mission, one that would
require the utmost discretion

from its operatives,
so as not to blow their cover.

Well, maybe those operatives
were less secret agent

and more disruptors.

And this guy right here,
he disrupted a lot,

as in, the entire future of cinema.

But first, we probably need
to start talking about dinosaurs,

because let's be honest,
everyone loves talking about dinosaurs.

There's something essential about these
sort of quasi-mythical creatures.

And if pop culture
has proven anything...

Not the Mama!

...it's that...

People love dinosaurs.

Oh, well, hi, there.
Well, most dinosaurs, anyway.

Having long since gone out with a bang,
the mysterious allure

of these small-armed, big-legged behemoths
only lives large in our imaginations.

However, what if science could cast
dinosaurs in nature's ultimate sequel

and once again,
real dinosaurs could walk the Earth?

Like in a kind of...
Jurassic Park.

Yes, a Jurassic Park.

Jurassic Park, a cautionary tale
of what happens when man plays God.

Spoiler, it's nothing good.
But in this case, that man...

Kids!
...is a cuddly entrepreneur...

Spared no expense.

...who, after genetically engineering
real dinosaurs,

does what anyone would do.
What's that?

Build a theme park
on an island in the middle of nowhere...

We're gonna make a fortune
with this place.

...flies in two paleontologists
for an endorsement...

Why would they care what we think?
...along with an observant chaos theorist...

That is one big pile of shit.

...oh and his grandkids, for the desserts.

But when a storm strikes,
the dinos get loose...

...damage cars,

and toilets, leaving these guys...

After careful consideration,
I've decided not to endorse your park.

...to flee for their lives.
So have I.

The end.

But the beginning of this story
takes place eons ago

in the prehistoric era
scientists refer to as...

...the early 1980s,

when the scientific developments
of a brave, new world

began flustering novelist
and screenwriter Michael Crichton.

Crichton was actually quite bothered

by what he saw as the commercialization
of genetic engineering.

He saw that it could go very badly.

Having written
The Andromeda Strain

and the original Westworld...

It all broke down!
The machines went crazy!

...stories of science going badly
for humanity

were kind of Crichton's thing.

He'd written a screenplay
about a genetically engineered dinosaur

and then kind of wasn't that happy
with the screenplay, so he put it aside.

But the idea kept coming back to him,
and so he picked it up again in 1989.

But picking things up
for Crichton wasn't so easy.

He did have his hands full
with lots of other projects.

Crichton had written a screenplay
called Emergency Room.

Which he was developing with
Steven Spielberg's Amblin Entertainment.

And while the idea flatlined
on the way to the big screen,

some years later,
they'd be able to revive it...

...for the small one.

Emergency Room, the screenplay,
actually became the TV show ER.

So Spielberg focused
on breathing life

into Crichton's next project,
whatever it may be.

Spielberg happened to ask him...
What are you doing in the world of books?

He said, "I'm writing this thing
about dinosaurs and DNA."

And Spielberg said, "I'm a dinosaur nut.
I would love to read that."

And so, this self-avowed nut

cracked
into Crichton's prehistoric page-turner.

Spielberg was immediately excited about it

and said, "This is gonna be
a very hot property in Hollywood."

And inevitably,
a studio stampede ensued

as every major in town rushed
after the book's rights

before it even hit shelves.

But for Crichton, there was only one man
he trusted not to "rex" it.

He felt like Spielberg had
the clout and the experience,

that he had the best shot
at getting it made.

Crichton's novel
in the hands of the mighty Spielberg?

Well, it's enough to leave
mouths agape and minds blown.

That's disgusting.
That's why he wanted him to do it.

Him and everyone else,
including Universal, who was so confident

in Steven's magical touch
that they hired two writers...

Oh, there's one!

...to turn this soon-to-be
book-inspired movie back into a book...

The Making of Jurassic Park.

...granting Jody exclusive access to, well,
there wasn't much to access yet.

When we first came on, the only people
on the film were basically Spielberg

and the producers and the art department.

My name is Rick Carter. I was
a production designer on Jurassic Park.

So Rick gave a bell
to art director John Bell.

I designed a lot of the things
that were destroyed in the movie.

Before all those
destructive frivolities,

they had
one massive T. rex-sized question.

What's aJurassic Park?
Oh, bigger than that.

We didn't know how
we were gonna do the dinosaurs.

So, how do you make
a prehistoric beast

that no human has ever seen?

The dinosaurs had to look realistic.
That's the whole bent of the movie.

You can't come in with Barney.
Certainly not. Instead...

Spielberg really wanted to have
robotics for most of the dinosaurs.

Which was a very tall order.
Yes, and nothing to sneeze at either.

He thought it might be possible
because he'd seen the King Kong attraction

at Universal Studios theme park.

It moves
with wonderful smoothness.

You can see muscle tone under the fur,
and I was very impressed with that.

He thought, well, if they can do that,

maybe they're at a point where they can do
mechanical dinosaurs that would work.

Which would take a lot of work,
which is why

Spielberg handed the job
to Stan Winston and his team,

the legends behind some of the most
iconic creatures in movie history.

He had seen what we did with Aliens
and he felt like

we could do a big, organic creature.

Actually, more like seven
big, organic creatures that could eat,

run, pounce,
and excrete various things.

The question was broached.
Well, how are you gonna do this?

Yes, Stan Winston, how indeed?

Stan famously said,
"I don't know, but I will."

Well, we'll see about that.
I don't think so.

While the idea
of a nine-ton hydraulic dinosaur

is impressively ambitious,
the fact remains...

You just can't make nine tons
of hydraulics run.

That, of course, was just
my wishful thinking.

At the limits
of what animatronics could achieve,

Spielberg was forced
to reassess his strategy.

These animatronic pieces are
only suitable for more limited shots.

Like close-ups?
Yeah.

And so, for the wide shots...
For wide shots, they'd use stop-motion.

For that, they would use
Phil Tippett, the industry's foremost...

Model-maker, stop-motion animator.

...and not only did...
Sculptor.

...not only...
Visual effects supervisor.

Sorry. After... Go on.
Director, producer.

You finished? Good.
That's pretty much it.

And not only did this
multi-hyphenate model manipulator

have a hand in many of the '80s
most memorable stop-motion sequences,

he also just happened
to be a lifelong dinophile.

I was mesmerized by them.

Mesmerized
and eventually motivated

to make these Jurassic Park animatics.

It's making the movie
before the movie is made,

just to get some sense of the timing
of the shots, the choreography.

While Phil's stop-motion
animatics were obviously very good,

for many at the time, stop-motion itself
was a bit of a non-starter.

Stop-motion is jerky 'cause it's at
the time of frame. There's no motion blur.

Motion blur?
Motion blur.

Motion blur.
Yeah.

Let's clear that up.
When something moves quickly,

like the arm of an actor,
the motion is captured on film,

and it looks a little blurry.

When you do stop-motion,
each frame is clean.

And as an audience, you may not say,

"There's no motion blur in that."
You may just say, "Oh, that looks phony."

Phil wasn't phoning it in.
No.

He'd long been blurring
the lines between good stop-motion

and bad stop-motion.

But it wasn't 100%. It was still jerky.

Well into preproduction,
Spielberg was tired of being jerked around

and was probably on the verge

of becoming rude.

No. No, not that rude.
That's very inappropriate.

My name is Steve Williams, known
in the films as Steve "Spaz" Williams.

In the films, there's no one
quite like Steve "Spaz" Williams.

I was just an engineer
and animator figuring this crap out.

Steve and his partner
Mark Dippé worked

for George Lucas's
Industrial Light and Magic,

the visual effects house hired
to digitally add motion blur

to Phil Tippett's stop-motion animations.

Its legs are here, then they're there,
then they're there,

and then we added the blur,
and it actually looked really good.

But these computing compadres
weren't quite satisfied

with just blurring motion,
even though the motion they blurred...

It looked really good.

What they really wanted
was to go full John Hammond...

Creation is an act of sheer will.

...and use science to create a monster.
Well, computer science, anyway.

Mark and I say, "Why don't we just build
the creatures in computer graphics?"

Computer graphics can do things
that stop-motion can't do

that will allow the story
to be told better.

But hang on. This was 1991.

Computer graphics technology
wasn't ready to make that leap.

Or was it?
No.

No. Well, at least that's what
most people thought.

No, to me, means yes, right?
And I was told no all the time.

Nobody really believed yet,
or let's say everyone was afraid.

Here's an opportunity to actually
build a living, breathing creature,

but it was termed as being "impossible."

And I especially knew I was right
when they said it was impossible.

Steve and Mark had grown quite
accustomed to creating the impossible

out of thin air,
or another element for that matter.

In The Abyss, it was a tube of water
that was a living force.

But they really turned heads
a few years later

with this far less benevolent blob.

So, they felt pretty confident
they could create a dinosaur.

Mark had the same attitude I did.
Anything visually was possible.

And Muren did not have that attitude.
He fought with me all the time.

That would be Dennis Muren,

visual effects supervisor,
AKA Steve and Mark's boss.

And he was quick to burst their bubble.

He told me to my face,

"You do not bother
trying to build a T. rex."

"Phil Tippett's doing it.
You know, you're committing suicide."

Yeah, you don't wanna mess
with Phil.

And so, Steve heeded
his boss's advice and backed off.

You backed off, yeah, Steve?
Yeah.

Good. With that settled,
Stan Winston and his team,

the ones doing
the big animatronics dinosaurs,

were facing their own potential suicide.

The big hydraulic T. rex was
a huge, huge undertaking.

In fact, it was so huge...
We had to raise the roof in Stan's shop

to actually make it fit in there.
It took nine artists,

sixteen weeks of sculpting,
and three tons of clay.

That was just
one dinosaur's worth!

T. rex, velociraptor, The Spitter,
a dying triceratops...

Those all came
from the Stan Winston studio.

With dinosaurs hatching
left and right,

it was now time for John Bell
to ask his question.

What's a Jurassic Park?

Production designer
Rick Carter said...

"Just give me your take on it."
So, John Bell did.

He was such a good designer
of how you would want it to be

if you were a kid,
colorful and attractive, and yet,

something that a real dinosaur
could trash.

And when it came
to designing the main gate...

I start thinking about
the main entrance to Disneyland.

Yes, of course!
The happiest place on Earth.

Steven goes, "Wait a minute!
Wait, wait wait."

"I really like that gate
from King Kong, 1933."

What's on the other side of that wall?

He goes,
"I want something tall like this."

I put some flame elements on there,
I put the Jurassic logo on the top of it,

and he goes, "Yeah, that's it! K, take it
to construction. We're gonna build it."

What have they got in there? King Kong?

Meanwhile, back at ILM,
after the tongue lashing

from his boss Dennis Muren,

Steve Williams had retired back
to his workstation, tail between his legs.

I started building
the bones of a T. rex secretly.

Oh, did you?
Fuck it.

We got in a lot of trouble in here.

I was suspended three times
from ILM for my shenanigans.

I still include it on my resume.

So this overqualified merchant
of shenanigans got to work

tackling a technical feat
never before undertaken

in the history of cinema.

I started building the bones flat,
orthogonally.

Right.
Right? Once you build them orthogonally,

it is a three-dimensional set of data.

Okay.
Then...

Look,
he knows what he's talking about.

However, unlike the then-beardless
dinophile, Phil Tippett...

Yeah. I'm a big fan.

I was not a fan of dinosaurs.
I was a fan of engines.

And there was no manual
for prehistoric body mechanics.

I didn't know how a T. rex walked,
and so it took me about four, five months

to animate just that initial walk cycle.

That would be this walk cycle.

Ladies and gentlemen, introducing
the first-ever digital dinosaur.

Behold, Computer-saurus Rex.

For now, it's just the bones.
But the idea was, "Look what we can do!"

But now,
deep into preproduction,

Phil and his team were
well past the bones stage.

We had set up a crew, we had hired people,

you know, we had, moving people in
from different parts of the country.

We're really gonna be having a chance
to advance the craft of stop-motion.

With overwhelming enthusiasm,

clearly the stop-motion dinosaurs
were neither starting nor stopping.

Throwing this into the mix
would surely screw things up.

We're not trying
to make things get all screwed up.

Yeah.

We wanna show people we can do this,

even if we just a little part,
we don't mind.

It became clear
that the best way to make their case

was to let Computer-saurus Rex
speak for itself.

So, Steve chose his target
and cooked up a plan

that would make
any prehistoric predator proud.

Clever girl.

I ambushed them.

No one knew this was gonna happen.
I just did it,

because I knew I wasn't gonna be allowed
to show it.

The plan? Ambush Jurassic Park
producer Kathleen Kennedy

during a routine screening at ILM.

What we did is there's a viewing room
and we were gonna show Kathy

something else.
I think it was a motion blur test.

I had the monitor positioned to the door.

There's a walk cycle
of the T. rex playing on it.

Kathleen Kennedy and the entourage
walk in. Dennis Muren is with them.

The first thing they saw was the monitor.
"What was that?"

That's how I got 'em,
and Kathleen Kennedy says, "What is that?"

Dennis says, "That's something the guys
have been working on." He went with it.

She just looks at it, and everyone looks
around, and she pats me on the back

and she goes,
"You have a very bright future."

Verbatim.

Computer-saurus Rex was a hit.

But for Dennis Muren, it felt
more like a hit job on his authority.

Dennis was not very happy
when I did that. He was silent.

You know, I knew I was committing,
in his words, "political suicide,"

but I did it anyways.
I didn't care. I knew I was right.

You should still apologize.
Sorry.

What a character.
Now speaking of characters,

it was now time to start
casting the human characters.

And on this front...

Steven knew exactly
who he wanted to play each part.

It was just a matter
of availability and making it work.

And of course, if they actually
wanted to do it, right?

No. Who's gonna say no to the Maestro?

We'll see.
No.

Okay. How about when Spielberg
said he wanted Sir Richard Attenborough?

I introduced myself on the phone,
he said, "My name is Dicky."

I said, "I'm calling about a film
Steven Spielberg is going to do

called Jurassic Park."
"I'm in!"

All right, Maestro. One-nil.

Okay, who's the jerk?
For the role of Ellie Sattler...

It's an illusion.
Spielberg wanted Laura Dern.

"I'm in!"

For the other leading lady,
Steven loudly demanded...

Someone who could scream.

Ariana Richards screamed
bloody murder for, like, three minutes.

Spielberg heard that and said,
"I haven't heard screams like that

since Fay Wray was undone by King Kong."

For everyone's favorite
mathematician...

We're sorry...

Chaotician. Chaotician.

Chaotician, all right.
For him, Spielberg wanted Jeff Goldblum.

You know, he had
that nerdy, really smart quality

but was also able to deliver...

An essence
of raw animal magnetism?

The humor.

Yes, the humor.
Think they'll have that on the tour?

And with that, there was
just one more phone call to make.

Is that my phone dinging?
No, that's your phone dinging.

Not my phone, mate.
Definitely yours.

Sure?
Pretty sure.

My agent called me and said,
"Steven Spielberg would like to meet you

about a film he's doing.
It's got dinosaurs in it."

Weighing up his options...

Well, Steven Spielberg plus dinosaurs.

Bit of a no-brainer.

For this New Zealander,
possibly a no-go.

He wanted an American accent for it,

and I don't particularly like
doing American accents.

But really, in any accent...
Are you gonna say no to a Spielberg film?

No.

I don't think so. I just...

And it's got dinosaurs.

Well, it will have.

Because up until now, they were still
mucking about with dinosaur bones.

People were really starting to wonder...
What's the T. rex gonna look like?

Amblin gave us the seed money

to secretly build
the skin version of the T. rex.

And so, after about four, five months,
we had something.

I built all the data, then I had
the first walking, fully-fleshed T. rex.

So once again...
What's the T. rex gonna look like?

It looked real. It looked great.

So Dennis went down
with a film to Universal.

That was shown with Lucas and Spielberg,
Kathleen Kennedy, Frank Marshall.

It's about a five, four-second shot.

The test comes up.

The walking Rex in a field, comes walking,

camera right to left.

Everybody freaks out. Everyone freaks out.

Stan Winston runs out of the theater,
starts making frantic phone calls.

Things go crazy. Steven just explodes.
You know, he can't contain himself.

It's so exciting to him
because it just changes everything.

You did it. You crazy son of a bitch,
you did it.

Lucas is alleged to have cried. Alleged.
I wasn't there. I wasn't invited.

Even though it was my Rex.
Don't make this awkward.

And everything changed.

Wiping away the tears,
Spielberg could see the light.

I actually said, "Well, that's the future.
That's the way it's gonna be from now on."

It was so exciting,
that we just decided to roll with it.

And Steven said, "That's it.
We're gonna use that."

W ith every thunderous,

computer-generated stomp,
the fate of stop-motion animation

was one step closer...

...to irrelevancy,
and for Phil Tippett more than anyone.

That's when everything changed.

It was very emotional for me.
I was really sick.

He went away, I think, for,
it was ten days.

I don't think anybody heard from him
for ten days.

I got pneumonia and had to stay in bed.

And being told you
and your work will no longer be needed

by none other than the Maestro himself...

That's the way it's gonna be from now on.

...hit Phil hardest of all.

He asked me then, you know,
"How does that make you feel?"

So, what are you thinking?

And I said, "You know, it's just...
It makes me feel extinct."

He goes, "That's a great line.
I'm putting that in the movie."

We're out of a job.

Don't you mean "extinct"?

It was a huge deal.
I mean, Phil was our... our dinosaur guy,

and now his way of creating
the dinosaurs had become extinct.

I hate computers.

He really thought,
"Man, these computer nerds, fucking...

They can't do art with a mouse."

I-I couldn't see past my own ego.

But don't worry. Just like
the dinosaurs, Phil would be back.

And then Dennis, he started working out
a way that he could be the one

to influence how
the dinosaurs moved in the digital realm.

So while Phil contemplated
evolution as opposed to extinction,

production contemplated location,
and not just any location.

An island, off the coast of Costa Rica.

So of course...
They considered Costa Rica.

But then they asked
the obvious question.

Why not Hawaii?
Yeah! Why not Hawaii?

It had very comfortable hotels,

wonderful weather.
Most of the time.

We were the epitome
of Hawaiian tourists.

Except that we also were gonna have
the fun of making a dinosaur movie.

Fortunately,
Hawaii was quite good for that, too,

'cause it was chock-full
of exotic filming locations

where they could build the set.

We had to get the visitors' center,
the raptor pen, the jungle sequences.

And when they finished...
Actually, we would not finish sets.

Not finish sets?

Because of time and budget.
And let's be honest, luaus.

But relax. It's Hawaii!

Rick and Steven decided we're gonna make
the visitor center incomplete.

We spared no expense.
We'll have all this scaffolding.

That wasn't part of the script, but it was
a way to save significant money.

Don't get cheap, Dodgson.

And with a sufficient amount
of money shaved off the bottom line,

Jurassic Park's principal photography
was ready to commence in August of 1992.

And action!

Day one is always
a very nerve-racking day.

Especially
for American-accented

New Zealander, Sam Neill.

Steven comes up to me
halfway through that day one and said,

"You know, Sam,
that American accent that you're doing..."

I guess that means the power's off.

"Why don't we forget it?
Just do your own voice."

I said, "Steven, that's great.
I will. That's terrific. Thank you."

So here's Sam Neill...

...faking being electrocuted
in a real New Zealand accent.

That's not funny.

Then on day three, he came to me
and said, "That voice you're using?"

I said, "Yeah, my voice. Yeah."
He said, "Can we sort of go halfway?"

I said, "Oh, okay."

So I've had 30 years of people going,

"Sam Neill's American accent
isn't very good."

So with Dr. Grant
finding his voice,

it was also time for him
to find his first dinosaur.

The first dinosaur we really saw
was the triceratops.

It was Steven's first day
to see it. Of course, that's a big deal.

To Steven, it was incredibly important
that all the dinosaurs look real.

He was in luck.

'Cause Stan Winston and his team
were really good at that.

To give it life, Stan Winston dug a pit

so that the puppeteers
could go underneath.

You go round the back of this creature,
and there are several nerds, you know,

doing controlly, puppetty things inside.

Push on poles for breathing,
and the eye would blink.

It was amazingly effective.
You didn't wanna, like, get too close.

And it was about then
they realized...

Holy shit! This is going to be amazing.

Shooting the Triceratops first
lined up pretty well with the story, too.

Everybody stay here.

It's the first close-up of a dinosaur
any of our characters get to meet.

That thing was breathing and living.
When you touched it, you thought,

"This is a real creature."

And for these actors,
they could ask for no better motivation.

Because the Triceratops was so real,

it lent that reality to the actors.

It's something that the actors
can touch and feel and react to,

because acting is reacting.

And this Triceratops wasn't
just the first dinosaur

they'd see in Hawaii,

it was also the last.

Because the rest of the Hawaiian dinos,
well, they'd be popped in later,

leaving the cast
a little lacking motivation.

You had to react to nothing at all.

So Steven asked them to do more
than they would have done normally.

If they couldn't look
to the dinosaurs,

at least they could look
to their director.

That looks great.

We said to Steven, "Listen,
if... if someone could make a noise?"

"It's not really doing it for us."
So Steven said, "Yeah, sure."

[screeching, squawking}

Cut.

Steven Spielberg going...

You sit up straight for that stuff.

And apparently,
you also stand up,

stumble, and shake.

Steven's very good with added action.
Just take the hat off.

Be amazed and put it back on.

There are several of them
throughout the film.

You don't take your glasses off
to see something better. It's ridiculous.

But from a performance point of view,
it kind of makes sense.

Those are Spielberg moments.

So while the actors spent their
time reacting to imaginary dinosaurs,

the animators back at ILM were busy
imagining how those dinosaurs would act.

It was one thing to build a creature,
but my problem was to try and make it run.

When it came
to natural movement of creatures,

Phil Tippett could run rings
around anyone.

Phil was the creature leader,
and under his guidance,

we actually had movement classes.

That was kind of like
getting to know your body,

feeling free to move in a certain way.

We filmed it. The idea was
to project it in the screening room

so we see ourselves
trying to be dinosaurs,

to learn about what it is
we're misunderstanding.

So we're out there, all being Gallimimus,
we're jumping over the log, acting afraid.

Our art director, TyRuben Ellingson,
slipped while trying to jump over the log

and fell and broke his drawing arm.

He had major surgery and wasn't able
to draw for the rest of the movie.

With enhanced knowledge
of how to jump over pipes,

the team retreated
to the safety of their computers

ready to face their next obstacle...

The tricky part was
getting the composition to work

as if the herd is surrounding your action.

There was one way
to make it easier,

but they'd need to get Spielberg onboard.

Up to that point,
Steven was under the impression

that for effects,
he had to keep the camera still.

Dennis said it would actually be good
if the camera's moving

so we won't see the feet
hit the ground so specifically.

Steven just went crazy. He thought,

"You're telling me I not just get
to move the camera, I should?"

That was like hearing all of his dreams
come true in one sentence.

Blowing Spielberg's mind again
and racing towards the end of the shoot,

production's time in Hawaii was soon
to be just a collection of fond memories.

Staying in a nice hotel.
Everyone's getting on real well,

and then a hurricane comes in
and destroys everything.

As the Hawaiian sun...
Sorry, did you say hurricane?

We have a very major hurricane
threatening Hawaii.

We were all leaving the next day
to go back to LA.

But 3:45 in the morning, my phone rang.

I never liked using the word "problem."

This, in fact, was a problem.

Everything will go downhill from now on.

I do remember going out
to the beach with Laura and Jeff.

It looked like the end
of the world was approaching.

And Laura turned to me and she said,
"Sam, do you think we might die today?"

And I said, "You know what, Laura?
We might just die today."

There wasn't time
to contemplate their own mortality

because the hurricane
was fast approaching.

We had to get everybody
undercover. We unloaded our prop truck.

We had a line of guys to the truck,
into where we were putting provisions.

Who's there throwing boxes
but Jeff Goldblum.

Fairly alarmed here.

Jeff Goldblum is the man of the hour.

As Goldblum brought order
to the chaos...

That's chaos theory.

...Spielberg added to it.

All of a sudden, Steven said to Dean,
"Get the camera."

"Get everything. We're gonna go shoot."

Steven said, "Well, it would be great
to have storm footage."

Because in the story,
the approaching hurricane is significant.

So while most of the crew
were fortifying their hotel...

I went out to the beach with Steven,
and we were shooting

these tremendous waves as the storm
would get more, more.

The storm sequence you see
is the actual hurricane.

They all came back and said
it was quite something out there.

We should go in.
It's gonna start going crazy.

But they had no idea
just how crazy it would get.

The winds were fierce,
up to 150 miles an hour.

It was really, really scary.

But at the end of it, it was devastation.
No power, no water.

It was like a giant lawn mower
had come through

and completely denuded the landscape.

With supplies dangerously low...

The bottles of water
had been rationed out.

...and not to mention,
half a movie left to shoot,

was it possible that Mother Nature
had met her match?

Kathleen Kennedy, she's a force of nature.
I mean, she's quite scarily powerful.

Kathy Kennedy couldn't get
the film crew off the island

because martial law had been declared.

Plotting their escape,
this veteran of movie mega-hits,

including this one,
raced to save the movie.

Purely by happenstance,
Kathleen Kennedy ran into the guy

that had been the pilot
on Raiders of the Lost Ark.

That guy was Fred Sorensen,
who was now flying for Hawaiian Airlines.

Come on! Show a little backbone, will ya?

And he was taking in supplies to Kauai.

So Fred and Kathleen brought
the supplies, picked up the crew...

I will attempt to coordinate
some transportation

for everybody to get
to the commercial air terminal.

And she got them all back to LA
in time to shoot the rest of the film

on the Universal backlot,
where they shot scenes like...

The kitchen scenewith the raptors.

Oh, look.
There's John in a raptor suit.

I'm in this kind of downhill skiing
kind of position.

And despite John's
clearly powerful hindquarters,

well, he couldn't do that.

That was up to the team at ILM.

But as for Steve and Mark...

Everyone's waiting with bated breath.
Is the T. rex gonna work?

Come on! These guys knew what
they were doing. Of course it was!

I was having a hard time
getting the run to work.

It was do or die
for Mark and Steve.

I was terrified. I'd really shot
my mouth off and said I could build a Rex.

Now they felt the heat
of other people shooting their mouths off.

"Oh yeah, that foot's gotta move quicker?
How about this?"

"That doesn't look right."
The run wasn't working.

I'd go, "How about that?"
Not working.

Kept going back and forth,
getting hammered on.

Please!

Phil's like,
"Those computer guys, man, I told you."

Hate this hacker crap!

So I took all the animation curves
and expanded them out about 10%.

And bingo!
Spielberg said, "You know something?"

Hold on to your butts.

"I think this works."

Down!

And that was it. Once we got a T. rex shot
finaled, to me it was kind of like butter.

For Steve,
it was a different meal all together.

How did I celebrate?
You know, chips and gravy.

So with the digital T. rex
up and running,

it was now time for Stan Winston's
animatronic T. rex to show its teeth.

He's got a giant, full-size T. rex
on a flight simulator chassis.

It was hydraulically controlled by a
telemetry device so that when you moved it

in real time, it did it to the big one.

And ironically, much like
the real-life prehistoric predator...

T. rex himself was dangerous.
Whenever he went on, they had an alarm.

You didn't get underneath him,
get near the mechanics.

He weighed like a ton or something.
Eight tons or something?

All right.

When that head was whipping and moving,
it felt like a school bus driving by.

Time for this school bus
to make its first stop.

It's working beautifully. Everybody is
more than impressed, I must say.

Well, just slow down
before you shower on the praise.

That scene takes place in a rainstorm.

They were going to have the rain fall
either in front of or behind the T. rex.

Everyone knew
it wasn't supposed to get wet.

Keep the T. rex dry.
Makes sense.

But when you actually start shooting,
that all goes out the window.

Surely, a little rain
is no match for the king of the dinos.

What's the skin made out of?
Foam latex.

What's foam latex like?

It's a giant sponge.
Yeah.

Well, we all know what sponges do
when put in water.

He got soggy.

Now it weighs...
Like a ton or something?

No!
A lot more.

God knows how much more it was.
Well, God and Dean Cundey.

Probably three or four times heavier.
So much heavier.

And this poor little,
wet, cold T. rex got the shivers.

It started shaking and shuddering,
doing exactly what you didn't want it to.

One more time! All right!

It slowed the progress down,
and Steven doesn't like to be slowed.

Can we please stop this?
I wanna dry him down.

This soggy T. rex caused
problems off the set as well.

All of a sudden, the T. rex got fat.

So we had to, essentially,
fatten up our digital T. rex

to match
the Stan Winston practical at that time.

Because the T. rex attack scene
was really a tag team.

If you're seeing it
from head to toe, it's CG.

If you're punching in close up,
then it was the giant puppet version.

So this is pretty groundbreaking stuff.

Well, ground at ILM
was being broken, too. And fast.

The shots are getting final
and starting to look really good.

People are flipping out. The word is out.
We really hit our stride, literally.

And Steven was so enamored
with the CG T. rex.

Look how it eats.
He said, "This is the hero of the movie."

That's when something
became obvious.

The audience would've been left
with a bad taste in their mouth

if they didn't get to see the Rex
one more time.

That's right!
The original ending was T. rex-less.

So Spielberg decides, literally,
to rewrite an end sequence.

Knowing he could do things
he couldn't before.

Now, you don't have to control yourself.

You can have dinosaurs getting flung off
and jumping back on.

You can just go nuts.
So, well, they did go nuts.

The raptor's on this side of his head.
Get him around this way.

Dean Cundey got really tricky
with the camera. A lot of swish pans

onto where the character is
and to where the actors were.

Knocking out shots on set,
the team at ILM

attacked the new ending as well.

The raptor's coming in,
and as he's about to pounce,

the Rex grabs him in frame,
the music crescendos.

The camera lifts up,
and Sam Neill gives the thankful,

"Thank you so much
for saving my life" look.

And then the other raptor joins the party,
and it's the crescendo of the music.

The other guys run off,
and the T. rex smashes one.

Finally, he's gonna roar
like he's king of the world at that time.

Right? And then the banner falls.
Perfect ending. Ish.

Cut! Great!

On November 30, 1992,
production wrapped on Jurassic Park,

and Spielberg's editor,
Michael Kahn, already had a head start.

He and Michael Kahn
had been getting together regularly

to edit as they go along.

But many of the shots
were still missing dinosaurs.

And remember, those are quite important.
There's a whole list of CG shots.

And as ILM
worked on finishing that list,

Spielberg worked on a list of his own.

Almost as soon as Jurassic Park ended,
Steven Spielberg had to go to Europe

to start shooting Schindler's List.

But with shots
still being completed on Jurassic Park,

Steven had to work around the clock.

He'd work on Schindler's List
during the day and Jurassic Park at night.

He'd look at something on a screen,
and in the corner would be the ILM guys,

all being done by satellite
and very expensive.

We'd sit in our little room,
and there's Steven Spielberg.

We'd play the creature footage live...

Steven would tell them,
"That's great, we got it."

Or he'd note it as a CBB,
"Could Be Better."

We were kind of lucky dealing
with Spielberg.

It was the first time
anybody had ever seen this stuff.

Like, "Hey, it looks cool."
Yeah, no kidding. Final.

A process that continued
right to the last minute.

Spielberg did that
the entire shoot.

We finished filming Schindler's List
last day of May,

and Jurassic Park was released on,
I think it was June 11th of '93.

Well, three years
after preproduction began

and 65 million years
after dinosaurs walked the Earth,

Jurassic Park debuted worldwide.

Dinosaurs are coming back to life today
in the new movie Jurassic Park.

From the looks of it,
you'll be lucky to get in to see it.

Movie-goers, bookworms,
beach chair enthusiasts,

they all lined up to witness history,
something Universal was banking on,

having spent more on the marketing
campaign than the movie itself.

Other studios in town are so sure
of monster-sized crowds for Jurassic Park

that they will not open
any of their pictures against it.

The trailer was great. It was all abuzz.

And when,
for the first time in history,

audiences saw their first CGI dinosaurs...

They freaked.

The audience was so into it.

You hear people gasping.

I'm jumping even though I know!

Clapping. The audience went crazy.

The thrills never stopped. It was amazing.

I was pretty blown away. It worked.

The dinosaurs worked. They still work!

On its opening weekend,
Jurassic Park set a box office record,

raking in over 50 million dollars,
and it didn't stop there.

Week after week,
fans flooded the theaters.

Even the critics liked it,
and they don't like anything.

The special effects dinosaurs
are truly thrilling.

Thumbs up for me.
Thumbs up, too.

Even paleontologists.
One claw up.

It seemed that everyone loved
Jurassic Park, except Christine.

Christine doesn't want to see it
because they didn't give Barney a role.

Come off it, Christine!

By the end of its run,
Jurassic Park surpassed E.T.

to become the highest-grossing film ever,
earning...

Almost a billion dollars around the world.

Jurassic Park earned
a lot more than money.

Those digital dinosaurs won
award after award.

The envelope, please?

Including the Oscar
for Best Visual Effects.

Thanks, ILM, thanks, Tippett Studio,
and thanks, Steven Spielberg...

But really, it's no surprise.

None of this works without a decent story,

and here we have a really good story
with a really good director.

The performances...
Don't move!

The dinosaurs.
All of them add up on each other.

And when you do movies well,
they become bigger than life.

And they're bigger than life to generation
after generation after generation.

A sentiment that continues
with the Jurassic Park sequels,

which had some pretty big boots to fill.
And speaking of boots...

I found those boots in my cupboard.

I thought, "These boots
were not just made for walking."

"These boots were made
for kicking dinosaurs."

But Jurassic Park is more
than just a good movie.

It really did disrupt everything,

a disruption that happened right here,
the former home of ILM.

And for Steve Williams,

a walk down memory lane
is a glimpse into film history.

Because the magic contained
within the hallowed halls...

Still smells in here.

Yes. Steve, we're trying
to make this magical, mate.

The gal in there had rabbits.
Beyond the aromatic history...

Bathrooms. I spent time there.
Mm-hmm.

The silent halls
of this former home of ILM echo today...

I played the bagpipes here.

Let's just see
where the CGI was invented.

This room might not look like much,

but every single frame in Terminator 2
was done in this room. All righty.

This is where
I started building The Abyss.

Of the many unique rooms
in this building...

Coffee.

...one is particularly rich with memories.

Thirty-two years ago this month,
I came down those steps into this room.

Welcome to the disgusting pit.

Steve Williams was 26
when he was offered a job here

in the computer graphics department
of George Lucas's ILM.

There was crap everywhere,
stacks of Styrofoam and empty beer cans.

I'm surprised there's still Cheez Whiz
and stuff between the pipes. Yeah.

I think that's the only thing left.

Yeah.

So, I used to blast
Beethoven and Bach in here.

There was just something very strange
about having Beethoven blasting.

It would go right through
my head and into my hands,

against the keyboard
and right into the Rex.

It's one of those weird things
where you're part of the machine.

I know it sounds all zen,
but that's what happened.

Before Jurassic Park,

the possibility
of a photorealistic dinosaur

being created on a computer,

well, it was about as likely
as using a real T. rex.

So many people doubted that computers
could do something

that felt organically alive
and that was the big breakthrough.

We were definitely discouraged.
There was a lot of doubt

about what we were doing, right?

But, um, we didn't care.
We just thought it was inevitable.

And for Steve and Mark

and everyone who worked
on this groundbreaking movie,

well, they really were a part of something
that completely changed filmmaking.

After Jurassic Park,
digital filmmaking is just filmmaking.

And to be part of that,
it's almost indescribable.

Jurassic Park's enduring legacy
can still be clearly seen today.

But seeing this history
come to life for the first time,

well, it was kind of unforgettable.

I think of the scene where
Ellie and Alan first see the brachiosaur.

It's the first dinosaur
we see in the movie.

It's a dinosaur!

Basically, what Ellie and Alan are
thinking in that scene is,

"Oh, my God, look what science has done."

And as an audience member,
I was sitting there thinking,

"Oh, my God. Look what science has done."

Well, science
and, you know, a mad scientist.

I was lucky enough to produce
things here, isolated from the world,

that, little did I know,
would make it all over the world

and change the way we look at films.

This was my seat right here.

This theater is where we projected
every single one of the shots

that we knew was gonna change
the entire film industry. In this theater.

Assigning himself
an impossible task...

You can't do that.
That's impossible.

...Steve did what Steve had to do.

If I failed, I'd be the one
who failed, no one else. That was it.

And I was shooting my mouth off
that I could do it, you know.

And it was just a lot of pain, you know?

The divorces and problems
and all this stuff

to make sure that the specular highlight
on a fingernail of a creature

looks proper on your monitor.

No one knows the pain
you go through to do that.

Yeah. This place used to be alive, man.

But it was great, man.
I wouldn't trade it for anything.

Anyone hungry? You know,
I'm interested in cheap beer and cigars.