My rating: 4 of 5 stars
This is an enjoyable account of the making of Jurassic Park. It’s easy to forget how revolutionary the special effects were at the time, and this narrative really drives home those elements of the production. There are also a lot of great teases about the development of the screenplay from the novel to the final product, with three screenwriters (starting with Crichton himself) taking a swing at it.
This could have been a fairly safe narrative, but the hardships of production are described, often in detail, and there are at least hints of tension and conflicts (the shifting prioritization of stop-motion, animatronics, and CGI was an interesting dramatic narrative). And there were some quotes where the creative team could be surprisingly frank. My favorite, from screenwriter David Koepp: “Here I was writing about these greedy people who are creating a fabulous theme park just so they can exploit all these dinosaurs and make silly little films and sell stupid plastic plates and things. And I’m writing it for a company that’s eventually going to put this in their theme parks and make these silly little films and sell stupid plastic plates. I was really chasing my tail there for a while trying to figure out who was virtuous in this whole scenario–and eventually gave up.”
Visually, the book is packed with concept art, behind-the-scenes photographs, and astounding images of the visual effects development process. My parents got me this book as a kid (like Tim, and many/most kids, I’ve always had dinosaurs on the brain), and the book was always a delight just for the pictures alone. Amazingly, while I had skimmed many passages before, this was my first time reading it cover-to-cover (sadly, not the same childhood copy).
The book accomplishes what it sets out to do: it tells the story of the making of Jurassic Park. A longer, more robust, more complicated and detailed narrative would have been fascinating, and I would have preferred if the story had been told in pure chronological order rather than inserting details as they made thematic sense (as some of the conflicts and detours would be more apparent that way, and the whole project would seem less destined). Still, I enjoyed reading it and will continue to enjoy idly leafing through the artwork.
P.S. The three screenwriters were: Michael Crichton, Malia Scotch Marmo, and David Koepp. Marmo’s version was ultimately unused, but she provided extensive feedback on Koepp’s version, which evolved into the final script.