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islanublar · 2 years ago

Text

NOTES (1997)

The Lost World: Jurassic Park is the sequel to Steven Spielberg's 1993 film recounting events on a Costa Rican island inhabited by genetically-engineered dinosaurs, which broke all box-office records and showcased an emerging visual effects technology.

Based on the novel by Michael Crichton, the story picks up four years after the disaster at Jurassic Park. Something has survived on a second island Isla Sorna, where the dinosaur manufacturing facility code-named Site B has been destroyed by a hurricane and the animals now run free, constrained only by the laws of nature.

"When I first heard that Michael was going to write the book and that he was thinking of calling it The Lost World, I was thrilled because I'm a big fan of Sir Arthur Conan Doyle's book The Lost World. I was compelled by the idea of being inside a prehistoric world that exists today - not behind electrified fences, not in a theme park, but in a world without the intervention of man. I thought, 'Wow, what a great story.' If I hadn't found a story I was interested in, Jurassic Park would have remained just a nice memory for me," says Steven Spielberg.

For Spielberg, who had been carefully considering a number of projects for his return to directing after a three-year hiatus, Crichton's interest in revisiting the Jurassic saga helped sway his own decision. Universal Pictures and Amblin Entertainment, Spielberg's production company, had begun discussing a sequel to Jurassic Park as the original film was breaking box-office records around the world en route to becoming the highest-grossing motion picture of all time. Now, Spielberg, Crichton and Jurassic Park screenwriter David Koepp entered into a gentleman's agreement to bring The Lost World to the screen, under the Universal-Amblin umbrella.

"I realized that what I really wanted to do was direct. I had started a company and done a lot of other things in those three years. So I was ready to return to it, and I had always wanted to do a sequel to Jurassic Park - both because of popular demand and because I'd had such a great time making the first film," Spielberg reflects.

With the deal in place, Spielberg began to pull together a creative team, nearly every member of which was a veteran of Jurassic Park. Serving with Spielberg were producers Gerald R. Molen and Colin Wilson. Executive producer Kathleen Kennedy would also return to the fold, along with production designer Rick Carter, film editor Michael Kahn and composer John Williams. With full motion dinosaurs by Dennis Muren, live action dinosaurs by Stan Winston and special dinosaur effects by Michael Lantieri, this Academy Award®-winning triad that had combined talents to create the dinosaur effects for the first film also committed to the sequel. Of all the department heads, only director of photography Janusz Kaminski - who had shot Schindler's List for Spielberg - was not an alumnus of Jurassic Park.

In The Lost World: Jurassic Park, Jeff Goldblum reprises his role as chaos theorist Ian Malcolm and Richard Attenborough makes a special appearance as the ambitious entrepreneur John Hammond. Julianne Moore (Nine Months ), Pete Postlethwaite (In the Name of the Father ), Arliss Howard (To Wong Foo, Thanks for Everything! Julie Newmar ), Vince Vaughn (Swingers ), Vanessa Lee Chester (Harriet the Spy ), Peter Stormare (Fargo ), Harvey Jason (Air America ), Richard Schiff (City Hall ) and Thomas F. Duffy (Wolf ) join Goldblum in the cast.

The Lost World: Jurassic Park is Spielberg's first film since 1993, when he directed both Jurassic Park and Schindler's List, which won a total of seven Academy Awards® including Best Picture and Best Director. Jurassic Park was also honored with three Academy Awards® including Best Sound, Best Sound Effects Editing and Best Visual Effects.

It was clear that Universal wanted to talk about doing a sequel in the record-setting period following the release of the original film. (With worldwide ticket sales of more than $916 million, Jurassic Park continued to break records when it was released on home video, where it holds the title of top-selling live-action motion picture of all-time.) The filmmakers had discussions amongst themselves and with Michael Crichton.

While there was interest in a sequel, there was no guarantee that Crichton was going to write another book. Determining a schedule for a second Jurassic Park film was dependent on whether Crichton would proceed.

Meanwhile, Spielberg and screenwriter David Koepp were already talking. Yes, the director confirmed, there would be interest in an encore, if there was a good story to be told.

In those heady months after the release of Jurassic Park, when the question of whether dinosaurs could be made real was answered with a resounding affirmative, there was a new question. "Sure you can do dinosaurs, but what can you do with them?," Koepp remembers thinking.

So began the dialogue between the filmmaker and the screenwriter, who were getting together from time to time to just bounce ideas off one another, recalls Koepp.

Word that Crichton was working on the manuscript for his follow-up novel only served to sharpen Koepp and Spielberg's wild imaginations. "We'd throw ideas at one another and see what kind of reaction it provoked," recounts Koepp. "Suddenly I'd say something and that made him think of something that made me think of something. It just feeds in that way."

Spielberg would go off from these brainstorming sessions and storyboard the ideas. "Steven's got such a wonderful, fertile mind, especially for these sorts of adventure sequences and action sequences," says Koepp. His challenge as a writer was to figure out how to incorporate what he describes as "these fantastic sequences" into the loose structure of a movie that he had in mind and then integrate them with Crichton's work.

"In an interesting way, this is a lot like the way animation works where you start with a visual idea and then, in a very logical way, craft the story," observes executive producer Kathleen Kennedy. "Our story was very dependent on the visual imagery."

"When you have Michael Crichton and the book, you are already in very good shape," says Kennedy. "Add to that the combined imagination of Spielberg and Koepp and you have the basis for a very exciting film."

One of the challenges in approaching The Lost World was the audience's own enormous expectations. As Koepp observes, "audiences tend to feel pretty proprietary about it. Everybody has their own ideas about what should happen in a sequel."

Fortunately, Spielberg has never forgotten his own experiences at the movies going back to his boyhood days when his father took him to see Cecil B. DeMille's The Greatest Show on Earth. He was amazed by the power of the cinematic experience and soon started to make movies with friends and members of his family. "The audience comes first," says Spielberg. "I really think of the audience when I think of a Jurassic Park or a Lost World or the entire Indiana Jones series. A lot of this movie was made for what I hope is the pure pleasure of an audience."

The result is a movie that is both similar and different - an intense, visually stunning adventure that pushes the limits of imagination and technology.

Audiences will embark on this new adventure with a familiar face as their guide. "I cast Jeff Goldblum again because he is Ian Malcolm," says Spielberg. "There is no Ian Malcolm except as played by Jeff." This time, Dr. Malcolm is the anchor for the story. "In the first film, Malcolm was along for the ride and he was kind of a critic," Spielberg continues. "In this sense, he's leading the journey in The Lost World. He has a very strong motivation for returning."

Jurassic Park ushered in a new era of visual effects, brilliant computer-generated images (CGI) blended seamlessly with the state-of-the-art mechanical and animatronic special effects. The combination gave life to creatures believed to be extinct for 65 million years. "I think that people were a little bit amazed that the dinosaurs looked as real as they did," says Spielberg.

But whereas moviegoers in the summer of 1993 were awestruck by the on-screen digital recreations, audiences today will come to the theaters expecting to see nothing less than living, breathing dinosaurs.

"With the first movie, we had no idea how we would make the dinosaurs real," admits Kennedy. "With the sequel, we had a very clear idea of the visual effects and were very comfortable with the technology for computer graphics. So for The Lost World, we were able to focus on the storytelling."

"It was the story that justified doing a sequel, not the technology," Spielberg comments. "CGI has improved since the first movie and the artistry of the people involved has also improved. So there was a good chance that the dinosaurs would look even more believable than they had in the last adventure. But it was really the story that compelled me to make this movie."

The notion of a lost world, a window on earth's distant past, inspires the imagination. The occasional real-life discovery of a prehistoric link - such as the ancient coelacanth: the 400 million-year-old fish found still to be alive or prehistoric insects found perfectly preserved in amber - fuels these dreams. Sir Arthur Conan Doyle visited the subject in his turn of the century Professor Challenger series. Somewhere beyond Doyle's vision of an evolutionary anomaly and John Hammond's technologically marvelous Jurassic theme park is The Lost World.

On another island off the coast of Costa Rica, in a chain called Los Cinco Muertas (The Five Deaths), dinosaurs are living and breeding in the wild. This is Site B. "A genetic laboratory, the factory floor, so to speak," explains Spielberg, where once upon a time experiments and cloning attempts not suited for public exhibition were conducted by InGen scientists.

The behind-the-scenes laboratory was knocked out of commission, but nature found a way. For four years now, dinosaurs have flourished in a perfect ecological system unfettered by man.

As The Lost World begins, the balance of nature is about to be tested once again. Peter Ludlow (Arliss Howard), John Hammond's mercenary nephew, has taken over the nearly bankrupt InGen. In a presentation to the board of directors, he unveils a plan to restore the corporation's financial health by harvesting the "significant productive assets that we have attempted to hide." For him, Site B is a giant cash cow just waiting to be milked.

Hammond (Richard Attenborough) is well aware of the commercial potential in Site B. But he sees another opportunity: a chance to redeem himself by preserving a record of the dinosaurs living in their natural state.

"Finally, what he will have done will not be a terribly tragic thing, but a contribution," says actor Jeff Goldblum.

"He's a dreamer," says Lord Attenborough of his character. "He's not unlike Mr. Spielberg, to a certain extent, in that he is fascinated by the infinite capabilities of human endeavor. Hammond just goes that much farther." The Jurassic Park founder is somewhat chastened and tempered by what has happened before. "But the old temptations and the old adrenaline comes up and he takes risks again."

Hammond organizes an expedition to reach the island before Ludlow lands his own, less noble mission led by Roland Tembo (Pete Postlethwaite), a leathery adventurer and hunter. To accomplish this he commissions Nick Van Owen (Vince Vaughn), a daring video-documentarian, to chronicle the trip; Eddie Carr (Richard Schiff), a field equipment systems specialist, to outfit the team and keep the operation running in the field; and Dr. Sarah Harding (Julianne Moore), a pioneering paleontologist specializing in the nurturing behavior among carnivores - especially carnivorous dinosaurs.

"Sarah is opening up a new field of study, and she uses this as an opportunity to explore her beliefs," Spielberg observes. "She has an insatiable curiosity." Which is exactly why Sarah mentioned none of this to her boyfriend, Ian Malcolm, who would have tried to stop her had he known. When Hammond asks Malcolm to lead the venture, he refuses - until Hammond informs him that Dr. Harding is already there.

The revelation that his girlfriend is alone on an island with dinosaurs drives Malcolm into action. "It's a very monumental moment for me," Goldblum explains. "I go down there with a head full of steam and a gut full of passion."

Of the people who reach the Lost World, only Malcolm comprehends the danger. He knows from experience that people shouldn't be where dinosaurs are. "It's going to be bad for people," Goldblum says dryly. Among these people is Kelly Curtis (Vanessa Lee Chester), a young stowaway, whose presence on the island raises the stakes even higher for Dr. Malcolm.

In Jurassic Park, Malcolm was more of the moral, conscience-driven intellectual drawn to the exotic park out of curiosity. "This time," says Goldblum, "I've got a very emotional, passionate and driving reason to bring me back. I am a force of nature."

"Drama is often like rubbing two sticks together and watching what it sets aflame," notes Spielberg of the confrontation between the two philosophically-opposed expeditions - one sent to protect the sanctity of the habitat and the other to roundup the animals for commercial exploitation - who "end up having to band together just to survive. That creates more than just a lot of running from dinosaurs - there's a great deal of emotional drama, as well."

Screenwriter Koepp remembers a conversation in which Spielberg told him, "I think this movie is about hunters versus gatherers." Koepp adds "that when the two groups are thrust together into survival situations is when it gets really fun."

Jurassic Park raised the question of man's role in trying to control nature. "You decide you'll control nature and from that moment on you're in deep trouble because you can't do it," says Michael Crichton. "You can make a boat, but you can't make the ocean. You can make an airplane, but you can't make the air. Your powers are much less than your dreams would have you believe."

The debate continues in The Lost World; this time the argument is framed by setting the story in the dense forest wilderness, where man's impact on life and the environment is clearly evident. As the Native American Chief Seattle observed a century ago, "Man did not weave the web of life, he is merely a strand in it. Whatever he does to the web, he does to himself."

"The Lost World is exactly what it implies," says Spielberg. "A lot of people who think they can control nature are very presumptuous about their role in the scheme of things and wind up on the short end of the food chain. You have to band together to live and go on."

"It's important in these movies that animals never be characterized as villains, because they are not," Koepp points out. "They're just doing what they do. It's when the humans come into conflict with one another that they may find themselves at the mercy of the animals."

"On one level, this story evolved into one about parenthood and the instinct to protect your young," he continues, echoing a theme that applies to the films human and animal characters. On a more superficial level, the story evolved into one of survival.

Then there is the moral question explored in Jurassic Park. "DNA cloning may be viable, but is it acceptable?" asks Spielberg. "Is it right for man to do this or did dinosaurs have their shot?"

The controversy over cloning - it's possibility implied in Jurassic Park and proved in real life in February 1997 when researchers in Great Britain announced their success in cloning a sheep - raged anew on the front page of newspapers just as The Lost World was in post-production.

Spielberg always respected the science behind Jurassic Park as real, much as he respected real-life research as the basis for his other projects, such as Close Encounters of the Third Kind .

Contained in those news stories was another point that confirmed what Crichton, Koepp and Spielberg suggested in their latest adventure. The failure rate in cloning an animal is presently staggering: on the order of 300 to 1. For every success, there were numerous failures, from death to deformity, if the cloning procedure took at all. As Hammond tells Dr. Malcolm, he needed a factory, Site B, to overcome this ratio and stock Jurassic Park with the perfect specimens visitors saw there.

"A movie like this needs at least a year to 18 months of prep time," says Spielberg. "You can't just throw this together in a normal four-month prep for a drama or a comedy. It takes 18 months to build the animals. We began sketching and designing some of the sequences about two years ago."

In the spring of 1995, production on The Lost World: Jurassic Park started to come together. Producers Gerald R. Molen and Colin Wilson, both longtime Spielberg collaborators who were veterans of the first movie, began to focus their substantial producing skills on the project. Molen roughed out a schedule and budget as Michael Crichton was concluding his novel and Spielberg and screenwriter David Koepp were developing ideas for the screenplay. Colin Wilson, who oversaw the visual effects work and was largely responsible for the post-production on Jurassic Park while Spielberg was in Poland making Schindler's List, reassembled the visual effects team from the first film and began to address the dimensions of the new project. Dennis Muren at ILM, Stan Winston and Michael Lantieri were all eager to apply newly-developed technologies to better what they accomplished with stunning effect on the first film.

Production designer Rick Carter, who also designed the look for Jurassic Park and has been associated with Spielberg and his production company since the Amazing Stories television series, began his work on The Lost World when he and storyboard artist Dave Lowery met over dinner with Spielberg that spring. "We just started storyboarding one of the scenes from the book and it evolved from there. By the fall, we had a full crew of set designers, art directors and illustrators," Carter recalls.

"It's my job to find a lost world and then create The Lost World," Carter continues. "In this particular film, we are coming back to the same type of place where we were in the first film but it's a lot rougher." That this more natural, wild environment is less hospitable to the dinosaur population than the safe containment of the man-made park of the first movie can be seen in the battle-scarred head of the male T-Rex.

Carter and his team constructed various environments based upon what they knew as the outline of the movie. "We would show Steven our ideas for sets and when he approved them, that would often spark ideas - right on the spot we'd come up with more and more scenes, and those would be storyboarded and become part of the actual story."

The preliminary visualization phase continued as Carter, his art directors, draftsmen and illustrators refined the ideas into models. Carter also turned to the computer for help in determining the look of many of the visual effects sequences. He made rough 3-D animations, called animatics, which show characters moving within an approximation of the set.

"In this kind of movie, so much is being constructed visually," notes Carter, contrasting the open, organic process of creating The Lost World with other projects where the look is strictly determined by "a narrative we absolutely adhere to at all times."

The storyboards, animatics, illustrations and models created by Carter's art department provided the foundation for the entire production. The storyboards gave every member of the growing production team a clear idea of Spielberg's vision - information they would use to prepare their portions of the picture. They were constant throughout production with filmmakers using them as a guide from the earliest days of prep right through post-production. On the set, for instance, storyboards for each day's work were posted on a large display board. As pieces of the sequence were shot, the corresponding storyboard was marked as complete.

Storyboards for the big set piece action sequences were released to the visual effects teams early to give them as much time as possible to complete the intricate task of flawlessly interlacing digital, physical and robotic effects. There was no question that the visual effects for The Lost World would be every bit as challenging as they were on the first film. Perhaps even more so because audiences that had modest expectations for the first film's dinosaurs would now expect greatness.

Stan Winston was already well on his way to creating an entire new set of dinosaurs at his studio in Los Angeles' San Fernando Valley. New technology and such seemingly simple things as improved hydraulic systems were developed in the years between Jurassic Park and The Lost World. As dazzled as audiences were with Winston's brilliant work on the first film, he knew that he could do even better and was determined to prove the point.

"People are very aware of the advancements in the computer world since Jurassic Park," Winston comments, "but they tend to forget that the animatronic world has also made some incredible advances, producing characters in which the technology is virtually undetectable. In large part, that is due to the tremendous advances we made in Jurassic Park and in the time since then."

"There were tremendous developments in hydraulic technology - developments that allowed us to manufacture twice the number of creatures in half the amount of time and for slightly less money," Colin Wilson elaborates. "That was quite amazing. We got a lot of improvements in performance and technology. We got double the number of characters, and we paid less for it. But the most important part of the equation was how much better the character performances would be for this movie."

The sequel gave Winston the opportunity to make dinosaurs that were even more lifelike. But it wasn't just a matter of refitting the creatures from the first film with new movements and armatures. To begin with, there are more dinosaurs in The Lost World. So while the retooled T-rex from the first film joins Goldblum and Attenborough as a returning cast member, Winston and his crew built a second adult T-rex from scratch and fabricated nearly 40 creatures in all. The Stan Winston Studio, located in an industrial section of Van Nuys, utilized the talents of more than 100 artists and technicians during the year and a half that it took to design, draw, sculpt, mold, frame, mount and paint the different dinosaurs. There was diversity, too: from the tiny chicken-sized Compsognathus ("compy") to the two-story-tall T-rexes.

The work also involved careful coordination with the other two captains of the visual effects squad. Lantieri, who heads up the mechanical effects team, worked closely with the Winston shop to fabricate the giant T-rex frames and movements, as well as several other design issues. The Winston Studio's maquettes, scale models of the finished dinosaurs, were shared with Muren and his team at ILM, where they matched the colors, textures and movements of the digital creatures so that they would mesh seamlessly with Winston's live-action dinosaurs.

Part of what makes Winston and his creatures so magnificent is his approach. He doesn't think of them in a mechanical sense, and he couldn't tell you exactly how to build them. He doesn't look at his creations as inanimate robots. Instead, he thinks of them as characters, performers and stars. "We give them personalities. They have expressions," he says.

In fact, it is Winston's own background - first as an actor, then as a make-up artist and more recently as a director - that helps him keep his crew focused with this idea. On the set, as he stands next to Spielberg, he speaks to his puppeteers through headsets, intoning cues and direction for their "performance."

The animal characters created by Winston proved to be a benefit for the human actors, as well. It gave them a real representation - an actor, so to speak - to play against.

To add to the authenticity of the dinosaur fabrications, Spielberg once again enlisted noted paleontologist Jack Horner of the Museum of the Rockies, who had served as an advisor on Jurassic Park. This noted scholar, who is one of the world's foremost fossil hunters, worked very closely with Spielberg and Winston in creating lifelike representations of these long extinct creatures. Although much of our dinosaur knowledge is based on speculation, Horner revealed that there is much that can be deduced by putting knowledge of today's skeletal science together with the fossilized bones. Like a detective, Horner and other researchers like him are able to develop detailed ideas of what dinosaurs looked like and how they behaved - knowledge that Spielberg and Winston readily applied to their work in The Lost World .

Horner's work with Winston was especially important because the look and movement of the Winston dinosaurs would become the basis, most notably in terms of appearance and texture, for the digitally created dinosaurs that Muren would produce.

In San Rafael, California, Muren was gathering his legion of digital artists at Industrial Light & Magic. Since Raiders of the Lost Ark, Spielberg has relied upon the collective talent at ILM, and one way or another Muren has been a part of it all.

Digital technology is moving with such velocity that techniques painstakingly developed at the beginning of Jurassic Park were surpassed by improvements before production was over. There was tremendous desire on the part of many who worked on the original film to finesse the visual effects to an even higher level. "This show is a lot different from Jurassic Park in that we were sort of timid on the first one because we didn't know if we could do it," says Muren. "Now we figured out we could do it and have had three years to think about it."

Like Winston, Muren wanted to improve on what he did with the first movie. This time he wanted to give Spielberg something else: freedom. "At the beginning of the show I mentioned to Spielberg that we can do just about anything," Muren relates.

The idea and overarching philosophy driving Muren and ILM is that filmmakers shouldn't have to think about the technology so that they can be free with the images. So, for over 20 years, we've been building up tools to give these directors what they want without restraint.

Examples of this independence include the ability to shoot visual effects shots with complete freedom of movement for the camera and a greater degree of interactivity between the CG creatures and live action actors. Visual effects shots used to mean locked-off cameras and rigid procedures. But technology has advanced to the point where the visual effects camera can be mounted on a steadicam and moved about with total fluidity.

No matter how wonderful and real the work of Winston and Muren appears to be, it wouldn't play as well without the third element of the visual effects team - Lantieri's physical effects. Lantieri, one of Hollywood's most skilled effects men and another longtime member of the Spielberg team, remarked that he had more work to do in the final weeks of the 14-week shoot on The Lost World than he did throughout Jurassic Park. "Everything about this show is big," says Lantieri. "On the last show, we crashed an explorer. This time we dangle a 60-foot-long double trailer off a cliff."

The largest set piece that Lantieri had to create involved the massive field systems trailer, which was designed to provide a base of operations for Dr. Malcolm and his travelers. To begin, there was not one but five trailer sections - all modified Fleetwood motor homes. There were literally hundreds of moving parts both inside and out and all of which had to be rigged by the special effects unit. Before the end of the movie, all manner of damage is inflicted upon the trailer and its human occupants, and Lantieri had to figure out how to make it all happen. The sequence, spread across almost a month of the shooting schedule, was filmed on two soundstages and the side of a parking structure dressed to look like a cliff wall.

Simultaneous to the visual effects development, Carter began a real-life search for a Lost World. He traveled extensively, looking in the Caribbean, Central America and as far away as New Zealand for places that visually conveyed the idea of a Lost World - a place forgotten by time and humanity.

He found his Lost World closer to home - in the Redwood Forests near Eureka, California, about six hours north of San Francisco on California's aptly named Lost Coast. With tremendous cooperation between the filmmakers and the California State Parks, the company was allowed to shoot in the midst of some of California's most spectacular scenery in Fern Canyon, Prairie Creek and Patrick's Point State Parks.

In a film defined by its scope and scale, the tall and massive trees, known as the Coast Redwood, were about the only thing that could dwarf this production. The Redwood settings were interesting for another reason: the trees have an ancient history dating back more than 160 million years. According to John B. Dewitt of the Save-the-Redwoods League, "Redwood Forests, as we know them today, have been present in California for about 20 million years. They represent a unique and beautiful relic flora from the days when dinosaurs roamed the earth."

For the film's opening sequence, Spielberg returned to Kauai, Hawaii, where he previously shot portions of Jurassic Park and Raiders of the Lost Ark .

While Eureka and Kauai provided most of the rich and forested Isla Sorna exteriors, much of the film was shot within Southern California and on the Universal Studios stages and backlot where all of the sets were constructed.

With the project now increasingly defined, Gerald R. Molen and Colin Wilson, joined by associate producer Bonnie Curtis, spent several months lining up the crew and a multitude of production elements. "My job is to provide the director with the tools necessary to do what he wants to do," says Molen. "The most important thing is to find the right people."

By April 1996, a year after Spielberg began to seriously plan the picture, most of the locations were picked, sets designed and the crew was largely in place to prepare for a start date of September 5 - still five months away. While the visual effects teams were already well into their work, others were just getting started, and some were not to start until the end of summer.

In June, construction coordinator John Villarino opened up his office on Universal's Stage 12, the second largest sound stage in the world, and started a job that would ultimately fill six of Universal's biggest sound stages wall-to-wall with sets.

Villarino worked mainly from models, illustrations and prints provided by the art department. By the end of the show, Villarino figured that his crew of 120 actually constructed 80 of the total 100 different sets. "There wasn't enough stage space in Hollywood to do this movie. It would have taken another four stages," he says, but they just didn't exist.

Carter addressed the stage space issue by devising a way to change over the stages from one set to another throughout the show. For instance, on Stage 12 Villarino changed over the set three times. The company would shoot on the stage, leave to shoot on another stage for several days and then return to a completely different set configuration. "It was kind of hectic," Villarino allows.

The massive T-rexes also presented a challenge to the production. Stars in their own right, they required special handling.

The T-rexes, which each weighed 19,000 pounds and ran on tracks, could not be moved from their home on Stage 24. Instead, sets were built around the T-rexes. This occurred regularly throughout production.

One of the largest sets constructed for The Lost World was the workers village on Site B which was left intact after filming to become a part of Universal Studios Hollywood theme park tour. The operational center, where at one time InGen scientists performed feats of genetic engineering that ultimately led to the cloning of dinosaurs for Hammond's Jurassic Park, was built from the ground up to look as if it had been destroyed by a hurricane and abandoned by the company.

So much of The Lost World takes place on this isolated island, and it is a very green world. One of the busiest greens crews ever to work a film feverishly dressed and maintained each stage. Greens coordinator Danny Ondrejko led a team of 14 greensmen, five of whom would normally be completely in charge of a full production. Instead, Ondrejko put each in charge of a stage or a group of sets.

When you're shooting in a forest, like the Redwood Forest, you don't think about having to dress in with greens. "It's like bringing coal to Newcastle," laughs Carter.

But the truth is that lots of greens carefully screened by the supervising park rangers to avoid contaminating the ecological balance were brought into the forest and removed. The reason: only certain kinds of plants were available in Southern California, and since most of the film was shooting in Hollywood, those were the most practical plants to choose. So the greens department brought supplies of Southern California greenery to Northern California so that close-up shots would match.

Principal photography for The Lost World: Jurassic Park began on September 5, 1996 in the spectacular Fern Canyon, about 40 minutes north of Eureka.

The company spent two weeks in Northern California, filming in a combination of state parks and private land. Within a week, Spielberg was already ahead of schedule.

By the time the Eureka shoot was over, key live action scenes had been captured, dinosaurs were on film, and all of the plates for Industrial Light and Magic's (ILM) three major computer-generated (CG) sequences and nearly half the CG plates for the entire show had been filmed. Within days, those plates would be cut into scenes and delivered to ILM to start their computer animation of the CG dinosaurs.

Throughout the fall, the filmmakers shot on stages at Universal and a select group of surrounding locations.

Janusz Kaminski, the director of photography who won an Academy Award® for his work on Schindler's List, noted Spielberg's approach to The Lost World. "The camera became really active and ended up being in more unusual places than in his latest movies."

Kaminksi and his grip and electric crew employed virtually every camera and lighting device known to the industry and more than a few custom tailored for this film. For example, there were two movable camera mounts, one that functioned something like an elevator and another that allowed the camera to dolly - suspended upside-down from the ceiling of Stage 27.

"It's very much a Spielberg movie where the camera sweeps the scenario," Kaminski continues. "It moves from high angles into extreme close-ups, follows the actors and reflects the drama of the movie and the story."

For the actors, The Lost World was the most physically demanding film any of them had ever worked on. Whether they were suspended on wires or being tossed about in the mud, there was seemingly no limit to the physical manifestations of dinosaur encounters. They sometimes likened the experience to being on an amusement park ride. According to Vince Vaughn, "The difference is that in an amusement park, you take the ride once and its over."

"Part of the joy and challenge of working with Steven Spielberg," says executive producer Kathleen Kennedy, "is that he constantly pushes himself to do things in an unconventional and exciting way. He challenges all of us to go beyond anything that's been done before."

The biggest challenge for producer Gerald R. Molen was to keep the production on track and on budget. "The budget was a little bit higher for this movie than it was for the first - which was about $58 million - but we were actually able to get more for our money this time," Molen notes. "We got more from Stan Winston and his people because a lot of the research and development had already been dealt with for Jurassic Park. We also got more from ILM, in part because the cost of CG had decreased. Also, Steven had decided to get as much as he could from the mechanical dinosaurs, without resorting to CG more than was necessary. So even though this movie would have a few more CG shots than Jurassic Park, it wouldn't have a great deal more."

"Steven was able to do that, to plan for it and budget for it, because he is such a visionary. He is able to see the entire movie in this mind long before he starts to shoot so he knows exactly what he needs. He isn't the kind of director who ends up with a lot of film literally on the cutting room floor. There is no waste. Because of that, we were able to budget this movie very carefully and responsibly."

On December 11, Spielberg lifted his glass in a champagne toast to the crew, just as he had on the final night of filming Jurassic Park. Congratulating them for bringing the film in ahead of schedule, he said: "Thank you for a great show."

It was an emotional send off to what had been an exhilarating experience for everyone involved in the making of The Lost World: Jurassic Park. Knowing up front that the toughest thing about a sequel is the expectation that goes along with it, this veteran production team never got distracted worrying about how they were going to top the first movie.

"Our response to that expectation was to make a different, more dramatic movie, while keeping the humor and suspense and all of the things that audiences had liked about the first movie," Spielberg concludes. "I think that's what people want in a sequel, anyway. They want to roll up their sleeves and fall right back into that adventure."

#circa: 1997 #source: lost-world.com

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oneboxofmatches · 3 years ago

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All You Need to Know About Matchups!

CLICK HERE TO VIEW THE WAITLIST

Hi y'all!

This account is solely for matchups for several different fandoms. That means requests for imagines, oneshots, headcanons, etc. will NOT be taken.

Here are some basic things to know about requesting a matchup!

Unless otherwise specified for a certain fandom, a request yields one romantic pairing AND one friendship pairing as well as information on why I think you work well with the individuals I choose. Of course, if you only wish to receive either just the romantic matchup or just the friendship matchup, just let me know!

You can request matchups for several different fandoms at once! For each fandom you request, I will match you up with one romantic partner and one friend unless you request differently.

You can ask to exclude any character(s)!

Where can I request a matchup?

Requests can be made in the MATCHUP REQUESTS/ASK ME ANYTHING tab.

What do I need to include in my request?

Required

Fandom(s)

Your gender and/or pronouns

Your sexual orientation and/or preferences

Description of personality

Optional (but definitely helps me out!)

Description of appearance

Hobbies

Personality alignment (Myers-Briggs, Enneagram, Hogwarts House, etc.)

What you would look for in a partner and/or friend

Any other information you think would be helpful – the more you provide, the more I can work with!

Now with that out of the way, onto the fandoms!

Listed directly below is a shortlist of all the fandoms I take requests for as well as some extra information as needed.

Disclaimers

If a title is in italics, it means that while I feel comfortable providing matchups for this show, I have not watched every season. If a character drastically changes after a certain point, I may not be aware. The last season I watched of these shows will be included in parentheses.

All movies/shows based on novels will most likely focus on the on-screen adaptations of characters.

SHOWS

The 100 (6)

Good Omens

The Good Place (3)

Lucifer (4)

On My Block

Parks and Recreation (4)

Prodigal Son (1)

Sherlock

Space Force

Supernatural (14)

The Walking Dead (8)

MOVIES

Clueless

The Greatest Showman

Harry Potter -- Unless specified in request, will entail 2 sets of matchups as a student (Golden Trio and Marauders eras respectively)

The Hunger Games

Marvel Cinematic Universe -- Unless age is specified, underage characters will NOT be available for romantic matchups

BROADWAY

Anastasia

Beetlejuice

Carrie (2012 Off-Broadway)

Hadestown

Hamilton

Les Misérables

The Phantom of the Opera

Six

VIDEO GAMES

Detroit: Become Human

Red Dead Redemption 2

What’s below the cut?

A masterlist of characters in each fandom that will be considered for each request (unless marked with an asterisk (*), all characters are assumed to be available for both romantic AND friendly matchups while names marked with an asterisk are only available for friendly matchups). Listed alphabetically by first name.

Don’t be afraid to tell me about a typo!

Any questions? Just want to talk? You can also use the MATCHUP REQUESTS/ASK ME ANYTHING tab to get ahold of me!

SHOWS

Bellamy Blake

Clarke Griffin

Echo

Finn Collins

Harper McIntyre

Jasper Jordan

Johnathan “John” Murphy

Jordan Green

Lexa

Lincoln

Marcus Kane

Monty Green

Octavia Blake

Raven Reyes

Roan

Wells Jaha

Aziraphale

Anathema Device

Crowley

Newton Pulsifer

Mme. Tracy*

Witchfinder Sgt. Shadwell*

Chidi Anagonye

Eleanor Shellstrop

Jason Mendoza

Michael*

Tahani Al-Jamil

Amenadiel

Det. Chloe Decker

Det. Daniel “Dan” Espinoza

Ella Lopez

Eve

Dr. Linda Martin*

Lucifer Morningstar

Mazikeen “Maze”

Cesar Diaz

Jamal Turner

Jasmine Flores

Monsé Finnie

Oscar “Spooky” Diaz

Ruben “Ruby” Martinez Jr.

Andrew “Andy” Dwyer

Ann Perkins

April Ludgate

Benjamin “Ben” Wyatt

Christopher “Chris” Traeger

Donna Meagle*

Gerald “Jerry” Gergich*

Jean-Ralphio Saperstein*

Leslie Knope

Ronald “Ron” Swanson*

Ainsley Whitly

Det. Dani Powell

Edrisa Tanaka

Lt. Gil Arroyo

Det. James “JT” Tarmel

Jessica Whitly

Malcolm Bright

DI Greg Lestrade

Mrs. Hudson*

James “Jim” Moriarty

Dr. John Watson

Mary Morstan*

Molly Hooper

Mycroft Holmes

Sherlock Holmes

Dr. Adrian Mallory*

Capt. Angela Ali

Brig. Gen. Bradley Gregory*

Dr. Chan Kaifang

Duncan Tabner

Erin Naird

F. Tony Scarapiducci

Kelly King

Maggie Naird*

Gen. Mark Naird*

Abbie “Bela” Talbot*

Adam Milligan

Alex Jones

Balthazar

Benjamin “Benny” Lafitte

Castiel

Charlene “Charlie” Bradbury

Claire Novak

Crowley

Dean Winchester

Sheriff Donna Hanscum

Eileen Leahy

Ellen Harvelle*

Gabriel

Garth Fitzgerald IV

Jack Kline

Jessica “Jess” Moore*

Joanna “Jo” Harvelle

Sheriff Jody Mills*

John Winchester

Kaia Nieves

Kevin Tran

Lucifer

Meg Masters

Michael “Mick” Davies

Patience Turner

Robert “Bobby” Singer*

Rowena MacLeod

Rufus Turner*

Samuel “Sam” Winchester

Aaron

Abraham Ford

Andrea*

Beth Greene

Carl Grimes*

Carol Peletier*

Dale Horvath*

Daryl Dixon

Dwight

Enid*

Eugene Porter*

King Ezekiel*

Father Gabriel Stokes

Glenn Rhee

Hershel Greene*

Maggie Greene

Michonne

Morgan Jones*

Negan Smith

Paul “Jesus” Rovia

Rick Grimes

Rosita Espinosa

Sasha Williams

Tara Chambler

Tyreese Williams

MOVIES

Cher Horowitz

Dionne Davenport

Josh Lucas

Tai Frasier

Travis Birkenstock

Anne Wheeler

Charity Barnum

Jenny Lind

Lettie Lutz*

Phillip Carlyle

Phineas “P.T.” Barnum

W.D. Wheeler

Alastor “Mad-Eye” Moody*

Albus Dumbledore*

Arthur Weasley*

Cedric Diggory

Cho Chang

Draco Malfoy

Fleur Delacour

Fred Weasley

George Weasley

Ginevra “Ginny” Weasley

Harry Potter

Hermione Granger

James Potter

Lily Evans

Luna Lovegood

Minerva McGonagall*

Molly Weasley*

Neville Longbottom

Nymphadora Tonks*

Oliver Wood

Remus Lupin

Ronald “Ron” Weasley

Rubeus Hagrid*

Severus Snape

Sirius Black

Viktor Krum

Cinna

Effie Trinket*

Finnick Odair

Gale Hawthorne

Haymitch Abernathy*

Johanna Mason

Katniss Everdeen

Peeta Mellark

Anthony “Tony” Stark -- Iron Man

Dr. Bruce Banner -- Hulk

Carol Danvers -- Captain Marvel

Dr. Christine Palmer*

Clint Barton -- Hawkeye

Drax the Destroyer*

Edward “Ned” Leeds

Gamora

Groot*

Harold “Happy” Hogan*

Dr. Henry “Hank” Pym*\

Hope van Dyne -- Wasp

Sgt. James “Bucky” Barnes -- Winter Soldier

Col. James “Rhodey” Rhodes -- War Machine

Loki Laufeyson

Luis*

Mantis*

Dr. Margaret “Peggy” Carter*

Cdr. Maria Hill*

May Parker*

Lord M’Baku

Michelle “MJ” Jones

Nakia

Natasha Romanoff -- Black Widow

Nebula*

Col. Nicholas “Nick” Fury*

Okoye

Peter Parker -- Spider-Man

Peter Quill -- Star-Lord

Agt. Phillip “Phil” Coulson*

Pietro Maximoff -- Quicksilver

Rocket*

Samuel “Sam” Wilson -- Falcon

Scott Lang -- Ant-Man

Shuri

Dr. Stephen Strange

Steven “Steve” Rogers -- Captain America

King T’Challa -- Black Panther

Thor Odinson

Valkyrie

Virginia “Pepper” Potts

Vision

Wanda Maximoff -- Scarlet Witch

W’Kabi

Wong*

Yelena Belova

Yondu Udonta*

BROADWAY

Grand Duchess Anastasia Romanov

Dimitri Sudayev

Gleb Vaganov

Countess Lily Malevsky-Malevitch*

Dowager Empress Maria Feodorovna*

Vladimir “Vlad” Popov*

Adam Maitland

Barbara Maitland

Beetlejuice*

Delia Schlimmer

Lydia Deetz*

Carrie White

Christine “Chris” Hargensen

Susan “Sue” Snell

Thomas “Tommy” Ross

Eurydice

Hades

Hermes*

Orpheus

Persephone

Aaron Burr

Alexander Hamilton

Angelica Schuyler

Elizabeth “Eliza” Schuyler

George Washington

Hercules Mulligan

James Madison

John Laurens

Margarita “Peggy” Schuyler

Maria Reynolds

Marquis de Lafayette

Philip Hamilton

Thomas Jefferson

Cosette

Enjolras

Éponine Thénardier

Fantine

Insp. Javert

Jean Valjean

Marius Pontmercy

Carlotta Giudicelli*

Christine Daaé

Erik “The Phantom”

Mme. Giry*

Meg Giry

Raoul de Chagny

Anna of Cleves

Anne Boleyn

Catherine of Aragon

Catherine Parr

Jane Seymour

Katherine Howard

VIDEO GAMES

Carl Manfred*

Chloe

Det. Chris Miller*

Connor

Elijah Kamski

Lt. Hank Anderson*

Capt. Jeffrey Fowler*

Josh

Kara

Leo Manfred

Lucy*

Luther

Markus

North

Rose Chapman*

Simon

Abigail Roberts

Arthur Morgan

Beau Gray*

Charles Smith

Daniël “Dutch” Van der Linde

Eagle Flies

Hosea Matthews*

Javier Escuella

Johnathan “John” Marston Sr.

Josiah Trelawny

Karen Jones

Kieran Duffy

Leonard “Lenny” Summers

Marion “Bill” Williamson

Mary-Beth Gaskill

Micah Bell

Molly O’Shea

Penelope Braithwaite*

Rev. Orville Swanson*

Sadie Adler

Sean MacGuire

Simon Pearson*

Tilly Jackson

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theactioneer · 6 months ago

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Death Wish II (Michael Winner, 1982)

#lawrence fishburne #thomas f duffy #e lamont johnson #death wish #80s #action movie #gif

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neon-junkie · 4 years ago

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The O’Driscolls Daughter - Chpt.1

Summary: You're Colms daughter, stubborn and temperamental like him, but you've got a kind heart and a soft spot for the poor stableboy that Colms gang torments.

Pairing: Kieran Duffy x f!Reader

Word Count: 3468

Rating: NSFW

Tags: Gang war, Colter, Grizzlies west, Strangers to friends to lovers, Slow burn, Flirting, Masturbation, Fantasies, Arguments, Fights.

Notes: UGH, more kieran stuff? yepppp. I knooooow Colms gang has been around for only a decade but lets just pretend they've been around since before you were born :^) also, I think the Del Lobos don't appear at Lake Cairn till after Chapter 1 buuuut lets pretend theyre there for the sake of this fic.

NEXT CHAPTER | Read on AO3

Colm O'Driscoll has laid with many women, though most were not consensual. You were the product of an odd affair, your mother actually falling for the man in his early years. She left you on his doorstep after Colm turned his back on her, calling her nothing more than a 'whore' and 'pity-fuck.' You had no idea who she was, and wouldn't be surprised if Colm had killed her long ago.

To everyones surprise, Colm actually took you in and raised you within the gang. He was a lousy excuse for a parent, barely being there for you throughout the years. You had no treasured memories of him, nothing normal like reading bedtime stories to you, playing games with you, spoiling you on your birthday. There were memoried you tried to treasure, like him teaching you how to shoot, hunt, and kill, but they were definitely not normal. Unfortunately, you had picked up a few of your father's traits, but thankfully not all. You were short-tempered, not afraid to snap, and would shoot first, question later. Oh, and you were just as wanted as Colm. You saw your first ever personal bounty poster at the age of ten. Colm had framed it in his cabin; that was one of the few times you'd seen him so proud.

You're in your early twenties and arguably second in command within your father's gang. Colms other right-hand man, Tom, considered himself to be next in line since he had known Colm since before you were born. Yours and Toms' relationship was... heated. Colm knew the two of you didn't get along, yet would snap at the two of you to 'put your fucking differences aside' whenever he needed you to work together. Colm would usually have to pick one of you to take charge, taking it in turns. Fairs fair, I guess.

Here you are, returning from a failed mission. Colm had asked the two of you and some other disposable men to track down the Del Lobos hideout and clear it, seeing as your hideouts were far too close together. You approach your gangs current hideout, a camp just southwest of Lake Isabella. Yes, it was fucking freezing up here, but Colm ran up here to escape the Pinkertons on his tail. Sadly, his gang wasn't the only one with that idea, but it seemed to work. No one had found you all, yet.

You dismount your horse just as they're riding into the stable, leading them into a pen and hitching them. Tom follows behind, hitching his in a pen beside you.

"You better clean this nag good, boy," Tom shouts over to the stableboy, currently cleaning another horse.

"I will, Sir," he responds.

You don't know his name, he's only been with the gang for a few months. He seems like a bundle of nerves, constantly shaking and flinching around everyone. The men loved to pick on him, they loved watching his tail shake in between his legs as they torment him. You'd seen him get hit over the pettiest of things; their saddles not being clean enough, the horses having a tiny knot in their manes, a nail on their hooves being a centimeter out of place.

You remembered the only time one of the men tried to hit you. You were in your mid-teens, starting to find your role within the gang. One member had challenged your authority, claiming you were just a child and that 'Colms daughter should get no special treatment.' He had gone to hit you over some petty thing you barely remembered, but you did remember the look in his eyes when you gripped hold of his hand just as he tried to swing for you. His wrist felt like it was going to break as you'd tightened your grip. To everyones surprise, you kicked the back of his knee, causing him to fall to the ground. You then let go of his wrist, shoving him forward so he lay flat on his front. Without thinking, you stomped hard, feeling the crack of his bone as you snapped his arm like a twig. It all happened within a matter of seconds. You weren't thinking, enraged that not only was this man constantly picking on you, but had tried to put his hands upon you.

Colm had stormed out of his cabin after hearing the commotion. You were quick to explain what'd happened, the other men watching backing you up. Colm scoffed at the man crying on the ground, telling him to 'get out of my sight.' The guy quickly got up, gripping his broken arm, and ran as fast as he could. Your father seemed proud of you, putting his arm around your shoulder as he lead you into the cabin, fixing you a drink to 'celebrate.' The only other man to pick on you was Tom, though he mostly just said small petty comments behind Colms back. You'd called Tom out in front of your father many times but Colm never seemed fussed, probably not wanting to pick between the two of you.

"You fuck up like last time and I'll beat you till the snow turns red," Tom threatens him.

"Lay off, Tom," you order him. Tom snaps his head over to you.

"Oh oh oh! You soft for this pipsqueak?" Tom laughs, pointing at the stableboy who looks rather uncomfortable. He stays silent, watching the two of you bicker.

"I'm soft on no one. You just pick on anyone you view as lesser than yourself. You must have a lot of confidence issues, Tom," you smirk at him, heading out of the stables with him on your tail.

"I ain't the one with confidence issues here, girl. Just cause you got your whore mommas ugly looks don't mean you can take it out on me," Tom replies, following you over to Colms cabin.

"Why you usin' my insult against me? Can't think of your own?"

"I... what? No. I ain-" you cut him off.

"There there, it's alright, poor little Thomas," you taunt. That was a name that always made him turn red. You look over your shoulder to see that exact expression growing on his face.

"Now you better stop with al-"

"Tom. Shut up," Colm says as the two of you enter his cabin, Tom barking down your ear, not giving Colm a good impression.

Tom huffs but remains silent. Colm looks at the two of you for a moment, sat down at his table. The three of you remain silent until Colm snaps.

"Well? How'd it go? I'm gonna guess from the arguin' and silence that you fucked up," Colm half-shouts.

"Tom fucked up. Again." You state. Colm draws his gaze away from you, over to his right-hand man.

"Now hang on just a damn minute. There's a good fucking reason to why we fucked up."

"You, not we," you correct him.

"And that reason is...?" Colm's losing his patience.

"Well, we took out most of em, till THE Flaco fucking Hernández showed up. Killed all those men we took with us. We bolted just in time."

Colm can't be angry at either of you for this. Flaco was one of the world's most famous gunslingers, the 'Terror of the Grizzlies.' Just about anybody would lose a fight against him, including Colm himself. Colm sighs, rubbing his temples in frustration.

"You're sure it was him?" Colm asks, looking down at the table.

"Not unless you know any other giant Mexican outlaws, yes," you sarcastically respond.

"Great. The two of you, get outta my sight. I gotta think about how to deal with this."

Both of you turn and leave, no one saying a word as you exit the cabin. Tom sulks off, probably going to join his little gang of friends. You make your way over to the stew pot, grabbing yourself a bowl of whatever was on the menu today. You're quick to eat, wanting to check on your horse after today's shootout. You heard them whine during the fight but didn't see anything as you were checking on your ride back.

You find your way over to the stables, looking around for the sun to figure out what time it is. She's getting ready to set, her rays peeking out from behind the many mountains that surround your camp. You enter the stable, stomping the snow off your boots as you shut the door behind you. The stableboys not here for once, which is fine as you weren't in the mood to make awkward conversation.

You approach your mount, feeding them a few pocketed treats as you begin to check for any signs of pains or discomfort. You're quick to notice a bandage on their lower leg, your heart dropping as you begin panicking. You kneel down, peeking under the bandage to see how bad the wound was. The stable doors quickly open and shut, the stableboy returning. He huffs into his gloves, trying to blow hot air onto his face to warm his reddened cheeks up. The two of you notice each other at the same time, looking over your shoulder to watch him stand in his tracks, eyes wide. He looks like you've just caught him doing something he shouldn't have. The two of you are awkwardly silent, both staring at each other.

"Hello," you say. You really had no idea what else to say to break the tension.

"Evening, Miss," he responds, calming himself down as he makes his way over to his own horse.

"You taken care of my horse?" you ask him. He looks a little puzzled till he realizes you're on about their wound.

"Oh. Yes, Miss. It ain't nothin' to worry about, just a little scratch but I didn't want nothin' rubbin' against it," he informs you.

"Thank you," you say as you stand up. "Are they okay to ride?"

"I mean, you could, but they ain't gonna be too happy about it," he responds, feeding his own horse a few pocketed treats.

"You ain't gotta answer me like I'm one of them boys. I wanna know the brutal truth, I ain't gonna snap at you for bein' honest and doin' what's right," you inform him. You have a gut feeling that you shouldn't ride, but you want to hear it from the horse master himself.

"Oh.. I err... Well, no. You should let 'em rest a little while. If you take em out in that snow it could get infected," he tells you.

"The honest truth. I love it. Thank you, Mister...?" you trail off, wanting to know his name. You make your way over to him, leaning back against one of the pen fences, watching him fuss his horse.

"Oh, no, I'm just Kieran. I ain't no 'Mister' somethin'," Kieran looks away, looking defeated.

"Yes, you are. You're a man, ain'tcha?" You ask him.

"The last time I checked, I was, yeah," Kieran jokes. You let out a laugh. This stableboy was funny.

"Well then, Kieran, who are ya?"

"Duffy," he responds.

"Kieran Duffy, that's a real cute name," you tell him. "I'd introduce myself but everybody knows who I am," you shrug.

Is he... blushing? Or still flustered from the sudden change of temperature? A wicked part of you is eager to find out how red he can really go, in a flustered sense, not a bloody one.

"Thank you," Kieran sheepishly replies, stuttering a little. "Yeah, I know you is Colms daughter." Kieran seems nervous as he tells you that, which isn't a surprise. You'd had many people cower once they find out whose daughter you are. Sometimes you enjoy it, liking the little power trip you get, but other times you wished you were just some normal girl that lived a normal life.

"Yeah," you laugh. "Don't remind me."

"Oh... Well, I'm sorry, Miss. I don't wanna tread on no ones toes," Kieran replies. He watches you as you climb up and sit on the pen's fence, your legs resting on the wooden plank below, keeping you in place.

"It's alright, darlin'. You ain't doin' anything wrong," you turn to see him going red again. Darlin'? Something tells you this man doesn't get much attention, especially from women.

"Well er... that's good to hear," Kieran lightly laughs. He looks away, pulling out a brush so he can clean his already overly-groomed horse. You watch him, noticing how his eyes flick over to look at you every now and again, face going redder as he meets your gaze every time.

"You're real good at carin' for these horses, you know that?" you ask him, breaking the silence.

"Oh, thank you, Miss," Kieran replies.

"Do my fathers men not compliment you on your work?"

"I'm sorry to sound so blunt, but all your fathers men do is use me as their punchin' bag." Kieran has sadness in his eyes, trying not to look at you.

"Which ones?" you sternly ask, taking Kieran back.

"W-what?"

"Which ones do that to you?"

"I... I don't know many names here, Miss. But you seen it earlier, that Tom fella is one of the main ones. Most of 'em do it. Usually one will start and the others will join in, bit of a gang thing, you know?" Kieran sheepishly replies. He's internally screaming, worried he's just chucked himself under the bus. He can see rage on your face, yet he's not sure if you're going to snap at him for being a tattletale, or snap at them.

"The next time they do that, you come tell me, alright?"

"Yes, Miss," Kieran says under his breath, giving his head a little nod.

"I'm serious. You work harder than most of those idiots, especially Tom. He's a real fuckin' clown."

"Thank you, Miss. I really appreciate it," Kieran sincerely replies, giving you a little smile.

"I'd tell you to keep up the good work but I know you will," you say as you shuffle off the fence, slowly making your way out. "I'll see you later, sweetheart," you say as you exit.

Kierans glad you've left, only because his face is redder than a tomato. Kieran hears you trudge away through the snow and once he's certain you're gone, he turns to Branwen.

"Sweetheart?! You hear that, Branwen?" Kieran asks under his breath, trying to keep his voice down. He talks to Branwen all the time, but only in private. God forbid anyone ever heard, they'd probably hang him for being so 'weird.'

"She called me darlin' too, and cute. And she complimented my work... and she's got my back. What in gods name is goin' on?" Kieran asks, his face still flustered. He picks at his scarf, trying to let some air in to cool himself down.

"What the hell am I meant to do? That's Colms DAUGHTER, and there she is bein' sweet on me! This must be one big joke. I bet them fellas were listenin' in the whole time, gigglin' to themselves," Kieran huffs, trying to make this situation as negative as his mind will allow him.

Branwen gives Kieran a look. If horses could talk, he'd be saying 'don't be silly, this ain't a prank. That woman's clearly got eyes for you.'

"No way," Kieran responds. "There ain't no way a woman like that would go for a boy like me," Kieran folds his arms, leaning back against the fence. He thinks to himself, going over what just happened in his head. He's trying to pick away at it but everything you said seemed so sincere, so kind, so gentle.

Kieran slumps about the stable, lighting a few lanterns dotted about the place. He gets himself ready for bed, lying down on a pile of hay at the back of the stable. His arms are folded under his head, one ankle over the other. He's still thinking about you, trying to convince himself this is all a joke.

It can't be. It was far too kind.

Kieran puts his hands over his face and lets out a small scream, angry that he has no idea what to do. He's had a soft spot for you the second he laid eyes upon you, but quickly buried those thoughts as soon as he found out who you were. Colm will definitely chop his dick off and force him to eat it if he ever caught even just the tiniest hint that Kieran liked you.

Kieran decides to do what he does best, bury his feelings. He rolls onto his side, facing the wall. He tries to force himself to sleep but as soon as he shuts his eyes, all he can see if you.

Kieran then feels the worst thing that can happen to himself right now.

Kierans rock hard, solid.

His boner rubs against the inside of his jeans, urging him to at least get it out so it's not painful. Kieran sits upright, shuffling so his back is pressed against the stable walls. He undoes his jeans, letting his cock spring free and rest against his white shirt. He wants to touch himself, he really does, but he's telling himself off for getting this hard over such a small conversation. The guys so deprived, it's amazing how just a few kind words have made his heart flutter and his cock hard.

Kieran huffs, crossing his arms, frowning with his cock out, waiting for it to go down.

'I ain't... I ain't jackin' off to her. Again.' Kieran tells himself

There's no denying it. Kierans has gotten off to the thought of you many times, though he's not proud of it. He can't help it, you make him feel so dizzy every time he looks at you. He sits there a little while longer, trying to think of anything but you. He looks around the stable and the first thing his eyes come across is your mount, making him huff. How was he meant to not think of you?

'Fine.' He sighs, talking to himself in his head. 'You're pathetic, you know that? Gettin' off to some poor woman just cause she called you a few sweet names.'

Kieran pulls his gloves off, his warm hands wrapping around his cock. He starts slowly, trying to think of anything else to jack off to, but everything flicks back to you. He eventually gives up, allowing himself to really think about you.

'This is the last time you're doin' this,' he tells himself.

Once he's happy with his little self-discipline talk, he lets his mind wander. Kieran allows himself to get as dirty as he wants, but the first thing that comes to mind is how good your ass looks in that tight pair of jeans. Yes, he's checked you out many times, usually as you're mounting your horse. He's often wanted to pull you off your horse, bend you over the pen's fence, and fuck you there till your knees are weak.

Kieran picks up the pace, letting his eyes fall shut and mouth part slightly. He thinks about earlier, how he wishes you'd have called him over to stand in front of you whilst you were sat on the fence. He wishes you'd grabbed a hold of him by his O'Driscoll scarf and pulled him against you, letting your lips meet. He wishes you'd have wrapped your legs around his waist as you made out with him, uring him to grind against you. Kieran doesn't wish for much, but you're top on his list.

Kieran lets out a small whimper, quickly opening his eyes to ensure himself that yes, no one is around. He shuts them again, huffing and trying to remain silent as he continues, starting to feel himself get close. The only person he wants around is you, fuck the rest of the gang. He'd love for you to come in here and put your lips around his cock, he'd probably cum the second your lips touch him.

Kieran lets out a sharp gasp as he cums, quickly lifting his shirt so it doesn't ruin his already tatty clothes. He rests there for a moment, suddenly realizing how absolutely fucked he is. He's got the hots for you real bad, and he knows that if you decide to keep being sweet on him then Colm will find out sooner or later. Kieran reminds himself that it was probably just a one-time thing, or that you were just messing with him.

Kieran wipes himself down on the hay, not having anything else to clean up with. He chucks it away from him, shuffling back over to his usual sleep spot after pulling his pants back up. Kieran lies back down facing the wall, falling asleep a lot faster this time, still thinking of you.

64 notes · View notes

imjustheretoseetheprivateblogs · 4 years ago

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The Lost World Rewrite

So, I recently watched the Lost World: Jurassic Park for the first time and all I gotta say is...

Yeah. So, in spite of the fact I feel that it would be Superfluous and self-aggrandizing, and a maturely written well thought out review would be a better use of my time, I decided to do a rewrite of the Lost World to make it a half-decent movie. I apologize to any fans of the film in advance. This is a rough Idea based on what could be done without completely throwing out the script. Here we go...

The film starts the same; little girl gets mauled by Compies on Isla Sorna

Cut to not Ian Malcolm; there is no Ian Malcolm in this film. There will never be Ian Malcolm in this film. Instead, we cut to Dr. Sarah Harding (played by Julianne Moore) who’s photographing a crocodile nesting. We learn a little bit about her from her assistant, Nick Van Owen (played by Vince Vaughn), namely that while her theories on Dinosaur young rearing are as on point as Alan Grant’s raptor research, she’s not so hot at rearing young herself. Case in point, she’s late for her daughter’s gymnastics performance.

Her daughter is of course Kelly Curtis played by Vanessa Lee Chester, who in this version will have a larger role and more developed personality. Kelly is Sarah’s adopted daughter and the two have been at a loss at what to do with one another since meeting. Kelly is the daughter of one of Sarah’s oldest friends who died while traveling and Sarah took her in. While their relationship isn’t horrible, it’s definitely awkward. Like when Sarah bursts through the gymnasium doors to see Kelly has completely finished her routine and the seat reserved for her has been given to someone else (maybe Michael Crichton or Steven Spielberg in a cameo?)

Later that night, Sarah is called by a mysterious voice on the phone, telling her to pack a suitcase and go outside. She does so and a black SUV pulls up. “Get in.” a man’s voice tells her.

“OK,” Sarah says, annoyed, “who are you people and what’s with the G-man routine?”

“I wouldn’t exactly call it a G-man routine.” says a familiar voice.

We pan over to reveal John Hammond (Richard Attenborough) sitting across from Sarah.

“Can I offer you a drink?” he asks.

The conversation is much the same as the movie with Ian Malcolm (Hammond explains Site B, tells Sarah about the JP incident, etc.). Only this time, there’s a big difference: InGen wants to cut ties with the Jurassic Park debacle and intends to let the Costa Rican Government fire bomb it. Hammond wants to get people onto the island and document the animals to drum up environmentalist support for turning it into a preserve and at least stave off the destruction until a humane solution can be found.

“How can I say no!?” Sarah says. A chance to photograph real Dinosaurs. Never in 65 million years did she think she’d get this chance.

The team she’ll be going to the island with includes herself, Hammond, Van Owen (“Nick’s the best person for the job” Sarah insists), equipment manager Eddie Carr (Richard Schiff), Dr. Robert Burke (Thomas F. Duffy) (“are we sure he’s not a country singer?” Sarah asked, eyeing the supposed paleontologist’s ten gallon hat and beard), celebrity big game hunter Roland Tembo (Pete Postlethwaite), and InGen executive Peter Ludlow, Hammond’s own nephew (“I made the mistake of trusting too many people last time,” Hammond said, “this time, I’m playing it close to the vest.”)

The team arrives on the Island, where Peter suggests setting up camp in a low clearing, much to Tembo’s chagrin (“that,” Tembo said, rolling his eyes, “is a game trail, Mr. Ludlow. Carnivores hunt on game trails. do you want to find dinosaurs or serve them lunch?”)

The group wanders through deep Jungle, Hammond and Ludlow being the slowest, one due to their age the other due to being a little on the wimpy side. As the journey goes on, it becomes apparent that there’s some friction between Peter and John, with Peter second guessing John every chance he gets and trying to act like the leader of the group.

They finally come across a family of stegosaur and we get that adorable pet the baby scene from the movie. Eddie is flabbergasted, Nick is taking pictures like crazy, Burke’s having a conniption, Hammond swells with pride, and we don’t really know what’s going through Peter and Tembo’s heads.

Something startles the Stegs (Tembo reached for his gun. “No!” Nick grabbed the barrel of Tembo’s gun.)

Nick fumed “An animal that hasn’t been seen in over a million years turns up and the only way you can express yourself is to kill it?” Tembo smiled. “Remember that chap about twenty years ago? I forget his name. Climbed Everest without any oxygen, came down nearly dead. When they asked him, they said why did you go up there to die? He said I didn't, I went up there to live.” (cryptic, no?)

“What could have set them off like that?” Wondered Burke. Roland, however, scented the air. “Smoke,” he said simply, pointing “coming from that way. They must have thought it was from a forest fire.”

The group rushes back to their camp, discovering the campfire burning. Eddie and Burke make to smother it. However, the camper door opens to reveal—

“I was gonna have dinner ready when you got back.” Kelly said.

Sarah and Kelly have an argument inside the camper, about how Sarah’s never there for her and how she just washed out of her gymnastics team (“I got bronze,” she said, “not that you’d know. You didn’t even stick around long enough for that part.”)

Kelly convinces Sarah she can stay. We cut to a scene of the group in jeeps, riding through grasslands in a heard of various Dinosaurs. Nick’s in the jeep with Tembo, Peter, and Hammond, while Sarah is with Kelly, Eddie, and Burke. (Tembo turned to Nick. “get in the outrigger. You're closing in on a parasaur.” “Parasaurolophus,” Nick corrected smugly.” “Whatever,” said Tembo, “The one with the big red horn! The pompadour! *Elvis!*”)

Nick climbs into the outrigger and begins to film the dinosaurs. In the other jeep, the group is trying to coax Eddie into their own outrigger.

“No way I’m getting into that thing,” Eddie said “not surrounded by dinosaurs.” “We’re gonna need better shots if we want to save these dinosaurs,” Sarah said, “and you’re the only one who knows how to work the equipment.” “So do you,” Eddie said, “Why not pull over and let me drive? I used to drive cabs for a living.” “I know how the use the camera.” Kelly said. Sarah stared at her. “You do?” “I was in AV club before gymnastics.”

The group snaps Kelly in and they begin their own filming process. For the first time in a long time, Kelly and Sarah seem to be having fun together.

After that moment of chipperness, we cut back to camp. (Roland nodded to Nick. “Tree hugger got a great shot of a Pachy... a pachy... oh, hell. One of those fatheads with the bald spot, Friar Tuck!”) Peter and Hammond are looking over a map. Peter insists that they should go to the abandoned worker village on the other side of the island, where they can find easy shelter and supplies (“IT runs on geothermal power, so it’ll still have power”). Hammond disagrees. (“Absolutely not,” Hammond said, “that part of the island has been overrun by Velociraptors.” Peter frowned “What’s that, veloc-o-?” “Velociraptor,” Burke said, “Carnivore, pack hunter. About two meters tall, long snout, binocular vision, strong, dextrous forearms, and killing claws on both feet.” “That doesn’t sound promising.” said Peter. “You should read Alan Grant’s latest paper on them,” said Burke, “It’s like he met one in real life!”)

Meanwhile, Roland Tembo is now kneeling, looking at a track.

“Come take a look at this.” he says. Everyone gathers around. “do you know what this is?” he asks. Sarah’s eyes grew wide. “We have to leave.” she said. “Why?” asked Kelly. “That’s a T-Rex track!” Burke said. “A T-Rex!” Eddie looked as if he was about to break for the beach and try to swim home. “That’s impossible!” said Hammond “the satellite photos showed that the Rex territory is nowhere near here.”

The group decides to risk staying in the area. Later that night, Kelly hears a noise. Curious, she goes outside to investigate. In the moonlight, she sees a team of unknown men in night vision goggles capturing the dinosaurs that they had been filming earlier that day. As the drive off, Kelly grabs onto the back of one of the trailers to follow them.

We cut back to Sarah’s tent. She’s asleep, not having been roused by her daughter’s departure. But she is roused by what sounds like deep breathing outside. She surreptitiously looks around and sees a massive snout sticking into her tent. It’s the Tyrannosaur!

Just then, Peter Ludlow comes out of his tent with a roll of toilet paper, but upon seeing the dinosaur lets out a scream that wakes the whole camp. The rex turns and bellows at him, trashing their camp all the while in a show of dominance. Soon, the whole group is running through the forest. Hammond is almost eaten by the thing if not for Tembo’s intervention.

Soon, however, the groups are separated from one another. Hammond slips down a river bank into a ravine, Peter just up and vanishes, and Sarah, Van Owen, Tembo, Burk, and Eddie run behind a waterfall with the rex in pursuit. The dinosaur, unable to follow, gives one last roar of anger and leaves. Out of all the people, however, Tembo looks the least scared. He looks…thrilled, actually.

Meanwhile, we cut away to Hammond. He rises (roughly) shaking away the delirium. He looks around, wondering where his party got off to. The T-Rex’s roar is heard in the distance. Better find the others, he thinks. He begins to follow the river; if the group has any sense, they’ll make a new camp on the water. But then he hears a noise and looks down. It’s a Compy.

We get a very similar scene to Dieter Stark’s (Peter Stormare’s) death in the movie (which was based off of John Hammond’s in the first book) with one or two caveats. First, we don’t cut away in the middle. We maintain the scene and the suspense as long as possible (with Compys popping out of the woodwork the more Hammond tries to get away from them). The second…

There was a sound of rifle fire. The Compys scattered and Hammond felt himself pulled up from the shallow water, finally able to breathe. “Tembo,” he coughed.

“If you have any more suicidal ideas,” said Tembo, “keep em to yourself.”

Cut back to Sarah’s group as Hammond and Tembo rejoin them.

“Has anyone seen Kelly?” Sarah asked, worried.

“I think I saw her run in the same direction as Ludlow,” said Tembo.

“Hopefully, they’ll be safe once they leave the Rex’s territory.” said Burke.

“Don’t bet on it,” said Sarah, “Tyrannosaurs have the second largest proportional olfactory cavity of any creature in the fossil record.” “What’s the first?” asked Eddie. “Turkey vulture,” said Burke, as casually as someone would talk about the weather.

“Any idea where we are?” asked Eddie, desperately trying the change the subject. “Somewhere west of the worker village, I think,” said Nick, examining a map of the island (one of the few they managed to salvage from the camp) “It’d be an easy hike there.” “Maybe that’s where Kelly and Peter are,” said Sarah, turning to Hammond. “Yes, but if they did go there, they’re in grave danger.” said Hammond. “Velociraptors,” said Burke, trying to be helpful.

“Danger or not, we need a radio,” said Tembo, “that buck tore the hell out of our camp and I don’t think we can contact the mainland with smoke signals.” “How do you know the T-Rex was male?” asked Sarah.

Before Tembo can answer, a different roar is heard. A helicopter passed overhead.

“I thought you said we had a few weeks before they started razing the island?” Sarah said. “We do,” Hammond replied, “I don’t know what that helicopter’s doing her.” “It was headed towards the worker village,” said Tembo, “so, if we want to see what’s what, I think that’s where we’re headed.”

Cut to a scene of the group walking through the forest at night. Finally, they reach a vantage point overlooking the worker village…and it’s anything but abandoned.

More than three dozen people, some of them armed, are walking over the compound. Chain link fence ran the perimeter of the camp, newer than the rest of the camp. Tents, vehicles, mobile generators, the works.

Dozens of dinosaurs sit in cages, all bearing the same logo

“It says InGen on the side of that truck!” Eddie said. Everyone turned to look at Hammond. “I had no idea about this,” said Hammond, “why would I ask anyone to come here?” “I think I know who we should ask,” said Nick, pointing down at the camp.

It’s Peter, down in the camp, talking with the armed guards.

“What’s he doing down there?” asked Sarah. “I think,” Hammond said, sadness in his voice, “I’ve made the same mistake twice.” “Anybody seen Tembo?” asked Eddie.

Indeed, Tembo has disappeared.

Cut to Kelly, hiding in one of the trailers. She’d managed to evade her captors, but for how long she can continue to do so is up to debate. Stealthily, she creeps out of the trailer and around the camp over to one of the cages. She undoes the latch. She moves on to the next cage. Rinse and repeat.

Cut to inside one of the tents, Peter and several other people, all InGen personnel, stand around a card table where plans labeled ‘Jurassic Park San Diego’ are lain out.

“San Diego?” One man (a high ranking InGen worker) asked. “it’s already famous for its animal attractions,” said Peter, gesturing to plans on the table, “San Diego zoo... Sea World... The San Diego Chargers.”

“I don’t think John Hammond would have approved of having these animals on the mainland.” An InGen executive said.

Peter frowned. “Well, Hammond’s not in charge anymore. I am.” He turned to another man, this one a hunter by the look of him. “How’s the hunting going?”

“We’ve got plenty of plant eaters,” the hunter said, “some eggs. no raptors though. And our man hasn’t brought in the T-Rex like he said he would.”

Peter rolled his eyes. “What makes you think people want to see a bunch of veggiesaurs and eggs! They’re gonna want a T-Rex!”

“We’re trying, sir!” the hunter says, “but we haven’t seen any raptors since we got here!”

Suddenly, a worker bursts into the tent “The baby’s gone!” he said.

Almost as suddenly, a Triceratops bursts into the tent, smashing into the table and scattering the group. The camp is in chaos! Dinosaurs are running amuck. Vehicles overturned, people tossed into the air. But this is the chance Hammond’s group has been waiting for. They make their way down to the village in the bedlam, and make it into the main building of the worker’s village. Eddie manages to contact the mainland, and things are looking up. But then, we hear an ungodly moan from behind a nearby door. Slowly, Burke heads towards the door, picking up a nearby screwdriver to use as a weapon. He jerks the door open to reveal…

“Kelly!” Sarah cried. Kelly sat inside a broom closet, in her arms a baby T-Rex.

“They just left him tied to a stick out there,” said Kelly, “and I think his leg is broken.”

Despite the limited materials, the group sets to work splinting the baby’s leg. It’s pretty much the same as in the movie. Until the sound of a rifle cocking is heard behind them.

“I’ll be taking that rex now, Dr. Harding,” Roland Tembo said. Tembo has been on Ludlow’s payroll since the beginning. He was never here to protect the group. He’s here to hunt the T-Rex. He was the one who staked the baby out, to attract it’s parents.

Outside, the cacophony has died down. The Dinosaurs have mainly been recaptured. Hammond’s group has been brought before Ludlow, who looks at them condescendingly. “You really thought you were still CEO when you got here, Uncle John? I bought you out the day you asked for my help. We’ll still use the footage you took for our attractions, don’t worry.” “So, you’re going to reopen Jurassic Park then, is that it? Despite my warnings?” “No, not reopen. We’re moving these animals to the mainland so we don’t have to fly out here every time there’s a problem. You put us six million dollars in debt every day since you started making dinosaurs. It’s time to see good on that investment you promised. And the board agrees with me.”

InGen Exec: it’s nothing personal John. Why have a dinosaur and not use it?

“These are animals,” Sarah said, “they deserve respect”

“They’ll have the best of care.”

“And what if they break out! What then?”

Cut to part of Hammond’s team (Hammond, Sarah, and Kelly) being shoved into a trailer with the door locked behind them. Sarah tries to force the door open, to no avail. Kelly runs around, trying to open the windows. Hammond just sits down, despondent at the betrayal of his own family.

Sarah (trying to yank the door open): come on! You stupid…

A familiar roar is heard. A car flips past the window.

“What is it?” Hammond asked, “What’s going on?”

Sarah: I think things just got complicated.

The buck T-Rex from earlier has tracked the them to the Worker village and crashes through the fence. Suddenly, another roar is heard from the other side of the camp. It’s the female Rex, and she’s even more pissed than the male.

“There’s two of them!?” Sarah asked, incredulous. “We spared no expense,” Hammond said.

The rexes wreck the trailer the rest of Hammond’s team is in. Nick, Eddie, and Burke make a break for it. The female Rex sees them and gives chase. She and her mate bare down on them and soon capture Eddie, each taking one end in their jaws and pulling him apart for a snack.

Afterward we get a faceoff between Roland Tembo and the male rex (one that would have been really cool in the movie but we didn’t get it).

Tembo wastes two shot gun blasts on the rex. Out of ammo, he switches to tranquilizers, which finally manage to bring the beast down. The other rex is soon felled after. Subdued in special harnasses, the rexes are air lifted by helicopters to a boat waiting of the coast of Isla Sorna. All in all, the bad guys’ mission is a success. Well, Tembo wouldn’t say so. If you’d told him a year ago he’d get to hunt not one but two T-Rexes he would have kissed whoever told him that square on the mouth. But in the end, it had been so stupidly simple to catch them he just feels crapped on. Didn’t even get a trophy.

“You know, I remember the people who've helped me, Roland. There's a job for you at the park in San Diego if you want it.” Roland turns him down.

Cut to a group of hunters patrolling the tall grass outside the worker village. Suddenly, one of them is pulled under. A hunter a few feet away looks in his direction. “Manolo?” he asks. Another nearby hunter is pulled out of view. The hunters are starting to get scared. “Look alive, people.” one of them says. We hear a familiar coughing sound.

A velociraptor jumps out of the grass and mangles one of the hunters. Soon, pandemonium ensues. The crafty raptors had been evading the InGen hunters, watching them, waiting for the right moment. And with two dinosaur attacks in a row and both rexes out of the picture, now was the time to strike! (And there are no tails sticking up out of the grass cartoonishly! Raptors are supposed to be dangerous, not goofy).

Back at the camp, Roland runs towards the danger while Peter climbs aboard one of the waiting helicopters. “Get me out of here!” he cries.

The raptors swarm the camp. Roland manages to kill a few, but not before they massacre most of the InGen workers there. Tembo even has to watch Burke die in front of him. We get a scene where Hammond’s group escapes their trailer, Kelly defeats a velociraptor with gymnastics and the group plus Tembo manages to get onboard a helicopter.

The rest of the movie follows the actual TLW movie pretty closely with a few differences. Namely, there’s more than one dinosaur rampaging through San Diego, Tembo is helping the remaining team route the dinos back to the ship, we acknowledge the fact that the car they picked in the movie was due to reasons of masculinity, and Peter suffers a nervous breakdown when the dinosaurs break out of the ship’s hold and allows himself to be eaten by the baby rex out of guilt.

Roland fires a tranquilizer shot at the buck rex before it can clear the door. When that’s done, Sarah asks him what he’s going to hunt next.

“I believe I've spent enough time in the company of death.” he said.

We cut to Kelly and Sarah asleep on the couch while a TV plays news coverage of the boat being returned to Isla Sorna with a statement from John Hammond (once again CEO of InGen).

His speech is pretty much the same, ending with “as someone once told me, life finds a way.”

The final shot of the film is the rex family, the stegosaurs, all the dinosaurs back on Isla Sorna. Content as the Jurassic Park credits theme plays in the background.

So, what did you think? Like it, hate it? As always, I welcome feedback and comments!

#Jurassic Park #The Lost World #the lost world: jurassic park #Jurassic Park 2 #Jurassic Park II #Steven Spielberg #Rewrite #Re-Write #Dinosaurs #My Writing #Well Sort of #Fix It Fic #Sarah Harding #Roland Tembo #John Hammond #Kelly Curtis #Nick Van Owen

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vhs-ninja · 6 years ago

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#Death Wish #part 2 #Charles Bronson #Laurence Fishburne #Thomas F. Duffy #Kevyn Major Howard #VHS #1982 #Michael Winner #gang #eighties #Paul Kersey

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tasksweekly · 5 years ago

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[TASK 187: BERMUDA]

There’s a masterlist below compiled of over 370+ Bermudian faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. If you want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever faceclaim or whichever project you desire.

Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags, @ mention us or send us a messaging linking us to your post!

THE TASK - scroll down for FC’s!

STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!

STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!

STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)

STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.

THINGS YOU CAN MAKE FOR THIS TASK - examples are linked!

Stumped for ideas? Maybe make a masterlist or graphic of your favourite faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by an artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on culture and customs.

Screencaps

RP icons [of all sizes]

Gif Pack [maybe gif icons if you wish]

PNG packs

Manips

Dash Icons

Character Aesthetics

PSD’s

XCF’s

Graphic Templates - can be chara header, promo, border or background PSD’s!

FC Masterlists - underused, with resources, without resources!

FC Help - could be related, family templates, alternatives.

Written Guides.

and whatever else you can think of / make!

MASTERLIST!

Gina Swainson (1958) Bermudian - model and Miss World 1979.

Heather Nova (1967) Bermudian [Unspecified White] / Unspecified White - singer-songwriter, guitarist, and poet.

Lana Young (1970) Afro-Bermudian - actress.

Jodie Milks (1971) Bermudian - actress.

Ella Bonair (1976) Bermudian [Unspecified White] - model.

Sasha Allen (1982) 1/4 Afro-Bermudian, 3/4 African-American - actress and singer.

Whitney Thompson (1987) 1/32 Bermudian, 1/32 Bahamian, 15/16 mix of Irish, Scottish, English - model.

Genesis Lynea (1989) Afro-Bermudian - actress, singer, model, and dancer.

Samantha Claude (1990) Bermudian [Unspecified White] - actress.

Jordan Claire Robbins (1990) Bermudian - actress and producer.

Sophia Kristina (1991 or 1992) Afro-Bermudian - model.

Guisti Clarke (1996) Afro-Bermudian - actress and model.

Megan Zelly (1996) Bermudian [Unspecified White] - instagrammer (megzelly).

Kaelyn Kastle (1997) Afro-Bermudian - singer.

Alyssa Dyer (1998 or 1999) Afro-Bermudian - model.

Aliana King (1999) Afro-Bermudian - model.

Rhyesheen Suragh (2000) Afro-Bermudian - model.

Ni Burgess (2000) Afro-Bermudian - model.

Samantha Warren (2001) Bermudian [Unspecified White] - model.

De-Nias Caines (2002) Afro-Bermudian - model.

Carys Zeta Douglas (2003) Bermudian [Unspecified White], Barbadian [Unspecified White], Belarusian Jewish, Irish, Scottish, Welsh, Belgian, French, English, Dutch / Welsh, Irish, English - model.

Twanée / Twanée Butterfield (?) Afro-Bermudian - singer-songwriter.

Lillian Lightbourn (?) Afro-Bermudian - model and Miss World Bermuda 2014.

Joy T. Barnum (?) Afro-Bermudian - singer-songwriter.

Alyssa Rose (?) Bermudian - model and Miss World Bermuda 2015.

Rochelle Minors (?) Afro-Bermudian - model and Miss World Bermuda 2012.

Jana Lynn Outerbridge (?) Afro-Bermudian - model and Miss World Bermuda 2011.

Katherine Arnfield (?) Bermudian [Unspecified White] - model and Miss World Bermuda 2013.

Theresa Mignonne Daniels (?) Afro-Bermudian - actress.

Mia Page (?) Bermudian - singer-songwriter.

Lily Lightbourn Herbert (?) Afro-Bermudian - model.

Keana (?) Afro-Bermudian - model (instagram: justkeeky).

Erin (?) Afro-Bermudian - professional dancer and former nhl cheerleader (instagram: hillea).

Lola (?) Afro-Bermudian - rapper (instagram: lola_officialmusic).

Brixx (?) Afro-Bermudian - singer (instagram: brixxbda).

F - Athletes:

Phyllis Lightbourn-Jones (1928) Bermudian [Unspecified White] - sprinter.

Phyllis Edness (1930) Bermudian - sprinter.

Thelma Jones (1932) Afro-Bermudian - sprinter.

Debbie Jones (1958) Bermudian - sprinter.

Sonia Smith (1962) Afro-Bermudian - javelin thrower.

Nicole Jones (1963) Bermudian - cricketer.

Suzette Albouy (1965) Afro-Bermudian - cricketer.

Linda Mienzer (1965) Bermudian - cricketer.

Maryellen Jackson (1967) Afro-Bermudian - cricketer.

Charlene Thompson (1967) Afro-Bermudian - cricketer.

Wendy Woodley (1968) Afro-Bermudian - cricketer.

Terry-Lynn Paynter (1969) Afro-Bermudian - cricketer.

Chevonne Furbert (1970) Afro-Bermudian - cricketer.

Jillian Terceira (1971) Bermudian [Unspecified White] - equestrian.

Dawnette Douglas (1971) Afro-Bermudian - sprinter.

Stacey Simmons (1972) Bermudian - cricketer.

Teresa Perozzi (1973) Bermudian - boxer.

Arkeita Smith (1978) Afro-Bermudian - cricketer.

Kiera Aitken (1983) Afro-Bermudian - swimmer.

Stacy Babb (1983) Afro-Bermudian - cricketer.

Rickelle Smith (1986) Afro-Bermudian - cricketer.

Arantxa King (1987) Afro-Bermudian - long jumper.

Vanessa James (1987) Afro-Bermudian / Unspecified - figure skater.

Flora Duffy (1987) Bermudian [Unspecified White] - triathlete.

Melyssa James (1987) Afro-Bermudian / Unspecified - figure skater.

Cheyra Bell (1988) Afro-Bermudian - footballer.

Shunta Todd (1988) Afro-Bermudian - cricketer.

Michelle Pearson (1991) Bermudian [Unspecified White] - rower.

Dominique Richardson (1992) Afro-Bermudian - footballer.

Rebecca Heyliger (1992) Afro-Bermudian - swimmer.

Reuna Richardson (1992) Afro-Bermudian - cricketer.

Jessica Cooper Lewis (1993) Bermudian [Unspecified White] - paralympic sprinter.

Akeyla Furbert (1994) Afro-Bermudian - footballer.

Keunna Dill (1995) Afro-Bermudian - footballer.

Taahira Butterfield (1996) Afro-Bermudian - sprinter.

Cecilia Wollmann (1998) Bermudian [Unspecified White] - sailor.

Maddy Moore (2000) Bermudian [Unspecified White] - swimmer.

Nicole Mitchell (?) Bermudian [Unspecified White] - cyclist.

Alan Silva (1939) Afro-Bermudian / Portuguese [including Azorean] - bassist-songwriter, keyboardist, violinist, and trumpetist.

Andy Newmark (1950) Bermudian / Russian Jewish - drummer and percussionist.

Will Kempe (1963) Bermudian - actor.

David Morris (1964) Bermudian - singer and bassist.

Robert Hector (1964) Bermudian - actor.

Peter Outerbridge (1966) Bermudian [English, Scottish] / Swedish - actor.

Kenneth Amis (1970) Afro-Bermudian - tuba player.

Daren A. Herbert (1976) Afro-Bermudian - actor.

Cameron Douglas (1978) Bermudian [Unspecified White], Barbadian [Unspecified White], Belarusian Jewish, Irish, Scottish, Welsh, Belgian, French, English, Dutch / Majorcan, Swiss, French, English - actor.

Collie Buddz / Colin Patrick Harper (1984) Bermudian [Unspecified White] / Jamaican [Unspecified White] - singer.

Ben Lusher (1992) Bermudian [Jewish] - singer-songwriter, pianist, and producer.

Garonde Bean (1993) Afro-Bermudian - model.

Sokoni Whitter (1995 or 1996) Afro-Bermudian - model.

Taylor Ebbin (1998) Afro-Bermudian - model.

Dylan Douglas (2000) Bermudian [Unspecified White], Barbadian [Unspecified White], Belarusian Jewish, Irish, Scottish, Welsh, Belgian, French, English, Dutch / Welsh, Irish, English - actor.

McKee Bond (2000) Bermudian [Unspecified White] - actor.

Giniko Liburd (2002) Afro-Bermudian - model.

Clinark / Clinarke Dill (?) Afro-Bermudian - singer-songwriter and producer.

Uzimon / Daniel Frith (?) Bermudian [Unspecified White] - singer.

Jay Blades (?) Afro-Bermudian - DJ and tv presenter.

Mike Hind (?) Bermudian - singer-songwriter and ukulelist.

Runksie / Philandro Hill (?) Afro-Bermudian - singer and producer.

Tony Brannon (?) Bermudian [Unspecified White] - singer.

Marca T (?) Afro-Bermudian - singer-songwriter and producer.

M - Athletes:

Walter Bardgett (1932) Bermudian - swimmer.

Calvin Symonds (1932) Bermudian - cricketer and footballer.

Robert Cook (1932) Bermudian - swimmer.

Eldon Raynor (1933) Afro-Bermudian - cricketer.

Shiraz Ali (1934) Bermudian - cricketer.

Dennis Wainwright (1935) Afro-Bermudian - footballer.

Charles Daulphin (1936) Afro-Bermudian - cricketer.

Penny Simmons (1938) Bermudian [Unspecified White] - sailor.

Jeff Payne (1938) Bermudian - middle-distance runner.

Raymond Swan (1938) Bermudian - long-distance runner.

John Morbey (1939) Bermudian - sprinter.

Richard Belvin (1941) Bermudian [Unspecified White] - sailor.

Dick Mallory (1942) Bermudian - footballer.

Joseph Bailey (1942) Bermudian - cricketer.

Alex Cooper (1942) Bermudian - sailor.

Sam Nusum (1943) Afro-Bermudian - footballer.

Clarence Parfitt (1944) Afro-Bermudian - cricketer.

Winston Trott (1944) Afro-Bermudian - cricketer.

Lionel Thomas (1946) Afro-Bermudian - cricketer.

Rocky Thompson (1947) Afro-Bermudian - football player.

Gary Darrell (1947) Afro-Bermudian - footballer.

Roy Johnson (1948) Afro-Bermudian - boxer.

James Butterfield (1950) Bermudian - rower.

Clarence Hill (1951) Afro-Bermudian - boxer.

Clyde Best (1951) Afro-Bermudian - footballer.

Alan Burland (1952) Bermudian [Unspecified White] - sailor.

Robert Burgess (1952) Afro-Bermudian - boxer.

Christopher Nash (1952) Bermudian - sailor.

Roland Butcher (1953) Afro-Bermudian - cricketer.

John Nusum (1954) Afro-Bermudian - footballer.

Clark Godwin (1955) Bermudian - high jumper.

Dale Russell (1955) Afro-Bermudian - footballer.

Calvin Dill (1955) Bermudian - sprinter.

Kenny Thompson (1955) Bermudian - footballer.

Dennis Trott (1955) Bermudian - sprinter.

Noel Gibbons (1956) Bermudian - cricketer.

Mike Sharpe (1956) Bermudian - sprinter.

Renelda Swan (1957) Afro-Bermudian - sprinter.

Peter S. Gray (1957) Bermudian - equestrian.

Roger Dill (1957) Bermudian - cricketer.

John Ford (1957) Afro-Bermudian - cyclist.

Stephen Alger (1958) Bermudian - tennis player.

Allan Douglas (1958) Afro-Bermudian - cricketer.

Michael Watson (1958) Bermudian - middle-distance runner.

Gregory Simons (1958) Bermudian - sprinter.

Arnold Manders (1959) Afro-Bermudian - cricketer.

Victor Ruberry (1959) Bermudian - swimmer.

Clyde Wilson (1959) Bermudian - cyclist.

Bruce Perinchief (1960) Afro-Bermudian - cricketer.

Clevie Wade (1960) Afro-Bermudian - cricketer.

Mark Wyatt (1961) Bermudian - rugby player.

Dexter Smith (1961) Bermudian - cricketer.

Quinn Paynter (1961) Afro-Bermudian - boxer.

Charlie Marshall (1961) Bermudian - cricketer.

Earl Godfrey (1961) Afro-Bermudian - cyclist.

Troy Douglas (1962) Afro-Bermudian - sprinter.

Ron Davenport (1962) Bermudian - American football player.

Anthony Amory (1963) Afro-Bermudian - cricketer.

Clarence Saunders (1963) Afro-Bermudian - high jumper.

Roger Trott (1963) Afro-Bermudian - cricketer.

Andrew Bascome (1963) Afro-Bermudian - footballer.

Peter Bromby (1964) Bermudian [Unspecified White] - sailor.

Herbert Bascombe (1964) Afro-Bermudian - cricketer.

Sheridan Ming (1965) Bermudian [Afro-Bermudian, Chinese] - cricketer.

Bill Trott (1965) Bermudian - sprinter.

Curtis Jackson (1967) Afro-Bermudian - cricketer.

Reginald Tucker (1967) Afro-Bermudian - cricketer.

Brian Wellman (1967) Afro-Bermudian - triple jumper.

Richard Basden (1967) Afro-Bermudian - cricketer.

Peter Philpott (1967) Afro-Bermudian - cricketer.

Graham Strange (1968) Afro-Bermudian - cricketer.

Kyle Lightbourne (1968) Afro-Bermudian - footballer.

Albert Steede (1968) Afro-Bermudian - cricketer.

Delano Hollis (1969) Bermudian - cricketer.

Corey Hill (1969) Bermudian - cricketer.

David Bascome (1970) Afro-Bermudian - footballer.

Traddie Simpson (1970) Afro-Bermudian - cricketer.

Dean Minors (1970) Afro-Bermudian - cricketer.

Shaun Goater (1970) Afro-Bermudian - footballer.

David Hemp (1970) Bermudian - cricketer.

Garvin Aparicio (1970) Afro-Bermudian - cricketer.

Devarr Boyles (1970) Afro-Bermudian - footballer.

Clay Smith (1971) Afro-Bermudian - cricketer.

Dwayne Leverock (1971) Afro-Bermudian - cricketer.

Hasan Durham (1971) Afro-Bermudian - cricketer.

Jermaine Warner (1971) Afro-Bermudian - cricketer.

Kentoine Jennings (1971) Afro-Bermudian - footballer.

Irving Romaine (1972) Afro-Bermudian - cricketer.

Dwight Basden (1972) Afro-Bermudian - cricketer.

Lionel Cann (1972) Afro-Bermudian - cricketer.

Dennis Pilgrim (1972) Afro-Bermudian - cricketer.

Timothy Figureido (1973) Bermudian - footballer.

James Celestine (1973) Afro-Bermudian - cricketer.

Chris Flook (1973) Bermudian - swimmer.

Glen Smith (1973) Bermudian - cricketer.

Meshach Wade (1973) Afro-Bermudian - footballer.

Glenn Blakeney (1973) Afro-Bermudian - cricketer.

Stanton Lewis (1974) Bermudian - footballer.

Patrick Singleton (1974) Bermudian [Unspecified White] - luger.

Daniel Morgan (1974) Afro-Bermudian - cricketer.

Ottis Steede (1974) Bermudian - footballer.

Tim Hemp (1974) Afro-Bermudian - cricketer.

DeVon Bean (1975) Afro-Bermudian - sprinter.

Janeiro Tucker (1975) Afro-Bermudian - cricketer.

Xavier James (1975) Afro-Bermudian - sprinter.

Ryan Steede (1975) Afro-Bermudian - cricketer.

Kwame Tucker (1976) Afro-Bermudian - cricketer.

Aljame Zuill (1976) Afro-Bermudian - footballer.

Kevin Hurdle (1976) Afro-Bermudian - cricketer.

Sam Robinson (1976) Bermudian - cricketer.

Lloyd Holder (1977) Afro-Bermudian - footballer.

Keith Jennings (1977) Bermudian - footballer.

Blenn Bean (1977) Afro-Bermudian - footballer.

Kameron Fox (1977) Afro-Bermudian - cricketer.

Omar Shakir (1977) Afro-Bermudian - footballer.

Stephen Fahy (1978) Bermudian - swimmer.

Dennis Zuill (1978) Afro-Bermudian - footballer.

Damon Ming (1978) Bermudian [Afro-Bermudian, Chinese] - footballer.

Kofi Dill (1979) Afro-Bermudian - footballer.

Lashun Dill (1979) Afro-Bermudian - footballer.

Jason Anderson (1979) Afro-Bermudian - cricketer.

Michael Parsons (1979) Bermudian - footballer.

Ralph Bean (1980) Afro-Bermudian - footballer.

Kwame Steede (1980) Afro-Bermudian - footballer.

Ronald Cowen (1980) Bermudian - swimmer.

Devaun DeGraff (1980) Afro-Bermudian - footballer.

Ricardo Brangman (1980) Afro-Bermudian - footballer.

Tucker Murphy (1981) Bermudian [Unspecified White] - cross-country skier.

Kijuan Franks (1981) Afro-Bermudian - footballer.

John Barry Nusum (1981) Afro-Bermudian - footballer.

Khano Smith (1981) Afro-Bermudian - footballer.

Arthur Pitcher (1981) Afro-Bermudian - cricketer.

Jemeiko Jennings (1981) Afro-Bermudian - footballer.

Kevin Richards (1981) Bermudian - footballer.

Nigel Burgess (1981) Afro-Bermudian - footballer.

Stephen Astwood (1981) Afro-Bermudian - footballer.

Jim West (1982) Afro-Bermudian - cricketer.

Graham Smith (1982) Bermudian - swimmer.

Chris Foggo (1982) Afro-Bermudian - cricketer.

Jared Peniston (1982) Afro-Bermudian - footballer.

Michael Crane (1982) Bermudian - cricketer.

Zander Kirkland (1983) Bermudian [Unspecified White] - sailor.

David Lovell (1983) Afro-Bermudian - cricketer.

Steven Outerbridge (1983) Afro-Bermudian - cricketer.

Darius Cox (1983) Afro-Bermudian - footballer.

Jekon Edness (1983) Afro-Bermudian - cricketer.

Oliver Pitcher (1983) Afro-Bermudian - cricketer.

Tyler Butterfield (1983) Bermudian [Unspecified White] - triathlete.

George O'Brien (1984) Afro-Bermudian - cricketer.

Jason Davis (1984) Bermudian - footballer.

Tyrone Smith (1984) Afro-Bermudian - long jumper.

Jacobi Robinson (1984) Afro-Bermudian - cricketer.

Domico Coddington (1984) Afro-Bermudian - footballer.

Jason Williams (1984) Afro-Bermudian - footballer.

Randall Robinson (1984) Afro-Bermudian - cricketer.

Dion Stovell (1984) Afro-Bermudian - footballer.

Shannon Rayner (1984) Afro-Bermudian - cricketer.

Michael O'Connor (1984) Bermudian - swimmer.

Treadwell Gibbons (1985) Afro-Bermudian - cricketer.

Freddy Hall (1985) Afro-Bermudian - footballer.

Jonathan Ball (1985) Bermudian - footballer.

Roy-Allan Burch (1985) Afro-Bermudian - swimmer.

Chris Caisey (1985) Afro-Bermudian - footballer.

Delyone Borden (1985) Afro-Bermudian - cricketer.

Taurean Manders (1986) Afro-Bermudian - footballer.

Logan Alexander (1986) Afro-Bermudian - footballer.

Tyrell Burgess (1986) Afro-Bermudian - footballer.

Antonio Lowe (1986) Afro-Bermudian - footballer.

Seion Darrell (1986) Afro-Bermudian - footballer.

Antwan Russell (1986) Afro-Bermudian - footballer.

Derrick Brangman (1987) Afro-Bermudian - cricketer.

Keishen Bean (1987) Afro-Bermudian - footballer.

Chris Lonsdale (1987) Bermudian - cricketer.

Cecoy Robinson (1987) Afro-Bermudian - footballer.

Allan Douglas (1987) Afro-Bermudian - cricketer.

Shakir Smith (1987) Afro-Bermudian - footballer.

Justin Pitcher (1987) Afro-Bermudian - cricketer.

Angelo Simmons (1987) Afro-Bermudian - footballer.

Rodney Trott (1987) Afro-Bermudian - cricketer.

Kyle Hodsoll (1988) Afro-Bermudian - cricketer.

Marquel Waldron (1988) Afro-Bermudian - footballer.

Oronde Bascome (1988) Afro-Bermudian - cricketer.

Tamauri Tucker (1988) Afro-Bermudian - cricketer.

Stefan Kelly (1988) Afro-Bermudian - cricketer.

Jesse Kirkland (1988) Bermudian [Unspecified White] - sailor.

Dennico Hollis (1988) Afro-Bermudian - cricketer.

Kamal Bashir (1988) Afro-Bermudian - cricketer.

Shayne Hollis (1989) Afro-Bermudian - footballer.

Malachi Jones (1989) Afro-Bermudian - cricketer.

Chris Douglas (1989) Afro-Bermudian - cricketer.

Mikkail Crockwell (1990) Afro-Bermudian - footballer.

Jordan DeSilva (1990) Bermudian [Unspecified White] - cricketer.

Harold Houston (1990) Afro-Bermudian - sprinter.

Pierre Smith (1990) Afro-Bermudian - cricketer.

Kilian Elkinson (1990) Bermudian [Jewish] - footballer.

Nahki Wells (1990) Afro-Bermudian - footballer.

Julian Fletcher (1990) Bermudian - swimmer.

Terryn Fray (1991) Afro-Bermudian - cricketer.

Reggie Lambe (1991) Afro-Bermudian - footballer.

Cameron Pimentel (1991) Bermudian [Unspecified White] - sailor.

McLaren Smith (1991) Afro-Bermudian - cricketer.

Casey Castle (1991) Afro-Bermudian - footballer.

Sinclair Smith (1991) Afro-Bermudian - cricketer.

Tahj Bell (1991) Afro-Bermudian - footballer.

Roger Lee (1991) Afro-Bermudian - footballer.

Deunte Darrell (1992) Afro-Bermudian - cricketer.

Drewonde Bascome (1992) Afro-Bermudian - footballer.

Kevon Fubler (1992) Afro-Bermudian - cricketer.

Micah Franklin (1992) Bermudian [Unspecified White] - squash player.

Damali Bell (1992) Afro-Bermudian - cricketer.

Dante Leverock (1992) Afro-Bermudian - footballer.

Brian Hall (1992) Afro-Bermudian - cricketer.

Jaylon Bather (1992) Afro-Bermudian - footballer.

Macai Simmons (1992) Afro-Bermudian - cricketer.

Dominique Mayho (1993) Afro-Bermudian - cyclist.

Quadir Maynard (1993) Bermudian - footballer.

Lejuan Simmons (1993) Afro-Bermudian - footballer.

Joshua Gilbert (1993) Afro-Bermudian - cricketer.

Yusef Riley (1993) Afro-Bermudian - basketball player.

Marco Warren (1993) Afro-Bermudian - footballer.

Oliver Harvey (1993) Bermudian - footballer.

Jonté Smith (1994) Afro-Bermudian - footballer.

Kamau Leverock (1994) Afro-Bermudian - footballer.

Jeneko Place (1994) Afro-Bermudian - sprinter.

Willie Clemons (1994) Afro-Bermudian - footballer.

Tre Ming / Wendell Tre' Ming (1994) Bermudian [Afro-Bermudian, Chinese] - footballer.

Jair Minors (1994) Afro-Bermudian - footballer.

Christian Burgess (1994) Afro-Bermudian - cricketer.

Donte Brangman (1994) Afro-Bermudian - footballer.

Okera Bascome (1994) Afro-Bermudian - cricketer.

Zeiko Lewis (1994) Afro-Bermudian - footballer.

Mauriq Hill (1995) Afro-Bermudian - footballer.

Kwasi James (1995) Afro-Bermudian - cricketer.

Daren Usher (1995) Afro-Bermudian - footballer.

Onais Bascome (1995) Afro-Bermudian - cricketer.

Chikosi Basden (1995) Afro-Bermudian - footballer.

Tre Manders (1995) Afro-Bermudian - cricketer.

Dale Eve (1995) Afro-Bermudian - footballer.

Rai Simons (1996) Afro-Bermudian - footballer.

Justin Donawa (1996) Afro-Bermudian - footballer.

Djair Parfitt-Williams (1996) Afro-Bermudian - footballer.

Calon Minors (1996) Afro-Bermudian - footballer.

Ian Coke (1996) Afro-Bermudian - footballer.

Detre Bell (1997) Afro-Bermudian - footballer.

Jahquil Hill (1997) Afro-Bermudian - footballer.

Delray Rawlins (1997) Afro-Bermudian - cricketer.

Jahnazae Swan (1997) Afro-Bermudian - footballer.

Tehvan Tyrell (1997) Afro-Bermudian - footballer.

Liam Evans (1997) Bermudian - footballer.

Milan Butterfield (1998) Afro-Bermudian - footballer.

Nathan Trott (1998) Afro-Bermudian - footballer.

Osagi Bascome (1998) Afro-Bermudian - footballer.

Jordan Smith (1998) Afro-Bermudian - cricketer.

Ajai Daniels (1998) Afro-Bermudian - footballer.

Jahkari Furbert (1999) Afro-Bermudian - footballer.

Knory Scott (1999) Afro-Bermudian - footballer.

Quinaceo Hunt (2000) Afro-Bermudian - footballer.

Cejay Outerbridge (?) Afro-Bermudian - cricketer.

David Greenidge (?) Afro-Bermudian - cricketer.

B.A. Brathwaite (?) Afro-Bermudian - cricketer.

Cleon Scotland (?) Afro-Bermudian - cricketer.

Keith Wainwright (?) Afro-Bermudian - cricketer.

Dennis Brown (?) Afro-Bermudian - footballer.

Zeko Burgess (?) Afro-Bermudian - cricketer.

Charles Trott (?) Afro-Bermudian - cricketer.

Gregg Foggo (?) Afro-Bermudian - cricketer.

T. Robinson (?) Bermudian - cricketer.

Charles Swan (?) Bermudian - cricketer.

Ross Roberts (?) Bermudian - sports shooter.

Steven Bremar (?) Afro-Bermudian - cricketer.

Arnold Adams (?) Afro-Bermudian - cricketer.

Jeff Richardson (?) Afro-Bermudian - cricketer.

Donald Norford (?) Afro-Bermudian - cricketer.

Clarke Trott (?) Bermudian - cricketer.

Problematic:

Michael Douglas (1944) Bermudian [Unspecified White], Barbadian [Unspecified White], Irish, Scottish, Welsh, Belgian, French, English, Dutch / Belarusian Jewish - actor and producer. - Allegations of sexual assault.

Lena Headey (1973) Bermudian [Irish, English] - actress. - Rape apologist and incest apologist.

Mishka / Alexander Mishka Frith (1974) Bermudian [Unspecified White] / Unspecified White - singer-songwriter. - Appropriation of dreadlocks.

Joanne Tucker (1982) Bermudian [English] - actress. - Married to Adam Driver.

#bermudian fc #poc fc #fc list #rph #underused fc #task: 187 #task: bermuda

8 notes · View notes