Dinosaurs and History with Steven Spielberg

Steven Spielberg, widely regarded as one of the greatest filmmakers of all time, has a unique ability to bring his films to life through powerful themes and masterful storytelling. Alongside other notable directors such as Stephen Sommers, Gary Fleder, Robert Rodriguez, and his close (and equally popular) friend George Lucas, Spielberg has left an undeniable mark on cinema.

Since I was 15, I have admired his deep passion for filmmaking and the artistic techniques he employs to create immersive and emotionally resonant stories. His films often explore themes of wonder, adventure, family relationships, and human resilience, blending spectacle with heartfelt storytelling. Whether through his use of dynamic cinematography, compelling character arcs, or innovative special effects, Spielberg has a remarkable talent for making audiences feel deeply connected to his worlds and characters.

One movie Spielberg is easily associated with is his science fiction prehistoric adventure Jurassic Park and it was through this, I got to know about him as well as his career although before that, I had seen the thriller Jaws which he had directed as well but did not know it was by him let alone that both were based on books until much later. I find it quite a co-incidence that each time a Jurassic Park film was made with or without direct involvement from him, something or the other related to history which he made for the screen also came out the same year. Which is what made me want to tell fans of not just Spielberg but also those interested in dinosaurs as well as history (much like myself) the related patterns that also include during production of these films, Steven reunited (once again) either directly or indirectly with others who had worked in the films of focus here or other films that he made.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Jurassic Park and Schindler’s List (1993)

In 1989, while collaborating with author Michael Crichton to develop the TV series ER, Steven Spielberg was given an early look at Crichton’s manuscript for Jurassic Park. Even though the book had not yet been published, Spielberg immediately recognized its cinematic promise. Recalling his experience securing the rights to Jaws before its release, he moved quickly to acquire the film rights to Jurassic Park as well. He later described the project as like “making a Jaws sequel on land,” a comparison he would even nod to within the film itself by including a playful reference to Jaws in one of the scenes.

Jurassic Park, published in 1990, followed a genetic engineering firm InGen, owned by visionary billionaire John Hammond, clones dinosaurs to populate a theme park on the fictional Isla Nublar. For the film adaptation, Spielberg streamlined Crichton’s complex scientific details to focus on the story’s thrilling adventure and deeper questions about humanity’s efforts to control nature. In the film, Hammond invites palaeontologist Alan Grant, paleobotanist Ellie Sattler, mathematician and chaos theorist Ian Malcolm, and lawyer Donald Gennaro to assess the park’s safety, hoping for their endorsement. Joining them are Hammond’s grandchildren, Tim and Lex Murphy. But when disgruntled computer programmer Dennis Nedry sabotages the security systems to steal dinosaur embryos on behalf of rival company Biosyn (through their agent Lewis Dodgson), chaos erupts. The tour quickly unravels into a harrowing struggle for survival as the resurrected dinosaurs escape their enclosures.

At the same time, he was also considering another project, one with profound historical importance: Schindler’s List. Adapted from Thomas Keneally’s 1982 non-fiction novel Schindler’s Ark, the film tells the true story of Oskar Schindler, a German industrialist and Nazi Party member who saved the lives of more than 1,100 Jews during the Holocaust by employing them in his factories. Initially motivated by profit, Schindler’s conscience awakens as he witnesses atrocities, especially against those who worked for him in the first place, and he becomes a reluctant rescuer.

Spielberg while drawn to directing the movie because of his own Jewish background was emotionally unsure whether he could direct such a harrowing story and considered only producing it. But after discussing the project with Sid Sheinberg, president of Universal Pictures, he was persuaded to direct Jurassic Park first to fulfil the studio’s commercial ambitions. Sheinberg knew Jurassic Park would be a massive box office success and advised Spielberg to complete it before immersing himself in the emotionally taxing work of Schindler’s List.

The film’s production revolutionized visual effects. A combination of groundbreaking CGI from Industrial Light & Magic and life-size animatronic dinosaurs designed by Stan Winston created a level of realism audiences had never seen. Spielberg’s fascination with dinosaurs went back to his own childhood, and the result was a spectacle that balanced awe and terror, with dinosaurs serving as symbols of scientific hubris.

(Lord) Richard Attenborough starred as John Hammond, (Sir) Sam Neill played Alan Grant, Laura Dern portrayed Ellie Sattler, Jeff Goldblum was Ian Malcolm; Martin Ferrero portrayed, Bob Peck starred park warden Robert Muldoon, Wayne Knight played Dennis Nedry, Cameron Thor played Dodgson; and Joseph Mazzello and Ariana Richards as Tim and Lex as well as BD Wong as Henry Wu and Samuel L Jackson as Ray Arnold. One of the film’s producers Kathleen Kennedy also made a brief appearance in the movie as a character from the novel called Gerry Harding.

For the film adaptation, Spielberg streamlined Crichton’s complex scientific details to focus more tightly on the thrilling adventure and deeper questions about humanity’s attempts to control nature. Crichton completed the first few drafts of the script, before David Koepp was brought in as the principal screenwriter to refine and finalize it.

Because Crichton’s novel was long and detailed, several characters and species were left out. For example, the character of Ed Regis, a publicist who guides the guests, was combined into Gennaro, and some dinosaurs were omitted or replaced Apatosaurus became Brachiosaurus, and Othnielia was swapped out for Gallimimus. Only Tyrannosaurus (Rex), Velociraptor, Triceratops, Dilophosaurus, and Parasaurolophus made it into the final film. Spielberg also wanted to adjust the tone. The novel had a darker portrayal of John Hammond as greedy, callous and uncaring but the film would portray him to be more sympathetic, caring and understanding.

Jurassic Park premiered on June 9, 1993, and had both a worldwide and American release on June 11, 1993. It opened to universal acclaim and smashed box office records, eventually grossing over $914 million worldwide. Its use of CGI and animatronics set a new standard in blockbuster filmmaking.

To bring the dinosaurs to life, Spielberg pushed the boundaries of visual effects. Initially, stop-motion animation supervised by Phil Tippett was planned for many of the dinosaurs. Tippett and his team began work on full-scale go-motion models, but once Spielberg aw the early CGI tests by Industrial Light & Magic (ILM), they decided to switch to photorealistic computer-generated dinosaurs for most sequences, eventually using a style where they would divide the use of both CGI dinosaurs and animatronic dinosaurs which were designed by makeup artist Stan Winston.

Post-production was equally ambitious. Sound designer Gary Rydstrom spent months mixing real animal calls to create unique dinosaur vocalizations. The roar of the Tyrannosaurus for example was a fusion of a baby elephant’s squeal combined with alligator and crocodile noises as well as a Tiger’s snarl and a Lion’s roar while a dog tearing a rope was for the Tyrannosaurus ripping prey apart. Dolphin screams, walruses bellowing, geese hissing the mating calls of African cranes and even human rasps were used to vocally give life to the Velociraptor,

After wrapping Jurassic Park, Spielberg flew to Poland to begin shooting Schindler’s List in early 1993. The production was shot in stark black and white, with the exception of a few colour sequences, including the famous girl in the red coat—symbolizing both the horror and the human cost of the Holocaust.

The cast included Liam Neeson as Oskar Schindler, in a performance that earned an Oscar nomination; Ben Kingsley as Schindler’s Jewish accountant and moral guide, Itzhak Stern; Ralph Fiennes as the monstrous SS officer Amon Göth; Caroline Goodall as Emilie Schindler; Jonathan Sagall as survivor Poldek Pfefferberg; and Embeth Davidtz as Helen Hirsch, Göeth’s maid who was often abused by him.

Interestingly, there were personal and historical connections between the two films. Richard Attenborough, who played Hammond, had directed the Oscar-winning Gandhi, starring Ben Kingsley, who portrayed Itzhak Stern. Ralph Fiennes’ performance as Amon Göeth was so chilling that Holocaust survivors on set were visibly shaken by his resemblance to the real man.

While Spielberg was directing in Poland, he relied on others, including George Lucas and the ILM team, to finalize Jurassic Park. Spielberg stayed closely involved by reviewing the film’s progress remotely. Composer John Williams, who scored both films, initially hesitated to take on Schindler’s List, believing it deserved someone “better than him,” but Spielberg reassured him he was the right choice.

Schindler’s List premiered on November 30, 1993, in Washington, D.C., and was released throughout the United States (and worldwide) on December 15, 1993. The film was immediately hailed as a masterpiece and joined Jurassic Park at the 66th Academy Awards, winning Oscars for Best Special Effects, Sound Editing and Visual Effects. However, the real highlight of the two was Schindler’s List, a film that earned Spielberg his first Best Director win and Best Picture in addition to Williams’ score, Cinematography, Art Direction and Screenplay.

The dual successes marked a turning point in Spielberg’s career, cementing his reputation as one of cinema’s greatest storytellers. His ability to captivate audiences with dinosaurs while confronting them with the darkest chapter in human history demonstrated his unparalleled range.

Despite their stark differences in tone and subject, Jurassic Park and Schindler’s List both left indelible marks on cinema—one redefining visual effects and blockbuster entertainment, the other reminding the world of the profound cost of hatred and the power of conscience.

Between Films
After the success of Jurassic Park and Schindler’s List, Spielberg decided to take a brief break from directing, opting to spend more time with his family. However, this hiatus did not stop him from being involved in the film industry. He continued to serve as a producer on various projects, including the 1995 film Casper, based on the popular comics about a friendly translucent ghost of the same name.

During this period, Spielberg also took a significant step by founding his own company, DreamWorks, alongside film producers David Geffen and Jeffrey Katzenberg. Yet it would not be long before Spielberg found himself drawn back to the world of dinosaurs and historical narratives, continuing to shape the cinematic landscape with his distinct vision.

 

 

 

The Lost World and Amistad (1997)
Although Steven Spielberg had initially told Michael Crichton he was reluctant to direct a sequel to Jurassic Park—a decision Crichton completely understood—he later realized that what he truly meant was that he would consider it only if Crichton himself was involved in creating the story. Ironically, Crichton was actually against a film version of the first book but recanted when he realized its potential as one. Not long after the film’s enormous success, fans of both the book and the movie began asking Crichton whether he was planning to write a sequel. At first unsure—since he had never written a sequel to any of his works—Crichton eventually decided to continue the story. He informed Spielberg of his intentions, mentioning that he would take inspiration from The Lost World, the famous novel by (Sir) Arthur Conan Doyle. In Doyle’s story, an expedition travels to a remote plateau in South America and discovers a world where dinosaurs and other prehistoric creatures have survived into modern times. Though Crichton’s Jurassic Park was different—focusing on dinosaurs brought back to life through DNA cloning—he thought Doyle’s title fitting for his new novel.

In The Lost World, Crichton revisits the world he created in Jurassic Park, this time setting the action on Isla Sorna, an island located 87 miles away from Isla Nublar, where the first park had been built. Isla Sorna, known as “Site B,” is where InGen originally bred and raised the dinosaurs before transporting them to the main park. After the collapse of Jurassic Park, the dinosaurs on Site B were left to survive on their own in an uncontrolled ecosystem.

The second novel follows mathematician Ian Malcolm, who had survived the events of the first book and is now convinced by wealthy and secretive palaeontologist Richard Levine to investigate rumours of live dinosaurs on Isla Sorna. Levine, obsessed with finding evidence of a “lost world,” finances the expedition but acts recklessly and travels to the island ahead of the group.

Concerned for Levine’s safety, a rescue team assembles. It includes Malcolm; his colleague, the field biologist Dr. Sarah Harding; engineer and field equipment specialist Eddie Carr; and two resourceful stowaways—Levine’s young students, Arby Benton and Kelly Curtis—who sneak aboard the expedition vehicle. Together, they journey to Isla Sorna in hopes of finding Levine and studying the dinosaurs in their natural, wild habitat.

Meanwhile, a rival expedition led by Lewis Dodgson, a ruthless corporate operative from Biosyn (the same company that hired and at the same time bribed Dennis Nedry in the first book), arrives on the island with plans to steal dinosaur eggs and bring them back to the mainland for profit due to the failure of the man they sent earlier to do so. Dodgson is accompanied by his colleagues George Baselton and Howard King, and their unethical agenda soon puts them in direct conflict against Malcolm’s team—and the island’s predators. Once again the characters struggle to survive among a wide variety of dinosaurs but more so from each other.

Universal Pictures officially announced The Lost World: Jurassic Park in June 1995, shortly before the novel’s publication and David Koepp began adapting Crichton’s novel even before it was published, although the film ultimately diverged significantly from the book much like the first book omitted certain sequences although there were far more omitted in the second than in the first. Jeff Goldblum reprised the role of Ian Malcolm and Richard Schiff would play Eddie Carr. Dogdson would be replaced by an entirely new character named Robert Ludlow played by Arliss Howard who was the ill-mannered nephew of John Hammon and had seized control of InGen from his ailing uncle who was reprised by Attenborough. Arianna Richards and Joseph Mazello also returned to portray Hammond’s grandchildren although neither of these three characters returned to the second book. Arby Benton and Kelly Curtis also did not appear but were combined into one Kelly Malcolm who was Ian’s adopted daughter played by Vanessa Lee Chester. Nick Van Owen portrayed by Vince Vaughn was also not from the book as well.

Richard Levine was taken out of the book completely as was George Baselton and Howard King although the characteristics of the latter were subsumed into another new character for the film, the hunter Roland Tembo, portrayed by Pete Postlethwaite who is a good person but hired by an ill-meaning man. One scene from the first book which was not used in the film adaptation was interestingly used in the sequel’s film adaptation. The sequence where a Tyrannosaurus is brought to San Diego and wreaks havoc before capture was not in the novel but instead was suggested by Spielberg himself as having been a fan of (Sir) Doyle’s The Lost World (which Crichton named the sequel after) that may have inspired the Jurassic Park series (as well as King Kong) much like Crichton, he recalled the 1925 version of the movie where a brontosaurus after being captured and taken back to London breaks free and is on the lose before tumbling into the sea and swimming back to Brazil, he wanted to make a similar reference.

Spielberg wanted The Lost World to be faster-paced than its predecessor, with twice as many dinosaurs and an emphasis on survival and spectacle rather than exposition. He viewed the sequel as an opportunity to showcase thrilling set pieces that could not be included in the first film.

Pre-production began in earnest in late 1995. Spielberg envisioned a darker tone, much like the books themselves but like the second book, decided to keep the setting largely in untamed wilderness, avoiding the controlled environment of a theme park.

Filming locations included the redwood forests of Northern California, representing Isla Sorna’s dense jungles, and Kauai in Hawaii, which had served as a location for the first film. Principal photography began on September 3, 1996, and continued for several months. Spielberg and his team wanted to create a more visceral, suspenseful experience, incorporating both large-scale action and moments of quiet tension.

Stan Winston returned to supervise the animatronic dinosaurs, while Dennis Muren and Michael Lanteri at Industrial Light & Magic (ILM) handled the digital effects. Both teams worked closely together to ensure seamless integration between practical and computer-generated effects. Spielberg was determined to push the boundaries of visual effects once again, including more complex shots of dinosaurs interacting with the human characters.

Rick Carter reprised his role as production designer, helping to create the look of Isla Sorna’s abandoned InGen facilities and its overgrown, dangerous landscape while Gary Rydstrom returned to create the sounds for the dinosaurs using real-life animal vocals.

The production team constructed elaborate animatronic dinosaurs, including new species like Stegosaurus Compsognathus (distantly related to Procompsognathus which appeared in the novels) which appeared in both books but not in the first film and now here was a chance and Pachycephalosaurus. Returning favourites were of course Velociraptors and the Tyrannosaurus (Rex) of which there were now a pair of them who had a male infant (whereas in the book the two Tyrannosaurs had more than one). Triceratops, Parasaurolophus and Gallimimus also returned. A Pteranodon which was in the first book but not the film adaptation was finally shown on screen in the sequel.

John Williams returned to compose the score, developing new themes with a darker, more primal tone to match the film’s mood. This time, Spielberg was able to be present for the score due to at that time not having any major commitment to any film although Williams wanted to avoid using most of the first film’s music save for one of the two main themes.

The Lost World: Jurassic Park was a massive box office success upon release, setting opening weekend records and becoming one of the highest-grossing films of 1997. Audiences were eager to return to the world of dinosaurs, and the film’s marketing campaign built on the legacy of its predecessor. However, despite its commercial success, The Lost World did not achieve the same level of critical acclaim or cultural impact as the original Jurassic Park.

Critics and audiences noted that while the film delivered intense action sequences and cutting-edge visual effects, it lacked the wonder and novelty that had made the first film so groundbreaking. Some reviewers felt the story was less cohesive, with a darker, more chaotic tone that overshadowed character development. The film’s plot diverged significantly from Michael Crichton’s novel, and some fans of the book were disappointed by the changes.

Putting myself into this part, what is easy for me to say though is in a book I read on Spielberg 20 years back, he reveals that a few reviews actually compared The Lost World to Schindler’s List given that both were dark in tone and atmosphere. It is highly disagreeable that either film from my viewpoint was dark (Schindler’s List for that matter being melancholier) although by my opinion, Spielberg may have recognized that the techniques he used in Schindler’s List proved so popular that he hoped to add it to the second Jurassic Park although that is what gave it the so-called perceived darkness in the eyes of others. But be that as it may, he did say that as is known for the entire world, comparisons can be made between anything and people are entitled to that.

Spielberg himself later admitted he was not entirely satisfied with the final version. In retrospect, he expressed that his heart may not have been fully in it, as he was simultaneously preparing for his next project. He felt that he had approached The Lost World as a director more focused on technical execution than emotional engagement, relying heavily on action set pieces rather than storytelling depth. Spielberg acknowledged he could have spent more time refining the characters and the script to better match the balance of awe and adventure that defined Jurassic Park. The film received only one Oscar nomination and that too for Best Special Effects

Despite mixed reviews for the second film, he ultimately found himself preparing for another historical movie, Amistad. Based on a court case related to slavery in 1839, the title was based on a ship of that very name which was taking West Africans to the United States. However, they were able to free themselves and kill those who took them captive. Yet upon recapture by those who survived, they were put on trial in the United States for murder and risked execution if found guilty.

The captives, including Cinqué who had led the revolt, were imprisoned and charged with piracy and murder. Their plight became the centre of an intense legal and moral battle in the United States.

Abolitionists such as Lewis Tappan and Josiah Gibbs worked tirelessly to rally public support and provide legal defence. Their attorney, Roger Sherman Baldwin thanks to a freed slave and sailor named James Covey who could speak English and translate for the captives, argued that the Mende had been kidnapped illegally and had the right to fight for their freedom. Although the case found victory in the Federal Court, it eventually reached the U.S. Supreme Court, where former President John Quincy Adams took up their defence. Adams’ powerful argument helped the supreme court rule in favour of the captives stating that they were not slaves but were free people who had every right to engaged in battle against those who took them hostage. As a result, this helped secure their release, marking a pivotal moment in the abolitionist movement and the broader fight against slavery.

Spielberg had read many books on the case while growing up and realizing he was still to make a film under DreamWorks, he decided to make Amistad his first. Fortunately, due to not having two projects on hand at the same time as it was with Schindler’s List and the original Jurassic Park, he could now easily make the movie. Simultaneously, he was encouraged to do so by film producer Debbie Allen who believed that because of Schindler’s List, he was the only one who could do this movie justice. Being African-American herself and wanting to tell the story of her ancestors in some way is why she wanted to have this movie made, even citing Spielberg’s adoption of two African American children as a reason for that. Spielberg had also directed another racism movie in 1985, The Colour Purple based on the 1982 novel of the same name although that was a work of fiction unlike Amistad.

During the casting process, while it was challenging to cast the role of Cinque as he was the central character due to being the lead in the rebellion, the first actor Spielberg also approached with the script was Morgan Freeman who had (ironically) turned down the role played by Samuel L. Jackson in Jurassic Park (but regretted it). Freeman agreed to be a part of the project and Spielberg hoped that he would play Covey although Freeman turned down the role when he realized that it was too young for him and instead played a character who was another creation and never existed, Theodore Joadson although the character was in fact a composite of free slaves who went on to become abolitionists and probably drew inspiration from real life African-American abolitionists such as Highland Garnat, David Walker and James Pennington. Freeman also accepted the film because he had enjoyed Spielberg’s Close Encounters of the Third Kind to a point that he and his wife actually went out for a drive and parked somewhere where they looked into the skies hoping to actually catch a glimpse of a UFO. Another reason was When Spielberg created the Shoah Foundation which showcased the stories of those Jews who survived the holocaust and a documentary was made about it in order to spread awareness of preventing another occurrence, Spielberg had actually asked Freeman to narrate and he accepted The role of Covey then went to newcomer Chiwetel Ejiofor. By then Cinque had been cast; Djimon Honsou who was a relatively unknown actor at the time struggling on the streets of Paris but being of Beinese origin was already familiar with the story and read several books to prepare for the role while also learning the Mende language which was far from his native Gun language.

Cinque’s great-great grandson Samuel was a consultant on the movie much as Jack Horner had been with the Jurassic Park movies and the Jews Schindler had saved for Schindler’s List. As is known many of them were quite horrified when revisiting their old days during filming in Poland and when filming on Amistad was occurring it is known that most of the people playing the captives, Hounsou included felt humiliated, contemplating quitting on the first day although they knew it was the effect that the director himself wanted.

When Amistad released, it got positive reviews being viewed as a kind of ‘Schindler’s List about a few good men working within an evil system to save a few of its people’ although it struggled to find an audience and was criticised for its historical inaccuracy. Most of all was Freeman’s character as no person of that ethnicity would have been allowed to live in such as way during that time. James Pennington, in fact was was involved in the real Amistad case but completely omitted from the movie and the one who was really in the place of Joadson was Lewis Tappan, played by Stellan Skarsgard. Tappan who was founder of the ‘Amistad committee’ was also among the strong contributors apart from Baldwin and Addams who were instrumental in the release of the Mende and he also equally helped inspire the Mende to bring Christianity to their land. Spielberg later admitted that he found the movie to be ‘Too much of a history lesson’ although while he never directly said it, he could also have been alluding to the fact that he could have relied more on truth about the story to accurately portray it instead of passion which normally drives him.

Putting myself into this part again, I have to say, that while I like The Lost World on nearly the same level as its predecessor (though it could have lived up to the plot of the book that it came from) I personally have no interest in Amistad as part of Spielberg films that I love although I cannot deny that it is hard to like the film but at the same time hard not to like it. I can only say that had it been accurate to the real story, I would have given it a place for interest.

 

 

 

 

1999 – 2007
While many of Spielberg’s later projects—following the first two Jurassic Park films and Schindler’s List—did not quite capture my imagination, his influence remained far-reaching and continued to intersect with areas I personally enjoy. One compelling example is how Jurassic Park’s pioneering CGI directly inspired George Lucas to revisit the Star Wars universe. Having long dreamt of exploring the origins of Darth Vader who was once a good person that chose to become evil tragic fall, Lucas finally saw the tools he needed after watching the dinosaurs come alive under Spielberg’s direction and ILM’s craftsmanship.

Lucas began by re-releasing the original Star Wars trilogy (1977, 1980, 1983) with updated CGI, testing the waters for renewed interest. The enthusiastic reception encouraged him to announce his prequel plans in 1993—the same year Jurassic Park roared into cinemas. He began scripting The Phantom Menace the following year, and by 1997—the year Jurassic Park The Lost World was released and so too the re-release of the original Star Wars films with their updated CGI—production was in full swing. Though the 1999 premiere of The Phantom Menace was divisive in terms of storytelling and characters, its visual effects dazzled younger audiences, particularly boys around twelve, who were drawn to its action-packed spectacle.

That same year, the BBC premiered Walking with Dinosaurs, a revolutionary documentary series that blended paleontological science with cinema-style storytelling. Rather than a sci-fi adventure like Jurassic Park, it offered a visual recreation of prehistoric life from the Triassic through the Cretaceous periods. Although the BBC initially reached out to ILM for visual effects support, the studio was unavailable due to commitments on The Phantom Menace and The Mummy. In response, the BBC founded their own VFX team, Impossible Pictures, and sought guidance from leading paleontologists—including one who had worked on Jurassic Park. The result was a stunning, scientifically informed portrayal of the age of dinosaurs.

The success of Walking with Dinosaurs spawned several acclaimed sequels and spin-offs. Walking with Beasts (2001) continued the story after the extinction of the dinosaurs, focusing on prehistoric mammals. Walking with Cavemen explored the evolutionary roots of early humans, while Walking with Monsters served as a prequel, showcasing the strange creatures of the Paleozoic era long before the first dinosaurs ever walked the Earth. The BBC also ventured into more narrative-driven paleo-programming with series like Wild New World (also known as Prehistoric America), which imagined what North America looked like at the end of the Ice Age, and Chased by Dinosaurs, where presenter Nigel Marven time-travelled (via visual effects and imagination) to encounter iconic both dinosaurs and prehistoric mammals of both land and sea in a more interactive, documentary-style format.

Not content with just nonfiction, the BBC’s CGI capabilities were also put to work adapting classic literature. Notably, they brought Sir Arthur Conan Doyle’s The Lost World to life in a TV adaptation that featured believable digital dinosaurs and a reimagined version of his 1912 tale of an isolated plateau teeming with prehistoric life. Around the same time, they also applied their visual wizardry to Doyle’s The Hound of the Baskervilles, using atmospheric effects to enhance the eerie, moorland mystery at the heart of the famous Sherlock Holmes story.

In 2003, the film adaptation of Jurassic Park celebrated its 10th anniversary, followed four years later by the 10th anniversary of The Lost World’s film release—coinciding with the 30th anniversary of the original Star Wars. By then, the Jurassic Park novel had turned 13, and the franchise continued to shape pop culture in both film and television.

In 2005, Spielberg returned once again to historical filmmaking with Munich, a gripping account of the aftermath of the 1972 Olympics. The release came just a few months after his return to science fiction with War of the Worlds, marking his first alien-themed movie since E.T. in 1982. Much like in 1993—when he released both the groundbreaking Jurassic Park and the deeply moving Schindler’s List—Spielberg once again bridged two genres: the fantastical and the historical.

Yet, after the second Jurassic Park, Spielberg would remain uninvolved with dinosaurs . His eventual return to the franchise would be met with the kind of anticipation that only someone of his legacy could command—a reminder that whether exploring the distant past or recreating recent history, Spielberg’s touch is never far from the stories that shape how we see our world.

 

 

Spielberg returns to Dinosaurs and History (Directly and Indirectly)

2012

While working with Steven Spielberg in 1999, historian Doris Kearns Goodwin mentioned she was writing a biography about President Abraham Lincoln which was going to be called Team of Rivals. Spielberg immediately expressed interest in adapting it for the screen and DreamWorks secured the rights even before publication. The initial script drafts focused broadly on Lincoln’s presidency and his relationship with Frederick Douglass. Dissatisfied with the direction, Spielberg delayed production.

Tony Kushner was later brought in to rewrite the script, narrowing the focus to the crucial two months in which Lincoln fought to pass the Thirteenth Amendment. Kushner found Lincoln’s moral depth compelling and approached the writing with both awe and caution, refining an early 500-page draft into a tighter narrative.

Securing the film’s financing proved challenging. Paramount Pictures initially hesitated, concerned the film would echo the tone of Amistad, which had struggled commercially and ironically that film not only made mention of the American Civil War which was part of the Lincoln biopic but also while filming Amistad, Spielberg while being unable to find someone to play Cinque was prepared to delay production by a year if he could not find the right actor. Eight years after the mixed reception to Amistad, Team of Rivals was published but four years after that, due to financing challenges, Paramount stepped away in 2009. The project then moved to Disney for domestic distribution, while 20th Century Fox joined as a co-producer and took international rights. Participant Media also came on board to finance a portion of the budget, helping to finally bring Spielberg’s long-gestating Lincoln film to life.

Although (Sir) Daniel Day-Lewis was Spielberg’s first choice to play Abraham Lincoln, the actor initially turned down the role, believing the idea of portraying such an iconic American figure was ludicrous. Spielberg then approached Liam Neeson, who had previously worked with him on Schindler’s List. Neeson accepted and began researching Lincoln extensively in preparation.

However, by July 2010, Neeson withdrew from the project, feeling he had grown too old to convincingly portray Lincoln during the years the film focused on. He later revealed in an interview that a table read made him realize the role was not right for him. Actress Sally Field who was cast as Lincoln’s wife, later suggested his decision may have also been shaped by the emotional toll of losing his wife, Natasha Richardson, the year before.

After stepping away, Neeson—by irony—recommended that Spielberg revisit Daniel Day-Lewis for the part of Abraham Lincoln. With additional encouragement from both Neeson and Leonardo DiCaprio, who had worked with Day-Lewis on Gangs of New York, Spielberg reconsidered. In November 2010, it was officially announced that Day-Lewis would take on the role—one that would become one of the most acclaimed performances of his career. Sally Field joined the cast as Mary Todd Lincoln, Lincoln’s wife, while Joseph Gordon-Levitt played their son Robert Lincoln. David Strathairn portrayed Secretary of State William H. Seward, James Spader appeared as political operative William N. Bilbo, Hal Holbrook took on the role of elder statesman Francis Preston Blair, and Tommy Lee Jones who had starred in Men In Black (as well as its sequel) which was by happenstance produced by Spielberg played the radical abolitionist Congressman Thaddeus Stevens.

Lincoln received strong critical acclaim when it was released. Many critics praised Daniel Day-Lewis’s performance as Abraham Lincoln, calling it one of the greatest portrayals of an American president ever put on film. Reviewers also highlighted the film’s attention to detail, its writing, and Steven Spielberg’s direction. The film also brought about the awareness of people in the former President’s life that most of the public were earlier not aware of such as Thaddeus Stevens who until then had only been known by politicians and presidents as well as historians.

While that year saw no Jurassic Park film however, it did mark 20 years since filming on the first movie began.

 

2015

In 2015, Spielberg would return to Jurassic Park, but this time as executive producer though another film in the franchise had been in development hell for some time. Up until then, Universal began developing a fourth instalment as early as 2002, aiming for a 2005 release. However, the project languished for years as multiple writers—including William Monahan, John Sayles, Mark Protosevich, Rick Jaffa, and Amanda Silver—drafted scripts that failed to gain Spielberg’s approval. Spielberg and producer Kathleen Kennedy were adamant that a sequel would only move forward if it could recapture the awe, suspense, and deeper questions of the original film although by then Michael Crichton had passed away because of cancer.

A breakthrough came in 2012 when Jaffa and Silver delivered a draft that finally sparked momentum. In 2013, director Colin Trevorrow and co-writer Derek Connolly were brought on board to reshape the story, leading to the official announcement of Jurassic World. With Spielberg overseeing the project as executive producer, filming began in April a year later and concluded by May 2015.

Set more than twenty years after the events of the original Jurassic Park, Jurassic World imagines a fully operational dinosaur theme park on Isla Nublar, finally bringing John Hammond’s vision to reality. The park, now a global tourist destination operated by the Masrani Corporation in partnership with Hammond’s original company, InGen, offers luxury resorts, advanced technology, and of course living dinosaurs that draw millions of visitors each year. However, as public interest begins to wane, the park’s lead geneticist, Dr. Henry Wu (who died in the novel but survived in the film), played by BD Wong, creates a new hybrid dinosaur designed to reignite excitement: the Indominus rex, an enormous creature engineered to be more intelligent and dangerous than any species before it.

When the Indominus escapes his paddock, the park plunges into chaos. Chris Pratt stars as Owen Grady, a former Navy trainer who has established a remarkable bond with a pack of Velociraptors, including the intelligent raptor Blue. Bryce Dallas Howard portrays Claire Dearing, the park’s operations manager, who must shift from her polished corporate role to hands-on leadership as lives are threatened. The disaster becomes personal for Claire when her two young nephews, Zach, played by Nick Robinson, and Gray, played by Ty Simpkins, are caught in the unfolding catastrophe during their visit. Determined to save them, Claire joins forces with Owen, and together they set out to find the boys and stop the rampaging Indominus rex, a crisis that transforms Claire from a distant executive into a fiercely protective guardian. Audiences were also treated to the triumphant return of the Tyrannosaurus, from the first Jurassic Park.

Ultimately, Jurassic World became a monumental box office success when released on June 10th 2015 and reignited global interest in the franchise, blending new thrills with familiar elements. It not only modernized the concept of Jurassic Park but also laid the groundwork for a new trilogy, while preserving the awe, spectacle, and moral cautionary tone that defined the original.

That year in October, Bridge of Spies, was Spielberg’s return to historical drama and his fourth collaboration with Tom Hanks.

Bridge of Spies is based on true events from the Cold War. The story follows James B. Donovan, an insurance lawyer in Brooklyn who is recruited to defend captured Soviet spy Rudolf Abel in court. Despite public outrage and enormous political pressure, Donovan insists Abel deserves a fair trial under American law. When an American U-2 pilot, Francis Gary Powers, is shot down over the Soviet Union, Donovan is enlisted by the CIA to negotiate an exchange—Abel for Powers—on the Glienicke Bridge between East and West Berlin.

The film explores themes of principle, loyalty, and moral conviction in a time of fear and suspicion. Spielberg shot the movie on location in New York, Berlin, and Poland to capture the divided atmosphere of the era. The screenplay, adapted by Matt Charman and polished by Joel and Ethan Coen, balances tense courtroom drama with espionage intrigue.

Bridge of Spies starred Tom Hanks as Donovan, Mark Rylance in an Oscar-winning performance as Rudolf Abel, Amy Ryan as Mary Donovan, and Alan Alda as Donovan’s law firm partner. The film was widely praised for its performances, meticulous period detail, and its portrayal of quiet heroism.

Once again, Jurassic World and Bridge of Spies showcased the dual sides of Spielberg’s creative legacy: one film thrilling audiences with blockbuster spectacle as producer, the other illuminating history with moral depth as director and despite working in different genres and roles by him, both projects underscored Spielberg’s enduring talent for combining human emotion with grand storytelling.

2018-2019

Spielberg also produced the sequel to Jurassic World, titled Jurassic World: Fallen Kingdom. Although Colin Trevorrow, who directed the first Jurassic World, co-wrote the script, he decided not to return as director. He felt that being occupied with other projects would prevent him from giving the film his full attention, and he believed new directors could bring a fresh creative vision to the franchise. Instead, Spanish filmmaker J.A. Bayona, known for The Impossible and A Monster Calls, was chosen to direct.

Fallen Kingdom, which premiered in 2018, saw the return of Bryce Dallas Howard as Claire Dearing and Chris Pratt as Owen Grady. The story picks up three years after the destruction of the Jurassic World theme park. Isla Nublar’s remaining dinosaurs now face a new threat: a volcanic eruption that will wipe them out. Claire, who has become an advocate for dinosaur rights, teams up with Owen to mount a rescue operation. Their mission is funded by Eli Mills, the aide to Benjamin Lockwood, John Hammond’s former business colleague. Mills claims to want to relocate the animals to a new sanctuary, but in reality, plans to auction them off to arms dealers and wealthy collectors.

While the first half of the film unfolds as a race against time on the island, the second half moves to Lockwood’s estate, where dinosaurs are held captive in the basement. Among them is the Indoraptor, a new weaponized hybrid created by Dr. Wu. As the auction begins, chaos erupts when the Indoraptor escapes, leading to a deadly hunt through the mansion. The climax sees the surviving dinosaurs released into the wild by Maisie Lockwood, Benjamin’s cloned granddaughter, marking the moment when dinosaurs reclaim the Earth alongside humankind.

After Fallen Kingdom, an eight-minute short film called Battle at Big Rock was produced in 2019 to bridge the gap between Fallen Kingdom and the upcoming sequel. Directed by Colin Trevorrow who returned to the franchise, this short film shows how dinosaurs, now living freely, start to clash with human communities. Set in Big Rock National Park, the story follows a family camping in an RV. As they eat dinner, a Nasutoceratops and her young wander into the campground. Tension escalates when an Allosaurus attacks, forcing the family to barricade themselves inside while the dinosaurs fight outside. The short ends with security camera footage showing dinosaurs spreading into suburban neighbourhoods. Battle at Big Rock received positive reviews from critics and fans, who praised its suspenseful atmosphere, special effects, and how effectively it expanded the Jurassic universe in a short runtime.

Spielberg had no direct involvement with Battle at Big Rock, though he still remained an executive producer on the overall franchise.

2022

With Colin Trevorrow deciding to return to direct the third and final instalment in the series, he was determined to craft an ending that would honour the spirit of Michael Crichton’s novels rather than simply repeat the spectacle of dinosaurs rampaging through cities—something Trevorrow considered both implausible and creatively uninspired. He wanted to re-focus on the deeper themes that had always underpinned the Jurassic Park saga: scientific hubris, ethical responsibility, and the unpredictable consequences of humanity’s attempts to control nature.

To help achieve this vision, Trevorrow invited Emily Carmichael to co-write the script. He was impressed by her work after watching a short film she had directed and believed her fresh perspective would reinvigorate the story while balancing nostalgia with new ideas. Together, they developed a screenplay that not only continued the narrative from Fallen Kingdom but also wove together legacy elements from the first two Jurassic Park films and the original novels that they came from.

The returning cast included Bryce Dallas Howard and Chris Pratt reprising their roles as Claire Dearing and Owen Grady, as well as Isabella Sermon as Maisie Lockwood, the young girl revealed to be a human clone in Fallen Kingdom. To the excitement of longtime fans, it was also announced that the original Jurassic Park stars would return to their iconic roles: (Sir) Sam Neill as palaeontologist Alan Grant, Laura Dern as paleobotanist Ellie Sattler, and Jeff Goldblum as chaos theorist Ian Malcolm. They would also play major parts in the film.

Crucially, the story reintroduced Lewis Dodgson—the shadowy Biosyn operative who had orchestrated the theft of dinosaur embryos in the first novel and its film version. While the character had been killed by baby Tyrannosaurs in Crichton’s second novel, The Lost World, that fate was never depicted in the movie adaptation, leaving Dodgson’s fate unfinished on screen. Because the original actor, Cameron Thor, was unavailable because of imprisonment for assault, Campbell Scott was cast to take over the role. Trevorrow felt Scott’s physical resemblance to Thor would help audiences accept the continuity.

In Jurassic World Dominion, Biosyn emerges as the dominant corporate force determined to control the future of genetic engineering. The plot is set four years after the catastrophic events of Fallen Kingdom, with dinosaurs now living freely across the globe and reshaping ecosystems in unpredictable ways. Owen and Claire are in hiding with Maisie, trying to protect her from corporations that wish to exploit her genetic origins. Meanwhile, Dodgson’s Biosyn has established a massive research facility where they claim to study dinosaurs to solve ecological crises—but in reality, they are conducting dangerous experiments to consolidate power.

When Maisie and the raptor Blue’s offspring are captured by Biosyn, Owen and Claire set out on a rescue mission that intersects with the investigation of a new locust plague—engineered by Biosyn—threatening global food supplies. Alan Grant, Ellie Sattler, and Ian Malcolm who are familiar with the work of Dodgson reunite to expose his cruel plans from the inside. The film culminates in a final confrontation at the Biosyn sanctuary, where humanity must decide whether coexistence with dinosaurs is possible—or whether it will doom them all while at the same time confronting the locust plague.

Jurassic World Dominion was released in 2022, concluding the trilogy and bringing the overarching Jurassic Park narrative full circle by reuniting legacy characters, confronting old adversaries, and exploring the moral costs of genetic power unleashed but in a positive way; one that saw dinosaurs live on earth once again successfully in the conclusion.

While the Jurassic saga concluded,, Spielberg himself returned to directing a far more personal project. In 2022, he released The Fabelmans, a semi-autobiographical coming-of-age drama that drew directly on his own childhood and early fascination with filmmaking.

The Fabelmans follows young Sammy Fabelman, an aspiring director growing up in post-war Arizona and California. Through Sammy’s eyes, the film explores the tensions in his family as he discovers both the magic of cinema and the painful truths that come to light when he starts recording his own life. His mother, Mitzi, is a free-spirited pianist, while his father, Burt, is a brilliant but emotionally distant engineer. The marriage gradually unravels as Sammy’s passion for storytelling collides with his family’s secrets.

Drawing from Spielberg’s own memories, and with the main character loosely based on himself, The Fabelmans is both a love letter to movies and an exploration of how art can be a way to process grief, identity, and the complexity of parents who are both heroic and flawed. The film was acclaimed for its intimate tone, humor, and powerful performances, particularly from Gabriel LaBelle as Sammy, Michelle Williams as Mitzi, and Paul Dano as Burt.

Jurassic World Dominion and The Fabelmans showed once again the remarkable range of Spielberg’s influence on a film be it through the direction of his own hands or those he works with and the enduring fascination of his storytelling—whether exploring dinosaurs returning to the world or the birth of a filmmaker finding his voice.

In Summary
Despite all the intricate details, if I were to say it in one, it is striking how the first Jurassic Park novel received a faithful and successful film adaptation, while its sequel’s translation to the screen did not quite measure up. Yet, that shortfall was later balanced out by the follow-up films—ones Spielberg himself took pride in. Even when he was not directing the dinosaurs, he remained deeply involved with history—both human and prehistoric. Because in the end, dinosaurs, though ancient, are a vital part of our historical narrative. And for me, that truth will always remain.

THE END