What is the magic word in jurassic park

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AH AH AH. YOU DIDN’T SAY THE MAGIC WORD. (or just The Magic Word) is a YTMND created by onefifty on July 5, 2004. To date, it is the only YTMND he has ever created.

Components[]

• Looping MP3: The phrase «Ah ah ah! You didn’t say the magic word!» (from Jurassic Park), mixed with the track «Better Off Alone» by Alice Deejay. The phrase is first heard in the movie when Ray Arnold (played by Samuel L. Jackson) attempts to access Nedry’s computer.

• Tiled Image: A screen capture of Dennis Nedry (played by Wayne Knight) grinning at the camera while sitting at his desk. The picture is overlaid by the words «Dennis Nedry» in red script.

• Zoomed Text: The text «YOU DIDN’T SAY / THE MAGIC WORD» split between two lines.

Fad Status[]

Pictures of Wayne Knight (not just his character Nedry) occasionally appear in other YTMNDs, such as lol, nedry. These sites typically either feature the original Alice Deejay mix or simply use the audio from Jurassic Park directly. The site may also use audio related to the «magic word» scene, e.g. Samuel L. Jackson’s character saying «Goddammit, I hate this hacker crap!», or Richard Attenborough’s character saying «Butterfingers?»

Use on Site[]

The phrase «Ah Ah Ah. You Didn’t Say the Magic Word» is used on the YTMND wiki whenever a user attempts to log in with an incorrect password.

Links[]

http://nedry.ytmnd.com/ — Original site by onefifty

http://nedrynes.ytmnd.com/ — Another by suevi

http://cosbymagicword.ytmnd.com/ — Another by fango44

http://hlmagic.ytmnd.com/ — Another by neclord

http://datahahah.ytmnd.com/ — Another by ThreeQ

http://nedrynedrylol.ytmnd.com/ — Another by Tykell

Origin[]

Ah AH AH! You DID not say the magic words

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I was going to give Jurassic World a pass. I really was. But, you know, it’s one thing to imagine being able to deny the glory of a dinosaur and another to actually watch dinosaurs galloping across fields in that trailer. Suddenly I’m screaming “I want that!” and apologizing to all of my co-workers. (Again.) Dinosaurs are just cool and I can’t explain why and now suddenly here they are again. I want to go to Jurassic World, the park. I want to watch the big snappysaurus eat a shark while I marnch on a $14 raptor-shaped rice krispie treat. (IRONY.) I want to have an apatosaurus look at me dismissively for a moment before going back to slurping in the river. I want to yell “You shouldn’t be!” at a stegosaurus.

I’ll get what I want, probably. Judging from the trailer, Jurassic World the movie looks pretty capable of showing me the small and large wonders of Jurassic World, the park. But here’s what I want to see in Jurassic World, the movie. (Or as we laymen like to call it, Jurassic World: The Park: The Movie.)

1. Underwater dinosaurs.

I’ve wanted this since the first movie, really and it’s about time the franchise got around to featuring this awesome little corner of the dinosaur world. Sea creatures were the stuff of nightmares back then. Look at all these terrifying sea creatures that weren’t even dinosaurs! How can a Jurassic Park possibly get away with not showing me swimmysauruses and still call itself a comprehensive entertainment experience? Sure, the snappysaur (whatever it’s supposed to be, a pliosaur or mesosaur, maybe?) up above looks way too big for its lake environment and sure, making marine dinosaurs is probably difficult when it would be so easy for them to slip into the ocean and terrorize cruise ships (FREE BUFFET) but on the other end of the scale: all dinosaurs are cool. This logic is, I know, unassailable.

2. Pterodactyls should roam the planet.

Speaking of forgotten corners of the dinosaur species, where are the flying dinosaurs? The pterodactyls and pteronodons and things? Give them feathers or realistic proportions, I don’t care, just give them to me. Better yet, have them roaming the planet because how would you cage up such creatures, anyhow? They’d get out somehow, breed, then after a while spread to the nearest mainland and start a’chompin’ there.

We saw them in Jurassic Park III, as well, and I like the idea that the mistakes seen in the previous movies have essentially made flying dinosaurs part of the planet’s current range of life. They’d eat fish and occasionally your dog… Probably LAX probably has to shoo them from Los Angeles air space from time to time…. One of them roosted in La Brea Park for a few minutes and someone Instagrammed it and it’s since become a meme… I love the idea that beyond a specialized theme park, some dinosaurs are just inescapably here now, and we just have to deal with the annoyance.

3. Curse your sudden but inevitable betrayal!

I’m not saying it has to be obvious, but the reference should be there because…come on. (Also it looks like one of the park techs in the trailer has dinosaurs on the edge of his console, so…)

4. Jeff Goldblum needs to make a cameo.

Maybe Dr. Ian Malcolm buried the hatchet and made a funny introductory safety video for the park, complete with his trademark laugh. Maybe he gets to testify before a congressional committee on the need for genetic creation laws. Maybe he runs an occult bookstore on St. Mark’s Place now. Maybe he just lives alone in the Pacific Northwest making knots all day. I don’t know. All I know is that the above needs to be somewhere in Jurassic World. Preferably all over it.

5. Kill Chris Pratt’s character.

Look, it’s not that I don’t love the enjoyment that Chris Pratt brings to this earthly plane of existence but it’s not like his character’s existence is going to be key to the making of more Jurassic Park movies. You can’t kill him in the Lego movies, you can’t kill him in the Marvel Cinematic Universe, you can’t kill him in Parks and Recreation. (Gods, that would be a bleak storyline indeed.) But you can kill him here. So kill him! Let us know that messing around with dinosaurs comes with serious consequences. Make it a shocker for the audience. Our hero! Gone! Dammit, Jurassic World, this is no longer a laughing matter!

6. Have the magic word be an actual password in Jurassic World: The Park.

I like the idea of a twisted tribute to Dennis Nedry, corporate espionage artist and all around jerk, hiding in the movie somewhere. Maybe “please” is a legitimate catch-all password login for Jurassic World’s systems. Or maybe “nedrysucks” or “wevegotdodgsonhere.” (Although the knowledge that we had Dodgson there was probably lost once Nedry’s face got eaten.) A reminder to the lifers at Jurassic Park/World of how close they came to complete disaster.

7. An incisive and exciting look at how first world culture is so consumer-driven that it is considered monetarily worthwhile to develop and perfect the technology of bringing back entire extinct species of fauna for our personal amusement, circumventing all moral objections.

And how even the wonder and outrage of bringing dinosaurs back to life can be boring and feel comfortably safe after the idea has been in existence for only a single generation.

Or maybe the movie will point out that the efforts behind Jurassic World are akin to NASA in that the tech and research that created dinosaurs for amusement had a lot of secondary benefits to important fields like human medical care.

Either way, Jurassic World has an opportunity here to depict some fascinating and common science fiction themes and apply them to the world as we know it today. It can be more than just hybrid dinosaurs and thrilling chases, film-makers. Remember that!

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Chris Lough would go to a real life Jurassic World theme park. No question.

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Description: 5 seconds sound clip from the Jurassic Park (1993) movie soundboard.

File size	Sample rate	Channels	Resolution
98 kB	160 Kbps/44.000 Hz	stereo	16 bits

You can hear this line at 01:00:02 in the Blu-ray version of the movie.

Quote context

[…]

— No, no. They’re still on.

— Why the hell would he turn the other ones off?

— Access main program.

— Access main security.

— Access main program grid.

— You didn’t say the magic word.

— Please! God damn it. I hate this hacker crap.

— Phone Nedry’s people in Cambridge.

— Phones are out, too.

— Where did the vehicles stop?

(RAINING)

[…]

I’ve looked high and low for this as well, wanted to use it for blocked webpages, at max volume, every time one of my users thought they were being sneaky.

Jurassic Park is a 1993 film about an island theme park stocked with cloned dinosaurs. When the park’s creator invites three scientists down to solicit their opinions, a series of mishaps strands them all inside with the security systems out of commission, and the humans find themselves under attack by the resurrected predators.

Directed by Steven Spielberg. Screenplay by Michael Crichton and David Koepp. Based on Crichton’s novel of the same name.

An Adventure 65 Million Years in the Making – tagline

Dr. Alan Grant

• [responding to an unimpressed 10-year-old] Now try to imagine yourself in the Cretaceous Period. You get your first look at this «six foot turkey» as you enter a clearing. He moves like a bird, lightly, bobbing his head. And you keep still because you think that maybe his visual acuity is based on movement like T. rex; he’ll lose you if you don’t move. But no, not Velociraptor. You stare at him…and he just stares right back. And that’s when the attack comes. Not from the front, but from the side. [brings two fingers together with a whooshing sound] From the other two raptors…you didn’t even know were there. [beat] Because Velociraptor’s a pack hunter, you see, he uses coordinated attack patterns and he is out in force today. And he slashes at you with this: [produces a claw] a six-inch retractable claw, like a razor, on the middle toe. He doesn’t bother to bite your jugular like a lion, oh no…he slashes at you here [makes slashing motions below the child’s chest] or here… [above the groin] or maybe across the belly, spilling your intestines. The point is, you are alive when they start to eat you. So, you know…try to show a little respect.
• [seeing the Brachiosaur for the first time] Uh…it’s…it’s a dinosaur!
• [stunned after seeing the dinosaurs for the first time] They’re moving in herds. They do move in herds.
• The world has just changed so radically, and we’re all running to catch up. I don’t want to jump to any conclusions, but look… Dinosaurs and man, two species separated by 65 million years of evolution, have just been suddenly thrown back into the mix together. How can we possibly have the slightest idea what to expect?
• T. rex doesn’t want to be fed. He wants to hunt. Can’t just suppress 65 million years of gut instinct.
• Hammond, after some consideration, I’ve decided not to endorse your park.
• [on the Triceratops] Ellie, this one was always my favorite when I was a kid. And now I’ve seen one, it’s the most beautiful thing I ever saw.

Ian Malcolm

• Your scientists were so preoccupied with whether they could that they didn’t stop to think if they should.

• John, the kind of control you’re attempting simply is…it’s not possible. If there is one thing the history of evolution has taught us it’s that life will not be contained. Life breaks free, it expands to new territories and crashes through barriers, painfully, maybe even dangerously, but, uh…well, there it is.
• I’m simply saying that life, uh…finds a way.
• What have they got in there, King Kong?
• Now, eventually you do plan to have dinosaurs on your, on your dinosaur tour, right? Hello?
• You did it. You crazy son of a bitch, you did it. [referring to Hammond after finally seeing a dinosaur]
• [looking at the Triceratops droppings] That is one big pile of shit.
• Boy, do I hate being right all the time.
• Must go faster…
• [after he, Muldoon and Sattler escape the T. rex in a Jeep] Think they’ll have that on the tour?

Robert Muldoon

• [seconds before being eaten by a raptor] Clever girl.
• [when trying to save a worker from the raptor] Shoot her! SHOOT HER!!
• They should all be destroyed.
• Dammit, even Nedry knew better than to mess with the raptor fences!

John Hammond

• Welcome… to Jurassic Park.
• [to Donald Gennaro, referring to Ian Malcolm] I bring scientists, you bring a rockstar.
• [repeated line] Spared no expense.
• [Watching Ian Malcolm from a security camera] I really hate that man.
• [To Dennis Nedry] Dennis, our lives are in your hands, and you have Butterfingers?!

Lex Murphy

• It’s a UNIX system, I know this!

Dennis Nedry

• Don’t get cheap on me, Dodgson. That was Hammond’s mistake.
• [Met in jungle by dilophosaurus about to kill him] Yeah…yeah, that’s nice. Gotta go!

Ray Arnold

• [Repeated line] Hold on to your butts.

Dialogue

Alan Grant: [entering his trailer to find a man rummaging through his refrigerator] What the hell do you think you’re doing in here? [The man turns holding a champagne bottle and popping the cork] Hey, we were saving that!

John Hammond: [smiling] For today. I guarantee it.

Alan Grant:[Angrily approaches Hammond pointing at him] Who is God’s name do you think you are?

John Hammond: John Hammond, [shakes Alan Grant’s finger before blowing the dust off his hands] and I’m delighted to to meet you finally in person, Dr. Grant!

Alan Grant: [awed] Mr. Hammond…

John Hammond: Well, I can see that my, uh fifty thousand a year has been well spent.

Ellie Sattler:[Entering the trailer angrily] OK, who’s the jerk!

Alan Grant: Uh, this is our paleobotanist, Dr…

Ellie Sattler: Sattler.

Alan Grant: Sattler…Ellie this is, uh, Mr Hammond.

John Hammond: Aha! [Approaches happily shaking Ellie’s hand] I’m sorry about the dramatic entrance, Dr. Sattler, but we are in a wee bit of a hurry.

Ellie Sattler: [Timidly] Did I say «jerk»?

John Hammond: [Brandishes the Champagne bottle] Will you have a drink? We won’t let it get warm. Come along, sit down.

Ellie Sattler: Here, let me… [reaches for several glasses]

John Hammond: I’ll get a glass or two, no, no, no, no, I can manage this. I know my way around the kitchen. [Begins to pour champagne into the glasses] Now, I’ll get right to the point. Um, I like ya, both of ya. I can tell instantly about people, it’s a gift. I own an island of the coast of Costa Rica. I’ve leased it from the government, and I’ve spent the last five years setting up a kind of biological preserve. Really spectacular, spared no expense. Makes the one I’ve got down in Kenya look like a petting zoo. And there’s no doubt our attraction will drive kids out of their minds.

Alan Grant: [Sarcastically] And what are those?

Ellie Sattler: [Teasingly] Small versions of adults, honey.

John Hammond: And not just kids, everyone. We’re going to open next year. That is, if the lawyers don’t kill me first. I don’t care for lawyers, do you?

Ellie Sattler & Alan Grant: [Together] We don’t really know any.

John Hammond; Well, I do, I’m afraid. There’s a particular pebble in my shoe, represents my investors. Says that they insist on outside opinions.

Ellie Satller: What kinds of opinions?

John Hammond: Well, your kind, not to put too fine a point on it. I mean, let’s face it. In you particular field, you are the top minds. And if i could just persuade you to sign off one the park, you know, to give it you endorsement, maybe even pen a wee testimonial, I could get back on «shedual’ uh, Schedule.

Ellie Satller: Why would they care what we think?

Alan Grant: What kind of park is this?

John Hammond: It’s right up your alley. [passes of the glasses of champagne] I’ll tell you what, why don’t you come down, just the pair of ya, for the weekend? I’d love to have the opinion of a paleobotanist as well, I’ve got a jet standing by at Choteau.

Alan Grant: Look, I’m sorry this is impossible.

Ellie Sattler: Yeah, we…

Alan Grant: We just dug up a new skeleton.

John Hammond: I could compensate you by fully funding your dig.

Alan Grant: This is a very unusual time…

John Hammond: For a further three years.

[Sattler and Grant share a «Sure, why not?» look]

Ellie Sattler: Well, uh, where’s the plane?

---

Ian Malcolm: God creates dinosaurs. God destroys dinosaurs. God creates man. Man destroys God. Man creates dinosaurs.

Ellie Sattler: Dinosaurs eat man… woman inherits the Earth.

---

Alan Grant: [admiring the Brachiosaurus] How did you do this?

John Hammond: I’ll show you.

---

Donald Gennaro: The full 50 miles of perimeter fence are in place?

John Hammond: [in a annoyed tone] And the concrete moats, and the motion sensor tracking systems. Donald, dear boy, relax. Try to enjoy yourself.

Donald Gennaro: Let’s get something straight, John. This is not a weekend excursion. This is a serious investigation of the stability of the island. Your investors, who I represent, are deeply concerned. Forty-eight hours from now, if they’re not convinced, I’m not convinced. I’ll shut you down, John.

John Hammond: [chuckles] In forty-eight hours, I’ll be accepting your apologies.

---

[Discussing Velociraptors]

Alan Grant: What kind of metabolism do they have? What’s their growth rate?

Robert Muldoon: They’re lethal at eight months. And I do mean lethal. I’ve hunted most things that can hunt you, but the way these things move…

Alan Grant: Fast for a biped?

Robert Muldoon: Cheetah speed. Fifty, sixty miles an hour if they ever got into the open. And they’re astonishing jumpers.

John Hammond: Yes, yes, yes, that’s why we’re taking extreme precautions.

Alan Grant: Do they show intelligence? Because their brain cavities—

Robert Muldoon: They show extreme intelligence. Even problem-solving intelligence. Especially the big one. We bred eight originally, but when she came in, she took over the pride and killed all but two of the others. That one… when she looks at you, you can see she’s working things out. It’s why we have to feed them like this; she had them all attacking the fences when the feeders came.

Ellie Sattler: The fences are electrified, right?

Robert Muldoon: That’s right, but they never attacked the same place twice. They were testing the fences for weaknesses, systematically. They remember.

---

John Hammond: [eating several bowls of ice cream] They were all melting.

Ellie Sattler: Malcolm’s okay for now. I gave him a shot of morphine.

John Hammond: They’ll be fine. Who better to get the children through Jurassic Park than a dinosaur expert? You know the first attraction I built when I came down from Scotland… was a flea circus. Petticoat Lane. Really quite wonderful. We had, uh… a wee trapeze, a merry-go— ah, carousel. Heh. And a see-saw. They all moved, motorized, of course, but people would say they could see the fleas. «Oh, I can see the fleas. Mummy, can’t you see the fleas?» Clown fleas, highwire fleas, and fleas on parade. But with this place… I wanted to give them something that wasn’t an illusion. Something that was real. Something they could see, and touch. An aim not devoid of merit.

Ellie Sattler: But you can’t think through this one, John. You have to feel it.

John Hammond: You’re right, you’re absolutely right. Hiring Nedry was a mistake, that’s obvious. We’re over-dependent on automation, I can see that now. Now, the next time everything’s correctable. Creation is an act of sheer will. Next time it’ll be flawless.

Ellie Sattler: But it’s still the flea circus. It’s all an illusion.

John Hammond: But when we have control again—

Ellie Sattler: You never had control! That’s the illusion! I was overwhelmed by the power of this place. But I made a mistake, too. I didn’t have enough respect for that power, and it’s out now. The only thing that matters now are the people we love. Alan, Lex and Tim… John, they’re out there where people are dying. So… [takes a spoonful of ice cream] it’s good.

John Hammond: Spared no expense.

---

John Hammond: All major theme parks have delays. When they opened Disneyland in 1956, nothing worked.

Ian Malcolm: Yeah, but John, if the Pirates of the Caribbean breaks down, the pirates don’t eat the tourists.

---

John Hammond: How can we stand in the light of discovery and not act?

Ian Malcolm: Oh, what’s so great about discovery? It’s a violent, penetrative act that scars what it observes. What you call discovery… I call the rape of the natural world.

Ellie Sattler: Well, the question is, how can you know anything about an extinct ecosystem? And therefore, how could you ever assume that you can control it? You have plants in this building that are poisonous; you picked them because they look good. But these are aggressive living things that have no idea what century they’re in, and they’ll defend themselves, violently if necessary.

John Hammond: Dr. Grant, if there’s one person here who could appreciate what I’m trying to do…

Alan Grant: The world’s just changed so radically, and we’re all trying to catch up. I don’t want to jump to any conclusions, but look: Dinosaurs and man, two species separated by sixty-five million years of evolution, have just been suddenly… thrown back into the mix together. How can we possibly have the slightest idea what to expect?

John Hammond: [incredulously] I don’t believe it! [chuckles] I don’t believe it. You’re meant to come down here and defend me against these characters [gestures to Malcolm and Gennaro] and the only one I’ve got on my side is the blood-sucking lawyer!

Donald Gennaro: [without irony] Thank you.

---

Ellie Sattler: [To Alan] What are you thinking?

Alan Grant: We’re out of a job.

Ian Malcolm: Don’t you mean extinct?

---

Ellie Sattler: I can see the shed from here. We can make it if we run.

Robert Muldoon: No, we can’t.

Ellie Sattler: Why not?

Robert Muldoon: Because we’re being hunted.

Ellie Sattler: Oh, God…

Robert Muldoon: In the bushes, straight ahead. It’s alright.

Ellie Sattler: Like hell it is.

---

[Last lines of the film, as the group piles into a jeep to leave the park]

Alan Grant: Mr. Hammond, after careful consideration, I’ve decided not to endorse your park.

John Hammond: So have I.

---

[Noticing the glitches in the tour program]

Hammond: Dennis… our lives are in your hands, and you have butterfingers?

Dennis Nedry: [laughs] I am totally unappreciated in my time. You could run this whole park from this room with mimimal staff for up to three days. You think that kind of automation is easy? [sips a soda] Or cheap? You know anybody who can network eight Connection Machines and debug two million lines of code for what I bid for this job? Because if he can, I’d like to see him try.

Hammond: I am sorry about your financial problems, Dennis, I really am, but they are your problems.

Dennis Nedry: You’re right, John, you’re absolutely right. You know, everything is my problem.

Hammond: I will not be drawn into another financial debate with you, Dennis, I really will not!

Dennis Nedry: There’d be hardly any debate at all.

Hammond: I don’t blame people for their mistakes… but I do ask that they pay for them.

Dennis Nedry: [sarcastically] Thanks, Dad.

---

[The guests arrive at the theatre. Hammond walks over to the movie screen where a projected version of himself hobbles into view, clutching a cane topped with an amber-imprisoned mosquito]

Hammond: Oh, here he comes. Well, here I come. [He walks over to the screen after the screen Hammond appears] Hello, John. [Gestures to audience] Say hello.

Screen Hammond: Hello, John!

[Hammond fiddles around his pockets and pulls out a few notecards] Oh, I’ve got lines.

Screen Hammond: How did I get here?

Hammond: Well, let me show you. First, I’ll need a drop of blood. Your blood. [He takes out a needle and pokes the screen Hammond’s finger with it]

Screen Hammond: Ouch! John, that hurt!

Hammond: Relax, John. It’s all part of the miracle of cloning.

[The screen shows two identical Hammonds]

Screen Hammond #1: Hello, John.

Screen Hammond #2: Hello, John.

[A third Hammond appears beside the second]

Screen Hammond #2: Hello.

Screen Hammond #3: Hello, John.

Alan Grant: [As the screen Hammonds continue to multiply and greet each other, flooding the screen] Cloning from what? Loy extraction has never recreated an intact DNA strand.

Ian Malcolm: Not without massive sequence gaps.

Ellie Sattler: Palaeo-DNA from what source? Where do you get 100-million-year-old dinosaur blood?

[As the presentation goes on, an animated DNA strand flies out of the screen Hammond’s finger, slides down his head and raps on his shoulder]

Screen Hammond: Oh, Mr. DNA! Where’d you come from?

Mr. DNA: From your blood. Just one drop of your blood contains billions of strands of DNA, the building blocks of life! [He appears behind a blue background and takes over the presentation] A DNA strand, like me, is a blueprint for building a living thing. And sometimes, animals that went extinct millions of years ago, like dinosaurs, left their blueprints behind for us to find. We just had to know where to look. [He pushes away the blueprint background to show a mosquito on the back of a dinosaur] A hundred million years ago, there were mosquitoes, just like today. And just like today, they fed on the blood of animals. Even dinosaurs. [The mosquito, its abdomen filled with dinosaur blood, flies to a tree. The next scene shows a real mosquito fighting its way through running tree sap] Sometimes, after biting a dinosaur, the mosquito would land on the branch of a tree and get stuck in the sap. [The next scene shows two animated miners digging underground. One of them finds the mosquito imprisoned in the amber] After a long time, the sap got hardened and became fossilized, just like a dinosaur bone, preserving the mosquito inside. This fossilized tree sap, which we call «amber,» waited millions of years with the mosquito inside until Jurassic Park scientists came along. [The next scene shows a scientist drilling into the amber and extracting the blood from the mosquito with a needle] Using sophisticated techniques, they extract the preserved blood and bingo! Dino DNA! [An orange background shows genetic codes traveling at light speed as if they are cars and trains, making Mr. DNA dizzy] A full DNA strand contains three billion genetic codes. If we looked at screens like these once a second for eight hours a day, it’d take two years to look at the entire strand! It’s that long! And since it’s so old, it’s full of holes! That’s where our geneticists take over! [A genetic code speeds by, pushing him off screen to show shows scientists in a laboratory, taking eggs out of incubators] Thinking Machines supercomputers and gene sequencers break down the strand in minutes and virtual reality displays shows our geneticists the gaps in the DNA sequence. Since most animal DNA is 90% identical, we used the complete DNA of a frog… [The next scene shows a bullfrog which later cuts to an actual DNA strand with a hole in it. Mr. DNA carries the letters «G,» C,» A,» and «T.»] …to fill the… holes and… complete the… [He fills in the hole of the DNA strand] …Codes! And now, we can make a baby dinosaur. [The scene then cuts to an egg which hatches into a baby dinosaur]

---

[Upon discovering an abandoned nest]

Alan Grant: You know what this is? It’s a dinosaur egg. The dinosaurs are breeding.

Tim Murphy: But Grandpa said all the dinosaurs were girls.

Alan Grant: Amphibian DNA.

Lex Murphy: What’s that?

Alan Grant: Well, on the tour, the film said they used frog DNA to fill in the gene sequence gaps; they mutated the dinosaur genetic code and blended it with that of frogs. Now, some West African frogs are able to spontaneously change sex from male to female in a single sex environment. Malcolm was right… Look. [points to tracks in the sand] Life found a way.

---

[In the park control room]

Ray Arnold: No, that’s crazy, you’re out of your mind. He’s absolutely out of his mind.

Ellie Sattler: Wait a minute. What exactly would this mean?

John Hammond: We’re talking about a calculated risk, my dear, which is about the only option left to us. We will never find the command Nedry used; he’s covered his tracks far too well. I think it’s obvious now he’s not coming back. So, shutting down the entire system…

Ray Arnold: You can get somebody else because I won’t do it. I will not-!

John Hammond: Shutting down the system is the only way to wipe out everything he did. Now, as I understand it, all the systems will then come back online in their original start-up mode. Correct?

Ray Arnold: Theoretically, yes. But we’ve never shut down the entire system before. It might not come back on at all!

Ellie Sattler: Would we get the phones back?

Ray Arnold: Yes. Again, in theory.

Robert Muldoon: What about the lysine contingency? We could put that into effect.

Ellie Sattler: What’s that?

John Hammond: That is absolutely out of the question!

Ray Arnold: The lysine contingency is intended to prevent the spread of the animals in case they ever get off the island. Dr. Wu inserted a gene that creates a single faulty enzyme in protein metabolism; the animals can’t manufacture the amino acid, lysine. Unless they’re completely supplied with lysine by us, they slip into a coma and die.

John Hammond: [angrily] PEOPLE. ARE. DYING! [pause] Will you please shut down the system?

---

[after raptor enters the kitchen]

Lex Murphy: Timmy, what is it?

Tim Murphy: It’s a velociraptor.

Lex Murphy: It’s inside.

---

Ray Arnold: Access main program. Access main security. Access main program grid.

[Nedry’s computer begins scrolling «YOU DIDN’T SAY THE MAGIC WORD!» as a GIF of Nedry appears on screen, wagging its finger]

Computer Nedry: Ah, ah, ah! You didn’t say the magic word!

Ray Arnold: PLEASE!!! Goddammit! I hate this hacker crap!

---

Ray Arnold: [at Nedry’s desk] Look at this workstation! What a complete slob!

Robert Muldoon: The raptor fences aren’t out, are they?

Ray Arnold: No, no. They’re still on.

John Hammond: Why the hell would he turn the other ones off?

About Jurassic Park

• I am often asked if I would have liked to have been involved with Jurassic Park. The plain answer is no. Although excellent, it is not with all its dollars what I would have wished to do with my career. I was always a loner and worked best that way. Since the very beginning I fought and struggled under constant pressure to keep the design and final result within my hands. As time moved on this became more difficult, until I was forced to bow to the fact that my method of working, in the financial sense, was no longer practical. Model animation has been relegated to a reflection, or a starting point for creature computer effects that has reached a high few could have anticipated. However, for all the wonderful achievements of the computer, the process creates creatures that are too realistic and for me that makes them unreal because they have lost one vital element — a dream quality. Fantasy, for me, is realizing strange beings that are so removed from the 21st century. These beings would include not only dinosaurs, because no matter what the scientists say, we still don’t know how dinosaurs looked or moved, but also creatures of the mind. Fantastical creatures where the unreal quality becomes even more vital. Stop-motion supplies the perfect breath of life for them, offering a look of pure fantasy because their movements are beyond anything we know.
  • Ray Harryhausen (2003), An Animated Life, Aurum Press, p. 8
• It was like one of those moments in history, like the invention of the light bulb or the first telephone call… A major gap had been crossed and things were never going to be the same.
  • George Lucas, The Jurassic Park Period: How CGI Dinosaurs Transformed Film Forever, The Atlantic, 4 April 2013
• For me, honestly, if I had the choice, I would not have chosen to bifurcate my attention between Schindler’s List and Jurassic Park, because that in itself was a very bipolar experience for me. To be shooting the story of the Holocaust and at the same time, getting these effects of dinosaurs from an entirely different kind of motion picture genre to look believable to audiences.
  • Steven Spielberg, in «Jurassic Park Still The Best Use of CGI in a Movie», by David Crow, Den of Geek, (Jun 9, 2015).

Taglines

• An Adventure 65 Million Years in the Making
• The most phenomenal discovery of our time … becomes the greatest adventure of all time.

Cast

• Sam Neill – Dr. Alan Grant
• Laura Dern – Dr. Ellie Sattler
• Jeff Goldblum – Dr. Ian Malcolm
• Richard Attenborough – John Hammond
• Martin Ferrero – Donald Gennaro
• Bob Peck – Robert Muldoon
• Wayne Knight – Dennis Nedry
• Samuel L. Jackson – Ray Arnold
• Ariana Richards – Lex Murphy
• Joseph Mazzello – Tim Murphy

See also

• Jurassic Park (novel)

External links

• Jurassic Park quotes at the Internet Movie Database
• Jurassic Park at Rotten Tomatoes