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The Lost World: Jurassic Park

The Lost World: Jurassic Park is a 1997 American science fiction action film. It is the second installment in the Jurassic Park franchise and the second film in the original Jurassic Park trilogy. A sequel to 1993's Jurassic Park and loosely based on Michael Crichton's 1995 novel The Lost World, the film was directed by Steven Spielberg from a screenplay by David Koepp. Jeff Goldblum and Richard Attenborough reprise their roles from the original film with Julianne Moore, Pete Postlethwaite, and Arliss Howard joining the cast.

Four years after the original film, John Hammond (Attenborough) loses control of his company InGen to his nephew, Peter Ludlow (Howard). On the verge of bankruptcy, Ludlow intends to exploit dinosaurs from InGen's second island, Isla Sorna, with plans for a new dinosaur theme park in San Diego. Hammond sends a team, led by the eccentric chaos theorist and mathematician Ian Malcolm (Goldblum), to the island to document the dinosaurs and encourage non-interference, although the two groups eventually come into conflict.

After the original novel's release and the first film's success, fans pressured Crichton for a sequel. Following the book's publication in 1995, production began on a film sequel. Filming took place from September to December 1996, primarily in California, with a shoot in Kauai, Hawaii, where the first film was shot. The Lost World's plot and imagery is substantially darker than Jurassic Park. It makes more extensive use of CGI to depict the dinosaurs, along with life-sized animatronics.

The Lost World was among the most anticipated films of 1997. It was accompanied by a $250 million marketing campaign, which included video games, comic books, and toys. Released on May 23, 1997, the film received mixed reviews from critics, who praised the visual effects but criticized the character development. Spielberg also expressed disappointment with the film, stating he had become increasingly disenchanted with it during production. The film grossed $618.6 million worldwide, becoming the second-highest-grossing film of 1997. It earned an Academy Award nomination for Best Visual Effects. A sequel, Jurassic Park III, was released in 2001. Goldblum would later reprise his role as Ian Malcolm in both Jurassic World: Fallen Kingdom (2018) and Jurassic World Dominion (2022).

Plot
Four years after the events on Isla Nublar, a British family anchored their yacht offshore at the nearby Isla Sorna, unaware that the island contains genetically engineered dinosaurs. Their daughter, Cathy Bowman, wanders off and is attacked by a group of Compsognathus.

An ailing Dr. John Hammond invites mathematician Dr. Ian Malcolm to his residence to discuss the incident. Hammond's company InGen, which created the dinosaurs, is now headed by Hammond's nephew Peter Ludlow, who used the incident to take control of the company from Hammond. Besides Isla Nublar, Ian learns that InGen had another facility, "Site B", on Isla Sorna, where the company's dinosaurs were cloned. However, the island was abandoned during a hurricane, and the animals were released into the wild to fend for themselves. Ludlow wants to exploit the island's creatures to save InGen from bankruptcy, so Hammond requests Ian to join a team that will document the dinosaurs in their natural habitat to encourage a policy of non-interference. Ian's girlfriend, paleontologist Dr. Sarah Harding, was hired and is already on Isla Sorna. Upon hearing this, Ian reluctantly agrees to go to the island, but only to retrieve Sarah.

Ian travels there with Eddie Carr, an equipment specialist and engineer, and Nick Van Owen, a video documentarian and activist. They find Sarah observing a family of Stegosaurus. Even when she is attacked by them, she insists on staying to continue her research. Ian is shocked when he discovers that his daughter Kelly has stowed away with the team in a trailer, which serves as their mobile base. Ludlow and a mercenary team arrive on the island to capture dinosaurs, with help from big-game hunters Roland Tembo and Ajay Sidhu, Roland's second-in-command Dieter Stark, and paleontologist Dr. Robert Burke.

Malcolm's group realizes Ludlow intends to ship the captured specimens to San Diego to revive an unfinished Jurassic Park amphitheater that Hammond had abandoned in favor of the park on Isla Nublar. Nick and Sarah free the captured dinosaurs, and the animals wreak havoc on the InGen team's camp. On the way back to the trailer, Nick rescues an injured Tyrannosaurus rex infant that Roland used as bait to hunt its father. Nick and Sarah treat the infant's broken leg, but the Tyrannosaurus parents arrive, having tracked the infant's scent. They reclaim their infant and destroy the trailer by overturning it and pushing it over the cliff edge. Eddie arrives and attaches a winch to the trailer and attempts to pull it back up but both Tyrannosaurus return and start ripping Eddies jeep apart. Eddie tries to reach his gun to tranquillise them but can't untangle it from some netting and the Rexes grab him from the vehicle and devour him. Ian, Sarah, Nick, and Kelly are rescued by Ludlow's team and are forced to work together, both groups having lost all their communications equipment. They decide to travel to an abandoned InGen base to call for help. During a break, Stark goes into the wilderness alone to relieve himself and is killed by a group of Compsognathus. After the team sets up a camp for the night, they are ambushed by the Tyrannosaurus adults: Burke is devoured, and others flee into a field of long grass where a pack of Velociraptors ambush them, killing Ajay and most of the mercenary team.

Ian, Sarah, Kelly, and Nick reach the InGen base, fight off Velociraptors, and successfully radio for helicopter extraction. After being rescued, Nick reveals that he stole Roland's bullets to prevent him from killing his trophy. However, they learn Roland has sedated the male Tyrannosaurus with tranquilizers instead. As more InGen personnel arrive on the island to secure the male and infant, Roland declines Ludlow's job offer at the San Diego park, reflecting on Ajay's death and the morality of Ludlow's scheme.

At the Port of San Diego, Ian and Sarah attempt to convince Ludlow to abandon his plans, but the ship carrying the male Tyrannosaurus suddenly crashes into the docks. The crew is found dead, and the Tyrannosaurus is accidentally released as it begins to rampage through the city. Ian and Sarah locate the infant Tyrannosaurus at the planned park and use it to lure the adult back to the docks. Ludlow tries to retrieve the infant within the cargo hold but is injured by the adult before being mauled to death by the infant. Sarah uses a tranquilizer gun to sedate the male before government forces can use lethal force on it while Ian seals the cargo hold doors.

In the aftermath, the dinosaurs are shipped back to Isla Sorna accompanied by the United States Navy, while Ian, Sarah, and Kelly watch Hammond in a televised interview announcing that the American and Costa Rican governments have declared the island a nature reserve.

Pre-production
After the release of the novel, Jurassic Park in 1990, Michael Crichton was pressured by fans for a sequel. Having never written one, he initially refused. While shooting the novel's film adaptation, director Steven Spielberg believed that if a sequel were made, it would involve the retrieval of the canister that contained dinosaur DNA lost during the events of the first film. Talk of a sequel film began after the 1993 release of Jurassic Park, which was a financial success. Spielberg held discussions with David Koepp and Crichton, who wrote the previous film, to talk about possible ideas for a sequel. The production schedule for a second Jurassic Park film was dependent on whether Crichton would write a sequel to the first novel.

In March 1994, Crichton said there would probably be a sequel to both the novel and film, saying he had a story idea for another novel, which would then be adapted into a film. At the time, Spielberg had not committed to directing the new novel's film adaptation, as he planned to take a year off from directing. In March 1995, Crichton said that he was nearly finished writing the sequel, scheduled for release later that year, although he declined to specify its title or plot. At the time of this announcement, Spielberg had signed on to produce the film adaptation, with filming to begin in summer 1996 for release in 1997. Spielberg was busy with his new DreamWorks studio and had not decided if he would direct the film, saying, "I'd love to direct it, but I just have to see. My life is changing".

A production team was assembled in spring 1995, as Crichton was finishing the second novel, titled The Lost World; simultaneously, Spielberg and Koepp were developing ideas for the screenplay. Crichton's novel was published that September, while Spielberg was announced as director for the film adaptation in November. Spielberg and Crichton agreed to forego upfront fees for a share of the back-end. Koepp's deal was said to be the most lucrative for an adaptation at the time, with a fee in the region of $1.5 to $2 million. Joe Johnston, who offered to direct the film adaptation, eventually directed the following film, Jurassic Park III (2001). The Lost World: Jurassic Park had nearly 1,500 storyboards, which aided in the precise planning needed to shoot scenes involving action, dinosaurs, and special-effects.

Writing
The plot for Crichton's Lost World novel involves a second island with dinosaurs but no reference to the canister of dinosaur DNA, which was later used as a plot aspect in a rejected early draft for Jurassic Park IV. After the film adaptation of The Lost World was announced, Koepp received letters of advice from children who were interested in the film. According to Koepp, one letter read: "As long as you have the T. rex and the Velociraptor, everything else is fine. But, whatever you do, don't have a long boring part at the beginning that has nothing to do with the island". Koepp retained the letter as "sort of a reminder". Koepp also took a suggestion from the letter to add Stegosaurus into the script.

After the novel was finished, Crichton was not consulted about the sequel film, and it was not until he declined to approve certain merchandising rights that he received a copy of the script. Kathleen Kennedy, the film's executive producer, and producer of Jurassic Park, said: "In the same way Michael doesn't see writing as a collaboration, Steven went off and did his own movie. When Michael turned the book over to Steven, he knew his work was finished". By the time Crichton had finished his novel, Spielberg and Koepp had already been discussing ideas for the film for more than a year. For the adaptation, Koepp attempted to combine the ideas that he and Spielberg devised along with those from Crichton's novel. Spielberg said that the middle portion of the novel was lacking in story narrative, but that Crichton's set-up was excellent, and he put Spielberg and his crew on the right road. Koepp had a year to write the script before the start of filming.

To prepare before writing the script, Spielberg was more insistent that Koepp watch the 1925 film, The Lost World, than he was on having him read Crichton's novel, which Koepp also did. During an early meeting with Koepp, Spielberg determined that while the primary conflict of the original film involved herbivorous dinosaurs vs. carnivorous dinosaurs, the script for the new film should involve humans who are "gatherers" (observers of the dinosaurs) and "hunters" (who capture the dinosaurs for a zoo). Koepp said the plot of the 1962 film Hatari! – about African animals being captured for zoos – had "a big influence" on The Lost World's script.

Spielberg and Koepp discarded many of the novel's scenes and ideas, choosing instead to devise a new story while including the two ideas from the novel that Spielberg liked: a second island populated with dinosaurs, and a scene where half of a two-part trailer dangles from a cliff after being attacked by T. rexes. Also retained was the idea of parenting and nurturing behavior among dinosaurs, as well as a baby T. rex and a child who stows away in the trailer. The character of Robert Burke is based on paleontologist Robert Bakker, who believes that T. rex was a predator. Rival paleontologist Jack Horner, the film's technical advisor, viewed the dinosaur as being protective and not inherently aggressive. Horner requested that the character of Burke be eaten by the T. rex, although Bakker enjoyed the scene and believed that it vindicated his theory that T. rex was a predator.

Crichton's novel revolves around Malcolm's team and a rival team led by InGen's corporate rival, Biosyn, which was written out of the film adaptation in favor of two competing InGen teams. Several characters from the novel were excluded from the film adaptation, including Lewis Dodgson, the leader of the Biosyn team, and field equipment engineer Doc Thorne, whose characteristics were partially implemented in the film's version of Eddie. Two new characters not featured in the novel were Nick and Roland. For these characters, Koepp chose the surnames Tembo and Van Owen as a reference to one of his favorite songs, "Roland the Headless Thompson Gunner", by Warren Zevon. Koepp said "since Roland is a mercenary in the song, that seemed like a good name for the hunter-for-hire in our movie. While I was at it, I thought it would be fun to make his nemesis' last name Van Owen, like in the song". Spielberg regretted excluding a scene from the script that would have depicted characters on motorcycles attempting to flee raptors, similar to a sequence in the novel. An alternate version of the scene was added to the 2015 film, Jurassic World.

While Crichton's novel featured two child characters, Kelly and Arby, Koepp combined them into a single character also named Kelly. Arby is a black character, and black actress Vanessa Lee Chester was chosen to play Kelly in the film. Initially, Kelly was to be a student of Ian Malcolm's, although Koepp had difficulty making this idea work, saying that Malcolm "would never teach grade school, so I thought maybe he was tutoring her. Why? Maybe he got a drunk driving ticket, and he had to do community service, so he's tutoring at this inner-city high school". Koepp scrapped this idea because of its similarity to the 1995 film Dangerous Minds. Because the film would deal with dinosaur nurturing, Koepp realized that the parenting element should also extend to the human characters. Spielberg approved Koepp's idea to have Kelly as Malcolm's daughter, although they initially were unsure about a black actress playing the daughter of a white parent. Spielberg has two adopted black children, and he and Koepp soon decided to retain the idea. Koepp wanted to write an explanation into the script about the discrepancy in skin color, but he dropped this idea as he could not think of a way to address it in a simple manner.

Koepp referred to Crichton's original Jurassic Park novel for some scenes that would be added into the film adaptation of The Lost World. Dieter's death scene was inspired by John Hammond's death in the first novel, where Procompsognathus kill him. The film's opening scene came from an early chapter in the first novel that was not used in the film adaptation, where a Procompsognathus bites a girl on a beach. The first novel also included a scene where characters hide behind a waterfall from a T. rex; this scene was not used in the first film but was added into The Lost World: Jurassic Park, for the scene in which the T. rex eats Burke.

Early scripts had featured two Pteranodon sequences, including one in which Malcolm and his group would escape raptors by hang-gliding off a cliff, only to encounter a Pteranodon. Another sequence, once planned as the film's ending, involved an aerial battle where Pteranodons attack the helicopter trying to escape Isla Sorna. Spielberg also considered having the Pteranodons swoop down and carry off humans and animals in their large beaks, an idea that was rejected by Horner. This version of the story featured a larger worker's village on the island, whereas the final version of the village was only a quarter of what was initially designed. For more than a year, Spielberg and Koepp were unsure whether to include a scene involving a dinosaur in a city. Koepp believed that such a scene would only work for a short period of time before becoming unbelievable.

Weeks before filming began, Spielberg decided to change the ending to have the T. rex rampage through San Diego. He was interested in seeing dinosaurs attacking the mainland, and he believed that audiences would enjoy the San Diego rampage. Initially, Spielberg wanted such a scene to be saved for a third film but later decided to add it to the second one when he realized he would probably not direct another film in the series. The sequence is similar to an attack scene involving a Brontosaurus in London in the 1925 version of The Lost World, adapted from Sir Arthur Conan Doyle's 1912 novel of the same name, both of which inspired the title for Crichton's novel. For the rampage sequence, Spielberg referenced monster films such as The Beast from 20,000 Fathoms and Gorgo. Koepp's first draft of the new third act was completed a week after talking with Spielberg, although it would continue to go through revisions. Koepp wrote a total of nine drafts for the film. Producers Colin Wilson and Gerald Molen wanted the Pteranodons to remain in the story, but the creatures ultimately received only a small appearance in the film's ending shot.

Casting
In November 1994, Richard Attenborough said he would reprise his role as John Hammond from the first film. In 1995, Spielberg met Vanessa Lee Chester at the premiere of A Little Princess, in which she appeared. Chester later recalled: "As I was signing an autograph for him, he told me one day he'd put me in a film". Spielberg met with Chester the following year to discuss The Lost World: Jurassic Park before ultimately casting her as Malcolm's daughter, Kelly. Pete Postlethwaite was cast after Spielberg saw his performance in the 1993 film In the Name of the Father. Art Malik turned down a role in the film.

In April 1996, Julianne Moore was in discussions to star in the film alongside Jeff Goldblum. Spielberg had admired Moore's performance in The Fugitive. Two months later, Peter Stormare was in final negotiations to join the cast. Later in August, Vince Vaughn joined the cast. Spielberg was impressed with Vaughn's performance in the film Swingers, which he saw after the filmmakers asked his permission to use music from his earlier film, Jaws. After meeting with Spielberg, Vaughn was cast without having to do a screen test. Indian actor M. R. Gopakumar was initially cast as Ajay Sidhu in August 1996, but was unable to participate in the project because of trouble acquiring a work visa in time for filming. He was one of six people considered for the role, which ultimately went to actor Harvey Jason.

Filming
Production designer Rick Carter traveled to Hawaii, then Puerto Rico, New Zealand, and Australia to scout possible filming locations. Costa Rica and South America were never considered, as filming would have taken place during the local area's rainy season. However, the film ultimately did use tropical sound effects that were recorded in Costa Rica. By February 1996, northern New Zealand had been chosen as a filming location. While the first film had been shot in Kauai, Hawaii, the filmmakers wanted to shoot the sequel in a different location with new scenery. New Zealand was also chosen because it was believed to better represent a real dinosaur environment, although Crichton wanted the film to be shot on Kauai.

In August 1996, Humboldt County, California was chosen instead of New Zealand, where filming would have been too costly. Humboldt County offered financial incentives that would keep the film's production costs lower. Oregon had been considered before Humboldt County was chosen. Filming locations in Humboldt County would include the redwood forests of Eureka, California. This location was picked because research indicated dinosaurs did not inhabit tropical habitats, but forests like the ones in Eureka.

Filming began on September 5, 1996, at Fern Canyon, part of California's Prairie Creek Redwoods State Park. Production continued in northern California for two weeks at locations such as Eureka, Sue-meg State Park, and private property in Fieldbrook. Filming in Humboldt County concluded on September 19. Throughout the fall of 1996, filming continued on sound stages at Universal Studios Hollywood. The Site B workers village was also constructed there and left intact after filming to become a part of the theme park tour. Because of limited stage space in Hollywood, the production crew had to alternate between the different stages at Universal, with stages being redecorated when not in use to prepare for future filming.

A 1997 Fleetwood Southwind Storm RV was used to depict the mobile trailer lab. Several trailers were created for filming. Scenes involving the trailer lab were shot in Eureka, followed by filming at Universal. For shots in which half of the trailer dangles from a cliff, a whole mountainside was built over the structure of Universal's parking garage, and the trailer was dangled against the mountainside using a 95-ton crane. Before the trailer is shoved off the cliff, it is attacked by the T. rex adults who slam their heads into the vehicle. Animatronic versions of the adults were used for this scene, and the damage to the trailer was authentically caused by the animatronics rather than through computer effects. Shots involving both the animatronic T. rexes and the trailer together were filmed on Universal's Stage 24. Other shots involving the trailer were filmed on Stage 27.

A portion of the trailer scene was filmed in a continuous take using a 26 ft crane arm. The camera would track actor Richard Schiff as his character travels through part of the trailer to throw rope down to the other characters, who are stuck in the other portion of the trailer as it dangles over the side of the cliff. This shot required precise timing to get right, and a dolly track also had to be built into the stage. While filming inside the trailer, the camera would lose focus because of interference from some piece of the electronic equipment inside the vehicle. After 15 failed takes, the film crew was close to giving up on the shot, until a remote-focus mechanism was mounted onto the camera. Ultimately, the film crew managed to get three good takes over the course of nine hours. Another issue resulted from the scene taking place during a storm, as the artificial rain fogged the camera lens, and the camera's rain deflectors failed.

Spielberg did not allow for cast rehearsals: "You want to capture the actors when they taste the words for the first time, when they look at each other for the first time – that's the sort of magic you can only get on a first or second take". Spielberg wanted his long-time cinematographer Dean Cundey to return for The Lost World after working on the previous film, although Cundey was busy preparing to direct Honey, We Shrunk Ourselves, so Spielberg chose Janusz Kamiński instead. Kamiński had worked with Spielberg on Schindler's List, and he gave The Lost World a darker, more artistic look over its predecessor, leading to a "more elegant and rich" approach focused on contrast and shadow. Much of the film takes place at night, and Kamiński looked at the films Alien and Blade Runner for visual reference. Koepp was the film's second unit director, having volunteered for the position in hopes of gaining more directorial experience. Second unit work consisted of establishing shots, such as people marching across Isla Sorna, and helicopter shots. When Spielberg was unavailable for filming because of a family commitment in New York, Koepp also took over the first unit for eight days of filming, during the shoot at Universal's sound stages. Spielberg monitored the filming process through satellite video in New York during his week off.

The InGen hunters' base camp was constructed on Stage 12. On Stage 23, a large ravine was constructed for a scene in which a T. rex chases characters into a small cave hidden behind a waterfall. Special-effects expert Michael Lantieri constructed the artificial waterfall, and the scene was shot using a Steadicam. Spielberg estimated that nearly half of the film was shot using Steadicam, as it was useful for the film's abundance of chase scenes. For the scene in which raptors attack the InGen team in a field of long grass, Lantieri and a team started growing real grass a year earlier on eight acres, located in Newhall, California. The acreage allowed for any potential reshoots to be done, as any grass that was flattened during filming would not come back up. The scene was filmed in early November 1996.

The T. rex rampage through San Diego was also filmed during November. Although the sequence takes place in San Diego, only one scene was shot there. In it, an InGen helicopter flies over the wharf and banks towards the city. The other sequences were all shot in Burbank, California. An eight-scale dock and miniature ship were created for the scene in which the T. rex arrives in San Diego. One scene has the T. rex ramming into a driving bus which then crashes into a Blockbuster Video. The video store was built as a set on an empty lot in Burbank. The San Diego scenes were shot behind barricades to maintain secrecy; Spielberg noted that "it looked like road-repair work was going on". Various members of the film crew were featured running from the Tyrannosaurus, with Koepp credited as the "Unlucky Bastard" who is eaten during a scene set in San Diego. Scenes involving Hammond's residence were shot during the final week of filming, at Mayfield Senior School in Pasadena, California. A scene where Vaughn's character emerges from a lake was also shot in Pasadena.

Originally, filming was to take place over five days in December at New Zealand's Fiordland National Park, where the film's opening sequence was to be shot. In early December, plans to film in Fiordland were abruptly cancelled. Principal photography concluded ahead of schedule on December 11. However, in mid-December 1996, plans were approved to shoot the opening sequence on a beach in Kauai after the cancellation of the New Zealand shoot. Filming in Kauai was underway on December 20, with plans to finish two days later. Although Spielberg was in Kauai at the time, and had visited the production, the opening sequence was filmed by a second unit crew. The film was shot on a budget of $73 million.

Creatures on screen
While Jurassic Park featured mostly the animatronic dinosaurs built by Stan Winston's team, The Lost World relied more on the computer-generated imagery (CGI) of Industrial Light & Magic (ILM). This meant the film featured larger shots that offered plenty of space for the digital artists to add the dinosaurs. The film features 75 computer-generated shots. A scene in which the hunters round up a group of dinosaurs was made almost entirely with computer-generated creatures. An exception was a handful of Pachycephalosaurus shots.

Spielberg followed Horner's advice to help keep the dinosaurs scientifically accurate for the most part, with some exceptions. The Winston design team closely modelled the dinosaurs based on paleontological facts, or theories in certain cases where facts were not definitively known. In addition to animatronics, Winston's team also painted maquettes of dinosaurs that would subsequently be created through CGI. ILM animators went to Six Flags Discovery Kingdom, then known as Marine World/Africa USA to videotape elephants, reptiles, and rhinos, to determine how to make the dinosaurs appear more like living animals. Although technology had not advanced much since the release of the first film, Spielberg noted that "the artistry of the creative computer people" had advanced: "There's better detail, much better lighting, better muscle tone and movement in the animals. When a dinosaur transfers weight from his left side to his right, the whole movement of fat and sinew is smoother, more physiologically correct". All of the dinosaurs used servo control for facial movements.

While the first film showed that dinosaurs could be adequately recreated through special effects, the sequel raised the question of what could be done with the dinosaurs. Winston said: "I wanted to show the world what they didn't see in Jurassic Park: more dinosaurs and more dinosaur action. 'More, bigger, better' was our motto". Some of the animatronics cost $1 million and weighed nine and a half tons. Lantieri, the special effects supervisor, said: "The big T. rex robot can pull two Gs of force when it's moving from right to left. If you hit someone with that, you'd kill them. So, in a sense, we did treat the dinosaurs as living, dangerous creatures".
 * Compsognathus, nicknamed "Compies" by Winston's crew, are a small carnivorous theropod which attacks in packs. Visual effects supervisor Dennis Muren considered them the most complex digital dinosaur. Their small size meant the Compys had their whole body visible and thus needed a higher sense of gravity and weight. A simple puppet Compsognathus is featured in the opening scene, and the part where Dieter Stark was killed by the pack had Peter Stormare wearing a jacket onto which various rubber Compies were attached. In the film, Burke identifies the dinosaur as Compsognathus triassicus, which in reality is a non-existent species. The name is a combination of Compsognathus longipes and Procompsognathus triassicus.
 * Gallimimus is shown fleeing from the InGen Hunters.
 * Mamenchisaurus is shown on the game trail scene. The Brachiosaurus model from the first film was altered to portray the Mamenchisaurus, which was fully computer-generated.
 * Pachycephalosaurus, a dinosaur standing five feet tall and measuring eight feet long. Three versions of the creature were created for filming: a full hydraulic puppet, a head, and a head-butter. The latter was built to withstand high impact for a scene in which the dinosaur head-butts one of the hunter vehicles. The Pachycephalosaurus puppet, one of the most complex, was used for a scene in which the dinosaur is captured. The legs of the puppet were controlled through pneumatics.
 * Parasaurolophus is shown being hunted down by the InGen hunters. Winston's team was to create a puppet version of the animal for this scene, but ILM ultimately created the animal through CGI instead, basing the design off of a miniature sculpture that Winston's team had created. In addition, an earlier opening scene that was scrapped would have featured a Japanese fishing trawler acquiring a partially decomposed Parasaurolophus in its net, which would break from the weight, allowing the body to sink back into the ocean. Winston's team created a practical Parasaurolophus for the scene before it was scrapped, although the carcass was still used for a scene set in a T. rex nest.
 * Stegosaurus was, according to Spielberg, included "by popular demand". Winston's team built full-sized versions of both the infant and adult Stegosaurus, but Spielberg eventually opted to employ a digital version for the adults so they could be more mobile. The baby Stegosaurus was 8 ft long and weighed 400 lb. It was shipped to the redwood forest for on-site filming. The adult stegosaurs were 26 ft long and 16 ft tall. Although they were also brought to the forest for filming, they ultimately were not used because of mobility issues and safety concerns. A full-sized Stegosaurus is only shown in a brief shot, in which the animal is caged.
 * Triceratops is shown being hunted down by the InGen hunters. A baby Triceratops was also created by Winston's team, for a shot depicting the animal in a cage. A baby Triceratops had previously been planned for the first film, before being scrapped.
 * Tyrannosaurus is featured as a family, with two adults and an infant. The T. rex animatronic from the first film was used for The Lost World as well, and Winston and his team also built a second adult T. rex for the sequel. Featuring two practical T. rexes required double the work and puppeteers. The adult T. rex animatronics were built from head to mid-body, while full body shots were created through CGI. The animatronics weighed nine tons each and cost $1 million apiece. For the mobile trailer sequence, an 80 ft track was built into the sound stage floor, allowing the T. rexes to be moved backward and forward. The adult T. rexes could not be moved from their location at Stage 24, so new sets had to be built around the animatronics as filming progressed. Animatronics were primarily used for the scene in which the T. rexes kill Eddie, with the exception of two CGI shots: when the animals emerge from the forest and when they tear Eddie's body in half. Otherwise, the animatronics were used for shots in which the animals tear the vehicle apart to get to Eddie. Filming the scene with the animatronics required close collaboration with a stunt coordinator. An animatronic T. rex was also used in scenes depicting the deaths of Burke and Ludlow.
 * The baby T. rex had two different practical versions, a "fully contained" remote controlled version the actors could carry, and a hybrid operated by both hydraulics and cables which lay on the operating table, and had the added complexity of moving as Vince Vaughn held its head.
 * Velociraptor had a mechanical version which depicted the upper half of its body, and a digital full-motion computer raptor. A "super-raptor" had also been considered for the film, but Spielberg rejected it, saying it was "a little too much out of a horror movie. I didn't want to create an alien".
 * Pteranodon makes an appearance at the film's end.

Music
For the sequel, composer John Williams avoided using most of the previous film's main themes, writing a more action-oriented score. The soundtrack was released on May 20, 1997. It, along with the soundtrack to the first movie, was re-released and remastered on November 29, 2016.

Marketing
In February 1997, Universal announced a $250 million marketing campaign with 70 promotional partners. It was even more extensive than that of Jurassic Park. The leading partners were Burger King, whose promotion was concurrent with one for another Universal dinosaur-based franchise, The Land Before Time; JVC and Mercedes-Benz, whose products are featured in the movie; and Timberland Co., making its first film tie-in. Another partner was a then-sister company of Universal under Seagram, Tropicana Products. Other promotional partners included Hamburger Helper and Betty Crocker, while General Mills introduced Jurassic Park Crunch cereal. Derivative works included various video games, including both a pinball machine and an arcade game by Sega, and a four-part comic series released by Topps Comics.

Other promotional items included a toy line of action figures by Kenner and remote-controlled vehicles by Tyco, as well as a board game by Milton Bradley Company. Also produced were Hershey's chocolate bars that featured holographic dinosaur patterns. Universal hoped for promotional profits to exceed $1 billion. Inspired by how Jurassic Park featured the Ford Explorer, Mercedes-Benz signed an endorsement deal to use the film to introduce its first sports utility vehicle, the W163.

On December 13, 1996, a special version of the film's teaser trailer debuted at 42 theaters in the United States and Canada, at a cost of $14,000 for each theater; the trailer used synchronized strobe lights that mimicked lightning during a rain scene. The film's first trailer was aired on January 26, 1997, during Super Bowl XXXI. A travelling exhibition, The Lost World: The Life and Death of Dinosaurs, went on tour in May 1997, coinciding with the film's release. The exhibit was produced in connection with the film, and its centerpiece was a 70-foot-long recreation of a Mamenchisaurus.

A detailed website for the film was also created, and provided backstory for characters and events not referenced in the film. Shortly after the film's release, hackers broke into the website and briefly changed the film's logo to feature a duck instead of a T. rex. The film's title in the logo was also changed to The Duck World: Jurassic Pond. Universal denied that the hacking was a publicity stunt to promote the film, stating that it was traced to a "16-year-old hacker kid from back East". The website was still online as of 2017.

Theatrical
The Lost World: Jurassic Park premiered on May 19, 1997, at the Cineplex Odeon theater in Universal City, California. The Los Angeles Times called the premiere "low-key". The film opened on May 23, 1997, receiving the widest release for a film to date opening in 3,281 theaters with previews commencing at 10 p.m. the night before. The film expanded to 3,565 theaters in its fourth weekend. It was also the first film to use the 1997-2012 Universal Pictures logo, accompanied by its fanfare by Jerry Goldsmith.

It was the first US film to be widely distributed in India, being released in 155 cinemas on September 5, 1997.

Home media
The Lost World: Jurassic Park made its home video debut on THX certified VHS and LaserDisc releases on November 4, 1997, accompanied by a $50 million promotional campaign.

Fox paid $80 million for the broadcasting rights of The Lost World: Jurassic Park, which debuted on November 1, 1998. The television version was expanded with deleted scenes, that included John Hammond's ouster by InGen executives.

The Lost World: Jurassic Park was released on a Collector's Edition DVD on October 10, 2000, in both Widescreen (1.85:1) and Full Screen (1.33:1) versions, in a box set with its predecessor Jurassic Park. The films were also featured in a deluxe limited edition box set featuring both DVDs, soundtrack albums, two lenticulars, stills from both films, and a certificate of authenticity signed by the set's producers, inside a collector case. After the release of sequel Jurassic Park III, box sets including all three movies were also made available, as Jurassic Park Trilogy on December 11, 2001, and as the Jurassic Park Adventure Pack on November 29, 2005. The Lost World was first made available on Blu-ray on October 25, 2011, as part of a trilogy release. The entire Jurassic Park film series was released on 4K UHD Blu-Ray on May 22, 2018.

Box office
The Lost World took in $72.1 million on its opening weekend ($92.7 million for the four-day Memorial Day holiday, including $2.6 million from Thursday night previews) in the U.S., which was the biggest opening weekend up to that point, beating Batman Forever. This made it the first film to reach the $70 million mark during an opening weekend. For four and a half years, the film held that record until the release of Harry Potter and the Sorcerer's Stone in November 2001. The film also had the biggest May opening weekend, surpassing the previous records held by Twister and Mission: Impossible. It would hold this record until 2002 when Spider-Man took it. Additionally, it surpassed Mission: Impossible for having the largest Memorial Day weekend gross, as well as three opening records held by Independence Day. In 2004, Shrek 2 broke The Lost World's record for having the biggest Memorial Day weekend gross. That film would hold this record for two years until it was given to X-Men: The Last Stand in 2006, which also took The Lost World's record for having the highest Memorial Day opening weekend. Furthermore, it had the highest opening weekend for a Steven Spielberg film, and retained this record for a decade before being dethroned by Indiana Jones and the Kingdom of the Crystal Skull in 2008. Then in 2009, Fast & Furious surpassed The Lost World to have the largest opening weekend for any Universal film.

The Lost World broke several other box office records as well. The film made $21.6 million on its Friday opening and $24.4 million on its second day, making it the highest Friday and Saturday grosses. While the Friday record was taken by Toy Story 2 in 1999, the film continued to hold the Saturday record for two more years until The Mummy Returns surpassed it. It also took the record for highest single-day box office take of $26.1 million on May 25, a record held until the release of Star Wars: Episode I – The Phantom Menace in 1999. It became the fastest film to pass the $100 million mark, achieving the feat in just six days. This was also Spielberg's fastest film to cross this mark, holding that record until War of the Worlds overtook it in 2005, taking five days to do so. When the film first debuted on May 23, it had the largest number of screenings, playing at 3,281 theaters. This broke the record also held by Mission: Impossible. However, despite these records, its total box office gross fell below the total of the original film. Ticket sales dropped 62% by its second weekend. The film made $34.1 million during its second weekend, making it the fourth-highest-grossing second weekend of all time, after its predecessor Jurassic Park, Twister and Independence Day. Over the next few weeks, The Lost World would go on to compete against other blockbuster films released during that summer such as Hercules, Face/Off, Men in Black, Con Air, George of the Jungle, Batman & Robin and Speed 2: Cruise Control. In Thailand, The Lost World became the country's highest-grossing film of all time. It ultimately grossed $229.1 million in the U.S. and $389.5 million internationally, for a total of $618.6 million worldwide, becoming the second highest-grossing film of 1997 behind Titanic. The film sold an estimated 49,910,000 tickets in North America.

Critical response
The Lost World: Jurassic Park was released to mixed reviews. On review aggregation website Rotten Tomatoes, the film holds an approval rating of 53% based on 83 reviews and an average rating of 5.70/10. The site's critical consensus reads: "The Lost World demonstrates how far CG effects have come in the four years since Jurassic Park; unfortunately, it also proves how difficult it can be to put together a truly compelling sequel." On Metacritic, the film has a weighted average rating of 59 out of 100, based on 18 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.

Roger Ebert, who gave the first film three stars, gave The Lost World only two, writing: "It can be said that the creatures in this film transcend any visible signs of special effects and seem to walk the earth, but the same realism isn't brought to the human characters, who are bound by plot conventions and action formulas". Gene Siskel of the Chicago Tribune also gave the film two stars and said: "I was disappointed as much as I was thrilled because 'The Lost World' lacks a staple of Steven Spielberg's adventure films: exciting characters. [...] Even in the original 'Jurassic Park', the dinosaurs – not to mention the human beings – had more distinct personalities than they have here. Save for superior special effects, 'The Lost World' comes off as recycled material".

Kevin Thomas of the Los Angeles Times saw improved character development over the original: "It seemed such a mistake in Jurassic Park to sideline early on its most interesting character, the brilliant, free-thinking and outspoken theorist Ian Malcolm (Jeff Goldblum) with a broken leg, but in its most inspired stroke, The Lost World brings back Malcolm and places him front and center", calling it "a pleasure to watch such wily pros as Goldblum and Attenborough spar with each other with wit and assurance". Stephen Holden of The New York Times saying, "The Lost World, unlike Jurassic Park, humanizes its monsters in a way that E.T. would understand". Owen Gleiberman of Entertainment Weekly gave the film a B grade; he remarked, "Mr. T-Rex was cool in the first Spielberg flick, sure, but it wasn't until [it was in] San Diego that things got crazy-cool. It's the old 'tree falling in the woods' conundrum: Unless your giant monster is causing massive property damage, can you really call it a giant monster?"

Spielberg said that during production he became increasingly disenchanted with the film:

"I beat myself up... growing more and more impatient with myself... It made me wistful about doing a talking picture, because sometimes I got the feeling I was just making this big silent-roar movie... I found myself saying, 'Is that all there is? It's not enough for me'."

Spielberg regretted that the film characters are aware they are going to an island of dinosaurs, unlike the previous film. He later said that he knows a major reason why his sequels tend to not live up to the quality of his original films:

"My sequels aren't as good as my originals because I go onto every sequel I've made and I'm too confident. This movie made a ka-zillion dollars, which justifies the sequel, so I come in like it's going to be a slam dunk and I wind up making an inferior movie to the one before. I'm talking about The Lost World and Jurassic Park."

Retrospective
Later reviews have also been mixed. Critic Tim Brayton described it as "readily the worst thing Steven Spielberg has ever made." In 2015, Matt Goldberg of Collider wrote that the film feels "like the work of a Spielberg protégé. All the beats are in place, but it's an imitation". He considered the film inferior to its predecessor. In 2018, Brian Silliman of Syfy Wire cited the film as a rare example of a film adaptation that is better than its novel counterpart. In particular, he praised the addition of Postlethwaite and his character. However, Syfy Wire's Stephanie Williams considered the novel superior, finding it more action-packed and thrilling while also taking its time "to breathe with these majestic creatures", whereas the film has "way more running and screaming". Bilge Ebiri of Vulture reviewed the film in 2020, praising the horror elements and writing that it "might be Spielberg's nastiest film – a truly demented series of mostly wordless action and horror set pieces whose technical proficiency is matched only by their cruelty". In contrast, Jacob Hall of /Film negatively compared it to Spielberg's 1984 film Indiana Jones and the Temple of Doom, writing that The Lost World transforms "intelligent characters into bumbling idiots", increases "the volume and the chaos while dialing back the mystery and the awe", and replaces "excitement with violence and cruelty".

title: The Lost World: Jurassic Park


text:
Service-oriented architecture

In software engineering, service-oriented architecture (SOA) is an architectural style that focuses on discrete services instead of a monolithic design. SOA is a good choice for system integration. By consequence, it is also applied in the field of software design where services are provided to the other components by application components, through a communication protocol over a network. A service is a discrete unit of functionality that can be accessed remotely and acted upon and updated independently, such as retrieving a credit card statement online. SOA is also intended to be independent of vendors, products and technologies.

Service orientation is a way of thinking in terms of services and service-based development and the outcomes of services.

A service has four properties according to one of many definitions of SOA:
 * 1) It logically represents a repeatable business activity with a specified outcome.
 * 2) It is self-contained.
 * 3) It is a black box for its consumers, meaning the consumer does not have to be aware of the service's inner workings.
 * 4) It may be composed of other services.

Different services can be used in conjunction as a service mesh to provide the functionality of a large software application, a principle SOA shares with modular programming. Service-oriented architecture integrates distributed, separately maintained and deployed software components. It is enabled by technologies and standards that facilitate components' communication and cooperation over a network, especially over an IP network.

SOA is related to the idea of an API (application programming interface), an interface or communication protocol between different parts of a computer program intended to simplify the implementation and maintenance of software. An API can be thought of as the service, and the SOA the architecture that allows the service to operate.

Note that Service-Oriented Architecture must not be confused with Service Based Architecture as those are two different architectural styles.

Overview
In SOA, services use protocols that describe how they pass and parse messages using description metadata. This metadata describes both the functional characteristics of the service and quality-of-service characteristics. Service-oriented architecture aims to allow users to combine large chunks of functionality to form applications which are built purely from existing services and combining them in an ad hoc manner. A service presents a simple interface to the requester that abstracts away the underlying complexity acting as a black box. Further users can also access these independent services without any knowledge of their internal implementation.

Defining concepts
The related buzzword service-orientation promotes loose coupling between services. SOA separates functions into distinct units, or services, which developers make accessible over a network in order to allow users to combine and reuse them in the production of applications. These services and their corresponding consumers communicate with each other by passing data in a well-defined, shared format, or by coordinating an activity between two or more services.

SOA can be seen as part of the continuum which ranges from the older concept of distributed computing and modular programming, through SOA, and on to practices of mashups, SaaS, and cloud computing (which some see as the offspring of SOA).

Principles
There are no industry standards relating to the exact composition of a service-oriented architecture, although many industry sources have published their own principles. Some of these include the following:
 * Standardized service contract
 * Services adhere to a standard communications agreement, as defined collectively by one or more service description documents within a given set of services.

 * Service reference autonomy (an aspect of loose coupling)
 * The relationship between services is minimized to the level that they are only aware of their existence.

 * Service location transparency (an aspect of loose coupling)
 * Services can be called from anywhere within the network that it is located no matter where it is present.

 * Service longevity
 * Services should be designed to be long lived. Where possible services should avoid forcing consumers to change if they do not require new features, if you call a service today you should be able to call the same service tomorrow.

 * Service abstraction
 * The services act as black boxes, that is their inner logic is hidden from the consumers.

 * Service autonomy
 * Services are independent and control the functionality they encapsulate, from a Design-time and a run-time perspective.

 * Service statelessness
 * Services are stateless, that is either return the requested value or give an exception hence minimizing resource use.

 * Service granularity
 * A principle to ensure services have an adequate size and scope. The functionality provided by the service to the user must be relevant.

 * Service normalization
 * Services are decomposed or consolidated (normalized) to minimize redundancy. In some, this may not be done. These are the cases where performance optimization, access, and aggregation are required.

 * Service composability
 * Services can be used to compose other services.

 * Service discovery
 * Services are supplemented with communicative meta data by which they can be effectively discovered and interpreted.

 * Service reusability
 * Logic is divided into various services, to promote reuse of code.

 * Service encapsulation
 * Many services which were not initially planned under SOA, may get encapsulated or become a part of SOA.

Patterns
Each SOA building block can play any of the three roles:

 * Service provider
 * It creates a web service and provides its information to the service registry. Each provider debates upon a lot of hows and whys like which service to expose, which to give more importance: security or easy availability, what price to offer the service for and many more. The provider also has to decide what category the service should be listed in for a given broker service and what sort of trading partner agreements are required to use the service.

 * Service broker, service registry or service repository
 * Its main functionality is to make information regarding the web service available to any potential requester. Whoever implements the broker decides the scope of the broker. Public brokers are available anywhere and everywhere but private brokers are only available to a limited amount of public. UDDI was an early, no longer actively supported attempt to provide Web services discovery.

 * Service requester/consumer
 * It locates entries in the broker registry using various find operations and then binds to the service provider in order to invoke one of its web services. Whichever service the service-consumers need, they have to take it into the brokers, bind it with respective service and then use it. They can access multiple services if the service provides multiple services.

The service consumer–provider relationship is governed by a standardized service contract, which has a business part, a functional part and a technical part.

Service composition patterns have two broad, high-level architectural styles: choreography and orchestration. Lower level enterprise integration patterns that are not bound to a particular architectural style continue to be relevant and eligible in SOA design.

Implementation approaches
Service-oriented architecture can be implemented with web services or Microservices. This is done to make the functional building-blocks accessible over standard Internet protocols that are independent of platforms and programming languages. These services can represent either new applications or just wrappers around existing legacy systems to make them network-enabled.

Implementers commonly build SOAs using web services standards. One example is SOAP, which has gained broad industry acceptance after the recommendation of Version 1.2 from the W3C (World Wide Web Consortium) in 2003. These standards (also referred to as web service specifications) also provide greater interoperability and some protection from lock-in to proprietary vendor software. One can, however, also implement SOA using any other service-based technology, such as Jini, CORBA, Internet Communications Engine, REST, or gRPC.

Architectures can operate independently of specific technologies and can therefore be implemented using a wide range of technologies, including:
 * Web services based on WSDL and SOAP
 * Messaging, e.g., with ActiveMQ, JMS, RabbitMQ
 * RESTful HTTP, with Representational state transfer (REST) constituting its own constraints-based architectural style
 * Data Distribution Service (DDS)
 * OPC-UA
 * Internet Communications Engine
 * WCF (Microsoft's implementation of Web services, forming a part of WCF)
 * Apache Thrift
 * gRPC
 * SORCER

Implementations can use one or more of these protocols and, for example, might use a file-system mechanism to communicate data following a defined interface specification between processes conforming to the SOA concept. The key is independent services with defined interfaces that can be called to perform their tasks in a standard way, without a service having foreknowledge of the calling application, and without the application having or needing knowledge of how the service actually performs its tasks. SOA enables the development of applications that are built by combining loosely coupled and interoperable services.

These services inter-operate based on a formal definition (or contract, e.g., WSDL) that is independent of the underlying platform and programming language. The interface definition hides the implementation of the language-specific service. SOA-based systems can therefore function independently of development technologies and platforms (such as Java, .NET, etc.). Services written in C# running on .NET platforms and services written in Java running on Java EE platforms, for example, can both be consumed by a common composite application (or client). Applications running on either platform can also consume services running on the other as web services that facilitate reuse. Managed environments can also wrap COBOL legacy systems and present them as software services..

High-level programming languages such as BPEL and specifications such as WS-CDL and WS-Coordination extend the service concept by providing a method of defining and supporting orchestration of fine-grained services into more coarse-grained business services, which architects can in turn incorporate into workflows and business processes implemented in composite applications or portals.

Service-oriented modeling is an SOA framework that identifies the various disciplines that guide SOA practitioners to conceptualize, analyze, design, and architect their service-oriented assets. The Service-oriented modeling framework (SOMF) offers a modeling language and a work structure or "map" depicting the various components that contribute to a successful service-oriented modeling approach. It illustrates the major elements that identify the "what to do" aspects of a service development scheme. The model enables practitioners to craft a project plan and to identify the milestones of a service-oriented initiative. SOMF also provides a common modeling notation to address alignment between business and IT organizations.

Organizational benefits
Some enterprise architects believe that SOA can help businesses respond more quickly and more cost-effectively to changing market conditions. This style of architecture promotes reuse at the macro (service) level rather than micro (classes) level. It can also simplify interconnection to—and usage of—existing IT (legacy) assets.

With SOA, the idea is that an organization can look at a problem holistically. A business has more overall control. Theoretically there would not be a mass of developers using whatever tool sets might please them. But rather they would be coding to a standard that is set within the business. They can also develop enterprise-wide SOA that encapsulates a business-oriented infrastructure. SOA has also been illustrated as a highway system providing efficiency for car drivers. The point being that if everyone had a car, but there was no highway anywhere, things would be limited and disorganized, in any attempt to get anywhere quickly or efficiently. IBM Vice President of Web Services Michael Liebow says that SOA "builds highways".

In some respects, SOA could be regarded as an architectural evolution rather than as a revolution. It captures many of the best practices of previous software architectures. In communications systems, for example, little development of solutions that use truly static bindings to talk to other equipment in the network has taken place. By embracing a SOA approach, such systems can position themselves to stress the importance of well-defined, highly inter-operable interfaces. Other predecessors of SOA include Component-based software engineering and Object-Oriented Analysis and Design (OOAD) of remote objects, for instance, in CORBA.

A service comprises a stand-alone unit of functionality available only via a formally defined interface. Services can be some kind of "nano-enterprises" that are easy to produce and improve. Also services can be "mega-corporations" constructed as the coordinated work of subordinate services.

Reasons for treating the implementation of services as separate projects from larger projects include:
 * 1) Separation promotes the concept to the business that services can be delivered quickly and independently from the larger and slower-moving projects common in the organization. The business starts understanding systems and simplified user interfaces calling on services. This advocates agility. That is to say, it fosters business innovations and speeds up time-to-market.
 * 2) Separation promotes the decoupling of services from consuming projects. This encourages good design insofar as the service is designed without knowing who its consumers are.
 * 3) Documentation and test artifacts of the service are not embedded within the detail of the larger project. This is important when the service needs to be reused later.

SOA promises to simplify testing indirectly. Services are autonomous, stateless, with fully documented interfaces, and separate from the cross-cutting concerns of the implementation. If an organization possesses appropriately defined test data, then a corresponding stub is built that reacts to the test data when a service is being built. A full set of regression tests, scripts, data, and responses is also captured for the service. The service can be tested as a 'black box' using existing stubs corresponding to the services it calls. Test environments can be constructed where the primitive and out-of-scope services are stubs, while the remainder of the mesh is test deployments of full services. As each interface is fully documented with its own full set of regression test documentation, it becomes simple to identify problems in test services. Testing evolves to merely validate that the test service operates according to its documentation, and finds gaps in documentation and test cases of all services within the environment. Managing the data state of idempotent services is the only complexity.

Examples may prove useful to aid in documenting a service to the level where it becomes useful. The documentation of some APIs within the Java Community Process provide good examples. As these are exhaustive, staff would typically use only important subsets. The 'ossjsa.pdf' file within JSR-89 exemplifies such a file.

Criticism
SOA has been conflated with Web services; however, Web services are only one option to implement the patterns that comprise the SOA style. In the absence of native or binary forms of remote procedure call (RPC), applications could run more slowly and require more processing power, increasing costs. Most implementations do incur these overheads, but SOA can be implemented using technologies (for example, Java Business Integration (JBI), Windows Communication Foundation (WCF) and data distribution service (DDS)) that do not depend on remote procedure calls or translation through XML or JSON. At the same time, emerging open-source XML parsing technologies (such as VTD-XML) and various XML-compatible binary formats promise to significantly improve SOA performance.

Stateful services require both the consumer and the provider to share the same consumer-specific context, which is either included in or referenced by messages exchanged between the provider and the consumer. This constraint has the drawback that it could reduce the overall scalability of the service provider if the service-provider needs to retain the shared context for each consumer. It also increases the coupling between a service provider and a consumer and makes switching service providers more difficult. Ultimately, some critics feel that SOA services are still too constrained by applications they represent.

A primary challenge faced by service-oriented architecture is managing of metadata. Environments based on SOA include many services which communicate among each other to perform tasks. Due to the fact that the design may involve multiple services working in conjunction, an Application may generate millions of messages. Further services may belong to different organizations or even competing firms creating a huge trust issue. Thus SOA governance comes into the scheme of things.

Another major problem faced by SOA is the lack of a uniform testing framework. There are no tools that provide the required features for testing these services in a service-oriented architecture. The major causes of difficulty are:
 * Heterogeneity and complexity of solution.
 * Huge set of testing combinations due to integration of autonomous services.
 * Inclusion of services from different and competing vendors.
 * Platform is continuously changing due to availability of new features and services.

Application programming interfaces
Application programming interfaces (APIs) are the frameworks through which developers can interact with a web application.

Web 2.0
Tim O'Reilly coined the term "Web 2.0" to describe a perceived, quickly growing set of web-based applications. A topic that has experienced extensive coverage involves the relationship between Web 2.0 and service-oriented architectures.

SOA is the philosophy of encapsulating application logic in services with a uniformly defined interface and making these publicly available via discovery mechanisms. The notion of complexity-hiding and reuse, but also the concept of loosely coupling services has inspired researchers to elaborate on similarities between the two philosophies, SOA and Web 2.0, and their respective applications. Some argue Web 2.0 and SOA have significantly different elements and thus can not be regarded "parallel philosophies", whereas others consider the two concepts as complementary and regard Web 2.0 as the global SOA.

The philosophies of Web 2.0 and SOA serve different user needs and thus expose differences with respect to the design and also the technologies used in real-world applications. However,, use-cases demonstrated the potential of combining technologies and principles of both Web 2.0 and SOA.

Microservices
Microservices are a modern interpretation of service-oriented architectures used to build distributed software systems. Services in a microservice architecture are processes that communicate with each other over the network in order to fulfill a goal. These services use technology agnostic protocols, which aid in encapsulating choice of language and frameworks, making their choice a concern internal to the service. Microservices are a new realisation and implementation approach to SOA, which have become popular since 2014 (and after the introduction of DevOps), and which also emphasize continuous deployment and other agile practices.

There is no single commonly agreed definition of microservices. The following characteristics and principles can be found in the literature:
 * fine-grained interfaces (to independently deployable services),
 * business-driven development (e.g. domain-driven design),
 * IDEAL cloud application architectures,
 * polyglot programming and persistence,
 * lightweight container deployment,
 * decentralized continuous delivery, and
 * DevOps with holistic service monitoring.

Service-oriented architectures for interactive applications
Interactive applications requiring real-time response times, for example low-latency interactive 3d applications, are using specific service oriented architectures addressing the specific needs of such kind of applications. These include for example low-latency optimized distributed computation and communication as well as resource and instance management.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Service-oriented architecture


text:
Sam Barry

Justin McCarthy "Sam" Barry (December 17, 1892 – September 23, 1950) was an American collegiate coach who achieved significant accomplishments in three major sports - football, baseball, and basketball. He remains one of only three coaches to lead teams to both the Final Four and the College World Series. Barry, and four of his USC players (Jack Gardner, Alex Hannum, Tex Winter and Bill Sharman), have been inducted into the Naismith Memorial Basketball Hall of Fame as coaches; Sharman was also inducted as a player.

Early career
Born in Aberdeen, South Dakota, Barry starred in basketball, baseball, and football in high school in Madison, Wisconsin. He continued his success at Lawrence College in Appleton, later completing his degree at the University of Wisconsin in Madison. He returned to Madison High School to begin his coaching career, and then became the athletic director at Knox College in Illinois from 1918 to 1922, where he also served as coach of football, basketball, baseball, and track.

In 1922, Barry was named basketball coach at the University of Iowa in Iowa City, and also became a football assistant under Hawkeyes head coach Howard Jones, an association which would continue for 15 years at two universities. Barry also coached the baseball team in 1923 and 1924. He led the Hawkeye basketball team to Big Ten Conference co-championships in 1923 and 1926—the first two conference titles in team history. In 1929, he wrote a handbook on the sport: "Basketball: Individual Play and Team Play" that featured University of Iowa players and facilities. He also helped Jones guide the football squad to an undefeated 7–0 season in 1922, winning a share of the Big Ten title—the last for Hawkeyes football until 1956.

In 1929, the University of Southern California in Los Angeles was in need of a new basketball coach, and Jones—at USC since 1925—recommended his old colleague for the position. Barry followed Jones out west, and took over the USC basketball program as well as the baseball team, while also resuming his duties as an assistant football coach under Jones. Barry's Trojan basketball teams won Pacific Coast Conference titles in 1930, 1935, and 1940—along with eight southern division titles between 1930 and 1940—and conference crowns in baseball in 1930, 1932, 1935, 1936, 1939, 1946, 1947, 1948, and 1949. In 1940, the USC basketball team was widely considered to be the best in the nation, and participated in the nascent NCAA tournament, but they lost their bid for the national title when they were upset in the national semifinal at Kansas City, against Kansas, when the son of opposing coach, Phog Allen, made a basket with seconds left for a one-point victory. Despite the loss, the Helms Athletic Foundation later retroactively selected USC as the 1940 national champions.

Barry was also a valued part of the USC football teams which claimed national championships in 1931, 1932, and 1939, as well as seven PCC titles and five Rose Bowl victories. He was Jones' top assistant on the sidelines from 1929 to 1940, also serving as the team's chief scout and coach of the "Spartan" scout team. Barry was often credited by the "Headman" with devising the strategies that proved most effective in shutting down opponents. Although such titles were not used at the time, Barry's position would likely have been equivalent to that of the modern defensive coordinator. The team's football successes included a 25-game winning streak from 1931 to 1933, and the undefeated 1938 team's 7–3 victory in the Rose Bowl over Duke — a team which had previously held every opponent scoreless.

The 1940s
After Jones' sudden death from a heart attack in July 1941, Barry was a natural choice to take over the reins of the football team and became head coach of all three major team sports simultaneously. He had not been without success as a head coach himself; his Knox College teams posted a record of 15–12–4 from 1918 to 1921, including a perfect 8–0 mark in 1919. The 1941 USC football team finished with a losing record at 2–6–1. Not only was the team mourning the loss of Jones, but Barry also found himself facing a schedule in which a majority of USC's opponents were coached by future Hall of Famers, including Paul Brown, Frank Leahy, and Clark Shaughnessy. Injuries and illnesses also took their toll, depleting the roster at one point to a mere 28 players. Despite these roadblocks, Barry put together a team which improved offensively throughout the year, gaining popularity as the season progressed. The crowd of 86,305 at the USC–Stanford game was the largest in the nation in 1941. And the team made some upsets, defeating Rose Bowl-bound Oregon State, and nearly toppled fourth-ranked Notre Dame on the road in Indiana, falling by only two points.

In 1942, other concerns took precedence as the 49-year-old Barry entered the U.S. Navy for service during World War II. He recommended Jeff Cravath to take over his duties as USC football coach, Julie Bescos as basketball coach, and Rod Dedeaux as baseball coach for the duration of the war. As a lieutenant commander, Barry was in charge of physical and military training of Navy personnel in the South Pacific, for which he would later receive a Naval Commendation from then Secretary of the Navy James Forrestal.

After leaving the navy in 1945, Barry resumed his positions leading the USC basketball and baseball teams, while also returning as a football assistant under Cravath. He began to restore the basketball program to a nationally competitive level, and found his greatest success yet in baseball. At the 1948 College World Series, the Trojans captured their first title by defeating a Yale team captained by future President George Bush. The finals were held at Hyames Field in Kalamazoo, Michigan, settled by a 9–2 win in the third and deciding game. The Trojans had a chance to repeat in 1949, but were eliminated when they suffered a pair of extra-inning losses to Wake Forest, both by 2–1 scores.

As the years passed, however, it became evident that Barry was suffering physically from the stress of his various responsibilities. Despite medical warnings, he agreed only to give up coaching the football scout team, continuing as head coach of two sports and serving as chief scout and sideline assistant in football. It was while scouting a USC opponent in 1950 that he died. Attending a football game in Berkeley at the University of California on September 23, he suffered a heart attack while climbing the hill to Memorial Stadium, and died before reaching the hospital.

At USC's next home football game—fittingly, against Iowa—the student body paid tribute to Barry during halftime, taking the field in a block "SC" formation and, after the Coliseum lights were turned out, lighting matches on the field of the darkened stadium for a minute of silence in memory of the coach. He was buried in Holy Cross Cemetery in Culver City.

Legacy
Barry's 18 seasons as a USC assistant football coach (1929–1940, 1945–1950) rank second only to the 26 years served by Marv Goux. His 19 years of overall participation in the program trail only Goux (31 years) and Cravath (23 years). His death came just as USC basketball was regaining its pre-war success, on the cusp of the West Coast's 1950s surge in the sport which included teams coached by John Wooden at UCLA, Phil Woolpert at San Francisco, and Pete Newell at California.

Sam Barry's players benefited greatly from his leadership and teaching ability. Four basketball players— Jerry Nemer, Lee Guttero, Ralph Vaughn and Bill Sharman— earned consensus first-team All-American honors; Barry is one of only 12 coaches in history to guide as many players to this honor. Perhaps his most visible legacy is the large number of his players who went on to successful coaching careers in their own right: Sharman, Alex Hannum, Tex Winter, Jack Gardner, Forrest Twogood, and Bob Boyd in basketball, and Rod Dedeaux in baseball. In addition, Hall of Fame manager Sparky Anderson got his start in the sport while serving as a USC batboy in the 1940s. In all, 14 of Barry's baseball players went on to appear in the major leagues.

Barry was also nationally renowned as an innovator—he was the person most responsible for the elimination of the center jump after every free throw and basket in basketball, a move which resulted in a much faster-paced game; and he was also behind the move to create the center line and 10-second rule. He was the inventor of the triangle offense, which his pupil Tex Winter refined to bring great successes to the NBA champion Chicago Bulls and Los Angeles Lakers teams. And Barry, along with Kansas coach Phog Allen, was one of the two primary national advocates of the delayed offense (commonly referred to as "stalling"), which was a staple of college basketball strategy at such powerhouses as Kansas and North Carolina, and throughout the country, before the introduction of the shot clock in 1985.

A respected figure in basketball circles since his early years—Barry was one of the two officials who worked the 1923 Illinois high school basketball championship game—he served on many significant NCAA committees in his later years, and was a primary force in establishing such national playoffs as the NCAA basketball tournament and the College World Series. His teams' popularity spread to the playing field and court as well. In addition to the leading crowd of the 1941 college football season, his 1939–40 basketball team drew a record crowd when visiting Madison Square Garden.

His accomplishments as a coach still stand today – his 40-game winning streak in basketball against UCLA, compiled from 1932 to 1942, and continued in 1946, stands as the longest winning streak by any coach against a single opponent in the history of college basketball. Only two other coaches have duplicated his achievement of leading teams to both the Final Four and the College World Series. In 1966, he became a member of the charter class of inductees to the American Baseball Coaches Association Hall of Fame, and in 1978 he was elected to membership in the Naismith Memorial Basketball Hall of Fame. He was among the 2007 class of inductees to the USC Athletic Hall of Fame He was inducted into the Pac-12 Basketball Hall of Honor during the 2012 Pac-12 Conference men's basketball tournament, March 10, 2012.

Accolades

 * "His successes as a basketball, baseball and football coach would fill several books but it can be safely said that when Sam died suddenly ... he left not one enemy along the trail of his phenomenal career. ... In the years to come, Sam Barry will be talked about in the same breath with Dr. Naismith when the development and progress of the game of basketball are discussed." – Paul Zimmerman, Los Angeles Times, September 25, 1950
 * "I feel that the Pacific Coast Conference has lost one of its finest coaches and I feel a great personal loss. He was one of the scrappiest coaches during a game and one of the nicest persons I've ever known after the game. He was a fine fellow in every respect." – John Wooden
 * "It is impossible to pinpoint Sam Barry's friendliness, his effect upon all groups. Sam was a man who loved his fellow men, loved life, loved living. He leaves a big hole, not only in the Trojan family, not only on the West Coast, but on the entire national scene. Sam Barry was a leader, the finest type of American citizen. Never having done a mean or injurious thing in his life, it is certain his soul rests in peace." – Dick Hyland, Los Angeles Times, September 26, 1950
 * "About the University Sam was affectionately known as 'Elevator Sam'. That was because he had more 'life' on the bench than gridders and coaches alike. He was up every time the ball bounced. Sam got a full measure out of living and fellowship. And whereas in this day of specialists most mentors confine activities to one sport, Sam lived three full, and complete, lifetimes in sports. And, exceptionally, Sam was tops in all three. He was considered second to none in basketball. He coached numerous champions. His baseball teams were frequent titleholders." – Al Santoro, Los Angeles Examiner, September 24, 1950
 * "For 34 of his 57 years the genial coach, whose name ranked with the Staggs, Warners and Joneses as bywords of the intercollegiate sports world, had engaged in one of athletics' most successful careers. ... Barry is the man most responsible for basketball as it is played today, a game that leads the nation in attendance." – Jack Geyer, Los Angeles Times, September 24, 1950

Records and accomplishments
Longest winning streaks by a coach against a single opponent, college basketball:

 * 40 – Sam Barry (USC) vs. UCLA, 1932–1942 and 1946
 * 38 – Lute Olson (Arizona) vs Washington State, 1986–2004
 * 37 – Adolph Rupp (Kentucky) vs. Mississippi, 1933–1972
 * 32 – John Wooden (UCLA) vs. California, 1961–1975
 * 31 – Frank Keaney (Rhode Island) vs. Maine, 1924–1948
 * 31 – Bob Knight (Indiana) vs. Wisconsin, 1980–1996

Note: Currently, school records do not credit Barry with coaching the team in 1942, which would reduce the streak to 38 games; however, newspaper reports indicate that Barry was still actively coaching the team, both in practice and in games, until after the two 1942 UCLA victories.

Coaches who have guided 4 or more players to consensus 1st-team All-American honors in men's basketball:

 * Adolph Rupp (Kentucky) – 10
 * Dean Smith (North Carolina) – 9
 * Mike Krzyzewski (Duke) – 8
 * John Wooden (UCLA) – 8
 * Bob Knight (Indiana) – 6
 * Ward "Piggy" Lambert (Purdue) – 5
 * Lute Olson (Arizona) – 5
 * John Thompson (Georgetown) – 5
 * Forrest "Phog" Allen (Kansas) – 4
 * Sam Barry (USC) – 4
 * Jim Calhoun (Connecticut) – 4
 * Roy Williams (Kansas) – 4
 * Rick Barnes (Texas) – 4

Coaches who have led teams to both the Final Four and the College World Series:

 * Sam Barry (USC) – Final Four in 1940; CWS in 1948 and 1949
 * Everett Dean (Stanford) – Final Four in 1942; CWS in 1953
 * Frank McGuire (St. John's, North Carolina) – Final Four in 1952 (St. John's, runner-up) and 1957 (UNC, champions); CWS in 1949 (St. John's)

Note: Barry's teams won only the baseball title, while Dean's and McGuire's teams won only the basketball title; however, Dean and McGuire were not coaching both sports simultaneously in the years involved, as Barry was.

title: Sam Barry


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User talk:205.188.116.6

Nomination of Colonization of Europa for deletion
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The article will be discussed at Articles for deletion/Colonization of Europa& until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

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title: User talk:205.188.116.6


text: User talk:68.63.172.69

title: User talk:68.63.172.69


text:
Captain Sensible

Raymond Ian Burns (born 24 April 1954), known by the stage name Captain Sensible, is an English guitarist, singer and songwriter. He co-founded the punk rock band the Damned in 1976, originally playing bass before switching to guitar. He is known for his distinctive appearance including a red beret and sunglasses, typically with white frames. Sensible embarked on a solo career during the 1980s, achieving a UK number one hit with his version of Rodgers and Hammerstein's "Happy Talk" (1982) and further hits with "Wot" (1982) and "Glad It's All Over" (1984). In 2006, Sensible founded the Blah! Party. He continues to perform in the Damned.

Early life
Captain Sensible was born in Balham, London, on 24 April 1954. He went to Stanley Technical School for Boys in South Norwood, Croydon. The first musical instrument he played was a Bontempi organ. Growing up, he listened to Brian Auger, Syd Barrett, Small Faces, Egg, Stray, Soft Machine and the Groundhogs.

The Damned
Originally a member of the Johnny Moped band, Captain Sensible joined the Damned in 1976 on the suggestion of his colleague Rat Scabies, the band's drummer, filling a number of positions during his tenure (including bassist, lead guitarist and keyboardist), and eventually becoming the band's main songwriter following the departure of Brian James.

Captain Sensible left in the 1980s to concentrate on solo projects,and studied in West Sussex but rejoined in 1996 after Scabies left, and co-wrote Grave Disorder, the band's first new studio album for 8 years, in 2001. He continues to tour and record with the band.

Solo career
Captain Sensible's first solo release came in 1978 with the single "Jet Boy, Jet Girl", an Elton Motello cover recorded while the Damned were on hiatus. He followed this in 1981 with the This Is Your Captain Speaking EP on Crass Records. He signed to A&M Records and had a UK number one hit in 1982 with a cover of "Happy Talk", the Rodgers and Hammerstein song from South Pacific, featuring backing by Dolly Mixture and a band including Robyn Hitchcock on guitar. This was later sampled for British hip hop artist Dizzee Rascal's 2004 song "Dream".

Other Captain Sensible songs that became hits in the UK and Europe were "Wot", "One Christmas Catalogue" and anti-Falklands War "Glad It's All Over", which was co-written and produced by Tony Mansfield. After quitting A&M Records he continued recording for various independent labels, including Deltic Records and Humbug Records. He has also toured with his solo band Punk Floyd.

Captain Sensible's recording of "The Snooker Song" from Mike Batt's musical The Hunting of the Snark was used as the theme music for the BBC gameshow Big Break, and he also wrote and performed a song called "Brain's Theme" for the movie Skinned Deep in 2004.

Captain Sensible is also a member of Dead Men Walking, a supergroup featuring Mike Peters, Kirk Brandon (Spear of Destiny) and Slim Jim Phantom, and the Sensible Gray Cells with current Damned mate Paul Gray.

Politics
In September 2006, Captain Sensible formed a new British political party known as the Blah! Party, saying, "We believe that voting is an important part of the democratic process, and we want the Blah! Party to be the party of protest, a channel through which the people of the U.K. can vent their dissatisfaction at nonsensical everyday things, and protest against the government and the current crop of political parties."

The Blah! Party was largely modelled on the principle of direct democracy, with suggestions being made by anyone on the party website. These suggestions would then be voted on by the membership, resulting in a "rolling manifesto." The party was launched on 24 September 2006 at a conference in Manchester. Initial policies included stopping "chav culture and the idolisation of airhead celebrities like the Beckhams, Paris Hilton and Jade Goody", alongside more serious policies of opposing the Iraq War and ID cards, instead spending money on public transport, hospitals and renewable energy.

The Blah! Party entered into a sponsorship deal with Seabrook Crisps in September 2006, with the party logo and details on joining for free printed on their packets. The party also received non-financial support from PR company Propaganda. The party received £168,309 in the last quarter of 2006. The party was debt-free in 2008, with a membership of 8,544, up from 5,000 in 2007.

The first Blah! Party candidate was Carl Finlan, who stood in the 2007 local elections in Thornton and Allerton ward, Bradford. He gained 69 votes (1.6%). Deputy leader Melodie Staniforth stood in the Holme Valley North ward of Kirklees as 'Boney Maroney' in 2008. She gained 38 votes (0.68%). She resigned shortly afterwards.

On 11 September 2007, Propaganda handed total control of the Blah! Party to Captain Sensible, former Official Monster Raving Loony Party deputy leader Melodie Staniforth, Robert Staniforth, Sadie Ingoldby, Shaun Nightingale and Gary Spate. In December 2008, Propaganda closed the website. The party ended its association with Propaganda and Seabrook, launching a new website. At the same time it de-registered from the register of political parties, deciding to instead be a protest group.

Personal life
Captain Sensible was previously in a long term relationship with Rachel Bor of Dolly Mixture. The couple have three children together. He is currently married to Mayumi.

Burns adopted his stage name Captain Sensible ironically because he described himself as a "debauched maniac" who had fun "regardless of the consequences." However, after living at Dial House (the commune where the anarcho-punk band Crass lived) for a week to record an EP in 1981, his life changed and he became a vegetarian who adhered to Crass' pacifist and creative aims. Captain Sensible has written several songs about animal rights, including "Torture Me" and most notably the 1985 single "Wot! No Meat?".

He is a supporter of Crystal Palace F.C..

Burns is a railfan, particularly enjoying diesel locomotives after being rescued from a stranded service in cold weather by one as a child. He later named Deltic Records after the Deltic locomotives. Class 47 diesel locomotive 47810 was previously named Captain Sensible after Burns.

Solo

 * Albums
 * Women and Captains First (1982), A&M – UK No. 64
 * The Power of Love (1983), A&M
 * Revolution Now (1989), Deltic
 * The Universe of Geoffrey Brown (1993), Humbug
 * Live at the Milky Way (1994), Humbug
 * Meathead (1995), Humbug
 * Mad Cows and Englishmen (1996), Scratch

 * Compilations
 * Sensible Singles (1984), A&M
 * A Day in the Life of ... (1984), A&M
 * A Slice of Captain Sensible (1997), Humbug
 * The Captain's Box (1997), Humbug – [contains A Slice of Captain Sensible and Meathead]
 * Sensible Lifestyles: The Best of Captain Sensible (1997), Cleopatra
 * The Masters (1998), Eagle [reissue of Mad Cows and Englishmen, including bonus tracks]
 * The Collection (2003), Spectrum Music

 * EPs
 * This Is Your Captain Speaking (1981), Crass – UK Indie No. 3
 * The Universe of Captain Sensible (1998), Jarmusic [contains 5 tracks from Revolution Now and The Universe of Geoffrey Brown]

 * Singles

Notes

The Damned

 * Damned Damned Damned (1977)
 * Music for Pleasure (1977)
 * Machine Gun Etiquette (1979)
 * The Black Album (1980)
 * Strawberries (1982)
 * Grave Disorder (2001)
 * So, Who's Paranoid? (2008)
 * Evil Spirits (2018)
 * The Rockfield Files (2020)
 * Darkadelic (2023)

Dead Men Walking

 * Live At CBGB New York City (2005), Resistance
 * Graveyard Smashes Volume 1 (2006), Resistance
 * Easy Piracy (2015), Slimstyle Records

The Sensible Gray Cells

 * A Postcard from Britain (2013), Easy Action
 * Get Back into the World (2020), Damaged Goods

The Jack Tars

 * The Jack Tars EP (2015)

title: Captain Sensible


text:
List of geological features on Iapetus

Most Iapetian geological features are named after characters and locations in the Old French epic poem The Song of Roland, specifically the English translation by Dorothy L. Sayers.

Montes
A mons, pl. montes , is a mountain.

Regiones
There is one named Iapetian regio (area of distinct albedo difference), Cassini:

Terrae
There are two named Iapetian terrae (large 'land' masses).

The adjectival form of Roncevaux is Roncesvallian.

Craters
Named impact craters are:

title: List of geological features on Iapetus


text:
A Cool, Dry Place

A Cool, Dry Place is a 1998 American drama film directed by John N. Smith and written by Matthew McDuffie, based on the 1996 novel Dance Real Slow by Michael Grant Jaffe. The film stars Vince Vaughn, Monica Potter, Joey Lauren Adams and Bobby Moat. It received a limited theatrical release in the United States on November 6, 1998, by 20th Century Fox.

Plot
Single father Russ gets woken by his five-year-old son Calvin, who is soaked after getting up to mischief in the rain early in the morning. Cleaning him up makes Russ late to the sitter's, who subsequently won't take Calvin because her daughter is ill, so he is forced to bring Calvin to work.

Russ has to balance work as a lawyer with caring for Calvin after wife and mother Kate left them two years ago. The father and son have moved to small-town Kansas from Chicago after Russ's corporate law firm fired him for not always being available due to his son. Although Russ is very experienced in the courtroom, as he's just passed the Kansas bar exam he's assigned the least appealing case. This smaller law firm hired him thanks to his former college roommate Bob. The client Joyce Ives had crashed into a restaurant with her husband Larry's car, for cheating on her with Carol, a waitress there. She's trying to sue the restaurant.

Calvin receives a postcard from his mom saying she misses him, often sending them although she left them 18 months ago. Grandpa sends Calvin a type of jellyfish from Florida. It is obviously dead but Calvin wants to keep it, naming it "Mom". Kate calls, wanting to talk with him, but Russ won't let her.

Russ also coaches the local high school basketball team. He benches the disrespectful Noah for his frequent absences from practice. When Russ and Calvin are in town, Noah's older sister Beth dumps a bag of dog food on Russ's windshield in retaliation. She frightens Calvin, but offers to make it up to the boy by taking him horseback riding.

Afterwards over lunch, Beth asks Russ out. As the babysitter is not available, she makes them dinner and spends the evening with them. After Calvin falls asleep, Beth and Russ are intimate and drawn into a romantic relationship. This is interrupted when Kate reappears, wanting to reassert herself in her son's life. She calls when Beth is still there the following morning while Russ is showering, so she leaves abruptly. Kate shows up minutes later and Russ is resentful and suspicious of her. She initially says she's available while he admits he's seeing someone.

Russ begins to feel torn between the two women and about what to do with Calvin. Kate's sudden appearance leads him to doubt his ability to raise his son on his own and in his own parenting skills. After a third day with her visit, she stays until late so he lets her stay the night.

A late call from the police gets Russ out to collect Noah who was in a collision and is drunk. He lets him sleep it off in the living room. Later that night, just as Russ starts to think he might reconcile with Kate, she confesses that not only has she fallen in love with someone else, but that she probably never even loved him.

In the morning Beth comes to collect Noah. When she sees Kate coming downstairs looking for Russ, she rushes out. When he follows Beth out, although he insists that things are over with Kate she says she doesn't want to get caught up in it and leaves.

While Russ is in Dallas interviewing for his dream job at a major law firm, he leaves Calvin with the neighbor Charlotte to stay overnight. On his return, when he goes to pick him up he discovers Kate recently has run off with Calvin to Cincinnati.

When Russ realizes the boy is missing, he talks to Beth, who convinces him that Calvin needs him and he must try to get him back. Russ turns down the job in Dallas, and drives to Cincinnati. Kate relinquishes Calvin back to Russ after acknowledging that she can't handle it, and he and Calvin return to Kansas and Beth.

Production
Author Michael Grant Jaffe first wrote the manuscript for his novel Dance Real Slow in the early 1990s while working as a reporter at Sports Illustrated. Before the novel was published in 1996, Fox 2000 secured the movie rights for six figures. Matthew McDuffie then adapted the book into a screenplay. The film became titled A Cool, Dry Place, which was Jaffe's original title for his book.

Chris O'Donnell was initially attached in the lead role, but the actor's wedding conflicted with the filming schedule and he was also thought of as too young by some producers. The film was shot in Ontario, with locations including Toronto and the town of Lindsay (now part of the city of Kawartha Lakes).

Reception
In a review for Variety, Lael Loewenstein wrote, "Vaughn does what he can with the part, but his unimpassioned demeanor obscures the vulnerability that would have made Russ a more empathetic character. One craves the tenderness of Tom Hanks' widower dad in Sleepless in Seattle or the sentimental journey of Dustin Hoffman's divorced father in Kramer vs. Kramer, but Vaughn's Russ doesn't feel as lived-in as those memorable performances." Other criticisms were of the script's melodramatic aspects and that the characters were underwritten.

title: A Cool, Dry Place