Thirty years ago, Steven Spielberg's film Jurassic Park (1993) premiered, and no effects-driven blockbuster since has been able to escape its massive footprint. John Williams's score is best remembered for those musical set- pieces that capture a sense of beauty and awe inspired by the resurrected dinosaurs. But on a cue-to-cue level, most of the soundtrack is more atmospheric, dealing with subtler emotions and trading in more sophisticated compositional techniques. Using a combination of topical, set- theoretical, and narratival methodologies, I will isolate a number of "genetic" components of this score, observing how various motivic strands weave and twirl through the film's duration. Particular focus is lent to the so-called "Carnivore" motif (i.e. A-B♭-G♭-C) and the way it ramifies across the score in unexpected ways, particularly in scenes that call into question the ideological basis for the Jurassic Park "project," both internally and on a more metadiegetic, self-reflexive way. I conclude by considering the role of music theory more broadly in screen music analysis, in particular the appeals and dangers of a motivicist mindset.