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Peter: On set Frank mentioned that originally you wanted to take this film much further into the story that you had plotted out.

Colin: Yeah.  I mean, the ending was the same.  It was that we wanted to cycle further forward into the integration of the animals into the world.  I think ’cause we were so excited.  And what we found is that by doing that it sort of defused this story that we were telling.  And if it was really gonna be effective, we had to show that restraint.  So much of writing is restraint.  And just recognizing that if we just blow it all out and lay it all on the screen, we’re gonna have nowhere left to go.  So that’s why when Derek and I talked about the second movie, we talked about the second and the third and there were so many ideas ’cause all writers know that it’s too many ideas is usually the problem.  It’s never not enough.  And so making sure that we were just judicious and thoughtful and made a singular experience specifically designed for Bayona, that that would work.  

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Peter: This film takes things in a very different direction.  Is there any concern that maybe audiences might not like where you’re headed?

Colin: Every day.  Of course.  I mean, I have to be concerned about that.  Because I’m so hyper-aware of the emotional resonance and value placed in the main character that we’re killing in this movie.  We burn down the island.  And we treat that in a way that we would any other major character that we love.  It’s like the burning of a church or a temple when it happens.  And we understand all of the risks inherent in that, but we also know that we have to move forward in a way that feels organic to the story that everybody loves.  And I hope that people embrace it and understand what we’re doing and are able to go with us.  But that’s really so much what this kind of storytelling is.  When you’re making a new version of something that people love, you’re just kind of holding out your hand and saying, like come with me across this bridge.  Are you willing to come with me?  And hope that they’ll walk.  

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Peter: You were talking about the ending before and I do really like this film, but I’m a little confused by the ending and I’m wondering if you can clarify it. There seems to be a big disparity from what Jeff Goldblum’s character Malcolm is trying to say. He’s painting this grand vision of there being tons of dinosaurs out there, but it seems to me that there’s only like a dozen or two dozen dinosaurs and they’d be easy to just like send the National Guard out and capture or kill them.

Colin: Well, but there’s also all the DNA that went out.  I mean, maybe it’s only one shot, but there’s a shot of a briefcase with like 20 different kinds of species in it.  That we’re all sold off as well.  And I think that he’s a predictor.  And so what he’s saying is like he’s Al Gore.  And he’s saying like look, I predicted that this global equilibrium that everybody was so confident would remain exactly the same has clearly not anymore.  And we, again, we didn’t wanna go too far and we’re certainly gonna jump into the future in the next movie a little bit further down the line.  But really we felt like that the responsibility of a second film is to make sure that at the very end, everything is changed and nothing will ever be the same.  And that’s where we leave it.  

Peter: That’s interesting.  Because I don’t know what that third film is.  Because I feel like it’s court hearings…?

Colin: Well it’s not, I don’t see it as being a domestically, it’s not a localized story ’cause they’re going all over the world.  And I feel like the ability, there’s a line in the first movie, which I think we left in the movie, where he says, we won’t always be the only ones who can make a dinosaur.  And in this one he’s saying, they’re gonna make more.  And the idea that InGen, that this one guy, that Doctor Wu is the only person who knows how to do this after 30 years of this technology existing starts to strain credibility for me.  There’s Mac, there’s PC, people learn technology, nuclear power he mentions the beginning.  At first it was the U.S. and now what is it, 15 countries that can do it?  It’s only been 50 years.  

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Peter: Let’s rewind for a second.  The opening sequence is probably the best opening sequence of this franchise.  Actually, it is the best opening sequence of the franchise.

Colin: Thank you.

Peter: And it seems to borrow from earlier Spielberg ideas from earlier films. Or is that not true?

Colin: Probably just instinctively.  I didn’t pull from anything.  I knew we were going to completely shift the ground beneath the feet of the franchise over the course of the movie.  And so I wanted to construct a sequence that was the ultimate Jurassic Park-like everything.  Yellow raincoats and dinosaurs in the rain and like just multiple layers of peril and there’s obviously a story point to it.  It’s not completely random.  But that’s me and Derek and JA Bayona just working in concert to do the ultimate tribute to everything we love about the franchise before we start to move the franchise in a different direction.

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