Jurassic Park TRex

Question: Did you get to build her again?

Colin Trevorrow: We got to build everyone from the ground up because technology has changed so much that everything is a rebuild. And I got to bring in dinosaurs that I’ve always thought deserved a big scene. There’s an Ankylosaurus in this movie; was a really big scene and that’s just a bad ass dinosaur. And there are others. There’s smaller appearances, some bigger appearances. You know, we have an underwater reptile. I’m sure you’ve heard about that. That thing is pretty cool. We have a new kind of flying dinosaur that no one’s ever seen before, you know, in addition to the Pteranodons that are really scary. And I didn’t want to just throw the kitchen sink at it. Each of these movies has done a good job at just very carefully, in a measured way, increasing the new dinosaurs that you see. But, there’s a lot of dinosaurs in the movie for sure.

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Question: How do you control flying dinosaurs?

Colin Trevorrow: Well, I mean, you don’t. That’s kind of the point.

Question: Can you say if you’re going to be dealing with the other islands at all?

Colin Trevorrow: No, this is all set right here. And we’re not ignoring the other two films but, being that they took place on another island, this is–we’re focusing on the history and the future of this island.

Question: When I asked if you got to rebuild the T-Rex, I meant more in a practical–.

Colin Trevorrow: –Oh, in a practical sense. Well–.

effects artist John Rosengrant working in a raptor half-suit for Jurassic Park III.


BTS The Lost World

Question: –Did you–can you talk a little bit about some of the practical versus CG?

Colin Trevorrow: A little, yeah. I mean, we have ond scene that is an animatronic animal. I don’t want to tell you the nature of it, but it’s really beautiful and it’s a real tribute to Stan Winston and what he did. And there’s other elements of–it’s just a very special moment. So, that’s something I want people to discover. But, there’s other elements where animatronics are used just so people can touch them. And there’s other moments where maybe in the past they would’ve used an animatronic. They might’ve built, you know, a giant head but because a scene is so short or brief in which you just see the head, we’ve tried to, you know, keep that motion and that sense of, like, slow wait. So, even some of the CG animals will look animatronic based on the way that they move because usually when you get really up close to the head, there was just that sense that it could crush you if you got underneath it. And it’s very difficult to do with CG, but we’ve come so far that we always try to have it interact with something practical. Little things move. So, I think however far the animatronics take us, I think people will feel like we maybe used more than we did just because the way we’re executing it.

Question: You were speaking of the mystery box earlier and sort of that era being over. But, one of the keys to the first Jurassic Park was hiding the dinosaurs for the longest time. You never saw them in the trailers. Can you pull that off here? Or do you think audiences are expecting to see a dino in the trailer just to know what you’re working with now? Like, what sort of surprise–?

Colin Trevorrow: I think we’ll really do hold off that something that we focused on a lot and–you know, but hopefully not in a way that’s frustrating for people. And then when we go big… When it happens, it happens. And that’s–you know, that’s a real–I was saying earlier, that’s the privilege that we have. The advantage of this movie is that our first 45, 50 minutes we get to build and just be with people in a real place that they’re experiencing and then pull the rug out. So, it doesn’t start off with an opening scene with dinosaurs all around you. It really does slow build. So, I just think it’s a more effective way to tell a story.

Mark Englert's variant Jurassic World comic con poster

Question: But, even in the early advertising terms because that was really the thing back when Jurassic Park advertised, you never showed any. And I remember a famous [unintelligible] religiously back then, it was–there was that picture of, like, a dinosaur under wraps. Like, literally, it was Steven Spielberg sitting on top of it and it was saying, like, no one see it. No one knew how these dinosaurs were going to look. So, can you get away with that kind of, like, CG–?

Colin Trevorrow: –We’ll do it for some. You know, others–you know, I obviously sat down with the Universal marketing people and you can have this one and it’s almost like cards. I want all of these ones. So, they’re–you know, it’s a big movie and I know that I want it to do well very well at the studio. And I need them to be able to, you know, bring people to the table. But, I feel like we have, like, two images that we can show that if you see that, I think you’re going to want to go see it. So, we’ll be very careful and just, show you something really good.

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Question: Are the hybrids the ones that you’re more protective of?

Mr. Colin Trevorrow: Hybrid. There’s only one.

Press: The hybrid.

Colin Trevorrow: And that came for my son, actually. There was a moment–because… there’s the synthetic and there are the organic and they’re the dinosaurs that we know and love. And there’s this thing that has to be eliminated. And it came from my son. In an earlier draft of the script, there was a moment when he realized that there was another and that they were making more and that kind of thing. And my son, who’s five, saw Star Wars for the first time. And he had seen Jedi; I showed him to him. You know, I waited, like, nine months between. I separated it for him. And then he saw Jedi and he had only seen those three. And he was, like, I don’t understand. Like, if Leia is also a Jedi, then Luke isn’t unique. It was, like, oh, you’re right. There can be only one hybrid dinosaur. So, there will be only one and it’s because of my five-year-old son who made a quite astute observation about Luke Skywalker.

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Question: I know Spielberg is busy doing his films and stuff but he worked with you on the script. I’ve heard so many great stories about how he comes in and has an idea or pluses or some kind of moment. Can you give any story about how he’s influenced your film?

Colin Trevorrow: I can give an example. You know, beyond the script stage, I had an idea and you’ll see this–by the time you guys are able to write about this, people will have seen this image. But, I had an idea for we have the Mosasaurus, which is the underwater reptile. And I came to him and I had a piece of art. I was, like, here’s the deal, man. So, there’s going to be this arena and it’s like at Sea World and there’ll be a lady out front and be, like, well, you know, she didn’t eat yet today, everybody. So, let’s hope she’s still hungry. Like, super perky. And this mosasaurus will rise up out of the water and eat a shark, what do you think? And he has to be in on it. And he’s, like, no, I get it. I see what you’re doing. And I’m cool with it. But, what would be really cool is if afterwards–after she eats the shark, if she goes underwater and then all the bleachers sink down underwater into a tank and you can watch her finish it off and just see the blood. Like, Jesus, okay. Yeah, all right, we’ll do that. That sounds great. So, it’s really–it’s improv. It’s like a yes and kind of a game. And there have been a couple moments throughout. In the past month or so we haven’t spoken as much because he seen the dailies every day and he’s happy with what we’re doing. But, occasionally, he would see what we’re doing and say, you know, this is the thing I was going to show you. He’d say, oh, no, you need a shot to show the scale of animal. So he would draw a picture on, like, a notepad, you know, not necessarily beautifully designed. But, I would get–I know I have it in here somewhere. Here we go. So, he’d be, like, oh, you see, you need to have them–he’s got to sniff behind the crane, right? And then, you know, then we reveal him under the tire. And then, like, you know, here’s the move and you start pulling back. Like, all right. I’ll go shoot that. No problem.


Question: Given the way that some of the sharks are treated at Sea World, or how they were treated, but it did kind of surprise me that there aren’t, like Jurassic Park protesters like there are protesters of Sea World.

Colin Trevorrow: Right.

Question: Was that an avenue that you thought at all? Like, animal rights activists would be up in arms about, like, this idea of genetically engineered dinosaurs in captivity?

Colin Trevorrow: I think there would be. I think that’s something I might want to save. There’s a lot that happens in this movie. There is a character that has, because yeah, there’s a bit of a Black Fish vibe to this story. That’s all there. And so, I wanted to introduce a world where people hadn’t, you know–we don’t really go too far outside the island. And so, it’s a bit of a bubble. When you’re there, you’re presented with this very corporately stylized experience. And then the cracks begin to show. And that’s why there’s so much of it. There’s not a lot of product placement in the movie where people do this, but everything’s labeled and everything’s named. There’s a Starbucks on the corner. And that, to me–to be able to build all of that and then have the oldest creatures on the planet tear it apart was very exciting to me. Very exciting.

Jurassic World IMAX

Question: Were the brands excited to have that happen? Or–yeah?

Colin Trevorrow: Everybody knows they’re getting torn apart. They’re totally down with it. No, that was one of the cool things. And we have partners on this movie who totally get it. We have a Ben & Jerry’s, which being from Vermont, that was like, the one they made a flavor and everything. And no, I think the sense that this is a real place is so pervasive. When you watch the movie, I think there’ll be kids–remember after Avatar, like people were, like, I have to go back to that place and they went through all that stuff. I think there’ll be kids who will just be, like, I have–I must go there. I have to go to this place. And because it’s real, I think you can sense when there’s a CG building, you know. These are real buildings and it’s a real gyrosphere and you saw it.

Jurassic World Robinson Simpkins

Press: Yeah. I want to go in one of those.

Colin Trevorrow: My kid got to ride in one. He was a very lucky kid. And he would get in there and we had this loading station for it that we built on this mountain side. And it has a track. It would actually come in, you could get into it, and it rolls you right out. So, we would have them, you know, use the thing and the guy had the remote control and he was totally convinced. Like, go forward, Nolan. And he would go and he would be able to reverse. And man, if I had that when I was a child. I tried to explain it. You don’t–some day, you will understand how awesome this is. It’s really awesome, man. It’s really awesome.

Jurassic World

Question: You know, we’ve been talking about the dinosaurs and the park, but we haven’t been talking about the characters at all. So, tell us about the characters. Like, who are the characters of this world?

Colin Trevorrow: Well, the movie is essentially a romantic adventure. It takes place between Bryce Dallas Howard‘s character who runs this park and sees the dinosaurs as assets and things that are to be — she is sort of Malcolm’s worst nightmare of, like, you stood on the shoulders of the giants and now, you just want to sell it. You want to sell it. That’s her. And then Chris Pratt, who is ex-military; a guy who is sort of out on the fringes of this park, doing some behavioral research with the raptors. And that story links in to Vince D’Onofrio‘s character who’s our villain and it all comes together. But, the middle of the movie is essentially Owen and Claire out in the jungle looking for these two boys who are her nephews who came from Wisconsin at the beginning of the movie and her sister while mediating their divorce has sent them to be with her sister in Jurassic World. And the first thing she does is give them passes and, you know, you’re going to be fine. And she’s busy. She moves on and these get into a horrifying scenario involving the gyrosphere, our new dinosaur, which is kind of out killing for sport because it grew up in captivity. It’s sort of, like, if the black fish orca got loose and never knew its mother and has been fed from a crane. And when you make a hybrid animal–like, any farmer will tell you that, like, hybrid cows are crazy. So, it’s crazy. And also having been raised in the way that it is that when it finally gets out, it’s just everything it sees. And so, they get into a situation involving that and Ankylosaurus, which has a tail that allows it to hit that ball like a pinball machine. And it’s actually ended up being scarier than I thought it was going to be. But, those two kids are out on the jungle on their own and it’s a little bit of Stand by Me as these guys–these brothers are trying to find their way out. And they end up making it here and get out here in a pretty cool way that I’m very excited about. And then the last third of the movie is just straight up terror. It’s just horrifying. It’s so scary.

Question: It does sound like you’re going back to one of the core of elements of the first movie which was the family. I mean, not a traditional family because it’s got–.

Colin Trevorrow: A matrix family.

Question: Yeah, and then that teaches them to become a family. But, that’s the part of it. Like, these two coming together to care for kids and then becoming a–.

Colin Trevorrow: You know, we really worked–I think these boys will be very well received as far as Jurassic Park children are concerned. I know that can be an issue. And there–you know, Ty is 12.


Press: How good at gymnastics are they?

Colin Trevorrow: No comment. No comment. But, they do bad ass stuff. It’s a real– Nick is 18 and Ty is 12. And so, it’s older boys on an adventure in a really old school kind of way. We also can put them in a level of peril that you don’t get to put children in that much anymore. It’s very–children in perilous times.

Press: Not like the old days.

Colin Trevorrow: Yeah, not like the old days. We go there. And the kids say, shit. Hopefully it’ll make the cut. But, these are the little details. When we say we love Amblin movies–.

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