Jurassic World Mr DNA

(Producer Frank Marshall joins the conversation)

Question: Is the cartoon DNA strand still welcoming visitors in the informational film?

Colin Trevorrow: He does make an appearance.

New Jurassic World Photo Reveals Richard Attenborough Tribute John Hammond Statue

Question: I love the statue of John Hammond because it’s almost like Walt Disney at Disneyland. Does he have more of a–is he seen at all elsewhere in the park?

Colin Trevorrow: He’s mentioned and referred to in many ways as, you know, there’s something about that statute. When shot in certain ways, he looks very warm. And when in shot in terrifying situations, it looks like the clown in Pee Wee’s Big Adventure where he’s laughing at you. And he has this look that you’re just, like, yeah, you probably could’ve warned us about this as well, your dream has gone horribly awry. You saw Irrfan here today. So, you know, Irrfan is the new face of where the money comes from. And he has a dream as well, but he also comes from a world in which, you know, large amounts of money will allow people to repeat mistakes that have been made in the past. But, you can feel him living in Hammond’s shadow, and BD Wong’s character is really who I thought was just the most organic link to the earlier films in looking at the reality. And now that you know what it’s about, the idea that, like, Sam Neill would come to the park on this particular day. It’s Die Hard 2. You know, it’s, like, why is the same thing happening to the same guy three times? But, you know, Dr. Wu was underappreciated, and under recognized and now, he’s reached a point where he’s very wealthy and is very well recognized. And it just seemed like there was a way to build him into this that would feel completely real.

Sam Neill Jurassic Park

Question: So, what you’re saying is that in Jurassic World II, when everything has gone to shit and they need somebody to come in and save it, and you have the park, that’s when you can bring in Sam Neill.

Colin Trevorrow: Yeah, you really got to need him. Yeah.

Press: And Matt Damon.

Colin Trevorrow: And Matt Damon. One of the expendables version where everybody fights dinosaurs.

Press: Jurassic Expendables. Forget all the rest.

Colin Trevorrow: Everybody.

Brad Bird Mission Impossible

Question: So, Frank, can you tell us what you saw in Colin that you’d seen in Colin to give him this after all? He would tell us a little bit, but, you know, he doesn’t have your perspective. After all the years you’re trying to get [another Jurassic Park] made, what did Colin have to really bring it to the table?

Frank Marshall: Well, it’s basic storytelling. You know, he’s–when we looked at his movie–actually, I have to go back because it’s all Brad Bird’s fault.

Press: It connects to Star Wars?

Frank Marshall: Yeah. So, it’s all a family thing, which is when they [Disney and Lucasfilm] were looking for directors [for Star Wars 7], we were also looking for directors [for Jurassic World]. And Kathy [Kennedy] and I were talking one night and there was this kind of wild idea that Brad [Bird] had about how he could possibly do Star Wars and Tomorrowland at the same time. And he says “there is this guy that reminds me of me.”

Colin Trevorrow: Oh, Brad.

Frank Marshall: And that he could depend on [Colin] to sort of prep everything and then he would step in and direct and of course, that’s the kind of pie in the sky. I’m sure Kathy would have a little trouble going to Bob Iger with that.

Frank Marshall: But, I said, well, okay, well, who is this guy? So, we screened the movie [Safety Not Guaranteed] and I kind of saw what Brad was thinking. And so, I don’t know whether I called your manager to get your number or what happened.

Colin Trevorrow: I remember–yeah, I think you called him and then you called me. I remember sitting at my house. “Frank Marshall’s on the phone.”

Frank Marshall: And, we had this great conversation. I went to Steven [Spielberg] and I said, you know, I think there’s somebody I’d like to bring out to meet. We had met a couple of people. I met a lot of people, but getting through me to the next step was–there weren’t many. And [Colin] came out and we’re here today, you know? It was just–it was the easiest thing I’ve done in a long time because it was so organic because we all wanted to make the same movie.

Frank Marshall: He’s a wonderful storyteller. And that’s what the movie’s about. It’s about storytelling. It’s not about action and dinosaurs. It’s about “who are the characters?” And he had done such a wonderful job in the other movie that it really was sort of like we had a mini-Amblin going.

Colin Trevorrow: Yeah. We were all talking about the things that we identify as being specifically Amblin and you probably wouldn’t guess some of–like, one of them is, like, kids say shit sometimes. Like, there’s–children are in peril.

Frank Marshall: Yeah, yeah, yeah.

Colin Trevorrow: Something you don’t really get to do anymore. And it’s just awesome that we get to–whether the kids say shit or not, we get to put children in peril in this movie and it’s just seeing children in horrifying and terror situations is so deeply satisfying.

Gremlins remake

Frank Marshall: Well, people say to me, how did you make Gremlins? How did you ever get away with making Gremlins? And I go I don’t know. We just did it. Gremlins has one of the best excuses for not involving the police when something goes down.

Question: What was their reason?

Frank Marshall: Well, it was actually–because they just don’t believe them. And then there’s the call back. … And when he calls the sheriff, oh, yeah, just like, you know, those–.

Press: Right. That was great.

Frank Marshall: All the little green monsters that multiply when you put water on them.

Safety Not Guaranteed

Question: Clever. I feel like Safety has that — has some real moments of wonder — especially in the ending. When I saw it at Sundance, the crowd got up on their feet and clapped. I’m sure that’s what Steven must’ve seen in [Safety Not Guarenteed]. What I feel was missing from the last two Jurassic Park films is that wonder and that, like, kind of — I mean, it had the terror, but it didn’t have…

Colin Trevorrow: Right. Well, there was a disadvantage that they had and they couldn’t — unless those characters thought they were going someplace that was going to be safe and wondrous, you don’t — you have to manufacture that moment. And in both of those, it’s like you’re going to an island; you’re probably going to die. And that’s exactly what happens.
No, that’s my favorite thing about this.

Frank Marshall: Well, and that was the pitch that really got us because the story we were on the track of was not this story. And it was Colin’s pitch of we need to go back to what we did in the first movie. And enter the park in wonderment and joy and happiness and deliver what they’re originally dreaming and then it can go up and everybody dies. It makes it all the more horrible when things do.

Colin Trevorrow: Yeah. Well, that was another thing that was important to us is that we didn’t. I feel like my whole career will be a struggle against being derivative just because I grew up on a very specific set of movies. And my instincts all come from there. So it’s constantly an effort to invent, invent, invent. And to not have a movie that felt like a retread, even from a narrative standpoint. We didn’t want the park to break down from an infrastructure standpoint. We had to find another way. And every single thing, finding another way to make this little detail happen so on a whole, it lives as its own piece. And to me, it feels — I think when you see this movie, it makes Jurassic Park — I don’t want say it feels like a prequel because it’s an incredible movie and this movie can’t be better than that movie. It’s just literally impossible because you can’t ever see that for the first time again. But, it feels like that movie is telling you the history of how this massive thing was made possible. It’s very cool to watch it. And when we get to see this movie, you’ll be able to watch Jurassic Park in the context of this movie. I think it’s a great companion piece to that movie.

Colin Trevorrow Jurassic World Follow-up

Question: Looking ahead to your editing phase, I mean, you’re going to be–wrap this soon, but you have a whole other year, essentially. What does that feel like? Are you looking forward to that process?

Colin Trevorrow: We’ve been cutting all along as we’ve been shooting. And so, I’ve seen a lot of the movie and I’m very confident that it’s working and it feels spontaneous and real and fun and all the things I want it to be. So, I’m just looking forward to it. I think it’s going to be a blast. And we get–you know, we’re moving to L.A. for a year and, I get to edit Jurassic World. Come on. It’s going to be great.

Question: You’re living with it longer than you would with Safety Not Guaranteed where the turnaround is much faster. Here, you’re looking to–.

Colin Trevorrow: –Yeah, we were saying, I’ve now shot four Safety Not Guaranteed since I’ve been here, entering the fifth this week. No, regardless of the size of the movie, sometimes a little movie like Safety can take longer to cut than a big movie just because of the resources and it was, like, me and a guy in his studio apartment. But, I think the active honing–there’ll be the version that will be the movie, but then that last 10 percent is always the hardest. And the last 10 percent is actually the last 90 percent in a lot of ways. It’s just like really getting it to work on all of the levels. So, that part, I look forward to the most.

Jurassic World Trailer Still 37

Question: Are you shooting performance capture on set? Or is that going to be, like, after principal photography?

Colin Trevorrow: That’ll be after. What we did–we had actually stand-ins, these guys that were the best who all came in and they had these raptor heads on. And at first, I think they all thought they were motion capture. And so, I would tell everyone, like, don’t tell them they’re not because it’s amazing what they’re doing. And they would get in and they would be the raptors and it was done. And they would, like, dance together and it was the best. We do one take just using them as a guide. And it’s great just for size if you have someone facing off with something that they could actually interact with. But, it’s amazing. You can do it essentially in real time now. So, you can have the image up and you have someone moving around a space and you can watch them placed right into your image and it’s extraordinary technology.

Michael Giacchino Jurassic World

Question: Do you guys have a composer yet? 

Colin Trevorrow: We do, yeah. Michael Giacchino.

Press: Oh, perfect. Perfect. Is the Williams score still going to be in there or–?

Colin Trevorrow: –We are going to–yes. Yes, it will. You know, Michael has been pretty great at — he brought a little bit of the original Star Trek TV show score in and he manages to do it and build something totally bold and new while still letting you have that sense it’s–the moments when that score is used, I can’t use it when you see a dinosaur, though. It’s got to be used for something else. And to me, the moment of wonder is when you see that the park exists. The park is real. And then we’ll go to new places, hopefully.

Press: Oh, that’s where the–in the original where the score kicks in the most.

Colin Trevorrow: Yeah.

Press: You know, one of my favorite moments in the whole movie, it has nothing to do with the dinosaur. It’s when John Hammond goes, there she–there it is.

Colin Trevorrow: Yeah. Yeah.

Press: You know, then the score sweeps up and you’re landing on the platform.

Colin Trevorrow: Yeah. Yeah, yeah. Yeah.

Jurassic Park cups

Question:When you were writing the script, was there any attempt–I know that you don’t want to redo Jurassic Park. But, was there any attempt to, like, oh, there’s that great scene with the cup and the water or whatever, we need something like that? Or–.

Colin Trevorrow: –That’s always a goal, to create iconic images at every step of the way, but that’s been something more here as where in any environment as opposed to planning something. Just if we see something–I mean, I wasn’t there for that. I imagine that that came in the process of being there and what if this happened. And that’s where–we have this one shot that–there’s several, but there’s one shot that I love where we had Bryce running away from something, a dinosaur, say, and we had–we saw her feet. Like, her feet were touching down in these puddles.

And so, we did this close up shot of just her high heels, like, running and splashing into these puddles with these giant feet behind it, like out of focus. And we just were, like, okay, oh, that’s going to be cool. That’s a thing.


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