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When you have somebody like Chris Pratt as your lead, he brings so much like natural chemistry and like a, not so much improv, but like a sense of spontaneity.  Have you had freedom to be able to be play a little bit loose and so you’re not a slave to the pre-vis?

Bayona: A lot, a lot, a lot.  Yes.  And I always try to give him as much space as possible, because this is the way he works.  The other day I was referring to him as a Jazz musician, because he’s very organic.  And he does every take totally different from one before.  And he does it the way he feels it.  He’s always very truthful to himself.  And every take is different.  And every take there’s something new that you love.  You know, it’s going to be difficult in the editing room to decide what are the best moments, because he’s great in all the takes.  And I’m all the time trying to give the actors a lot of freedom, even though these movies are very designed before they shoot.  I always try to keep them alive and keep them organic on the set.  So I always show the pre-vis to the actors.  We talk about it.  And a lot of times we change them.  On the set.

You have Jeff Goldblum coming back and reprising his role.  What can you tell us about him and working with him?

Bayona: I think it’s great to find links between the new Jurassic World movies and the old Jurassic Park movies.  So there’s details all over the film that are referring not just to the first Jurassic World, but also the first Jurassic Park movies, you know.  And having Malcolm was a great idea that Colin had.  And I think somehow he sets up the tone, the theme and the atmosphere of this film.

Okay.  That’s cool.  I mean, it’s embracing kind of what the trend that audiences like now.  And I think TV had a big part of that.  They like the long form storytelling aspect.  Marvel has been taking advantage of that.  But like people like Game of Thrones and they love watching a story develop.  So it’s the trick is being able to do, to pull that off and give them that feeling of living in a world and seeing a world that they’re familiar with without just making it a whole bunch of like hey, remember when you liked this moment?  And I think they did a pretty good job in the last Jurassic with that.

Bayona: Yeah.  And I think that Colin keeps doing it in this film.  I think he’s created the story one step forward.  At the same time, paying respect to the original Jurassic World and the original Jurassic Park movies.  But bringing the story, the story continues in this one.  And we keep going in the next.  Following a story that is longer than the film we’re gonna see.

We are back at Isla Nublar.  But it seems like you’re gonna leave that like 25 percent, like it’s only in the movie for like 25 percent, Frank said.  So what, where from there?  Where does the story go?

Bayona: I don’t know if I can talk about that.  This is one of the big surprises and I think that’s one of the things that I really appreciate when Colin told me the story the first time.  That we go to the island, but then we go to somewhere else.

Now you talked earlier about building a scene shot by shot, like a suspenseful scene, like a set piece.  Can you go into like talk a little bit about what that scene is so people like who might read the interview and then see the movie later will understand which scene that you are talking about?

Bayona: Yeah.  Well, I think there’s plenty of scenes.  It’s not only one.  I think that the second half is gonna play a lot on suspense.  And suspense is all about not accumulation, but escalating the tension.  It’s not just putting lots of stuff on the frame.  It’s more escalating the element in order to get the pace and the tension that puts the audience at the edge of their seats.  This is the dream for me.  In terms of the storytelling.

So it could be personal stakes, it doesn’t have to be like world ending, you know, 50 dinosaurs in a single shot kind of thing?

Bayona: No, it’s not like that.  It’s not like that.  It’s quite the opposite.  I mean, you will have 15 dinosaurs in the same frame.  But more at the beginning of the film and then at the end it’s more about the suspense and not seeing them.  That’s more interesting, always.

You mentioned that this is the second part of a trilogy that’s planned.  Can you talk about the balance of creating a complete story, but you’re setting up a third act as well?

Bayona: Mm-hmm.  I don’t know how much can I talk about the story, you know?

Okay.  I’m not looking for detail.  I’m just saying, how do you balance that? How do you tell a complete story in and of itself here but also know that you’re also a kind of leading into another movie?

Bayona: Yeah.  I think it’s like when you talk about television, it’s a little bit like that.  I remember when I did Penny Dreadful, I did the first episode.  And I really didn’t know where the series was heading to.  So it’s storytelling, it’s a very interesting experience because you play with the storytelling yet you really don’t know where it’s heading.  I think that Colin has designed more than only one, more than one film, you know.  And he’s the guy who has all the answers.

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Has he shared that with you so you know you’re not making a mistake by changing something? 

Bayona: No, but there were moments that Colin said, I would love if you can introduce this detail in that scene and that detail in that scene because I’m thinking this is going to pay off in the third film.  You know, the kind of details [when] you’re collaborating and him, including a story that is bigger than the one you’re doing.

Do you think that you’ll come back for the third one?  Or do you think that Colin might come back?  Or did you guys talk at all about that or what’s…? [This interview was conducted long before Trevorrow was announced to be coming park for part three]

Bayona: We talk a lot about a lot of things.

Yeah.  I mean, would you want to? I mean, you’re not gonna sit here and go, man, I’m having a miserable experience and all that.  But would you be interested in like seeing a franchise through?

Bayona: Yeah.  I mean, I’m really enjoying the experience of doing a Jurassic movie.  I’m really enjoying it.  It would not be painful at all to come back, I can tell you.  So I really enjoy it.  I think it’s a lot of fun.  I love to work with the actors.  With these actors.  It’s great.  They’re so creative and it’s great to be on the set working with them.  And also this is the kind of story that I like.  This emotions and visual effects.  Great music.  I love it.

So what you’re saying is that you might come back for the next one, but if you get Star Wars Episode X, then you’ll just continue the grand tradition of going from a Jurassic movie to a Star Wars movie?

Bayona: Yeah.

Can you talk a little bit about B.D. Wong’s character?  Because he seems to be the big thread that from the last one that kind of launches into this one. He’s one of the big hanging threads.

Bayona: Yeah.  I mean, how can I talk about it without spoiling anything?  I think it’s true that there’s these things, that there is this character in the shadows that is playing an important role in the story.  And it’s there.  I mean, we have B.D. in there.  And it’s again, it’s a connection with the old films.  It’s not only a connection with the Jurassic World movie, but also with Jurassic Park.  And there’s details, there’s more details, not only characters, but there are things that are in contact not only with Jurassic World, but with Jurassic Park.

I was a little nervous that this franchise was gonna be militarized dinos in a war next…  I thought this movie was gonna be that and I’m so glad that you return to the island and the suspense take, can you talk a little bit about that?

Bayona: Yeah.  Colin and I… we were on the same page.  We wanted to make it feel like a very classic Jurassic film.  We go back to the island, at the same time, we go to new places.  You bring the story to places that people are not expecting.  And we are closing some chapters and we are opening some new chapters.  I mean, it’s like you say, it’s more like the narrative of a TV show, where you are closing some lines and opening new ones.  And I think that feels very exciting and I think that this is one of the big things that television is bringing to the movies.  There’s a lot of bad things that television is bringing to the movies, but there are good things.  And one of those is that people more and more are prepared for the twist, more prepared for things that you will not buy in the ’80s and now you buy them, you know? I mean, you can kill Han Solo right now in a Star Wars movie.  And I think this is…there’s a little bit of responsibility in television to blame for that.

Yeah.  I mean, when you have shows like The Walking Dead and Game of Thrones just kind of showing…

Bayona: Exactly.

That’s one of the things I love about TV now, because it…  It keeps you on your toes as a viewer, because nobody’s safe and they’ll kill a fan favorite or whatever.  Like I love that kind of shock.

Bayona: But at the same time we wanted to make it feel very classic.  One of the first things I asked, and I have the support of everyone, was that we are shooting in CinemaScope.  We are shooting in 2:40 and never has a Jurassic movie has been like that.  But I thought that–

Yeah, it was 1:85, right?

Bayona: Yeah.  But I thought that we wanted to make it bigger and we wanted to make it more epic.  We wanted to make it…  So I had the support of everyone.  And I can tell you it looks amazing.

What are you shooting on, Arri 65?

Bayona: Yeah.  And it looks amazing.  I think that the island looks beautiful.

With the widescreen format, did you look at any particular cinematic inspiration for that?  Because, I mean, Leone shot that wide and David Lean famously shot very wide, too.

Bayona: Yeah.  Exactly, you know.  I think one of the things I’m telling the camera operator is that we need to do a movie that cannot be seen on a plane.  So we are using all the format, from the extreme right to the extreme left.  So we are filling the frame in a beautiful way.  This guy, you have references like, I mean, Vilmos Zsigmond, the movies he did with Michael Cimino.  You saw the frame, when you see the frames of these movies and they look like paintings, you know.

Yeah.  There’s fore, mid and back, there’s always there’s layers, yeah.

Bayona: Exactly.  And Steven, all the Indiana Jones movies and the frames, they look like paintings.  And I wanted to have that in a Jurassic movie.  So we created this big canvas.  And we played out making interesting compositions.

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