Talk a little bit about the tone.  We know that there’s more suspense in this, but was there like a target for the tone throughout that you were going for?  Like more leaning more on action or more on suspense?

Bayona: I think when you do a movie like this, it’s a movie for a big audience.  So it has a lot of things for everyone.  It has suspense, but it has action, it has a lot of fun, too.  And it’s a little bit darker than the other, than the previous one.  But it’s a lot of fun, too.  And it’s quite challenging, because you have a lot of different tones and you need to blend them in a single story.

Michael Crichton always had some themes that reflected society and it seems like you guys are kind of dealing with animal cruelty and bureaucracy too.  Frank said that there’s the decision from the world’s governments are pretty much just to leave [the dinosaurs] alone.

Bayona: I think so, yes.  I think I really like that, from the story that Colin planned for this one, is that he talks about the moment we live in.  In a very obvious way when you see the film.  And I think that’s very interesting.  It plays with the idea of how we use science, not blaming science, but the use of science.  And this has been part of the legacy of the films in the Jurassic [series].  And I think nowadays, it’s a theme that is out there right now.

Can you talk about Justice and Daniella? When I was talking to Colin, he said they were the secret sauce of this movie.  What does he mean?

Bayona: You will see.  I mean, they’re new characters and they’re bringing a very specific personality to the film.  You will see, I think, they’re very Colin’s world.  I mean, it’s been very interesting because he has…you can tell the sense of humor of Colin through these characters.  And I really enjoy working with them.  They’re excellent.  And a lot of fun to be with on the set, you know.  I cannot tell you much about it.  But they’re very interesting characters.

I know that Chris said on the press tour for the last movie that anybody our age that grew up with Jurassic Park was a big moment for people.  So when you have somebody like Goldblum coming back in the role and he’s surrounded by people who grew up with this… Was there like, could you tell that people were geeking out about it or…?

Bayona: The truth is that I remember that the first day of shooting I used to shoot all the time with music on the set.  So the first, of course, the first music that on was the Jurassic Park theme from John Williams.  It was so much emotion in that moment on the set.  So there’s a lot of that.  But the truth is that there’s so much work to do that you’re not really, at least I can tell you, you’re not into that nostalgia.  You have your characters in front of you.  You have so much work to do every day that it’s when you come back home and you say, oh my God, I’ve been doing a Jurassic Park movie.  It’s the moment that you are aware of it.  But I haven’t been that nostalgic in the set.

But it’ll all hit you when you wrap and you’re like in the editing room?

Bayona: Yeah.  And I think that’s good.  Because it keeps you at a distance from the material.  You’re doing something new.  I mean, it’s something that you need to be aware that you are trying to move a step forward [with] the story.  So you don’t wanna, you wanna pay tribute to the old movies, but you want to move forward at the same time.

Yeah.  You don’t wanna be too wrapped up in them.  I mean, even Steven himself had kind of fallen prey to that with like Kingdom of the Crystal Skull.

Bayona: Totally, yeah.

You talked about the filming in scope, and all these movies, or I think the last two, were in IMAX.  So I assume this is going to be in IMAX.  Are you gonna expand or is that like you want it to just be that scope?

Bayona: I think there’s been some conversation about it.  The idea would be to keep the aspect ratio.  I mean, this is what they’ve been doing with the Star Wars movies.  I think when you design a film, when you design a shot, it’s kind of like going against the film if you change the aspect ratio.

And it takes you out, I just watched the new Transformers and every other shot’s going from like that to this.

Bayona: Yeah.  No, no, no.  I mean, I am very, very specific with a shot in the set.  This is probably, I mean, apart from the work with the actors, I am very specific in where the camera should be and how the camera should move.  For me, this is as important as performance or even a line in the dialogue.  So for me, breaking that it would be like going against the film.

And you also mentioned playing the music on set, is that in between setups or and how does that…?

Bayona: No.  Sometimes we play while we shooting.

While you’re shooting.  Oh like an action scene if people are like running and stuff.

Bayona: Yeah, an action scene or you just play sounds.  With just–

Are you playing dinosaur sounds?

Bayona: I’m joking all the time with Justice because I’m playing sounds to scare him during the takes.  So it’s been a lot of fun to work with him in that setting.

Well, at least you’re only doing sounds.  Some like the old school directors like John Huston would actually shoot guns in the air.  To scare people.

Bayona: Oh wow.

Not even blanks.  Like he would have his gun there for the Westerns.

Bayona: I remember a shot once with a gun in my hand during The Orphanage.  Because I had to scare the actors.  And we were shooting not in a soundstage, but in a place that was full of birds.  And so they had these guns to scare the birds.  And I said, give me one of these guns.  So I was in the video village with a gun in my hand.  There are some reverses in the behind the scenes.  Yeah, no, I’m not using that.

So you’re saying you use guns to scare children in your early career.

Bayona: No, it was for the lead actress.

Okay, good.

Bayona: It was for the lead actress.

That won’t look as bad.

Bayona: It was for the lead actress.  No, but I like music.  It helps a lot in creating the tense, the mood.  Sometimes the tension, sometimes you play a light music so make the actors feel good in the set.  And the lines come with a freshness that maybe you would not get in a different way.

Is that something that you used on previous films and brought into this?

Bayona: All the time.  Every time, yes.  I love it.

That’s awesome.

Bayona: I love it.  And the actors normally they love it.


Bayona: Yeah.  Normally they love it.  I mean, I haven’t found any actor yet…  No, they love it.  They love it.  I’m thinking, is there any actor who asked me not to play music?  No.

The only time I’ve actually really seen that a lot was Peter Jackson did that on his King Kong a lot with Naomi Watts.  But it was like always very romanticy music and to kind of set like the romanticized ’30s time period and stuff like that.

Bayona: For example, we did a very interesting…I remember one take with Bryce was very interesting, because I was playing, there was no dialogue in that scene.  It was all about the way she was looking at a determined thing, you know.  And it was very fun, because I played three pieces.  Every piece very different from the other one.  So one was like one was a romantic music.  The other one was a scary.  And she played three different performances in every take.  And it was very interesting.  These are the kind of things I do enjoy bringing to the story, you know, especially in these movies [because] they’re so big.  They’re so pre-designed that you want to get to the set and break that.

Yeah, you wanna have a little emotional truth.

Bayona: Exactly, yeah.  And Bryce, she’s very organic.  So I told her, listen, I’m gonna play three musics and the performance is going to be according to the music I’m playing.  And she was okay, great.  We did three takes and the three were different.  The three were good.  And that gives you options in the editing.

Do you plan these mixes ahead of time or are you just on set with an iPod or whatever?

Bayona: I’m with my iPod all the time.  And I’m connected to the Internet, so it’s all about like remembering a piece in that moment and looking for it and playing it.

Yeah.  Is there any thing, I mean, none of this will make it into the movie, but is there anything that you remember like any of the kinds of music?  Was it score, is it–?

Bayona: Yeah.  Many scores, yes.  Yeah, in this one there’s been a lot of Giacchino of course because he’s gonna do the score. And, of course, John Williams.

Yeah.  Any Jerry Goldsmith sneak in?

Bayona: Jerry Goldsmith, I have been playing a lot with Total Recall. And Basic Instinct.  We play a lot of this too.

Oh that’s a good one.

Bayona: It’s a lot of fun, yes.

Awesome, well thank you so much again for taking the time for when you could have been relaxing for a little bit.  And talking to us nerds.

Bayona: See you soon.

Yeah, I’m looking forward to it, to watching you work.

Bayona: Oh, thank you so much.

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