Can we talk a little bit about J.A. and how you guys one, picked him from the stuff that he had done like what was it in there that you saw?  And I’m sure when he came in, he had to show a passion for it too.  It’s something that you picked up.  What was…?

Marshall: I’ll tell you the story.

Yeah.  Please.

Marshall: As a matter of fact…  I called him for the first one.

Oh yeah?

Marshall: Yeah.  And ’cause I love The Impossible and I love The Orphanage and I thought oh God, he can handle action and characters and who is this guy?  And so I called him and we met.  And it turns out he was this huge Jurassic Park fan.  Sort of like Colin.  This is before Colin.  But we were like on the fast track.  And he said, I need a lot of time.  I know what I need.  I need my prep time.  I have a certain process I go through and all that.  And I just don’t think I can do it.  ‘Cause we had that other, we had the other script.  And so I said, well and he said, I’ve got this other movie that I’m thinking of doing too.  So thanks, but no thanks.  And so I filed that in the back of my brain.  And then found Colin.  So when we were starting to talk about the next one, I called J.A.  And we met in England.  And they were, at the time, they were on World War Z 2, I guess it was.  Right? Yeah, and so he wasn’t really available.  But we had a really great dinner.  And then you know what happened, he decided not to do that.  And they called me.  And we were still looking for a director.  And because the good news is Colin and Derek were writing the script as opposed to the last one, we didn’t have a script we liked.  So the timing worked out perfectly for them to come on and for him to have the time to do his process.  And because it’s the middle movie, it needs to be a little more suspenseful and scary and he just seemed to be perfect.  It seemed to be perfect timing for having him come in.

Crowley: And it’s also Colin as the architect of the second one and the third one. He and J.A. hit it off.  And so J.A. then felt much more comfortable that he liked the original Jurassic World.  And he knew the direction Colin wanted to go in.  So it wasn’t as if it was just some script that he had to try to adapt.  And they kind of…they shared together.  So that was a big kind of thing.

Marshall: Yeah, I think there’s a lot to be said for understanding the mythology and understanding the journey that these characters are going on and being a fan of the franchise.  And that’s what Steven said about Colin, he’s the perfect combination of a terrific filmmaker and a fan.  And J.A. is kind of the same.

Crowley: And also for J.A. and for us as producers, it was how do you take somebody who’s never had the resources to do a movie like this and introduce them to him in a way so that he can take advantage of extensive storyboarding and pre-vis and you can go on location scouts.  You can come to Hawaii twice before you shoot.  All those kinds of things.  And then working with our visual effects supervisor, visual effects producer to be able to get what you wanted.  And it’s like you start out with baby steps and you start to climb the ladder and then by the time you’re ready to shoot, he feels, he’s still a little raw around the edges just ’cause he’s never commanded that many people.  But then watch [him] work into it and make allies and build relationships and he’s got his own DP, Oscar Faura, who’s done all his movies.  And he’s got his editor.  So particularly for a guy who English is not his first language, that’s like a big comfort level.  A big comfort level to be able to have that.

Marshall: Yeah, and that’s part of our job is to surround him with the right people to help him get his vision up on the screen.  And allow him to have…just knowing as a director that there are a couple people you gotta have that are like your security blanket, your DP, your editor, sometimes your production. They’re like you’re attached at the hip.  If you don’t have those people with you, you’re gonna be lost.  And so we understand that.  And we made that part of our what we wanted to do to support him.

I was gonna say, it allows him to have the brand that you liked in the first place that yielded the look, the pacing almost and that shorthand he already has with those that allow him to bring that to this and not trying to shoehorn him into another specific thing.

Marshall: Yeah.  And without referring to the current events [we recorded this interview the week after Lord and Miller were fired from Solo: A Star Wars Story], he knows that he’s coming in to make a certain kind of movie.  He’s not here to be the auteur of “Oh I’m just gonna go off and create some crazy movie because that’s what I wanna do.” That has really been great.  It’s really been exciting and fun and Colin’s been involved and Steven looks at the dailies and it’s so fun for us, because what we hoped would happen has happened.

And can you talk a bit about how Jeff Goldblum figures into all this?

Marshall: Well yeah, I mean, Colin from the start wanted him to be the “Uh oh, danger, I told you so” kind of character.  As he does so well.

Crowley: It’s not difficult.

Marshall: So when the volcano erupts and suddenly we’re faced with “Are the dinosaurs gonna become extinct again, do we save them or do we not?”  That’s the big question that he gets to pose again.  And then we go from there, he’s very philosophical in the movie.  He doesn’t come on the trip.  But he’s sort of an observer of what’s been happening.  And he speaks about that.

Crowley: He bookends the movie.

Marshall: Yeah, he essentially bookends the movie with I warned you and now I told you so.  And now we’re gonna be in a different place.

Where is he at in his life now?  ‘Cause we haven’t seen him in 20 years or so… since Lost World.  

Crowley: Oh his character is what he believed in before, he still believes in fervently now.

Marshall: Still very much so.  He’s a scientist-philosopher rock star.

Is he still doing that?

Marshall: Yeah.  Well he’s very senatorial in this one.  Yes, exactly.  He goes to those kind of hearings now and speaks about science and the world and how science can affect the world and how we have to be careful what we wish for.  Or just to be able to do something doesn’t mean it’s right.

I know you’re probably gonna be very vague, but what can you guys tell us about the human bad guys in this?

Marshall: They’re very complicated.  Again, you know–

We like complicated villains.

Marshall: Well these movies are about… there’s greed and that enters into it always, but there’s it’s do you wanna have dinosaurs or do you not believe in us creating?  It’s the whole cloning, there are two people on either side and yeah, we should have them and we can use them in real life for things and people should be able to go to the zoo and see a Tyrannosaurus Rex or you know.  And they can, there are other uses for them probably.  So…

Crowley: But it’s like in the last one, he’s Simon Masrani [Irfan Khan] moved things forward in terms of like genetic manipulation because he actually seemed to be relatively pure of heart.  He wanted to provide entertainment for people.  And he was then a semi-innocent villain.  Whereas now you have guys who are sort of looking at what are the financial potentials?  And then you have guys–

How can we profit from this?

Crowley: How can we profit from it?  And then you have guys who are just real tough eggs.

The Ted Levine kind of thing, right?

Marshall: He’s so great in the movie.  And Ted’s just one of these guys that you go, if it came down to it I wanna make sure he’s on my side.

Crowley: And then you get Toby Jones.  And Toby Jones can be anyone.  He’s the biggest chameleon of all.  And Rafe Spall is just a great guy.

Marshall: Yeah, Rafe’s great.  And Lockwood is not a villain I wouldn’t say.

Crowley: No.  He’s no more of a villain than John Hammond was a villain.

Marshall: Yeah.  So it’s complex I hope.

Nice. Thanks very much. Yeah, we won’t keep any more of your time.

Marshall: We gotta get out of here today. We’ll meet you again in a tent somewhere. Peter, good to see you guys.

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