Gremlins remake

The Pitch: A Return to the Wonder and Danger of Early Amblin

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.

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.

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–.

Right. That was great.

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

Safety Not Guaranteed

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.

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