I mean, was there a kind of challenge for you in enlarging the property?
Because with every kind of passing movie, every sequel, you want to go bigger
and better than what came before and yet at the same time
maintain that kind of quite simplistic
premise, I guess, which is just what makes this franchise so popular.
Yeah. Well, I mean, you've seen the film.
It's not a simplistic premise, but it is a it is a it
is a theme that I think unifies everything that's happening on screen.
It's structured in a very different way.
And we have two parallel stories that are seem to be running alongside each other.
Until you realize they're about to collide.
And then they do.
And so for me, you know, the whole sense of of,
you know, making something that has you know, a lot of reasons to be nostalgic,
but to push away from that and focus on taking us forward into a place
that honestly gives this franchise a reason to continue to exist.
That felt like the challenge.
I mean, I got such a thrill seeing Laura [Dern], Sam [Neill] and Jeff [Goldblum] on screen.
I mean, how was it being a director and that situations?
I guess when you've grown up with this first movie,
you would have seen them in those characters.
So when you're sort of directing,
are you able to appreciate in the moment that this is a really cool, great thing
or you two in the zone?
It's something that comes afterwards.
I'm mostly too in the zone, but there are moments
and the one that I remember the most, it wasn't just them as individuals.
It was when actually there's this one shot where everybody moves
into a into a space where they're all together in a single frame.
And the last person to come in is our new characters to DeWanda Wise from the very right.
And suddenly
all the faces were on screen and which is a challenging thing to block.
I remember
telling Steven Spielberg, like, Oh God, I got ato block you know, seven,
eight people like into the same frame.
And he's like, Oh, I did 15 on West Side Story.
I'm like, Oh, of course you did.
Of course you did.
Steven
Genius
And I was lucky, I mean, as well, because there are moments in this
when the music kicks in then
and then and then and you know, that kind of classic sort of change.
I was wondering if you know, when writing it, when those moments come
and you must put asterix next to the moments -
Music.
It's funny,
like, you know, I trust Michael Giacchino's instincts as well
because he and I have the same theory about it.
Which is that we we want to use it sparingly and really effectively.
And I think if we use it all the time, you would actually barely notice.
And I know the moment you're talking about, there's a little moment
right toward the end where it's just a single piano that I really love,
but done
very carefully and mostly supporting this amazing new score that Michael wrote.
I mean, this film almost was like most of the record for the longest action,
kind of sort of sort of just no respite
as a kind of sequence of about an hour or so where it's just doesn't stop.
How is it sort of writing now when you writing?
Because I guess usually I mean, obviously you often get little previous,
but it just felt this film was just going like,
you guys want dinosaurs is going to give you dinosaurs.
And, you know, it's like I it makes me I'm glad to hear you say because
I promised that during that hour, like there's several minutes of
just like talking about genetics or talking about someone's parents.
Like, there are these quiet moments.
And so to feel like it's relentless and still have the room to have these
these emotional moments feels like hopefully we're doing something right.
I mean, you obviously you've would have directed
actors before who have to engage in a kind of in a fight in some sort of conflict.
And there's so much choreography, there's trial and error.
It's kind of really it's a real dance How is it directing dinosaurs fighting?
Is that a different discipline as a kind of filmmaker?
Well, it's different in that like it's if they're fighting, it's animation.
Like we use animatronics for a lot of dinosaurs.
But once you reach that point, you're
you know, you're storyboarding as if it's going to happen on the day.
And then you just shoot
a lot of empty spaces and things breaking
because we always try to have a practical reaction.
Anything that happens.
So, you know, you'll just it'll it'll be very carefully done in the camera
move here, and then something will go like that
and using that to then go in and trust the animators to make,
you know, have these dinosaurs interact in ways that we haven't
seen before, often based on New research about how they fought.
Like everyone's a nerd for this stuff.
So we really try to apply.
We do a lot of face biting in this one.
This is going to sound quite a stupid question
I'm going to ask anyway, because eight year old me always wanted to know.
But the thing one of the things I loved about the original Jurassic Park
movie was when I was a kid, it felt plausible.
I always felt to me this idea that if you can get
hold of the DNA of an animal,
why couldn't you have scientific advances recreate it?
Do you think anything like this?
Not to this extent, but the idea of bringing back
an extinct animal based on the fact that we could get hold of this DNA.
Do you think some of that could be done?
I think there's probably it's got to be a mammoth somewhere.
Someone's got one.
I mean, it's just not it feels inevitable to a certain extent.
I would say more
like Pleistocene era creatures then like Jurassic and Cretaceous.
But I don't want to say it's a good idea, but I wouldn't be shocked if it happened.
Yeah.
My final question for you is that obviously the door is always open
for this franchise to have more movies.
This is something you'd be interested to do more of
as you feel like your Jurassic World adventure, sort of the book's closing.
I think, you know, for me it's a little bit more like the the job is open.
Like I'm interested in someone coming to me and saying they have a vision.
And the way that I had a vision for this.
And, you know, Steven, obviously, so I think we're
we're at a point where hopefully if kids now
watch this movie and want more of this world that we've created, then
it almost will take someone who, you know, is younger than me,
who experienced Jurassic in a different way,
like maybe on VHS and saw all three of them at the same time
or even Jurassic World to come up with how we go forward.
Well, thanks so much for talking today. Thank you.