>>ALAN SCOTT: I know Andy talked earlier about how amazing this was
to see this move in the shop each and every day.
It filled the shop.
Head-to-toe. You know, you couldn't walk around it
without being in danger of it hitting you
when it was in the middle like that, and as you can see, the roof was raised
so that the T-Rex could go up to its full range of movement
because we had to test all of this stuff before we took it to stage,
and it was
amazing noise
but you're right next to it,
you know, the telemetry devices, you can see the computers there,
you're right on top of it
and you just see this wall of flesh move over you as you're playing with
the telemetry devices getting them to work.
And, then when we took it to set
it was just eerily quiet.
The pumps were outside.
We didn't hear any of that typical noise and all you heard was this
eerie hiss of fluid moving inside
all dampened by the big thick skin.
It was eerie to see it move so quiet after so many months of
just seeing it move in the shop.
So here you can see that we've got it mostly patched together,
a big one foot swath in the middle there
on the neck, and then again on the tail you see another couple of sections;
just an army of people building it.
There's the insert legs
which Richard Landon designed,
another amazing piece of machinery.
There we all are with hair.
>>LINDSAY MACGOWAN: Me with none.
>>ALAN SCOTT: We took a snap of the open mouth when they were doing the teeth.
They also,
you can see that's a big appliance there,
but the fabric extends beyond the
corners of the mouth and I think they were done hollow too, weren't they?
So they would collapse,
and the last thing you wanted was that,
you needed that sinew in the corner of the mouth but when he closed his mouth
you didn't want to have it bunching out and sticking out.
It needed to look like a thin membrane,
but in reality it was six to eight inches thick.
So they were very inventive with elastic inside of it so that it would want to collapse
and then move to the inside of the mouth instead of the outside of the mouth.
>>LINDSAY MACGOWAN: I haven't seen this since
since we did the movie.
This was a long time ago.
>>ALAN SCOTT: Everything's so important to make sure that it moves. You can't, I mean,
it was all sculpted in a neutral position
so that we could get to the extremes
from one end to the other,
you know, because those are always the most difficult;
full wide-open and then completely closed
and then to have it look natural
in that complete range of movement.
>>LINDSAY MACGOWAN: And here you have Richard [Landon] gluing down the nostrils
and still working out how to get that tube to go in there too so when
you blow the air through it.
>>ALAN SCOTT: There it is
the full size T-Rex on set
moving for one of the first times.
Awe-inspiring moments.
Really were.
It's just thrilling to watch it all again.
I was on the Raptors
and the Raptors started shooting
and then at one point
Stan pulled me aside on set and he's like, "I need you to go back to
the shop and continue working on the T-Rex."
and I was so disappointed for a while,
but then after
following the T-Rex through and working with it on set,
I got the best of both worlds.
I got to work with the Raptors for a little while
and then the T-Rex.
This is a full-sized one from head to toe,
and over on the left you can see the insert head.
There you see?
You see how quiet it is?
You can't even hear it.
Jurassic Park was
one of the most rewarding experiences of my career.
It was an opportunity for me because I was still growing
and had moved into the mechanical department,
learning constantly,
and to be spending 18 months
building towards such a remarkable
achievement in cinematic history.
You know, for me is one of the most rewarding films I have ever worked on
because I was able to be so involved in so many different areas.
>>LINDSAY MACGOWAN: For me it was
it was a really rewarding experience because
I had worked with Stan
and John [Rosengrant] and Shane [Mahan] and Richard [Landon]
in London on Aliens and so this was
kind of coming home and working with the guys again and Stan and so
for me it was a very
it was like coming back and working with my brothers or, you know, just family.
I really, really enjoyed the experience
and made lifelong friendships out of it so, yeah,
it was a massive part of my life.