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MATT WINSTON: First thing that comes into your mind when you think of the JP 2 Raptors.
DAVID MONZINGO: Ah man. Well, it was a chance to go back
and take the scariest dinosaur from the first film
and really change it.
To make some subtle sculptural changes
and we got to, I mean, the paint job was wildly different.
We made, I think it was, in the first film they were all female
and in the second film we had males so we had the bright, vibrant orange.
It was something we really had never done before
and I don't think we've done it much since.
It was a ton of labor. Basically we took the underskull,
you know, the core shells that all the skins would sit on
and then we dissected those into groups
and made shapes that would ride over each other
and shift under the skin as the mechanics would move.
And we spent, I mean, a solid month, once the mechanics were done,
mounting the shells and then moving them and testing
and seeing if the muscles were moving and not crashing into other ones.
It was pretty extraordinary.
RICH HAUGEN: The mission for the raptors in Jurassic 2,
because Stan always wants to make things better,
is to make them better.
He was very happy with how we did the hydraulic work on the T-Rex,
so could we make that smaller and fit it inside of a raptor?
And so that was our challenge.
And off we went.
DAVID COVARRUBIAS: I believe, like the first Jurassic Park dinosaurs were cable-controlled.
And that makes it very difficult to get that speed,
because it's all, you know, people pulling on levers
and then you have a little bit of slop because of the cables.
But these being hydraulic,
gave us all the power and all the speed we needed,
plus we had tons of different points of motion within the puppets,
so it made it completely realistic.
RICH HAUGEN: The moving armature inside was almost all aluminum,
with some steel in places, because we needed to keep it light
so that we can move it fast.
It would use less power then, and with the accelerometers we had inside there,
we had to stop the movement in a nice, smooth way,
as well as get it going,
so we had that technology that helped us out a lot with that.
DAVID COVARRUBIAS: I have a hard time being impressed by any one thing on these raptors
because everybody just went above and beyond, I thought.
The work that Rich Haugen did on the actual mechanism,
the neck mechanisms were amazing.
I mean, these are incredibly heavy characters,
so they have a lot of torque, there's a lot of momentum when they're moving around
and the electronics needed to compensate it
and deaccelarate it
and keep it from wobbling when they came to a hard stop.
So even that was amazing, even though you don't really get to see that,
but if you see it in the way it moves
and if it wasn't done right, you'd see a completely different character.
MATT WINSTON: Sum it up.
One sentence, when you see this footage, what comes in your mind?
DAVID MONZINGO: You know, a lot of hard work.
All of the memory of the late nights come flooding back,
and seeing a really impressive piece of work come together.
RICH HAUGEN: On set when we'd bring these things out and we'd light them up,
they'd just be sitting there parked still and then we would just say "boom"
and make them go
and the actors or producers would see them and they would be shocked.
It was pretty impressive, we'd scare a lot of little kids too, which is always fun.
DAVID COVARRUBIAS: Everybody was blown away when they saw these characters on set.
And when you take that character
and you put it somewhere
in an environment that just finishes selling the illusion,
it's just, there's nothing telling you that that is not a real creature.
It was a lot of hard work, but it always paid off.
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