dresser park movies are great for sound designers because there really is nothing either harder or
more gratifying than to make a creature seemingly come alive doing dinosaur vocals in the first
movie really came down to recording lots and lots of interesting sounds and then collecting them
and sorting them and layering them and turning them into dinosaur vocals the first one the park
hadn't opened yet and so we didn't make a movie about a park with 20,000 people in it this one
it's a working park and so we're putting those two things dinosaurs and lots of people together
I was involved from the very beginning Colin reached out to myself and I had
another sign designer work with me Pete Horner Pete and I worked with
Colin on safety not guaranteed and I had worked with Colin on a short
prior to that so we had that history and so Colin reached out to us one day and he said
you need to get on Jurassic world because dinosaurs and you know it was like let's go
my role in Jurassic world was as a consultant l Nelson and I would talk about the process you know
how we approached doing dinosaur vocals in the first movie he was an amazing advocate and a huge
help and one of the things was get new recordings not just because you need new stuff but because it
will provide you with inspiration and that's where Gary would give me lots of great suggestions you
know you need to find baby animals they don't really know their voice yet sick animals so
searching for those unique vocalizations you know I took a lot of time and a lot of research and a
lot of just going out day after day hanging out with a microphone in front of interesting animals
it was all about waiting for that magical surprising sound from the animals so what's
this thing made of the base genome is a t-rex the rest is classified College is
so excited to find this new mutant thing he definitely wanted it to be not right in the
head and this thing is bigger than the t-rex and so it was this amalgam of high squealing
sounds combined with the weight in the body of this Rexy mutant so I needed both hands so I
have a handful of animals that I found that I was really inspired by then for
the high stuff the the squealy stuff I started looking I definitely used some dolphin because
there's dolphin and raptor but I looked for other animals that were squealy and a bit off
with those recordings I've been started putting together these roars you don't
want to get messy you don't want it to just sound like 10 things all layered on
top of each other so as we're taking all these recordings and all of these different elements
it's a little bit of this and a little bit of that the challenge for the Mosasaurus was you
wanted it to be huge but you also wanted it to sound like a marine mammal and we wanted
it to have that whale like personality so we we ended up using walrus to get the size of
this thing and then pilot whale and beluga whale were part of the vocalization as well
this movie fits into the legacy of the Jurassic Park films but it's also a whole new thing there's
a lot of new stuff but this is not just some place that's coming to life this is a park that
20,000 people would then come to so that was one of the levels was finding that immersive
park environment hi welcome to the park hi welcome to the park hi welcome to the park
mom I hope my feet hurt I know it's been two hours I'm sorry
it's so hard to do something new and unique but the expectations are high and I wanted
to make sure that we put everything we put into this we gave it the right attention
and the right love and they do credit to the sound and the legacy of Jurassic Park I don't
pretend that I could top or match that sound I tried to do something different
but it was a great reminder of how cool Jurassic Park is how cool Jurassic world is
Michael Giacchino was doing the score this time and so he's got the unenviable task of
using what John Williams did fanatically and then making it a new score for a new story
this is the entire attack on the window guy looks up from the crowd Oh imagine the hole
and they start coming in and then it just goes nuts Michael's doing something that
is very exciting and very modern and new and fresh and yet it blends in with mr. Williams
themes in a way that it feels like it's all one score it was very nostalgic for me especially
considering the way I started in this business was on the lost world video game with Steven so
to me I think what I wrote was in some ways a lot about that beginning and the film is
about sort of the attempt at a new beginning into it it all seemed to mesh together nicely
one of the first things Helena said was that was important to him that the movie
had a soul to it that it wasn't just an action movie and it wasn't just a film
about you know dinosaurs eating people that that's in there it's all part of
it but he wanted the real big body of the film to have a soul which was important to
me too because I always look forward to seeing a film that I can feel something
and I had this theme that I wasn't a hundred percent confident about
but College like no that's it that's our that's it because he
kept singing it back to me and he kept know we're using that we're using that
it was a lot of fun to explore that whole thing with him and it was weird he was building up
confidence in me to just go for it because on a project like this where I normally don't have a
problem with that for some reason I was sort of hesitant on this film because of what this film
is meant to me so here we are on stage where the original Jurassic Park was fell uh which
was recorded which is which is fantastic result filmed right was all filmed right
here just little baby dinosaur models yeah it was all great uh so that's really kind of fun
and important and and also kind of carrying on what what what John did in that film which is
so iconic and so wonderful which inspired us to kind of keep doing what we do both of us came
into this knowing that we both are huge fans of John Williams and and especially Jurassic
Park of me when you think back on that movie the first thing you think of is that music
so we knew that we were going to use that music it was just a matter of what is the best place
to use that music we want to honor both the film that came before and also honor what John
did what Stephen did this was very important to us to do it right and not be flippant about it
we have a hundred and three-person orchestra which is wonderful and we
also have a seventy person choir I did say I want the film to have
a soul but I also want it to have soul so let's take him to church
and again it's about that respect of the people standing up there who have spent
so many years doing what they do that they can come in and do this for you
you know in three or four hours be done and out the door like it never happened
and yet you have this thing that is in front of you now that is you know
and let's think back to your like god I can't we did all that this week this
is so crazy it never existed and now it exists that's a really fun feeling
Oh