(music)
>>RICHARD LANDON: The mechanical segments are
similar to the T-Rex in their
weldments.
Their huge steel almost like a
train or a bridge construction.
And they've got miles of wiring running through the center section
that basically is the nervous system, it hooks the points of motion ...
>>JOHN ROSENGRANT: He's 12 tons.
>>RICHARD LANDON: Yeah.
And it hooks the points of motion up to the computer so you can control it with a
level or safety and a level of a finesse.
>>JOHN ROSENGRANT: There's a graphite skull which is light and strong.
Everything has to be welded to a stand ...
>>RICHARD LANDON: It's all welded to a mechanical sub structure that has to be
Aero space ...
>>JOHN ROSENGRANT: No, I mean, but the standard of the welding has to ...
you just can't tack this stuff together.
It has to be ... a
certain engineering grade because of ...
>>RICHARD LANDON: We actually have the weldings ...
the weldments are actually tested.
There is a certifying agency that comes in and will
actually tell you whether or not you have a good weld or a bad weld.
>>JOHN ROSENGRANT: The detail.
You can see, just in the tongues alone
and there's multiples of everything because there was a
sort of a stunt version done and then there was the
main hydraulic one
and sometimes there's back up pieces to accompany that if you know it's going to be damaged.
Huge foot.
But it's just not colored in one
big broad sweep of color.
There's a lot of breakup
and detailing.
There's the eyes,
which were riffed off of a crocodile.
Here, starting to assemble
pre-painted skin pieces, but those weren't�
it wasn't completely finished until it was packed up and moved down to set,
which is quite an undertaking in itself
as this would go on huge tractor trailer.
>>RICHARD LANDON: It was a lot bigger than the T-Rex.
The actual door
to the building had to be opened all the way to the ceiling because
when we built it, it was too big to get out.
We had to actually do actually damage our own building to get it out the door and fix
the door.
>>JOHN ROSENGRANT: The transportation of this being lifted with cranes.
The logistics alone,
it's enormous.
This is 3:00 in the morning when we're moving it out.
Here we are starting to load it in.
You can see the transportation.
It had to travel at night on a certain path because it couldn't go under bridges
and they were afraid,
'they' meaning the
city of Los Angeles that it had to travel a certain time period because it would stop
traffic.
We needed to have to Universal Studios before 7AM.
>>RICHARD LANDON: Harder to move than moving a house.
>>JOHN ROSENGRANT: Funny story on the first Jurassic Park was
one of the security guards didn't know it was coming and wanted to turn it away.
Here we are finishing it up on set,
putting the final details together.
It still had a ways to go.
It's starting to look more real
but a lot of nuances still missing off of it.
>>RICHARD LANDON: Just like what the T-Rex on the first Jurassic Park film,
there's a installation and a test and adjust phase when you first build it into the set.
>>JOHN ROSENGRANT: This was one of the biggest states at Universal.
They had this amazing jungle set built around it.
It's hooked down onto almost a rail road track,
which enabled it to move forward and backwards
and then moving up and down on its cylinders.
As we stated earlier,
it's about a thousand horsepower.
It really, literally
feels like a bus going by you when it's moving at full speed.
This day
was on a Sunday before we were going to shoot.
We were there
that whole weekend, prepping it, getting it ready.
There is a telemetry device and starting and moving the hands around.
This was our opportunity ... actually,
this was actually about a week before we were going to shoot,
but we still had it coming on Saturday when the other
filming wasn't going on Saturday and Sunday
so that we would start to get familiar with the creature.
Start to work out certain
moves and
everyone would get up to speed on what this Spinosaur character was.