Behind the Scenes Compilation from the movie Jurassic World Dominion (2022).
Jurassic World Dominion is a 2022 American science fiction action film directed by Colin Trevorrow, who co-wrote the screenplay with Emily Carmichael from a story by Derek Connolly and Trevorrow. The sequel to Jurassic World: Fallen Kingdom (2018), it is the third and final instalment in the Jurassic World trilogy, and the sixth instalment overall in the Jurassic Park film series, concluding the storyline that began with Jurassic Park (1993). Chris Pratt, Bryce Dallas Howard, BD Wong, Daniella Pineda, Justice Smith, Isabella Sermon, and Omar Sy reprise their roles from the previous films, along with Laura Dern, Jeff Goldblum, and Sam Neill, who appear together for the first time since the original Jurassic Park.
The film is set four years after the events of Fallen Kingdom, with dinosaurs now living alongside humans around the world. It follows Owen Grady and Claire Dearing as they embark on a rescue mission, while Alan Grant, Ellie Sattler, and Ian Malcolm work to expose a conspiracy by the genomics corporation Biosyn. Planning for the film began in 2014, before the release of the first Jurassic World film. Filming took place from February to November 2020 in Vancouver, Canada, England's Pinewood Studios, Malta and Switzerland. Legendary Pictures was not involved in the film's production due to the expiration of its four-year partnership with Universal. With an estimated budget of $265 million, it is one of the most expensive films ever made.
Jurassic World Dominion premiered in Mexico City on May 23, 2022, and was released in the United States by Universal Pictures on June 10, 2022. It received generally negative reviews from critics, though the extended edition was met more positively. However, like its predecessors, the film was a financial success and grossed over $1 billion worldwide, becoming the third-highest-grossing film of 2022. It was also the third film released in the aftermath of the COVID-19 pandemic to reach the $1 billion milestone. A sequel is scheduled for release in 2025.
Jurassic World Dominion is a 2022 American science fiction action film directed by Colin Trevorrow, who co-wrote the screenplay with Emily Carmichael from a story by Derek Connolly and Trevorrow. The sequel to Jurassic World: Fallen Kingdom (2018), it is the third and final instalment in the Jurassic World trilogy, and the sixth instalment overall in the Jurassic Park film series, concluding the storyline that began with Jurassic Park (1993). Chris Pratt, Bryce Dallas Howard, BD Wong, Daniella Pineda, Justice Smith, Isabella Sermon, and Omar Sy reprise their roles from the previous films, along with Laura Dern, Jeff Goldblum, and Sam Neill, who appear together for the first time since the original Jurassic Park.
The film is set four years after the events of Fallen Kingdom, with dinosaurs now living alongside humans around the world. It follows Owen Grady and Claire Dearing as they embark on a rescue mission, while Alan Grant, Ellie Sattler, and Ian Malcolm work to expose a conspiracy by the genomics corporation Biosyn. Planning for the film began in 2014, before the release of the first Jurassic World film. Filming took place from February to November 2020 in Vancouver, Canada, England's Pinewood Studios, Malta and Switzerland. Legendary Pictures was not involved in the film's production due to the expiration of its four-year partnership with Universal. With an estimated budget of $265 million, it is one of the most expensive films ever made.
Jurassic World Dominion premiered in Mexico City on May 23, 2022, and was released in the United States by Universal Pictures on June 10, 2022. It received generally negative reviews from critics, though the extended edition was met more positively. However, like its predecessors, the film was a financial success and grossed over $1 billion worldwide, becoming the third-highest-grossing film of 2022. It was also the third film released in the aftermath of the COVID-19 pandemic to reach the $1 billion milestone. A sequel is scheduled for release in 2025.
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Short filmTranscript
00:00:00Okay, so today is a very big deal because this is actually the first time as a cast
00:00:10that we've all been together as an ensemble, the legacy actors, the new actors.
00:00:14I've never been called legacy anything, so I just like hearing it.
00:00:17Let me ask you this.
00:00:18Do you have memorabilia from the first movie that you took with you?
00:00:22It wasn't really memorabilia.
00:00:23I liked the boots.
00:00:24Yeah.
00:00:25They were comfortable.
00:00:26I kept the boots and I found them the other day.
00:00:28No!
00:00:29I took the original boots.
00:00:30I kicked the dinosaurs with those things.
00:00:32Look at the ring.
00:00:33Laura, will you?
00:00:34Isn't that beautiful?
00:00:35Isn't that beautiful?
00:00:36Alan Grant gave this to me 25 years ago.
00:00:3925 years ago.
00:00:40Isn't that beautiful?
00:00:41It was the last and only romantic thing Alan Grant ever did.
00:00:47And Laura Dern stole it from Jurassic Park, and so we were able to use it in this movie.
00:00:53From the beginning, we really wanted to make something that was new enough and fresh enough
00:00:57that it could give people a reason to come back to the theater, and also give kids a
00:01:01reason to hopefully go back and watch the original films.
00:01:04Let's make them all!
00:01:06Yeah!
00:01:07I saw the original Jurassic Park in the theaters in 1993.
00:01:11I was just enraptured.
00:01:12I think I saw it twice opening weekend.
00:01:15It really defined my generation.
00:01:16You're dead.
00:01:17You crazy son of a bitch, you're dead.
00:01:20Steven Spielberg had broken new ground, and suddenly that which had never seemed real
00:01:27before now was totally believable, totally real, and we were there.
00:01:37First Trilogy had three characters who we loved, and then the sequels were about Owen
00:01:42and Claire, who hopefully we also care about.
00:01:44Trees, trees, go, go!
00:01:47Now in the case of Dominion, we wanted to integrate them, and make the case that this
00:01:52was actually one long story from the very beginning.
00:01:56So wait, you were in Jurassic World?
00:01:58I was.
00:02:00Jurassic World?
00:02:01Not a fan.
00:02:02I'm sorry to take it personally.
00:02:09We really look at Jurassic World Dominion as bringing together all of the elements that
00:02:15we have created, sort of finishing them all off.
00:02:19The most exciting thing for me is to see these two casts of these two iconic franchises come
00:02:25together into one.
00:02:27Five or six years ago when we started this, I certainly had no idea where we would end
00:02:31up.
00:02:32I desperately hoped Sam Neill, Laura Dern, Jeff Goldblum, that they would be happy with
00:02:35what we did.
00:02:36This isn't about us anymore.
00:02:38I was very excited by the idea, and I love Chris Pratt and Bryce Dallas Howard, and I
00:02:43had gotten to know Colin, and loved his passion for the entire franchise.
00:02:49But I think it was really he, and Steven, and Frank Marshall all together being very
00:02:54protective about my character, Alan Grant, and Ian Malcolm, and really trying to get
00:03:00a sense of how to bring them back that got us particularly excited.
00:03:04Don't move.
00:03:06Of course I was interested, but I wasn't particularly interested in coming in as a
00:03:12sort of cameo thing.
00:03:14That wouldn't be fair on me or Alan Grant.
00:03:18Do you know the code?
00:03:20I didn't know there was going to be a code.
00:03:23Here we have these three characters who we know from the events of Jurassic Park, who
00:03:29have a special relationship with each other, and then the question becomes, what happened
00:03:34to those characters, and now why they come back together?
00:03:39Humans go extinct, dinosaurs live with the earth.
00:03:43Colin had a lot of conversations with all of the actors about their characters, so what
00:03:48you see is really a deeply collaborative process.
00:03:51Good?
00:03:52Good, good, good?
00:03:53Yes.
00:03:54Yeah?
00:03:55I feel good.
00:03:56All right.
00:03:57Let's do it.
00:03:58We're done.
00:03:59We're done.
00:04:00We shot a big chunk of Owen and Claire's part of the film, and then we shot a huge part
00:04:04of Laura and Sam and Jeff's storylines, so the experience of making the movie really
00:04:09mirrored the experience of watching the movie, where you're just seeing these two trains
00:04:14on separate tracks that are drawing closer and closer, and you know they're going to
00:04:17collide, and then when they finally do, you've been waiting for it, you've been anticipating
00:04:21it, and then you just get to live it.
00:04:24Camera rolling.
00:04:25And action.
00:04:26Mason!
00:04:27Owen!
00:04:28Owen!
00:04:29You're okay.
00:04:30They helped me escape.
00:04:31And cut.
00:04:32Very good.
00:04:33Colin sent a photo of us to Steven Spielberg, and he texted me back that it had brought a
00:04:46tear to his eyes to see us all back together.
00:04:49Look at you.
00:04:50And look at me.
00:04:51And look at you.
00:04:52Wow, this is so trippy.
00:04:53Wanting to bring back all of these original cast members, that's what makes this final
00:04:59movie so special.
00:05:03It's a celebration of the entire franchise.
00:05:05Thank you very much, guys, for an outstanding day of A1 Jurassic work.
00:05:22That's a wrap, guys, well done.
00:05:30There is a big underground market for dinosaurs now.
00:05:35It all comes through here.
00:05:37Just try to blend in.
00:05:41In the future, when dinosaurs roam the entire world, and their presence is ubiquitous as
00:05:47an iPhone, there are black markets that trade in everything, dinosaurs.
00:05:51So one of those black markets is in Malta.
00:05:54And this is legal?
00:05:56There's no such thing as legal here.
00:05:58I've never seen anything like it.
00:06:00I truly haven't.
00:06:01It's this massive underground marketplace, you know, crazy things happening.
00:06:08It's just absolutely unbelievable.
00:06:11Malta to me was a big fantasy sci-fi idea, just to be able to go into this hive of scum
00:06:17and villainy.
00:06:18When we created Malta, we wanted to find a balance between representing the way that
00:06:21these animals are likely to be treated in the real world, and also something that could
00:06:25feel vibrant and adventurous and fun.
00:06:28There's a little bit of everything.
00:06:30Anything that you want to find, anything you can imagine, that's the underground market.
00:06:35This place, nacho vibe.
00:06:38Kevin Jenkins has made some of the most incredible sets that I've ever worked on in my life.
00:06:43They're truly remarkable.
00:06:46The important thing was to make it feel like it was down and underground, because, you
00:06:52know, you're sort of basically telling your characters that you're going to a place you
00:06:54shouldn't go.
00:06:56Everything was then based around trying to have a set that allowed you to shoot it from
00:07:00every angle and to allow you to constantly move through and get lost within it so you
00:07:06don't actually understand the space.
00:07:07And so to get the up and down levels in the set, we decided to basically take the floor
00:07:12off and move in to have these natural steps coming in.
00:07:16As an actor, you want truth.
00:07:18If my eyes look over there, that's the truth.
00:07:20That's the truth.
00:07:21That's the truth.
00:07:22Everybody on the team has taken so much care and consideration to making this as truthful
00:07:27as possible in the world we've created.
00:07:29Welcome to the dinosaur market.
00:07:31I'll walk you around it, show you all the different areas, but basically this is a very
00:07:34good vantage point.
00:07:35You can see the whole thing from here.
00:07:36You come into the main area, you've got a handbag hutch over here, which is all dinosaur
00:07:41skin bags.
00:07:42We made all of those.
00:07:44This is the incubator area where you can buy hatching dinosaurs and dinosaur eggs.
00:07:50It's supposed to look very homemade, but it's slightly reminiscent of the original
00:07:53Jurassic Park incubator.
00:07:55Through into the barbecue area where you can order locust and lamprey and other various
00:08:02kind of food.
00:08:03So this was all practical, flames roaring away, people sat here and ate.
00:08:07These chaps are stood in here, again, this is an example of how we have to make a cage
00:08:11from scratch, which works for the puppeteers.
00:08:15They're working from behind, sometimes underneath, but again here, just as I've mentioned, this
00:08:19box actually conceals several puppeteers who are working underneath.
00:08:25This is the biggest scene we're doing in Dominion with practical dinosaurs.
00:08:30We have Microseratis, Listerosaurus, a Baryonyx, we have Demorphodons, we have giant locusts.
00:08:39It's like the whole vocabulary of dinosaurs are here in one place.
00:08:4322 puppeteers in total working at any given time.
00:08:47To prepare for the market scene, it's been a few months, it feels like a lifetime.
00:08:50But that's just because some puppets have seven puppeteers on it, if we have five puppeteers
00:08:56underneath a set, then that's a completely complicated process of working with construction
00:09:00and set deck and the mechs and the fabricators to make sure that everybody is speaking the
00:09:05same language and understanding the same rules so that we can achieve the same look.
00:09:09It's just really exciting to have so much practical effects being brought forward.
00:09:13It's like Christmas every day for us.
00:09:16You know what they say, don't work with children, animals or puppeteers.
00:09:20We've got amazing animatronics and we've even got a cameo from a little dinosaur that I
00:09:24think is going to steal the whole movie.
00:09:25It's called the Listerosaurus, it's hilarious and incredibly brutal.
00:09:31The stunt team is remarkable in this film.
00:09:33We started up on the raptors, flipping over the rail, crashing into boxes.
00:09:38Owen continues to pursue.
00:09:41So we've just been rehearsing Owen versus Delcourt, which we're doing up in the 007
00:09:45stage.
00:09:46They have a knife fight.
00:09:47Nice and slow, nice and slow.
00:09:48One, two, rip out, there he is, four.
00:09:55The training was intense, we worked really hard to make sure we would nail it.
00:09:59Getting old baby.
00:10:00The stunt team really showed us how to maneuver in a way that brought truth.
00:10:06In an acting, sometimes you don't have to act.
00:10:09You have to pinch yourself that you're standing next to dinosaurs which look real.
00:10:13I never thought in my life I'd actually see a real dinosaur ready to kill me.
00:10:28Here we go, three, two, one, action.
00:10:38We knew we wanted to have a sequence that was in an urban kind of environment.
00:10:41I really wanted to see dinosaurs against old stones, things that are ancient to us,
00:10:46but in contrast with creatures that are 65 billion years old.
00:10:50I thought it'd be a cool combination.
00:10:51Now that we're not on an island, we need to create something as magical, but also different.
00:10:56We have a massive sequence that we shot in Malta that incorporates dinosaurs in this
00:11:02environment.
00:11:03It's like a Bourne Identity film with Jurassic in there as well.
00:11:09The brief for the Atroceraptors was sprinters, basically always on.
00:11:14All their muscles were firing continuously.
00:11:16They were always in a hurry and they wanted to get you.
00:11:19That level of energy and that level of reality of the way they move through the space is
00:11:24what makes this feel like a very gritty, grounded chase sequence.
00:11:30In order to get that energy, we're shooting with lots of cameras at the same time.
00:11:34And as part of visual effects, we have to take data from all of those cameras, lenses,
00:11:38what the heights of the cameras are, so that we can recreate a digital version of the scene.
00:11:43Within that, we can then place our dinosaurs.
00:11:46Challenges for us were trying to make sure that the dinosaurs felt like they were really
00:11:51interacting with the space.
00:11:54Using every opportunity we could to have those dinosaurs playing with surfaces, kicking off
00:11:59walls, knocking things over, tumbling through dust.
00:12:03The fun thing about that was we could put all sorts of gags in there that we hadn't
00:12:06even thought about.
00:12:07Smashing through loads of stuff in the street.
00:12:08Shots where we expected to be looking in one place at a dinosaur and we thought, actually,
00:12:12we can put it up there on the stairs and then it can jump down.
00:12:16There's a great shot in the sequence where Owen rides his bike into a plaza and there's
00:12:20a Carnotaurus and an Allosaurus.
00:12:22We had to recreate the square that they're in, make digital copies of any props so that
00:12:27we can knock them about whenever a dinosaur interacts with them, then animate our dinosaur
00:12:32to really sit in with the action.
00:12:34That's a level of believability, which is one of the reasons why I feel like the sequence
00:12:38is so successful.
00:12:39It has so much energy.
00:12:42Claire realizes that the supervillain is Soyona and so she tracks and chases her and ultimately
00:12:50gets into a really intense fight.
00:12:55Colin and the stunt team organized it and shot it in such a way that it's almost like
00:13:00all in one take and it's really exciting and full of energy.
00:13:04Some really great stunts.
00:13:10Claire's just had a fight sequence with Soyona, being chased by a dinosaur, ends up jumping
00:13:15out this window, down into here and then runs along the rooftop.
00:13:20We'll have a little bit of wire work over on our roof over the other side with Claire's
00:13:27character jumping from roof to roof.
00:13:41In the midst of that ensues one of the greatest chase sequences ever put on film.
00:13:48You should see me ride a motorcycle.
00:13:49I am very good with the help of an amazing stuntman.
00:13:54My role is to double Chris Pratt on the motorcycle chase.
00:13:58We are dipping through the streets, dodging people, cars and reacting to the dinosaur.
00:14:05Riding around the city of Malta, it's quite challenging, so I've chosen a really all-around
00:14:10motorcycle, the Montessa, the Honda engine in it.
00:14:13It can grip up steps, it can do jumps, it can clearly escape dinosaurs, so it's a great
00:14:18bike to ride.
00:14:19The camera department have their hands full on this one.
00:14:22We're using film on the big cover camera bike and all the picture cards.
00:14:27We got a small film canister on there, so they understood the weight restricts me in
00:14:31riding, so I wouldn't say it's bothersome at all.
00:14:35It's not all about what I'm seeing.
00:14:37I got to understand what the camera's seeing and what kind of story we're trying to tell.
00:14:41There's been a bunch of dynamic shots we've done so far.
00:14:43Our VFX friends will obviously get involved later and get the monsters to chase us, but
00:14:47it's been unbelievably cool.
00:15:18And cut.
00:15:19Great.
00:15:20Cut.
00:15:21Cut.
00:15:22Terrifying.
00:15:23It's so scary for real.
00:15:26The best part of my job is that I get to decide which dinosaurs are going to be in each one
00:15:30of these movies.
00:15:31That's when I turn into a 12-year-old kid with all of my toys in the sandbox, and that
00:15:36is probably the coolest job imaginable.
00:15:38If you wanted more Dilophosaurus, you get it.
00:15:41I thought you were one of your big brothers.
00:15:43You're not so bad.
00:15:44One of the most iconic scenes in the original Jurassic is when Nedry gets venom spit into
00:15:49his eyes.
00:15:52That scene is really, really iconic.
00:15:55Dilophosaurus is one of the great dinosaur entrances of all time, with it being curious
00:16:00and seemingly friendly, and then it just gets really nasty.
00:16:05Dilophosaurus is just classic filmmaking, classic delivery of an animatronic puppet.
00:16:11Steven Spielberg and Stan Winston just used that puppet perfectly.
00:16:15There was never a digital Dilophosaurus in Jurassic Park, and because that one had been
00:16:21animatronic only, I really wanted to hold up that tradition.
00:16:25We looked at all the making of books.
00:16:28It's really difficult to know what size it was.
00:16:30There wasn't any molds from the original film, so we just looked at what was created before
00:16:35and started with a sculpture and built this dinosaur.
00:16:39So this here, these dinosaurs are still to come together, so these are still the foam
00:16:44latex skins.
00:16:45I think these need to be put on the mechanical skeleton and the fabricated structure, and
00:16:52then we put on the frill.
00:16:54So I've just been attaching the frill, and now I am gluing his face down.
00:16:59I think it is, for the scale, I think it is one of the most ambitious and complicated
00:17:03dinosaurs on the build, simply because we're trying to squeeze so much into such a small
00:17:09We knew that we wanted to at least try a few steps.
00:17:13Working with Derek Arnold, our amazing head of puppeteering, puppeteering captain, we
00:17:17actually created a dinosaur that can move around, it can lift its head up and down,
00:17:22it can pull its arms up independently, the frill can come out.
00:17:26I'm going to touch it, because they've gone to lunch.
00:17:29You can see here that it folds down, and that was actually one of the trickiest things because
00:17:34Colin also asked us to try and achieve not just the popping out of the frill, but also
00:17:39the folding back, because in the original film, it only folded out.
00:17:44So what just happened?
00:17:46So this is the moment where Kayla, like the true hero she is, saves Claire from the fates
00:17:53of this iconic dinosaur.
00:18:04Yuck.
00:18:05I have no idea what this means.
00:18:07No idea.
00:18:08No idea.
00:18:09I hope it's chocolate.
00:18:10This is our main spit substance, a material called methicellulose, which is a food thickening
00:18:15agent which they use in milkshakes at your local burger joint.
00:18:19I noticed in the original film, he first spits and he comes and grabs his shirt and it all
00:18:24strings up, so there's a substance we use in the film industry a lot called ultra-slime.
00:18:28And any time you see anything stringing in a film, it's this stuff.
00:18:33Well, it just looks like mucus.
00:18:35This is the way of delivering it.
00:18:36Camera, action.
00:18:37And he just ejects it using this pump.
00:18:43So this is what fires into his face.
00:18:45That was a good shot, I don't think you can do it.
00:18:49But if you air, I would air down here as opposed to up here, you know what I mean?
00:18:54It's good for him to get it in his mouth because he's going to get paralyzed and blah, blah.
00:18:58Take two.
00:18:59Okay.
00:19:00Ready?
00:19:01And action.
00:19:02Phil!
00:19:04Ten puppeteers.
00:19:11So there's two elements of remote control and then the rest of the puppet with the frill,
00:19:16the arms, the breathing, the legs, the body up and down, the neck and the head.
00:19:20It's all old school just cabling and pulling.
00:19:23When special effects or stunts get onset, everybody gets a little excited and something's
00:19:27going to happen.
00:19:28Got it all planned.
00:19:29So really quick, pop, pop.
00:19:30Pop, pop, instead of pop, pop.
00:19:33Considering the Barbasol can and then the Dodgson connection
00:19:37and that same dinosaur, it's just like, oh, right.
00:19:40That's awesome.
00:19:42Like, those little details, those callbacks,
00:19:44I was extremely excited to see that creature.
00:19:47Back!
00:19:50The way that Dodgson meets his end.
00:19:53What's your story?
00:19:55Ah!
00:19:55Ah!
00:19:56Ah!
00:19:58It is very similar to the way Nedry
00:20:00does and since those two started it all with that Barbasol can,
00:20:04I hope people are very satisfied.
00:20:08Cut.
00:20:10That's a wrap.
00:20:11Well done, everyone.
00:20:12Good job.
00:20:13Well done.
00:20:14Well done.
00:20:25This must be the old amber mines.
00:20:30Ah!
00:20:31Ah!
00:20:32Ah!
00:20:32Ah!
00:20:33Ah!
00:20:34Ah!
00:20:35Ah!
00:20:36Ah!
00:20:36Ah!
00:20:37Ah!
00:20:38Ah!
00:20:39Ah!
00:20:40Ah!
00:20:40Ah!
00:20:41Ah!
00:20:42Ah!
00:20:43Ah!
00:20:44I think the thing that makes people love dinosaur movies
00:20:46in general is that we know they were real.
00:20:48You know, they're not aliens.
00:20:50They're not monsters.
00:20:51They were real animals that existed on this planet.
00:20:53So when you see them on screen, you
00:20:55feel like you're watching something
00:20:56that's actually happening.
00:20:58The great thing about those early Jurassics
00:21:00was that we had these great creatures
00:21:03so that when you cut to something that's
00:21:04computer generated, you believe it
00:21:06because you've just been so close to a real thing,
00:21:10a real three-dimensional thing, that you believe
00:21:14implicitly the next image.
00:21:16And I was amazed, actually, to get back onto this set
00:21:19to realize that we were doing this in the old school way
00:21:23with fantastic creatures.
00:21:26This is my baby.
00:21:27He looks fierce in the movie, but he likes to scratch.
00:21:30He's like, scratch, scratch, scratch.
00:21:32Yes.
00:21:32Yes.
00:21:34Well, actually, now I'm a little scared.
00:21:36Forget it.
00:21:36I don't want to talk anymore.
00:21:37The Dimetrodon is terrifying, so creepy.
00:21:41The way it moves is horrific.
00:21:43It's crocodile-like.
00:21:45It was really exciting to actually have
00:21:46an animatronic filming with us.
00:21:48Ready, and fire!
00:21:50Hurry!
00:21:51It was one of the first scenes that we filmed,
00:21:53and it was really exciting to have
00:21:54this living, almost breathing creature to act with us.
00:21:59It is a specialized craft to see what John
00:22:02Nolan was capable of, and to be able to give
00:22:04him the opportunity not just to make animatronics
00:22:08for a Jurassic movie, but to make more than had ever
00:22:10been made for a single movie just excited me.
00:22:13We've got a seven-foot-long Dimetrodon
00:22:16in-camera practical dinosaur that Colin can use.
00:22:19And the process for us started like it always
00:22:22does with the sculpture, working with Steve
00:22:24the paleontologist.
00:22:25The way we created dinosaurs on this movie
00:22:26is different than in any of the other Jurassic films.
00:22:29The dinosaurs themselves started in the art departments.
00:22:32We had clay modelers working with Kevin Jenkins,
00:22:35our production designer.
00:22:36You can do this in the computer,
00:22:37but it's not quite the same thing.
00:22:39And we sculpted the head and part of the fin.
00:22:42And then, of course, it looked weird without front legs.
00:22:46So David Darby, our head of department sculpture,
00:22:49just said, oh, well, we can block the legs out
00:22:52so that Colin can see them.
00:22:53And then, of course, we got carried away,
00:22:56and we sculpted more and more and more.
00:22:58And the only thing we haven't sculpted
00:23:00on that dinosaur is the tail.
00:23:02Everything that you see was made by hand first.
00:23:06It was a clay model that was then scanned into the computer,
00:23:09turned into a 3D model that then was 3D printed in order
00:23:11to build an animatronic.
00:23:13So we'd actually have a performer inside here
00:23:16with his arms coming out there and actually gripping
00:23:20onto these arms.
00:23:22As you can see, you can perform that.
00:23:24The head and the neck is controlled with this rig here
00:23:27that Charlie's doing.
00:23:28We have three puppeteers that are behind the camera,
00:23:30looking at a monitor, seeing what the camera sees.
00:23:33Now, one RC controls just the eyes.
00:23:36They have blink and eye movement.
00:23:38One RC will control just the nose.
00:23:40And then one RC will control the mouth and the tongue inside.
00:23:44When the Dimetrodon needs to just roar,
00:23:46it has to be specifically timed so that when the chest raises,
00:23:50the head's lifting, the arms are engaging.
00:23:52So anatomically, it looks like everything
00:23:54is happening at once.
00:23:55It's a big production.
00:23:58First day with our Dimetrodon animatronic on set.
00:24:01You can see right here behind me.
00:24:03We also have Laura Dern and Sam Neill fighting a dinosaur,
00:24:06which is something I haven't seen for decades.
00:24:09And I'm so excited to see it again.
00:24:11So I'm going to do a series as this guy is fully chopped down,
00:24:14head moving around like a dog with a rope toy.
00:24:18This is sort of back to basics in the best possible sense.
00:24:22Argh!
00:24:24Forget that!
00:24:28To be able to work with the 3D thing
00:24:30rather than, you know, it's right here in your face,
00:24:34makes life so much more vivid.
00:24:39Nice.
00:24:40I got it.
00:24:41Its movements are terrifying.
00:24:42And its mouth is going at you.
00:24:44And it was three inches from me.
00:24:46And it was the whole thing.
00:24:47There's no acting there.
00:24:49It's right there.
00:24:50It was extraordinary.
00:24:52Argh!
00:24:53Argh!
00:24:53Argh!
00:24:54Argh!
00:25:06Move slow.
00:25:08They can swarm at the slightest disturbance.
00:25:12This one.
00:25:13Easy.
00:25:15Grant's going to reach in.
00:25:16Take out our animatronic locust.
00:25:18Hold it out.
00:25:19On that side, we'll at least swap.
00:25:20Do the COVID test.
00:25:22That's what we're doing.
00:25:22Yeah.
00:25:23Get it.
00:25:24Get it.
00:25:25Get it.
00:25:26Get it.
00:25:26Get it.
00:25:27OK.
00:25:28Hold up.
00:25:29There's locusts in this movie now?
00:25:32In our study of genetic power, we
00:25:35saw how manipulating the DNA of creatures like the locust
00:25:38could lead to massive, massive problems.
00:25:41They're multiplying like crazy.
00:25:43And they're not dying.
00:25:45This is going to be a global famine.
00:25:46Locusts can note this kind of prehistoric,
00:25:49uncomfortable, life-threatening kind of vibe.
00:25:53You're going to get really, really scared.
00:25:54The most scared that you've been.
00:25:56Yeah, big, big, big scare.
00:26:00We discover Ellie tracking locusts across the country.
00:26:05Thanks for coming.
00:26:06I didn't even want to see it if it wasn't a dinosaur.
00:26:08Yeah, well, they get all the attention.
00:26:10It's obviously rather enormous.
00:26:13Swarms of them are decimating crops from Iowa to Texas.
00:26:18The locust was a really tricky one for us.
00:26:20I mean, just the delivery of that character.
00:26:21There's so many of them.
00:26:23Also special effects, flying locusts falling
00:26:25from the sky that are on fire.
00:26:28That's bananas.
00:26:30You've got CG swarms of locusts.
00:26:34And then, of course, we had our practical version,
00:26:36which was a fully animatronic locust
00:26:39about 30 centimeters long.
00:26:41This is our hero locust.
00:26:43We've only built one of these for the film.
00:26:45This is a fully animatronic locust.
00:26:47The face moves with all the pincers.
00:26:50Normally, the locust would have four legs, two on each side,
00:26:54but we've removed them for this scene
00:26:55so that we can add them in for CG reference.
00:26:57There's three of us offset operating.
00:27:00Something of that scale, you can't fit all of the motors
00:27:02inside the creature, so we had to rely
00:27:05on a self-contained animatronic locust
00:27:08where all of the motors that control the face
00:27:10were actually inside the body.
00:27:11We had floppy legs, which were all mounted to the floor,
00:27:14and then had servos in the floor,
00:27:16pushing the locust up and down and moving it around,
00:27:19which then animated it and made it look like
00:27:21it was holding its own weight.
00:27:22They're quite a disgusting little creature.
00:27:24There's a small-scale new developed locust
00:27:28with a tracker, rubber locusts, burnt locusts.
00:27:31People are eating locusts.
00:27:33My appetite has changed because when we had
00:27:37to smash one of them, I did overhear a request
00:27:43for cream cheese and pesto, and when I saw,
00:27:47oh my God, I can't, ugh.
00:27:49There's a great sequence where Ellie and Claire
00:27:53happen upon a bunch of dead locusts.
00:27:57Nobody said there'd be bugs.
00:27:58Ugh.
00:28:00As you can see down here, we've got all the locusts
00:28:03on the floor, dummy ones, and all the animatronic ones
00:28:06that we were operating remotely on radio control.
00:28:09Yeah, really good.
00:28:10Oh, look at him.
00:28:12Are you gonna feel bad for these things?
00:28:13It's like so good.
00:28:15Ugh.
00:28:17The truth is, is that the locusts are like
00:28:18these zombie locusts, basically, and they're still alive,
00:28:21and the second that an alarm gets turned on,
00:28:24they all kind of like come back to life.
00:28:27And buzz.
00:28:29Whoa!
00:28:31I really don't like a cockroach,
00:28:34and then a flying cockroach, it's just horrible.
00:28:38It was a big day for SFX, because they're hitting
00:28:40the locusts with shot sticks.
00:28:42Shut it down!
00:28:43As these visual effects put the locusts in,
00:28:46hitting the servers, we had to do the sparks
00:28:48and that around the actors,
00:28:49so we don't compromise the safety.
00:28:52And I was like, shoo, shoo, shoo,
00:28:54and I'm like, hey, take this.
00:28:55Come on, take this.
00:28:58That's cool!
00:29:00And then if it became about this size,
00:29:03I guess is my worst nightmare.
00:29:04I said to Colin, more terrifying than a T-Rex,
00:29:08without question.
00:29:11And more.
00:29:13Oh!
00:29:16Damn, that felt good.
00:29:18And cut.
00:29:19That was excellent.
00:29:29It's my friend, Beta, she's kind of stealing the show.
00:29:32Oh, my God, look at that family.
00:29:35I've always loved the Raptors, I'm a fan of the Raptors.
00:29:38I like to think that Maisie and Beta are very similar.
00:29:42They're small, but feisty, and they can fend for themselves.
00:29:46Do you want to get out of here?
00:29:48Also, their story arc is quite similar.
00:29:53You Google Velociraptor, you see a giant,
00:29:55quite similar.
00:29:57You Google Velociraptor,
00:29:59you see a Jurassic Park Velociraptor.
00:30:02The journey of working with an animatronic
00:30:04versus working with something that's not really there,
00:30:07it's so much more fun to work with the animatronic.
00:30:09You have a team of experts making these things
00:30:11look so amazing, moving, living, breathing.
00:30:14You have something against which to really react.
00:30:17One of the things that's always been really difficult
00:30:19with animatronics is actually making them walk.
00:30:21And Colin and I saw an opportunity with Beta,
00:30:24who is Blue's daughter,
00:30:26to actually create a full-scale animatronic,
00:30:29complete dinosaur that could potentially
00:30:31walk around in the sets.
00:30:32So that's been a really great collaborative design process
00:30:35between John Nolan and Kevin Jenkins and ILM Visual Effects.
00:30:40This is our clone of Blue.
00:30:42She's got every small detail that we've taken
00:30:45from an Industrial Light and Magic file,
00:30:47and we've 3D printed that form,
00:30:50then recast it to create this foam latex skin.
00:30:53This puppet will play as a full animatronic puppet.
00:30:57And now just the teeth exposed on the upper lip,
00:31:00just that snarl.
00:31:02Good.
00:31:03Colin's really thoughtful
00:31:04about how he shoots the animatronics.
00:31:06It's like working with an actor, any actor.
00:31:08You make sure you get the right angle on it,
00:31:10the right light on it,
00:31:11so we've got some beautiful performances.
00:31:13I think Colin wants to understand their personalities,
00:31:17and he uses that when he's designing his dinosaurs
00:31:19to dictate the shape of their body
00:31:22and the markings on their skin.
00:31:24I just have to basically take the paint job of Blue
00:31:27and paint this small version of it
00:31:31to look exactly the same as Blue does,
00:31:33which is both challenging,
00:31:35and it's so much fun to do it on a different scale.
00:31:39Big butcher tail, then pull it.
00:31:41Let's do that.
00:31:43There's scenes where Beta interacts with other props.
00:31:46So we're actually creating a practical version
00:31:49so that they can cut from their CG Beta
00:31:52into our practical Beta,
00:31:53and then have it wriggling around.
00:31:58She's asleep.
00:32:02Looks good, right?
00:32:03We also have scenes with Owen
00:32:05where Owen carries Beta in a sling,
00:32:07so that interaction really requires a practical puppet
00:32:10as opposed to a CG one.
00:32:12Is that a dinosaur on your shoulder?
00:32:15Yeah.
00:32:15Why?
00:32:16It was a lot of fun to be able to do that.
00:32:18This thing is basically a very, very expensive puppet
00:32:21wearing another very, very expensive puppet.
00:32:26We have what we call a performance puppet,
00:32:28a much more lightweight version.
00:32:30It'll have eyes in, but you can see here,
00:32:32it's posable, so we can pose the arms,
00:32:35and it's gonna be a lot lighter than the animatronic
00:32:37because it hasn't got a robot inside.
00:32:39So effectively, someone can take these handles
00:32:41and actually perform it on the day.
00:32:43Let me see a little more sliver on the eyes.
00:32:45Yeah, like that.
00:32:47We'd love to create as much in-camera
00:32:49and the eye corners could move left and right,
00:32:51the eyelids can track up and down.
00:32:53Every time the eyes blink,
00:32:54they pull into the skull like this.
00:32:56Just makes them look even more organic.
00:32:58And Beta, look away.
00:33:00And when she snaps, look to her.
00:33:01Ready?
00:33:03Snap.
00:33:04That was nice.
00:33:05It's amazing how the team has created Beta.
00:33:08It's so similar to a living animal,
00:33:10like down to the way it breathes.
00:33:12And it's so helpful to have something that's so realistic.
00:33:17We're after Beta.
00:33:18And of these three wonderful heroes,
00:33:22one emerges.
00:33:24And it's clearly me.
00:33:25And it's clearly the new Alpha.
00:33:28It's sort of a proud parent moment
00:33:30where Maisie is able to control Beta
00:33:33in a way that typically I had.
00:33:34Eyes on me.
00:33:35She's got the Alpha confidence.
00:33:37I think as Alan Grant, in a way,
00:33:39has passed the torch on to Owen,
00:33:42here, Owen is passing the torch on to Maisie.
00:33:46What is that?
00:33:48Oh, yeah.
00:33:49Come here.
00:33:52No!
00:33:53No!
00:33:54No!
00:33:55See?
00:33:56Not so bad.
00:34:00In every movie, there needs to be a new big, bad dinosaur.
00:34:03And it was really important to me
00:34:05that we found a real dinosaur that actually existed.
00:34:07Giganotosaurus, largest known terrestrial carnivore.
00:34:12He put two apex predators in one valley.
00:34:14Pretty soon, there's only going to be one.
00:34:16There's this really amazing sequence
00:34:18at the end of the film with all of the main characters.
00:34:21And we are facing off with this Giga.
00:34:28So now come up like three inches.
00:34:31That's great.
00:34:32Let's cut.
00:34:33Awesome.
00:34:34Good job.
00:34:35Big hand.
00:34:36Well done tonight.
00:34:37We love you.
00:34:38It's an animatronic, which is crazy.
00:34:41We're going to see the Giga for the first time,
00:34:44and we're very excited.
00:34:46And action whenever you're ready.
00:34:48Oh!
00:34:49No!
00:34:50No!
00:34:51Oh, God.
00:34:53That's so good.
00:34:56Round of applause for our animatronics.
00:34:58Yeah.
00:34:59We've just been showing the Giga,
00:35:02and I'm really excited to be working on it.
00:35:05I didn't know that there was actually going to be
00:35:08an animatronic of the Giga, and it's massive.
00:35:11It's actually really scary.
00:35:13Are you OK?
00:35:15It looks so lifelike.
00:35:17Even the tongue moves.
00:35:19Can you show the back of the throat?
00:35:21Give him a voice.
00:35:22Oh, my God.
00:35:24It's amazing.
00:35:25It doesn't look robotic or anything.
00:35:27My first reaction of Giga is I'm blown away.
00:35:33Talk about craftsmanship.
00:35:34Whenever there's a world where you can actually
00:35:37look over at something and respond to,
00:35:40I really don't have to act much.
00:35:42It's so disturbing.
00:35:43I saw the creature shot.
00:35:44Those guys are wizards.
00:35:45I'd never worked with anything like that before in my life.
00:35:48This is today in three categories.
00:35:50Because this is such a massive sequence,
00:35:52it needs to be structured.
00:35:53I have the best way to approach this technically.
00:35:57What we're going to be doing today is
00:36:00What we're going to be doing today is
00:36:02involving the Giga.
00:36:03Bryce is going to get tangled in these wires
00:36:06and get pulled back this way.
00:36:08Chris is going to grab her hand and get pulled back with her.
00:36:11Chris is going to stab the dinosaur,
00:36:13and Claire is going to shock it in the eye.
00:36:15Perfect.
00:36:16That's today.
00:36:19And cut!
00:36:20Giga, take a bow.
00:36:22Take a bow.
00:36:23The combination of the animatronics
00:36:25and the computer generator effects
00:36:27gives a reality to the most extraordinarily unreal things.
00:36:30It's there, and it's happening.
00:36:32I saw them working on that.
00:36:34It was something.
00:36:35It certainly was for me.
00:36:36Giga.
00:36:37It brings you no small amount of discomfort.
00:36:39Well, that got the heart rate up.
00:36:41We had to lock that design before we shot it,
00:36:43so a lot of times, movies of this size
00:36:45are able to do things in post-production.
00:36:47You don't really have to commit to the design until later,
00:36:49but we built an animatronic Giganotosaurus,
00:36:51so we didn't have the benefit of figuring that out in post.
00:36:54The initial concepts were done by Kevin Jenkins,
00:36:57which was really a 2-D illustration at that point.
00:36:59Then they would create these amazing scale clay sculpts,
00:37:03which Kevin then scanned and brought into the computer
00:37:06and did digital models of it.
00:37:07At that point, we would then hand those models to ILM,
00:37:10who took them and added extra detail and scales.
00:37:13We built physical skeletons to go inside those dinosaurs
00:37:16to make sure that they were anatomically correct,
00:37:18and we gave those models to John Nolan,
00:37:21who 3-D printed them at 1-to-1 scale.
00:37:23I wanted our hero dinosaurs, especially our Giganotosaurus,
00:37:26to really live in their environment.
00:37:28It was very important to me that we didn't just have
00:37:30this abstract character as a dinosaur turned up
00:37:33looking the wrong colour in the wrong place
00:37:35or the wrong shape or the wrong size.
00:37:37This is the biggest front half of a dinosaur
00:37:40that's ever been built in Jurassic World.
00:37:42It's absolutely massive.
00:37:43We were looking at the size of it,
00:37:45and the Giga is 6 metres high in real life and 15 metres long.
00:37:50We're talking the size of a double-decker bus.
00:37:52They would have all weighed in the ballpark
00:37:54of somewhere between 5 and 8 tonnes
00:37:56and the size of a few elephants put together.
00:37:58Both T-Rex and Giganotosaurus had enormous heads
00:38:02the size of a bathtub.
00:38:04We knew that we could create an animatronic face.
00:38:07We knew we could create the skin,
00:38:09but the neck and holding that skin
00:38:11and the head off the ground,
00:38:13that needed something a lot bigger
00:38:15than what creature effects normally do.
00:38:17Jason Lindster saw the designs
00:38:19of the scale creature that we made
00:38:21and he built a massive version
00:38:23which takes the weight of the head,
00:38:25which is about a tonne.
00:38:27So it's just an amazing achievement.
00:38:29What we're looking at here
00:38:30is what we call the fibreglass core,
00:38:32which is basically a fibreglass skeleton.
00:38:34And on top of that,
00:38:35we've got the sculpted foam latex skin.
00:38:37So they're actually putting it in sections,
00:38:39gluing all the sections together,
00:38:40and that's how we get the final look of the puppet.
00:38:42This is actually hard material.
00:38:44This is supposed to be like bone.
00:38:45When the robot moves around,
00:38:47we need it to move inside each other
00:38:49and to move around with the softness
00:38:51of the skin underneath.
00:38:53Yes!
00:38:54Really good.
00:38:55Yes!
00:38:58This is the Giga Eye.
00:38:59It's been designed with this CNC-cut jig
00:39:02so that every time we pull an eye out,
00:39:04they're always exactly the same.
00:39:05Everything lines up perfectly.
00:39:06We've got another former under there
00:39:08that is a mould of what the animatronic would be
00:39:11that controls the eyeballs.
00:39:13I think eyes wide open is how we do it.
00:39:16These are the Giga Teeth.
00:39:17Each individual one is different,
00:39:19and as you can see, they're numbered here.
00:39:21There's 64 teeth,
00:39:23so each one will have to be glued up
00:39:25through the foam latex into the core underneath.
00:39:32We are out here in the forest.
00:39:33It's about 4 in the morning,
00:39:35and behind me is the Giganotosaurus,
00:39:36which is an animatronic made by John Nolan
00:39:39and all of the brilliant craftspeople at his studios.
00:39:42It has about 15 different puppeteers
00:39:44that are working for all of its facial movements
00:39:47and its breathing and its mouth and its eyes,
00:39:49not to mention the body, at all times,
00:39:51and it's absolutely meticulous and brilliant work,
00:39:54and I'm just so lucky to be a part of it.
00:40:02Cut there. Great work.
00:40:04Well, that was fun.
00:40:05I want to thank my co-star, Bryce,
00:40:09and the Giganotosaurus.
00:40:15It's our last day.
00:40:17Wow. Life is beautiful.
00:40:20And in we go.
00:40:22Roll camera. Ready, and showtime.
00:40:25See how sexy that man is?
00:40:27Last day of the Jurassic World franchise,
00:40:30possibly last day of the Jurassic Park franchise.
00:40:35Booyah!
00:40:36I'm getting a little sentimental
00:40:37thinking about everything that we've been through together.
00:40:39It's sort of the end of an era,
00:40:41and it's sad in a way,
00:40:42but it's also really beautiful.
00:40:43You've been great. I can't believe it.
00:40:45I can't believe what we've been able to do.
00:40:47The final night was very emotional, and it always is.
00:40:50All right, guys. We got more to do.
00:40:52Let's get into it.
00:40:53The efforts of our producers, of all of our crew,
00:40:56of these actors living away from their families,
00:40:58there were just so many sacrifices that were made
00:41:00to make this movie.
00:41:01There we are. Full house. Dream team.
00:41:07I love all of these characters.
00:41:09It's an incredible group of people.
00:41:13That's it.
00:41:14And it has been a magical, unusual,
00:41:18and special kind of time and experience.
00:41:21Why do people love Jurassic films?
00:41:23I'm going to say Chris Pratt, Bryce, Laura Dern, Jeff.
00:41:29That's my answer.
00:41:31Third movie of Jurassic World.
00:41:33Sixth movie of Jurassic Park.
00:41:35Bryce and I talk a lot about this.
00:41:36It's been a lot of fun.
00:41:37Bryce and I talk a lot about this.
00:41:39It's been a lot of life that's happened in our lives
00:41:44since starting this movie,
00:41:46and it's been really nice to have a partner in Bryce
00:41:48to go through all of that stuff with you
00:41:50and have you in my life,
00:41:51and I feel the same way about everybody.
00:41:53It's just really nice.
00:41:54You know, The Destination is a great film
00:41:57for people to see in the theaters,
00:41:59but really the journey is the most moving
00:42:02and the most meaningful.
00:42:03Working with these guys has been hilarious.
00:42:06I've been laughing almost every day on set,
00:42:08and that's, I think, the best kind of sense of beyond
00:42:11where you're just laughing and having a good time.
00:42:13So, yeah, a real blessing.
00:42:15Much like on the first film
00:42:17where we truly survived a hurricane together,
00:42:21we became a family,
00:42:22and really a deep family for life,
00:42:26but also because of the pandemic
00:42:30and being the first film back
00:42:31and all of us, we really created family
00:42:34and support for each other
00:42:36in a way that you don't necessarily get on a film.
00:42:39This group, it's a pretty consistently fun group of people.
00:42:42It's an amazing group of people.
00:42:44The question is, are we making the last film?
00:42:47I hope it's not the last dinosaur.
00:42:50It's awesome getting to be here with everyone
00:42:53because it's like a group scene,
00:42:57so we're all getting to say goodbye at the same time.
00:43:00I was just so incredibly honoured.
00:43:04It's been even more incredible than I could have imagined,
00:43:09and this is why, so thank you.
00:43:13I'm sad to be finishing the production,
00:43:16and it's such a shame that we're finally wrapping,
00:43:18but I've had a really great time.
00:43:20Everybody set, Izzy, I want you to call action on this one, alright?
00:43:23Here we go. Ready, and...
00:43:25Action!
00:43:26I'm very full of gratitude and many emotions.
00:43:35I had a mental loss of words.
00:43:38We're in a helicopter for our very last shot.
00:43:41We're about to wrap this film and this franchise,
00:43:45and that's a big deal.
00:43:47So Jeff wants to give his speech now.
00:43:50LAUGHTER
00:43:57For once he has a speech!
00:44:02Finally!
00:44:03I can't believe we got it on camera.
00:44:06Do you know the George Bernard Shaw quote?
00:44:09Do you know a George Bernard Shaw quote
00:44:11that starts, this is the true joy in life?
00:44:13Listen to this.
00:44:14This is the true joy in life,
00:44:16of being used for a purpose considered by yourself as mighty,
00:44:20of being a force of nature
00:44:22instead of a feverish, selfish little clod
00:44:24of ailments and grievances,
00:44:25complaining that the world will not devote itself to making you happy.
00:44:29I am of the opinion that my life belongs to the whole community,
00:44:33and while I live, it is my privilege to do for it whatever I can.
00:44:37I want to be thoroughly used up when I die,
00:44:40for the harder I work, the more I live.
00:44:43I rejoice in life for its own sake.
00:44:46Life is no brief candle to me,
00:44:48but a splendid torch that I've got hold of for the moment.
00:44:52And I want to make it burn as brightly as possible
00:44:55before handing it on to future generations.
00:45:00Bravo!
00:45:02Bravo!
00:45:03Bravo, bravo, bravo.
00:45:05In that moment, we had all of them together,
00:45:07realizing that something that was a real part of their lives
00:45:10might be coming to an end.
00:45:12850 crew, 38 dinosaurs,
00:45:163 countries, 2 units, 8 service stages,
00:45:20one pandemic.
00:45:22That's a picture of us!
00:45:26A huge round of applause as we wrap Izzy!
00:45:33As we wrap Vinnie Wong!
00:45:38As we wrap Marmaduke!
00:45:43As we wrap Jawanda!
00:45:47As we wrap Champ!
00:45:51As we wrap Laura!
00:45:55As we wrap Sam!
00:45:59As we wrap Chris!
00:46:03As we wrap Bryce!
00:46:07And we wrap Colin!
00:46:10I am very proud to be a part of the British film community.
00:46:13There was a keep calm and carry on vibe
00:46:15that permeated the entire production.
00:46:17We got to the very end of it.
00:46:19There were so many levels of why that was emotional.
00:46:21A lot of hugs and a lot of warmth,
00:46:23and some tears.
00:46:25It was extraordinarily emotional,
00:46:27and I'm just amazed I even got to be there.
00:46:29Get in the selfie, everyone!
00:46:31That's good!
00:47:19And action!
00:47:33And cut!
00:47:37Terrifying!
00:47:39It's so scary for real!
00:47:41The best part of my job is that I get to decide
00:47:43which dinosaurs are going to be in each one of these movies.
00:47:45That's when I turn into a 12-year-old kid
00:47:47with all of my toys in the sandbox,
00:47:49and that is probably the coolest job imaginable.
00:47:51If you wanted more Dilophosaurus, you get it.
00:47:55Thought you were one of your big brothers, you're not so bad.
00:47:57One of the most iconic scenes in the original Jurassic
00:47:59is when Nedry gets venom spit into his eyes.
00:48:05That scene is really, really iconic.
00:48:08The Dilophosaurus is one of the great dinosaur entrances of all time.
00:48:12It being curious and seemingly friendly,
00:48:15and then it just gets really nasty.
00:48:18The Dilophosaurus is just classic filmmaking,
00:48:21classic delivery of an animatronic puppet.
00:48:24Steven Spielberg and Stan Winston just used that puppet perfectly.
00:48:28There was never a digital Dilophosaurus in Jurassic Park,
00:48:32and because that one had been animatronic only,
00:48:35I really wanted to hold up that tradition.
00:48:38We looked at all the making-of books.
00:48:41It's really difficult to know what size it was.
00:48:44There wasn't any moulds from the original film,
00:48:46so we just looked at what was created before
00:48:49and started with the sculpture and built this dinosaur.
00:48:52So this here, these dinosaurs are still to come together,
00:48:56so these are still the foam latex skins.
00:48:58I think these need to be put on the mechanical skeleton
00:49:02and the fabricated structure, and then we put on the frill.
00:49:07So I've just been attaching the frill,
00:49:10and now I am gluing his face down.
00:49:13I think it is, for the scale, one of the most ambitious
00:49:16and complicated dinosaurs on the build,
00:49:19simply because we're trying to squeeze so much into such a small dinosaur.
00:49:23We knew that we wanted to at least try a few steps.
00:49:27Working with Derek Arnold, our amazing head of puppeteering,
00:49:30puppeteering captain, we actually created a dinosaur
00:49:33that can move around, it can lift its head up and down,
00:49:36it can pull its arms up independently, the frill can come out.
00:49:40I'm going to touch it, because they've gone to lunch.
00:49:43You can see here that it folds down,
00:49:45and that was actually one of the trickiest things,
00:49:48because Colin also asked us to try and achieve
00:49:51not just the popping out of the frill, but also the folding back,
00:49:55because in the original film, it only folded out.
00:49:58Ah!
00:49:59So what just happened?
00:50:01So this is the moment where Kayla, like the true hero she is,
00:50:05saves Claire from the fate of this iconic dinosaur.
00:50:10HE GROWLS
00:50:15God, yes!
00:50:18Yuck.
00:50:19I have no idea what he's making. No idea.
00:50:22I hope it's chocolate.
00:50:24This is our main spit substance, a material called methicellulose,
00:50:28which is a food thickening agent which they use in milkshakes
00:50:31at your local burger joint.
00:50:34I noticed in the original film, he first spits and he comes
00:50:37and grabs his shirt and it all strings up,
00:50:39so there's a substance we use in the film industry a lot called
00:50:42ultra-slime, and any time you see anything stringing in a film,
00:50:45it's this stuff.
00:50:47Well, it just looks like mucus.
00:50:49This is the way of delivering it.
00:50:51Camera, action.
00:50:55And he just ejects it using this pump.
00:50:58So this is what fires into his face.
00:51:01That was a good shot.
00:51:03But if you air, I would air down here as opposed to up here.
00:51:08It's good for him to get it in his mouth
00:51:10cos he's going to get paralysed and blah, blah.
00:51:12Take two.
00:51:14Ready and action.
00:51:19Frill.
00:51:24Ten puppeteers, so there's two elements of remote control
00:51:28and then the rest of the puppet with the frill, the arms,
00:51:31the breathing, the legs, the body up and down,
00:51:33the neck and the head, it's all old school,
00:51:35just cabling and pulling.
00:51:37When special effects or stunts get on set,
00:51:39everybody gets a little excited,
00:51:41something's going to happen, got it all planned.
00:51:43So really quick, pop, pop, instead of pop, pop.
00:51:47Considering the Barbasol can and then the dachshund connection
00:51:51and that same dinosaur, it's just like, oh right, that's awesome.
00:51:56Like those little details, those callbacks,
00:51:58I was extremely excited to see that creature.
00:52:03The way that Dodgson meets his end.
00:52:07What's your story?
00:52:09Ah! Ah!
00:52:12It's very similar to the way Nedry does
00:52:14and since those two started it all with a Barbasol can,
00:52:18I hope people are very satisfied.
00:52:24That's a wrap.
00:52:26Well done.
00:52:39This must be the old Amber Mines.
00:52:57I think the thing that makes people love dinosaur movies in general
00:53:00is that we know they were real.
00:53:02They're not aliens, they're not monsters,
00:53:04they were real animals that existed on this planet.
00:53:07So when you see them on screen,
00:53:09you feel like you're watching something that's actually happening.
00:53:12The great thing about those early Jurassics
00:53:14was that we had these great creatures
00:53:16so that when you cut to something that's computer-generated,
00:53:19you believe it because you've just been so close to a real thing,
00:53:23a real three-dimensional thing,
00:53:25that you believe implicitly the next image.
00:53:29And I was amazed, actually, to get back onto this set
00:53:33to realise that we were doing this in the old-school way
00:53:37with fantastic creatures.
00:53:39This is my baby.
00:53:41He looks fierce in the movie, but he likes to be scratched.
00:53:44Yes. Yes.
00:53:47Well, actually, now I'm a little scared.
00:53:49Forget it, I don't want to talk anymore.
00:53:51The Dimetrodon is terrifying, so creepy,
00:53:55the way it moves is horrific, it's crocodile-like.
00:53:58It was really exciting to actually have an animatronic filming with us.
00:54:02Ready and...
00:54:04Hurry!
00:54:05It was one of the first scenes that we filmed
00:54:07and it was really exciting to have this living,
00:54:10almost breathing creature to act with us.
00:54:13It is a specialised craft to see what John Nolan was capable of
00:54:17and to be able to give him the opportunity
00:54:20not just to make animatronics for a Jurassic movie,
00:54:23but to make more than had ever been made for a single movie,
00:54:26just excited me.
00:54:27We've got a seven-foot-long Dimetrodon,
00:54:30in-camera practical dinosaur that Colin can use,
00:54:33and the process for us started, like it always does,
00:54:36with the sculpture, working with Steve, the paleontologist.
00:54:39The way we created dinosaurs on this movie is different
00:54:42than in any of the other Jurassic films.
00:54:44The dinosaurs themselves started in the art department,
00:54:47working with Kevin Jenkins, our production designer.
00:54:49You can do this in the computer, but it's not quite the same thing.
00:54:52And we sculpted the head and part of the fin,
00:54:55and then, of course, it looked weird without front legs,
00:54:59so David Darby, our head of department sculptor,
00:55:03just said, we can block the legs out so that Colin can see them.
00:55:07And then, of course, we got carried away
00:55:09and we sculpted more and more and more,
00:55:12and the only thing we haven't sculpted on that dinosaur is the tail.
00:55:15Everything that you see was made by hand first.
00:55:19It was a clay model that was then scanned into the computer,
00:55:22turned into a 3-D model that then was 3-D printed
00:55:25in order to build an animatronic.
00:55:27So we'd actually have a performer inside here,
00:55:30with his arms coming out there,
00:55:33and actually gripping onto these arms,
00:55:35so you can see you can perform that.
00:55:37The head and the neck is controlled with this rig here that Charlie's doing.
00:55:41We have three puppeteers that are behind the camera,
00:55:44looking at a monitor, seeing what the camera sees.
00:55:46Now, one R.C. controls just the eyes.
00:55:49They have blink and eye movement.
00:55:51One R.C. will control just the nose,
00:55:53and then one R.C. will control the mouth and the tongue inside.
00:55:57When the Dimetrodon needs to just roar,
00:56:00it has to be specifically timed so that when the chest raises,
00:56:03the head's lifting, the arms are engaging,
00:56:06so anatomically it looks like everything is happening at once.
00:56:09It's a big production.
00:56:11First day with our Dimetrodon animatronic on set,
00:56:14you can see right here behind me.
00:56:16We also have Laura Dern and Sam Neill fighting a dinosaur,
00:56:20which is something I haven't seen for decades,
00:56:22and I'm so excited to see it again.
00:56:24So I'm going to do a series as this guy is fully chomped down,
00:56:28head moving around like a dog with a rope toy.
00:56:31This is sort of back to basics in the best possible sense.
00:56:38Forget that!
00:56:42To be able to work with the 3-D thing rather than...
00:56:45You know, it's right here in your face.
00:56:48It makes life so much more vivid.
00:56:53Nice.
00:56:54His movements are terrifying and his mouth is going at you,
00:56:58and it was 3 inches from me and it was the whole thing.
00:57:01There's no acting there. It's right there.
00:57:04It was extraordinary.
00:57:06Ah!
00:57:08Ah!
00:57:20Move slow.
00:57:22They can swarm at the slightest disturbance.
00:57:25This one? Easy.
00:57:29Grant's going to reach in, take out our animatronic locust,
00:57:32hold it out. On that side, we'll at least swap...
00:57:34Do the COVID test.
00:57:39Okay.
00:57:41Hold up, there's locusts in this movie now?
00:57:45In our study of genetic power,
00:57:47we saw how manipulating the DNA of creatures like the locust
00:57:51could lead to massive, massive problems.
00:57:54They're multiplying like crazy, and they're not dying.
00:57:57This is going to be a global famine.
00:57:59Locusts connote this kind of prehistoric, uncomfortable,
00:58:03life-threatening kind of vibe.
00:58:05You're going to get really, really scared.
00:58:07The most scared that you've been.
00:58:09Big, big, big scare.
00:58:12We discover Ellie tracking locusts across the country.
00:58:16Thanks for coming.
00:58:18I didn't even want to see it if it wasn't a dinosaur.
00:58:21Yeah, well, they get all the attention.
00:58:23It's obviously rather enormous.
00:58:25Swarms of them are decimating crops from Iowa to Texas.
00:58:29The locust was a really tricky one for us.
00:58:32Just the delivery of that character, there's so many of them.
00:58:35Also special effects, flying locusts
00:58:37falling from the sky that are on fire.
00:58:40That's bananas.
00:58:42You've got CG swarms of locusts.
00:58:46And then, of course, we had our practical version,
00:58:49which was a fully animatronic locust about 30cm long.
00:58:53This is our hero locust.
00:58:55We've only built one of these for the film.
00:58:57This is a fully animatronic locust.
00:58:59The face moves, we've got the pincers.
00:59:02Normally, the locust would have four legs, two on each side,
00:59:06but we've removed them for this scene
00:59:08so that we can add them in for CG reference.
00:59:10There's three of us offset operating.
00:59:12Something of that scale,
00:59:14you can't fit all of the motors inside the creature,
00:59:16so we had to rely on a self-contained animatronic locust
00:59:20where all of the motors that control the face
00:59:22were actually inside the body.
00:59:24We had floppy legs which were all mounted to the floor
00:59:27and then had servos in the floor pushing the locust up and down
00:59:31and moving it around, which then animated it
00:59:33and made it look like it was holding its own weight.
00:59:35It's quite a disgusting little creature.
00:59:37There's a small-scale new developed locust with a tracker,
00:59:42rubber locusts, burnt locusts, people are eating locusts.
00:59:46My appetite has changed
00:59:48because when we had to smash one of them,
00:59:54I did overhear a request for cream cheese and pesto.
00:59:59When I saw, oh, my God, I can't.
01:00:03There's a great sequence where Ellie and Claire
01:00:07happen upon a bunch of dead locusts.
01:00:11Nobody said there'd be bugs.
01:00:13As you can see down here, we've got all the locusts on the floor,
01:00:17dummy ones, and all the animatronic ones
01:00:20that are operating remotely on radio control.
01:00:23Yeah, really good. Oh, look at them.
01:00:25Are you going to feel bad for these things?
01:00:27It's, like, so good.
01:00:29Ah!
01:00:31The truth is, is that the locusts are like these zombie locusts, basically,
01:00:34and they're still alive, and the second that an alarm gets turned on,
01:00:38they all kind of, like, come back to life.
01:00:41And buzz!
01:00:43Ah!
01:00:45I really don't like a cockroach,
01:00:48and then a flying cockroach.
01:00:51It's just horrible.
01:00:52It was a big day for SFX
01:00:54because they're hitting the locusts with shot sticks.
01:00:56Shut it down!
01:00:58As these visual effects put the locusts in, hitting the servers,
01:01:01we had to do the sparks and that around the actors
01:01:04so we don't compromise the safety.
01:01:06And I was like, shoo, shoo, shoo.
01:01:08And I'm like, hey, take this.
01:01:10Come on, take this.
01:01:12That's cool!
01:01:14And then if it became about this size,
01:01:18I guess is my worst nightmare.
01:01:20I said to Colin, more terrifying than a T. rex.
01:01:23Without question.
01:01:25And more.
01:01:28Ah!
01:01:30Damn that felt good.
01:01:33And cut.
01:01:35Excellent.
01:01:43This is my friend Beta.
01:01:45She's kind of stealing the show.
01:01:47Oh, my God, look at that family.
01:01:50I've always loved the Raptors. I'm a fan of the Raptors.
01:01:53I like to think that Maisie and Beta are very similar.
01:01:57They're small but feisty, and they can fend for themselves.
01:02:01Do you want to get out of here?
01:02:03Also, their story arc is quite similar.
01:02:07You get called Velociraptor.
01:02:09You see a Jurassic Park Velociraptor.
01:02:11The journey of working with an animatronic
01:02:14versus working with something that's not really there,
01:02:17it's so much more fun to work with the animatronic.
01:02:20You have a team of experts making these things look so amazing,
01:02:23moving, living, breathing.
01:02:25You have something against which to really react.
01:02:28One of the things that's always been really difficult
01:02:31with animatronics is actually making them walk.
01:02:33And Colin and I saw an opportunity with Beta,
01:02:36who is Blue's daughter,
01:02:38to actually create a full-scale animatronic complete dinosaur
01:02:42that could potentially walk around in the sets.
01:02:44So that's been a really great collaborative design process
01:02:47between John Nolan and Kevin Jenkins and ILM Visual Effects.
01:02:51This is our clone of Blue.
01:02:53She's got every small detail that we've taken
01:02:56from an Industrial Light & Magic file,
01:02:58and we've 3-D printed that form,
01:03:01then recast it to create this foam latex.
01:03:04And this puppet will play as a full animatronic puppet.
01:03:08And now just the teeth exposed on the upper lip,
01:03:11just that snarl. Good.
01:03:14Colin's really thoughtful about how he shoots the animatronics.
01:03:17It's like working with an actor, any actor.
01:03:19You make sure you get the right angle on it, the right light on it,
01:03:22so you've got some beautiful performances.
01:03:24I think Colin wants to understand their personalities,
01:03:28and he uses that when he's designing his dinosaurs
01:03:31to dictate the shape of their body and the markings on their skin.
01:03:35I just have to basically take the paint job of Blue
01:03:39and paint this small version of it
01:03:42to look exactly the same as Blue does,
01:03:45which is both challenging,
01:03:47and it's so much fun to do it on a different scale.
01:03:50Big bushy tail.
01:03:52And pull it. Let's do that.
01:03:54There's scenes where Vesa interacts with other props.
01:03:57So we're actually creating a scene
01:04:00So we're actually creating a practical version
01:04:02so that they can cut from their CG beta into our practical beta
01:04:07and then have it wriggling around.
01:04:12She has a sling.
01:04:15Looks good, right?
01:04:17We also have scenes with Owen where Owen carries Vesa in a sling,
01:04:21so that interaction really requires a practical puppet as opposed to a CG one.
01:04:25Is that a dinosaur on your shoulder?
01:04:28Yeah. Why?
01:04:30It was a lot of fun to be able to do that.
01:04:32This thing's basically a very, very expensive puppet
01:04:35wearing another very, very expensive puppet.
01:04:40We have what we call a performance puppet,
01:04:42a much more lightweight version.
01:04:44It'll have eyes in, but you can see here it's poseable,
01:04:47so we can pose the arms,
01:04:49and it's going to be a lot lighter than the animatronic
01:04:51because it hasn't got a robot inside,
01:04:53so effectively someone can take these handles
01:04:55and actually perform it on the day.
01:04:57It makes me a little more slimmer on the eyes.
01:04:59Yeah, like that.
01:05:01We love to create as much in camera,
01:05:03and the eye corners can move left and right,
01:05:05the eyelids can track up and down.
01:05:07Every time the eyes blink, they pull into the skull like this.
01:05:10It just makes them look even more organic.
01:05:12And beta, look away.
01:05:14And when she snaps, look to her. Ready?
01:05:17Snap.
01:05:18That was nice.
01:05:19It's amazing how the team has created beta.
01:05:22It's so similar to a living animal,
01:05:24like down to the way it breathes,
01:05:26and it's so helpful to have something that's so realistic.
01:05:30We're after beta,
01:05:32and of these three wonderful heroes,
01:05:36one emerges.
01:05:38And it's clearly me.
01:05:39And it's clearly the new Alpha.
01:05:41It's sort of a proud parent moment
01:05:43where Maisie is able to control beta
01:05:46in a way that typically I had.
01:05:48Eyes on me.
01:05:49She's got the Alpha confidence.
01:05:51I think as Alan Grant in a way has passed the torch on
01:05:54to Owen here,
01:05:56Owen is passing the torch on to Maisie.
01:06:06What is that?
01:06:08Oh, yeah. Come here.
01:06:15See? Not so bad.
01:06:20In every movie, there needs to be a new Big Bad Dinosaur.
01:06:23And it was really important to me
01:06:24that we found a real dinosaur that actually existed.
01:06:27Giganotosaurus.
01:06:28Largest known terrestrial carnivore.
01:06:30He put two apex predators in one valley.
01:06:32Pretty soon, there's only gonna be one.
01:06:34There's this really amazing sequence
01:06:36at the end of the film with all of the main characters,
01:06:39and we are facing off with this Giganotosaurus.
01:06:47So now come up like three inches.
01:06:49That's great.
01:06:50Let's cut. Awesome.
01:06:52Good job. Big hand. Well done tonight.
01:06:55It's an animatronic, which is crazy.
01:06:59We're gonna see the Giga for the first time,
01:07:02and we're very excited.
01:07:03And action whenever you're ready.
01:07:11That's so good.
01:07:14Round of applause for our animatronic.
01:07:18We've just been showing the Giga,
01:07:20and I'm really excited to be working with it.
01:07:22I didn't know that there was actually gonna be
01:07:24an animatronic of the Giga, and it's massive.
01:07:28Actually, I'm scared.
01:07:29Are you okay, Annie?
01:07:32It looks so lifelike.
01:07:34Even the tongue moves.
01:07:36Can you show the back of the throat?
01:07:38Give him a voice.
01:07:39Oh, my God!
01:07:41It's amazing.
01:07:42It doesn't look robotic or anything.
01:07:44My first reaction of Giga is...
01:07:47I'm blown away.
01:07:49Talk about craftsmanship.
01:07:50Whenever there's a world
01:07:51where you can actually look over at something
01:07:55and respond to,
01:07:56I really don't have to act much.
01:07:58So disturbing.
01:07:59I saw the creature shot.
01:08:00Those guys are wizards.
01:08:01I'd never worked with anything like that before in my life.
01:08:04This is today in three categories.
01:08:07Because this is such a massive sequence,
01:08:09it needs to be structured by the best way
01:08:11to approach this technically.
01:08:13What we're gonna be doing today
01:08:15is involving the Giga.
01:08:17Bryce is gonna get tangled in these wires
01:08:20and pulled back into the scene.
01:08:22Chris is gonna grab her hand
01:08:24and get pulled back with her.
01:08:25Chris is gonna stab her.
01:08:27Claire's gonna shock her in the eye.
01:08:29Perfect.
01:08:30That's today.
01:08:31That's today.
01:08:33And cut!
01:08:34Giga, take a bow.
01:08:36Let's take a bow.
01:08:37The combination of the animatronics
01:08:39and the computer-generated effects
01:08:41gives a reality to the most extraordinarily unreal things.
01:08:45It's there, and it's happening.
01:08:46I saw them working on that.
01:08:48It was something.
01:08:49It certainly was for me.
01:08:50Giga.
01:08:51It brings you no small amount of discomfort,
01:08:54but it got the heart rate up.
01:08:55We had to lock that design before we shot it,
01:08:57so, you know, a lot of times, movies of this size
01:08:59are able to do things in post-production.
01:09:01You don't really have to commit to design until later,
01:09:03but we built an animatronic Giganotosaurus,
01:09:05so we didn't have the benefit of figuring that out in post.
01:09:08The initial concepts were done by Kevin Jenkins,
01:09:11which was really a 2-D illustration at that point.
01:09:13Then they would create these amazing scale clay sculpts,
01:09:17which Kevin then scanned and brought into the computer
01:09:20and did digital models of it.
01:09:21At that point, we would then hand those models to ILM,
01:09:24who took them and added extra detail and scales.
01:09:27We built physical skeletons to go inside those dinosaurs
01:09:30to make sure that they were anatomically correct,
01:09:32and we gave those models to John Nolan,
01:09:35who 3-D printed them at 1-to-1 scale.
01:09:37I wanted our hero dinosaurs, especially our Giganotosaurus,
01:09:40to really live in their environment.
01:09:42It was very important to me that we didn't just have
01:09:45this abstract character as a dinosaur turned up
01:09:47looking the wrong colour in the wrong place
01:09:49or the wrong shape or the wrong size.
01:09:51This is the biggest front half of a dinosaur
01:09:54that's ever been built in Jurassic World.
01:09:56It's absolutely massive.
01:09:57We were looking at the size of it,
01:09:59and the Giga is 6 metres high in real life and 15 metres long.
01:10:04We're talking the size of a double-decker bus.
01:10:06They would have all weighed in the ballpark
01:10:08of somewhere between 5 and 8 tonnes
01:10:10and the size of a few elephants put together.
01:10:12Both T-Rex and Giganotosaurus had enormous heads
01:10:16the size of a bathtub.
01:10:18We knew that we could create an animatronic face.
01:10:21We knew we could create the skin,
01:10:23but the neck and holding that skin
01:10:25and the head off the ground, that needed something
01:10:28a lot bigger than what creature effects normally do.
01:10:31Jason Linster saw the designs
01:10:33of the scale creature that we made,
01:10:35and he built a massive version
01:10:37which takes the weight of the head, which is about a tonne.
01:10:41So it's just an amazing achievement.
01:10:43What we're looking at here is what we call the fibreglass core,
01:10:46which is basically a fibreglass skeleton,
01:10:48and on top of that, we've got the sculpted foam latex skin.
01:10:51So they're actually putting it in sections,
01:10:53gluing all the sections together,
01:10:54and that's how we get the final look of the puppet.
01:10:57This is actually hard material.
01:10:58This is supposed to be like bone.
01:11:00When the robot moves around,
01:11:01we need it to move inside each other
01:11:04and to move around with the softness of the skin underneath.
01:11:07Ah! Really good.
01:11:09Ah!
01:11:12This is the Giga Eye.
01:11:13It's been designed with this CNC-cut jig
01:11:16so that every time we pull an eye out,
01:11:18they're always exactly the same.
01:11:19Everything lines up perfectly.
01:11:21We've got another former under there
01:11:23that is a mould of what the animatronic would be
01:11:25that controls the eyeballs.
01:11:27I think eyes wide open is how we do it.
01:11:30These are the Giga Teeth.
01:11:31Each individual one is different,
01:11:33and as you can see, they're numbered here,
01:11:35and there's 64 teeth.
01:11:37So each one will have to be glued up
01:11:39through the foam latex into the core underneath.
01:11:46We are out here in the forest.
01:11:47It's about 4 in the morning,
01:11:49and behind me is the Giganotosaurus,
01:11:50which is an animatronic made by John Nolan
01:11:53and all of the brilliant craftspeople at his studios.
01:11:56It has about 15 different puppeteers
01:11:58that are working for all of its facial movements
01:12:01and its breathing and its mouth and its eyes,
01:12:03not to mention the body, at all times,
01:12:05and it's absolutely meticulous and brilliant work,
01:12:08and I'm just so lucky to be a part of it.
01:12:11Ah!
01:12:13Ah!
01:12:18Well, that was fun.
01:12:19I want to thank my co-star, Bryce,
01:12:23and the Giganotosaurus.
01:12:31.