Production Information
(Possible Spoilers)
(Possible Spoilers)
Can you imagine what a dinosaur looks like, moves like or
sounds like without thinking of Jurassic
Park?
It isn’t just a movie.
It’s a memory shared by all of us.
It defined the colossal summer blockbuster, a moviegoing
event of a lifetime that provided us some of the most lasting, iconic sights
and sounds of cinema.
It gave you the feeling
that the first day of summer had arrived.
It pioneered advancements in visual effects that made you
believe dinosaurs roamed the Earth again.
Mixing plausible science with breathtaking imagination, it
told a cautionary tale about what could result from messing with the natural
order.
It left your eyes wide,
your jaw open and your heart racing.
Jurassic Park
answered the question of how much story, how much fun and how much spectacle
could fit into one perfect summer motion picture.
Now, the story of STEVEN SPIELBERG’s original comes full
circle as the park that was only a promise comes to life.
Welcome
to Jurassic
World.
Twenty-two years ago, Dr. John Hammond had a dream: a theme
park where visitors from all over the world could experience the thrill and awe
of witnessing actual dinosaurs.
Now, his dream has finally
become a reality.
Welcome to Jurassic World, a fully operational luxury
resort where tens of thousands of guests explore the wonder and brilliance of
Earth’s most magnificent living prehistoric marvels and interact up close with
them every day.
Situated on an island off the coast of Costa Rica and
constructed around a bustling Main Street, Jurassic World is a state-of-the-art
wonder full of astonishing attractions.
Kids ride gentle mini Triceratops in the
petting zoo, crowds cheer as the aquatic Mosasaurus leaps from a performance
pool to snatch a great white shark dangled as a snack, and families gaze with
fascination as dinosaurs of every shape and size roam again, all displayed and
safely contained for the guests’ amusement.
Overseeing every corner of Jurassic World is driven
careerist Claire (BRYCE DALLAS HOWARD of The
Help), who finds herself unexpectedly saddled with the arrival of her
nephews, Zach, 16 (NICK ROBINSON of TV’s Melissa
& Joey), and Gray, 11 (TY SIMPKINS of Insidious series). Although
they’ve been shipped off by their mom, Karen (JUDY GREER of Ant-Man), to spend a few days at
Jurassic World, Claire has no time for the distraction of two visiting kids and
loads them down with passes, sending them off to explore the park.
The park’s miraculous animals are created by Dr. Henry Wu (BD
WONG of
Jurassic Park), a geneticist who once worked for InGen, the company
behind
Hammond’s first park, and now for the
larger-than-life billionaire benefactor of Jurassic World, Simon Masrani
(IRRFAN KHAN of Life of Pi). Because the commercial prosperity of the park
demands new innovations every year to keep guests returning, Dr. Wu is pushed
beyond the bounds of ethical science, manipulating genetics to engineer a
genetically modified dinosaur that never walked the Earth before, and whose
abilities remain undiscovered.
The most secretive new breed developed by Dr. Wu and yet to
be debuted in the park is the massive and mysterious Indominus rex. Raised in
isolation after devouring its only sibling, the Indominus rex, whose genetic makeup has been classified, is
reaching maturity. To help assess the
creature and the security of its containment, Claire visits Owen (CHRIS PRATT
of Guardians of the Galaxy), an
ex-military expert in animal behavior working at a secluded research base on
the periphery of the main park. Owen is
years into a training study with a pack of aggressive Velociraptors, over whom
he’s established an alpha relationship that balances the animals precariously
between reluctant obedience and predatory revolt.
When the Indominus
rex—whose capacities for savagery and intelligence are unknown—stages an
escape and disappears within the depths of the jungle, every creature in
Jurassic World, both dinosaur and human, is threatened. For Claire, the lives that matter most are
those of her nephews, who have ventured off course in a gyrosphere vehicle that
allows 360-degree visibility of the world all around them. Now, Owen and Claire join the hunt for the
boys as order inside the park turns to mayhem and guests turn into prey. Dinosaurs escape into the open, the skies and
the water to engage in an all-out war for survival, and no corner within the
world’s greatest theme park is safe anymore. Joining Jurassic World’s director, COLIN TREVORROW (Safety Not Guaranteed)—who was handpicked by Spielberg to take the Jurassic mantle—in this vast undertaking
is a phenomenal behind-the-scenes team.
The crew is led by director of photography JOHN SCHWARTZMAN (Seabiscuit, The Amazing Spider-Man), production designer EDWARD VERREAUX (X-Men: The Last Stand, Monster House), editor KEVIN STITT (X-Men, Cloverfield), costume designer DANIEL ORLANDI (The
Da
Vinci Code, Saving Mr. Banks) and
Academy Award®-winning composer MICHAEL GIACCHINO (Star Trek Into Darkness, Dawn of the Planet of the Apes).
The epic action-adventure
is produced by five-time Oscar® nominee FRANK
MARSHALL (the Back to the Future trilogy, the Indiana
Jones and Bourne franchises),
PATRICK CROWLEY (the Bourne series, Eight Below), and it is based on
characters created by MICHAEL CRICHTON (Jurassic
Park series, television’s ER). Jurassic
World’s story is by RICK JAFFA & AMANDA SILVER (Rise of the Planet of the Apes), and its screenplay is by Jaffa
& Silver and DEREK CONNOLLY (Safety
Not Guaranteed) & Trevorrow.
The film’s executive producers are Spielberg and THOMAS
TULL (Godzilla, upcoming Warcraft).
ABOUT THE PRODUCTION
From Dream to Reality: Jurassic
World Is Born
A narrative successor to three-time Oscar® winner
Steven Spielberg’s beloved original classic Jurassic
Park, Jurassic World takes place
22 years after the fateful events on Isla Nublar. Jurassic World is the world’s first truly
international theme park, one that seamlessly combines the wonders of science
and history with the creature comforts and luxury that international travelers
have come to expect. And it all began
with an idea from the brilliant mind of Dr. Michael Crichton.
Originally released in 1993, Spielberg’s Jurassic Park provided moviegoers with a
film that connected with global audiences of all ages and has since become an
indelible part of their cultural collective memory. Based on Crichton’s blend of science fiction
and boundless imagination, the film left audiences breathless and asking the
question: “Could this actually happen?”
Spielberg explains that it was never his or his fellow
filmmakers’ intention to revolutionalize moviemaking. They simply wanted to do justice to
Crichton’s phenomenal tale. The director
says: “It’s not up to me to decide what a benchmark is. I just keep trying to tell stories. It’s up to other people to figure out whether
your stories are successfully told or not, but I know that technologically it
was a benchmark for the entire industry.
Here were characters that were digitally created on a computer that
looked completely authentic in any form of lighting or even atmospheric
condition. We even had the digital T. rex in rain.”
After the subsequent films in the series—1997’s The Lost World: Jurassic Park and 2001’s
Jurassic Park III—Spielberg admits he
simply became busy with a multitude of other projects. Fortunately for fans of the beloved series,
ideas for this world were simply dormant, not forgotten. Spielberg shares: “A lot of people that I
bump into whom I’d never met before would remind me by simply asking, ‘When is
the next Jurassic Park coming
out?’ That accumulated after a while,
and I started to put some thought into it.”
The encouragement of many fans began to spark ideas in
Spielberg, and he started to take meetings with storytellers he respected to
figure out how a park conceptualized more than two decades ago would finally
come to life. He shares what this
project means: “Jurassic World is almost like seeing Jurassic Park come true. We
wanted to fulfill this dream in Jurassic
World: to have a truly working theme park that is devoted to this miracle
of creating dinosaurs from DNA. This is
the realization of Michael Crichton’s dream, which then transferred to John
Hammond’s dream. This, hopefully,
becomes the dream that the audiences have always wanted to see.”
On board to produce the next installment was frequent
Spielberg collaborator Frank Marshall, whose more than 70 credits include some
of the most successful and enduring films of all time—from Indiana Jones and the Temple of Doom to the Back to the Future trilogy and The
Color Purple to The Curious Case of
Benjamin Button. Marshall was
thrilled with the notion of venturing back through Isla Nublar’s legendary
gates. He reflects: “Jurassic Park is an iconic film and
people continue to love dinosaurs, so it was an exciting idea to make another
one. It’s taken this long for the right
idea to materialize, and Steven’s idea of having the fully realized theme park
was the anchor and key to this story. It
will have all been worth the wait.”
Brought on to help shepherd the epic film was seasoned
producer Patrick
Crowley, who has partnered with Marshall
since the first film in the Bourne
series. Similarly, the veteran producer
sensed a readiness to revisit Jurassic
Park by those who missed the classic Amblin style of filmmaking. “I don’t think audiences would have the
chance to appreciate what had been done in the first and subsequent films had a
next installment come out in, say, 2005,” reflects Crowley. “In the interim, a new generation of
moviegoers has established this fascination and obsession with movies from the
time when the first film was released.
In that absence, a whole new crop of filmmakers has emerged who are
truly intrigued and passionate about this kind of cinema.”
While countless directors were
interested in relaunching one of the most successful and popular franchises in
movie history, Spielberg, Marshall and Crowley searched for some time for a
creative talent who could honor the spirit and legacy of the franchise and
propel it forward creatively.
They found their successor in newcomer Colin
Trevorrow. A pioneer of the online short
film, Trevorrow’s first feature, 2012’s critically lauded Safety Not Guaranteed, was nominated for multiple awards, including
the Grand Jury Prize at the Sundance Film Festival, and won an Independent
Spirit Award. His work caught the eye of
Spielberg and Marshall, who felt his fresh and decisive perspective—rooted in
character but delivering in speculative thematics—made him worthy of carrying
the torch.
The longtime filmmaking partners felt confident that
Trevorrow could deliver the magic, thrills and wonder that moviegoers expect
from a Jurassic movie and
simultaneously infuse it with fresh perspective in the ongoing narrative. Spielberg explains his decision: “I had seen Safety Not Guaranteed and the very last
scene was what convinced me that Colin was the right person to direct Jurassic World. I flew out of my seat when I saw the last
scene of that movie. Frank showed me the
film, and that’s when I knew that if Colin was good in the meeting, he was
going to get the job. He was completely
enthusiastic, both as a filmmaker and as a fan, but also had a story to
tell. He didn’t just come in and say,
‘I’d like to render my services directing the fourth installment.’”
“When we were looking for a director, it was of huge
importance to Steven to find a great storyteller and we found that in Colin,”
continues Marshall. “What we also
discovered was that Colin was deeply steeped in Jurassic Park and would bring that sense of childlike wonder to the
film.”
Having come of age in an age-group that grew up watching
Amblin films,
Trevorrow acknowledges
that his perspective as a director is undeniably influenced by
Spielberg: “A part of what drives me is the
notion that I’m representing a
generation of people who grew up on Steven’s films and want to see these types
of stories continue to be told.”
In that spirit, Trevorrow’s objective
was to deliver the perfect balance of wideeyed wonder and seat-gripping thrills
that moviegoers expect from a Jurassic
film, while introducing new characters and a story line full of ideas worthy of
another chapter. “We know we don’t want
another film of people just running from dinosaurs and screaming; that’s been
done before and done very well,” he says.
“I felt that what the audience wants, and I know what Steven wants, is
to take this brilliant core concept and see where else we can go with it—to
expand and open it up, while taking audiences back to a familiar place.”
Any skepticism regarding the young
director’s ability to handle a film of this magnitude was quickly put at ease,
reassures Crowley. “When I first looked
at Colin’s production résumé, there wasn’t anything that was even close in
scale and scope to what we were attempting,” he offers. “Still, from the beginning he exhibited real
characteristics of leadership and had that inherent decisiveness required. His comments and observations were wise,
certainly far beyond his experience and years, and it was clear early on that
he had what it takes.”
Trevorrow and his writing partner,
Derek Connolly, aimed to deliver a strong sense of character, scope and
intrigue, while answering the most important questions for audiences. Reveals the director: “The questions for us
were, ‘Why would there be another installment?
What’s a story that we can tell and characters that we can introduce
that make all of this worthwhile?’”
Connolly continues that they were very
cognizant of the difficult narrative journey ahead: “The magic of Jurassic Park was in the tone of the
characters and the bouts of humor, horror and science. We wanted to infuse those threads and that
tone into the script.”
As writing partners, Trevorrow and Connolly’s perspectives
complement each other, and their sensibilities worked perfectly to create the
unique tone and pitch essential for the long-awaited next chapter in the Jurassic series. “The combination of my sense of humor and
Colin’s strong sense of story helped shape our shared overall goal for the
movie,” explains Connolly. “We were able
to create a unique tone that, on our own, we might not possess but one that
works when we come together.”
The once-in-a-lifetime opportunity to
collaborate with one of the greatest filmmakers in the history of cinema was
not lost on Trevorrow. “For me, I can’t
even pretend that I’m not a student throughout this process,” he gives. “I know that I can make a film that is going
to honor what Steven did, but I know I’m essentially getting a free master
class in both filmmaking and in Jurassic
Park.”
The director acknowledges that he found a kindred spirit in
Spielberg: “Steven and I both have a lot of enthusiasm for what we’re working
on, and to have two people of different generations geeking out on the same
stuff has been a thrill for me. The
moments where we’re actually able to create together and build new ideas, these
are the things that I couldn’t have anticipated when I was younger. As a creative person, that is something that
can’t be matched.”
Trevorrow’s hope for Jurassic
World is a simple one: to re-create the magic that will harken audiences
back to how he felt the first time he saw the movie. “I have a very specific memory of Jurassic Park coming out on the last day of school, and there’s a feeling
that goes along with that,” he shares.
“When everything is behind you, everything is ahead of you and you have
that moment of being alone in a movie theater and being transported to where Jurassic Park takes you.”
Strength of Character:
Casting Jurassic World
For all of the wonder of the Jurassic movies, the characters have provided personality to a
story where science has made it possible for dinosaurs to walk the Earth
again. Beyond the wide-eyed thrills, we
are introduced to multidimensional characters with whom we share an emotional
connection. Offers Crowley: “An
important aspect of all of the Jurassic
films is the strength of the characters.
They are essentially what drives the storytelling.”
In this spirit, Trevorrow sought the ideal troupe of actors
to bring these characters to life.
“Considering all the things a movie like this needs to do, to be able to
find people who truly embody these characters and make us love them and feel
like we know them was so important,” explains Trevorrow. “When you’re dealing with dinosaurs running
around and eating people, it’s really important that you care about these
people.”
The hero of our story is a man who is as quick in repartee
as he is in decisive action: Owen is a military veteran who respects the
precarious place of humans in the natural order and now works at a behavioral
facility on the outskirts of Jurassic World.
He operates outside the system but needs its backing to fund his raptor
research, which places him in the uncomfortable position of working for the
establishment while rebelling against it.
While Owen’s first date with Claire was actually their
last, he still spars with her at every opportunity, relishing the moment when
she needs his help in Jurassic World. And Claire’s never needed it more than
when a crisis erupts that she can’t solve with her immediate team. Drawn into unexpected service from his
outlying facility, it’s up to Owen to step up before all hell breaks loose. He is the consummate adventurer—a classic
hero in the rough—one who lives by his own wits, ingenuity and raw
instinct.
For the role, the filmmakers found their hero in comedic
actor-turned-action star Chris Pratt, last seen as Star-Lord in the juggernaut Guardians of the Galaxy. Spielberg recounts his casting, dryly noting:
“Safety wasn’t guaranteed in those days using Chris Pratt because he was on a
very successful television series. Even
though I thought he had the chops for this and Colin believed in him, it was a
bit of a risk. Of course, when Guardians of the Galaxy came out, we all
thought we were really smart even though we didn’t make it.” The filmmaker was impressed by Pratt’s
on-screen test: “Chris is a wonderful actor and has a strong screen presence. He has a tremendous sense of humor and he’s a
team player. He’s going to go all the
way with his career.”
“Owen is strong, self-sufficient, adventurous and very
capable, and audiences want to see a guy like that,” adds Crowley. “I didn’t know much more about Chris than
what I had seen on television, and to see him emerge as this strong figure has
been incredibly impressive. As he became
Owen, we all looked at each other and knew he was that hero.”
A huge fan of Jurassic
Park, Pratt, much like his director, vividly remembers seeing the original
film in 1993 in his small-town theater.
“I was 14 years old and was right at that age where I was
impressionable. It blew my mind,” the
performer notes. “The science and
imagination came together in this way that was full of suspense, beautiful
imagery and great storytelling. It was
like cinema was reinvented right in front of me, and it was then that I
discovered how cool movies could be. I
had complete Jurassic-mania and saw
it twice that weekend. After that, I
spent the next six months of my life running from imaginary dinosaurs.”
Pratt was drawn to Owen’s strength, character and
decisiveness, and admits that he had to exercise restraint to quell his own
comedic instincts during filming. “Owen
is stoic, quick to act and without a single bit of goofiness, which for me is
hard,” he says. “My natural instinct is
to be a goofball, and it’s something I had to remind myself to quiet before
every take.”
Still, right from the start, the gravitas of the project
sunk in for Pratt. “The shoot began on
an air base where airplanes took off during World War II,” he explains. “Bryce and I were both in our jungle-worn
wardrobe with dirt on our faces, shooting on 65 mm, and you could hear the
cameras rolling. We’re stepping on our
marks looking at each other, and we could have been on the set of Casablanca. That’s when it became real for me and felt
like a very big deal.”
The Bryce of whom Pratt speaks is none other than acclaimed
actor Bryce Dallas Howard, who has showcased her diverse talents in
blockbusters from the Twilight series
and Spider-Man 3 to more dramatic
hits, including The Help and 50/50.
She was brought aboard to portray Claire, the operations manager of
Jurassic World, who strives to make every guest’s visit free of worry. When things run smoothly, it’s because of
Claire; when they don’t, she’s held accountable. Deftly managing the needs of thousands of
guests every day with a constant eye on the bottom line, it’s her job to make
sure that the park remains exciting to sophisticated parkgoers who have seen it
all.
Claire watches Jurassic World from the sanitized safety of
a control booth, where she monitors all activity (human and dinosaur alike)
from a safe distance. Indeed, she views
the dinosaurs strictly as “assets” and has lost sight of the wonder and power
they exhibit. It is only when things
fall apart that Claire experiences the park from a completely different
perspective: as the hunted.
Beyond the allure of being a part of the beloved franchise,
the actress appreciated the caliber of storytelling and the strong character
she was tasked to portray. Relays
Howard: “It is fantastic that Colin created this multifaceted,
three-dimensional female character who goes through this very emotional journey
within the greater context of a giant, effects-driven dinosaur movie. At the end of the day, it’s a good story
well-told.”
When we first meet Claire, her personal life has taken a
backseat to her responsibilities at the park and the pressures—not to mention
the questionable ethical decisions—that come along with them. “Claire is responsible for the entire park
and understands that at the end of the day everything needs to add up, and
there are some difficult decisions and realities within that,” shares the
performer. “Her journey becomes about
finding her own humanity and her ability to be open and not fixated on making
everything work in order to make a profit.”
Of his leading lady, Trevorrow commends: “Bryce is one of
our best actors that we have. She
created a woman who starts off just on the borderline of being unlikable. She takes you on the journey, and by the time
you get to the end…the ending is hers.
I’m so proud of what she does at the end of this movie. If you didn’t
have an actor who could make you believe everything that was happening, it just
wouldn’t work; it would all feel silly.
Bryce is just extraordinary.”
When the park’s newly developed
dinosaur begins exhibiting potentially threatening intelligence, well beyond
expectations, Claire is forced to seek outside assistance and reluctantly pays
a visit to behavioral specialist Owen, with whom she shares a bit of
history.
The chemistry between these two seemingly opposite,
headstrong characters is undeniable.
Explains Pratt: “We know that something happened between these two on a
date, and Owen enjoys poking fun at her because she’s wound so tight. There’s obviously an attraction between the
two of them, and that fuels this conflict that’s constantly between them in
these crazy circumstances.”
Howard responds to the romantic undertones and how they
propelled the story line, something new to the world of the Jurassic franchise. “One of the many great things about this
story is that, in the context of the chaos that has broken out in the park,
they realize that they need each other and go on this journey to save her
nephews, save the park and ultimately themselves,” the actress shares. “The romantic undercurrent feels very unique
for a Jurassic film, and I
appreciated that.”
Although both actors had a general idea of the physical
demands their roles would require, nothing could prepare Howard for the
ultimate challenge of running through the muddy jungle…in heels. “I’ll never forget the first day of shooting
in the jungle as I stood there looking at the terrain, which was covered in
mud, vines and stones. I looked down at
my high heels and all I could do was pray,” she laughs. “But now, it’s something I can add to the
special skills listed on my résumé: running in the jungle in heels.” For
his part, Pratt felt that his work experience in physical comedy prepared him
for the stunt-heavy action sequences, supervised under the watchful eyes of
stunt coordinator CHRIS O’HARA (The
Avengers) and stunt rigging coordinator RANDY BECKMAN (Ted 2). “There was a lot of
running, jumping, leaping, diving, rolling, punching…a lot of action-hero
moments,” Pratt provides. “On Parks and Rec, I’m diving over counters,
crashing into cars, falling down stairs on roller skates—so all that stuff
comes easy to me.” He pauses, slyly:
“I’m secretly a stuntman trapped in an actor’s body.”
In classic Spielberg
fashion, audiences first experience the magic and wonder of
Jurassic World from the perspective of a
child. As the story begins, Claire is
visited by her sister’s boys, Gray and Zach, who have been shipped away while
their parents negotiate their impending divorce. Gray is an 11-year-old boy full of limitless
curiosity and energy who is wide-eyed with excitement from the minute he boards
the ferry for Isla Nublar. Anxious to
explore every inch of Jurassic World and acutely perceptive of details in the
world around him, he is awed by seeing dinosaurs that he’d only read about in
books come to life. Gray is on the
adventure of his young lifetime, and his natural inquisitiveness—and some
pressure from his big bother—drive him to go beyond the boundaries of what his
parents would ok.
“The great thing about the manner in which the story is told
is that we enter
Jurassic World through the eyes of Gray,”
says Marshall. “That was a key element
for Colin. He wanted us to see the
wonder of the park first, and to see it through the eyes of our two young
characters is the perfect introduction.”
For the role of Gray, filmmakers cast young actor Ty
Simpkins, familiar to audiences from his work co-starring alongside Robert
Downey Jr. in Iron Man 3 and in
director James Wan’s Insidious
series. Although Simpkins was very young
when first viewing Jurassic Park, the
young performer recalls the lasting impression it made on him: “I was three
when I first saw it, and although I don’t remember watching it for the first
time, I remember that I became obsessed with dinosaurs. It has always been one of my favorite movies,
and I still can’t believe I am a part of this. ”
Gray’s older brother, Zach, is as disaffected by the
wonders of Jurassic World as his brother is in awe of them. Roaming the unbelievable attractions with his
face cast down toward his smartphone, Zach slowly starts to admit that the park
is actually pretty cool. Although Zach
and Gray have a chaperone assigned to them by their Aunt Claire, they must stay
mindful of any prehistoric threats that await them in the lush jungle directly
ahead.
For the role of the disaffected
16-year-old, Trevorrow turned to Nick Robinson, an up-and-coming actor whom
he’d seen in the independent film The
Kings of Summer. During casting,
Robinson was brought in with potential co-star Simpkins to read various scenes,
some of which hinted at the type of unusual methods that the role would
require. “We had to do a thing where we
were scared of something that wasn’t there, which was good practice for what we
ended up doing a lot,” says Robinson.
“Ty killed that audition, and I felt like I had to follow up his
masterful work there.”
Producer Crowley offers praise for
the young man: “When Nick first came in, we thought of him as a Montgomery
Clift-type, and there’s no doubt that in another couple of years he’ll be that
heartthrob. He is a consummate actor and
really underplays the role.
His performance is
riveting.”
When chaos erupts on Isla Nublar—and it always does—the brothers
are forced to rely on each other to survive, something that breaks down the
walls between them and brings them closer together.
The quick off-screen bond between Simpkins and Robinson
played into their performance and mirrored that of their on-screen
relationship. “Nick and Ty have a true
brotherly dynamic with one another,” reveals Howard. “Nick has two younger brothers who are Ty’s
age and Ty has an older brother, so they instantly became like real brothers.
It was beautiful to watch, and they brought so much honesty to those characters
and to that dynamic.”
When production commenced, Robinson and Simpkins looked to
Trevorrow to guide them through the emotional story line of their evolving
relationship, as well as the intense technical aspects required to complement
the visual effects. “It was Colin’s top
priority to make sure we hit all the emotional beats of the scene while also
hitting our technical marks,” says Robinson, “so he could later then worry
about adding the crazy dinosaur that was trying to kill us.”
The sole character of the storied franchise who is
returning to the series is actor BD Wong, who reprises his role as Dr.
Hammond’s lead geneticist, Dr. Wu. First
introduced in Jurassic Park, Dr. Wu
is the lead scientist responsible for bridging the gap between the past and
present. Trevorrow explains the need for
the researcher’s presence in Jurassic
World: “We wanted to bring back a character from the original, and although
he spent just a couple of minutes in the first film, Dr. Wu is much more
fleshed out in the book and is a crucial component in the history. Having so much genetics and science in this
film, it was important to have a character who’s informed of everything that’s
gone on before this moment…and can pull us back into that world.”
It was Dr. Wu who ingeniously discovered the process of
successfully revitalizing dinosaurs whose DNA was found in amber-trapped
mosquitos. In the 22 years since the
disastrous events on Isla Nublar, Dr. Wu has since continued his groundbreaking
work with the support of Simon Masrani, Jurassic World’s generous—and quite
complex— benefactor. Pushed by his own
scientific curiosity and the demands from the park’s executors for new
sensations, Wu’s latest creation has moved away from the wonders of rebirth to
the uncharted realms of genetic modification.
Thrilled to revisit the role, Wong was intrigued by Dr.
Wu’s progressive fall into more questionable ethical practices. Still, the actor admits that he understood
his character’s mindset: “Dr. Wu feels that he deserves to be rich and famous
because he is the mastermind or the locomotive that is driving that train. He is, however, a little bit naïve as to the
consequences of what can happen as a result of this brilliant creative engineering
and groundbreaking territory he finds himself in.”
As Jurassic World is the first truly
international theme park, it was of paramount importance to Trevorrow and the
producers that the cast be a reflection of that ideal. “It was important for the movie to have an
international flavor to mirror that of the theme park,” gives Marshall. “We have a truly international cast and that
has been really exciting.”
Entrusted with the task of fulfilling Dr. Hammond’s legacy
to create a safe haven where humans and dinosaurs can coexist, larger-than-life
billionaire Masrani is Jurassic World’s flashy benefactor and public
showman. Despite the warnings of Owen,
Masrani is more interested in dazzling his park’s guests by engineering a
dinosaur with ever-moreintimidating features than he is with the worrisome
details of asset containment.
For the role of the charismatic entrepreneur, filmmakers
looked to Irrfan Khan. A celebrated
performer in his home country of India, Khan is known to international
audiences for his riveting work in Ang Lee’s Life of Pi and Danny Boyle’s Slumdog
Millionaire.
When asked why he was interested in the role of Masrani,
Khan admits that he was drawn to the billionaire’s spirit and passion: “Masrani
is an entrepreneur, and he has a unique sense of morality. Jurassic World is not a place just to earn
money; he nurtured John Hammond’s dream and truly wants to educate the common
man through entertainment.”
Known for his work in such films as Europe’s surprise
blockbuster The Intouchables and the
juggernaut X-Men: Days of Future Past,
French actor OMAR SY was brought aboard to join the cast in the role of Barry,
Owen’s lead dinosaur handler and partner in their remarkable behavioral
study. Just as wary of their subjects’ natural
ferocity as he is of InGen’s twisted beliefs, Barry is the first to challenge
InGen when he catches wind of the company’s nefarious plans.
Another huge fan of the franchise, Sy was thrilled to be
asked to join the production and was up for what was sure to be a memorable
experience. “My first day of filming was
in Hawaii, where I rode through the jungle at night on an ATV. I couldn’t believe I was there,” the actor
reflects. “I realized I was in Jurassic
World, like a dream from my childhood come true.”
The player who is perhaps most interested in the progress
of Owen and Barry’s behavioral study with Velociraptors—and its potential use
and application in warfare—is none other than InGen’s Hoskins, a skunkworks
agent waiting for the right moment to appropriate Owen’s research. He recognizes the animals of Jurassic World
not as sentient creatures, but as assets with untapped potential that would
deliver serious profit. The only thing
standing in the way of his single-minded greed is the ethical will of Owen and
his team.
Seasoned actor VINCENT D’ONOFRIO, a performer of screens
big and small, from Men in Black to
TV’s Law & Order: Criminal Intent,
was asked to play Hoskins. While it
might seem easy to label Hoskins the antagonist in the film, D’Onofrio doesn’t
view his character in such black-and-white terms. “It’s hard to say you’re the villain in a
dinosaur movie because usually the dinosaurs are the villains,” he plainly
states. “Hoskins is essentially a
security contractor whose perspective is that these animals are worth using
instead of losing human lives. An animal
is not computer-programmed and can’t be hacked.
To be able to hook an apparatus on them and give them commands would be
good for a multitude of uses…and a better alternative to risking human
lives.”
Pratt offers yet another perspective: “The real villain is
progress, and Hoskins is really an agent of progress. A lot of scientific research is funded for
military application and is simply the natural order of that world.”
Marshall adds that it took an actor of D’Onofrio’s caliber
not to make Hoskins a one-dimensional villain: “Hoskins represents something
that is real, which is people who want to take scientific innovations and use
them for darker purposes. Vincent is a
wonderful actor, and it was fun to see him explore that side.”
Last but not least of the principal players is Lowery. A technical engineer whose mess of a
workstation and smart-ass attitude belie a respect for the creatures he helps
oversee, Lowery is Claire’s trusted lieutenant with electronic eyes on every
corner of Jurassic World. To portray the
role, Trevorrow turned to friend and previous collaborator
JAKE JOHNSON (TV’s New Girl, Let’s Be Cops),
who appeared in the director’s Safety Not
Guaranteed. Trevorrow looked to
Johnson to infuse Lowery with the pitch perfect amount of comedy and provide
the type of levity that his Jurassic Park
counterpart, the brilliant Samuel L. Jackson, delivered.
Johnson understood the value of delivering some laughs into
the intense actionadventure film. He
says: “Colin wanted actors for certain roles to have an option for a bit of
humor and lightness. If there was a
moment we could improvise and try to find a laugh, we took it.”
Alongside his fellow performers, the
opportunity to be a part of the Jurassic
legacy was not lost on Johnson: “Young people will see this the way we saw Jurassic Park, and for them it will be
that awe-inspiring, jaw-dropping experience it was for us. The opportunity to be a part of something
like this doesn’t come around very often, and I feel very lucky.”
The Park Is Open:
Design and Locations
Operational and established as the world’s first
international theme park, Jurassic World is the promise of the original park
gloriously fulfilled. The park features
a gleaming new Visitors’ Center that houses fully interactive scientific
displays, a bustling commercial Main Street and boardwalk, an aquatic
amphitheater where trained breeds perform, a soaring aviary and a petting zoo
where young children can have the tactile experiences humans never thought
possible. Dinosaurs of every shape, size
and variety fill the numerous exhibits and attractions inside the park that are
sure to amaze and delight its thousands of daily visitors. A shining monorail even connects all the
attractions of the park, gliding gracefully throughout Jurassic World.
Trevorrow and his creative team set out to create a magical
world that felt more tangible than fantastical.
“It was important to us to create a place that could exist now, not a
sci-fi imagining set in the future,” the director shares. “We wanted to create a very real, visceral
park experience where you’re able to get up close with the dinosaurs and step
into their world, everything John Hammond dreamed of.”
Veteran production designer Edward Verreaux was selected to
bring the vision of Jurassic World to
life. Beginning his career with
Spielberg as an illustrator on Raiders of
the Lost Ark and E.T.: The
Extra-Terrestrial, Verreaux has served as production designer on massive
blockbusters such as X-Men: The Last
Stand and Rush Hour 3. His long relationship with the Jurassic franchise—he served as an
illustrator for production designer Rick Carter on the original film, prior to
stepping into the role himself on Jurassic
Park 3—made him the perfect choice to create the template for the next
installment and the modern vision.
Verreaux was enthusiastic about the opportunity to infuse
the franchise with a modern aesthetic, while simultaneously honoring the legacy
of the first film. “We’re getting to
reinvent it for the next generation,” he says.
“We’re 24 years out from having begun on Jurassic Park, so it’s a whole new ball game. We are, however, making reference to the
previous films because they set the standard for the overall aesthetic of
Jurassic World.”
Trevorrow was excited to have the opportunity to work with
Verreaux and his creative team to help carry out his cinematic vision. “I am so privileged to be able to work with
the best artists and innovators in the business who can bring these ideas to
life,” the director commends. “The look
of this film will leave an indelible mark and separate it from the other films
to help push it forward.”
The majestic landscapes seen in Jurassic Park have become a part of moviegoers’ cultural DNA,
successfully creating iconic images of massive creatures again roaming the
Earth. For the production team,
returning to Isla Nublar meant returning to Hawaii, where the green environment
and majestic mountaintops substituted for Costa Rica. The crew discovered that the majority of the
original locations were relatively untouched, affording the ability to
seamlessly step back into that visual world, without extensive CGI to replicate
settings.
“We knew we had to go to a green environment in order to do
the jungle work, and almost all the other Jurassic
films were shot in Hawaii,” explains Crowley.
“Beyond that, we wanted to take people visually to places that many had
not been to on their own.
There are places in Hawaii
that are so dark and deep it looks like Tarzan lives there.”
For Marshall, returning to Hawaii decades later felt like
stepping back in time. “It was magical
to be in some of the same locations,” he says.
“Being in that valley surrounded by those iconic mountaintops really
brought it home that we’re in Jurassic
World.”
Production began on April 14, 2014, on the island of Oahu
at the Honolulu Zoo, which was magically transformed into Jurassic World’s
petting zoo. Paying homage to the sacred
lands on which the company would be filming while in Hawaii—and to garner some
aloha spirit for the complicated shoot ahead—the crew participated in a
spiritual blessing ceremony on the first day of principal photography. Crowley shares why they were adamant to
participate in this ritual: “When filming Jurassic
Park, there was a hurricane that destroyed all the sets, and we wanted to
make every effort to make sure that didn’t happen again. The cast and crew were very respectful. It’s easy to assume that a crew of movie
people who have worked all over the world would be jaded, but they really
listened to the thoughtful words and took them to heart.”
With a total of 33 days of filming on the islands of Oahu
and Kauai, the team set out to utilize the natural landscape to provide the
appropriate scale and scope needed for Jurassic
World. Returning to film at Kualoa
Ranch on Oahu, Verreaux and his workers built a full-scale dinosaur paddock,
which was constructed to house the park’s new genetically modified
dinosaur. Kualoa Ranch also provided the
backdrop for multiple exterior locations, including Owen’s bungalow, Masrani’s
mountainside helipad and the majestic Gyrosphere Valley, where parkgoers can
board a two-person gyrosphere and roam the land with various herds of gentle
giants. Together, the various bits and
pieces cut together created the full scope and magic of Jurassic World.
For its part, the gyrosphere—designed by supervising art
director DOUG MEERDINK (Cloverfield)
and his team, including RON MENDELL (Iron
Man series)— is a spectacular, two-person orb that powers guests through,
and immerses them in, the wonders of Jurassic World. Once securely inside, they may move freely
throughout Gyrosphere Valley to experience the park’s stunning, unobstructed
views and its onceextinct creatures…all at their own pace. As they travel through the valley, guests may
use the in-sphere monitor to help identify the dinosaurs—ranging from the
mighty Apatosaurus and Stegosaurus to the fascinating Parasaurolophus and
Triceratops—that they see all around.
The epicenter of Isla Nublar’s $1.2 billion Jurassic World
is Main Street, a bustling commercial stretch that offers various shopping,
dining and entertainment options for parkgoers to enjoy. For those seeking mementos and keepsakes from
their trip, Jurassic Traders has every toy and piece of merchandise the curious
tourist could ever want. Up for a movie
while on site? Guests can take in the
spectacular sights and sounds of the film Pterosauria,
which is now showing at Main Street’s IMAX theater.
It was important to Trevorrow and the producers that
Jurassic World felt like a real destination, replete with actual stores one
might find at a destination location such as Universal Studios Hollywood. To make it all happen, on Main Street and the
boardwalk, guests staying at the Hilton Isla Nublar have a multitude of dining
options that include sushi at Nobu, American cuisine at Winston’s (a clever nod
to the legendary specialeffects wizard Stan Winston) or tacos and margaritas at
Jimmy Buffett’s Margaritaville. For a
little post-dining fun, parkgoers can kick up their heels at the nightclub or
enjoy a taste of home as they grab a cappuccino at Isla Nublar’s
Starbucks.
Verreaux and his team were put to the task of
conceptualizing and creating a living and breathing theme park in a short
period of time, an extraordinary undertaking.
“Ed was so important in pulling all of the concept and design for this
theme park together,” lauds Crowley.
“Unlike parks like Universal and Six Flags, which are developed over
years, Ed had a couple of months to pull Jurassic World together. His team truly impressed us all.”
Bringing the elaborate vision of Main Street to life was no
easy task, as filmmakers wanted to build as much as possible practically
without sacrificing the scale and scope.
After an extensive search for a locale that met the many criteria that
came along with the massive build, the production team began construction at an
abandoned Six Flags theme park outside of New Orleans. Although unable to use the infrastructure of
the theme park due to the devastation of Hurricane Katrina, the team utilized
the massive parking lot—roughly the size of six football fields—and built from
scratch. While the shooting crew filmed in Hawaii, a construction
crew of up to 400 craftspersons was hard at work prepping the enormous sets in
New Orleans. Throughout the build, and
as the company’s arrival approached, Verreaux provided the filmmakers with
progress reports. He recounts: “Main
Street was being built while everyone was filming in Hawaii, so Colin didn’t
get to see it until days prior to filming there. I sent him pictures and flew back and forth
to show him all of the colors and fabrics to make sure that he was in agreement
with the direction that we were going.”
During the final weeks leading up to
filming on Main Street, various departments were hard at work dressing,
prepping, lighting and rigging the set for the extensive sequences. The production crew arrived from Hawaii on a
Saturday and began filming on Main Street the following Monday. Trevorrow recalls his initial reaction upon
walking onto the set: “The first time I stepped onto Main Street I definitely
got emotional. I was not alone in taking
a moment to breathe it all in because we rarely get to see a world of this size
brought to life in this way. When you
walked on the set, it truly felt real.”
Marshall echoes those sentiments. “When we first saw it fully dressed with 800
extras enjoying everything Main Street had to offer, as if it was a real theme
park, it was pretty amazing.”
For his part, Crowley was
flabbergasted by the final product and the endless attention to detail. He comments: “We had it all: park rangers and
employees who worked in the various stores and restaurants—all wore custom-made
Jurassic World uniforms—and props and various merchandise that would be found
at a theme park of this caliber. From
the dinosaur strollers, plush toys and hand puppets, everyone did a tremendous
job at making you feel that you were at a real working theme park.” The
process of conceptualizing, building and finally filming on Main Street was not
lost on Verreaux. “With something of
this scale, there is a long design curve and a million decisions to make. You read the script, have discussions with
the director, develop with concepts and illustrations, develop the set and
build it. The company then takes it,
dresses and lights it and then all of a sudden there are 800 extras walking
around looking like real tourists. They,
of course, hadn’t seen the set prior, so they’re thinking, ‘Oh my god, look at
this!’ and we’re getting the proper responses from them. All those moments and responses are really
gratifying.”
Although the daily rainfall and the formidable mud that
followed were a significant challenge in Hawaii, the team was particularly wary
of filming in New Orleans in June.
“During those first few weeks in New Orleans, we were shooting all
exteriors on Main Street—with very few cover sets—which was nerve-wracking,” recalls
Crowley. “When it rains here, it pours
for hours on end…with extensive lightning.
When the weather in
Louisiana is bad, it’s biblical.”
While the team was hit with several significant rain and
lightning storms that left Main Street flooded and dark, the weather ended up,
for the most part, cooperating and the company moved onto filming at the raptor
research arena. Set on the outskirts of
Isla Nublar far from the gloss of the theme park, the arena houses Owen and his
team while they conduct behavioral research with Velociraptors. A massive circular structure, the inside
arena is a large open area where the raptors reside, while the animal handlers
safely observe from the extensive overhead walkways. Heavily fortified chambers surround the perimeter,
thus allowing Owen and his team to engage in close interaction with the highly
dangerous, and extremely predatory, animals.
Also a practical build, the arena was crafted to completion
by requiring minimal green screen and not utilizing faux set walls. When working at the arena, Pratt was blown
away by the lengths the design team went into the integrity of the structure…
without typical Hollywood trickery. “The
raptor arena was built of steel and cement and was huge; it was no joke,” lauds
the performer. “There is no doubt that
it could, in practice, house dangerous animals for many years without breaking
down. It was phenomenal.”
For the numerous and massive interior sets, the filmmakers
needed a singular location with ample space, security and infrastructure, all
of which they found at Big Easy Studios in New Orleans. Residing on a portion of NASA’s Michoud
Assembly campus, which was left vacant after the cancellation of the space
program, Big Easy’s expansive structures were converted to stages capable of
housing a production of this size.
The six stages occupied by Jurassic World were in varying stages of construction —a virtual
revolving door of sets were built, filmed or struck simultaneously. Some of the sets built at Big Easy included
the interior of the new Visitors’ Center, Dr. Wu’s genetics lab and the control
room, all massive in their own right.
Considering the ambitious nature of the project, the NASA campus turned
out to serve as the perfect locale. “It
seemed fitting that we’d make this film inside the hangars where they built the
first rocket that took people to the moon,” Crowley dryly observes.
At the center of Main Street sits the
Samsung Innovation Center, a towering structure that serves as an aesthetic
beacon of the theme park. This new
Visitors’ Center is a celebration of science and technology, where parkgoers
can learn more about the revived prehistoric creatures that inhabit the island
(as well as find a guest appearance by our old friend, Mr. DNA). The “edutainment” is varied: Activities
include multiple kiosks with evolutionary facts that include high-tech elements
where, with the touch of a button, a rotating, lifesize hologram appears, as
well as a place where children can dig for dinosaur bones and unearth the next
big discovery. The Visitors’ Center is a
dazzling meld of technology, science and education, truly John Hammond’s vision
realized.
Proudly watching over the spectacle stands a larger-than-life
statue of Dr.
Hammond, an homage to the man whose dreams
made it all possible. “When you walk
into the Visitors’ Center, you’ll see him on the far side of the rotunda
looking off into the future, very hopefully,” explains Verreaux. “If you look closely, you’ll see that in his
hand, he’s holding his cane…and in that cane is a piece of amber with a
mosquito inside.
We wanted to have
something that brought people back to the memory of John
Hammond, the creative
genius behind all of this.”
The statue summons guests to continue
their journey of discovery into the genetics lab, which offers a glimpse inside
the inner workings of Dr. Wu’s mind and introduces us to his team of
geneticists. In any of the lab’s five
sections—which consist of 1) extraction, 2) sequencing, 3) assembly, 4) a
hatchery and 5) a nursery—visitors can observe scientists and lab technicians
through giant glass observational panels.
At any given moment, one can witness DNA being extracted from
amber-trapped mosquitos from around the world or get a peek inside the hatchery
as a new dinosaur is welcomed to a time its ancestors could not have
comprehended. Modern-day miracles happen
every day at Jurassic World. Built in
its entirety, the genetics lab reflects the sleek sophistication of InGen and
the seemingly limitless technology utilized (and funding that is
required).
In the control room, a removed and protected area
restricted to the public, Claire and her team—including Lowery—watch over the
park from within the highly secured, sanitized walls. The room is command central, and from there,
each and every dinosaur creation and park guest alike is tracked and observed
from a giant wall of monitors that capture real-time activity. Ever corner of the park is monitored.
The Control Room was designed to be as fully immersive as
possible for the performers, who were allowed to use actual playback that was
recorded throughout production, and which played back on the multitude of
monitors. “In a lot of films, they put
the image on in post, but they were actually playing everything back inside the
control room during filming,” explains Johnson.
“Colin wanted us to be able to watch things they’d actually shot to have
the real image to react to.”
With the extensive array of moving
parts necessitated by a production of this scale, collaboration between
departments was paramount. Production
designer Verreaux explains: “This is the kind of project that doesn’t happen in
a vacuum and doesn’t happen just within any one department. Because of the scope and scale of this film,
it requires the involvement and the collaboration of everybody on the project
to pull something like this off.
Everyone gave it their all.”
Roam the Earth Again:
Science Meets Imagination
Young and old alike are drawn to the mysteries and wonder
of the prehistoric creatures that ruled the Earth for 160 million years before
they vanished and left only small traces of their existence behind. Crichton’s work, and the subsequent films,
captured our collective intrigue and brilliantly blurred the line between
science and fiction.
Jurassic Park was
considered a cautionary tale of the dangers associated with scientific
manipulation, a consistent theme of Crichton’s work. Although his writing is typically classified
as science fiction, his core ideas were rooted in science. Reflects Trevorrow: “What fascinates me about
Crichton’s work in general is his ability to take pretty complex new ideas in
technology and science and not only make them relatable and feel human, but
integrate them into the world that we live in now.”
In Jurassic World,
the story begins more than two decades after the disastrous events on Isla
Nublar threatened to quash Hammond’s dream forever. With more than 20,000 visitors a day,
Jurassic World has changed the way humans view dinosaurs. Still, once believed only possible in our
collective imagination, the novelty of their existence has faded, and the
presence of dinosaurs back on Earth has become an accepted part of life.
The notion of dinosaur fatigue fascinated Trevorrow and
spoke to society’s malaise, ever increasing in the age of burgeoning technology
as we become less connected to the natural world. “In the film, the existence of dinosaurs and
man on the same planet is not a new idea anymore, so we start in a place where
teenagers going to Jurassic World are texting on their phones and not paying
attention,” offers the director. “What
we love about this is that we can throw you back into that fear and danger and
remind you why you should be afraid
and why you should pay attention.” Fan-favorite dinosaurs make a welcomed
return in the film, although some display unexpected new traits. These dinosaurs, some of which have never
been seen before in a Jurassic film,
roam, swim and fly. During the writing
process, Trevorrow was mindful of which species Jurassic fans wanted to return.
“As someone who is a fan of these films, I don’t think I could wake up
in the morning without bringing back certain dinosaurs, and not just for the
sake of having them there. It’s
important to me that dinosaurs like the T.
rex are given the weight and the heroic qualities that they had in the
first film. In my eyes, the T. rex was the hero of that movie; this
was something that matters to me and was hugely important to include.”
Although attendance at the park continues to thrive,
parkgoers have become increasingly harder to thrill. Worried about the bottom line, the corporate
forces strive to snap people out of their ennui by creating a new “attraction”
in the hopes of making Jurassic World cutting-edge once again. This pressure pushes the boundaries of ethics
and science in the name of commercialism and leads Dr. Wu and his team of
geneticists into ethically questionable territory…and genetic splicing and
modification.
And her genus and species
is called Indominus rex.
A modified dinosaur with genetic makeup that includes DNA
from the T. rex, Carnotaurus,
Majungasaurus, Rugops, Giganotosaurus and a few additional undisclosed sources,
the colossal Indominus rex—currently
at 40 feet in length—is the smartest, biggest and baddest creature Jurassic
World has seen to date. Dr. Wu and his
team have created a magnificent creature and have only scratched the surface
when it comes to understanding her full capabilities…that is, until she
cleverly escapes captivity, begins to kill for sport and puts all those on Isla
Nublar—human and otherwise—at risk.
Like Dr. Wu, the filmmakers were put to the task of
creating a new breed of dinosaur that would excite audiences while maintaining
a level of scientific integrity.
Recalling the development process, Crowley says: “It was an interesting
canvas to work with. We had a researcher
who was working with us and went through tons of scientific journals to see
some of the new experiments, the kinds of creations you could make if you
started changing DNA sequences.”
To ensure the scientific legitimacy behind the new
dinosaur, as well as the various and sundry breeds appearing in the movie, the
filmmakers once again enlisted the expertise of renowned paleontologist JACK
HORNER, a professor at Montana State University and curator of paleontology at
The Museum of the Rockies. When
initially writing “Jurassic Park,” Crichton turned to Horner’s own tome, “Digging
Dinosaurs,” for insight into the paleontological perspectives of the creatures
about which he was writing. Still on the
forefront, Horner’s current work explores groundbreaking genetic engineering
methods that actually blend chicken DNA with dinosaur genetic material.
Having a long-standing relationship with the Jurassic Park franchise, Horner
understood the importance of showing scientific plausibility…without
sacrificing the thrills of limitless imagination. “What I find interesting is the thing that
people worry about the most is the size of the dinosaurs. But that is the last thing to be concerned
with, as far as authenticity goes,” Horner offers. “We have a skewed idea of the size of
dinosaurs, skewed by the ones that we have found rather than the population of
them. Dinosaurs grew through most of
their life, so we’re always going to find a bigger T. rex.”
When imagining the genetic makeup and subsequent
characteristics of the
Indominus
rex, Horner was quick to point out the benefits of dinosaurs’ varied
lineage. “We can play with science a
bit,” he gives. “Dinosaurs are wood
reptiles and are closely related to crocodilians. They gave rise to birds, so we can always
cheat to the bird side or the reptile side.
There’s a lot of room to play with.”
Trevorrow was immensely grateful to have Horner bring his
expertise to the project. “There is real
science and real paleontology in these movies, and this was very important for
me with this one as well,” underscores the director. “Jack Horner has lent a scientific authority
to these stories from the very beginning, and there have been times where we’ll
try something for the sheer entertainment factor and he’ll remind us that it is
actually impossible. It’s important that
this be based on reality, so his contributions are immeasurable.”
Serving as an additional consultant on the film is Academy
Award®-winning visual effects supervisor PHIL TIPPETT, also a
cherished member of the Jurassic Park
family. Founder of Tippet Studio, his
varied career in visual effects has spanned more than 30 years. When Spielberg learned of Tippet’s expertise
in dinosaur movement and behavior and stop-motion technology, the filmmaker
selected him to supervise the dinosaur animation for Jurassic Park. The work
earned him—as well as colleagues Dennis Muren, Stan Winston and Michael
Lantieri—an Oscar® for Best Visual Effects.
For Jurassic World,
Tippett was brought on to supervise the development, characteristics and
movements of the dinosaurs, most specifically for the Velociraptors, arguably
superstars of the series. “Colin was
primarily interested in my input on key scenes involving the Velociraptors
[here Blue, Charlie, Delta and Echo] that required a lot of attention to
performance and behavior,” Tippett states.
“Raptors were fantastic creatures that probably had a certain level of
intelligence like that of a crow. My
focus was to imbue them with personalities and flesh them out as the scary and
brilliant creatures that they were.”
Pushing the Limits:
Creating the Stunning VFX and
SFX
When asked to imagine what a dinosaur looks like, how it
would move or what it might feel like to have one breathe on you as you stand
stiffly in horror—hoping to remain undetected—we harken to Jurassic Park. The
groundbreaking visual effects featured in the film set a bar and provided some
of the most lasting iconic sights and sounds in modern cinema. Continuing the legacy of stunning VFX,
industry leader Industrial Light & Magic (ILM) returns to bring even
greater visual spectacle and wonder to a franchise that set new standards in
the field. Jurassic World will be the first Jurassic film released in 3D and IMAX in its first run, fully
enveloping moviegoers in the visual and audio experience of a theme park
populated with roaming and rampaging dinosaurs.
For more than 30 years, ILM, a
division of Lucasfilm Ltd., has set the standard for visual effects, and in the
process, pioneered new frontiers in the use of computer graphics and digital
imaging in feature films. At the
forefront of the digital revolution, ILM—out of sheer inspiration and
imagination—continues to break new ground in visual effects and collaborate
with filmmakers to create that which simply could not exist.
Leading the illustrious team are
associate producer/VFX production supervisor CHRISTOPHER RAIMO and ILM’s visual
effects supervisor TIM ALEXANDER. With
the bar set extremely high, Alexander and his team strove to push the envelope
and execute the process with absolute precision. “Technology has come a long way in the 12
years since the last Jurassic film,
and we want to make sure everything is done right,” Alexander states. “With every step along the way—including the
modeler who does the geometry for a dinosaur, the painter putting on the color
and texture and the rigger who makes it move and does all the muscle
simulations—we have to go through many hands within the process. We are careful each step of the way to
implement everything extremely well.”
To create a world seamlessly inhabited by dinosaurs and
humans alike, the VFX team worked closely with Trevorrow and cinematographer
John Schwartzman throughout production.
Together, they crafted shots that would accommodate the scale of the
dinosaurs, some of which are as massive as 20 feet tall and 45 feet long.
The VFX team collected data about the various environments
throughout the film where the virtual creatures would interact with the
practical world. “The process was
amazing because we were able to get so much in camera and didn’t have to create
full virtual environments,” explains Alexander.
“So it was a matter of making sure we could fit the dinosaurs into these
locations. We captured a lot of data
about the environments to make virtual versions of them for interaction. If a dinosaur comes through and hits a tree,
we have to make that tree move and add the details associated with that.”
To capture lighting references associated with the hero
dinosaurs, the visual effects team used stand-in maquettes throughout the
filming process. Explains ILM animation
supervisor GLENN MCINTOSH: “Maquettes were used to capture all the
beautiful details—the colors, the texture of the scales, details of the eyes—to
help in recreating the character in the computer and bring it to life.”
True-to-scale lifelike maquettes were created for select
Velociraptors that appear in the film, some of which have heads as big as
saltwater crocodiles. Indeed, these
maquettes—which provided eyeline references for the performers—were sized to
match a raptor body up to 14 feet long.
During night shoots in the jungle, the crew had its share of fun with
the maquettes. “It was fun to sneak
around and come up behind people and slowly turn the head to look at them when
they weren’t expecting it,” laughs McIntosh.
To create the maquettes, filmmakers turned to Legacy
Effects, the proud home of talented artists, imaginative engineers and
intricate puppeteers that was founded by Jurassic
Park alumnus and industry legend Stan Winston.
The genius behind the iconic and ferocious T. rex, quick and nimble Velociraptors
and gentle long-necked Brachiosaurus seen in the original, Winston provided
audiences with iconic and indelible images of how dinosaurs looked and
moved. Although advancements made in
computer-generated VFX and CGI essentially replaced the need for animatronics
during filming, Trevorrow pushed for the use of an animatronic dinosaur in the
film to honor the spirit of the artists and craftspersons who paved the
way.
While searching for Claire’s nephews in the lush valley of
Isla Nublar, Owen and Claire stumble upon a fallen Apatosaurus and quietly sit
alongside the gentle giant as it takes its last breath. For the powerful scene capturing an intimate
moment shared between human and dinosaur, Trevorrow felt the animatronic
dinosaur would help the actors experience the intensity of the moment as
organically as possible. “Animatronics
are not necessarily the go-to answer these days when looking to create a
monster or a creature, as it is a lot easier to have people run around the
jungle and be chased by computer-generated effects,” says the director. “But I knew that we would be able to
accomplish something here that is so rare in film today, which is to create
something tactile that you can touch and that you can feel breathe. That is priceless and I don’t see how we
could have made a Jurassic Park movie
without it.”
The inclusion of an animatronic was a
tribute to the artistry of Winston and his immeasurable contribution to the Jurassic legacy and the world of
filmmaking. “Colin pushed to have a
working animatronic in the film because Jurassic
was built on the wonderful inventiveness of Stan Winston and his people, and he
wanted to pay homage to that,” commends Crowley.
Serving as the production’s
animatronic supervisor, Jurassic
alumnus JOHN ROSENGRANT led Legacy Effect’s team of digital designers, concept
artists, 3D sculptors, moldmakers, machinists, fabricators, engineers and
puppeteers who gave life to the Apatosaurus, an extensive process that took
close to three months to complete.
The lifesize head utilized a hard skull surrounded by soft
tissues that are able to fold and bend, as well as built-in bladders to
simulate breathing. With Rosengrant and
a team of four puppeteers operating her, the Apatosaurus had the ability to
lift and turn her head, breathe through her nose and mouth, and had eye
movements that included blinking and twitching, all choreographed and
simultaneously operated during the scene.
Explains Rosengrant: “It’s like a concert where all the members of the
band make sure they’re hitting their notes on time and in rhythm. We each have our individual manipulations
that, when put together, bring it to life; it’s the sum components that create
it.” The
results were magical and not lost on even the most seasoned of crew
members. Crowley recalls: “There was
this confluence of people—all who had been involved in the previous films—and
to see this wonderful dinosaur, struck a chord.
When you witnessed its eyes blinking and breath come out of its nostrils
right in front of you, it brought home just how much we care about animals and
the quality of work that people in our business can do.”
For our heroes, the experience of
working with a “live” dinosaur was momentous.
“It was remarkable to have this creature there to interact with, and we
all become children when seeing something like that,” says Howard. “It’s a live medium and art form that makes
you feel giddy and full of awe. I’m so
grateful to have experienced that.”
Concludes Pratt: “When I saw it, I thought, ‘Wow, there’s a
fallen dinosaur here.’ Then it started
breathing and moving around and had so many different motions of the mouth, the
tongue, the eyes and the neck that it came to life. It gave me goosebumps.” ****
Universal
Pictures and Amblin Entertainment present—in association with
Legendary Pictures—A Colin Trevorrow film: Jurassic World, starring Chris Pratt,
Bryce Dallas Howard, Vincent D’Onofrio, Ty Simpkins, Nick Robinson, Omar Sy, BD
Wong and Irrfan Khan. The film’s music
is by Michael Giacchino, and the Jurassic
Park theme is by John Williams. The
costume designer is Daniel Orlandi. Jurassic World is edited by Kevin Stitt,
ACE, and its production designer is Edward Verreaux. The director of photography is John
Schwartzman, ASC, and the executive producers are Steven Spielberg, Thomas
Tull. The film is produced by Frank
Marshall, Patrick Crowley, and it is based on characters created by Michael
Crichton. Jurassic World’s story is by Rick Jaffa & Amanda Silver, and
its screenplay is by Rick Jaffa & Amanda Silver and Derek
Connolly & Colin
Trevorrow. The film is directed by Colin
Trevorrow. TM & © 2014
ABOUT THE CAST
CHRIS PRATT (Owen)
is best known for his portrayal of Andy Dwyer on
NBC’s hit comedy series Parks and Recreation, opposite Amy
Poehler, Nick Offerman, Aziz Ansari and Adam Scott. The Primetime Emmy Award-nominated show
recently completed its seventh and final season.
2014 was truly the year of Chris Pratt. Pratt starred in Marvel’s Guardians of the Galaxy as
Star-Lord/Peter Quill, which was one of the top three grossing films of 2014,
grossing more than $770 million at the global box office. Additionally, Pratt lent his vocal talent to
the lead character Emmet in the enormously successful Warner Bros. Pictures
animated feature The Lego Movie,
which made more than $468 million worldwide.
Pratt will soon begin production on The Magnificent Seven for MGM, opposite Denzel Washington and Ethan
Hawke, for director Antoine Fuqua.
In November 2013, Pratt appeared in the DreamWorks comedy Delivery Man, opposite Vince Vaughn and
Cobie Smulders.
In 2012, Pratt starred in Universal Pictures’ The Five-Year Engagement, with Jason
Segel, Emily Blunt and Alison Brie. That
same year, he portrayed an iconic member of SEAL Team 6 in Kathryn Bigelow’s Zero Dark Thirty, which was nominated
for Best Picture at both the Golden Globe Awards and Academy Awards®.
In 2011, Pratt starred in Moneyball, in which he delivered a memorable performance as the
Oakland A’s first baseman Scott Hatteberg.
The Columbia Pictures’ film also starred Brad Pitt, Jonah Hill and the
late Philip Seymour Hoffman, and received six Academy Award®
nominations, including Best Picture.
In addition to acting,
Pratt enjoys hunting, fishing and writing.
He currently resides in Los Angeles with
his wife and son.
BRYCE DALLAS HOWARD (Claire)
continues to be one of the most versatile and dynamic talents both on screen
and behind the camera. Howard will next
be seen starring alongside Robert Redford in Walt Disney Pictures’ Pete’s Dragon, set for release in August
2016. Later this year, Howard will begin
production on The Free World,
opposite Boyd Holbrook, which follows the story of a recently released and
wrongfully imprisoned convict who becomes involved with a married woman
(Howard) with a violent past.
In 2011, Howard starred in two of the year’s most
celebrated films, 50/50, opposite
Seth Rogen and Joseph Gordon-Levitt, and Tate Taylor’s Academy Award®winning
The Help. She also produced the Sony Classics film Restless, which starred Mia
Wasikowska, for director Gus Van Sant. Restless
was featured at the 2011 Toronto International Film Festival and opened the
2011 Cannes Film Festival’s Un Certain Regard section of the Official
Selection.
Howard’s additional film credits include Clint Eastwood’s Hereafter, with Matt Damon; The
Twilight Saga: Eclipse; the film adaptation of Tennessee Williams’ The Loss of a Teardrop Diamond; McG’s Terminator Salvation; Sam Raimi’s Spider-Man 3; M. Night Shyamalan’s Lady in the Water; and Lars von Trier’s Manderlay. Howard made her film debut in Shyamalan’s The Village, opposite Joaquin
Phoenix. For television, she received a
2008 Golden Globe Award nomination for her performance as Rosalind in
HBO’s adaptation of William Shakespeare’s As You Like It, adapted and directed by
Kenneth Branagh.
As a filmmaker, Howard has directed short films and
trailers for multiple campaigns such as Canon’s “Project Imagination,”
Moroccanoil’s “Inspired,” Vanity Fair’s
“The Decades Series,” with Radical Media, and Glamour’s “Reel Moments.”
Howard directed M83’s “Claudia Lewis” as part of MTV’s “Supervideo,”
Sony Pictures and Lifetime’s Call Me
Crazy: A Five Film and, most recently, “solemates” in conjunction with
Canon’s “Project Imagination: The Trailer.”
Howard has directed more than a dozen short films, receiving numerous
accolades for her work. She was
shortlisted for an Oscar® in 2012 for her half-hour film when you find me.
Howard, an alumna of the Tisch School of the Arts at New
York University, performed on the New York stage, in roles such as Mariane in
the Roundabout Theatre Company’s Broadway production of Tartuffe; Rosalind in The Public Theater’s As You
Like It; Sally Platt in the Manhattan Theatre Club’s production of
Alan
Ayckbourn’s House & Garden; and Emily in the Bay Street Theater’s
production of Our Town.
Howard is the founder of Nine Muses Entertainment and
currently resides on the West coast with her husband Seth Gabel, their two
children, a hilarious puppy and a dignified elderly cat.
VINCENT D’ONOFRIO
(Hoskins) can currently be seen starring as Wilson Fisk, aka Kingpin, in
Netflix’s Daredevil, opposite Charlie Cox. D’Onofrio was recently seen in Warner Bros.
Pictures’ Run All Night, opposite
Liam Neeson, and will be seen as coach Vincente Feala in Brian Grazer’s Pelé, written and directed by brothers
Jeff and Michael Zimbalist. In April, he
starred in the independent film Broken
Horses, opposite
Anton Yelchin. Last fall, he was seen in the Oscar®
nominated The Judge, opposite Robert
Downey Jr. and Robert Duvall.
D’Onofrio was born in Brooklyn, New York, and grew up in
Hawaii, Colorado and Florida. He
eventually returned to New York to study acting at the American Stanislavski
Theatre, with Sharon Chatten of The Actors Studio. While honing his craft, he appeared in
several student films at New York University and worked as a bouncer at nightclubs
in the city.
In 1984, D’Onofrio became a full-fledged member of the
American Stanislavsky
Theatre, appearing in The Petrified Forest, Of Mice
and Men, Sexual Perversity in Chicago and The Indian Wants the Bronx.
That same year, he made his Broadway debut in Open Admissions. He recently
starred off-Broadway in Jonathan Marc Sherman’s Clive.
D’Onofrio gained attention for his intense and compelling
talent on the screen in 1987, with a haunting portrayal of an unstable Vietnam
War recruit in Stanley Kubrick’s gritty Full
Metal Jacket. His other early film
appearances include Mystic Pizza and Adventures in Babysitting. In 2000, he executive produced and portrayed
1960s counterculture icon Abbie Hoffman in Steal
This Movie, opposite Janeane Garofalo, and starred opposite Jennifer Lopez
and Vince Vaughn in the science-fiction noir The Cell.
D’Onofrio’s other film credits include The Dangerous Lives of Altar Boys, opposite Jodie Foster; The Salton Sea, opposite Val Kilmer; Impostor, with Gary Sinise; Chelsea Walls, directed by Ethan Hawke; Happy Accidents, alongside co-star
Marisa
Tomei; Robert Altman’s The Player; Joel Schumacher’s Dying Young; Tim Burton’s Ed
Wood; Kathryn Bigelow’s Strange
Days, opposite Ralph Fiennes and Angela Bassett;
Harold Ramis’ Stuart Saves His Family; Barry
Sonnenfeld’s Men in Black, opposite
Will
Smith and Tommy Lee Jones;
The Thirteenth Floor, opposite Craig
Bierko; The Whole
Wide
World, which he produced and starred in, opposite Renée Zellweger; and
Oliver Stone’s JFK. More recently, D’Onofrio appeared in the
thriller Escape Plan, which starred
Sylvester Stallone and Arnold Schwarzenegger; Fire With Fire, opposite Bruce Willis and Josh Duhamel; and
independent feature Chained, from
writer/director Jennifer Lynch.
For television,
D’Onofrio starred as Detective Robert Goren on more than 100 episodes of the
series Law & Order: Criminal Intent. He received a Primetime Emmy Award nomination
in 1998 for his riveting guest appearance in the Homicide: Life on the
Street
episode “The Subway.” D’Onofrio
directed, produced and starred in the short film Five Minutes, Mr. Welles, and appeared in the Academy Award®-winning
short The New Tenants.
TY SIMPKINS
(Gray) has been acting since he was born, first appearing as an infant on the
iconic soap opera One Life to Live. Eleven years later, Simpkins was the breakout
star opposite Robert Downey Jr. in Marvel’s Iron
Man 3, which is the fourthhighest grossing superhero film of all time.
Simpkins stars the upcoming psychological drama Meadowland, opposite Olivia
Wilde, Elisabeth Moss and
Luke Wilson, which premiered at the 2015 Tribeca Film
Festival.
Simpkins plays the role of Adam, a special needs child who often gets in
trouble at school. He also stars in the
thriller Hangman, alongside his
sister Ryan Simpkins, which premiered at this year’s SXSW Film Festival.
Simpkins made his feature-film debut in Steven Spielberg’s War of the Worlds, which starred Tom
Cruise and Dakota Fanning. Simpkins
starred in the psychological horror flick Insidious,
which grossed nearly $100 million worldwide, and its sequel Insidious: Chapter 2. Previously, he was featured in films,
including the award-winning
Revolutionary Road, which starred Leonardo DiCaprio and Kate
Winslet; New Line
Cinema’s Pride and Glory, opposite Colin Farrell and Edward Norton; and Little Children, which starred Winslet
and Patrick Wilson.
Simpkins currently resides with his family
in Los Angeles.
At the age of 20, NICK
ROBINSON (Zach) is a burgeoning actor who is solidifying his status as the
next young leading man.
Robinson recently finished production on Sony Pictures’ The 5th Wave, in which he
stars as Ben Parish, alongside Chloë Grace Moretz and Liev Schreiber. Directed by J Blakeson, the story is set on
Earth, which has suffered through four waves of alien invasions with a fifth
underway. The 5th Wave is scheduled for release in January 2016.
Robinson was a standout at the 2013 Sundance Film Festival,
at which he garnered attention for his starring role as Joe Toy in Jordan
Vogt-Roberts’ The Kings of Summer. In the dark comedy, Joe and his two best
friends decide to build a house for themselves in the woods to escape their
overbearing families. The Wall
Street Journal named Robinson one of the “five breakouts from this year’s
festival we’ll be hearing a lot about in the coming months,” while The Hollywood Reporter singled out his
performance in the coming-of-age film as being “especially good, providing the
film with a tender heart.” The film
premiered to rave reviews and was distributed by CBS Films on May 31, 2013.
Robinson guest-starred on the critically acclaimed HBO drama
Boardwalk Empire in 2012. His scene-stealing performance impressed
critics and audiences alike, cementing his status as one of Hollywood’s most
promising young actors. In 2010,
Robinson booked his first professional job as a series regular on ABC Family’s
comedy series Melissa & Joey. Robinson played Ryder for the show’s four
seasons.
A Seattle native, Robinson developed an eye for classic
films and theater at a young age. After
winning praise for his starring work in several local Seattle productions,
including To Kill a Mockingbird, Mame, A Thousand Clowns and Lost in
Yonkers, Robinson relocated with his family to Los Angeles to
pursue his acting career.
He currently resides with
his family in Los Angeles.
OMAR SY (Barry)
is an award-winning French actor, comedian, comic writer and television
personality who is quickly establishing himself as one of the most promising
international stars. Having starred in
more than 30 films over the last 15 years, Sy became a household name in France
with the smash hit The Intouchables,
his third film with the directors Olivier Nakache and Eric Toledano. His performance earned him a César Award for
Best Actor in 2012, and the BAFTA- and Golden Globenominated film went on to
gross more than $425 million worldwide, $166 million of which came from
France. He reteamed with Nakache and
Toledano in 2014 for Samba.
Over the last two years, Sy has also been breaking into
American film. He costarred in Good People, alongside Kate Hudson and
James Franco, and X-Men: Days of Future
Past, with Hugh Jackman, Jennifer
Lawrence and Michael Fassbender, which was a commercial and critical success,
boasting the second-highest worldwide opening weekend and overall gross of all
the films in the franchise.
Sy has several upcoming
films, including John Wells’ Adam Jones,
with Bradley
Cooper and Lily James, and Ron Howard’s
adaptation of Dan Brown’s “Inferno,” with Tom Hanks and Felicity Jones. Sy is currently shooting Roschdy Zem’s
French-language period piece Chocolat.
For his Broadway debut performance in M. Butterfly, BD WONG (Dr.
Wu) is the only actor ever to have received Drama Desk, Outer Critics Circle,
Theatre World, Clarence Derwent and Tony awards for a single role.
For television, Wong appeared in the 2012 NBC series Awake, on which he played Dr. John Lee,
Det. Britten’s psychiatrist in the “red” reality. For 11 seasons, audiences watched Wong on the
top-rated series Law & Order: Special
Victims Unit as Dr. George Huang, a forensic psychiatrist and expert on the
criminal mind.
Wong gained notice as a cast regular on HBO’s critically
acclaimed series Oz, playing the
resilient prison priest, Father Ray Mukada, for the show’s six-season run. His other television credits include a
starring role in ABC’s All-American Girl
and HBO’s telefilm And the Band Played On,
as well as guest-starring roles on Welcome
to New
York,
Chicago Hope, The X-Files, Bless This House,
Shannon’s Deal, the Hallmark
television movie Marco Polo and HBO’s
telefilm The Normal Heart.
Wong has also appeared in more than 20 feature films,
including Focus, Jurassic
Park,
The Freshman, Father of the Bride and Father
of the Bride Part II, Seven Years in
Tibet, Executive Decision, The Salton Sea and Stay. Wong can also be heard
as the voice of Shang in the Walt Disney Pictures animated films Mulan and Mulan II.
Wong’s additional New York theater credits include The Tempest, A Language of
Their Own, As Thousands Cheer,
the Broadway musical revival of You’re a
Good Man,
Charlie
Brown and the Roundabout Theatre Company’s production of Stephen Sondheim’s
Pacific Overtures, for which he
received a Drama League Award nomination for distinguished performance. He produced and directed The Yellow Wood for the New
York Theatre Festival and
Cindy Cheung’s Speak Up Connie for
the All For One Theater
Festival.
He recently appeared in The Orphan
of Zhao at La Jolla Playhouse and American Conservatory Theater. He is currently developing the new musical Heading East, by Leon Ko and Robert Lee.
Wong published his first book, “Following Foo: (the
electronic adventures of the Chestnut Man),”
through Harper Entertainment, which chronicles his son Jackson’s
struggle for life after he was born 11 weeks premature.
Wong actively participates in community service, for
organizations such as Asian
American Legal Defense and
Education Fund, Asian AIDS Project, GLAAD, National
LGBTQ Task Force,
Association of Asian-Pacific American Artists, East West Players,
Second Generation,
Organization of Chinese Americans and Apicha Community Health
Center.
Wong serves on the boards of The Actor Fund, Symphony Space and Rosie’s
Theater Kids.
Wong currently resides in New York City.
IRRFAN KHAN (Masrani),
one of India’s most prominent and celebrated actors, is now creating waves in
the West with his acclaimed performances in films such as The Lunchbox, Life of Pi, Slumdog Millionaire and A Mighty Heart.
Currently, Khan is working
with Ron Howard on Inferno, alongside
Tom Hanks,
Felicity Jones and Omar
Sy. In the Robert Langdon series, Khan
will portray The
Provost, the head of a
shadowy group that becomes involved with Langdon (Hanks).
Khan was last seen in Ang
Lee’s Academy Award®-winning film Life of Pi and
Marc Webb’s The Amazing Spider-Man. He
was honored with a Screen Actors Guild Award for Outstanding Performance by a
Cast in a Motion Picture for his
performance in Danny Boyle’s Academy Award®-winning film Slumdog Millionaire.
His role as Saajan Fernandes in the BAFTA Award-nominated The Lunchbox won hearts all over the
world. He was named best actor at
India’s National Film Awards for his epic performance as the title role in
2012’s Paan Singh Tomar. The Indian biographical film is based on the
true story of the athlete Paan Singh Tomar.
Additionally, Khan appeared in 2007’s Life in a Metro, for which he received a
Filmfare Award for Best Supporting Actor.
Previously, Khan starred
in Wes Anderson’s The Darjeeling Limited,
opposite
Owen Wilson, Adrien Brody
and Jason Schwartzman; and in Michael Winterbottom’s A
Mighty
Heart, opposite Angelina Jolie. In
2007, Khan starred in Mira Nair’s The
Namesake, for which he received an Independent Spirit Award nomination for
Best Supporting Male for his performance.
Khan gained international acclaim for his role in The Warrior. In the film, set during feudal India in the
State of Rajasthan, Khan portrayed Lafcadia, a fierce warrior who abandons his
cruel and sadistic Lord who reigns with terror on all and decides to put down
his sword to seek peace in his village.
In 2003, Khan starred in Indian born writer/ director Ashvin Kumar’s
short film Road to Ladakh, which
received warm reviews at international film festivals. Khan had also starred as
the title role in Maqbool, the
critically acclaimed adaptation of Shakespeare’s “Macbeth,” as well as the
Bollywood film Haasil. Khan received Screen Weekly and Zee Cine
award nominations for his work on Maqbool,
and Screen Weekly and Filmfare awards for his role in Haasil. Additional credits include Ek Doctor Ki Maut, Such a
Long Journey, Rog, Acid Factory, New York and New York, I Love
You.
Khan has also starred on numerous
television series in India, including Chanakya,
Sara Jahan Hamara, Banegi Apni Baat, Chandrakanta, Star Bestsellers,
Sparsh, Darr, Kahkashan, Mano Ya Na Mano and Kyaa Kahein.
Khan also starred in the Golden Globe Award-winning HBO
series In Treatment. In its third season, he played Sunil, a
recent widower and new immigrant from Calcutta living with his son’s family in
Brooklyn and struggling with his life in America.
Khan received a fellowship to the National School for Drama
and, after graduating, began acting in television and theater. Born in Jaipur, India, Khan is married to
writer Sutapa Sikdar.
He currently splits his time between India
and Los Angeles.
ABOUT THE FILMMAKERS
There were countless filmmakers interested in relaunching
one of the most successful and popular franchises in movie history. The one selected by Steven Spielberg to
extend the legacy of Jurassic Park
might seem an unconventional choice.
Spielberg and the producers recognized in COLIN TREVORROW (Directed by/Screenplay by) an exciting blend of
lifelong fan of the signature Amblin style of adventure filmmaking and a
confident director capable of fulfilling the expectations of devoted Jurassic fans, while propelling the
story forward in exciting new directions.
Trevorrow is driven to deliver all of the elements that moviegoers
expect from a Jurassic film and
introduce ingenious new elements that fit together perfectly in the ongoing
narrative.
A pioneer of the online short film, Trevorrow’s first
feature, 2012’s critically lauded Safety
Not Guaranteed, was nominated for multiple awards, including the Grand Jury
Prize at the Sundance Film Festival and Best Feature Film at the Independent
Spirit Awards. Written by Derek
Connolly, Safety Not Guaranteed won
the Waldo Salt Screenwriting Award at the Sundance Film Festival and an
Independent Spirit Award for Best First Screenplay.
Though the difference in scale between his first two
feature-length movies is exponential, the character-driven storytelling of
Trevorrow’s earlier film distinguishes the Jurassic
World script he wrote with writing partner Connolly. Like Spielberg’s original, Jurassic World is populated with
memorable characters interacting in relatable ways not only to each other but
to the spectacles around them. Trevorrow
also brings an undiluted summer-movie fan’s excitement to the action and visual
effects of the film.
A native of DeSoto, Texas, RICK JAFFA (Screenplay by/Story by) graduated from Southern
Methodist University with a degree in history and political science. Jaffa later earned his master’s degree in
business at the University of Southern California. In 1981, Jaffa began his entertainment career
in the mailroom of the William Morris Agency.
He became the executive assistant to legendary agent Stan Kamen, who was
then head of the motion-picture department.
Later, as an agent, Jaffa represented writers and directors, packaging
films as diverse as 1987’s RoboCop
and 1985’s The Trip to Bountiful.
Jaffa has collaborated with his wife and partner, Amanda
Silver, for 25 years, executive producing Silver’s The Hand That Rocks the Cradle and co-writing Eye for an Eye.
In 2011, the duo wrote and produced the Oscar®-nominated
Rise of the Planet of the Apes, which
rebooted the Planet of the Apes
franchise. In 2014, they co-wrote and
produced the sequel, Dawn of the Planet
of the Apes. They are currently
producing the third installment in the Planet
of the Apes series, due out in 2017.
Jaffa and Silver wrote on In the Heart of the Sea, directed by Ron Howard, which is slated
for release in December.
They are currently working
with James Cameron on Avatar 2.
Jaffa and Silver live in Pacific Palisades, California, and
have two children, Joe and Franki.
AMANDA SILVER
(Screenplay by/Story by) grew up in New York City and received her BA in
history from Yale University before moving to Los Angeles. Silver was an executive assistant at TriStar
and Paramount Pictures before enrolling in film school at the University of
Southern California, where she earned an MFA in screenwriting.
Silver’s thesis script, The
Hand That Rocks the Cradle, opened in 1992.
A CableAce Award-winning episode of Fallen
Angels, directed by Alfonso Cuarón, followed in 1993. Silver has written and produced screenplays
with her husband and collaborator, Rick Jaffa, for 25 years, resulting in such
films as Eye for an Eye and The Relic.
In 2011, the duo wrote and produced the Critics’ Choice
Movie Award-winning Rise of the Planet of
the Apes, which rebooted the Planet
of the Apes franchise. In 2014, they
co-wrote and produced the sequel, Dawn of
the Planet of the Apes. They are
currently producing the third installment in the Planet of the Apes series, directed by Matt Reeves, due out in
2017.
Silver and Jaffa wrote on In the Heart of the Sea, directed by Ron Howard, which is slated
for release in December.
They are currently working
with James Cameron on Avatar 2.
Silver and Jaffa live in Pacific Palisades, California, and
have two children, Joe and Franki.
DEREK CONNOLLY (Screenplay
by) is best known as the writer of Colin
Trevorrow’s critically
acclaimed film Safety Not Guaranteed,
which starred Mark
Duplass, for which he won the Waldo Salt
Screenwriting Award at the Sundance Film Festival and an Independent Spirit
Award for Best First Screenplay.
Connelly’s credits include Chris Wedge’s upcoming Monster Trucks, for Paramount Pictures. It was recently announced that he will
co-write Intelligent Life, alongside
Trevorrow, for DreamWorks.
A graduate of New York University’s Tisch School of the
Arts, Connolly was named one of Variety’s
10 Screenwriters to Watch in 2012.
MICHAEL CRICHTON
(1942-2008) (Based on Characters Created by) was a writer and filmmaker, best
known as the author of “Jurassic Park” and the creator of the television series
ER.
Crichton graduated
summa cum laude from Harvard College, received his MD from Harvard Medical
School and was a postdoctoral fellow at the Salk Institute for Biological
Studies. He taught courses in
anthropology at Cambridge University and writing at the Massachusetts Institute
of Technology.
While at Harvard,
Crichton wrote novels under the pseudonyms John Lange and
Jeffery Hudson. During this period, he published seven books,
including “A Case of
Need,” which won the Mystery Writers of
America’s Edgar Award for Best Novel in 1969.
“The Andromeda Strain,” Crichton’s first best-seller, was
published under his own name. The movie
rights for “The Andromeda Strain” were bought during his senior year at Harvard
Medical School.
Crichton had a
lifelong interest in computers. His
feature film Westworld was the first
to employ computer-generated special effects.
Crichton’s pioneering use of computer programs for film production
earned him an Academy Award® for Technical Achievement in 1995.
Crichton won
Primetime Emmy, Peabody and Writers Guild of America awards for ER.
One of the most
popular writers in the world, he has sold more than 200 million books. His novels have been translated into 40
languages and adapted into 15 films.
Crichton also published four nonfiction books, including an illustrated
study of artist Jasper Johns. Crichton
remains the only person to simultaneously have the No. 1 book, film and
television series in a given year.
In 2002, a newly
discovered dinosaur of the Ankylosaur group was named for him: Crichtonsaurus bohlini.
Crichton is survived
by his wife, Sherri, his daughter Taylor and his son John Michael.
With a career spanning
over 40 years and more than 80 films, FRANK
MARSHALL
(Produced by) has helped shape American cinema, producing some of the most
successful and enduring films of all time.
Marshall began his motion-picture career in 1971 as a location manager
on Peter Bogdanovich’s The Last Picture
Show, and by 1981 Marshall was working as a producer on Raiders of the Lost Ark, with Steven
Spielberg and future wife Kathleen Kennedy.
Shortly thereafter, the trio formed industry powerhouse Amblin
Entertainment and together produced movies such as Gremlins, the Back to the
Future trilogy, Who Framed Roger
Rabbit, Hook, Empire of the Sun and the Indiana Jones trilogy.
In 1991, Marshall and Kennedy left Amblin to form their own
production company, The Kennedy/Marshall Company, where they produced The Sixth Sense, Signs, Seabiscuit, The Curious Case of Benjamin Button, War Horse, The Armstrong Lie and all four films in the Bourne series. In 2012,
Marshall took over as sole principal of the company when Kennedy became
president of Lucasfilm. Recently, he
produced the fourhour documentary Sinatra:
All or Nothing at All, which premiered on HBO in April.
Marshall has five Academy Award® nominations
for Best Picture: for Raiders of the Lost
Ark, The Color Purple, The Sixth Sense, Seabiscuit and The Curious
Case of Benjamin Button.
In addition to his prolific producing career, Marshall is
also an acclaimed director, having helmed Arachnophobia,
Eight Below, Alive, Congo, an episode
of the HBO miniseries From the Earth to
the Moon and the award-winning ESPN Films’ 30 for 30 documentary Right
to Play.
A Los Angeles native and son of composer Jack Marshall, he
ran cross-country and track as a student at UCLA and was a three-year varsity
letterman in soccer. Combining his love
for music and sports, Marshall and America’s premier miler, Steve Scott,
founded the Rock ‘N’ Roll marathon, which debuted in 1998 in San Diego as the
largest first-time marathon in history.
For more than a decade, Marshall was a vice president and member of the
United States Olympic Committee. In
2005, he was awarded the Olympic Shield and in 2008, he was inducted into the
U.S. Olympic Hall of Fame for his service to the Olympic movement.
Marshall serves on the boards of Athletes for Hope, the USA
Track & Field Foundation and LA’s Promise.
In addition, Marshall is a trustee of The Archer School for Girls.
Marshall is the recipient of the 2000 UCLA Award for
Professional Achievement, the 2008 Producers Guild of America’s David O.
Selznick Achievement Award in Motion Pictures, as well as the 2009 Visual
Effects Society’s Lifetime Achievement Award and the 2015 ACE Golden Eddie
Filmmaker of the Year Award.
PATRICK CROWLEY
(Produced by) is a veteran motion picture producer with international
experience. Crowley has produced the
box-office hits Eight Below, The Bourne Identity, The Bourne Supremacy, The Bourne Ultimatum, Eagle Eye and The Other Guys. He was an
executive producer on Sleepless in Seattle, Legends of the Fall and Charlie’s
Angels: Full Throttle. From 1994 to 2000, Crowley served as executive
vice president of production at New Regency Productions. He supervised the production of L.A. Confidential, Fight Club, Heat, Devil’s Advocate, Tin Cup and many others.
He is currently in pre-production on the feature-film
adaptation of the popular video-game Assassin’s
Creed, which will star Michael Fassbender and Marion Cotillard.
STEVEN SPIELBERG (Executive
Producer), one of the industry’s most successful and influential filmmakers, is
a principal partner of DreamWorks Studios.
Formed in 2009, Spielberg leads the motion-picture company in
partnership with The Reliance Anil Dhirubhai Ambani Group.
Spielberg is also, collectively, the top-grossing director
of all time, having helmed such blockbusters as Jaws, E.T.: The
Extra-Terrestrial, the Indiana Jones
franchise and Jurassic Park. Among his myriad honors, he is a three-time
Academy Award® winner.
Spielberg took home his first two Oscars®, for
Best Director and Best Picture, for the internationally lauded Schindler’s List, which received a total
of seven Oscars®. The film
was also named the best picture of 1993 by many of the major critics organizations,
in addition to winning seven BAFTAs and three Golden Globe awards, both
including
Best Picture and Best Director. Spielberg also won the Directors Guild of
America (DGA) Award for his work on the film.
Spielberg won his third Academy Award®, for Best
Director, for the World War II drama Saving
Private Ryan, which was the highest-grossing domestic release of 1998. It was also one of the year’s most honored
films, earning four additional Oscars®, as well as two Golden Globe
Awards for Best Picture—Drama and Best Director, and numerous critics groups
awards in the same categories. Spielberg
also won another DGA Award and shared a Producers Guild of America (PGA) Award
with the film’s other producers.
That same year, the PGA also presented Spielberg
with the prestigious Milestone Award for his historic contribution to the
motion-picture industry.
He has earned Academy Award® nominations for Best
Director for Lincoln,
Munich, E.T.: The
Extra-Terrestrial, Raiders of the
Lost Ark and Close Encounters of the
Third
Kind. He also earned DGA Award
nominations for those films, as well as for Jaws,
The Color Purple, Empire of the Sun and Amistad.
With 11 to date, Spielberg has been honored by his peers with more DGA
Award nominations than any other director.
In 2000, he received the DGA’s Lifetime Achievement Award. He is also the recipient of the Irving G.
Thalberg Memorial Award from the Academy of Motion Picture Arts and
Sciences, the Hollywood Foreign Press
Association’s Cecil B. DeMille Award, the Kennedy Center Honors and numerous
other career tributes.
Spielberg’s upcoming films include Bridge of Spies, starring Tom Hanks, which is set for release on
October 16, and the adaptation of Roald Dahl’s beloved classic, “The BFG,”
which is set for release on July 1, 2016.
In 2012, Spielberg directed Academy Award®
winner Daniel Day-Lewis in Lincoln,
based in part on Doris Kearns Goodwin’s “Team of Rivals: The Political Genius
of Abraham Lincoln,” with a screenplay by Tony Kushner. The DreamWorks Pictures/ 20th
Century Fox film, in association with Participant Media, garnered 12 Academy
Award® nominations and earned $275 million worldwide. The film won two Oscars®,
including Daniel Day-Lewis’ third Oscar® for Best Actor, for his
portrayal of the iconic 16th president, as well as Best Production
Design.
Spielberg’s career began with the 1968 short film Amblin which led to his becoming the
youngest director ever signed to a long-term studio deal. He directed episodes of such TV shows as Night Gallery, Marcus Welby, M.D. and Columbo,
and gained special attention for his 1971 telefilm Duel. Three years later, he
made his feature-film directorial debut on The
Sugarland Express, from a screenplay he co-wrote.
His next film was Jaws, which was the first film to break
the $100 million mark.
In 1984, Spielberg formed his own production company, Amblin
Entertainment.
Under the Amblin banner,
he served as producer or executive producer on such hits as Gremlins, The Goonies,
the Back to the Future franchise, Who Framed Roger Rabbit, An
American Tail, Twister, The Mask of Zorro and the Men in Black films. In 1994,
Spielberg partnered with Jeffrey Katzenberg
and David Geffen to form the original DreamWorks Studios. The studio enjoyed both critical and
commercial successes, including three consecutive Best Picture Academy Award®
winners: American Beauty, Gladiator and A Beautiful Mind. In its
history, DreamWorks has also produced or coproduced a wide range of features,
including the Transformers
blockbusters; Clint Eastwood’s World War II dramas Flags of Our Fathers and Letters
From Iwo Jima, the latter earning a Best Picture Oscar®
nomination; Meet the Parents and Meet the Fockers; and The Ring, to name only a few. Under the DreamWorks banner, Spielberg also
directed such films as War of the Worlds,
Minority Report, Catch Me If You Can and A.I.:
Artificial Intelligence.
Spielberg has not limited his success to the big
screen. He was an executive producer on
the long-running Primetime Emmy Award-winning TV drama ER, produced by his Amblin Entertainment company and Warner Bros.
Television for NBC. On the heels of
their experience on Saving Private Ryan,
Spielberg and Hanks teamed to executive produce the 2001 HBO miniseries Band of Brothers, based on Stephen
Ambrose’s book about a U.S. Army unit in Europe during World War II. Among its many awards, the project won both
Primetime Emmy and Golden Globe awards for Outstanding Miniseries. Spielberg and Hanks more recently reunited to
executive produce the acclaimed 2010 HBO miniseries The Pacific, this time focusing on the Marines in WWII’s Pacific
battle with the Japanese. The Pacific won eight Primetime Emmy
Awards, including Outstanding Miniseries.
Spielberg also executive
produced the Primetime Emmy Award-winning Sci-Fi
Channel miniseries Taken, the TNT miniseries Into the West, the Showtime series United
States
of Tara and NBC’s Smash. He is currently an executive producer on
TNT’s Falling Skies and CBS’ Under the Dome, based on the novel by
Stephen King, which became the biggest new TV hit of summer 2013. Amblin Television serves as a producer of
FX’s The Americans.
Apart from his filmmaking work, Spielberg has also devoted
his time and resources to many philanthropic causes. The impact of his work on Schindler’s List led him to establish
the Righteous Persons Foundation with all his profits from the film. He also founded Survivors of the Shoah Visual
History Foundation, which became the USC Shoah Foundation-Institute for Visual
History and Education in 2006. The
Institute has recorded more than 52,000 interviews with survivors and other
witnesses of the Holocaust and other genocides, and is dedicated to making the
testimonies a compelling voice for education and action. In addition, Spielberg is the co-founder and
chairman emeritus of the Starlight Children’s Foundation.
THOMAS TULL
(Executive Producer) serves as chairman and chief executive officer of
Legendary Entertainment, a leading media company with film, television,
digital, virtual reality and publishing divisions. Legendary has established itself as a trusted
brand that consistently delivers high-quality, commercial entertainment,
including some of the world’s most popular intellectual properties.
During his career, Tull has produced and executive produced
more than 30 films that together have grossed more than $10 billion at the
worldwide box office, including the Dark
Knight trilogy; 300 and its
sequel, 300: Rise of an Empire; the
critically and commercially received The
Town; the award-winning action-drama Inception;
Clash of the Titans and its sequel, Wrath of the Titans; and the three films
in the Hangover franchise.
Tull recently produced Godzilla,
Pacific Rim, 42 and the upcoming Crimson
Peak and Warcraft.
Through his Tull Media Ventures, Tull also invests in
technologies such as Magic Leap and Oculus Rift that enhance the entertainment
experience. Tull serves on the board of
trustees of Hamilton College, his alma mater, and Carnegie Mellon University. He also serves on the boards of the National
Baseball Hall of Fame and Museum and the San Diego Zoo, and is part of the
six-time Super Bowl champion Pittsburgh Steelers ownership group, for which he
also holds a board seat.
JOHN SCHWARTZMAN, ASC
(Director of Photography) is an award-winning cinematographer whose work
encompasses some of cinema’s biggest action and comedy blockbusters, including
Marc Webb’s The Amazing Spider-Man;
Michael Bay’s Armageddon; Jay Roach’s Meet the Fockers; John Lee Hancock’s Saving Mr. Banks; and Gary Shore’s Dracula Untold.
Twice nominated for the coveted American Society of
Cinematographers Award for Outstanding Achievement in Cinematography in
Theatrical Releases, Schwartzman won in 2004 for his work on Gary Ross’ Seabiscuit, for which he also received
an
Academy Award® nomination. His additional film credits include Bay’s Pearl
Harbor, Michel Gondry’s The Green Hornet, Rob Reiner’s The Bucket
List, Hancock’s The Rookie and Shawn Levy’s Night
at the Museum: Battle of the Smithsonian.
In addition to his work on the big screen, Schwartzman is
one of the commercial industry’s most sought-after cameramen. His commercial work, as both director and
cinematographer, includes spots for a wide range of national and international
clients, such as HBO, Chevrolet, Visa, Toyota, American Express, Mercedes-Benz,
AT&T, Honda, Victoria’s Secret, Coca-Cola, Canon, Reebok and Nike.
EDWARD VERREAUX (Production
Designer) graduated from the San
Francisco Art
Institute. After spending some time
drawing underground cartoons in the
Bay Area, Verreaux began his film career
working with legendary animation director Chuck Jones.
After serving his apprenticeship with Jones and working at
several other animation studios in Hollywood, Verreaux began working with
Robert Abel & Associates, the leading visual effects studio in the film
industry at the time. He soon became the
company’s No. 1 illustrator, working on films such as Star Trek, Raiders of the
Lost Ark (and its sequels),
Poltergeist, Empire of the Sun, The Color Purple and E.T.:
The Extra-Terrestrial.
Verreaux continued working his way up the ranks of the art
department to become one of the industry’s top production designers. Some of his other credits include Contact,
Mission
to Mars, Warm Bodies, Jurassic Park III, X-Men: The Last Stand,
Monster House, Rush Hour 3, G.I. Joe: The Rise of Cobra, Looper and The Giver.
In his more than 25 years in the cutting room, KEVIN STITT, ACE (Edited by) has
collaborated with filmmakers such as Peter Berg (The Kingdom), Brian Helgeland (42,
The Order, A Knight’s Tale, Payback),
Christopher McQuarrie (Jack Reacher),
Matt Reeves (Cloverfield), Bryan
Singer (X-Men), John Woo (Paycheck), Asger Leth (Man on a Ledge) and Kenny Ortega (This Is It).
Over the last decade,
Stitt has also edited feature films such as John Badham’s
Nick of Time; Rob Bowman’s Elektra;
Renny Harlin’s Deep Blue Sea; Rod
Lurie’s The
Last
Castle; Jonathan Mostow’s Surrogates and
Breakdown; and editor and mentor
Stuart Baird’s directorial debut, Executive
Decision, which marked Stitt’s first collaboration with longtime editor
Frank J. Urioste.
A Los Angeles native, Stitt majored in communications at
Cal State Northridge before beginning his career on 1983’s Twilight Zone: The Movie in an era he calls “the golden age of the
Hollywood action movies.” He cut his
teeth as an apprentice editor, assisting for the likes of Frank Morriss (Romancing the Stone, Short Circuit, Point of No
Return),
Donn Cambern (Big Trouble, Harry and the Hendersons) and Baird (Lethal Weapon 2, Maverick, The Last Boy Scout).
Primetime Emmy Award winner DANIEL ORLANDI (Costume Designer) most recently designed HBO’s The Normal Heart, for director Ryan
Murphy. For his work, he received
Primetime Emmy and Costume Designers Guild (CDG) award nominations.
Orlandi’s work can next be seen in Jay
Roach’s Trumbo, starring Bryan
Cranston and Diane Lane.
In 2013, Orlandi served as costume designer on Walt Disney
Pictures’ Academy Award®-nominated Saving Mr. Banks, for which he earned BAFTA, CDG and Broadcast Film
Critics’ Association award nominations.
A frequent collaborator with Roach and Ron Howard, Orlandi
has served as costume designer on Roach’s The
Campaign, for Warner Bros. Pictures; Game
Change, for HBO; Meet the Parents,
for Universal Pictures; and the pilot of HBO’s series The Brink. He has worked
with Howard on the film versions of the best-selling novels
“Angels & Demons” and “The Da Vinci
Code,” as well as the 1930s-era boxing drama Cinderella Man, which starred Russell Crowe and Renée Zellweger;
and the Oscar®nominated Frost/Nixon. Additionally, he designed the costumes for
John Lee Hancock’s Oscar®-winning The Blind Side, which
starred Sandra Bullock.
Orlandi designed more than 4,000 costumes for Walt Disney
Pictures’ epic production of The Alamo,
which starred Dennis Quaid and Billy Bob Thornton. He costumed Zellweger and Ewan McGregor in
the 1960s-style Down With Love and
Joel Schumacher’s The Number 23 and Phone Booth. He designed costumes for Last Holiday, which starred Queen Latifah, and has collaborated
with Robert De Niro on Meet the Parents, Flawless and The Fan.
His television work includes the first season of the NBC
comedy Ed and Maureen O’Hara’s
costumes in Cab to Canada. In 1989, Orlandi won a Primetime Emmy Award
for his work on The Magic of David
Copperfield XI: The Explosive Encounter.
After graduating from Carnegie Mellon University, Orlandi
got his start working with Bob Mackie on the film Pennies From Heaven, numerous television specials and Mackie’s
successful couture collection.
MICHAEL GIACCHINO (Music
by) has quickly become one of the bestknown and most successful composers
working in Hollywood today. His credits
feature some of the most popular and acclaimed film projects in recent history,
including The Incredibles, Ratatouille, Mission: Impossible—Ghost Protocol and Dawn of the Planet of the Apes.
Giacchino’s 2009 score for the Pixar hit Up earned him Oscar®, Golden Globe, BAFTA, Broadcast
Film Critics’ Association and Grammy awards.
Giacchino’s filmmaking
career began in his backyard in Edgewater Park, New
Jersey, when he was 10
years old. He eventually went on to
study filmmaking at the
School of Visual Arts in New York
City. After college, while working in
marketing at Walt Disney Pictures, he began studies in music composition first
at The Juilliard School and then at UCLA.
When Giacchino was hired as a producer for the fledgling
Disney Interactive division, he had the opportunity to compose music for the
video games it was developing.
Eventually, he moved to DreamWorks, where his work was brought to the
attention of Steven Spielberg, who signed him up to score The Lost World: Jurassic Park video game and then Medal of Honor.
Giacchino’s work on video games sparked the interest of
J.J. Abrams, and thus began their long-standing relationship that would lead to
scores for the hit television series Alias
and Lost and the feature films Mission: Impossible III, Star Trek, Super 8 and Star Trek Into
Darkness.
Giacchino’s music can currently be heard in concert venues
around the world with live-to-picture performances of both Star Trek films, with a full orchestra. This October, Ratatouille will kick off an international tour beginning with a
world premiere in Paris. This summer,
Giacchino will have three major films in theaters: Walt Disney Pictures’ Tomorrowland, directed by Brad Bird;
Pixar’s Inside Out, directed by Pete
Docter; and Jurassic World.
Giacchino sits on the advisory committee of Education
Through Music—Los Angeles.
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