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    • Jurassic World: Fallen Kingdom On-Set Interview: Director JA Bayona Ups The Suspense And Scares The Shit Out Of His Actors For The Blockbuster Sequels

      2 months ago


      Welcome to Day 2 of Jurassic World: Fallen Kingdom set reports! Yesterday I ran the interview I co-conducted (alongside Slashfilm's Peter Sciretta) with the film's producers and today I have our chat with director JA Bayona.

      Now, JA has been on my nerdy radar since the beginning. I remember interviewing him for his very first film, the Spanish language creepfest The Orphanage, which was produced by Guillermo del Toro and rocks pretty damn hard.

      Between now and then he's been turning out some great work, including The Impossible, which introduced the film world to Spider-Man's Tom Holland, and then the recent tear-jerker A Monster Calls.

      While visiting the set during their Hawaii shoot Bayona was able to carve out some time during his lunch break to talk with Peter and I. Naturally we had some questions.

      In the below chat you get a good handle on Bayona's priority as a director, the reasoning behind taking the Jurassic universe widescreen, his working relationship with his actors (both human and dino) and some of the director tricks he utilized while making this movie.

      It's a good chat and Bayona's passion for storytelling is unquestionably at the forefront. Hope you enjoy!


      Eric Vespe: Thanks for having us out. This is really cool.

      Peter Sciretta: Thanks for putting up with us while you're on your lunch break. So, a lot of your movies have young people in horrific situations. Does this movie follow that trend?

      JA Bayona: Yeah. Very young people in problem again.

      Eric Vespe: What do you have against the youth of the world?

      JA Bayona: (laughs) Well, I mean, it's... I mean, all the movies I've done I end up very close from the POV of the kids. I don't know. It's a natural thing. It's not planned. I mean, the three movies I did so far you can tell that they're about childhood and dealing with growing up. This is very different, but of course you have a kid in the film, because there's always been kids in the Jurassic movies, you know? And the movie pays tribute and keeps the legacy of the movies that we've seen so far and we love.

      Eric Vespe: Can we talk a little bit about the where you're starting off in this one? Frank Marshall told us a little bit about the setup for the story and I think it's really interesting because it gives you a completely different sense of urgency than we've seen in these movies so far.

      JA Bayona: And what did Frank tell you?

      Eric Vespe: We know about the extinction level event, the volcano . And the sense of the characters returning to try to save the dinosaurs. So we at least know that beginning part.

      JA Bayona: Well, the first time Colin pitched me the story, I was very intrigued, very surprised, because it's true that it keeps the legacy of the films we've seen so far, but there's a twist. It's not humans trying to save humans from dinosaurs anymore. It's humans trying to save dinosaurs from the island and I thought that was very interesting. And there's a twist in the in (second) half of the film and the film becomes something very different from the first section of the movie. I thought that was very interesting, too. I was very interested, very intrigued. I really enjoy the pitch and I think the development that we did so far, I'm very happy with it.

      Peter Sciretta: Colin already had the story when you came aboard. How do you put your own stamp on that?

      JA Bayona: Well, I think one of the things I always enjoy the most in designing the films are the set pieces and Jurassic movies they are perfect for designing set pieces. When I think about the old Jurassic movies that I think about the T. Rex scene in the first one or the scene with the truck hanging off the cliff in the second one. So the first thing I had was “Okay, we're gonna try to design the best set pieces possible.” And I really enjoy that. I really enjoy to design shot by shot. For me every camera position matters. Every movement of the camera. Every shot is a step in escalating of the tension. It's very Hitchcockian. When you see the T. Rex scene in the first one, the gyrosphere scene in Jurassic World, they feel designed shot by shot in a very Hitchcockian way and I and for me movies are about that.

      Eric Vespe: Yeah, I was gonna say, the two you described were suspense moments.

      JA Bayona: Yeah, it's true. There's going to be a very big action scene in the middle of the movie, but then the whole film plays more the idea of suspense and I really like that. I think somehow the first Jurassic was like that. You had the big T. Rex scene in the middle and then it plays with the suspense of the kitchen scene with the Raptors. We tried to follow the same pattern.

      Eric Vespe: Yeah. It's a nice combination. There's a sweet spot between awe, suspense and humor.

      JA Bayona: Exactly, yeah. And I think that they'll be a lot of humor in this one. It's going to be a lot of fun, too. It's gonna be suspenseful. It's gonna be probably a little more scary, but it's gonna be a lot of fun, too.

      Eric Vespe: It's good to be a little scary.

      JA Bayona: Yeah.

      Eric Vespe: Well speaking of that, is that why you chose to bring back the animatronic element a little bit because there's something scarier about seeing something in a movie that's really there?

      JA Bayona: Yeah. We love animatronics. Colin and I, we talk about how can we bring back more animatronics in the game and there was a space for that in the story. I came with the experience of doing A Monster Calls where we design a huge animatronic and at the end, you can, you need to use CGI more than what you will want, because the audience is so used to CGI that they are kind of like reluctant to animatronics, but at the same time when you have something real, you appreciate the soul. There's a reality that you don't have with CGI. So there's plenty of animatronics in this one. But the story somehow made things easier for us to use animatronics.

      Eric Vespe: Who's building them for you? What company?

      JA Bayona: Neal Scanlan who's been working on the Star Wars movies. It's been great to work with him. You know, it was kind of surprising the first time we had an animatronic on the set. I was with Bryce (Dallas Howard) and Chris (Pratt) and they were so shocked, so happy to have animatronics. I said, come on! You've done a movie so far, but then I thought about it and of course there was almost no animatronics in that movie.

      Peter Sciretta: They just had that one.

      JA Bayona: Yeah, but and it was funny to see the actors that were in the first one reacting so excited.

      Eric Vespe: Geeking out, yeah.

      JA Bayona: They were so excited in front of the animatronic.

      Peter Sciretta: It seems like you've worked very closely with Colin. I'm wondering about Spielberg. When we were on the set of the first Jurassic World movie Colin told us how Spielberg had this whole suggestion with the water scene of the seats going down below the water level. I love hearing these stories how Spielberg will “plus” something. Do you have any stories where he threw out a suggestion that changed the movie?


      JA Bayona: We don't have any scene, a specific scene, but it's true that Steven has been always very encouraging and he is the sort of person that empowers a director. He makes him feel good and he makes him feel prepared. I wanted to meet him as much as possible. I tried to watch all the pre-vis that we did together. And it was fascinating to show him the stuff and hearing back his ideas. And so there was lots of details here and there.

      Eric Vespe: Little flourishes.

      JA Bayona: Yeah. I don't remember any specific scene, but I think that there is not any specific scene, but there was a lot of details here and there. He was very, very encouraging all the time and very supportive of our ideas.

      Eric Vespe: So he was pretty hands on I would assume during the development.

      JA Bayona: Mm-hmm.

      Eric Vespe: I know Colin's been on set a lot, but it seems like they put a lot of trust in you. So is that stressful for you? I don't wanna make it sound like that you don't feel supported...

      Peter Sciretta: This was a hundreds of millions of dollars movie, right?

      JA Bayona: Yeah. I always admire Steven and, I mean, and my movies, a lot of people used to talk about them like they're very Spielbergian, you know? So I feel so comfortable being in this territory that I don't have any problem in that sense, you know.

      But the truth is that I've been lucky of being able to sit down with all the previous guys and design the scenes together shot by shot and Steven has been always very supportive. He loved all the stuff that we did and I consider that there was not any pressure totally. Completely the opposite. It was totally the opposite.

      Eric Vespe: When you have somebody like Chris Pratt as your lead too he brings so much like natural chemistry and a sense of spontaneity. Have you had freedom to be able to be play a little bit loose and so you're not a slave to the pre-vis?

      JA Bayona: A lot, a lot, a lot. Yes. And I always try to give him as much space as possible, because this is the way he works. The other day I was referring to him as a Jazz musician because he's very organic and he does every take totally different from one before. He does it the way he feels it, he's always very truthful to himself and every take is different. And every take there's something new that you love.

      It's going to be difficult in the editing room to decide what are the best moments because he's great in all the takes. I'm all the time trying to give the actors a lot of freedom, even though these movies are very designed before they shoot. I always try to keep them alive and keep them organic on the set, so I always show the pre-vis to the actors. We talk about it and a lot of times we change them on the set.

      Peter Sciretta: You have Jeff Goldblum coming back and reprising his role. What can you tell us about him and working with him?

      JA Bayona: I think it's great to find links between the new Jurassic World movies and the old Jurassic Park movies. So there's details all over the film that are referring not just of course to the first Jurassic World, but also the first Jurassic Park movies. Having Malcolm was a great idea that Colin had and I think somehow he setups the tone, the theme and the atmosphere of this film.

      Eric Vespe: Okay. That's cool. It's embracing kind of what the trend that audiences like now and I think TV had a big part of that. They like the long form storytelling aspect. Marvel has been taking advantage of that in a big way. But people have stuff like Game of Thrones and they love watching a story develop. The trick is being able to pull that off and give them that feeling of living in a world and seeing a world that they're familiar with without just making it a whole bunch of like “Hey, remember when you liked this moment?” I think they did a pretty good job in the last Jurassic with that.

      JA Bayona: Yeah and I think that Colin keeps doing it in this film. I think he's created the story one step forward. At the same time, paying respect to the original Jurassic World and the original Jurassic Park movies. But the story continues in this one and we keep going in the next, following a story that is longer than the film we're gonna see.

      Peter Sciretta: We are back at Isla Nublar, but Frank (Marshall) said it's only in the movie for like 25%. So, where does it go from there?

      JA Bayona: I don't know if I can talk about that. This is one of the big surprises and I think that's one of the things that I really appreciate when Colin told me the story the first time. That we go to the island, but then we go to somewhere else.

      Eric Vespe: You talked earlier about building a suspenseful scene shot by shot. Can you talk a little bit about what that scene is so people like who might read the interview and then see the movie later will understand which scene that you are talking about?

      JA Bayona: Yeah. Well I think there's plenty of scenes. It's not only one. I think that the second half is gonna play a lot on suspense. And suspense is all about not accumulation, but escalating the tension. It's not just putting lots of stuff on the frame. It's more escalating the element in order to get the pace and the tension that puts the audience at the edge of their seats. This is the dream for me, in terms of the storytelling.

      Eric Vespe: So it could be personal stakes, it doesn't have to be like world ending, 50 dinosaurs in a single shot kind of thing?

      JA Bayona: No, it's not like that. It's not like that. It's quite the opposite. I mean, you'll have, you will have 15 dinosaurs in the same frame more at the beginning of the film and then at the end it's more about the suspense and not seeing them. That's more interesting, always.

      Peter Sciretta: You mentioned that this is the second of a trilogy that's planned. Can you talk about the balance of creating a complete story, but you're setting up a third act as well?

      JA Bayona: Mm-hmm. I don't know how much can I talk about the story, you know?

      Peter Sciretta: Okay. I'm not looking for detail. I'm just saying like how does that, how do you balance that? Like how do you…

      Eric Vespe: How do you tell a complete story in and of itself here but also know that you're also leading into another movie?

      JA Bayona: I think it's like when you talk about television, it's a little bit like that. I remember when I did Penny Dreadful, I did the first episode and I really didn't know where the series was heading to. It's a very interesting experience because you're playing with the storytelling yet you really don't know where it's heading to. It's not the case of doing a Jurassic movie. I think that Colin has designed more than only one film, you know. He's the guy who has all the answers.

      Eric Vespe: Has he shared that with you so you know you're not making some decision on the day that could contradict what he's planning in the future?

      JA Bayona: No, but there were moments that Colin said, “I would love if you can introduce this detail in that scene and that detail in that scene because I'm thinking this is going to pay off in the third film.” You know, you're collaborating and including details on a story that is bigger than the one you're doing.

      Eric Vespe: Do you think that you'll come back for the third one? Or do you think that Colin might come back? Did you guys talk at all about that? (This was way before it was announced that Trevorrow would return to direct Jurassic World 3).

      JA Bayona: We talk a lot about a lot of things.

      Eric Vespe: Would you want to come back for the third film? I mean, you're not gonna sit here and go, “Man, I'm having a miserable experience” even if you were, but would you be interested in like seeing the franchise through to the next movie?

      JA Bayona: Yeah. I'm really enjoying the experience of doing a Jurassic movie. I'm really enjoying it. It's not painful at all to come back, I can tell you. I think it's a lot of fun. I love to work with these actors. It's great. They're so creative and it's great to be in the set working with them. And also this is the kind of stories that I like. Emotion and visual effects, great music. I love it.


      Peter Sciretta: Can you talk a little bit about B.D. Wong's character? He seems to be the big thread that from the last one that kind of launches into this one. At least apparently.

      Eric Vespe: He's one of the big hanging threads.

      Peter Sciretta: Hanging threads, yeah.

      JA Bayona: How can I talk about it without spoiling anything? I think it's true that there is this character in the shadows that is playing an important role in the story. And it's there. I mean, we have B.D. in there. Again, it's a connection with the old films. It's not only a connection with the Jurassic World movie, but also with Jurassic Park. And there's details, there's more details, not only characters, but there are things that are in contact not only with Jurassic World, but with Jurassic Park.

      Peter Sciretta: I was a little nervous, to be honest, that this franchise was gonna be militarized dinos in a war. I thought this movie was gonna be that and I'm so glad that you return to the island. Can you talk a little bit about that?

      JA Bayona: Yeah. Colin and I were on the same page. We wanted to make it feel like a very classic Jurassic film. We go back to the island, but at the same time we go to new places. You bring the story to places that people is not expecting and we are closing some chapters and we are opening some new chapters.

      I mean, it's like you say, it's more like the narrative of a TV show, where you are closing some lines and opening new ones. And I think that feels very exciting and I think that this is one of the big things that television is bringing to the movies. There's a lot of bad things that television is bringing to the movies, but there are good things and one of those is that people more and more is more prepared (for) the twist, is more prepared to things that you will not buy in the '80s and now you buy them, you know?

      I mean, you can kill Han Solo right now in a Star Wars movie and I think there's a little bit of responsibility in television to blame for that.

      Eric Vespe: Yeah. I mean, when you have shows like The Walking Dead and Game of Thrones just kind of showing…

      JA Bayona: Exactly.

      Eric Vespe: That's one of the things I love about TV now, because it keeps you on your toes as a viewer, because nobody's safe and they'll kill a fan favorite or whatever. I love that kind of shock.

      JA Bayona: But at the same time we wanted to make it feel very classy. One of the first things I ask and I have the support of everyone was that we are shooting in CinemaScope. We are shooting in 2.40 and never a Jurassic movie has been like that.

      Eric Vespe: Yeah, the first one was 1.85, right?

      JA Bayona: Yeah. But I thought that we wanted to make it bigger and we wanted to make it more epic. So I had the support of everyone. And I can tell you it looks amazing.

      Peter Sciretta: What are you shooting on, Arri 65?

      JA Bayona: Yeah. And it looks amazing. I think that the island looks beautiful.

      Eric Vespe: With the widescreen format, did you look at any particular cinematic inspiration for that? I mean, Leone shot that wide and David Lean famously shot very wide, too.

      JA Bayona: Yeah. Exactly. I think one of the things I'm telling all the time to the camera operator is that we need to do a movie that cannot be seen in a plane. So we are using all the format, from the extreme right to the extreme left. So we are filling the frame in a beautiful way. You have references like, I mean, Vilmos Zsigmond, the movies he did with Michael Cimino. When you see the frames of these movies and they look like paintings, you know.

      Eric Vespe: Yeah. There's fore, mid and back, there's always there's layers, yeah.

      JA Bayona: Exactly. And Steven, all the Indiana Jones movies and the frames, they look like paintings. And I wanted to have that in this in a Jurassic movie, so we created this big canvas. And we are playing a lot in making interesting compositions.

      Eric Vespe: Talk a little bit about the tone. We know that there's more suspense in this, but was there a target for the tone throughout that you were going for? Like leaning more on action or more on suspense?

      JA Bayona: I think when you do a movie like this, it's a movie for a big audience, so it has a lot of things to everyone. It has suspense, but it has action, it's a lot of fun, too. It's a little bit darker than the previous one, but it's a lot of fun, too. It's quite challenging because you have a lot of different tones and you need to blend them in a single story.

      Peter Sciretta: Michael Crichton always had some themes that reflected society and it seems like you guys are kind of dealing with animal cruelty...

      Eric Vespe: And bureaucracy too. Because we, Frank said that there's like the decision from the world's governments are pretty much just to leave them alone.

      JA Bayona: I think so, yes. I really like that from the story that Colin planned for this one, that he talks about the moment we live in, in a very obvious way when you see the film. I think that's very interesting. It plays with the idea of how we use science, not blaming science, but the use of science that some people do. And this has been part of the legacy of the films in the Jurassic movies and I think nowadays it's a theme that is out there right now.

      Peter Sciretta: Can you talk about Justice and Daniella? When I was talking to Colin, he said they were the secret sauce of this movie. What does he mean?

      JA Bayona: (laughs) You will see. I mean, they're new characters and they're bringing a very specific personality to the film. You will see. I think they're very Colin's world. It's been very interesting because he has, you can tell the sense of humor of Colin through these characters and I really enjoy working with them. They're excellent and a lot of fun to be with on the set, you know. I cannot tell you much about it. But they're very interesting characters.

      Eric Vespe: Now, I mean, I know that Chris said on the press tour for the last movie that anybody of our age that grew up with Jurassic Park, it was a big moment for people. I mean, I was 12 when it came out and I vividly remember the day I saw it. Like not just watching the movie, but like the lead up to it. My Grandma dropping me off at the theater and how the lines were around the block and how that was on the news the night before and I wasn't sure if I could get in. It was an event that was like a big landmark for me. So when you have somebody like Goldblum coming back in the role and he's surrounded by people who grew up with this, was that like a moment, the first scene with Ian Malcolm? Could you tell that people were geeking out about it?

      JA Bayona: The truth is that I remember that the first day of shooting... I used to shoot all the time with music on the set. So, of course the first music that (I played on Jurassic World 2) was the Jurassic Park theme from John Williams. It was so much emotional in that moment on the set. So there's a lot of that. But the truth is that there's so much work to do that you're not really, at least I can tell you, you're not into that nostalgia. You have your characters in front of you. You have so much work to do every day that it's when you come back home and you say, “Oh my God, I've been doing a Jurassic Park movie!” That's the moment that you are aware of it, but I haven't been that nostalgic in the set.

      Eric Vespe: Not yet.

      JA Bayona: No, not yet.

      Eric Vespe: It'll all hit you when you wrap and you're in the editing room.

      JA Bayona: Yeah, and I think that's good because it gives you a distance from the material. You're doing something new. I mean, it's something that you need to be aware that you are trying to move the story a step forward, so you wanna pay tribute to the old movies, but you want to move forward at the same time.

      Eric Vespe: Yeah. You don’t wanna be too wrapped up in them. I mean, even Steven himself has kind of fallen prey to that with like Kingdom of the Crystal Skull.

      JA Bayona: Totally, yeah.

      Peter Sciretta: You talked about the filming in scope and these movies have been shown in IMAX, so I assume this is going to be in IMAX. Are you gonna expand or do you want it to just be shown in scope?

      JA Bayona: There's been some conversation about it. The idea would be to keep the aspect ratio. This is what they've been doing with the Star Wars movies. I think when you design a film, when you design a shot, it's kind of like going against the film if you change the aspect ratio.

      Eric Vespe: And it takes you out of the movie. I just watched the new Transformers and every other shot's switching aspect ratios.

      JA Bayona: Yeah. No, no, no. I mean, I am very, very specific with a shot in the set. This is probably, I mean, apart from the work with the actors, I am very specific in where the camera should be and how the camera should move. For me, this is as important as performance or even a line in the dialogue. So for me, breaking that it would be like going against the film.

      Peter Sciretta: You mentioned playing the music. Is that in between setups or... ?

      JA Bayona: No. Sometimes we play while we shooting.

      Peter Sciretta: While you're shooting. Oh, like an action scene if people are like running and stuff.

      JA Bayona: Yeah, an action scene or you just play sounds.

      Peter Sciretta: Are you playing dinosaur sounds?

      JA Bayona: I'm joking all the time with Justice because I'm playing sounds to scare him during the takes. So it's been a lot of fun to work with him in that setting.

      Eric Vespe: Well, at least you're only doing sounds. Some of the old school directors, like John Huston, would actually shoot guns in the air to startle their actors.

      JA Bayona: Oh wow.

      Eric Vespe: Not even blanks. Like he would have his gun there.


      JA Bayona: I remember a shot once with a gun in my hand during The Orphanage because I had to scare the actors. We were shooting not in a soundstage, but in a place that was full of birds, so they had these guns to scare the birds. And I said, “Give me one of these guns.” So I was in the video village with a gun in my hand. There are some references in the behind the scenes. It was a pretty bizarre image. Yeah, no, I'm not using that.

      Eric Vespe: So, you're saying you used guns to scare children in your early career.

      JA Bayona: No, it was for the lead actress!

      Eric Vespe: Okay, good.

      JA Bayona: It was for the lead actress.

      Eric Vespe: That won't look as bad.

      JA Bayona: It was for the lead actress. No, but I like music. It helps a lot in creating the mood, sometimes the tension. Sometimes you play light music to make the actors feel good in the set and the lines come with a freshness that maybe you would not get in a different way.

      Eric Vespe: Is that something that you used on previous films and brought into this?

      JA Bayona: All the time. Every time, yes. I love it.

      Eric Vespe: That's awesome.

      JA Bayona: I love it. And the actors normally they love it.

      Eric Vespe: “Normally?”

      JA Bayona: Yeah. Normally they love it. I mean, I haven't found any actor yet… No, they love it. They love it. I'm thinking, is there any actor who asked me not to play music? No.

      Eric Vespe: The only time I've actually really seen that a lot was Peter Jackson did that on his King Kong a lot with Naomi Watts. But it was like always very romanticy music and to kind of set that romanticized '30s time period.

      JA Bayona: I understand. For example, I remember one take with Bryce was very interesting. There was no dialogue in that scene. It was all about the way she was looking at a determined thing, you know? And it was very fun, because I played three pieces. Every piece very different from the other one. So one was like one was a romantic music, the other one was a scary and she played three different performances in every take. It was very interesting.

      These are the kind of things I do enjoy bringing to the story. These movies they're so big, they're so pre-designed that you want to get to the set and break that.

      Eric Vespe: Yeah, you wanna have a little emotional truth.

      JA Bayona: Exactly, yeah. And Bryce, she's very organic. So I told her, “Listen, I'm gonna play three musics and the performance is going to be according to the music I'm playing.” And she was like “Okay, great.” We did three takes and the three were different. The three were good. And that gives you options in the editing.

      Peter Sciretta: Do you plan these mixes ahead of time or are you just on set with an iPod or whatever?

      JA Bayona: I'm with my iPod all the time. And I'm connected to the Internet, so it's all about, like, remembering a piece in that moment and look for it and play it.

      Eric Vespe: What kinds of music? Was it scores or was it pop songs?

      JA Bayona: Many scores, yes. Yeah, in this one there's been a lot of (Michael) Giacchino, of course, because he's gonna do the score and of course John Williams.

      Eric Vespe: Any Jerry Goldsmith sneaking in?

      JA Bayona: Jerry Goldsmith has been playing a lot. Total Recall.

      Eric Vespe: Oh, Jerry Goldsmith is one of my all time favorites.

      JA Bayona: And Basic Instinct. We play a lot of this, too.

      Eric Vespe: That's a good one.

      JA Bayona: It's a lot of fun, yes.

      Eric Vespe: Awesome, well thank you so much again for taking the time for when you could have been relaxing for a little bit, but instead you were talking to us nerds.

      Peter Sciretta: Thank you very much.

      JA Bayona: See you soon.

      Eric Vespe: Yeah, I'm looking forward to watching you work.

      JA Bayona: Oh, thank you so much. Enjoy the shoot!


      Tomorrow brings some more on-set interviews, our first with some of the actors. We begin with the enthusiastic, energetic and super excitable Bryce Dallas Howard and on Wednesday you'll hear from Chris Pratt and then Justice Smith and Daniella Pineda before this week is done!

      Stay tuned!

    • CinemaCon: Leonardo DiCaprio and Quentin Tarantino Talk About Once Upon A Time In Hollywood!

      2 months ago


      The biggest surprise of the Sony panel was when head honcho Tom Rothman brought out Quentin Tarantino and Leonardo DiCaprio to talk about their next movie called Once Upon A Time In Hollywood. 

      They played a little tone trailer that pretty much looked like slightly moving Mondo art (kind of an Olly Moss style) that showed iconic moments from Tarantino's past movies, all against bright neon yellow and pink and blue backgrounds and ending with that same style on the title Once Upon A Time In Hollywood with Brad Pitt and Leo DiCaprio's faces next to it. As this little kinda-but-not-really trailer played the music behind it was Indian Reservation by Paul Revere and The Raiders.

      They haven't shot a frame of the movie yet, but Tarantino vowed to make a big, sweeping LA-set -period epic and that he'd be spending the summer transforming huge swaths of LA into a 1969 version of itself. He also said that this script skews closest to Pulp Fiction in that you have the leads and a huge amount of crazy colorful supporting characters that bring texture to the movie as they go on their adventure.

      DiCaprio chimed in saying that he's a huge Tarantino fan, loves all his stuff and believe this is the best script he's ever written.

      High praise, indeed. I know I'm always down for a fired up Tarantino flick.

      Tarantino said that Pitt and DiCaprio play on-screen buddies in the same mold as Butch and Sundance. No mention of Margot Robbie, who is rumored to be in contention to play Sharon Tate, so I suppose that deal isn't done yet.

      They also dropped the news that Once Upon A Time In Hollywood will be hitting cinema screens August 2019, so we're not too insanely far away.

      So that's that! Be back tomorrow with some more CinemaCon funstuffs!

    • The Venom Trailer, Now With 100% More Venom, Hits The Net! Plus Some Extra Footage Details From CinemaCon!

      2 months ago


      Sony just kicked off CinemaCon with a long, long, long presentation featuring everything from first looks at Sicario: Day of the Saldado to Hotel Transylvania 3 to some voice-over lost dog movie whose title I've already forgotten to Spider-Man: Into the Spider-Verse and, of course, Venom.

      Tom Hardy appeared on stage with Michelle Williams, Riz Ahmed and director Reuben Fleischer and said that the trailer was going to drop tonight online, but we'd get to see it first. 

      The interesting thing is the trailer they dropped online was significantly different than the one they showed tonight at The Colosseum here at Caesar's Palace, something I didn't find out until well after I shot the video diary I hope you all check out. In that video diary I say you've seen the same trailer I have, but I was making an assumption.

      Here's the online trailer and I'll tell you about some extra stuff not seen here after it:

      So we didn't get any of the Jenny Slate explaining the symbiotes stuff, but we did get the full scene that leads up to the "We Are Venom" reveal. Eddie Brock wipes out on his motorcycle and is skinned up, leg broken, hand all smashed up as the bald bad guy approaches. The symbiote begins to spread across his body, snapping his broken leg and fingers back into place, eventually forming the full suit around him and getting to the "We Are Venom" line.

      So, now you know a little extra then the average fan! Good for you!

      Keep an eye peeled for more CinemaCon reports, write ups, reviews and some video diaries from the ground here in fabulous Las Vegas!

    • On-set Interview: Producers Frank Marshall and Patrick Crowley Discuss Animatronic Dinosaurs, Jeff Goldblum and Making Jurassic World 2 Scary!

      2 months ago


      Frank Marshall is one of the biggest producers in Hollywood. Name a movie you loved from about 1978 to today and odds are Frank had a hand in it. Back to the Future, Poltergeist, Indiana Jones, Who Framed Roger Rabbit, The Sixth Sense, Gremlins, The Goonies, The Warriors and, of course, the vastly underappreciated Arachnophobia to name a few.

      Oh, and Jurassic Park. Can't forget that one.

      As one of the cornerstones of Steven Spielberg's Amblin Entertainment Marshall has made movie magic for decades and he's still going strong.

      I got to sit down with Frank and his producing partner Patrick Crowley on the Hawaii set of Jurassic World: Fallen Kingdom last summer. To set the tone, this interview was conducted in a sweltering tent on a dock somewhere on the west coast of Oahu while the crew was prepping a shot of Chris Pratt on a big truck racing up the dock with fire surrounding everything.

      Not a bad gig, right?

      Anyway, this interview was conducted by me and Slashfilm's Peter Sciretta. We had just come from the practical effects tent where we got to interact with real, breathing, actually-there dinosaurs. There was a full sized Blue, Pratt's best friend Raptor from the last movie, and a fully articulated baby Stegosaurus head. The puppeteers were there working the practical effects so a baby Stego sniffed me and nudged my hand with its snout and Blue (drugged out with a tranq dart and lying on his side) groggily looked me over, mouth opening and chest expanding as it took deep breaths.

      In short it was just about the coolest thing ever for this '80s kid who grew up worshipping at the altar of practical effects. Peter was on Cloud 9, too, so going into this interview we were gushing about seeing actual real life dinosaurs. That's where we start, we talk about using practical effects versus CGI, we talk about a ton of stuff: animatronic dinosaurs, the new characters, working with JA Bayona and why they chose him to direct this sequel, how Steven Spielberg helped them solve a location issue, the villains (both human and dino) and a bunch of other stuff.

      Enjoy the chat and stay tuned. I'll be dropping new on-set interviews all week as well as a big, detailed set report from my time in Hawaii. Spoiler alert: I saw dead dinosaurs, “live” dinosaurs, brought Chris Pratt some Guardians of the Galaxy-themed Doritos and took a stroll down down the wrecked main street of Jurassic World.

      Here's the interview!


      Frank Marshall: Where's Pat? My partner in crime.

      Eric Vespe: I don't know. I think he ditched you.

      Frank Marshall: That's usual.

      Eric Vespe: Yeah, so those animatronics were unbelievable.

      Frank Marshall: They're pretty cool.

      Peter Sciretta: Seeing that Raptor, Blue, I mean, I almost cried. Like really it's incredible.

      Frank Marshall: Yeah, it's, I mean, the obvious thing is it's so much better for the actors when they have something to act with. Yeah. It's that delicate balance. Sometimes the CG is better. It flip-flopped. It used to be animatronics was always better. And now it's like this. But you like to have something you can touch.

      Peter Sciretta: I think it's a thing that like… at least from what I've seen on set visits and the final product is like when there's something here and even if they do set extension, the something there helps the set extension.

      Frank Marshall: Yeah, absolutely.

      Eric Vespe: You're a magician, Frank, so you know it hides the trick.

      Peter Sciretta: Yeah.

      Frank Marshall: Absolutely. That’s why you want as many solid pieces that take your eye away from what's not real and not solid. So you're right. Misdirection.

      Eric Vespe: Misdirection, absolutely. You don't know where the seam is. You might know that there's an illusion and you can't figure out how they did it.

      Frank Marshall: Yeah.

      Eric Vespe: Growing up, that's what I loved. I loved not knowing the trick and then finding out about it. You know, like finding out about the bladders in American Werewolf In London and how that's what made the skin puff out and stuff like that.

      Frank Marshall: Yeah. Well Gremlins, I mean, we had all kinds of that stuff. It was really fun.

      Eric Vespe: Poltergeist is another great example where there's just every kind of practical effect in the world used on that movie.

      Frank Marshall: Yeah. On that movie, yeah. And we built that backyard with the mud and all that.

      Eric Vespe: And threw in real skeletons!

      (Patrick Crowley enters the tent)

      Patrick Crowley: Hi, I'm Pat.

      Frank Marshall: Here he is. Notice he's much more stylish than me. He's got the beard, he's got the pants, the hat.

      Patrick Crowley: I've been sitting out here all day.


      Peter Sciretta: So when you were developing this and Colin (Trevorrow) came in, what was the pitch for Jurassic World 2?

      Frank Marshall: Well, I mean, we knew we had to get off the island. I think he's been thinking about this since Jurassic World, where we're gonna go in 2 and 3. So it was just a question of how far we were gonna go in 2. So he kind of had it all sketched out. And basically from what I remember brought a treatment in. I mean, I don't think we sat down and talked to him about it.

      Patrick Crowley: Boy, it was interesting 'cause without revealing too much of it, he wanted to go much further in the second one. And we all sort of looked at it and said, I don't think everybody's ready for that. Pull it back a little. It was just in terms of the length of the time of the storytelling. He had started here and went all the way to there.

      Frank Marshall: Well we really felt we needed to spend time to get to know Chris and Bryce again. Where they'd been in three years. Because as you'll see, I mean, there's some changes... well for her mostly, there's a big change in her. She's realized that she made a mistake and that it was her responsibility, not her fault, but she was part of what happened. So she's now trying to make up for it, trying to do better and Chris is pretty much still a loner on his own. Not wanting to deal with anything. So we had to set that up.

      Eric Vespe: It must be interesting from your perspective since you not only have to hear the director's vision, but then also kind of think about it not only in the wider terms of the franchise, but also how to actually execute it in real life. So was there a particular element that you can talk about that got you really excited about his thing?

      Frank Marshall: Well, that challenge is at least for me what I get all excited about is how we're gonna do this. Where are we gonna do it? How are we gonna do it? And how we're gonna pull it off. And there's some locations in this one that are... we're not just on stage. Although on the last one we were here, but we went to New Orleans, so how do we do it and do the magic trick of having people believe we're where we are, but do it for the best price? And so it's always exciting to sit down and say, well should we go here, should we go to Atlanta. It just so happened that I knew how to get some stages at Pinewood Studios. 

      (Marshall's longtime partner in crime and wife, Kathleen Kennedy is spearheading all the Star Wars stuff for Lucasfilm, which shoots at Pinewood)

      Eric Vespe: Yeah. You might have been able to negotiate that a little bit.

      Patrick Crowley: Or not!

      Frank Marshall: (laughs) Yeah, or not.

      Eric Vespe: Yeah, that might have backfired on you too.

      Frank Marshall: Yeah, it could have, yeah. So it all worked out very well.

      Patrick Crowley: It was very interesting 'cause then Steven got into the mix. And with Steven would sort of go, 'cause we're on Isla Nublar, which is off the coast of Costa Rica. And it was like okay, well you need to get from there to somewhere in a relatively short period of time. So we had kind of a conceit about the location where we were gonna end up. And Steven goes “no, it's not possible. You can't do that.”

      Frank Marshall: It's not possible to do it in that amount of time.

      Patrick Crowley: In the amount of story time that we needed to have.

      Frank Marshall: Yeah.

      Patrick Crowley: They get on a boat in order to get off and that's what we're doing here. And so they need to get on a boat and then they gotta get somewhere. Rather than making it a movie about traveling on a boat, which is not very exciting, you needed to get to the new place.

      Eric Vespe: And it couldn't have been like “Two months later...”

      Patrick Crowley: Yeah. And Steven was going, well… if you wanna get to, we end up in Northern California, I think if you wanna get to Northern California that's gonna take too long. So then we were putting out scouts into Peru and Ecuador and just all kinds of places that we thought (could work.)

      Frank Marshall: I wanted to go to Cabo San Lucas. (laughs)

      Patrick Crowley: It just didn't work for the story. So then you go “Okay, how can we make those stages at Pinewood work?” And we essentially came up with a really good idea.

      Frank Marshall: Yeah. And I think that on this one we do have a lot more interior scenes than we've had on any of the other movies. So it made sense to be on a soundstage. A big soundstage, which Pinewood was perfect for.

      Eric Vespe: But, I mean, that's kind of in the DNA already of the franchise, 'cause some of the best moments from the original movie are like the Raptors in the kitchen.

      Frank Marshall: Yeah, in the kitchen, yes.

      Eric Vespe: Stuff like that and my understanding is that this one's a lot more suspenseful.

      Frank Marshall: Well you've seen the photo in what I call the museum.

      Eric Vespe: Yeah.

      Frank Marshall: Well that's a huge set. So yeah, so you just take the elements and you figure out how best to use them.

      Peter Sciretta: Who is that in the photo? We don't know much about that little girl.

      Frank Marshall: I don't know. It's some little girl.

      Patrick Crowley: She just wandered in. And see the other thing we had to do is we had to come up with sets big enough because the evil dinosaurs is bigger than the Raptors in the kitchen. I mean, the Raptors are like human size and they can sort of scurry around, whereas this one couldn't. So then the scale of everything had to be bigger to be able to have those kinds of scenes. To have them work. So somehow there were things that were driving the design of the movie that we hadn't anticipated.

      Eric Vespe: So do you guys have a like a main threat animal in this one? 'Cause the last few have had like the Spinosaur and Indominus and stuff like that.

      Frank Marshall: Yeah. We have a bad dinosaur that, of course, is released before it's ready.


      Eric Vespe: Yeah.

      Peter Sciretta: Of course.

      Patrick Crowley: Not quite ready for primetime.

      Eric Vespe: Well, if it was then I'm sure it would be sweet and gentle.

      Frank Marshall: Yes. No, and to be fair, you guys, the little girl's name in the movie is Maisie.

      Peter Sciretta: Maisie?

      Frank Marshall: Maisie, yeah.

      Patrick Crowley: M-A-I-S-I-E.

      Frank Marshall: And her Grandfather... she shares a love of dinosaurs that her Grandfather has, so that was his museum. And they're connected to Lockwood.

      Peter Sciretta: And that's John Hammond's ex-partner?

      Frank Marshall: Yes. Yes. We like to play with the adults' and kids' love of dinosaurs as it exists in the world today.

      Patrick Crowley: And another thing that was just driven by the story is, as Frank was saying, we're in rooms, we're in buildings with dinosaurs. So we're closer to dinosaurs than for a longer period of time than we've ever been.

      Frank Marshall: And they're in cages, but still they're really close.

      Patrick Crowley: So one of the things that happens is if you go and you touch a dinosaur, okay, you don't try to touch a digital dinosaurs 'cause it doesn't work. So you then end up with more animatronics than there's been in 25 years.

      Frank Marshall: I think since Jurassic Park. We've got more animatronics than any of the other movies. Except for Jurassic Park.

      Patrick Crowley: So and it's an amazing thing to work with Neal Scanlan, who has done all of the stuff for Star Wars.

      Peter Sciretta: How'd you get him?

      Frank Marshall: I, you know, just made a phone call. No, breakfast. Breakfast. We'll work this out.

      Patrick Crowley: A late breakfast.

      Frank Marshall: Maybe that was dinner. Maybe a bottle of wine for that one. (laughs)

      Patrick Crowley: But I hadn't worked with him before. You hadn't worked with him before. But just the stuff that he brought to it. And we saw stuff like this (snaps fingers). It would be “So, what do you think it's gonna look like?” “Well, come down to the shop.” And he would already have done renderings and sculpting and gone through the whole process. So, Blue as a character, we are so much closer to Blue.

      Frank Marshall: Yeah. And I have to say the process of the animatronics is so advanced now from what it used to be. What they're able to do now is fantastic. And it's so much faster to see what you're gonna have. So that made it really cool.

      Eric Vespe: So, your life size Rex isn't gonna have the shivers like the old one did?

      Frank Marshall: No.

      Patrick Crowley: No. 'Cause they were working with hydraulics. And everything now is mostly servos and stuff like that. And there's guys at joysticks, but there are still puppeteers making it breathe and making that head turn and doing all the rest of that stuff. These guys they're all dressed in black and you know they spend a lot of time in yoga studios, 'cause they're like that (strikes an awkward pose) for hours at a time. It's amazing. They're really talented.

      Peter Sciretta: And this film introduces a whole new cast of people.

      Frank Marshall: Yeah.

      Peter Sciretta: What can you tell us about them? Because we haven't heard much.

      Frank Marshall: You know, it's a great variety. We have a great new cast.

      Patrick Crowley: Claire basically runs a “How do we protect dinosaurs society.”

      Frank Marshall: It's a Dinosaur Protection Group.

      Patrick Crowley: The Dinosaur Protection Group, the DPG. Okay? And she has surrounded herself with young, environmentally conscious, hard working, unpaid people.

      Frank Marshall: Also yeah, what do I wanna say? Not Internet savvy, but yeah, I.T. kind of savvy people who know how to raise awareness within the right age groups and--

      Eric Vespe: Like a grassroots political movement.

      Frank Marshall: Yeah, what you would put together for a campaign.

      Patrick Crowley: So there's Justice Smith, okay, and he plays a character named Franklin. And he is the essentially the I.T. guy for the group.

      Eric Vespe: And we hear reluctant guy, he doesn't seem to wanna come on this adventure.

      Frank Marshall: He's a reluctant adventurer. He loves being there at his computer and his keyboard, but he doesn’t wanna go out and be Indiana Jones. He's not interested in that.

      Patrick Crowley: So, he doesn't like to fly, he doesn’t like bugs, he really doesn’t like being outside.

      Eric Vespe: So, he's the perfect person to go on this adventure.

      Frank Marshall: Absolutely.

      Patrick Crowley: And then there's Daniella Pineda, okay, who plays Zia. And Zia is a paleo veterinarian. Okay. She's studied it, went to university, but has never actually seen a dinosaurs yet. Since they're all on Isla Nublar, this will be her first exposure to real flesh and blood dinosaurs.

      Frank Marshall: She's pretty fiery in her defense of dinosaurs. “Dinosaurs are like the rest of us and they need to be preserved and we have to keep him from being, becoming extinct.” Save the gorillas, you know. Or the dolphins or whatever we're saving this month.

      Peter Sciretta: And Colin told me that those two are the secret sauce of this movie. That's the words he used.

      Frank Marshall: Yeah. They're, they keep things moving. They're the characters you haven't seen and are unexpected. They're… court jesters, whatever you wanna call it.

      Eric Vespe: They can add a little brevity without being too silly.

      Frank Marshall: Yeah, exactly. They're believable but they make it fun and exciting and real.

      Patrick Crowley: 'Cause then you've got Chris and Bryce and they're basically still reliving It Happened One Night, which was totally Steven's idea. We sat down when we did the first one and Steven said, have you guys all seen It Happened One Night? He said, let's bring some of that.

      Eric Vespe: We want a little of that Clark Gable swagger.

      Patrick Crowley: A little of that, just that jousting.

      Eric Vespe: Can we talk a little bit about JA and how you guys decided he was the right one for the job?

      Frank Marshall: I'll tell you the story.

      Eric Vespe: Yeah. Please do.

      Patrick Crowley: It's what we're here for! (laughs)

      Frank Marshall: As a matter of fact… I called him for the first one.

      Eric Vespe: Oh yeah?

      Frank Marshall: Yeah. I love The Impossible and I love The Orphanage and I thought “Oh God, he can handle action and characters... who is this guy?” And so I called him and we met and it turns out he was this huge Jurassic Park fan. Sort of like Colin. This is before Colin.

      But we were on the fast track. And he said, “I need a lot of time. I know what I need. I need my prep time. I have a certain process I go through and all that. And I just don't think I can do it.” 'Cause we had that other script. And he said, “I've got this other movie that I'm thinking of doing, too. So thanks, but no thanks.” And so I filed that in the back of my brain. And then found Colin.

      So when we were starting to talk about the next one, I called JA and Belen and we met in England. At the time they were on World War Z 2, I guess it was. Right?

      Patrick Crowley: Yeah.

      Frank Marshall: Yeah, and so he wasn't really available. But we had a really great dinner. And then you know what happened, he decided not to do that. They called me and we were still looking for a director. The good news is Colin and Derek were writing the script as opposed to the last one, where we didn't have a script we liked. So the timing worked out perfectly for them to come on and for him to have the time to do his process.

      And because it's the middle movie it needs to be a little more suspenseful and scary and he just seemed to be perfect. It seemed to be perfect timing for having him come in.

      Patrick Crowley: And also Colin is very onboard with it, right? So Colin was the architect of the second one and the third one and he and JA hit it off, so JA then felt much more comfortable that one, he liked the original Jurassic World and he knew the direction Colin wanted to go in, so it wasn't as if it was just some script that he had to try to adapt. They kind of they shared together. So that was a big benefit there.

      Frank Marshall: Yeah, I think there's a lot to be said for understanding the mythology and understanding the journey that these characters are going on and being a fan of the franchise. And that's what Steven said about Colin, he's the perfect combination of a terrific filmmaker and a fan. And JA is kind of the same.

      Patrick Crowley: And also for JA and for us as producers, it was how do you take somebody who's never had the resources to do a movie like this and introduce them to him in a way so that he can take advantage of extensive storyboarding and pre-vis and you can go on location scouts, you can come to Hawaii twice before you shoot. All those kinds of things.

      And then working with our visual effects supervisor, visual effects producer at ILM to be able to get what you wanted. And it's like you start out with baby steps and you start to climb the ladder and then by the time you're ready to shoot, he's still a little raw around the edges just 'cause he's never commanded that many people, but then watch him work into it and make allies and build relationships and he's got his own DP, Oscar Faura, who's done all his movies. And he's got his editor. So particularly for a guy where English is not his first language, that's like a big comfort level. A big comfort level to be able to have that.

      Frank Marshall: Yeah, and that's part of our job is to surround him with the right people to help him get his vision up on the screen. Just knowing as a director that there are a couple people you gotta have that are like your security blanket, your DP, your editor... they're attached at the hip. If you don't have those people with you, you're gonna be lost. And so we understand that. And we made that part of what we wanted to do to support him.

      Eric Vespe: It also allows him to have that brand that you liked in the first place. The look, the pacing and tone of his work that made you want him for the job. That shorthand he already has with those collaborators that allows him to bring that to this and not trying to shoehorn him in to another specific thing.

      Frank Marshall: Yeah. And without referring to the current events, he knows that he's coming in to make a certain kind of movie. He's not here to be the auteur of “Oh I'm just gonna go off and create some crazy movie because that's what I wanna do.” That has really been great. It's really been exciting and fun and Colin's been involved and Steven looks at the dailies and it's so fun for us, because what we hoped would happen has happened.

      Peter Sciretta: And can you talk a bit about how Jeff Goldblum figures into all this?


      Frank Marshall: Yeah. From the start Colin wanted him to be the “Uh oh, danger, I told you from the start” kind of character. As he does so well.

      Patrick Crowley: It's not difficult.

      Frank Marshall: So when the volcano erupts and suddenly we're faced with are the dinosaurs gonna become extinct again, do we save them or do we not? That's the big question that he gets to pose again. And then we go from there. He's very philosophical in the movie. He doesn't come on the trip. But he's sort of an observer of what's been happening. And he speaks about that.

      Patrick Crowley: He bookends the movie.

      Frank Marshall: Yeah, he essentially bookends the movie with “I warned you and now I told you so. And now we're gonna be in a different place.”

      Peter Sciretta: Where is he at in his life now? 'Cause we haven't seen him in 20 years.

      Patrick Crowley: He was in Thor, wasn't he?

      Peter Sciretta: Oh, I just meant his character. We haven't seen him since The Lost World.

      Patrick Crowley: Oh, his character is... what he believed in before, he still believes in fervently now.

      Frank Marshall: Still very much so. He's a scientist/philosopher.

      Eric Vespe: Rock star.

      Frank Marshall: Yeah, Rock star. Well, he's very senatorial in this one. He goes to those kind of hearings now and speaks about science and the world and how science can affect the world and how we have to be careful what we wish for. Or just to be able to do something doesn't mean it's right.

      Peter Sciretta: What can you guys tell us, I know you're probably gonna be very vague, about the human bad guys in this?

      Frank Marshall: They're very complicated.

      Peter Sciretta: We like complicated villains.

      Frank Marshall: These movies are about... there's greed and that enters into it always, but there's the question: do you wanna have dinosaurs or do you not believe in us creating them? It's the whole cloning debate. There are two people on either side and yeah, we should have them and we can use them in real life for things and people should be able to go to the zoo and see a Tyrannosaurus Rex. There are other uses for them probably. So…

      Patrick Crowley: It's like in the last one, Simon Masrani moved things forward in terms of like genetic manipulation because he actually seemed to be relatively pure of heart. He wanted to provide entertainment for people. And we've evolved to and he was then a semi innocent villain. Whereas now you have guys who are sort of looking at what are the financial potentials? And then you have guys--

      Frank Marshall: How can we profit from this?

      Patrick Crowley: How can we profit from it? And then you have guys who are just real tough eggs.

      Eric Vespe: The Ted Levine character, right?

      Patrick Crowley: How'd you come up with Ted? He's so great in the movie. And Ted's just one of these guys that you go, if it came down to it I wanna make sure he's on my side.

      Eric Vespe: Yes!

      Patrick Crowley: And then you get Toby Jones. And Toby Jones can be anyone. He's the biggest chameleon of all. And Rafe Spall is just a great guy.


      Frank Marshall: Yeah, Rafe's great. And Lockwood is not a villain I wouldn't say.

      Patrick Crowley: No. He's no more of a villain than John Hammond was a villain.

      Frank Marshall: Yeah. So it's complex I hope.

      Eric Vespe: Nice.

      Frank Marshall: All right? You good?

      Eric Vespe: I think that's all I need. Thanks very much.

      Peter Sciretta: Yeah, we won't take any more of your time.

      Frank Marshall: We'll meet you again in a tent somewhere.

      Peter Sciretta: All right.

      Frank Marshall: Eric, Peter, great to see you guys.

      Eric Vespe: Thanks, Frank.

      Peter Sciretta: Thank you.


      Thanks for reading this first interview! I'll have more details from the set visit hitting tomorrow. On the docket are lengthy interviews with Bryce Dallas Howard, Chris Pratt, director JA Bayona and newcomers Justice Smith and Daniella Pineda as well as a more detailed piece on my adventures wandering the tropical set. Stay tuned!

    • Halloween Gets A Neat Teaser Poster! Michael Myers Is Getting Old!

      2 months ago


      We're exactly 6 months away from the release of the new Halloween movie and I'm pretty stoked to see how it plays out. David Gordon Green is directing from a script by himself and Danny McBride and, under the mentorship of John Carpenter, they're wiping away all the convoluted backstory shit and making a direct sequel to the very first movie. 

      The new poster they put out is striking. It's a monochrome image of the aged mask of Michael Myers. The years shown on the mask perhaps mirror the aged man underneath. Michael Myers is getting old! 

      It's a striking image. Check it out:


      Can't wait for this one. What about you guys?

    • Jurassic World: The Fallen Kingdom Final Trailer Shows A Whole Hell Of A Lot Of The Movie!

      2 months ago


      I'm holding out hope for the new Jurassic World film, mostly because I dig Chris Pratt in this universe and JA Bayona is a great filmmaker, but these trailers haven't been great. The footage itself is fine. I dig the moody, horror movie look Bayona is bringing to this universe and that he's clearly utilizing some practical dinosaur effects again. But the editing of these trailers have been head scratching at best. 

      This latest one has some really sweet footage, but all of it just seems jumbled together. That's not necessarily indicative of the final product, of course. Trailer editors aren't the ones cutting the actual movie, after all, but I am a little concerned that they're just shotgunning footage and seeing what sticks with people and in doing so have shown most of the movie at this point.

      Here's the trailer, let me know if you agree with me or not:

    • I introduced my young nephews to THE SHINING before watching Ready Player One. Here's how that went...

      3 months ago


      When I was sitting in the Paramount Theater watching the SXSW world premiere of Steven Spielberg's Ready Player One a thought ran through my head: the kids are going to flip their shit for this movie.

      Yes, that includes all children who like big, goofy, fun adventure stories, but “the kids” in this particular fleeting thought referred to my nephews, Max (7) and Rocco (10). One of the greatest joys of my life over the last few years has been introducing these kids to various movies, some obvious kid stuff, some a little more challenging, and watching Ready Player One that first time it felt like I had been building them up to this moment where it would all pay off.

      We've seen all three Back to the Futures on the big screen. They were intrigued by my Iron Giant poster hanging in the guest room of my house and saw that. I've had them on a steady Spielberg diet pretty much since the very first time their parents let me take them to the movies.

      On top of that, the oldest has been getting really into video games lately. I've walked him through some Destiny quests and more recently have been playing a goodly amount of Overwatch with him.

      So, they were ready for Ready Player One.


      There was one glaring omission from their cinematic education, a movie pretty adult even for these little monsters. Of course I'm talking about The Shining.


      Here's the deal. The older one's great with horror movies. Rocco watches them the way I did at his age. Open enough to be creeped out, but focused more on how fun and awesome they are. He flipped out for It last year and I've had the absolute pleasure of introducing him to stuff like An American Werewolf In London and The Sixth Sense.

      The younger one, Max, isn't so hot on horror movies. He loves big smash-em-ups and giant monsters and stuff, but it's tone that gets to him more than gore or something. He was there when we watched The Sixth Sense and I heard from his father a few days later that he had nightmares about “the boy with the bloody head.”

      So I typically save the scary stuff for when it's just me and Rocco, but I knew the second key quest wasn't going to land for them if they didn't see The Shining first... plus I honestly didn't want their first impressions of that film to be from the glimpses we got in Ready Player One.

      So I sat them both down on my couch yesterday, told them to buckle in because we were going to watch The Shining. They asked why we had to watch this movie. I said “I'll tell you after we watch Ready Player One.”

      Max was nervous. He only knew of the movie by title and DVD cover. Rocco seemed down, if not super enthused especially when I reassured them it's not “jump scare” scary. I said it's mostly a lot of people talking and that's true.

      I remember watching The Shining when I was about their age and I remember being engrossed in it, but that was before the Internet changed attention spans forever. Could a movie as talky and deliberate of The Shining work for today's youth?


      The answer is, as always, it depends on the kid. Rocco was in it the whole way through, but Max needed an escape. In that sense it worked a charm because the tone was getting to him. He wasn't antsy so much as he couldn't handle the tension so about halfway through I let him play Splatoon 2 on the Switch while Rocco and I stayed focused on the movie.

      That said I'd look over at Max from time to time and he'd be watching the movie, the game still in his hands, going unplayed. I think he just needed the ability to check out for a minute if things got intense.

      It was amazing to me to see how quickly they grasped the geek minutiae. The carpet pattern, the bloody elevator visions, the twins, Room 237, the hedge maze, redrum (they figured that one out much quicker than I did. “That's murder backwards,” Rocco exclaimed waaaaay before the mirror shot revelation), etc. 


      All those things they commented on. And, being young boys, they of course still snickered at a character being named “Dick,” but boy did they love Scatman Crothers. They kept saying over and over again how awesome he was, so you know they're wired right in the head.

      There were two moments I was worried about. I knew they could handle the deeper horror at play, that of a parent turning against their child. Jack Nicholson is cartoony enough and their real life dad is good enough that I didn't think any of that would get to them. But there were two things I wasn't sure about. One was the use of the “N word” in reference to Dick Hallorann and the other was the naked lady in the bathtub, which is pretty important they see because the whole point of watching The Shining at this moment was to give them a context for the sequence in Ready Player One.

      For the racial slur I was a little curious if they would know it and what it meant or if that would have be an uncomfortable conversation. When Grady utters the “N word” in the bathroom with Jack Torrance both boys instantly said “He's racist.” So they knew it and knew it was bad and that using it means you're a bad person. Phew.


      As far as the nudity, I gave them a little warning as Jack entered Room 237. “There's some nakedness coming up, so prepare yourselves.” They're at an age where I'm sure there's some curiosity digging in, but right now they're still embarrassed about sexuality, so they self-censored, looking all over the room and not at the TV while the naked lady gets out of the tub, stealing an occasional glance to see if the movie's moved away from the naked lady.

      When the big reveal happens next and the pretty naked lady becomes the creepy decomposing old lady ghost they were totally engrossed. I don't think they registered her body as something to be embarrassed about witnessing, which is interesting. Instead they were focused on the horror on display, with Rocco even commenting about how good the makeup was.

      Funnily enough the nudity to get the biggest reaction was Hallorann's giant-afro'd goddess portraits. It painted a completely different picture of the kind old dude they loved at the beginning of the movie and they're so of a different time and place that they thought they were the funniest things they've ever seen.

      When Hallorann met his fate they seemed a little upset... less that he died, but more that he went all that way just to get hacked up in the Overlook's lobby, which is a reaction I love because today everything is so streamlined and truncated that it really is shocking to see something where a guy spends 25 minutes of a movie trying to get somewhere and then almost instantly drops dead.

      We'll see if I hear any reports on nightmares from their parents but I don't think The Shining scarred them permanently. They were still curious why today of all days we watched this movie, but they figured it out soon enough.

      Going into Ready Player One they knew next to nothing. I told them it was kind of like Willy Wonka with video games and made by Steven Spielberg, the guy behind a ton of stuff I've showed them like Jaws, the Indiana Joneses, Jurassic Park, ET, etc, but they hadn't seen a trailer or poster or anything.


      They were so into the movie from the get-go, just like I thought they'd be. The constant barrage of references had them always excitedly pointing out stuff. Rocco went especially nuts when he saw Tracer from Overwatch because that's his favorite character to play.

      The whole movie played like gangbusters, the I was anxiously awaiting The Shining section. When they realized what was about to happen they both went “Whoa!” Which is exactly what I did when I saw the movie for the first time. They laughed at Aech talking to the creepy twins, they shook their heads “no” when Aech goes into Room 237, pointed at the July 4th, 1921 photo. They were in on the reference in a way they absolutely would not have been just a few hours before and it absolutely grabbed them.

      I could see their engagement go from passive to damn near interactive. In that moment they were collaborators with Spielberg. He was talking directly to them and you could see it on their faces.

      That is movie magic right there and I'll never forget it.

      I liked it so much that I had to share it with you guys. I felt compelled to write about this experience, which was so emotional and powerful to me that it refused to be kept bottled inside. I have no idea if anyone will give a shit, but it meant a lot to me. Plus it was an excuse to talk about Kubrick and Spielberg again!

    • New Incredibles II trailer! New Incredibles II trailer!

      3 months ago


      Brad Bird is back in the super comfy Pixar saddle for Incredibles II, which sees Mr. Incredible having to grapple with his biggest challenge yet: being Mr. Mom. I dig the starting point here... Elastigirl being the face of the new renaissance of supers while her supportive, yet a bit disgruntled, husband handles the more mundane, yet personally more important, role of managing the day to day of the Parr family.

      It's just nice to see everybody back and I can't wait to see how it all comes together. Check out the new trailer below:

    • Yep, Rogue One's reshoots were a Hail Mary pass to save the picture, according to Tony Gilroy!

      3 months ago



      Credited screenwriter and guy brought on to finish Rogue One opened up about the the process on a podcast called The Moment With Brian Koppelman, being pretty frank at how dire the situation was when he was brought on board. 

      He reshot the ending and apparently ghost directed a significant amount of the movie. He did enough work to warrant a screenplay credit in arbitration. He wouldn't say how much of the movie is his exactly, but consider that Gareth Edwards had locked his director's cut before Gilroy came on board and Gilroy "easily won" arbitration to have his name added to the screenplay roster. What does that mean? According to the WGA's website you are given a screen credit if a WGA board, who goes over every draft, determines you have provided at least 33% of the final film's content.

      So, a panel at the WGA determined Tony Gilroy at rewrote at least a third of the movie and gave him the credit.

      To twist the knife further, Gilroy said when he came on "they were in such a swamp... they were in so much terrible, terrible trouble that all you could do was improve their position." Yikes.

      Still, I'm extremely curious as to what Edwards' original cut looked like. Was it really awful or just not going in the right direction? I guess we'll never know...

    • Is Steven Spielberg Finally Getting Around To Making The Talisman?!?

      3 months ago



      As a big fan of both Steves, I've been wondering what the hell Spielberg was going to do with The Talisman since I found out he had the rights to King's fantasy epic. And he's had the rights for a very, very long time. Universal bought the eternal rights to The Talisman and gave them to Spielberg before the book even came out, so we're talking 35 years here, people.

      Over the years there have been a few almosts with this property, some for TV, some for the big screen. House of Sand and Fog's Vadim Perelman was going to direct a film version at some point and truly awful screenwriter Ehren Kruger (all the recent Transformers) has taken a stab at a script. I've read some of these scripts and none of them have worked 100%.

      It seems like Spielberg might finally be revving up on this one again, though. He told Entertainment Weekly that he wants it to become a reality in the next two years, although he didn't necessarily say he'd direct it, which is a shame because it's about the most ideal Steven Spielberg-y story.

      The book follows a young boy name Jack Sawyer who embarks on a journey to visit his dying mother, sure that he can save her from the cancer eating her alive. The twist is he does it by jumping back and forth between this reality and a fantasy world called "The Territories" that is a mirror image of our own except they have werewolves and monsters and stuff. Each person that exists in our world has a twin in the other.

      It's a dark, but ultimately uplifting fantasy adventure and is so totally Spielbergian in its awe and fantasy and kid lead that I'm shocked it hasn't happened yet.

      Now, Spielberg isn't saying he'll direct it, only that he wants to usher it into being as producer, but I really hope he reconsiders. It's the perfect material for him and he's got such a great eye for these big, emotional set pieces. 

      Anyway, that's the news. The Talisman is back on Spielberg's plate. Here's hoping it comes together and comes together correctly!

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