Trevorrow Didnâ€™t Try to Follow in Spielbergâ€™s Footsteps
Considering his reverence for the original Jurassic Park, itâ€™s easy to see why he would consider it â€œa little difficult to unpackâ€ trying to fill Steven Spielbergâ€™s shoes. So going into Jurassic World he didnâ€™t try to emulate the legendary director. â€œMy goal was to not be derivative while acknowledging Jurassic Parkâ€˜s presence, to not make a fan film, while providing certain imagery and certain ideas that were going to make them feel comfortable they were in the hands of somebody who actually cares about this,â€ Trevorrow says. â€œSo I focused on not following in [Spielbergâ€™s] footsteps but making a separate pair of tracks just slightly respectfully behind his and to the right at all times.â€
He Mixed Practical Effects with CGI
Like Park, Jurassic World uses some actual robotic dinosaurs as well as ones created by CGI. â€œA big goal we had was to not just use animatronics and things that you can touch when we could, but also make sure that even in the context of CGI when [the actors] were interacting with something that was a practical effect,â€ Trevorrow says. â€œIf theyâ€™re going to hit something and itâ€™s going to explode or smash into a building all that stuff we would do for real so that you could feel the impact of them interacting with the world.â€ The director adds that both of those things were essential. â€œI almost get a little offended sometimes on behalf of all the incredible men and women who worked with us on this movie,â€ he says, â€œbecause these people are absolutely the greatest animators available on the planet right now and what they do is an art, and every bit as much a craft as animatronics and practical effects.â€
He Brought His Dinosaurs Out Into the Light of Day
The 1993 Jurassic Park had a lot of scenes set in dark and rainy settingsâ€”settings that could mask imperfections in visuals effects if need be. Nearly all of Jurassic World takes place in the harsh light of day. Itâ€™s a testament to the things Industrial Light & Magic can do now that it couldnâ€™t do in the early 1990s. Putting the dinos in the harshest light possible was actually the recommendation of ILM creative director Dennis Muren, who worked on Park. â€œAt certain times we embraced the imperfections in the animals and recognized that things donâ€™t always look beautiful when you go to a zoo or you go on safari, theyâ€™re awe-inspiring and yet theyâ€™re dirty and they donâ€™t entirely look the way you expect them to look,â€ Trevorrow says. â€œDennis Muren is the one who really encouraged us to do that.