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    • CinemaCon: JJ Abrams Says Bad Robot's OVERLORD is NOT a Cloverfield Sequel!

      2 hours ago

      ericvespe


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      Hey, everybody. At the big Paramount panel at CinemaCon this afternoon JJ Abrams appeared on-screen to introduce some footage from Bad Robot's Overlord, a WWII horror movie directed by Julius Avery. First, he said that Overlord is Bad Robot's first R-rated movie and that it's "batshit crazy."


      Then he said contrary to what you may have heard on forums and Reddit Overlord is NOT a stealth Cloverfield movie. In fact he said they're developing a "true, dedicated Cloverfield sequel" according to JJ. That means it's not one they retrofit into the universe late in the process like both 10 Cloverfield Lane and The Cloverfield Paradox. 


      So, what is Overlord. Like I said it's a WW2 horror movie about a small squad of soldier shot down over enemy lines during the Normandy Invasion. From the footage it seems like the survivors stumble across a bunker with some real messed up shit inside. We're talking Re-Animator stuff involving syringes with red stuff in them that can seemingly bring people back to life, seemingly undead monstrosities and other nightmarish things. Those Nazis are never up to any good, are they?


      The standout sequence in the footage was one of the soldier approaching a gurney with a woman on it, obscured mostly by a curtain. She's begging for help in French. The soldier pulls back the curtain and reveals the head is about all that's left. It's just her head, still asking for help, and her spinal column. Everything else has been stripped away.


      So, it's gonna be gnarly. That's very much my kind of horror movie, so count me on board with this one as well!

    • CinemaCon: First Footage From Halloween Is Screened! Michael Myers Comes Home And Jamie Lee Is Ready For Him!

      6 hours ago

      ericvespe

      Universal's presentation at CinemaCon was pretty spectacular. Yes, they had Cher there to Fernando in celebration of the Mama Mia sequel. Yes, they have video introductions by people like The Rock and Peter Jackson... but the thing I was most looking forward to was the very first look anywhere of the new Halloween movie.


      And boy did they deliver.



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      Producer Jason Blum brought out the great Jamie Lee Curtis to introduce the footage. The set up is that after Loomis shot Myers at the end of the first movie he was eventually captured and re-institutionalized and Laurie has been waiting and preparing for the last 40 years for him to escape. She's with her daughter and granddaughter the Halloween he does get out.


      So the footage definitively states that none of the Halloween sequels matter. Everything that has been made after the events of the first film is out the window. There was even a scene with teenage characters talking about Laurie Strode and Michael Myers. “Wasn't it her brother that killed all those people?” “It wasn't her brother. That was something people made up.”


      In the footage we see a couple of reporters or documentarians visiting the asylum where Myers is and they approach a man standing in an open courtyard, back to them, chained to the ground. Of course the dummy reporter guy pulls out the mask. I can't tell you whether or not Michael responds to that (because we didn't see any more of that scene), but it introduces the mask and Michael certainly gets it back at some point.


      My biggest takeaway from the footage was that they were taking everything very seriously. If you were wondering if having Danny McBride co-writing this with David Gordon Green meant we were getting a more comedy/horror thing you were fuckin' wrong.


      There's an insanity to Michael this time out that is really off-putting. He's not going crazy, but his body language and actions are just “off.” Super creepy.


      Jamie Lee Curtis' Laurie Strode is no damsel in distress here. In fact I don't think there was one shot of her being afraid. Quite the opposite. She's not only prepared for this moment (having rigged her house with various safe rooms, weapons and hidden compartments), she's been hoping for it. At one point she even says that she prays he gets out someday so she can kill him.

      From the footage I can say that when he does get out (looks like a bus crash lets loose a lot of the inmates) Laurie is hunting him just as much as he's hunting his victims.


      There was a great scene where a woman (I think maybe one of the reporters/documentarians?) is in a bathroom stall and you see Michael's boots walk in. She's like “Occupied” and his hand reaches over the top of the stall door and drops a half dozen bloody teeth down on her.

      That's the kind of crazy we're dealing with here.


      The footage ended with a kid in bed asking his mom (or maybe a babysitter?) to close the closet door. The door is open a crack, the light from inside spilling out. She pushes it closed, but it bounces back. She does it again, it bounces back open. Third time it bounces she opens it fully revealing Myers, knife in hand.


      Very much a straight horror movie and I can't wait to see it. The mask looked right, the tone was right, Jamie Lee was super fired up. I'm super psyched about that footage and I can't wait to see the movie.

    • On-Set Interview: Bryce Dallas Howard On What To Expect From Jurassic World: Fallen Kingdom!

      22 hours ago

      ericvespe

      I've been lucky enough to have run into Bryce Dallas Howard many times over the years. I remember interviewing her at Comic-Con waaaaaaay back for Spider-Man 3. She's always been nothing but gracious, kind and a thoughtful interview.


      The first thing I noticed when I walked into her trailer were the tall adventurers boots she was wearing. Of course a crack had to be made about the meme of her running around the jungle wearing high heels in Jurassic World and she rolled with it, saying it was in her contract that she had to suitable footware this time out.


      Claire has evolved quite a bit from the cold, uncaring businesswoman at the start of Jurassic World. She begins Fallen Kingdom as a political advocate, passionately fighting for the rights of the dinosaurs to exist. She's trying to make some amends for the part she played in the disaster at the park in the last movie.


      Howard talks a bit about this turn for her character, where Claire goes in this film and what the future potentially holds for her. Plus I get to recommend one of my all-time favorite movie series to her, so keep your eyes peeled for that! Enjoy the chat!



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      Bryce Dallas Howard: Obviously I haven't been able to talk to anybody else about this movie! You guys know a lot about the movie now, right?


      Eric Vespe: We know a little bit. We certainly know a lot more than we did yesterday!


      Peter Sciretta: It sounds cool. I'm glad that they're returning to the island. I was afraid it was going to move directly into militarized dinos or something.


      Eric Vespe: I like the set up. It reminds me of Son of Kong. Back in the day King Kong was a huge success and they rushed out a sequel about them going back to Skull Island, but they do it because the island is sinking and they're trying to rescue the last Kong. Of course that doesn't go well...


      Bryce Dallas Howard: These things never do!


      Eric Vespe: But I like that premise here because of what it means for your character. In the first movie Claire goes from someone who is cold and disconnected to realizing the implications of what she's been doing. JA told us you start this movie as a dinosaur rights activist, which means Claire gets to start the movie from a proactive position.


      Bryce Dallas Howard: It is. And going back to speak to what you were saying about being glad that it's back on the island, I feel the same way. Having shot so much of the movie in England... On the last movie we started in the jungle. We shot all in the jungle and then we went to New Orleans. For this one, we shot so much of it (in England) and then came here and Chris and I were like “Yeah, now it feels like Jurassic. Thank God!”


      Without human beings entering into a space that is dinosaur turf it doesn't feel like the Jurassic experience. That's a lot of what this movie is about. Up to this point the entertainment value of these films is that the most dangerous thing is the dinosaur where the truth is it's really human beings that are the most dangerous species. Finally in this movie we're having that clash. We've been on their turf and now they're coming on ours and ours is becoming theirs and what does that mean? That's the question.


      What I'm talking about right now isn't actually the plot. I'm not tricking you, but from a thematic standpoint that's the movie. The wish-fulfillment of Jurassic is the question “What if human beings and dinosaurs coexisted simultaneously? What would happen?” There are various permutations of what could occur. That's what these stories are examining.


      Peter Sciretta: They told us this takes place 5 years after the last one. What has happened in your character's life in those five years?


      Bryce Dallas Howard: I keep thinking 3 (years), but anyway!


      Eric Vespe: We were told it's 5 years from the end of the first movie and three years from events of the prologue in this movie. Does that make any sense?


      Bryce Dallas Howard: I'm gonna ask some questions! What I'm imagining is that it's been roughly the same amount of time that audiences have been away from this story. It's like everything has been occurring in real time, basically. When we watch this movie it's as if it takes place in 2018.


      To speak to what you were saying regarding Claire and the way she's shifted, her internal self and her external self are starting to become one whereas in the last film her behavior, her actions were really out of alignment with her values. That was the inner conflict with the character and by the end of it her power is being used for good; her righteousness is being used for good. The very thing that was leading her astray is the very thing that saved Chris Pratt and two cowering children surrounded by stuffed animals!


      Where we are now, I think, is we're seeing a woman who is definitely stepping into her power. She's fighting for these dinosaurs. She's taking responsibility and trying to basically present the argument that there's lions in the world and there are dangerous species of snakes and sharks... there's all these dangerous creatures and yet if those creatures are threatened with an extinction level event we protect them. So, guys, we have an endangered species here. They're actually here. This is now reality.


      Eric Vespe: It doesn't matter that they were genetically created by man.


      Bryce Dallas Howard: Yes. They're afforded the same rights as any other endangered species. That's her point of view of the situation and this is her cause.


      Eric Vespe: We know there are some newcomers and you'll be with Chris again onscreen, but tell me how Claire reacts to Ian Malcolm.


      Bryce Dallas Howard: Oh my gosh. I have a real hard time separating my own personal reaction to Dr. Ian Malcolm from Claire's reaction.


      Eric Vespe: So you just keep seeing the shot of him with his shirt open from Jurassic Park?



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      Bryce Dallas Howard: Exactly! That glistening chest, black shirt and perfect golden tan. Totally bronzed. I know that shot vividly! I could probably guess the lens they were using, but anyway... (laughs) I met him a couple of years ago. I mean, I didn't meet him, I saw him across a crowd. I saw him and he was his charming self, but I never met him because he was across the crowd, but we had a connection from the start.


      Then I met him in the UK. I think that Claire would absolutely have the utmost respect for his approach and his logic and his certainty and confidence. He's also very tall and did I mention he's tan and I happen to know he also sings and plays music...


      Eric Vespe: And cooks!


      Bryce Dallas Howard: And cooks food. But where does Jeff Goldblum end and Dr. Ian Malcolm begin, really? Wouldn't it be so crazy if the twist of the movie is that Claire ended up with Dr. Ian Malcolm? Forget about the dinosaurs, people!


      Eric Vespe: Well, we know he's always on the lookout for the next ex-Mrs. Malcolm.


      Bryce Dallas Howard: Yes! Yes! Yes!


      Eric Vespe: And the ultimate arc of these films is seeing him get married and divorced over and over again.


      Bryce Dallas Howard: Yeah, who he goes through. That's the real journey. Oh my gosh, that would be really funny.


      Eric Vespe: But from a character perspective Claire in the first Jurassic World seemed to not have any nostalgia for the original park or the goings on there. I imagine she might have a different reaction to Malcolm then as she would now.


      Bryce Dallas Howard: He's a character who is the voice of reason. He's Michael Crichton, in a way. He's the philosopher. You're right, at the beginning she was disconnected, but now it's a different story. I've never actually thought about what Claire would think about him. That's interesting because she would have known about him. Ugh! I didn't do my homework!


      Peter Sciretta: So, what is the plan? The plan is to save the dinosaurs, but bring them where?


      Bryce Dallas Howard: I mean, that's part of the question. If you can imagine what you would do in real life, that's the dilemma. Where do you bring them? Do you put them in a zoo? Do you create a private sanctuary? Do you do this all over again with another island? What's the plan exactly?

      It's so weird the way art mirrors life. The challenge that we're having with emerging technologies and the consequences that we're needing to live with because of these paradigm-shifting technologies that are getting introduced. Figuring out policy about these technologies from a government perspective is almost impossible.


      Our government was designed to move slowly so that our lives didn't change abruptly, yet our lives are changing abruptly because of free trade and the open market is evolving so, so quickly. We are experiencing this moment where we are having to regulate ourselves, hence this Dr. Ian Malcolm being the voice of reason and representing, thematically, what this movie's about.


      Where do we bring the dinosaurs? You can imagine the government would get involved with something like that, but would they figure out what they're going to do quickly enough? If not, what do you do?


      There's a lot of activism happening right now to accelerate the solutions. Anyway, I'll step gently off my soap box... (laughs)


      Peter Sciretta: I do love that this film seems to be going back to the Michael Crichton style of having a political commentary, of saying something about us.


      Bryce Dallas Howard: Yeah, absolutely. He's like Isaac Asimov or HG Wells. He's a futurist. He was a scientist and he understood what was going to be happening in the future. He had an analytical mind that he used to help propel his imagination. He was one of those guys, one of those thought prophets.


      The moral questions of the first Jurassic Park provided a lot of substance, but those questions are really what we're dealing with presently that feels so urgent and so personal. To get to make a Jurassic film where at the center of it is Michael Crichton's philosophies so we can have that mirror moment, that's when movies get to do more than what movies typically get to do. A little bit. If we can. Because it can't be didactic.


      What Crichton did was he never pushed an agenda at all. He presented a dilemma. That's what sci-fi is! Sci-fi is all about “what if?” I don't have to tell you guys what sci-fi is... (laughs) But it's not about the answers, it's the questions.


      Eric Vespe: The genius of the initial concept of Jurassic Park is... I want to go there! I'm on the side of the people making the park because I want to see a T-Rex. When you're reading it you realize “Ahh, I'm kind of the bad guy for wanting this...” There's a level to complexity to that initial idea and it sounds like you guys are expanding on it.


      Bryce Dallas Howard: Yeah, it is the dilemma. If something can be a little bit thought-provoking and a lot of fun then even that's enough. It's when things don't have a point of view (they fail.)


      Peter Sciretta: What is Claire's relationship now with Owen?


      Bryce Dallas Howard: That's... that's... that's a question, for sure.


      Peter Sciretta: We've been told that one of them moved on and one of them didn't.


      Bryce Dallas Howard: Okay.


      Peter Sciretta: Which one moved on?


      Bryce Dallas Howard: You know what? That's a question that they ask one another. (laughs) You guys will know what that means when you see the movie! It's based on an improv that Chris and I had in a room early on.


      In the trailer this morning I announced to the trailer “I'm going to start a Google Doc and if you guys have any ideas for the next movie, if there is one, fingers crossed, let me know, no matter how wild.” My makeup artist was like “You know what? You know what I really miss? Like I Love Lucy and the dynamic between Ricky and Lucy and how you would never think that they belong together, but they have each others back no matter what. The circumstances, the comedy, comes not from a lack of understanding, but from a lack of ability to communicate initially.” She said this and I was like “I'm putting it in the Google Doc.”


      There's something about the dynamic between these characters that both plays into and against the tropes of movie relationships. It's always fun to think about that. Chris and I were talking through what kind of parents Claire and Owen would be and that lead us to talk about what kind of parents we are, are we helicopter parents or not, the ways in which we could be better and blah-blah-blah.


      I was thinking later on, “You know what? I feel like Owen would be the helicopter parent and Claire would be chill and cool and be like you need to let them be what they're going to be.” That would show the evolution of Claire. It's fun to consider those things and have room for those things. You set up the trope and then you play against it. You set up the trope and then I'm with a flare outrunning a T-Rex while he's cowering with children. I like to mention that every once in a while, at least three times in every interview. (laughs)


      Eric Vespe: Can I give you a suggestion for your Google Doc? My favorite movie husband and wife of all time: Nick and Nora Charles in the Thin Man series. Myrna Loy and William Powell are the leads and they're an upperclass husband and wife duo who decide being rich isn't enough and they decide to solve murders on the side. To make it even better they're both drunkards.



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      Bryce Dallas Howard: That's so cool!


      Eric Vespe: They love each other through and through, but toss out barbs at each other all the time.


      Bryce Dallas Howard: Oh, dude, thank you so much! That's what we were talking about this morning! Someone else mentioned Castle and someone else mentioned Sherlock Holmes and Watson. It's so great when it gets to the point where's it's about partnership.


      This is interesting. In this movie, for Owen and Claire it is about partnership. We've talked about it a lot because that's what Chris and I feel like with one another. We always say “We make a good movie team!”


      JA and Belen (Atienza), his producing partner, are an incredible team. This story of what it takes to be a team and what it takes to become partners is encapsulated somewhat in the defying of the gender tropes.


      Eric Vespe: It'd probably be good to talk about JA since he's the main new ingredient here. We know that he likes to play music. He told us there was a specific scene where there was no dialogue and you were looking at something and he played three different pieces of music: a romantic one, a scary one and a funny one and he said you ended up playing it three different ways.


      Bryce Dallas Howard: I'm shocked that I've never thought of or experienced doing that before. Joe Wright plays music on set, but it's more for levity between scenes. JA doing that changes everything instantly. This whole generation of actors came up as cinephiles. That's why we love making movies because we're obsessed with movies, so for him to play these classic scores and different kinds of music just instantly gets you into that headspace and you understand what the scene's about.


      Also, we're working with a young actress... this is her first movie. She's naturally very gifted and extremely cerebral, so she's fantastic, but the music helps her just as much as it helps us. The premise of it was he was like “I'll do it for Izzy because it help her,” and Chris and I were like “Oh my God, this is amazing!”


      Something about JA that is crazy... we met each other years and years and years ago. We had a general meeting that was for a movie he didn't end up directing, that I didn't end up acting in, but he was attached as a director and we had this meeting at the Chateau that turned into this two-hour dinner and I just fell in love.


      Peter Sciretta: He's so charming!


      Bryce Dallas Howard: Oh my gosh! He's so charming and passionate and adorable. When the movie didn't happen, I honestly and kind of jokingly referred to him as “The One Who Got Away.” To all my friends! Like “The one who got away did another amazing movie without me!”


      When Colin (Trevorrow) was sharing with Chris and I who were the frontrunners he was hoping to work with and he mentioned JA I was like (gasp) “Dude, he was the one that got away!” He was like “You had a relationship with him?” “No, no, no.”


      I love Colin so-so-so-so much and it was such an incredible experience working with him and I was super bummed he wasn't going to be directing this movie, so it was really crazy to me that he mentioned JA who was literally the person I've been joking about for 10 years as the one that got away.



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      That's it for this one. Still more Jurassic World goodies to go! A young fella by the name of Chris Pratt will be tomorrow. I began the interview by gifting him a limited edition back of Guardians of the Galaxy Doritos, so you know he was in a good mood for that chat.

    • Han Meets Lando In Footage Shown At CinemaCon

      22 hours ago

      ericvespe

      Today was a big day at CinemaCon. STX, Warner Bros and Disney all had their big panels and since we're so close to release of Solo: A Star Wars Story they actually treated us to a nice, juicy full sequence from the latest Star Wars movie.


      The scene had Emilia Clarke's Qi'Ra leading Alden Ehrenreich's Young Han Solo through some dingy gambling den to meet some mystery person, who is said to have slipped through the Empire's fingers more than just about anyone else. He has a ship they need for whatever they're up to. Star Wars fans know what's coming up.


      They pass a ring in the center of the smoke and alien-filled hive of scum and villainy where beat up droids are murdering the shit out of each other and then they get to the high stakes table where, yes, Mr. Lando Calrissian is playing some Sabacc with a bunch of scoundrels.


      Han walks up and the angle is low, catching his trademark DL-44 blaster at his hip, his legs framing Lando for this iconic moment of two charming rogues meeting each other for the first time.



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      Donald Glover as Lando is everything you want it to be. He's so at ease in this role and naturally charming. It's like he was meant to be Billy Dee Williams' heir. He has some line as Han walks up where he's talking to one of the aliens at the table and it was something like “There are no liars in this game, just players.” Simple line, but the way he delivered it felt so authentically Lando that I was instantly won over.


      Ehrenreich as Solo I'm still iffy on. He's got the charm factor and the swagger, but something felt a little forced about it. I'm not sure if I'll feel the same way seeing his character in the context of the full movie, but he didn't feel as natural a fit to me as Glover did playing Lando.


      They have a great interaction to start. Han: “Is this seat taken?” “If the seat's empty, it's not taken, friend.” Han introduces himself, Lando returns the favor.


      Han wins his first hand of Sabacc (“Beginner's luck,” he says)... the game seemed to be played like poker, where there were rounds of betting before revealing your hand. Lando wins the next one and a conversation develops about their ships... Han's laying the groundwork for a big bet where he bets his ship (whether it exists or not) against Lando's, which we know is going to be the Millennium Falcon.


      That moment eventually comes, but not before Lando needles Solo a little bit, calling him “Han,” not “Hawn.” Han corrects him. Lando repeats his mispronunciation and that made my inner geek stand up and clap a little bit. I wondered if they were going to address that since Billy Dee's Lando always mispronounced Han's name in The Empire Strikes Back. Now there's a character reason for it.



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      So, the big bet comes and Lando puts his ship on the line and then... I don't know. The footage cuts off.


      If I'm a betting man I'd say they did that for a reason. Han will win the Falcon from Lando, but I have a feeling this is a case where they're going to throw a twist on your expectation. Or they don't and I'm wrong, which happens all the time. But something in my gut is whispering that there's going to be something more to this scene.


      I'm a little bit of a tougher sell on these spin-off movies than most. I love a lot of the detail of Rogue One, but I couldn't shake the fan-fiction feeling I got from the movie. This Solo footage was fun, had great, colorful Star Wars-y feeling sets, wardrobe, aliens and characters, but I got some of that same vibe here.


      That's not necessarily a bad thing. People loved that feeling in Rogue One, just like people ate up the EU books. It's filling a niche and I can't begrudge those fans.


      For my part, it looked fun. If that's all the movie is I'll be happy. I just want it to be fun.


      Make sure to keep an eye out for more CinemaCon coverage as this crazy fest goes on!

    • 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

      1 day ago

      ericvespe

      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!



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      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?



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      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.



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      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.



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      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!



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      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!

      1 day ago

      ericvespe

      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!

      1 day ago

      ericvespe

      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 days ago

      ericvespe

      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!



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      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.



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      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.



      FrDx6rJ.jpg




      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?



      DjK86i6.jpg



      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.



      Vq3gzg9.jpg



      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.



      AlmostHalfWay1.jpg


      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!

      6 days ago

      ericvespe

      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:



      halloween-2018-poster-1103254.jpeg



      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!

      1 week ago

      ericvespe

      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:





  • Comments (8)

    • Izayer FIRST Member Star(s) Indication of membership status - One star is a FIRST member, two stars is Double Gold Keeper of Stories

      5 months ago

      Wow. I remember when the podcast guys talked about you when they were still the Drunk Tank. Welcome. I'm sure that RT will regret love having you write for The Know! Welcome aboard!

    • prydie

      5 months ago

      Great to see you've found a new home! Looking forward to more of your work.

    • SailorGirl81 FIRST Member Star(s) Indication of membership status - One star is a FIRST member, two stars is Double Gold Keeper Of Kittens

      5 months ago

      Welcome to Rooster Teeth and The Know!

    • RiverRunning

      5 months ago

      Hello :)

    • RWBimbie Keeper of Poems

      5 months ago

      Heyo !

    • ItsMeMara FIRST Member Star(s) Indication of membership status - One star is a FIRST member, two stars is Double Gold

      5 months ago

      Welcome to The Know can't wait to see what you bring to the community!!

    • EricHVela FIRST Member Star(s) Indication of membership status - One star is a FIRST member, two stars is Double Gold Remember. Always plan ah

      5 months ago

      MOVIES!


      I mean...


      WELCOME!


      (and MOVIES!)

    • Donjre

      5 months ago

      Welcome!

  • Questions answered by ericvespe

    I curate a pretty solid Twitter stream filled with entertainment reporters, aggregators, actors, directors, producers and just plain ol' cinephiles. That means there's commentary for just about every bit of news that comes down the pipe. I also check out the scoopers regularly. Deadline, Hollywood Reporter, Variety, etc. 


    Good luck on the director goal. It's a lot of work, but if you've got stories to tell then you're in the right field! 

    Favorite 80s movie monster and why?

    | Asked by: Xuelder 5 months ago

    This is an excellent question. Do you go by design? Quality of the movie or series they're in? Lasting chills? Design would be between Predator, Pumpkinhead and Gill-Man from Monster Squad (all created by the late, great Stan Winston, by the way). I watched more Friday the 13th movies growing up than I did Nightmare on Elm Street, but I like the character of Freddy more, especially in that first film and Dream Warriors. It might not be the most original answer, but I'd probably go with Freddy.

    Absolutely not. That's what being a geek is all about. I can't tell you how many cool, random, weird movies I've found while chasing down movies with favorite character actors in it or directed by people I dig. That's the fun of all this!

    Honestly (and I know this makes me sound like a politician, but it's true) I love all kinds of movies. It's hard for me to pick between Jaws and Casablanca or The Exorcist and Raiders of the Lost Ark or The Lord of the Rings and The Godfather. I definitely have a soft spot for horror and sci-fi and I'm usually more willing to give a new random horror flick a shot over some drama I've never heard about.

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