For Colin Trevorrow, the transition from “Safety Not Guaranteed” to “Jurassic World” meant finding a deeply personal theme that he could relate to: reconnecting with our humanity in the face of greed, which, of course, took him back to the Amblin movies he grew up with in Vermont. And the creation of the hybrid Indominus Rex enabled him to contrast the old with the new.
“The creation of that hybrid animal is done for one reason alone — to make a lot of money,” Trevorrow added. “We create a lot of monsters in the name of money. And if I were to look back at the last 22 years and the lessons that we’ve learned about making a new science-fiction film, it seems like that’s a recurring theme.”
However, it was most important to build the story around the familiar Spielberg themes of family dislocation, alienation and the fear of divorce. What Trevorrow added to this was sibling conflicts between sisters Bryce Dallas Howard and Judy Greer and between teenage brothers Nick Robinson and Ty Simpkins.
“This is something that has been on my mind and that informs my filmmaking,” the director explained. “My family is doing quite well and the divorce element was not necessarily a personal one, but what felt personal was having a sibling and that moment in life when one is moving on and the other is feeling left behind, and the older one is having to become a parent.”
Lack of family and nurturing also extends to the Indominus, which is isolated in captivity as opposed to the four sibling Raptors, which have developed social skills and have been nurtured by Chris Pratt’s expert trainer.
Early on, Pratt utters the key line: “What if progress loses for a change?”
When asked to relate it to “Jurassic Park,” Trevorrow admitted: “There is nothing like the original.”
The key moment, meanwhile, occurs when the brothers are alone in the wild in the gyrosphere and are brought closer together after being attacked by the Indominus (a noteworthy dino advancement from ILM with a new rig, new skin and new muscle systems).
Identifying nightmares was something Trevorrow had fun with: fear and claustrophobia inside a protective bubble that becomes a toy for the Indominus that eventually bursts. “Swallowing the gyro like an egg and being slowly digested was another nightmare that I found most horrifying.
“I love that we start with a family in the snow and leaving on a vacation. I love that we don’t have a big action sequence upfront. And I love the moment when the boys have defeated one of the Raptors in the back of that truck and burst out in joy. It brings me back a little to the tone of the old Amblin movies.”
So now Trevorrow will attempt to go back and forth between small and mid-size and big budget movies. His next will be the indie “Book of Henry” scripted by author Gregg Hurwitz (“Tell No Lies”) and produced by Sidney Kimmel. After that, the director and his writing partner, Derek Connelly, will make “Intelligent Life” with Amblin/DreamWorks (produced by Frank Marshall and exec produced by Steven Spielberg). Trevorrow was mum but It reportedly has its roots in an earlier script, “The Ambassador,” about falling in love with a mysterious woman who turns out to be an alien.