Original subtitles

I am Stan Winston. My studio is responsible for

the live-action dinosaurs and the design of the dinosaurs

in Jurassic Park, Lost World and Jurassic Park III.

I'm John Rosengrant and I was the live-action dinosaur effects supervisor

on all three Jurassic movies.

I'm Dan Taylor. I'm with ILM. I was the animation director on JP III.

I'm Michael Lantieri, and my team was responsible

for the mechanical effects on all three movies.

The first shot that comes up here is an effects shot.

It's two different backgrounds.

We had to split a shot of the Hawaiian mountains there into a separate sky plate.

Then the plane coming in here is a little CG airplane that we added in

as well as the reflections in the binoculars.

Throughout this sequence...

Part of it was shot at the island of Molokai

and sections of it were shot in Palos Verdes, here in southern California.

Those shots in southern California

we had to add some of the mountains of Molokai into the background.

it's a combination of things, but through editing and compositing work

it blends together pretty seamlessly.

...if you make it a good trip.

I'm going to get you close, but not too close.

You don't want to be eaten.

This is a blue screen shot coming up here where they deploy the parachute.

it was a digital parachute, done with some of our new cloth simulation at ILM.

That opening right there was a digital opening?

-Right. -It's excellent.

We developed some new stuff for that. It's been working well for us.

I'll say.

Nigel Sumner was the genius behind all our cloth-sim work.

Most people think about us as having to do with the live-action dinosaurs.

What most people don't realize is, the actors, when you see them here

flying in close-up, are actually animatronic.

We couldn't get any live actors to work in this movie.

-We created them. -We did that with Laura Dern later.

A digital Laura Dem, and an animatronic version of her.

You can't tell.

We'll be talking about the dinosaurs.

The fact of the matter is the dinosaurs look so real in this movie

because the dinosaurs are real.

It was the actors that we couldn't get to go to the island

where we found the dinosaurs and had to replicate them all.

That was a tough job.

We have come to the point where we're compositing actors

into real dinosaur movies.

-This is going to leave everyone confused. -As it should.

It's okay, we're all confused, too.

-What was that? -I don't know.

As Dan said, one of the things to look for is the handoff between hanging

and flying and real parasailing and digital canopies

and animatronic people that are flying, indoor, outdoor, back lot

all different matching of water scenarios that Shelly Johnson had to light

and try to blend together.

I think that's the real key, now that we're on our third film

is that I think this whole team has gotten really good

at blending all these different techniques and using the appropriate technique

at the appropriate time. It's just a very seamless result.

-This is blue screen, when they go away. -That's correct.

In that boat crash, we had to add a distressed area to the hull there

where the hole was.

So we had to replace a section of that hull with a computer image.

-is this shot live or digital? -This was live.

This was interesting. They did split it.

That canopy actually flew in front of that mountain.

Then Joe decided he wanted it to go behind.

So we actually had to split it out so it would fly behind.

So we actually had to split it out so it would fly behind.

These are some of the better dinosaurs that we created in the movie.

Charlie, those are herbivores.

They're a little stiff-looking, Stan.

It's just that they're not being puppeted properly.

Power outage that day.

Digital Laura Dem. You'd never realize it.

Let's wait till he's five.

Right. Sorry, Charlie.

-Ellie? -Yeah?

It's Tom. He says he has to talk to you about the last chapter.

Tell him I won't lose the Horner quote. My editor thinks he's a paleontologist.

Hey, Mark!

Hey, babe, look who's here.

This is Alan.

Nice to meet you, Alan.

Daddy, this is a herbivore and that's the dinosaur man.

Dinosaur man?

Jack, say my name. ls my name Alan?

ls my name Alan?

He used to know me.

One of the trickiest things about doing another Jurassic movie

is that the audience believes that everything you're doing

was capable in the last movie, and they couldn't be more wrong.

The facts are that each movie has been R and D for the next.

We couldn't have done

what we did in Jurassic Park I, had we not

worked on technology that was similar to that before Jurassic Park I, in movies.

In fact, the team of ILM and Stan Winston Studio worked together on T2

where it was one of the first times we blended CG characters

and live-action characters.

In Aliens we had built a full-size queen alien

fourteen feet tall and hydraulic.

All of those technologies came together to allow us to do what we did

in Jurassic Park.

We could never have done Lost World had we not done Jurassic Park.

We definitely could not have done what we did in Jurassic Park III

without all of the previous experience. It really came together in this movie.

The challenge is kind of always the same, you know, Stan.

The idea is always to create the most believable, realistic creatures

in this case dinosaurs, that we can put up on the screen.

We're always challenging ourselves. We're always raising that bar a little bit

to push it more towards realism, and at the same time

keep them dynamic and entertaining.

There's sort of a real fine line you have to walk there.

A good example of what we're talking about is

the animatronic Raptors in the first movie were cable- and radio-controlled.

In the second film, they were radio-controlled components

and also hydraulically-driven cables.

-External hydraulics. -Yes.

Then in the third movie, we figured out how to get a hydraulic package

inside of a Raptor, which, as far as dinosaurs go, is not that big

but became a self-contained hydraulic character.

I think what we have all had to do, as a team

is become better actors.

People have wanted to know what you're doing

in Jurassic Park III that we didn't do in Lost World and Jurassic Park.

In fact, because of the script, all of the dinosaurs had a bigger part.

They had a bigger part to play in this movie.

They had more acting that they had to do.

In order to have that acting come alive

all of the technologies had to come together

in a way beyond anything that they had done before

to be able to create these performances.

In the live-action world, our range of motion, our controllability

our puppeteering skills, our speed and our power

all had to be enhanced.

In the CG world

the art, the muscles, the movement of the skin

becomes so perfect

that they have matched the live-action dinosaurs

so perfectly that, within a same shot in this movie

we have live-action and CG dinosaurs

and you cannot tell which is which.

It's impossible to know what's real and what's Memorex.

Another thing that's easily overlooked is, I know going myself all the way back

to Roger Rabbit, where we first started putting animation

into a movie, it became a huge responsibility

for someone on the set to realize what those characters would be like

and interacting with them in a manner that coincides with their personalities.

Along the way, we've purposely worked on films such as Roger Rabbit,

Casper, Lost World, Jurassic Park,

where we try to use these performance-interactive effects

to help sell their performances even more.

Hopefully, each time we do that, it goes farther and farther

to where it's just seamless and you just believe what you're seeing.

Also, I know in the first Jurassic Park as well as the second

the mandate was nature.

That was our benchmark, to make these animals as real as possible.

As we started to get into Lost World a little bit more

there were times when we took poetic license

where we could stretch their performance a little bit

just to get a heightened dramatic effect.

So we could push the performance beyond reality.

In the third one, we found ourselves leaning sometimes more in that direction

to what I was calling "the coolness factor."

If it was something that worked well within the shot

we didn't take it too far. We had Jack Homer there making sure

we weren't going too far out with the performance on these dinosaurs.

We would push that performance.

I found that if the audience, within the first few moments

perceives the dinosaurs as real, you can then push the performance

and they're still along for the ride.

It was a constant juggling act, trying to find the balance

between reality and entertainment.

Like Stan says, it really is just the experience of these three

where, in Stan's case, it was the puppeteers that get more experienced

in our case, it was the animators that were animating dinosaurs for the third time.

We had some people working on JP III that had worked on the other two films.

So this is a real veteran crew that went to work on this thing.

As far as the art that goes into this film.

Actually, this fossil that we just saw from above

was actually a sculpture and a creation from the studio.

In two days.

Yeah, and we're always looking at this

from the stretch between art and performance

and science and technology.

I'm always thrilled when I'm able to just look, for a moment, at the art behind it.

Mr. Brennan.

In the movie business, what happens sometimes is

something just needs to be created quickly

because scenes change, or deadlines

or when something's going to be shot changes.

That dinosaur fossil was a good example of that, where suddenly

if I remember right, weather caused it to need to be shot sooner

so it had to be sculpted and painted and put together in a short period of time.

One of the groups we always work very closely with would be the art department.

As John mentioned, sometimes they get curveballs thrown at them

and make changes and need things put together or designed very quickly.

We worked with Ed Verreaux in this case and Rick Carter in the other two movies.

Always trying to stay on the same page in terms of the overall design of the picture

they're very involved with what we're doing.

This resonating chamber was based on some reality as well.

Joe was trying to figure out how to make this look more realistic.

We came up with an idea.

Joe and I talked about casting the inside of a dog's skull

Joe and I talked about casting the inside of a dog's skull

and its nasal resonating chamber.

So we poured silicone inside and then pulled out the positive

and saw what that looked like and then increased its size

and created a fantasy piece, because we don't have one of a Raptor

but it was based on reality.

Being based on reality is really sort of the cornerstone of everything

that we've all done together in each of the Jurassic Park movies.

The fact that, really, no one knows the truth of dinosaurs.

All we know is bones.

But we do know basically, based on the science

what we know from paleontologists, what we know from studying

what we know from our research, what muscle structure probably was there

or what the skins probably were

given the way they are thought to have acted in nature

what the colorations could be.

So, virtually, we have taken science

and with our art based in reality

grounded in reality, created dinosaurs

that paleontologists now will say

are the most paleontologically correct dinosaurs that anyone has ever seen.

In fact, given the full-body movements

the larger, more dynamic movements

that were developed and created at ILM.

Now, and through all of their animation

paleontologists look, and they say now they know how dinosaurs moved.

So, in fact, artistically

we have created, with scientific research

what now science bases what the science is.

So science pushed the art, and now art has pushed the science.

Because of what we have created in the Jurassic Park series

paleontologists literally now can say they know how dinosaurs moved.

The reason they know is because it makes sense

because you look at them and it feels right.

There's no truth to it

but when you have a bone structure

a muscle structure, and a size and weight scenario

and then you put it together and figure out

if it's this heavy, if it moved any faster, it would self-destruct.

That's a real good point, Stan, that we do start by grounding them

in known facts about the dinosaurs. We do have a point of departure then.

If we leave that, we know where we're going

and we can still keep them definitely grounded in reality

so they come across as real dinosaurs.

I remember when Jack Homer was at ILM

we showed him some tests of the Spino running.

We had it up to about, I forget what it was, 35 miles an hour, I think.

I said, "Do you think he could have run that fast?"

He said, "No, but it sure looks neat."

So even Jack knows where that line is, when we cross it

and if it's going to work for the film, he's for it.

But he does keep us grounded so we do have a point of departure

that's based on, like you say, scientific accuracy.

Survival of the most idiotic.

These interior shots were all blue screen

with the sky composited into the background.

There's been such advances in digital compositing

that you can't tell sometimes that it's even a composite shot.

I know. Coming up, Dan, we have the shot with the Raptor in the dream sequence.

Did you guys add to that or enhance it, or is it totally our...

As far as I know, that was all practical stuff.

It works great, too.

lt seems like it was intentionally lit to make the Raptor look like

how he did in the previous two films, because I was concerned that

their coloration is different in this film.

Joe and Shelly said, "Well, let's just gray them out

"and make them look like they did in the other films."

This gets a great reaction from the audience.

-It does. -It's a cute Muppet shot.

Scary Muppet, very scary Muppet.

Alan.

Alan!

Wake up. We're almost there.

The reality is, it's just so much fun to work on films like this.

We're always doing bits of sweetening here.

There were buildings that we had to take out

make it look more remote.

I think we did a total of 400 effects shots at ILM for this.

This is also Through the windshield was a matchup.

-I mean a digital composite. -That's right.

Once again, you're looking at different lighting scenarios

that had to be matched by Shelly.

We're on a motion base with different fuselages

sometimes exterior shots, sometimes interior shots.

All that has to be painstakingly matched and then add to that

compositing backgrounds that hopefully, as you see, become seamless.

Because what the audience doesn't know is that it doesn't all exist in Hawaii

or in one place, to match the script.

From what I remember, we had a hell of a time finding canyons.

That's right.

A lot of people believe you can get a crew of 80 inside a 12-seat airplane.

-Here we are, into our first digital dinosaurs. -You can't.

-There we go. -Yeah, this was the "Ah!" shot.

Kind of an Out of Africa sort of thing, as they first arrive at the island.

What we did on a lot of our herd shots is we didn't replicate them in the computer.

Like, do one cycle and then replicate it. We did a lot of custom animation

just to give it the type of thing you see in nature

the imperfections in nature, that if you rely too much on a computer

it makes things too precise.

So we did a lot of custom animation on a lot of those runs.

Out here, you'll see a group of...

Mr. Kirby, we have a landing strip. You want me to put her down?

No! I told you, I want to circle first, see the whole island.

What do you mean? You can't land!

Hold on. I can explain...

You cannot land on this island!

-It will be fine. -Don't worry, please.

-Are you crazy? -Sit down!

Will you please sit down?

I love William Macy. I think he's so good. And I think Sam is terrific in this.

The whole cast in this film, I was enamoured with.

John spent all this time on the set supervising

all of the dinosaur work on the movie.

I would come to the set just to play with the actors.

I would come to the set just to play with the actors.

I had such a good time with them.

It was a great group.

They always have to go through a lot on these movies.

They get real bumps and bruises, believe it or not.

They have to be good sports about it and not get mad at us.

We have to keep a close watch on them and a good relationship

with them to get them to do some of the things that they have to do.

The dinosaurs, the live-action ones that we had on set

were really powerful.

The Spinosaurus was 1,000 horsepower. He's 24-plus feet long.

That was only half of him.

And he was 24,000 pounds.

Twelve and a half tons of dinosaur.

The sequence that's coming up, where we meet the Spinosaur

we initially meet him as a CG Spinosaur

and then we get into the airplane scenario.

We're talking about 12.5 tons of dinosaur jamming its nose into that airplane.

Our actors, in this particular scene that's coming up, didn't have to act scared.

They truly were, ‘cause they could have gotten hurt really badly.

See, they never get scared of ours, Stan, 'cause they were never there.

Stan's right. We had an airplane on a motion base

that has 100 horsepower of hydraulics

and they're shoving something towards the airplane

with a few hundred horsepower of hydraulics.

You have the potential for a head-on wreck that's

unlike anything anybody's seen, if we're not really well planned and safe.

Very safe.

It was with Pat Romano and all of us. It was a good team.

Pat was the stunt coordinator and we all had to work very closely.

Great shot! I hate to interrupt. I want to see this.

This was the first shot we finished for this film, too.

It is so awesome.

It allowed us to establish for the whole movie

the type of energy these dinosaurs would have.

I remember talking about the shot.

This is what this movie's about.

-Bam! Goodbye. -Whamo.

That's where the magic happens, as you say.

I just love it when dinos eat people, don't you?

This was quarter-scale miniature that we shot back at ILM

up until where it gets lodged in the tree.

Then Michael's crew takes over. They shot it 48 frames a second.

That plane was moving at 40 miles an hour, that camera moving at 20.

It's a good crash.

Don Elliott took all the flak for putting this group up in the tree

and making them believe that we've covered every base

keeping them safe, rocking them back and forth, tilting them

and making them feel as though they're going to slide out.

Don Elliott and Pat Romano, once again, didn't let these actors out of their sight

ever, during this sequence. It went off pretty well.

Bruce, here, the actor, the pilot on the right

was a real trouper.

When you see him go into the Spino's mouth, he goes into the Spinds mouth.

That's scary.

Then, of course, when he's whipped out of the plane, it's a stunt double.

It's a stunt double, but there is a scene that was shot.

That's the big animatronic one peeking in the window.

I love those kind of shots, those little, spooky, peekaboo things.

Hold it!

Hang on, everyone!

As quickly as this goes by in the film

I can assure you there are hours of rehearsal.

-And practice. -This is days and days of shooting.

Absolutely.

Very, very carefully planned out, each piece.

This is all real, going through Michael's breakaway plane, grabbing Bruce.

That's a stuntman whipping around.

That's Bruce.

It's Bruce that's going to get hit right here, too.

Yeah, this is a great shot right here.

That's a great shot

because that was a combination live and CG in the same shot.

All feet.

-That one was all CG. -All CG of him grabbing him.

We have so many of those, it's hard to tell sometimes.

A lot of those roaring shots.

We do have a great combination of CG and animatronic

coming up right here.

That was our CG, but once it hits the plane here

it's a combination of the animatronic and CG.

It just works so well together.

Once again, the challenge of pulling this off inside Stage 12

making it look as though you're in the jungle

is something that shouldn't be overlooked.

CG dinosaur coming up.

That was another very creepy shot.

Then we've got your animatronic foot coming in here.

This is where we go to the mix of the CG and the animatronic.

Those shots.

-The foot was real. -The rest of it was CG.

The foreground, the foot was real, and the rest is CG, and you can't tell.

That's your animatronic there.

That was a quick foot shot in animatronic. This is animatronic tearing in.

We designed interior and exterior crushing airplane fuselages

to be shot for each sequence.

Had to make them safe. Seats that would fold down

keeping safe areas that were designed by Pat Romano.

When he's going in there, those actors are very close to getting hit

by a 1,000 horsepower, 12.5 ton dinosaur.

Now, the CG dinosaur. When they're running

there is no way of knowing what is what.

You know what? The mistake I made myself in this commentary

is just a sign of me looking at a movie and going, "I don't know what we did."

-That's it. -Which is very cool.

They blend together so well.

One thing that we did on a lot of our shots

is, we'd crop into the background plate with the dinosaurs

and added what we were calling a reality cam.

Looking at reference footage of animal attacks

there's always this loss of cinematic control

that happens with the cameraman because he's scared out of his wits.

So we tried to put that look into a lot of the camera moves

-both in that Spino attacking the plane... -This is a big dead Parasaurolophis carcass.

-both in that Spino attacking the plane... -This is a big dead Parasaurolophis carcass.

And this is when we bring back our T-Rex.

This is a refurbished one from Lost World.

The male Rex.

That's all live. Now this is CG running.

You can see the camera shake, the reality cam that we put in.

-We used it extensively. -Real Spino foot.

And a CG dinosaur coming up. Now, a total CG battle.

There's a couple of add-on pieces, though.

But this was a lot of fun. This was something out of King Kong.

-This is so awesome. -The crew just got so jazzed about this.

Audiences freak over this.

You can see the reality cam thing happening here.

We had a great crew.

I wish I could tell you every one of their names

because there's an army behind this and they're all very talented people.

All of filmmaking is that. Every department, everything.

It's huge, great crews.

Read the credits. Don't leave until the credits end.

So that's a real one coming off of the dead real head.

So that's a real one coming off of the dead real head.

John, yours aren't real, they're animatronic.

They're real to me!

They're real foam rubber.

We did everything we could.

No one would help us. The Costa Rican government said this is a no-fly zone.

The U.S. Embassy, that's our U.S. Embassy...

told us we should accept the inevitable. Can you believe that?

You let a 12-year-old go parasailing alone?

-No! -He wasn't alone. He was with a friend.

Ben Hildebrand.

Paul and I divorced over a year ago.

All right, why me?

You know, in some of these shots coming up, Stan and John were talking about

where we combined the CG dinosaurs with the animatronic dinosaurs.

We've touched on a few reasons why.

Stan was talking about the advances in our flesh, that now looks more realistic.

One thing we did, and it's because we have more computer power these days

is, we actually built a lot more geometry into our computer models.

In the past, any of the smaller detail would be sort of a 2D fake-out trick.

in this one, they actually had all the little bumps on their skin texture

which reacts to the light a lot differently than the other ones did.

As well, there've been some amazing developments in our digital lighting tools.

Also, when we painted these models, we actually shot photographs

technical views of the ones that Stan and John had put together

and mapped those onto our CG dinosaurs.

We had to go and make some adjustments, painting on top of them.

But those things are some of the reasons

why we're now able to put our CG dinosaurs

right in with the animatronic ones, and you can't tell the difference.

The stuff that's coming up with the Raptors is my favorite.

Because I always had this line that

"We don't do special effects, we create characters for film."

I always like to feel that we're actors.

With what's happened with the CG and the live-action

with the Velociraptors, they are such good actors.

In the live-action world, the guys have created

such a greater range of performance and subtlety and controllability

of the puppeting of these Raptors that their performance is so neat.

You can see them listening and thinking

and acting and reacting with one another

and with the actors, and then to have their performance

enhanced by the CG dinosaurs, which can do so much more

than what we can do in the live-action world.

We've, as a team, created really cool characters in this movie.

The Raptors are my favorite new dinosaur, and they're not new.

But along those lines, when we started this movie with the Raptors

we were, the team, the art team was secretly disappointed

that we were doing Raptors again, because we wanted to do something new.

Then we all thought, "Okay, let's have them evolve.

"Let's change the colours. Let's change their faces."

-Beautiful design, by the way. Awesome. -Thank you.

The quills that are in progress of turning towards feathers

because of all the research that's coming out now saying that Velociraptors and...

-And birds. -Yeah, the connection between the two.

So it was all fun things to blend that and to reinvent the Raptors.

-To create a new character. -They evolved.

As the science of paleontology has evolved over the years of this series

we pushed more toward the bird.

We were so glad to see those quills, I want to tell you.

With a dinosaur, there's not much facial movement.

They're like a crocodile.

But when they would get angry and we'd make those quills stand up

or when they were timid, lay those quills back

was just one of those details that added something new to the Raptors.

Paint and tile, yeah.

-You never can tell about people, can you? -Ain't that the truth?

People always ask about that, the color schemes.

"How do you know what they looked like?"

We don't, but back to what Stan touched on earlier

it's all borrowing from nature and looking at lizards, iguanas, birds.

Male birds are more flamboyant, so we put in

the brighter reds into the male Raptors

and the female one is a little bit duller in her color scheme.

But elegant. She is gorgeous.

Having the animatronics on set, obviously, the actors love that.

Having the animatronics on set, obviously, the actors love that.

They have something to react to, rather than a tennis ball, and us saying,

"That's where the dinosaur's going to be."

One thing that amazed me

and I think part of it is because they do have the animatronic dinosaurs to react to

is when we get a clean plate

that doesn't have a dinosaur in it, where we have to add one

they look like they're really afraid.

These are top-notch actors, but when you look at the plate, you go,

"There's Téa running away from a Raptor."

You put the Raptor in and you go, "My God, she's terrified."

I think they have that frame of reference to draw from

with the animatronics that are right there on set.

Absolutely. And you know what's happened?

With this method of creating creatures

for films that are grounded in reality and that have to deal with human actors

by not relying on any one technology

by bringing the technologies together

you raise the bar of the performance of everything in the movie.

By having the live-action dinosaurs there, any actor will tell you

I started out as an actor, that 50% of acting is reacting.

The best actors will tell you they'll perform better with another good actor.

The fact that the actors do have dinosaurs there to react to does, in fact

allow them a performance that they can bring back

when they're not there, for the CG dinosaurs.

And then the performance of the CG dinosaurs

raises the performance level of the animatronic dinosaurs to a level where

the animatronics by themselves could not have that performance.

So the performance of the dinosaurs is increased that much more

by the CG addition, that big performance that we can't do.

The live action raises the performance and a certain reality with the actors

and everybody's bar is raised.

By having the live-action dinosaurs there on the set

and by being strapped in the CG world

to having to match the reality of what's on the set

raises the bar of the CG art

raises the bar of the CG artist.

Oftentimes, because we're constantly dealing with artists

and if we're doing gorillas, would rather not have a real gorilla next to us because

there's a good chance we won't look real if we have to match the real thing.

So having to match that reality raises the bar of the art

in the digital world.

Everybody's bar, our bar has to be raised because we're dealing with actors.

The actors’ performances are raised up because of it

and the digital dinosaurs, everything comes to a higher level of reality.

When you look at it, you go, "My goodness!

"These are the most believable dinosaurs that I have ever seen."

These performances come together

and they come together because all these elements come together.

-Each one needs the other. -Absolutely.

Like we've already said, it's kind of a two-headed monster we put out there.

I always get a kick out of...

The audience doesn't know where one starts and the other leaves off.

It's always fun talking with somebody

and pointing out where they are, and they have no idea.

I think it's a very seamless union that we put on the screen.

Unknowingly, I think visual effects have certainly

not challenged, but put a call out to all the actors to raise their bar as well

to respond to things that are capable now that were not capable 10 years ago.

to respond to things that are capable now that were not capable 10 years ago.

In a certain aspect, we've almost become cheerleaders or acting coaches

to try to bring them along with this whole technology that's moving so fast

and making films that are put together differently.

I think the flip side of that also is true.

I think, if you get right down to it, any movie like this

the only way we'll believe this movie is by the performance of these actors.

-Absolutely. -By their reality.

If you don't believe that they believe, we're not going to believe.

If you don't totally believe the performances of Sam Neill

of Téa, of Alessandro, of William H. Macy.

If you're not with them, you're not with the movie.

No matter what we do in the technical and effects world

in the digital and animatronic world

none of it will work if we're not with these people right here.

If we're not afraid for them dying,

we're not going to be afraid of those dinosaurs.

If we don't follow them in this story, These are the storytellers.

These are the people that the audience really relate to.

They don't relate to dinosaurs.

If you start rooting for the dinosaurs, we've lost.

I wonder if anyone out there does root for the dinosaurs.

I think some people do.

You put a bad guy in there, you want him dead.

But in this particular case, in this movie, it's such a thrill ride

because, at least for me, I'm so with these characters.

I find them so much fun.

There's a lawyer on the toilet that Michael's referring to.

Everyone sure loved it when he got eaten.

There are a few out there that you want to go.

-That's not this movie. -No, it's not.

You like this group a lot.

We've enhanced a lot of these shots that were shot in the back lot at Universal

with matte paintings to extend mountain ranges in the background.

That sort of thing.

This was the famous "smoke is our friend" sequence

where we really tried to hide some of Hollywood Lake in the background.

-Eric! -Paul! Don't.

There's a fairly simple shot coming up here.

Simple, as far as what we were doing at ILM.

But it's a very effective shot.

It's a little Raptor running by.

Very creepy little moment that happens out there.

That brings up a point that special effects...

It's harder to make a good shot. There it is. I love that.

We can do anything now.

Between the animatronics, the CG, and the practical gags

that Michael comes up with, there's little we can't do.

For an effects shot to be special, it has to be set up cinematically.

You must bring the audience to a point where the shot has punch.

If not, it becomes sensory overload and the audience becomes numb to it.

I think Joe did an excellent job.

I was going to say the star of this movie is Joe Johnston.

It's important for everybody to realize that filmmaking is a director's medium.

-Joe took everything that Steven had. -In every one of these shots.

Exactly. He took everything that Steven had given him

with Jurassic Park and Lost World, took all of the art and technology

and then created his own movie, went beyond anything we'd seen before

pushed the envelope and really such created a great ride

and did what virtually everyone thought was impossible.

"How are you going to make a better dinosaur movie?"

He put the dinosaurs in this movie,

beyond any way anybody has ever seen them.

We keep talking about how well structured this film is

how Joe did a great job of building up to certain effects shots.

His editor, Robert Dalva, that's worked with Joe on other films

His editor, Robert Dalva, that's worked with Joe on other films

did a really outstanding job.

Those guys work so well together. The proof is there on the screen.

These are little silicone baby

failed dinosaur experiments that we did.

You hand off here to where we go to a CG Raptor in this tank

which was tricky, because he has to be spatially positioned behind the tank

yet we had to give the illusion that he was in the tank.

This little eye movement here.

Great scene. I love this scene.

That's scary.

You've got to look at the quills coming up. Subtle stuff, but it really adds a lot.

Great motion.

We're coming to a place now where most people don't realize

that the methodologies that we use in the live-action aspect

the animatronics, the hydraulics.

We also still have, and brought back in this movie,

the man in a suit.

John Rosengrant is a Raptor in this scene.

He's in this Raptor.

This is all CG here, but when he gets on there close,

and starts climbing up, that's John.

That's CG. This is John.

This is John, and he's now going to look up and start climbing up.

That's actually John in a suit.

I hope John never gets ticked off at me.

That's John Rosengrant, ladies and gentlemen!

And then, and I love this, where we now push the CG dinosaur back.

There's John, hooting.

And I remember, after this scene, he was really upset.

John was going, "How was my hoot?"

"Did I do a good hoot?"

After six years, I'm more amazed that the suit still fits John.

That's a compliment.

He was so concerned about his performance, hooting, behind there.

This was a fun shot. We had the Raptor negotiate the stairs.

Here, now we're starting to bounce back and forth between live and animatronic,

and CG in a magic way.

This herd sequence, again, we wanted to get away from replicating a walk cycle,

so we did a lot of custom animation for this.

And I think it really makes a difference. It has an organic, realistic feel to it.

It gets away from that look of a computer game

that sometimes we'll use in crowd sequences.

-Where it's all identical. -Yeah, I think it's really dynamic.

-I love those guys, hauling ass. -Man, that's scary.

I remember in the first movie they talked about the Raptor's speed

but we never saw it. We finally got to see it in this one.

I think they were pushing about 40 miles an hour there.

Imagine a crocodile running as fast as a cheetah.

That's a scary thought.

This is where we get into the marriage of the animatronics and the CG

that's just flawless.

Certainly, you can't say enough about Joe in having a background in visual effects.

It makes the process much easier

when you have a director that understands it.

That's for sure.

That's us.

Great performance here, coming in.

We hand off to CG here.

-Scraping the bush. -We have a lot of these.

You'll see the CG Raptors bump into bushes and that sort of thing, too.

In the past, they all had to be practical bushes.

In this movie, they were all generated in the computer

which made the shadow interaction work well.

All environmental elements are computer-generated.

He's dead.

Oh, my God. No, he's not.

I love this scene coming up.

He's taken what we saw in Jurassic Park I to its ultimate.

The jump and the going for it.

All shot on the sound stage. Beautifully lit.

They set a trap.

They actually set a trap.

Those are both animatronic.

What are you saying?

Those are animatronic.

That's a beautiful shot there.

-And now, CG. -Back to the CG.

And close up. And you can't tell the difference.

-It really is hard to tell. -There's a nasty shot. I love that.

-Was that close-up animatronic? -We had Jeter rigged up on cable rigs.

I know we shot a close-up where it grabbed his head.

-Was that spliced in between? -Yes, it was.

I think we had to remove your sneaker from the background.

I'm sure you did. It was the suit one.

-Here we go. -That was a combo, right there.

This is CG, but when it popped up.

Here's where, in the same shot, live on the left, CG on the right.

We had a CG female handing off to a live, animatronic male Raptor.

-Now I've got you saying it's real, too. -I don't know! Which is which?

What's great is, no one knows.

Real? It is real. You're right, they are real.

-It's all real. -We've fooled ourselves.

Great scene.

Classic filmmaking scene.

And what about the music score? I think it's brilliant.

Don Davis's work in this is just unbelievable.

Giant effects movies like this are very complicated,

and the stress levels are very huge, but Joe Johnston was like a rock. Solid.

Great guy.

-Yeah, he's low-key. -All the way through.

And on our end, I've got to mention Jimmy Mitchell

who couldn't be here today because he's over in London on another project.

-What a good guy. -He's a great guy.

He's got to be one of the top visual effects supervisors in the world.

He's a friend and a real pro. It was a pleasure working with him.

-He sure stays calm. -It's almost scary, isn't it?

It is scary. You wonder what's going on upstairs.

But he really is easy. I've had the privilege a couple times, of working with him

and it's always been really great.

Larry Franco, I think deserves praise.

Larry and I go back 30 years.

Yeah, he's the best.

The first film you did.

The first film I did, I think it was a John Carpenter.

But I knew Larry when I was an apprentice at Disney.

-He's cousin to Kurt Russell. -That's right.

-No, brother-in-law. -Brother-in-law, right. Excuse me.

And I've known Kurt since he was a kid actor at Disney.

I was an apprentice, and Kurt was

a young star at Disney, and that's when I met Larry Franco.

When I was an apprentice at Disney, that's like 1969, 1970.

I hate to age him, but sorry.

Larry Franco's son, Matt Franco, got to play in the World Series last year.

He'd love to hear that.

It was during the filming of this.

So Larry was always torn between,

"Should I go to the ball game, or stay here so these guys don't mess up?"

One thing Larry does do as a producer

having been through the whole process many times

he lets you do your job, which is always appreciated by all of us.

And protects your environment, to do your job.

It really makes it possible for you to do the best you can.

I would be concerned and trying to explain everything I got to do

and he'd always kind of pat me on the shoulder, and go,

"Don't worry, kid. It's not my first barbecue."

-Dessert? -Sure.

I have to tell you, I'm astonished you've lasted eight weeks on this island.

Trevor is such a good little young actor.

You're alive and that's the important thing.

This scene that'll be coming up later

we maybe won't want to talk over it so much

when he's attacked by the baby Pteranodons.

That's a perfect example of all the technology coming together

and the bar of all the performances raised

because of all of it working together.

Whereas there are Pteranodons on him, biting him, real puppets

and he was actually getting hurt by them

and within that scene there are CG Pteranodons flying in and getting him.

So he is reacting.

He is giving a total real actor's performance

a reaction to the baby Pteranodon attack.

And the baby Pteranodons, their performances...

We're locked to all we can do minimally

which was quite a bit, with the puppets on him.

They were very old-fashioned-style rod puppets.

But then, the CG Pteranodons flying and moving

just raised the bar.

I was very concerned about.

This, by the way, is one of the coolest CG dinosaurs.

Yes. The Ankylosaurus.

I say if there was a shot that just holds up totally by itself.

-And it's right in your face, too. -That one works.

We had the shot before that of the Compies, which I really like.

There was a little bug that flies around

and the Compie shows its aggressive nature at the end by taking out the bug.

Pete Daulton animated that. He's one of our better animators.

It was great that we brought the Compies back just for their little...

What do you call it?

Cameo. That was their cameo.

They're cute.

-Cute and nasty. -They're nasty.

We always look for what we call "the fear factor"

when we approach one of these dinosaurs.

What's the fear factor with the Raptors?

The fact that they're lethal and intelligent, that's pretty scary.

With the Spino, we thought, "He's big and he's dumb

"but he's got this crocodilian-type mouth."

Something like that, something big, dumb and strong, is pretty scary to me.

I don't know about you guys.

-Compies were always sparrows on acid. -They were.

-There's a frightening concept. -Little land piranha.

-Protect your Windshields. -With teeth.

One of the things that quietly, I think, went by with the summer movies

having worked on a couple, is, for many years

with the advent of CGI work

it's been a known or understood factor

that we would try to integrate CG

into live-action things and movies on sets.

I think quietly the crossover where we can now have a fully CG environment

where someone like Stan or myself or John has to take something tangible

and move it towards the CG world for the first time, is something to look for.

Because it's really a different way of doing things that may have gone unnoticed.

In that Pteranodon sequence you're talking about, Stan

the whole canyon area is a computer-generated environment.

Early on, when we were talking about that

one of the obvious choices is to try to do it as a miniature.

Jimmy Mitchell, our effects supe, said,

"I want to run tests to see what the feasibility is

"of doing it as a totally virtual environment."

it allowed so much flexibility. Joe could come in and say,

"No, I want you to move my camera a bit to the right."

-Absolutely. -Just play with it, right till the end.

-What is that? -This is a matte painting.

Matte World. Craig Barron and his group at Matte World put that together for us.

We stick to the plan.

There was a huge spill that Ed Verreaux his whole team, construction

put together out on the Falls Lake in the back lot.

A huge... Michael, how big was that piece of wall?

It was a few football fields long, with flying track overhead

and full working waterfalls, and lake, just all the atmosphere.

Everything was really as though you were in a jungle.

Once again, Shelly had to go between that, the stage

Once again, Shelly had to go between that, the stage

and the real jungle in Hawaii, and try to make this all match.

I think it helps make this a believable movie, much to his credit.

Shelly did a great job here. I remember at the production meetings

Joe and Shelly looking at paintings by Doug Henderson

who does a lot of the paleo art

where he uses silhouette kind of objects in the foreground.

-A very Kong-like feel to it. -Like old black-and-white.

I think there is a flavor of the old King Kong that exists in this movie.

After we find your parents.

Then what?

Great set.

Best forest set I've ever built was for this movie.

Jurassic Park III has the best forest set ever built.

-It was beautiful. -It's amazing.

Shelly lit it beautifully.

I like to call it Joe's God light constantly coming in.

You could actually get lost in there if you weren't careful.

You could.

Danny and the greensmen, they'd move the plants a little bit and you'd be lost.

You'd come in the next day and be lost.

You'd actually start marking your way through the set

like in a real forest, by trees.

-But these trees moved? -They moved.

Eric! This way!

I love Téa Leoni.

I love her in this movie and I just think she is the coolest lady.

She is a fine actress.

There's a shot coming up here.

As animators, we want to get in there and really move things around

and Joe kept saying, "Tone it back. All I want is for him to be alive."

That was so terrifying. It is the perfect call.

They made the perfect call. Just standing there.

Joe would come up with gems like that all the time.

But it's just standing there. Very tough to have something not move

and look alive, not frozen.

It's perfect, it's one of my favorite shots in the movie.

The shot of the Spino.

Then he explodes from that still moment

into the high energy of that over-the-top run.

It's like a real animal

when you come across them in a forest or whatever.

I was fortunate enough to go to Africa and you see these things.

They're dead still, they don't do anything

then they just burst out in energy.

Truly could be one of my favorite shots, if not my favorite shot, in the movie.

When I suddenly saw him for the first time, standing there,

I said, "That's so cool!"

-Then it explodes into a great action scene. -Here it is.

How cool is that?

I was worried the entire theater would try to answer their cell phones

when this sound went off.

-And then the chase is on. -Here it is.

He's got a great gait.

Really created a wonderful gait with him.

And it's different than the T-Rex's. That was the fun.

-Because the weight of his forearms. -Weight is an important thing.

-This is nice, too. Everyone thinks it's over. -Over the fence, yeah.

-Joe picked his spots great. -He did. He sets these things up.

And that's a special effects shot because of the way he set it up.

If you saw something like that strung together with endless shots

you'd be numb to it.

But because of the structure, that's one of those special moments.

That's a cool one.

I still love intercutting between the Spinosaur and Barney.

-Out on the lake. -It's great.

We get out on the lake. That is probably the proudest I've ever been

of the work out of our studio.

That was beautiful, it was beautiful stuff.

The terror we have of water to start with

and then to take that animal and have him act in that water.

and then to take that animal and have him act in that water.

Water, fire.

What a great performance.

-We've come full circle. -I'm patting John on the...

Certainly from the promises, "l'll never get him wet or get anything hot near him."

I'm afraid all bets are off now.

Jurassic Park I, "Please, Steven, no water."

It rained in every shot on the T-Rex.

We're constantly mopping him down, drying him

trying to keep him from shaking

because he'd change his weight and we'd have to re-tune him.

Then Lost World, "Steven, no more water, please. "

He sends us through a waterfall in Lost World.

Then Joe Johnston's coming on. I'm going, "We've got a comrade.

"We're not going to have to worry about the water."

We get the rain and he's going to do his biggest scene in the lake.

And he swims.

"We got the water down, so we'll add fire."

"I want him to go all the way underwater."

And he does. It's pretty amazing.

Hats off to the electronics team of Emery and Rodrick.

Absolutely.

Tim Nordella, the chief engineer and designer

and Lloyd Ball, the hydraulics specialist.

-That thing was just humming non-stop. -It's a great machine.

I don't know how you guys do that. I can't get anywhere near water or electricity.

I'd like to thank those guys as well. They spend years building things

and I spend weeks trying to ruin it with all the stuff we do on the set.

So my hat's off to them.

In the previous scene, when we saw the Spino come through the fence

a lot of that fence is set extension.

There was a certain amount of the fence that was built on set

and then we extend it with a CG fence.

This was all a blue screen background

that we had to replace to put the far wall of the canyon out there.

-ls that digital? -Yeah, it's all digital compositing.

Eddie Pasquarello headed up our compositing team

and he just did some wonderful stuff on this.

It's really hard to find that blue screen without those funny edges, Eddie.

The stuff coming up, the sequence with the Pteranodons

is a favorite sequence for me in the entire movie.

99% of it is CG.

We had a couple of shots

the profile, walking down the gate, that were intercut.

Interesting, the first shot of him coming through the smoke

was boarded as a shot that we were going to do live

and we attempted to do it live

with a man in a suit coming out of the smoke

and had trouble tracking his eye line.

It never quite got the eye line

we couldn't quite hide him in the fog and get the entrance.

And so that ended up being a totally CG shot.

It's interesting that we all get together at the beginning of these films

and go over the boards, and we'll say,

"This should be animatronic, this should be CG."

We're getting pretty good at nailing it, but every now and then, you get into stuff.

It's an imperfect world in the movie business.

Screws fall out all the time, as they say. A lot of times we're thrown curves

but because we do multiple techniques of effects, we always have a backup.

Whether it's a CG shot that becomes an animatronic

or an animatronic that becomes a CG shot.

When it's animatronic, we shoot it with the animatronic, then without

so we have a clean plate.

We just really cover all the bases when we're out there.

But either way, Stan, I agree, the shot coming up is a very creepy shot.

And again, hats off to Joe that he would not compromise

until he got the shot to work the way he wanted.

This is one of his first ones.

One of the first shots that Joe had, I think

really clearly defined in his mind

and it's the thing that got me very excited about the Pteranodons.

It is so spooky, the image of this giant thing stepping out of the fog.

We also took a different approach to the walk.

You guys established the walk in the catwalks

that we used anytime you see it in profile or three-quarter.

But we had to take the straight-on shot in a different direction for it to look right.

So it's a completely different type of gait that we've got.

You know that I actually, if you hadn't heard it earlier

I actually thought that this CG shot

this first CG shot of him coming out of the fog, was our shot.

See? We're even fooling Stan Winston, folks!

-You're fooling me constantly. -That's how you know it's working.

I said, "That was us." You said, "No, it wasn't."

"No, that was CG. We did that."

We did do it.

Another great build up, too, if you look at how Joe structures this thing.

Did you help any of these shots with CG smoke?

We did. We're always finding ourselves having to remove some support

or the ceiling of the stage or something. That was a set extension.

We do a lot of CG set extension.

On this one, right? The ceiling was a big issue, as I remember, on the set.

-Throughout this sequence. -Big soundstage. Just not big enough.

-They're never big enough. -Here it is.

For what?

-Creepy. -That is a great shot.

When you look at how little it shows, really, until now.

That was us, flying in and grabbing him.

John learned to fly last summer.

That's John with the suit on, flying away, folks.

What is great about the way he's being grabbed

I remember, Dan, in one of our early meetings, before we even got started

you brought in some footage, I think it was of a hawk.

-That's right. -...grabbing its prey.

Here's the little animatronic babies in there.

-Animatronic and CG happening. -Great shot.

They start moving, they're jumping forward.

A lot of set extension going on in that shot.

The top of those pillars were on stage, but we had to extend them downward.

The top of those pillars were on stage, but we had to extend them downward.

How many puppeteers did we have under the nest?

Under that little nest?

-Like 12 guys? -No, it was more like 20.

-Twenty guys under the nest. -How many came out alive?

Four or five.

I love this heroic thing.

This is a total CG shot coming up.

-There, this one, right here. -Awesome.

The computer-generated canyon

which we use a lot to extend the practical sets that were built.

All CG Pteranodon, now all real.

All real, then there'll be a combination.

Combination. Now, these are all CGs.

Jenn Emberly was the lead for the baby Pteranodons and she did a great job.

Just beautiful. These were real.

Loved when they were grabbing and pulling his shirt off.

-Like little mad dogs. -Back to CG.

-Back here to CG. -CG, now real.

This shot coming up, there was only a blue screen element, right there.

Everything was added. The Pteranodons, the canyon.

Awesome.

Now, these feet that come in the shot are actually real.

Not that, these are real, that's obviously Dan's handiwork.

There again, CG, back to the animatronic. Back to CG.

-Was it animatronic over the shoulder? -Yeah.

I think we come back to I love this shot. That's great.

This is a gorgeous shot.

Again, this canopy here was all computer-generated.

This is us live, Mark Viniello wearing the suit.

Back to CG, back to you guys.

Let go now!

I just love the pacing on these sequences.

-This shot I like, too. It is a great setup. -This is a great shot.

CG Pteranodon falling into the water.

The cage.

-Nailed him with the cage. -That was a big rig.

Your team, that was a huge rig.

Working in water, and this is that set as well, with practical waterfalls.

Working in the water is always tough.

-Is that a CG grab there to the parasol? -I think so.

Yes, it was. The canopy was all CG.

This is total CG, this shot here.

I've got to mention John Zdankiewicz, too

who was our adult Pteranodon animation lead on this thing.

Did a great job.

Most of all this back lot, Falls Lake, water-rigging and all the flying rigs

was Louie Lantieri and his group. They spent most of their time back there

getting this all ready for this sequence since it was so large.

-No! -Go, Eric!

What about Billy?

Alessandro went to college with my son. They both went to Yale.

I saw him, this young actor, in a play

when I went to Yale to see my son in a play.

He was actually the lead in a musical.

-He's good. -He's so good.

-Great couple of shots coming up here. -Great shots. I love this sequence.

These are CG Pteranodons.

All that water interaction is all generated in the computer, too.

Very creepy moment right here, I thought.

Joe just laid this out beautifully, right back to you.

Like, "You're next."

The Pteranodon is very sinister. Sort of like a Dracula, almost.

Which is what Joe was really pushing from the start.

-From the design. -He really was involved in the design.

Joe used to come over to our shop, Stan Winston Studio, all the time.

Just would hang out, look at what we were doing, he was just having fun.

This is this giant Ed Verreaux set again, out in Falls Lake.

It took up the whole back lot.

Falls Lake, for those who don't know, is a big, man-made lake.

This was on stage, right here.

This is the back lot, also.

-Is it? I'm pretty sure. -Yeah, it is.

Digital matte painting that sort of extends the canyon.

It shows the whole aviary.

it's the reverse of showing an establishing shot first

then going in and showing the action.

Joe did the opposite, so it was mysterious while you were in there.

You didn't know what was going on.

It kind of reveals what was it was all about at the end of the shot.

Where that boat's going down, that's where they shot

all the Creature from the Black Lagoon movies, years and years ago.

They're getting their money's worth.

Hey, Eric, how are you doing?

I'm sorry about Billy.

You know what the last thing I said to him was?

We've got a sequence coming up here that they call the Dino Valley.

Which is one of those, "Ah!"

Where the audience goes, "Ah!" when they take a look in.

I think it's a beautiful shot.

It was a beautiful background plate that Shelly photographed

and it was an example to really show off some of this new flesh sim we have.

The Brachiosaurus.

On the Brachiosaurus, right.

On the smaller dinosaurs it's there, but it's not as obvious.

When you have a large animal with looser skin, you can do more with it.

One interesting thing we found out.

Obviously it works great on the large dinosaurs, the Brachios, etc.

But even on the Raptors, that are really tightly wrapped.

A tightly wrapped dinosaur, it gave the skin a more organic quality.

We really noticed it when it wasn't there.

When we'd do renders without it, we'd go, "Something looks wrong." You know?

Again, one of those subtle details, where we're sort of pushing the envelope.

We're going to get an "Ah!" Ah!

We love putting birds in there. You see that little bird that flies off his back?

Just all the environmental elements that we put into these things.

Ankylosaurus.

Yeah, the Ankies.

I think this shot coming up is where you really get a good look

at the way this flesh sim works.

Once you have other cues to tell you something's heavy

like flesh moving, you no longer have to pantomime it in the performance

which again, gets you closer to nature.

You watch an elephant walk and they glide, yet you know they're heavy.

You know that because of other cues. There's the skin that jiggles.

Now that we're getting into that area

it sort of redefines how we do the animation.

Listen.

-This is a cool scene. -This is really funny.

I love this.

They pull out the... Then they...

Then their friend comes and visits him.

Smells the Spinosaur.

You know, that phone, I ran across something online

that tells you how to program your cell phone to do that jingle.

Eric, you stay on that boat.

We should tell the horror story of

when we get to the Spinosaur, John.

Of the first shot of the Spine, with the fin coming up.

Oh, man. That was my worst moment in the entire film.

We weren't far behind you with the fire.

We built a spine that was going to come up out of the water

and it was working and it was working, and then it ended up breaking free

and it fell over and Artist Robinson, the first A.D. on the set...

He's a pretty funny guy.

He said to me when he saw it breaking loose.

This is a fun character.

This was the T-Rex, modified,

to a Ceratosaurus by Ken Bryan, our model supervisor.

to a Ceratosaurus by Ken Bryan, our model supervisor.

Just to finish that up real quick, he says to me,

"John Rosengrant, your spine is going east, west, north and south.

"What can we do about it?" I said,

"There's nothing. It's sinking."

ls this shot that we have part of what we got?

Right here. That's right, yeah.

-This isn't CG. This is us. -No.

This was just before it died.

-The spine coming up. -Again, Stan, I do believe this is CG.

-We didn't get it. -It's because Joe got into specifics

about how he wanted the fin to undulate, etc.

-This isn't practical, this shot coming up? -The spine in the water?

No, the spine literally broke before the shot.

-They got a piece of it, but... -It was also going too slow, wasn't it?

-I think it was. -Couldn't get the speed up.

A simple shot like this is very interesting.

We thought... We built this whole spine rig to come up out of the water

and we had to end up it being replaced with a CG spine.

But then again, Stan, there's that one a little further on here,

where the Spinosaurus comes up behind the boat

coming up real quick, that they originally thought would be CG.

-Right here. -This is CG.

-But this shot... -North, east, west and south spine.

This shot, they were originally going to do CG.

That's live.

It's incredible that that could all be live and still keep working.

-This is all live. -But it was a CG break, wasn't it?

Because I remember we swung around

for that shot where he broke part of the boat.

-I think it's real. -It's all real.

-We're confusing ourselves. -Live.

-We're confused, sorry. -That was all live.

-I think it was all live. -The dinosaur was. The Spino was all live.

There was no.

-He really performed in the water. -Yes, he did.

It was a neat backdrop for it, because you could see his silhouette

and his look up against the sky.

This was neat. This was the boat being turned around him.

He was fixed, he could go forward and back on a track, but he couldn't go in circles.

Once again, remember, everybody was in the water.

Everything you see moving around, and all the people to support it, were wet.

At night. 3:00 in the morning.

Fog. Cold. But worth it.

A couple of hand shots were CG and I think the other one was practical.

-You can't tell which is which. -No, you can't.

The grab was CG, then we had the arms locked onto the cage.

When he pulls off, it's back to us again.

The really neat scene is when the animatronic Spine

is fishing in the water for this cage.

That's a great shot.

At 1,000 horsepower and his weight, 12 tons

he's moving that water around like a real creature.

I think everybody dreaded this sequence coming up

knowing it was night and water.

And we're going to dunk them in a cage in the water.

Everything about it is just difficult.

Once again, this is Joe. Hats off with the Barney and...

Once again, this is Joe. Hats off with the Barney and...

Here it is.

This guy is going for the water. I love that.

-It's great. -Thumbs up.

That's about as organic as you can get out of a machine.

It sure is.

The animatronics work so well when you get the rain, the blue light bouncing off.

-That's CG. -Hand it to CG, then back.

That hand going in is an insert arm.

Right. That's right.

-That was being puppeted. -All real. Look at this.

Thanks, Bob Babin.

Key grip. He helped us out immensely.

Joe finally had the idea to find a construction crane somewhere

and put this all together out in the middle of the lake.

Remember, when we finally completed the boards on this sequence

we had to go find a crane that was in a graveyard, put it together.

That's us. There's a few shots here that I don't even know who did.

That's us. That's ILM.

-That's us. -That's the animatronic.

-That's us. -Animatronic, right.

-That one's CG. -CG.

-That's a CG hit on that. -That's a big old, real crane, though.

-Yes, it is. -That's us.

That crane was about 8 tons worth of steel.

Pat Romano and Don Elliott spent many hours working out this sequence.

That's CG.

-Great handoffs here. -Yes, really good.

-Who was that? -That was us.

-This is us, we turned and looked. -Now back to CG.

-Back to CG. -And now us.

This is live. This is all live.

The Spinosaur ended right behind his hip.

Great CG shot.

This whole sequence is great.

-That's beautiful. CG handoff. -Look at that.

-All the fire interaction. -And the wetness on it.

Everything. The shine on it.

It was Sue Campbell who animated that one.

Steve Nichols was our Spino animo supervisor.

Don Elliott and Bruce Donnellan, Louie Lantieri and Kevin Pike,

pretty much wrangled this back lot and you can see they did a great job.

That looks like it could be a matte shot.

It's all real, all the fire in the back.

So now we're going to get into,

-the final Raptor scene. -My favorite scene in the movie.

Again, a nice combination of our stuff.

Glen McIntosh, who came up with our Raptor animation design

would key off some of the head movements you guys would do on yours.

It was a real back and forth.

Talk about the acting and reacting, you really watch the Raptors

act and react with one another

pay attention, listen and talk to one another in this scene

and then totally act and react with the actors.

And, selfishly, my favorite part of this scene is at the very end of it

when the Velociraptor comes down and starts nudging Téa

and sniffing her and pushing her, and she's dealing with a real Raptor.

I mean, there are two actors there, acting and reacting with one another.

I loved being on the set watching that happen, because just before the scene

I loved being on the set watching that happen, because just before the scene

I would walk up to Téa and go,

"We're going to hurt you."

-And she knew it was coming. -Look how scared she looks, right here.

This one amazed me. Look at this, right there.

-She's good. -She's terrified, right there.

What I said to her is that the machine itself feels like a real horse.

It has about that much power, so when it would actually push against her...

This is beautiful work, by the way. Just beautiful work.

-I like her strut. Neat. -All CG.

Great performance here.

-Here we are. -Animatronic on the left.

-Look at that. -CG on the right.

Now, real.

Watch it. Just watch them acting together.

-I love this. -Chris Swift did a nice job.

-Lead puppeteer on this. -This is so good.

This is spooky.

The machine could really hurt her, because it had a lot of power.

Cool sounds, too.

-Very important. The life of these guys... -Skywalker Sound.

Is that us, or CG?

-That was your animatronic. -I think it was, yeah.

Isn't that something? I'm sitting here going, "Who is that?"

I was there for every one of those shots and you forget.

Do it, Mum.

Watch this performance when they hear it. I love what happens to them.

It's like, "What the hell is that?"

I love that.

No. Call for help.

This is a nice shot coming up here, too, where the CG Raptor starts to move in

and the animatronic Raptor growls and backs off.

It was great to have that to cue off of when we were doing it.

She's hearing the helicopters.

What's so impressive is the match of the swiftness of movements

between the animatronic and the CG. They're right on.

We really got them to move much faster, mechanically, this time.

It made a huge difference.

That's just a head that's reaching in and picks it up

then it goes to a wider, full animatronic, and then to CG.

We thought it would be funny if the Raptor picked up the egg

that he bit too hard and the egg broke.

Then he splits the other way, off-screen right.

Then he splits the other way, off-screen right.

Gosh-a-roonie, you guys did a great job. I believed those dinosaurs were real.

Everyone did a great job here.

-Dr. Alan Grant? -Stop!

There's certainly something to be said to have ILM behind you

pulling this stuff off.

These shots, too. We actually had to make the army bigger.

We had to add helicopters, extend boats, add soldiers.

Joe said, "My army's not big enough."

A lot of the stuff they do at ILM is invisible.

You don't even realize that it's an effects shot.

This, for example. That was blue screen.

That's great.

So they weren't really there. The blue screen element did it.

It's subtleties that you just would never pick up on.

It allows them to do it. Years ago, you'd never think of

doing something like that as a composite shot, you know?

Part of the process is making directors comfortable with what we do

so that they feel free to make the movie to match their visions.

Again, what you said about Joe coming from this background

he's already comfortable with it. As comfortable as anyone gets.

-I'm not comfortable. -Yeah, that's right.

As much fun as it can be.

-Sure, it'll work. -I'm not comfortable myself.

I don't think you want to be.

We even had a couple of boats here on the horizon.

What the hell is that?

Ships and CG Pteranodons there.

Where do you think they're going?

I don't know...

To Stan's conference room.

That's right.

I dare them to nest in Enid, Oklahoma.

Maybe in a few years we'll know where they're going.

You bet we will.

We'll have the same feeling all over again.

The ghost of the first three wanting you to do a better job.

Or at least equal the work.

We got to top it.

Sam is so good in this. The actors are all so good.

-They made a great difference. -I love them all.

We put this shot together from a few cloud backgrounds that Joe had picked.

Then we put a CG layer of cloud in to help with the transition.

I love the life of the wings and the skin.

They're not just sticking out there, doing nothing.

-They flap, too. -That's wind ripple.

That's dynamic simulation on the new flesh sim.

That's dynamic simulation on the new flesh sim.

-Joe Johnston. -Good job, guys!

Cheryl Tkach at Universal deserves mention for her contributions to JP III.

She's Larry Franco and Joe Johnston's assistant.

Believe me, those two guys can keep you pretty busy.

She did an outstanding job of always keeping us in the loop.

We always knew when changes were coming,

or where they were heading with certain shots. So, thanks, Cheryl.

Steven Spielberg and Kathy Kennedy, what do you say?

Once again, thank you.

Our professional lives are all about creating movie magic

and you've created a world in which all that is possible.

Mark Miller. When it comes to visual effects producers, he's the best of the best.

And he always manages to keep us laughing.

Theresa Corrao. She's an outstanding young producer and a delight to work with.

Thanks for keeping us all out of trouble and long live the big board!

ILM has been around for about 25 years

and in that time we've put some extraordinary images up on the screen.

We've been fortunate to be involved in all three of the Jurassic Park movies.

The fact that we've been around so long is no fluke.

It starts with the upper management, and they realize,

that their greatest resource is the talent that they hire.

Our CG supervisors, Kevin Barnhill and Christophe Hery.

Compositing supervisor, Eddie Pasquarello.

CG sequence supervisors, Samir Hoon, Steve Molin, Robert Weaver, Chris White.

I had a crew of over 30 animators on JP III.

I'd specially like to thank my lead animator, Sue Campbell.

Peter Daulton, Jenn Emberly, Glen McIntosh,

Steve Nichols, Tom St. Amand, John Zdankiewicz.

You people are the best.

Creature supervisor, Tim McLaughlin.

Digital model supervisor, Ken Bryan.

Technical animation supervisor,

this was the guy in charge of the muscle dynamics, Dennis Turner.

Way to go, Dennis.

Digital paint and roto supervisor, Jack Mongovan.

Roto folks, we salute you.

ViewPaint supervisor, Jean-Claude Langer.

Matchmove supervisor, David Washburn.

ILM art director, Eric Rigling.

Animation sequence supervisor, Paul Griffin.

Research and development supervisor, John Anderson.

I'm not sure what planet John is from,

but we're all glad he decided to make Earth his home.

Location Matchmove supervisor, Lanny Cermak.

Visual effects editor, Bill Kimberlin.

Miniature visual effects director of photography, Marty Rosenberg.

Model supervisor, Charlie Bailey.

ILM computer systems support, Ken Beyer.

ILM editorial technical supervisor, Mike Morgan.

And, of course, our senior staff, Jim Morris, Gail Currey, Jeff Mann,

Patty Blau, Chrissie England.

For their support on this production, whether we were laughing or crying.

I want to thank Brice Parker, Adrienne Anderson, Damien Carr,

Stewart Lauder and Ken Miriama.

I personally want to thank the best animation crew I've ever worked with.

It has been a privilege.

And last, but certainly not least, Mr. Lucas.

Without George, there would be no ILM.

You all know what a great job Universal does at putting together these DVDs.

They're always a lot of fun.

A special thanks to Laurent Bouzereau and Mary Anne Mancy.

Thanks a lot, guys.

I hope everybody enjoyed this. I did.

-It was a lot of fun. -I hope to do it again sometime.

Later, guys.