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Making Of JURASSIC WORLD: REBIRTH (2025) - Best Of Behind The Scenes, Stunts, Special Effects & Sets
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00:00Vamos lá, vamos lá.
00:18Rolindo!
00:20Todos os filmes que eu crescivo amando
00:22foram filmados em Kodak
00:24então eu futei muito difícil
00:26que fizemos isso com Kodak
00:27com Panavision Lenses
00:28Kodak é o nome do nome do filme
00:31Todos os filmes que eu amo
00:33que você cresce com
00:34que tem um look
00:35que é muito difícil de descrever
00:36é porque foi filmado em Kodak
00:38A forma que o filme funciona
00:40é que não é uma representação perfecta
00:43de realidade
00:43é uma melhor versão de realidade
00:45Rolindo!
00:47Apsom!
00:48Eu sempre fui procurando essa estética
00:51como filmador
00:52para poder sentar na grade
00:53e jogar com os cores
00:56e tentar ter o look
00:58do film stock que nós crescemos com
01:01O cores são mais sofisticado
01:03há mais fidelidade em cores
01:05os verdes, os verdes, os verdes
01:06os verdes, os verdes, os verdes
01:07eles realmente começam a ver
01:08O contraste e faz coisas com eles
01:11que fazem isso melhor
01:12do que quando você está lá
01:14você está em Thailand
01:15em um lugar incrível
01:15onde você está em film
01:16e aí você olha o dali
01:17e aí você vê melhor
01:19E aí
01:21Tem um mistério
01:22para o processo de film
01:23porque você não sabe exatamente
01:25o que você está capturando
01:26Ok, cut
01:27Very good
01:27Working com Jurassic World
01:29Rebirth
01:30foi fantástico
01:31e foi ótimo que eles escolham
01:32film
01:32É ótimo que a grande
01:33studio e os filmes
01:35são capazes de escolher
01:37film
01:37mesmo se é um
01:38heavy laden
01:40VFX project
01:40A vermelho
01:41Eu gostaria de começar
01:43com um canvass
01:44um beautiful image
01:45e canne
01:46e em cima
01:47tem o outro
01:47o que é feito
01:48e o filme
01:50veneiro
01:51e o futeiro
01:52e esses
01:53muito brindos
01:55animófic
01:55distinta
01:57para trabalhar com
01:58é muito bonito
01:59é algo que nos pede
02:00os visual effects
02:01e as creaturees
02:02em que
02:03o quanto
02:03a distância e o
02:05a escração
02:06acontecem
02:06e o tem
02:07com a chromatica aberração que acontece com os highlights
02:10e garantir que quando adicionamos digital elementos para o frame
02:13que podemos fazer isso e colocar isso tudo bem.
02:16Você vê isso no filme e vai ter tanta textura para os visuales.
02:23É muito mais fácil de fazer film look ótimo.
02:25Então você já está em um bom lugar antes de fazer tudo mais.
02:29Isso mostra que film é capaz de lidar com o que a tecnologia ainda oferece.
02:47A série de filmes é para que você venha a ver uma filmagem.
02:52Eu acho que você quer ficar preocupada.
02:56Eu realmente queria um visual no filme que se sentia familiar.
03:06A ideia aqui é que
03:07colocar os dinos
03:08em nosso ambiente,
03:10em algum lugar que nós
03:11sentimos seguros,
03:12é emocionante e escarante.
03:16A gas station
03:17é provavelmente a coisa
03:17que se parece
03:18como algo reminiscente
03:19de sua vida,
03:20onde há snacks
03:21e magasinos
03:22na piscina.
03:22Essa gas station
03:24é uma olhada
03:25de abandão
03:26de feeling.
03:27Você pode ver
03:28as luzes fliccerem
03:29e é muito full.
03:30Isso me leva mais
03:31para o primeiro
03:32Jurassic Park.
03:34As absurd
03:35como se pode sentir,
03:36Jurassic,
03:36há algo sobre isso
03:37que se sente realmente
03:38natural.
03:40E a vez esses criaturas
03:40viram,
03:41você é assim,
03:41eu sempre esperava
03:42esse momento,
03:43eu sabia que ia chegar.
03:44E você mantém
03:44para o seu amado
03:45porque essa coisa
03:46vai matar
03:46você ou eles.
03:54Pronto, galera?
03:55Vamos lá.
03:56No início era
03:57uma conversa.
03:58Você estaria emocionada
03:59para ver a score
03:59of a Jurassic movie
04:00e eu pensei,
04:01wow,
04:02isso é um desafio.
04:03A história
04:03da incrível
04:04franchise
04:04e, above all,
04:06é John Williams,
04:07meu forever idol.
04:10Flute.
04:11Make sure
04:11it's...
04:13I wake up
04:14e eu quero escrever
04:15music.
04:16That's what I love.
04:16It's just a joy
04:17for me.
04:18As John Williams
04:19would say,
04:20it's infinite,
04:21the possibilities
04:21of an orchestra.
04:23Beautiful.
04:23Thank you very much.
04:25At some moments,
04:26the music
04:27is so loud
04:28and so strong
04:29and dynamic,
04:30they will feel it.
04:33The audience
04:33will feel it
04:34for sure.
04:47action.
04:51Action!
04:58Eu consegui fazer o curso de filmes.
05:00Eu pensava que seria o caminho para filmes, porque você não sabia o que mais fazer.
05:03Então eu tive um lugar em filmes e o que eu fui, foi o que o filme que eu fui.
05:08O que eu fui foi quando o Jurassic Park foi lançado no cinema.
05:10E tudo mudou tudo.
05:12E foi claro que a computadora era parte da filmes de filmes.
05:15Então eu comprei um computador e aprendi a fazer dinossos em meu quarto.
05:19Eu me lembro de fazer dinossos e então eu me lembro de ficar muito bem,
05:22por 15 anos em sua carreira, fazendo visual effects.
05:26E eu pensei, eu não sei, eu tenho que ter uma vida, tipo de coisa.
05:28E aí, eu me lembro de ter que saber,
05:31que os direitos estavam começando a partir de um caminho diferente.
05:35Alguns pessoas escolheram a câmera,
05:38alguns pessoas escolheram a gravidade,
05:40outros outros editam.
05:41E aí, se você quiser se tornar um diretor,
05:44que caminho que você escolher?
05:46E eu acabo de fazer visual effects,
05:48e então eu pensei, ah, não, isso é um dead-end,
05:50isso é um estupido de coisa a gente.
05:51E aí, então,
05:52isso turns out,
05:52esses gigantes blockbusters...
05:55Understanding visual effects
05:57é uma verdadeira habilidade,
05:59e realmente ajuda você.
06:00E então,
06:01eu fiz o meu primeiro filme,
06:04foi basicamente uma audição,
06:06uma carta,
06:07um filme,
06:08um filme,
06:10um filme,
06:40um filme,
06:40um filme,
06:40um filme,
06:40de básicos,
06:40talvez,
06:41seja beningido gates,
06:46a fan as well, which I think
06:48is a great place to start because we
06:50all have deep respect for
06:52you know, the
06:54source material and
06:56we come at it from a place of like wanting to
06:58pay homage to
06:59work that we love, you know?
07:02So it was great to be
07:04then you're like never jaded, you know
07:06because you're
07:08always kind of in awe of the environment
07:10you're working in and Gareth was really like that.
07:12He's always in a
07:14good mood, enthusiastic,
07:15like such a good energy
07:17because he was, you know, like
07:20it's, your dream has come true
07:22you know? Well in the same way, well for
07:24all of us, but you know, he's the perfect
07:26director for this movie. He's
07:28spent his whole life studying film
07:30and he was saying that even before
07:31the opportunity arose he had been watching
07:34Jurassic Park just taking notes just to understand
07:36you know, obviously Spielberg's one of
07:38his huge idols
07:40but the work he did in Monsters
07:42which he did before having studio backing
07:44was doing with, you know, consumer grade equipment
07:47is like extraordinary
07:48and you can see the identity
07:51in that filmmaking process then
07:52all the way through
07:53and so to give him the key to Jurassic Park
07:54was just like a brilliant idea
07:56and he's just
07:57nabbed it.
07:58Yeah, he delivered it.
08:00He delivered.
08:01Stop!
08:03Dad!
08:07Are you getting cut?
08:08I think truly in this film
08:10like the fact that we are
08:12in these real locations
08:13and everything you're seeing
08:16is real
08:18besides the dinosaurs
08:20and it's all caught on film
08:22so it just
08:23it's like
08:24it's like you're there
08:25it's like
08:26it's the most like
08:27real and grounding
08:28and that's what's so amazing
08:30about the original Jurassic
08:31is the fact that
08:32it is on film
08:33you are
08:35it was shot in Hawaii
08:36and you get that sense of like
08:38I'm there
08:39and I'm with them
08:40and that's what I feel
08:41also you get in this movie
08:42it's just that sense of like
08:43realism and like security
08:45that you know
08:46you haven't seen in a while.
08:47I'm really grateful for it
08:48because it really helps you
08:51as an actor
08:51to be in the atmosphere
08:53you know
08:53in the actual location
08:54where you have
08:56all these elements
08:57that you're really
08:57suffering or playing with
08:59or reacting to
09:00you know
09:01the heat
09:02it's real heat
09:02and the mosquitoes
09:03and the animals
09:04we're sitting
09:04first scene that we did
09:06it was a scene
09:07right in the middle
09:08of the jungle
09:09with a whole family
09:10and in Thailand
09:11it's clear
09:12and then all of a sudden
09:13it pours rain
09:14and you know
09:15we had nowhere to hide
09:17and we were sitting
09:17in the
09:18you know
09:18we're on the set
09:20and spiders
09:22we kept jumping
09:23and looking like
09:24I don't know
09:25it just brings your instincts
09:26you know
09:27so that helps a lot
09:29so as an actor
09:29you know
09:30sometimes
09:32you have to use
09:33a green screen
09:34and that's fine
09:35but I really appreciate
09:37when
09:37when they do
09:38and it looks better
09:39you know
09:41I mean Thailand
09:42the scenery
09:44is just
09:45it's just incredible
09:46it's really incredible
09:47this sort of
09:48an adventure
09:49has got plenty
09:50of challenges
09:51if your cast
09:53your colleagues
09:54were not
09:55as superb
09:56supportive
09:57and talented
09:59as these guys were
10:01it would be really
10:02very very tough
10:04to look to your left and right
10:06and just see
10:07the best of the best
10:09makes you bring your A game
10:10I think it makes you feel safe enough to take risks
10:14and you do
10:16you form this kind of collective
10:17because not only were we in these quite
10:20grueling environments
10:21but most of the film we were imagining
10:24then that's an interesting challenge
10:26it's part of our job
10:27but it is a challenging part of the job
10:29and it's enormously helped
10:31by having Scarlett and Jonathan Mahershala
10:33you have such little real estate
10:35to hook the audience
10:38you know
10:39into the character
10:41you know
10:42and take them along
10:43for the journey
10:44so they care about the outcome
10:46of the film
10:46or outcome of the character's lives
10:49in the film
10:51that you know
10:52you really
10:52you have to make it count
10:54and I think it was important for me
10:56that the character felt like
10:58someone who
11:01was a sum of all their parts
11:02and you know
11:03had like lived a life
11:05and had
11:07hopes and dreams
11:08for herself
11:09and desires
11:09you know
11:10like moving forward
11:11and that she could see
11:12like a future for herself
11:13based on like
11:14what she had experienced
11:15you know
11:16that stuff is so important
11:17to know
11:19but again
11:20not that much time
11:20to do it in
11:21but I think that's something
11:22that Scarlett led
11:24everyone with
11:25because not only
11:26in terms of just leading
11:27the film in itself
11:28and us being on set
11:29but that sort of level
11:30of groundedness
11:31in the character
11:32I think
11:32there's a scene with her
11:33and Mahershala
11:34that I absolutely love
11:35which where all that
11:36actually even in the first scene
11:38where you see you in the car
11:39spoiler alert
11:40she gets in the car
11:40but you
11:41the sort of humanity
11:43and the
11:44yeah
11:45the real
11:47stakes
11:48Zora
11:48is just so present
11:49and I think
11:50so yeah
11:51it's down to Scarlett
11:52really for setting that tone
11:53I think
11:54understanding what's really hard
11:55in the computer
11:57and really easy
11:59and what's really hard
12:00in filming
12:01on production
12:02and really easy
12:03and knowing those differences
12:04I think it's really useful
12:06because
12:07essentially what you're doing
12:08when you're making a film
12:09is saying
12:09let's not try and film that
12:11that would be a nightmare
12:12we'll do that
12:12with computer graphics
12:13because it's a lot easier
12:14and let's not try
12:15and do that in computer graphics
12:16because it's a nightmare
12:16we're going to really shoot
12:18it
12:18and when you get that balance right
12:20I think everything runs a lot smoother
12:23and just knowing
12:24like you're shooting
12:25and you know
12:26how hard or easy it is
12:27to get rid of something
12:28or change something
12:29that's in the picture
12:31and so you can shoot some
12:32and confidently go
12:33it's fine
12:33it's fine
12:33keep going
12:34you know
12:34and you don't have to stop
12:35and move things
12:36and so
12:39it's weird
12:40because you know
12:40these big massive movies now
12:42have an official effects
12:43count of 1500 shots
12:46on average
12:47Jurassic Park
12:48the original had 60
12:51but what's happening is
12:52there's just a little bit
12:54of blue screen
12:54behind a window
12:55or something like this
12:55and so suddenly 200 more shots arrive
12:57because you've got to
12:58put the sky in
12:59or something like this
13:00and so
13:00we just lean on it
13:01more and more
13:02just part of the tool
13:03of filmmaking
13:05and I think
13:06that's great
13:07you know
13:08I feel like
13:10there's this weird thing
13:11that happens with filmmakers
13:12where because of digital technology
13:14you can now do anything
13:15you can imagine
13:16right
13:17but if you look at the timeline
13:18of cinema
13:20Jurassic Park
13:21kind of was the beginning
13:21of real big CGI blockbusters
13:24and
13:25and I feel like
13:26it was a classic film
13:27but all my
13:28you know
13:28most of my favourite films
13:29were before then
13:30and
13:31when you couldn't do everything
13:33you could imagine
13:34and
13:35and so that's a great lesson
13:36as a film director
13:37is
13:37and to quote the movie
13:38just because you could
13:39doesn't mean you should
13:40it's like how to
13:42be restrained
13:43with these really great tools
13:44and how to
13:45like use the audience's imagination
13:47and hide things
13:48and
13:48and you know
13:49like build on those
13:51big reveals
13:52and
13:52and so
13:53it's
13:54it's
13:54when you've got all these
13:55amazing tools
13:57it's
13:58it's very tempting
13:59to just use them
13:59all the time
14:00and
14:01and storytelling
14:02isn't really about that
14:03storytelling's about
14:04um
14:05what you don't say
14:06or see
14:07and
14:07and how you
14:08hold back
14:09so that's like a
14:10great lesson from like
14:12Jurassic Park
14:13original I think
14:16everybody
14:16here
14:17here
14:19here
14:19here
14:19here
14:20here
14:20here
14:21here
14:21here
14:21here
14:22here
14:22here
14:22here
14:22here
14:24here
14:37here
14:38next
14:43here
14:46here
14:47here
14:49here
14:49A CIDADE NO BRASIL
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