For a movie that has gathered as fast as "Rebirth Jurassic World Rebirth", helps you have an AS on the sleeve to help keep things on the tracks. In many ways, Gareth Edwards is the perfect kind of director to bring to blockbuster like thisOne that is difficult for visual effects requires an amazing sense of volume and awe and takes direct inspiration from genres giants like Steven Spielberg. For the guy who helped put franchises as "Godzilla" and "Starwells War" in recent years, well, taking the jumping into the "Jurassic" sand felt like a natural next step. Fortunately, he didn't have to go alone. In fact, he benefited from probably the greatest creative force in the franchise outside Spielberg himself.

The final results of "Re -birth" may not have lived until the excitement before the publication, As I wrote in my review for /movie hereBut you can't say that universal paintings spared any expense. The studio restored the original screenwriter David Cop to form the spine of the story this time around, and its direct involvement - despite its unnoticed work of many of the sequels - of course paid dividends. Edwards explained how much and during a recent /film interview, the full and expanded version of which will debut on the site in the coming days. It is not always given that the screenwriter will actually be present and will be accountable in the room during filming, but Coep was a great exception. However, even in the days when he was not physically there, Edwards Found a way (To use "Jura Park" -I) to take advantage of the whole advantage of "Kimi", "War of the Worlds" and the talents of the writer "Spiderman".

According to Edwards, he retained the Coop of the fast dialing during production and ended up demanding all kinds of shots ... Even minutes before shooting various scenes.

What kind of world would you be if more directors were blessed The ability to contact Jurassic Park writer in 1993 And look for the last minute additions while you are on the set of the latest sequel to the "Jurassic World". As it happens, this is precisely the kind of dynamic director "Rebirth", Gareth Edwards, counterfeit with David Cop, after joining the production. While sitting in a detailed interview, the director told him /film that he was lucky to hit him with the screenwriter from the beginning of the production. However, humorously, Edwards was not fully sure what to expect from the recognized writer. As he explained:

"What was also super interesting was David Coep. People were - you read the script and you go," Okay, I would like to do the following, "and they are a little like," happy to spend that past David. " And so, I thought, "Oh no." So my first meeting with him was on the zoom and as soon as the zoom appeared, behind him was a poster of King Kong, the original. We just started talking about King Kong. And then talking about films with monsters.

I don't know how it was (a lot of time) - half an hour, an hour - and we just realized that we had the same taste in the movies. I think it was so useful for a short time we had, because everyone wanted to make a great movie. That's all someone wants to do. The only conflict so far is, what is a great movie? And so, if you can agree on it, you are halfway there. "

The attractive, fully formed script is always a boon for the director to join a project, and double, so when a quick movie like "Rebirth World Rebirth" came with so little time for initially. As far as Edwards clearly wanted Cope's work, however, there is always room for improvements and touches-especially when problems occur on the day of filming. Fortunately, Cop was just a quick message.

As for "Secret Weapons", Gareth Edwards' opportunity to write the Jura Park writer in 1993, whenever he wanted many ranks at the top of the list. Director "Rogue One: A Star Wars Story" is certainly well acquainted with the challenges of blockbuster recording In the deadline, but his latest film came with a built -in security blanket that he never had before. And the skills of the KAP were needed even after the filming of the latest film "Jura World" began. Asked about the writer's contributions to the film, even after his script was locked, Edwards literally pulled out his phone to illustrate how integral Coep in the film is:

"David Koepp is my Secret Weapon in That, On My Phone, I Can Text Him Any Of The Day. And I Would Ask Him Questions, or I Would Ask Him To Invent Some Different Dialogue or Something. Uber Chatgpt App. And I would write my bad version, just like a frame, and then I would hit "Send thinking:" If he doesn't write back, we'll shoot it, if he doesn't write for half an hour, we just have to go with my bad version. " Then all of a sudden my phone, like a minute later, would go (text sound) and then I would look.

And it was really depressed because it would have been so well written. And it would be the perfect balance of a little bow, it was thematic, there was a joke in it or something. And I'm like, 'How do you do it?' He is really good at the things I fight. That's how to get blood out of the stone with me, such things so I really had fun with it. I think it was great. "

In case someone is still wondering Why the movies or shows recorded during the writer's strike seemed a little offHere's a case study for the importance of writers to prescribe and reshape things in flight. Stay tuned to get the full interview, but in the meantime, catch "Jura World Re -Birth" at the July 2, 2025 cinema.