Now, like a big dinosaur, I have to ask you about the dinosaurs.

Yes.

Whose idea was to redesign the magazurus into something instructive, compared to The movie version of the monster we saw in "Park Jurass III"?

I was worried about directing it to a movie version of the monster and that it was used to be really correct. That's how, imagine we are dinosaurs, the world is full of dinosaurs, we are dinosaurs and they make a movie for some people. And someone goes, "hey, we'll have an Asian man in this scene," and you go, "but to be more specific", right? And they go, "Oh no, but it's just Asian." That's how, you can have spinosaurus, and then you can have a totally different look. This idea that there is only one kind of dinosaur is crazy.

In essence, I saw him, "Okay, in the last movie, if it was Clint Eastwood, we will now have Marlon Brando." So, it was more, "Okay, let's get that spinosaur and start pushing and pulling the shapes and proportions and trying to make more character than it." I don't know, I can't really explain, but I look at two pictures just like in nature, and you can go personally, "it's more attractive" or "I think more interesting than it," and sometimes you can't articulate why, you just go, "I prefer it." Then you take the one, it's the new one, and you are messing with it and making two children and you say, "That". And, you take it, mess with it, and it's basically like nature. You are trying to develop an idea and it is very likely what is happening in nature. So, yes, I did a little bit of it with the dinosaurs, though some of them are established. Otherwise, you really don't have a fingerprint. He felt like he was one of the first things you do, grab all toys and want to make your own, kind of thing.

In the "Park Jurassic" tradition, returning to the original, it was always a mix of top visual effects and practical effects. Fix me if I'm wrong, but it feels like "rebirth" relies more on the side of things, not the dolls, the animatonics, such a thing. What came into that decision for you?

Yes, I mean, my background was computer graphics, visual effects. What you have learned in the hard way, I suppose, some of these films, do you go for many problems to do something practical, and sometimes end up replacing it in your computer. And it can be really worth it, because it was a great reference. It gave the actor something to respond to a set, and it can be great. But we had a year and a quarter, and so it felt like we didn't have time to make a pre-visual, all the animation that people make on trick sequences and set pieces. It also felt like animatonics - like a big, cool, crazy animation - it won't happen in time. And, it would have been a lot of resources and time and we probably couldn't get through this with just dolls and things.

What we did is, we ended up asking them to do what we called proxy dolls. In essence, they create shapes and silhouettes that were full, regardless of the creature, and then could enter the room and the dolls would enter and they would play their animal, and thus we could compose the impact. They don't look like dinosaurs, you know what I mean? But they are enough to make the actors respond to something, and they look scary. We had these dolls mutadadon and the whole scene diminished and worked perfectly with only the dolls, because the guys who worked, like, I don't know what makes you want to do it for living (laughs), but they could get into something pretty dark. Yes, all of them were mainly just items, things that could push the doors and work as such, but not - then replaced by the real photoreal dinosaurs.