Steven Spielberg is almost independently responsible for creating American pop culture in the 1980s, as we know it. His work not only broke the commercial records and broke a new terrain in how movies could be made, but they defined the look and feeling of the 80s on the screen. He too influenced virtually every director of the last 30 years in one way or anotherSo it's hard for a high-concept Reeaner film not to inspire Spielberg, whether it's a movie adventurous film that grabs "Indiana Ons: Thieves of the lost casket", a scientific-family film that catches ET or A. Characteristics of creatures taking signs from "Jurassic Park" or "jaws".

Folding, feedback, nodes and complete recreations of Spielberg's films are common, but when it comes to films, Spielberg himself turned on, they become a big non-not for the legendary director. At least, that's what Gareth Edwards experienced when she worked on Jura World Birth, the last chapter in somehow just the big movie franchise for dinosaurs.

In an interview with Vanity fairEdwards talked about how Spielberg, who wants referral to other directors in his workAbsolutely hates quoting the screen. After showing the rough reduction in Spielberg's film, the Oscar -winning director had a big last note. "By the way, remove all the nodes and references to all the previous films of Spielberg and Easter Eggs" Park Jura ".

According to Edwards, Spielberg had a good reason to hesitate to call his films. "It probably feels like a snake eating its tail," Edwards said. "I wouldn't want to do it if I was them. But - because I'm not them, and I'm a fan and I love their work, and also the rest of the world, I feel like (they) the only people in the world who have a problem with this."

It makes sense that Spielberg would try to avoid calling for his own work, especially in sequels. Tell what you want for the "lost world" (Who /film claims Daniel Ryan is the best movie "Jura Park"), but at least try to do different things than just copy the first. As far as "rebirth" is trying to distance itself from the rest of the franchise, it feels much like the "lost world" and "Jurassic Park III" without a very original idea that is not just an old remix.

Although Edwards agreed to follow Spielberg's notes, he still tried to save as much of the references as possible, or at least find a way to use some in any case. "I think in the end we got the right balance. And I think it's just calm on his part," Edwards added.

Obviously, there was before there was a very different prolongation sequence that was much more than the first "Jurassic Park", reminiscent of the scene where the raptors were delivered to their pen. The "Renaissance" scene would include primates looking at something big moves in the trees, but instead of dinosaur, it was a bulldozer who arrived to build the lab that appeared in the prologue. (The monkey/bulldozer was lifted, and the film instead jumps directly to the already built laboratory.) In addition, "Rebirth" also had to include Mr. DNA's return, before it was at the end.

Another big note that Spielberg had for Edwards was To adhere to madness and to try and adhere to science. This has happened especially useful when it comes to Spielberg's biggest fog who remains in the film: Sequence with Quetalcatlus in the Cliffside Temple. This is clearly respect for "Indiana Ons: Thieves of the lost casket", which producer Frank Marshall recognized immediately during the filming. In the end, however, even Spielberg allowed the scene to remain as it is, partly because David Cop stopped with Edwards. "One of David Cop's favorite films is" Indiana Ons: Thieves of the lost casket, "Edwards told Vanity Fair. "So he never had to fight me for it."