You'll be hooked from, I guarantee you, from the first couple of paragraphs. But the book is one of the greatest, most imaginative books of the digital age. And so much that's in it has been appropriated in things like Ready Player One, the novel, and the film. And it's, I cannot recommend that book highly enough. It's very, very interesting. Snow Crash, Neil Stephenson, everybody should read it. Big praise. I like One Fish, Two Fish, Red Fish, Blue Fish. That's what I like. Well, that has much more resonance in all of our lives. Well, yeah, I enjoy it. It's more surrealist elements, honestly, but the variety as well of the subject matter. And I think that it has an educational value that, of course, everyone recognizes. But I think it sort of transcends the level that I think a lot of people find it in. And once you move, of course, from One Fish, Two Fish to like Fox and Sox for more, you know, for more advanced readers, you get a sense of appreciation of, you know, where you started, what's to come next, where you are now. It really was.  And so it bucks, you know, that sort of trend. It was very, very progressive for its time. Yeah, it's like Stravinsky in Rite of Spring. It was very, I mean, we look back on it now and it's, you know, a great classic, but at the time it was very divisive. But is the British publisher rewriting it to make it more acceptable for today's audiences? They're making it woke. Why would you even imply that a fox can wear socks? Asking the question is, you know. Will they even allow him to wear socks in the new adaptation? I wouldn't even, I doubt they would stop him. Seen as possible cruelty, apparently, by extremists.  I think a fox should be allowed to wear socks if that is his preference. I think so too. I think it's a preference. Yeah, and even if you don't support that sort of thing, you should be able to support his freedom to do that, to make that sort of choice. That's your thing. In any case, hello everybody. Welcome to EFAP episode 229. 229. I screwed that up a lot. I'm like, oh no, I got the number right. Gosh. I'm just going to nod my head and say yes.  Yes. Today we're doing something a little bit different. Have we ever done a jump back to an older classic and talked about it on EFAP? Um, I feel that we have, but I can't tell you what it was. Help us out. Have we ever done this? Like you guys might know. Chat, are we insane? Let us know. Someone said yes. Yeah, maybe. Um, yeah, we decided we'd shake it up. Do something a little bit different. You know, check out something. It's like an EFAP review episode. Yeah, kind of. I'm hoping we can, we can delve just as deep here as we would in the other thing. Misspelled world. Did I, no, I'm not, we're not covering Jurassic World. No. No, thank you. There may be some mention of the franchise. I can't imagine.  Were you omit the O? Oh, world. Like becoming Scottish or something. Would you rather go to Jurassic Park or would you rather go to Juice World? Juice World, because I don't want to die. I guess it depends on which Jurassic Park we're going to at what time. Well, the Jurassic World one falls apart too. So is there ever a functioning Jurassic Park? Like, well, that would be boring, so I'll be doing that. We are joined today by the wonderful Robert Maya Bonette. Welcome to the... I have to say, first of all, Mahler, thank you for inviting me. And second of all, I've never been, apparently I've had a Discord account, which I sort of forgot about, but I've never, I've never been on this platform before. Well, so I'm, I'm, I'm being, what is it called?  I'm a Discord virgin. I'm being divergenized by you gentlemen. It's a bit of chaos. I don't know what that says about me. We're injecting a little chaos on this stream, right? It's going to be relevant later. But, um... Oh my God. Yeah, for those who will follow in like open bars, real BBC's here and there, you'll know that me and Robert have had a couple of interactions in the past. So I've always enjoyed talking to you about all kinds of movies, TV, culture, history, all that stuff. Can I just think of it? Well, I'm a, I'm a Mahler fanboy, to be honest. I mean, I've watched your videos at length.  To watch your videos is to enjoy the length. I guess I would say. I guess you'd have to. And no, I find your analysis of storytelling quite enlightening. And I, you know, if, if I was teaching a college course on storytelling, which I've never done, but if I did, I would recommend people, especially those who are Star Wars fans, to watch your videos. As a matter of fact, I wouldn't even have to teach. I would just say, just watch Mahler's videos. There'll be a test on Friday. That's incredibly high praise. Because even I feel like I miss out on a lot of aspects of filmmaking, which is part of why I enjoy having guests like yourself to bring in insights that I wouldn't even think to address. Like a lot of the nature of the creation behind each of these films or what the culture was like at the time, what the history of a lot of the creators are, these are all like super interesting to think about in terms of how we engage with a particular project. Because of course, for my, I would say my whole life, I've, I've engaged with Jurassic Park strictly as a film series. But of course, it's an adaptation and there would have been all kinds of trials and tribulations to create certainly the first one. I'm not going to say there's no trials for creating the newest ones, but sometimes you wonder, at least in the script department, if they spent more than a day on it, you never. They were found guilty of sucking. Well, I don't know if you guys watched it's on Disney Plus, but there is a great documentary on ILM, Industrial Light and Magic. And they get into the technology. I mean, really you have James Cameron to thank for pushing ILM in the late 80s when he was making the Abyss, the pseudopod sequence, the water probe that goes into the underwater drilling platform that led to the T1000 Judgment Day and Terminator 2 Judgment Day led to the ability to create the dinosaurs in Jurassic Park. And it, it's an astonishing, as far as if you're a fan of the evolution of visual effects, you know, the very first character, CG character in a movie full on character was actually ILM did it in young Sherlock Holmes.  And that was the first, consider the first CG character in a feature film. And that was not very long before this and getting to, they were, because they were originally going to do it stop motion.  But I think one of the most shocking in my life, I'll never forget, I saw Jurassic Park opening weekend and the moment, you know, where, where Sam Neill takes his glasses off and looks at the Brachiosaur, taking, eating the leaves off the tree is still to this day. I'm thinking about it right now. One of the most, I think, astonishing moments in cinema history. I often am cited as awe inspiring as an example, like, because we don't have them anymore.  It was so, man, I think back to, I was at the Galaxy Theater and on Hollywood Boulevard when I saw Jurassic Park and I got to tell you guys, man, I, seeing that shot, I felt like Sam Neill.  It was just one of those moments why we go to the cinema. Yeah.  I mean, my God, man, they're, it's a very movie movie. Yeah, that's why we go to the movies. Yeah, no, this is one of the quintessential examples I would give for movies using their power. Like this is one of them. It's one of the best ones ever pretty much been obsessed with this since I was a kid. I've always loved it and it forever generates my hatred for every other attempt that they bring into the franchise though. I'm more concerned we're talking about how good this is and not how bad they are. But like I said, it'll probably pop up here in there. And it's such a great, such a great moment. I mean, even, you know, it's so great even before that when you see the, the dinosaurs in the distance around the lake, you know, and, and, and you see the, the children in the air, the, the, the diffraction of the sun, that is an unbelievable effect shot. And if it's when they're seeing it from a distance, it looks, I mean, I'm always talking about verisimilitude. It is absolutely real. And when you see that, it's like, oh my God. You know, it's, it's, it's, the genius of that is, is like we were saying earlier before we went live is that Spielberg shot it at our level. So whenever you see the dinosaurs, it's how we as human beings would see them if they were real. And, and that, that goes with you. I mean, maybe not when they're, the raptors are chasing you, but the first part of the movie, it brings us, it puts us in the position of the characters. And it's, it's so beautifully done. They still do make the raptors quite imposing. Like I think that's the impression, right? It's just that so the majesty is so beyond what we could really understand to be next. It has to try and simulate what it would feel like to be next to one of these creatures in real life, which is a, you know, movies try all the time. It's all about illusion, which is kind of interesting, Rex, what Hammond's character is motivated by. Like that's what this movie is in our world. But it's more to say on that when you consider it in universe, it's, it's seriously one of the most like, it's a special movie. How else do I put it? Like, because you would just say in how they may have gone with stop motion as much as like no shade to stop motion, but I'm so absolutely thrilled that they did not. Because the animatronics are out of this world good in this film might be the most impressive. I've seen a very well visual effects. It's really impressive for a film that came out in 1993. Like that's a, that film was aged incredibly well. Yes. Oh, yeah. There are so many of the sequences with the dinosaurs look fantastic with the integration of like the real world animatronics and the visual effects. It's so seamless. And I mean, in terms of like the shooting style, right of always trying to look up at the dinosaurs, like trying to get you sort of grounded with the characters. It's, it's, um, that film was filled with a lot of just intentionality and care in terms of like all aspects of the filmmaking, um, like, you know, it's extending to the script as well. It's just an incredibly tight film. Well, it's so iconic too, because you just talking about that scene with the brachiosaur and then it's like when the raptors first, we see them opening like opening doors, basically that becomes like a huge thing. Obviously the impact sounds on the glass of water, the puddle in the, on the floor. These are just things that everyone remembers. Um, what a phenomenal job they do of building everything up before the first T-Rex scene. It's kind of crazy how fast that film flies by.  And this is one of the many films I would cite that are almost like in this golden age of CG is becoming more and more of a thing, but they're all implementing it instead of just relying on it. Well, because, um, Terminator 2 uses a lot of practical effects for the T-1000 as well. Yeah. Like to practical effects combine with the visual effects partially because I believe when they were making Terminator 2, they weren't actually sure while making it how they were going to achieve it, like they planned it out, they were figuring it out, but it was so new and groundbreaking that there was kind of this fear of, can we even do this? Like, do we have the technology? You know, is this possible? Um, and I imagine it would have been the same with Jurassic Park as well.  Um, I could know it's and that ILM documentary that's on Disney Plus goes into that, you know, they really didn't know. And, and, uh, and like you said, a combination of there's some great practical effects.   I worked in, in, in makeup effects and it's hard special effects makeup to do that to create.  And it's incredibly convincing. Like you are, you really buy into the, the, yeah, man are alive, they're imbued with life because it's such an important part of the story is really accepting that the dinosaurs are living creatures with their own, you know, objectives and, and sort of sets of behavior. Um, it's, it's, it's really impressive. Like on all accounts, like from a production standpoint, this, this film is like pretty mind blowing and it's, it's, it's interesting to say to this day, cause it's like, yeah, it's, uh, like even as you watch the film now, you just can't help it be impressed by all of the care that went into creating these animatronics and realizing the visual effects and like the efforts made to integrate all of these things seamlessly to where, even when you're watching it now, you're like, was that, is that real? Like, is that, or is that like an animatronic or was that, you know, CG? There's a couple of shots. We'll go into more depth as we go chronologically. But yeah, there's the, it's just staggering all of the production elements for this film, especially, uh, I feel the script. I love the script in this film. I was about to say, I was about to say that. Very good, very focused and very deliberate. No lines are wasted, it seems. It's, yeah, this is, this is an incredibly expeditious film in terms of there's no scene where I think, ah, you could have cut that. It really isn't like every scene is essential and builds, uh, builds either like tension or character. It's all the more noticeable today when you have movies coming out that are two hours plus long. And I feel like they just, they just, they just crawl and drag forwards and you have entire like acts of movies where just you feel like nothing's happening and nothing's being accomplished and we're just dragging our feet. Um, entire scenes where you just wonder what was the purpose of that entire scene or this entire conversation? I feel like we've learned nothing. Like there's no direction in terms of this scene needs to do this, this scene needs to do this. We don't need to be wasting people's time because how, how long is Jurassic Park? Um, no hours. That's a long park. It is, yeah, it's two hours and seven minutes, but it feels like it flies by because there's so many things happening. Every scene as a point, you're always, there's always something to look at. There's always something to be listening to. There's always a conversation between characters who are opposing or there's this, this buildup of tension and you're just waiting for it to sort of something to happen and then you're kind of on the edge of your seat because of it. So you never feel like it's dragging. Um, and even the end feels kind of not abrupt, but you know what, you know, at the end, you're like, wow, they didn't have some final monologue into the camera.  It's done. I think, um, what, what, when you talk about like the writing what really elevates this film so much as the characters and that they're also distinct. Nobody feels the same as each other. You know, Grant Malcolm Hammond, like they're not the same people. They don't have their own idiosyncrasies and beliefs and, and, um, and strengths and weaknesses. No work is done to make sure that every line that comes out of all of these people is very representative of their core values, core characteristics. And uh, exactly.  And so you just don't care. Just the fact that you don't have characters to care about and root for can ruin tension that that otherwise might have been really good because you're worried about these people and what might happen to them.  But like Jurassic Park is a very focused, small scale story. It's just about this. It's about people in a park and the park also has dinosaurs. Yeah, exactly. And a lot of what enables you to buy into the tension and really and like, you know, the fear because I mean the sense of fear and like several of the scenes is palpable. It's an exhilaration, you know, like all of that stems from having an investment in the characters and it's an investment that gets built very effectively and deliberately over the course of the first hour of the movie and then, you know, continues to get developed even as all of the crazy dinosaur stuff is happening. Well, since we're already coming up to 20 minutes we should probably get started on actually breaking this thing down from start to finish because we're going to be here for a while. I'd imagine and I'm excited to talk about all the things of this film. What an opening, by the way. Well, so I've talked about this so many times but it seems to be, this isn't true in every single case but a lot of what I consider to be the greatest movies of all time. The first scene is super important for several reasons but one of the main ones is that it's going to be the whole story in microcosm. Going to be making a very distinct point. It's going to be a hook and it's going to be, you know, something that kicks everything off so to speak and I feel like this is one that qualifies quite a bit. Like what is happening in our opening and it's like, oh, well, it's the park, you know, getting up to probably some kind of regular operation being moving of a dinosaur from one place to another and you have shit tons of men, loads of technology and all kinds of orders and security and weapons everywhere and they're just trying to move a velociraptor into an enclosure. That is it. And the way this is built and shot it's like a horror movie. And the score. Yes, which we can't blame you guys but you haven't heard that. Yeah, you haven't heard the theme yet. No, the score is very doing it once again. I feel like everybody's had to have heard the theme. Everyone's heard it. Even if they don't know what it's from, everyone's. Yeah. Well, I mean, the great thing about John Williams is one of the things he's not necessarily known for is his horror scores. Like he scored Brian DePalma's The Fury. He scored John Adams Dracula and he, he's a great when it came to suspense and, and there's, you hear some of it in a lot of his Spielberg scores. Like there's a lot of great stuff in ET when you first see the extraterrestrials in the beginning of the movie, gathering plants and things like that. There's really ominous music but what he does in the beginning of this, man, it sets the tone right away and you don't even see a full-on shot of a dinosaur.  I mean, you're here to see Jurassic Park but the way they hide it and draw you in and the way it's shot, it's just awesome. I had remembered it as there were no shots of the dinosaur. It was only on the rewatch that I was like, ah, there is one like that's kind of clean enough. And I think obviously it's Spielberg having the close-up of Muldoon and then the Velociraptor, like this lock of man versus nature, which is entirely what I believe this seed is pretty much about. Look at the amount of man-made tech that's here. Even like the tint of blue around here, which comes across to me as green versus blue is a lot of what it can be for tech versus nature. Depending on your choices, of course, I like to look into these things when it's a movie this good. And yeah, like what is the big thing that fucks all of this up? Is they underestimate the Velociraptor's strength? Pretty much that. And then of course the Velociraptor's fundamental inability to understand like what they're even trying to do, like he doesn't know like, oh yeah, this is them putting me, like it's an animal, right? Who didn't live with humans? And it's just this fundamental clash of like these creatures that didn't coexist and shouldn't coexist really. Well, yeah, there's no, that's the whole chaos element. There's so much that you could never possibly be prepared for or understand. That's what the warning of this film is. How do you control them? Yeah, like the expecting that you can control them, like it's just an illusion. And yeah, this is obviously one of the big first examples of how ill-prepared this park is. You'll have him and telling you throughout, nope, it's fine, it's good, it's great, everything's paid for, it's all good, 100% it's gonna work. And it's just like we keep seeing all of these aspects failing, which is really important to allow the plotline to happen. The fact that this is an ill-prepared state of park, but at the same time, it's not something they've put zero money or effort into.  It's big old themes in this film. Yeah. And yeah, like I said, it's good for a hook because you, it's kind of funny looking back on it. Like, because now the problem with the newer films is they think like one velociraptor is boring, one T-Rex is boring. We need the hyper genetically altered super mutant dinosaur that can fly, go invisible, evade x-rays and stuff. It's kind of interesting how much you can trace that with other franchises running at the same time. Like we're terminating. Bigger, bigger, bigger, more. We can't just have a T-800.  And we got time travel and then we got different. And you see that with Predator as well. The new cool Predator. He was bulletproof. He was super big, tall, strong, invisible, running around while killing people, everybody in the forest. Never was just shooting your guns and exploding everything. And it's like, I feel like you didn't grasp at all what made these films so popular, but all right. It's something that can't help but recognize over and over when you're watching this movie is how small scale and intimate a lot of these tense encounters are.   And yet it's terrifying. It's really scary and it's got a lot of tension. There's not these insane explosions going on. These massive dinosaur stampede exploding volcanoes. A million like pterodactyls flying around, grabbing people. It's too much.  It's so much happening. But if a velociraptor chasing me in a kitchen, I can imagine that. I can believe that. That's why it's so scary. Nice and straightforward. Nice and terrifying. There's a thunder just referenced.  It's like, what? Yeah, that's pretty good example. That might be the best example because that sounds like a joke. It's a meme. You know what these are. What if there were a thousand of them? Oh, aren't you scared? It's not even as creative as like trying to create new crazy dinosaurs. It's just copy paste. Like the thing that you remember, you know, from the old better films. There's something to be said about the comparison between like is more necessarily scarier. And I think it depends on how you frame a scenario. Like we said, you know, this, that there's a velociraptor in a kitchen chasing two kids. Like that's terrifying. It's closed off. There's a very understandable level of threat. The kids are very vulnerable and they have to escape. And then if you shift that to, well, what if there was a thousand velociraptors across the whole city? And you're just like, my brain is just, it's like, I'm just thinking now about why.  There's like thousands of men there. It's it's it's bigger than like any of the individuals who are participating in that battle can like fully, you know, capture the scope of because they're just focused on what they need to do to get off of the beach.  We don't have any big sweeping shots of the whole battlefield because we're very focused on the characters. The soldiers. Yeah. And how they deal with what's happening to them with like, you know, we're looking at like Jurassic Park. All of the encounters are very intimate because it's always from like the perspective of like one or two, you know, human beings who are completely and utterly outmatched in terms of strength rather than like some big grand spectacle of, you know, like a thousand pterodactyls flying around like from a bird's-eye view of kind of like, how much can we ground you in this situation with these characters? It was like Robert was saying, right, in terms of the deliberate use of camera of always generally looking up at the dinosaurs to reinforce their scale. But it's also to really like ground you with those characters. It's yeah. It's someone in chat said it's personal. It feels more personal. How do you think? Because it's sort of like, how do you think Starship Troopers pulls that off? Do you get the same feeling with that movie? Because you have so many so many enemies, so many bad things that are coming towards you. That's a good example. Because that film is very intense. Yes. It feels very intense when you're there with the characters, even though you get plenty of like big sweeping shots. It always. Yeah, it always seems to be like the anchor of this scene or these scenes are the human characters in it and how they're reacting to it. And much like in Jurassic Park, when you're hyper focused on these very relatable characters, I think that that is what allows you to have these potentially massive threats out there and you can still accept the tension of the moment. I will say as well, Starship is another film where I'm blown away by how good the bugs look throughout both CG and practical. Yeah, I was going to say like Jurassic Park, the combination of practical effects and CG, you know, it's funny. That film was, I just recently watched the 4K disc of that and it's amazing how well the visual effects hold up. And because you know, there's people talk about whether like a lot of people say, Oh, I hated the CG. Visual effects are all about the design of the shot itself. And whenever you have a visual effect that is entirely computer generated, a lot of people and you see this a lot in the early days of CG, especially in space battles. There's all kinds of, because they can put a virtual camera anywhere, there's all kinds of movement that we know, like this is a weird concept to think about, but we understand the audience when we're watching a movie, that there's a camera there. Like we don't maybe recognize it as we're watching the film, but in the back of our minds, we know that it had to be filmed. Yeah. And when you have visual effects that clearly break the bonds of a virtual camera, like the thing about Jurassic Park is whenever they're shooting dinosaurs, there's not some gigantic sweeping virtual camera coming down from God's point of view and sweeping across the landscape with dinosaurs, you know, and that shatters the reality of it all. And so even when you're dealing with visual effects, you have to put a camera in a place where it's believable. I'm glad you brought this up. What's that? I'm glad you brought this up because I find it an interesting topic of attempting to basically make the camera movement seem more real than what you could do with visual effects, which is, you know, if it's a full visual effect shot, you can do whatever you want, framing. Yes, exactly. And but you still have to make it feel real. I mean, great visual effects should be seamless. Like you shouldn't notice them. And a lot of the time we get, and as much as I love Peter Jackson's Lord of the Rings, I'm reminded of there's a shot when Saruman says on Isengard, you know, he says, to war, the camera pulls back over all the orcs, the assembled orcs. Yeah, yeah. And that shot bothers me because it breaks verisimilitude. You could never get, even though it's a virtual camera shot, you could never get a real camera to do that. I mean, now with drones, maybe you could. But at the time, Definitely you could with drones now. Yeah, yeah.  Maybe with a crane.  So the camera could come down off that. And we know it's a visual effect shot. Lord of the Rings, it pushes the boundaries because at the time, you know, I forgive it. But in Jurassic Park, there's not one visual effect shot that betrays its CG origins because the way the shot is designed is so it's designed from our point of view, like this was how we would see it if we were in that environment. And that's something that I think a lot of the time filmmakers forget and they use visual effects to create fake moments of excitement or they try. But we know the audience knows that there's no, there's no way a real camera could do that. So those visual effects don't always work. But in Jurassic Park, the design of each shot is done in such a way that we as the audience, this is how we would see it if we were there and it adds to the movie and it's, it's, it's something no one really thinks about. But if you watch that film, it's every single effect shot is brilliantly designed. And when you get further into the franchise, especially when you get to Jurassic World, no one cares. You know, there's all these, these grandiose shots and it's, it's like that. No one would ever be able to shoot that and it's part of the reason it, the reality of it. And, and this is a, this is something I, in my life, I'm obsessed with. I'm obsessed with the verisimilitude of fantasy films and, and making it feel real. Verisimilitude is the quality of being real, meaning that I believe what I'm watching could actually happen. And the Marvel Cinematic Universe used to do that. For instance, if you go back and watch Iron Man, the first Iron Man, very much so. And you get to quantum mania and there's no reality at all.  And so that shatters the way a movie works on you subconsciously or when you're not, when you're not understanding why you love a movie so much. It's because you are tricked into believing, because movies are all made up. You know, you're watching something that is completely contrived. Allegedly. But, well, right. But when it's done well, you believe man. And the great fantasy films that we all love, like whether you watch like Mad Max, The Road Warrior or Fury Road. Yes, there's CG assists in those sequences, but man, you know that they were driving real cars. And those dudes on those sticks, when you're at the point where you can't actually tell if it was a special effect or like they did it for real, that's when you're in golden territory for films. And Jurassic Park never breaks that ever. Is Jurassic Park probably the second? Well, one of the most examples I would ever use for the implementation of CG, which is so cool because it's 93. You'd be like, surely it's going to be something recent if it's because CG just keeps getting better. And it's like, no, not even close. No, because it's not the CG. It's the design of the shot. You know, and the design of the shot from the audience's perspective.  No one's peeling off going down an off ramp in the sky. And you're looking at it going, okay, that looks beautiful, but that's not what it would really look like. You know, it's too uniform. And so even the skies across Coruscant, I'm like, I don't believe that. That's not what a real... It doesn't have anything to do with like the shot and the camera position. That's just where the... Yeah, that's just whether or not you believe that they would create traffic that way because I'm with you. That seems like a place to sky. And it's the whole conception of that shot. It's like, for instance, and I don't mean to harp on it, but in Rise of Skywalker, hyperspace skipping. You know, they already established what... If you bounced too close to a supernova, that would end your trip real quick. The idea that you could come out of hyperspace and the gravity well of a planet, much less in the middle of a city, is immediately you've shattered all Verisimilitude. Yeah, several times and seconds. I think as well, they don't even know where they're ending up. They're just hoping. Yeah, and when you watch the dinosaurs in Jurassic Park, and that's where direction comes in. You know, that's where Spielberg, Spielberg is one of the great geniuses in terms of knowing where to put a camera. And even though he'll do, like there's one of my favorite shots in a movie is in Jaws. And it's a shot inside Quint's office. And it doesn't even make any sense, but it's a shot where the camera moves up and it goes through one of the jaws of a shark that he has hanging on the wall.  It's a beautiful shot. It's completely contrived, but everything you need to know about Jaws is in that one image. And you buy it because Spielberg knows the man is a virtuoso when it came to placing a camera and making you believe.   I'm going to have them. They're going to believe. And by the end of the movie, they're going to believe what I tell them and they will believe when Roy Scheider shoots that compressed air tank that it would explode spectacularly and blow up the shark. And he's right. And he does it in Jurassic Park. He makes you believe every single camera angle in that movie makes you believe that dinosaurs are real. Even when it's just, you know, you're literally going through Basil X position when you're going through John Hammond's film explaining Jurassic Park, you know, you believe, man. And so many filmmakers today don't have that talent because they rely too much. Everything is pre-vised and you don't have the sure hand, the sure directorial hand because so many people are involved now. You'll go to an effects company. They'll design your entire effect sequence for you, but they're designing it from their perspective, you know, which is the, which is the effects perspective, but they're not thinking about it in terms of the audience's perspective. They're like, let's make a cool shot. It's going to be awesome. Well, I thought it was interesting to highlight the interest in keeping the angles of a particular style throughout to maintain a feeling of how the dinosaurs relate to us. But, you know, I would go as far as saying it's literally them being fans of Jurassic Park as viewers, right? The future creators of the Jurassic Park series that leads them to want to be like, what, you know, what worked about this film? It's like, well, it's just the majesty of dinosaurs. They're so amazing, right? And then they're like, okay, so how do we do it? It's like, well, get the CG guys to whip up the best looking dinosaur ever. I'll take it from there and just, you just film them as you are like an animal in real life with your phone. You're like, how cool is this? Look at this thing. And then of course they'll be like, well, now we need the big shot of seeing everything and then huge music swelling and the enormous, I forget the name of the dinosaur, but like, it just always sits with me in the opening of Jurassic World when the big water one is like on showcase and it just, it might be. And it, is it Mosesaurus? I can't remember, but it's on in Chatmite.  And I just remember thinking like, man, you didn't get it, you didn't get it at all because that film is such a like a soulless version of the first film in terms of like, what is the story? It's a park with dinosaurs in it that's working kind of and then it all goes wrong and people are screaming and dinosaurs are like slasher villains, right? You're like, no. Yeah, it's like they, it's like, yeah, they didn't take quite the right lessons from it in the way that we see with Star Wars where, you know, we always have to see lightsabers and there always has to be that's the, it's not really like it wants to focus on the aesthetics and a general vibe instead of going back to the foundational steps of, well, what made that thing a classic? Well, what made these things very memorable? Well, maybe we don't have to worry about. I mean, there weren't like memorable, likable, interesting characters in Jurassic Park.  They just totally skipped over the meat of it. Jurassic worlds.  Yeah. Well, you just, you've just.  But you just quantified the difference between great genre cinema and mediocre genre cinema and it comes down to intent. And I think you just said it. It's a park with a bunch of dinosaurs, but if you don't have a strong storytelling point of view, which is what a great director brings. Setting, it's not the story. That's right. That's right. And, and every, you know, I look at some of my favorite directors working today, like David Fincher. You know, the man's, he's a clinician in the way that his shots are set up. If you ever watch, there's a great video on YouTube about how he shoots and how every shot is composed and even when the camera pans, it has to be a perfect pan. And I think Spielberg's a little bit more loose when he shoots. But if you, he just inherently understands from a design standpoint in his mind, I think he's got a little bit more jazzy as he's gotten older, you know, cause he wants to shoot things faster and he has a crew that knows what he wants. But the composition of the shots in Jurassic Park are so thoughtful and they're so, and the collection of that thoughtfulness in a movie is what makes it, I don't mean to be so, I don't know, spiritual, but that's what penetrates your soul as a viewer, you know, and, and, and the reason why Jurassic Park had such power was the view, we believed it, man. Like, like even, even the beginning when the helicopter lands on Isla Nublar, Nublar, Isla Nublar, you know, and you hear the Jurassic Park theme in its full glory as, as Ian Malcolm and everybody's like, landing, you're, the audience, the grandeur of that is so, you're like, of course this is where dinosaurs live. Even though they shot it in Hawaii, it's, it's, they found the perfect place, the waterfalls and everything and, and Spielberg knew he's like, this is the, we need to convince people that this island is where dinosaurs would live. And when you hear this John Williams music and you see that helicopter land, you're like, of course, man, of course this is where dinosaurs live. You believe it because he knew, he knew that when this helicopter lands, it's just landing. It's not like there's, you know, petrodactyls or whatever flying around before the helicopter lands. It's just a helicopter landing to that grandiose theme. But you believe like, yep, this is the island where dinosaurs live because Spielberg knew he knows how to make you believe.  Even though it's like, well, the context is a bunch of people are coming to review whether or not this park is safe and viable, which sounds so much more boring when you put it that way. Like, I know, I know, right? But he makes you believe that you're there. Like, yes, we're, we're, we're basically in, in here we have Osha, which is, is the people that make sure movie sets are safe. Boring job, but that's all they're doing. I need you to come check out my new park. Even the audience is like, no, it's gonna go awry. For a movie that is so, especially in memory, you remember a lot of the grandiose shots and the, you know, the intensity of a lot of it. It's very restrained. I think there's a good, there's a good amount of wisdom in what to show, what not to show and when to show it. Even rewatching it, it kind of surprised me how it was constructed in terms of when we see dinosaurs, how we see them and the gaps that exist between you seeing them. But there's never this impression that we have to hurry back up and get to seeing the dinosaurs or that any tension has been removed because you can't see them when Laura Dern and Muldoon Animal Man, when they are going to check on where Arnold is with a power, they have a whole sequence where she runs and the music is like, and she just runs into the compound. There's no dinosaurs or anything, just a woman running through the jungle for a bit and into a door. But it has this tension because you've been told what velociraptors are capable of, the person who respects them the most. Yeah, right here, exactly. The person who seems to respect and fear them the most is the one who's really telling her that you need to run. There's this implication that they are out there and they could attack at any moment. And no dinosaurs whatsoever. You don't see them. You don't even hear them. As far as you know, they might not even be there. But there's still an immense amount of tension there. And they could have had, if this was the modern movie, they'd have four of the damn things coming out of the woods, nipping at her heels and she barely is able to get inside the door before they all crash around and they fly out of the ground. And then they come in, there's helicopters and they got parachutes on and it would just be crazy. And that necessarily doesn't mean it would be bad. You could do that scene really excellently even with being very explicit about how they're being chased. But this film doesn't do that. It takes the other route where they're not even present, but there's still tension. And it does seem... Well, I think the tension come from the sense that there is a presence there. There's a presence because you know that there are dinosaurs on that island. Yeah, you can't see them. You know, they're there. There's also like the tension in the way that the characters that the characters kind of feel like they're around somewhere, right? Like, it's like the characters reactions to the information that comes to them is super important in terms of, you know, essentially evoking the same feeling and you provided it's all built up effectively, which in this case, you know, in this film is the case all the time, basically. If all these grounded, believable characters are constantly on edge and worried and acting as if dinosaurs could get them in any moment, then even if you don't see them, you are right there with them and you think, oh yeah, dinosaurs could get them at any moment. So I'm, you know, I'm worried for them. There's anxiety in the air. Yeah. So Muldoon and Alan basically like keep beefing up the raptors throughout the film with their descriptions and then there's like several big sequences with just the raptors. It's so simple and yet so effective in terms of how you can do all this kind of thing. Some of the best films that involve monsters, you don't see them for a while. That's right. It's all that tension building, all the suspense and then the payoff. It's just tried and true. And yet a lot of people take from that like, oh, well the best part is the monster part. So just do more monster parts. You wonder how much of like filmmaking now is, oh, well everybody will talk about that big potent moment in the film or, you know, whatever handful of it be. Yeah, this is a big scene. This will be our big thing. Then all the posters. You wonder sometimes that people forget. Yeah, but like there's so much work that was there was so much groundwork that was laid beforehand that feeds into that scene. Like that moment on its own. Yeah, it's cool. But like it's all of the material that was building that moment up before the film that's super relevant and important. It's like in being so fixated on if you look at, you know, like Jurassic World, right? These big epic moments that you forget about all of the character work and the tension building that facilitates that moment, the moments in Jurassic Park being as cool as they are. Because yeah, the velociraptors are built up over the course of like an hour and a half of just like gradually building up and receiving information on them. And most importantly, the perspectives of characters like Muldoon who was very familiar with this animal and like even he's nervous about them. You know, and he's the super trained expert. Like it all just feeds into making those moments awesome. He has a line where he says something like I've hunted just about everything capable of hunting us. Yeah, that just like the absolute family. I mean, because I really like Muldoon for how little we get of him. Yeah, he's awesome.  Yeah, like that's that's that's him. He's just like really that's what should happen. His character is used as the villain in all the sorts of other kinds of stuff, right? He is the character, the hunter or the warden kind of character. He's the bad guy. He hunts them for, you know, for the joy of hunting and he's kind of got bloodlust to him.  Reference is perfect rags is the guy in Fallen Kingdom. There is a hunter just like him in that. Yeah, he just takes rips tooth out of teeth. Sorry, tooth out of dinosaurs. And then he gets his comeuppance.  Well, a lot of the name of the guy in Rescuers Down Under someone in chat will have to remind me of a name who's got Joanna as the guy. Remember Joanna's name, but I remember. I don't remember his name, but he's got like, you see this guy in modern stuff is kind of poisoned you to thinking. Oh, that guy's the villain. I can tell because I've seen movies and that's obviously going to be the bad guy when he's just like actually super responsible and respectful of all these creatures really. Well, I think one of the things with Muldoon that helps him is that even like with through everything you get the sense that he has reverence for them like that he respects them. He knows what they like. He respects their power. Yeah. He doesn't he doesn't treat them lightly. Like they're just little, you know, like caged poise or something. Like he knows that they're animals and he knows that they're intelligent. And then of course it leads to it leads to that pay off. Well, it just I've always felt he's like symbolic from the start to middle to end of man directly versus like what is man capable of versus of like the nature of a velociraptor and he loses. Yeah. And he's outclassed for the very reason that Alan leads out in his first scene. Which makes it all the more terrifying when people who aren't experienced hunters have to deal with velociraptors that the experienced hunter got outclassed by them just reinforces just how tense and scary that encounter is at the end. And I love as well. It's such an iconic line.  Like by the way, can we talk about Spielberg's knack for casting? Yeah. Sure. That actor and his name alludes me. But again, I'm just Bob Peck. Okay. In terms of verisimilitude, when you cast an actor and he looks the part that guy looks like I mean, you believe you believe in that guy and he says clever girl, you think man like he's going to survive. Yeah. That guy knows what's up. You know, he's got that British face that accent and in America, we believe that anyone with a British accent is smarter than we are. Mostly you guys might laugh, might laugh, but actually I should say look, there's so many different great British accents. I don't when I watch like a Guy Ritchie movie, perhaps those British accents are different than the ones I'm talking about. But Americans were used to that. And when you when you see a British hunter dressed, you know, as if he's in India colonial in the during the colonial days, we believe that those guys knew what was up. Yeah, he's a game wasn't from Kenya, right? Yeah, totally. And when he says clever girl, it's like that's a one liner that Arnold would say. It's amazing that he can deliver that in a way that makes you respect him just about when he's lost and about to die. It's like, totally, totally. And and and when he does because you again, this is Spielberg's genius. You believe man that he's going to prevail.  And then of course, the rap is going after a wounded woman and kids after taking out the the guy who's probably best suited to take them on is raises the tension further and further. It raises. Yes. And and again, you know, not to belabor the point, but that's why Spielberg is an effing genius. Oh, yeah. He knew everyone knew what they were doing when they were making this. Yeah. Um, so why don't we talk about the next scene? Making great time. All right, let's do it. Um, so yeah, to me, the first scene is like a big old, as I said, hook and a figure focus on thematically what we're going to be dealing with. Next scene is almost strictly plot. You still get character in all of these because obviously that's where the information is coming from, but it's like lawyer arrives on what is a really like dinky and strange method without an welcoming from Hammond is it just represents how much he's not favored. This is this is the lower end of the character in terms of value. Nobody likes the lawyer. He's he's kind of annoying.  He has many lines that relate to him just man being like he just doesn't understand much of anything out of his element here. Absolutely. But obviously he represents a very important part of the film and yeah, they basically just explain the the park is being built and a lot of insurance guys and other investors are not sure they they might want to ask the program because it just seems to unruly sort of thing. They need reassurances from experts. You have to grab some of one of them that has been suggested as a more trendy one to get a an approval from is is Ian Malcolm and then he's like he's looking for some others more classic types being the archaeologists that are currently under Hammond's sort of money right now. He's funding their current expedition, right?  And yeah, so this is just making clear that that is going to be why everything is happening. It's very straightforward. These are the kind of things you would expect would happen. And to be honest with you, it wouldn't be long before there'll be a hell of a lot of government intervention with the more knowledge of this place getting further and further well known. Yeah. And ending with a big old shot of the mosquito in amber. Yeah. It's nice in terms of the level of symbol as a minute. Every time. Yeah. And then next scene already, it's just like what happens blood suckers and Alan and Ellie are just organizing their architecture. It's just let's sort of set up expectations in your mind about these two characters because it's all just character, right? Yeah, the big site. Who are these people? And of course, you know, brought forth through the performance as well. You just get a really clear sense of these as individuals, you know, rather than just people who have been plopped into like a dinosaur movie. Well, what's Alan's first line?  There's a couple of references in this film to him being almost incompatible with technology. And I've always seen it as a symbolic again of him being more in tune with nature than tech. As he mentions, he mentions that when they're using the computer to basically like map out the area so that they can find all of the bones, I think he said something along the lines of like, well, what's the fun in that basically, the fun comes from digging like what's the point of digging anymore? Yeah. Yeah. Yeah. That's fun in that. And as he points to it, it goes staticky. And I think she says like he's Dr. Grant isn't machine compatible. And yeah, just the continuing themes of the excess technology or new advancements in technology and man versus nature. The grant throughout this film seems to be the primary character that respects and understands everything that's happening on a more fundamental level. And what's ethical? What we shouldn't be doing, but doesn't necessarily like start up big old debates about it. He's just he's always acting in the interest of trying to make sure everything works out because like, you know, that comes into full clear when they're talking in the when they're having lunch, he's like the last one to give his opinion.  This is all great, isn't it? Well, that's like that's seen as rich thematically. Well, yeah, because like the next thing that significance that happens is Alan Grant terrifying a child in the best way possible. Instantly makes him my favorite character. He's Alan Grant stocks instantly rise. Well, it is great because yeah, what seven, eight minutes in and this is the big setup for what dealing with a raptor is like and this film because I don't know how accurate would be necessarily to what we know about raptors compared to other dinosaurs. But this film kind of makes raptors seem like the most threatening dinosaur that's ever existed. Like, which is kind of interesting, right? Because with T Rex, everybody knows what the T Rex is. It kind of like speaks for itself. Whereas building up velociraptors. Yeah, it seems like this film kind of that was a goal was to build them up to the point that they're the final set piece. The T Rex is kind of the first set piece of the movie. Yeah. And a lot of it comes from the velociraptors sort of building up their intelligence and their coordination. Yeah, they do a good job at sort of displaying different kinds of danger. The T Rex isn't the same kind of dangerous as a velociraptor is, but they're both very dangerous. Yeah, exactly. Doctor Grant destroys kid with fax and logic. Hell yeah. Debate one. Because yeah, the kid is basically like how they sound like chickens and idiots. It looks like a chicken. Yeah. And then Grant is like, you know, what's so neat about them? And he throws in the line by the way, you may expect that they're like T Rex is where if you stay still, you'll be okay. So that's just going to be helpful for later when that's re-implemented. But he says no, they'll be staring at you and you'll be staring at it and then you'll be attacked, but not from the front from the sides. They hunt together. They use coordinated attack patterns.  Not from the front from the side. And then what happens? What happens to your boy Muldoon? That's the thing. You could you could mix the two scenes together. And there's a lot of setup and pay off in this film. They build up so many things that come back to be leveraging the story later on. It's really good stuff. And yeah, and then they have the little chat about kids. He's on a more character like fundamental level. He goes through a lot in this about dealing with children finds them all to be rather annoying and yet is probably one of the best carers of the children in the whole movie could be the most characters. When push comes to shove, you know, he he leaps into the fray and he does what he thinks is right or he does his best. You know, probably best summarized by that moment where she falls over.   He's like, yeah, get off. Just like a he's he's probably the better father that he realizes potentially. It's a nice little art to have running for him throughout the film. And it's not very complicated either. Like none of it is particularly complicated, but it's effective. Well, and I think it's sort of representative as well of this, this taking care of what we're supposed like what we're dealing with in front of us, you know, having some kind of deliberate consideration of everything we're doing. Meanwhile, of course, like humanity is ushering in this whole new species and they're doing it in the most clunky and disrespectful way and it's causing significant problems meanwhile, like I said, he's thrust into a position to take care of two kids and he does wonderfully with it.  I think they take every opportunity they can to have that comparison throughout the film. But also what I love about about this is it sets up the idea that paleontology, you know, that's that's all we have. And when I was growing up as a kid, you know, I love books about dinosaurs and you realize these poor guys, the men and women that are delving into the past of our great planet. All they have is fossils. They have nothing, you know, and it's setting up that great moment we talked about earlier on when when he finally sees the dinosaur, but this scene it's like this is where he spent his life. This guy, this poor dude and his girlfriend. They just are digging in the dust and one helicopter lands and all of their reverence for history can be disrupted. All of their work can literally be swept away with a gust of wind and and it kills me every time I watch this scene because I'm like, wow, man, these people, they've gone to college, you know, they spent their lives in the service of digging into the ground and they find one little fossil with their little brushes and I was like, oh my God, look what we have.  Totally. The scientific method out the window. Well, and it's a great way to like all this guy cares about even though he's a lawyer, the actual scenario of his arrival at this site. It says so many things about capitalism, about the respect of history. You know, like he's like, who cares about paleontology when we've got Jurassic Park? Well, that's the thing, right? Because reference Hammond would probably say definitely respects this dig. He's paying for it and all that stuff, but he doesn't treat it properly, which is represented in his park. It's like, it's like it's there, but not there fully. He doesn't fully understand what he's dealing with. What is this place? Why should you be giving it more care? And he's just like, well, it's, you know, it's where they dig up the bones. And then that's how they find out about the dinosaurs. Kind of the same as when people are like, oh, that animal, that wild animal. Oh, I want to pet him and squeeze him and everything. It's like, why don't you just leave it alone? You know, like why don't you just respect it from a distance? It's kind of like that. Yeah, the considerate thing to do would be land further away and walk here. But oh, well. And yeah, you have the sufficient outrage from Allen and Ellie, but then they both realize, oh, this is the guy who's funding us. Right. And they're immediate pivot in that demeanor. I really love Richard Amber throughout this film, by the way. He's so powerful. And so charming. Yeah. He's so much fun and everything, but this is just that underlying like he knows all of this is holding together with just strings and he's so desperate to get it to the world. He's so desperate to give people the experiences he wants to see. His enjoyment almost comes directly from other people being like in awe of the stuff that he can show them. It reminds me of prestige, actually. Yeah, it was a look on their faces. Yeah, it's a really he's very, very unique in the whole storyline for his point of view. That's that's what he's motivated by. But at the same time, he'll have a crossover with lots of different characters at lots of different times because that's thing, right? Like everyone's core values are different, but they'll all intersect at different points. It creates for really good banter bouncing. And because like this would be a good example, right? Those two are outraged at what he's done to the dig until they find out he's funding it.  And he's like, I'll give you lots of money. And they're like, Okay. On your dig for the next three years. Like, yeah, that'll be money is a it's a thing. Does do the diggin and eat money. Still probably wouldn't be enough if they knew what they were getting into with the whole getting eaten by raptors and stuff. But yeah, I didn't mention. And yeah, that's that. It's all sorted. And it's like, so Jesus Christ, we're moving so fast. Like we've already accomplished so much in terms of we've established our main heroes, the main plot line thrust for everything happening, what's going to be there and setting up exactly how this is all going to go already. Plenty of clues. It's like, so what's next? It's like, well, kind of the villain set up scene, which is also very quick. Or a good old Mr. Nedry Dennis Nedry played by the wonderful Wayne Knight who I know from this rat race. He was in Seinfeld as well, right? Don't forget his great turn as one of the people in basic instinct. Oh, yeah. Isn't he's he's he's he's questioning Catherine Tramell. He says, you ever tie him up? His name. He plays Mr. Corelli. It's like sweating at me. Oh, yeah. Docs. Docs. We got that's in here. So we were talking to me in Rags where we were rewatching this about how memeable this film is and how it's really evolved well into sort of modern culture. So many funny, there's like genuinely funny and then it can be turned into so many different applications for making really good jokes and stuff. The meme factor for a film is a thing and science will study it years from now. I'm sure. Yeah, this idea of this film came out so long ago and yet so many of its scenes are not just iconic, but at least in terms of Internet culture, they've been able to just persist through memes, which I don't know. There's something. I don't maybe there's something there because it's not often that really. I mean, how often is it that really bad movies that people don't care about get memed a lot? It happens. But it happens. The room was one of the biggest meme movies ever, right? Yeah. But I think the interesting comparison we were thinking about is the meme factor for the prequels versus the sequels. Yes. Prequels equals don't get memed. No, because no one like like everyone's a lot of people are super defensive about them and no one likes them or so few people like them relatively. So, you know, I don't know. It's something to I don't know. I don't know. There's something there and we'll find out what it means in the future probably, right? It's we're too probably in the era. The era has to be complete before we can look back or something. I'm not totally just making this up as I go. Hey, the this is just setting up and it's really quick. He works for Hammond. He's he doesn't feel he's being paid enough with what is done with such a really great line, right? Like he looks down at the bill being delivered and he's like, don't cheap out of me now, Dodson. That was Hammond's mistake. Like, yeah, nice. We know why he's here. Yeah. That's what I mean. He's so simple, so quick. That's his motivation. And they even show us like the technology's got to steal the thing and his role is going to be enough to get in. It's done in like a minute. And you even have Wayne Night making an absolutely bizarre noise. This day, I remember jokes about how he sounds like a velociraptor. If I can play it for everybody. He's a predator who prayers on other people. His sustenance comes from others. He's great. I don't even know what the three line would be there, but maybe there's something I don't know. It's cool to compartmentalize. That squeally does. I just played it for the stream. There you go. It's a I don't know. It's it's it's such a weird noise, but they are just Wayne Night being very, very happy and excited, which is cool. I think the angle here is that he's just like, oh, I'm like like a 007 type thing here. Look at my technology. It's all secret and cool and it still works. They call excited. When he's going to be the biggest reason everything falls apart. Yep. I thought it was the can. I was certain it was him because it doesn't make that noise later when he opens it up. I don't think. Love that squeally does. Yeah. But yes, you could say the greed of of Dennis is why at the core everything falls apart because this film definitely has things to say about capitalism, but it's like a super unregulated and focused view on making money is obviously going to lead you to making extreme unethical mistakes. It's a reason why everything needs focus, understanding wisdom, regulation.  And yeah, then we get Ian Malcolm introduced. And it's like, this is the last thing we got to do before we could basically start the film. Let's set him up. And how great, how great is Jeff Goldblum? Oh, he's fantastic. Yep. I mean, I know he's been mean to death. Everyone's seen all that, but his performance and the classic line that he has in this movie, you know, just which one? Well, yeah, right? Actually, the it doesn't even happen yet, but but he's so great and is flirting with Laura Dern. I mean, perfection. Yeah, I was saying it almost feels like it wouldn't make it into newer movies. Him just being so open. No, it'd be a toxic male fiddling with her hair. Yeah, that's not a lot. One of the things he says to her is like, you would know all about attraction, wouldn't you? Like Dr. But it's so great because, you know, this is what this is this is this is classic movie banter. Yeah, this is what people used to do. They used to flirt with one another and and it wasn't it I guess maybe it's my movie. It's my movie goer privilege showing. But I mean, come on. This is classic character building. This is fun. The audience understands it. I mean, we live in a culture now where you can't even talk to somebody without somebody going I didn't appreciate the adjectives you used. What about those adverbs? Can you change them out? But, you know, Ian Malcolm's like he's Lando Calrissian. You truly belong with us here amongst the clouds. Yes, he's yes. Yeah, he's super charming and he's he's as much as it's so cool to see the character. He's rock and roll, man. Well, yeah, he gets called a rock star, right? Like he's I love how he's so interested in just seeing if he can get him with Ellie. But at the same time, he's probably the most passionate and well-weirded sort of criticism of this whole part comes from him. It's you know, he's more than like one note. He's got a lot going on. And yeah, I don't know that it could have been nailed as well as with Goldblum. He's he's great as him and as a result, they continue to bring them back in the hopes that they can, you know, him and Alan and well, they will be the magic again. Yeah. Yeah, that's because that's what made the film good. Just having those actors, not about what they're saying or how they deliver it. It's just having them. I suppose it's nice that they don't all get murdered or something. I don't actually know. I haven't seen the new one. I assume they don't die though. I assume it's terrible and awful and horrible. Is that yes? Oh, it will hurt your soul. Oh, it really will. I think that's one that everyone wants to see in our audience. Go watch Dominion and tell about how bad it is. It's here's the thing. I mean, I've worked in the entertainment business for 34 years and and a while I've worked at the indie level. You know, I've never had great commercial success. I did I did buy the script for Agent Cody Banks and I I'm the only single card credited producer on that film and I watched I watched a script that was written as Ferris Bueller meets James Bond and when it could have been a huge successful movie and they decided after the studio bought it, you know what? We should make it for tweens for 8 to 12 year olds and we're like, well, the whole point is it's Ferris Bueller meets James Bond and we'd already sold the script. So we couldn't do anything about it. Damn. And it was like we developed this property to be what it was this and you guys are changing it and dumbing it down and making it for children when it should have been and I watched it happen. So I've watched this process from inside occur and when you watch Jurassic Park Dominion Jurassic World Dominion. To me, it's everything wrong with corporate corporate IP stewardship in that they they a corporation should never and anybody who works for a corporation should never be in a position to define storytelling. And the Jurassic World franchise is a product of corporations defining storytelling. And I was going to say quick Malcolm's speech in this about what they've done here is so applicable to the modern storytelling industries. It's unreal. Oh my God. And and and it's and applicable to the franchise. Yeah. Yeah. You you watch Ian Malcolm. It's a cautionary tale about what not to do. I mean, they didn't know there's going to be six Jurassic Park films. But he's it flat out. He says it flat out and no one heated his warning not in this movie and not the subsequent five other films. No, that his character gets like chewed up and used over and over again to sell the future movies. It's unreal how much this that light is aged like well, every best thing ever. I was going to say why does like something better than that something that makes that light or makes that speech go on forever. It's it's applicable on so many levels. It's amazing. We'll probably talk about that more so when we get there. But do you think that Jurassic Park is the most like ironic of all of the terrible, you know, essentially I piece that have been ruined. What do you mean because of what the film's about? Yeah, because what the film's about and the things that the character sort of specifically say how accurate it could be. You know, it's got to be one of them. It's up there today more invented better wine. It's like wine, but better. Yes. Yeah. And it ages even better than wine because it's better wine. Oh, nice. Now there's the thing that's very much worth highlighting here is that they're all without the seatbelts for now because it's safe and then when they're going to be landing, he says it's going to be rocky. It always is so everybody built up and Alan's belt is not he hasn't got the male and female sides of the connectors. Everyone else does and you know Hammond is like, you know now and come on by the time you put it on will be landed like which I think is a good representation of the lack of safety sort of things that relate to the park and the back of their ill prepared because they're all fussing over it. They don't seem to be able to figure it out which it's like it's a belt. How could this be hard? It's like a big mistake or whatever. But there's a lot of that throughout the film, but it's also pretty clear when you start to think about it what it represents the old he can't create a belt out of female female. Right. And it's like, well, what if you time together instead of thinking a man that'll work well enough for what I need and it's like, oh man, yeah, you find a way. Ha, when you're in when you need something done with something's got to happen and I've got to think about later on the film where Dr. Wu explains that all the animals have been engineered to remain female to they deny them the sort of development into male and so you have no worries about any any offspring and then of course in Malcolm says, well, you know, he has a will go over it but he's got a pretty good speech in that scene about how this is an insane level of power you hope to control and you won't be able to and that life finds a way. No, no, no, he says life finds a way. That is very important. I will. It's so weird. Life finds a way. Well, this is the way that one of the first things he says, I think it's like, so you guys dig up Bones, the sort of like agrees that he goes, What? It's so funny because yeah, obviously, Sabdiel is playing an absolute very normal straight man type character in Alan and you like you can tell he's got a lot of just issues with Ian as the first half of the film is going finds him frustrating because they're such different people. Yeah, which leaves them landing. went over and The car ride begins and we get a reestablishment from the lawyer that hey if this place doesn't pass then You know, we're gonna be shutting you down Which I think is the most interesting right? I think Hammond points this out the one that seems to be most against him at the beginning as the lawyer Well, everyone else is sort of like on board for the adventure But by the time we actually get through the initial tours They all teams flip the lawyer is 100% on board and everyone else is like I don't know about this Seems like you're holding on to much more than you can necessarily bear Which brings us to the Brachiosauce scene One that I'm the famous Yes, the 20-minute mark and they're now showing you showing off to you what you're gonna be gaining from watching this film, right? and What a good idea to start with a very huge But still the more you know what I say harmless, but I'm a herbivore Which there's something about the way that they approach doing the build-up in this film of what dinosaurs they show at what scenes in what order I guess because There's so many things you if we had a completely neutral state What do you want to nail with dinosaurs like well, we gotta have the t-rex like yeah, yeah Yeah, we'll have that it's like raptors being the like super fast and scary and vicious Dinosaurs again. We want to have them is like what else like well you're gonna want to showcase the majesty of The life itself right it's not you don't need them to be killers to be interesting and that's one of the things I think that's just completely gone from any of the newer iterations of Jurassic franchise Wasn't really about the fact that they kill you That makes for really interesting sort of storytelling tension and stuff But a part of this was supposed to be that dinosaurs are so incredible and amazing because they're their life That did exist once upon a time and nature itself is enough to marvel at and to capture that is honestly difficult I'm impressed that he managed to do it so well. It's feel big But it's not in you know too much of a surprise being that he's made so many incredible films as well So we lost Robert. Yeah, we did he's gone Well, you'll be back, but Yeah, I don't know. What do you think of the seed lads this? Because it is I think one of the things that's worth praising is the way that like when it rears up and Grant puts his arms out There's a good direction in terms of what the actors are doing. Obviously, there's nothing there for them when they're acting it out So good direction between what? Like they need to be an understanding. This is what your character is doing This is what you're reacting to so it helps make the thing that's added in post and CGI more believable Because much like we were talking about earlier with like the velociraptors in the jungle if all the characters are acting very Realistically and believably as to their environment then it sells the environment and that's the same way that how good it looks does When Thanos was made, you know, we had the big Thanos head that was up tall Which was yeah, it was very goofy at the time, but it's so that they knew where to look to Thanos's face And in a lot of other Scenes that aren't directed well or another other productions. You have the special effects of either Force perspective or stuff that's added in CGI things of that nature and the real people in the scene They're not looking where they need to be looking They're not looking at the eye level of the character that's being put into the movie and so there's that big disconnect It's like why are you looking at it? Like you're supposed to have this the this fairy or this something whatever it is That's in CGI, but your eyes clearly you're not following this character. There's something something along the way The communication was broken. I Mean it was that helps a lot in the scene to say I was lucky that Robert got to talk about it because he'll be back He's just like he's gonna be out for this one, but luckily talking about it earlier It's um, it's this scene is iconic like this There's no other way to describe it real well, that's plenty of other ways to describe it, but it's iconic I think the one thing this film can benefit from that. It's very rare to benefit from is that uh The insane thing that we're seeing it was a thing. It's not made up Like at least not the wholesale made up there is Yeah dinosaurs existed what they look like is kind of Kind of hard to say sometimes. I think like our perspective on dinosaurs and what they look like has changed a lot Over recent years it seems But I mean yeah, you have a sense of what a dinosaur is and just getting to see one walk around and it's the It's it's how they build up to the reveal, right? I mean not only in this scene, but like the 25 30 minutes building up to this moment The like just having it be focusing on the characters reactions to the dinosaur at first without seeing it And then the big wide pan over to reveal the dinosaur. It's just the perfect way to do it Well, and it's so cool because Samuel sells it perfectly that there's a man who's known about this stuff for so long and he he can't believe he's actually seeing It no way this is real Just like it's dinosaur, you know like he can belly even out of the words Yeah, and uh, you see they are absolutely Stundening all from the fact that they're able to experience this at all And then I love the fact that we have the direct comparison of right up to the lawyer He's like we're gonna make so much money The focus the values so clearly in tow. It doesn't matter How overt something like that would be because that is exactly what he would be thinking about because it's just true And you know what?  I think we know of this. It's in the thousands now, right? Um, probably I wouldn't be surprised. Yeah that there's an incredible amount of variety And even if it's just it's I mean the the fact that they have this attitude is a testament to the failure of their own creativity And a failure to recognize what made dinosaurs so Terrifying and awe-inspiring in the first Jurassic Park movie Like if you can't make dinosaurs work with people in a movie, then you're just a failure I I think it was just a An actual worry from the higher ups that when they make their new Jurassic Park films They need to go further than t-rexes because that's boring now Like a complete misunderstanding of how any of this works And so they actually put it into the narrative for why it happened Like because people are bored of them. It's like I don't believe you and I'll never believe you It's never gonna happen. I can't imagine I'll ever get I'm not even bored of seeing Jurassic Park multiple times watching exactly Yeah, I'm not bored of seeing you know Like animatronic and cg dinosaurs imagine they were real walking around that would be uh, the idea just it's annoying Um, there's just another element of this is why it would be interesting to make a series of videos probably about Jurassic Park and how it just broke apart gradually Because uh, there's so many different ways that I think is so clear on how they misunderstood Or maybe they didn't even care. Maybe they did understand but they were like, well, no, this will be the way to make more money though And I mean that film made one and a half billion dollars. So It seems to me it is very difficult to fully respect the story of Jurassic Park and make a sequel It almost seems like incompatible You definitely just you know watching the lost world. It's like Why though, you know, it's just like this film ends this film has an end. It's done. Its story is told It's got to keep going. We've got to find a reason to keep because it made too much money It's like mando. It'll just keep going until it doesn't make money Jurassic Park was at the time of its release the highest grossing film of all time Um, which is so cool. Really? Uh, well, and it's uh The fun little fact or in terms of like that et was because it was jaws was not like no Jaws I think got number one Like it was the highest grossing film when it came out in 1975 and then star wars beat it a couple years later And then steel uh steelberg spielberg comes back Um for et in 1982 and then he holds that record for another 11 years until Jurassic Park his own movie beats it out And then we see the same thing happen where titanic comes number one And then it's like another, you know, 11 12 years and then avatar also james cameron Ends up being number one. It's kind of interesting how long those two have uh have had that top spot like individually Well, yeah, I know this point to producers is like you guys just have a magic power This is not something that necessarily is easily recreated because I would even can see that about james cameron to some extent I don't know. Uh, I mean Yeah, I mean the thing is james cameron just earns props kind of forever just for like the the incredible films that he made before It's just a shame that I don't I don't really get what his goal is with avatar Well, people want it mentioned, but I think we've said it a couple times. Yes The music the music is making a lot of these scenes that much more significant and memorable. Uh, yes It's it's iconic And it helps that they're in all of these I mean like real I can't believe we're saying this but they're in real places. They're out in an actual field. They're out in an actual like The woods, you know And and it just seems like an obvious thing to do and nowadays with all the green screens and everything You just like it when people go out and film in places Because if you go out to the place, you don't have to like CGI a place or green screen a place You can just go out there and stand in the dirt And it looks like real dirt That is also who's the composer just like, oh, you know Just don't williams Um, and then yeah, we get to see all of the other dinosaurs as well All right, we turn around and you see them like in there or an ecosystem And it yeah, it's like grant says, you know, they're moving in herds Like it's it's fun to see him essentially have You know speculation and and and things that you can only you know Speculate on because you've just got the bones and everything to get to see their behavior, you know in front of him It's just all so very cool, isn't it? Well, no So alan is like, you know, the natural question after seeing all that is like, how how is this possible? And then you have this delivery from um adam burles like i'll show you like he's very um He's so genuine. I believe he he I think any normal person Would easily be like, well, i'm not going to show you anything about how he's created patents and uh specific Sort of just like seeing how the sausage is made. We're not going to let you do that You know, you can see all the results of the controlled environment He's genuinely invested in being like look at what we've achieved. Look at this. Isn't this amazing? I mean you see it again in the the the scene in the board room where you know, the lawyers like, dude We got a chart like people will pay like they'll pay to a lot of money to go see this And he's like, well, no everybody in the world should have the right to see these animals Yeah, like here's even though he has misguided There is a real earnestness and um and and a good intent behind what he's doing compared to Yeah, just like the greed of the corporate side of just well, this is going to make us so much fucking money Um, it's it's cool because the film presents It presents like a gambit of different perspectives. There's not just the fundamentally correct and incorrect perspective There's like the dimensions to the correctness or incorrectness of the perspectives He's a showman, yeah Yeah, even here. He's like, you know, say hello and he's he's he's got his lines and he's saying oh, they're gonna add the music in later It'll be really nice and everything, you know, he really enjoys the spectacle and making people, you know, enjoy things and Hey, he's pretty consistent throughout about that until the end when he's like, yeah, maybe I uh, Yeah, you know Best idea Well, like even him interacting with his video self is something he clearly put thwarted to He was excited to show people like that alone.  They should have gone with a different design It's gamut fringy. Oh, you like that. Uh, I bet that really blows your mind well Well, now I know So, uh, before I give my POV audit, what's uh, what's the beef with the dna man? I just don't like the way he's looking. I first off, you'll notice that in some of these Depending on the background that the dna character is in front of his mouth and features can be extremely hard to distinguish Because he doesn't have like a body to him that can separate him from the background Um, I don't uh, I just I just don't like the don't like the design here I have all the little circles and stuff.  That's where you cut well to be fair. I'm talking about his design as well Okay, so he's he's like, uh, everything he delivers is also fun and peppy He's a series of circles that are all different colors. He's kind of like a clown like of a cartoon And and we're treating this all like it's a big Uh festival showcase fair fun thing when what he's describing is literally the power of a god Like what they've done is insane. They can create life at will And they can take it from like all of history, uh, which is what I think they could have done that with uh another design But mine is just one in terms of like artistically the Kind of the way that it kind of blends into the background in some of the scenes where I don't think that was intentional Because the mouth doesn't have like a he doesn't have like a head So depending on you know, like the background the the mouth just sort of disappears Uh, that's just all I would just change it up to something different Well, it's going to be a rushed project So you could definitely see it as having in-willed reasons for why it's not as efficient as possible You were just highlighting how he uh, he wants to reassure them. It's going to look better and be well It's going to be better by the end okay Oh, you sound sound like you're aggressively agreeing No, no, no, I get it That's that is a reasonable thing because it is not finished.  Yeah when the science actually begins and you begin to understand like white. This is how it's actually sort of happening Yeah, which is almost disturbing when you can think about many of its applications, which is the same for all technological advancements That's like a warning you always have is I think Creighton has written several stories that regard that specifically I'm pretty sure Westwild is going to be another Plenty of crossover themes between this and Jurassic Park Westwild and Jurassic Park um So Robert said he would be back in a few minutes. I don't know what's happened I don't know if his power's gone out or anything, but of course He can jump in Whenever They just don't know what else to do other than continue talking about Jurassic Park. I suppose we have to um So, yeah, uh, they say like the geneticists will take over where the DNA strands are incomplete From what they draw out of mosquitoes that are fossilized within amber And then they fill in with uh frog DNA Which to me I have no idea how viable that would be in science But to me it it stretches over into this is our sci-fi take like, uh, I'll believe it. It's not unbelievable You could buy it You know, um, well, would this film be considered sci-fi? Uh, uh, yeah, it's definitely science fiction. We can't make It's just it. Yeah. Yes. I don't know if I was gonna say I think I was gonna say on paper I think yes, but a lot of people associate. I think Jurassic Park with more action adventure almost Um, well, I mean, I'd say that science fiction action and adventure aren't like incompatible They're almost like different ones, right? Like if you were thinking about what uh Types of genres exist in film.  That's a fantasy or science fiction um Yeah, I think that um Someone said it's too soft. I'm guessing when they're talking about like the elements of science in it Um, but I'm not sure if that would be because it's like soft and hard science fiction As genres, uh, I'm not I I have no idea where this would sit Uh, we kind of saw it yet. Well yet is kind of the relevant part about science fiction compared to fantasy is there is a level of You're trying to present it as plausible To some degree rather than outright magic. Um Even if the technology might be infasible or we later discover that it's impossible or something you know like, um And so I imagine Jurassic Park would Jurassic Park would surely be science fiction Yeah, it is Yeah, I figured that that wasn't even up the debate and and I guess it's um and and It's partially just stems from I guess as well the the desire to to to some extent provide explanations for uh For you know, for how it works is what the whole scene with them in the laboratories is Or this whole sequence in general is okay. Let's you know, we've presented the information of dinosaurs are here Let's make some effort to explain how it all works Um, and it's all relevant too, right because it's all like reinforcing and building up um The uh, what we what we see later the main example of that would be the nature of the breeding of like, yeah No, we all of them are female. Uh, we we have the eggs here like we want to control this environment We want to um We're gonna control the population on this island only to later find out that They have been breeding on the island itself that like all that the efforts that they've made to try and control them have just not It's just not working like it's not working as intended that's kind of like that vibe throughout the the whole scene um of of just a Watching what they've done with a level of awe, but just a sort of question mark above it all like Hmm Not too sure about that it's um I I uh I'm just thinking about like what else I would want to draw from uh from that scene Well, I mean, it's it's also the instance where it's explaining like with the mosquitoes, right? And we saw it in the opening scene of the film if it was it feels very symbolic, right of like, um The mosquito trapped in time as it was And then just you know using the science to extract that material that's been trapped in time instead of just appreciating it for what it is now like the same with the fossils to then draw it out, you know draw it out kind of like In a way that feels like Uh, you know and then and then uh start to breed dinosaurs from it He's rapid con gloves here the vr. Yeah It's funny to look back. It's like we did this with vr I can look at it like I am Well, there is kind of that like it's it's kind of charming at this point Like a lot of the technology back then of like, oh man, it's super advanced these computers and you look at it It's like it dude. It's so early mid 90s It's like yeah It's so it's all the monitors and the the the way that all the files and everything look and the Hacker stuff and uh when that when they're sorting through to like get all of the the systems back online How it's all presented with these like 3d uh It's like presented with all of this 3d Like like screens and stuff instead of just lines of you know code or text It's charming, but you know And also like the line where where he says here. No, we have no animatronics here You know, like it's that's kind of like a like a fun meta line You know the animal, you know, like the the puppets and animatronics sort of work in this film It's it's done so well that you don't even Think that they are and you're being sold in almost like two different ways that these aren't really, you know, you're not really Looking at animatronics and In universes saying no, no, there's no animatronics here, but but it works, you know something I find interesting about That we see so much in the film and we we see it here like, uh, I mean here it's it's pretty sharp of uh They're in the lab and they watch the new dinosaurs, you know hatching from the eggs And all of the scientists like can't help but you know be like in awe of this like they love it and particularly like, um It's it's just uh, it's just so fascinating, right? It's like the scientific interest Like pulls them into it, but then you know at contrast sharply with when they're in the boardroom And even with for how cool it all is and how much they they really love witnessing it Just the uh the need to push back that like this probably isn't a good idea It's kind of like interesting to present though. I guess it's more so it comes after the velociraptors Can't resist comparing Uh So like this is like roller coaster showcasing in the form of a ride their god powers Which is having obviously different reactions from different people, but by the way very happy they included all of this They could not have What they decided to make it seem more like a theme park that and the uh the information on how it all comes together They could have just skipped it. It could have been like, yeah, we cracked it Yeah, these science stuff, you know But it it just helps add to its believability. I was like, yeah, this all seems like, you know It doesn't break the bounds of reason. I could buy into this concept and Um, so that means, you know makes the fact that there's dinosaurs running around in this park Like a believable thing but like this to me as well It feels so applicable to the whole because we're going to get to his speech soon about how what he says Malcolm applies to Our feelings about modern ip So to speak but this feels like Hammond is like It's it's unfair because hammers much more. Um, I would say ethical than disney in terms of not necessarily ethical His characteristics are much more noble In terms of he wants what he wants is much more, uh, desirable as a trait then just to make money So to so to speak. Yeah, he wanted the world to enjoy and experience dinosaurs as they were Um, it's just sort of a failure to realize. Yeah, that's the thing They were and they're not anymore and and you have all these fun and colorful and interesting things It's like replace it all with just, you know, mandos on his ships Swimming around he's got baby Yoda and the Boba Fett's there and he's flying around and Luke and Kenobi are all there With their lightsaber swinging around. He's like, isn't this great? Look at it all. Isn't that wonderful? You're just like And then you're like, how do you do this and instead of all the side stuff you see here? It's all of the the AI stuff to make Respeech it to quickly do CG to then they have Tatooine as a set They're like, we've used this as an astonishing 28 times. I bet you didn't know and you're like No Getting our money's worth out of this one. Yeah, I'm like, it's so effective so efficient Um So, yeah, I I find it uh fascinating Um someone said uh, I would actually disagree With the with the plot of Jurassic World people would totally start creating hybrid dinosaurs due to boredom I would like a correction.   Jurassic the Jurassic world park Yeah, um, you you'd be fine you that that place would be stocked to the brim uh for so so long People all around the world would want to come see Yep Yeah, they don't have anything to worry about there in terms of interest and attendance Like if we had a park running for maybe 100 years, I might entertain the idea that it's becoming incredibly normal Uh, but like I said, if we just talk about zoos are still going just fine. They don't need to hybridize a lion with a eagle to make enticing animals to see the zoo Sponsored by Verizon wasn't it Something like that But yeah, uh that we get a scene that's just another one that's iconic and against being shown in reference It's actually in the thumbnail the birth of a velociraptor And uh, you can't help but compare Hammond in this moment to like what feels like god Seems like this is a creation that I have managed to produce almost fully And here it is and and what I love about it so much is his attitude. It's just filled with wonder and excitement Yeah, um, it's so kind of adorable and uh That there's so many different tones to go through if you're designing the scene You're like you want to capture that because that is very much in line with his character Then by the time we hit the end of the scene if you remember the shot You have uh, woo telling grunt.  Yeah, like uh, so great Well, it's uh The the contrast of you know at first the ore right for these animals But then even for as much as you know, the the scientists like really Are just enamored with them It's just you know every now and then it's just oh, but wait like you shouldn't be doing this Like that just keeps coming back, you know It's like a back and forth I quite love the visual by the way of the automated robotic arm airing for the eggs. Yeah Seems uh, pretty appropriate. It's like that's pretty cold, isn't it? some It's it's I don't know. There's there's a lot to be drawn from it. I think of like uh, the nature of how we have Built it like tools the use of tools one of the most impressive things our species does And we've gotten to the point where we can now generate life ourselves with our tools And it's the tools that are like ensuring the care through automation, of course, which is going to be the big downfall of the park Yeah Um, and it's the yeah, just the impressiveness of how it looks it looks really darn good And it's all just puppetry and that's all practical. Yep And I wouldn't do that anymore. They wouldn't do it anymore. Yeah, it'd be fake and it would look to varying degrees of fake and There's an appreciation that you have with it Do you remember? Actually, wait, you go first because I'm I'll set up what I'm talking about I was just gonna say it's kind of lame that you can do it with a little puppet But then this is like but nah, what nah Why would we do that? So that's moment where it's it's hatching has always been so it always struck me as just excellent scene and uh, I remember when I was like, I'ma give this whole uh Little Jurassic world thing. I'ma give it a chance. All right, because I'm nice and I'm I'm putting it on the screen but This is the hatching scene that happens immediately in that film.  It's the thing. It's the hatching dinosaurs. You like this and it's all cg It's like, yeah Yeah, that's uh, yeah It's the thing sterile. That's what was just said. Where is Robert? I'm I'm hoping he's gonna come back at any moment I am not sure. Oh wow Nice, uh, nice timing there Uh, oh there he is. I'm sorry. I had to jump on and make an appearance and be humiliated Wait on Spanish on a Spanish speaking show on my channel. They they they do a uh, uh, They they they show me a title Of a Spanish a Spanish title of a movie and I have to guess what it is Oh, okay And uh, it was I thought it was I even said Jurassic Park But it was the Spanish title for slither and I didn't get it I see but now now I'm back Yeah, so um But I was thinking Jurassic Park. I was like, oh, okay. Why not? Wait, so now I'm here. I missed out on a couple scenes, but we're all right. We're still relatively early on I was just showing the wonderful audience How much we adore the hatching scene in Jurassic Park and how well executed it is Oh, it's The way it shot the characters what it can mean what you can draw from it and stuff But I then was like Just reminds me of how much I was immediately put off when I was watching Jurassic World that their opening scene is a cg hatching I was just like, yeah, I mean Again, another great practical effect You know, I mean stan Winston studios a peak. It's so good And you believe it It's all about believability So well done Sorry, uh, okay.  I seem to be doing that a lot. I clearly love it.  A lot of people feel uh 50 50 on that I think But at least I always had less hatred for that movie just because of the fact that it's got a very specific goal to Not at all be like this, uh Well lost will rain. It's just a it's like a rescue movie and that's about it um, yeah, I mean Look, I don't I don't hate The lost world and I don't hate Jurassic Park three Because I think that there's something in every man's dna that loves dinosaurs like perhaps Perhaps that from 65 million years ago. It's part of our you know, whatever the human dna thing is We have to love dinosaurs. So I'll watch anything That gives me dinosaurs eating people Or flying dinosaurs or talking to us or after maybe Yeah, whatever. I'll watch it.  Well, yeah, the the Jurassic world I I the thing is here's the thing I again I I find them to be uh, what I what I hate about them is it's they're just They're not necessary And and I do appreciate they've made, you know, a billion dollars a billion plus It's great that they're they employ people and it's great that they make a lot of money for the studio But at the end of the day You know, if I had made Jurassic world dominion, I would have said it a hundred years later and and the world would have been the the The danger that that Hammond created Actually was the demise of mankind and the reason it's called dominion is because The world was was destroyed And uh, that's an idea. I guess why I guess that's not the right I'd take But I mean, but if you think about it, you've brought back an ecosystem that that was when extinct and it's an ecosystem that shouldn't exist And it would have been interesting to see a hundred years later What would have happened to the earth? Um, and you know use it as a metaphor for global warming use it as a metaphor for the decline of Western civilization, whatever But what would have happened if life finds a way? Um, it's not just the dinosaurs. It's the ecosystem that comes along with them Oh, we would have shot them with bullets and that's the thing for me The reason why I can believe Jurassic Park is that there's several civilian level people and they don't have access Great access to weaponry, but this is why I hate the whole like we're gonna get dinosaurs in the military It's like no, you know, that's not well. No.  Okay hitting on a second. We're talking about a fantasy film franchise All right. We kind of about how guns. No, we don't we absolutely don't have to do that Well, we have to find a way that works, right? So what I want to do is you got to find maybe generate characters who want that to happen So they facilitate it in some way. Yeah, however, however, it's however. It's done. I mean the reality of it It's not like hard to do it Yes, but here's the thing what if Here's how I would do it What if the unintended We talk about dinosaurs, but what about Sub microscopic what about a virus? You know If you want to wipe out humanity and bring in dinosaurs. Yeah, that's another way you could do it You know And the thing is the the unintended consequence of bringing back these large creatures Is the microbes that live on them. I mean, yeah, it's a stretch No, I I I'm much more in favor of that idea that we bring back dinosaurs We also bring back an ancient disease that wipes But you're also bringing back But a whole you know, there's a there's a um There's a phenomenal series of science fiction novels Uh written by david gerald who is a star trek writer and i'm kind of obsessed with these books And the series is called the war against the ktor And the premise of this series is the earth Is invaded by an alien ecosystem That begins at the equatorian level and it spreads outward And it is a it might be we don't know what we don't know how it got here It might have been on a meteor or whatever And this ecosystem is is millions of years more advanced than the earth's ecosystem And it it is slowly taking over the planet And uh, it's a fascinating series of books, but the thing is he never finished it He's only written four books ecosystems don't really get more advanced per se um as well Because like evolution's not like a race to a no, but but imagine if you had all of a A different planet it's not that it's a race, but it's a different ecosystem from a different planet like a spore That is is is much more It it I mean hey, it's still a science fiction novel it digs in And from it starts with a virus The ecosystem we don't even know it's here. It's a submicroscopic virus that wipes out Uh a large swath of yeah things here don't have immunities to it. Yeah, we don't it's the same thing and and that's what happens It when I say it's an older ecosystem It it it's it's it it was developed on a different planet with different environmental conditions and we are not equipped to um Fight against it. It's like a color out of space or annihilation. Yeah, very much versions of those movies Yes, and the the books are incredible. It was so great And and that's kind of maybe that's why because I've read these books like four times all the way through Um, that's what I was thinking about with Jurassic Park It's not just the dinosaurs they brought back and this is a stretch But you know whole that's how you do it ecosystem Well, yeah, uh sattler does mention it. She she talks about how um, we have no idea what to expect by bringing back Not just them but the will that they thrive in can be brought back with them at least to some degree because they bring back Fauna right of different kinds. They're not right and using the tech to bring back dinosaurs They bring back all kinds of things And one of the things I've always thought about like the environment um our environment You know if you think about it all of the creatures on our planet Evolved over millions of years together So there's a reason why Well, some of it. Yeah, no, yeah, some of them are together But a lot of them are independent of each other when you have like australian things of that nature Well, that's why you have like invasive species But you still have they all have to live within its atmosphere and there's a lot of consistency through it Yeah, that yeah, yeah, yeah, yeah, so but yeah, but what what I what I mean is that all of these things that exist I mean, yeah, there are places where One species never had to fight off another species or whatever, but if you go from the sub microscopic level All the way to our atmosphere You know, um We don't understand how migrating species in africa might affect Asian The atmosphere in in mongolia, for instance We don't even have the technology to even conceive of how that might work Because our entire biosphere Is and like, you know, you said baller. It's the same atmosphere We don't even know if there's something going on on our planet Atmospherically that touches everybody that breathes it human beings We go 40 feet Below sea level we die in the ocean We go 10,000 feet up a mountain and we need Air to breathe will die Our own planet only allows us to exist in a certain bit of it so What does that mean globally? and uh entirely And the whole thing about Jurassic Park one of the things I loved about it as a science fiction novel and one of the things I love about Michael Crichton's work Um, you know the thing about Michael Crichton who wrote Jurassic Park is he was a he he wrote and directed westworld The 1973 movie that the tv series was based on He wrote that and directed that movie And and people forget that Michael Crichton was a writer director. He was a filmmaker And uh, he he wrote and directed the great train robbery and um He he Jurassic Park was a later. I mean he created the tv series er And so he was a man of science He disclosure that was a movie with michael douglas and demi more. He wrote that book So michael Crichton who who created this franchise Was an incredibly diverse and um Interesting storyteller and he was a doctor in real life So, um I don't know where that earth is barely habitable Well in a way it kind of is depending on who you are or where you live Okay, and and I think the dinosaurs um One of the things that look there is nothing cooler than dinosaurs in a city And I will like like and and I've always said There is nothing that is isn't made better than the application of ninjas or dinosaurs I mean Really inherently, I mean and but but but like imagine we all love godzilla and kaiju But but dinosaurs one of the great things about Jurassic park not to jump ahead But the raptors in a room In a structure when dinosaurs one of the most iconic images in cinema history Is the banner falling over the t-rex Well, yeah, that's because that's often the image is thought of with Jurassic park Yeah, and it's because You're like the in congress nature of a t-rex in a in a in a in a building Is that I mean that that's it man And that I think that's the great appeal of the franchise, but I didn't mean to derail the conversation. I apologize There's an element that's true That I think I was talking about it when we were watching the movie the other day And I'd referenced it before but a lot of the times what makes something terrifying and immersive is where it is Uh, we find places of safety places that are familiar to us And if you put monsters into those sorts of places, they become scarier because that's not where they belong Monsters are in the woods. They're in the caves. They're another man under the bed Yeah, they're under the bed Yeah, but but when you take these things and you put them into extremely familiar environments where they're extra out of place It brings along with it this implication of you know immersion and believability and it makes us very uncomfortable 100 percent By the way, yeah, when you have dinosaurs running around in a kitchen chasing kids He's like, oh kids.  I've been there like oh That's you know, I can kind of imagine this really really happening Well, it's it's interesting to consider because a dinosaur doesn't have a conception of what these places are We do we know what a building is but like a dinosaur doesn't it's just an environment that they're trying to figure out But you nailed it. I mean that that's exactly I mean, I think you just defined The entire horror genre. Oh my god And uh how it works You know, one of my favorite movies of all time and one of my certainly my favorite horror film of all time is The Exorcist Because on one hand, it's incredibly goofy You know the idea that the devils come up from the hell to possess The the soul of a young girl Well, Zach Snyder specifically told me That uh devils come from above Ah, that is that is a line There we go. That's a that's a thing what I mean But that movie makes you believe just like any great movie any great fantasy film Whether it's horror science fiction fantasy It has to make us believe And the great thing about Jurassic Park is throughout this film it Like when you're watching these little eggs hatching and these little hatchlings come out The the the great thing about it is we're all going to They're so cute. I mean we have that whole puppy Instinct and I have eight Uh weak old puppies in my house I mean you have that wait just like just You have eight weak old puppies or eight weak old puppies I have eight puppies that were born a week ago I saw images of them they look cute I'm just trying to picture this in my head as you tell your story Yes and and but but but that's when you see these These these dinosaurs being born they're like Are our instinct of of wanting to protect and wanting to love and wanting to Hold them and pet them. It's so great the scene the movie Makes us it suddenly makes us the viewer going these dinosaurs are we love them It's a it's a it's almost like a non malicious kind of entitlement Totally Yeah, what a great very well put As we run with that angle for the the sort of opening but the scene does end on an ominous Ominous look and tone. Well, yeah, you know what these things become, right? Like yeah Well, it's just like um, what was his name rex? Damn it from the simpsons rex.  It's it's complicated. It's dangerous Well, it's um when you see like alligator or crocodile people who work with them a lot of what they'll You know say is like they're not my friend, you know, like like and and the animal doesn't consider me a friend um Like it's it's kind of You know when people sort of oh the animal loves me. It's like careful Like, you know, like not all animals are the same Not all animals are the dog that you had since it was a puppy So be careful. That will be big old fans of you for sure, but it's like yeah an alligator Yeah, careful Yeah uh Hammond then wants them to like go have lunch and talk about the wonders of the park, but uh Allen's like pushing to see the feeding and to find out as much as he can about these and Then moldoon turning up and saying like they should be destroyed. They're lethal at age well, but and uh, uh, you know Hammond's like, uh, he's a it's a bit of an alarmist, you know That kind of guy It's a don't worry about it. Like it says nothing to panic about and um, I just like the the the feeding Sort of straps and stuff they get torn to shreds Yeah, the rustling leaves and you're just left on all the characters reactions to it But you don't get to see it because you don't need to see it It's it's scarier that you don't and that yeah the effect it has On the environment and the people watching and then yeah, it lifts up and it's covered in blood and destroyed Which is a double whammy right in terms of just look at the ferocious power, but simultaneously They're not prepared properly. That is obviously not the best way to feed them if it's going to result in your technology getting destroyed every time So yeah, this is still clearly a new process for them A level of um, I don't know if I'd say inefficiency, but uh, it ain't this is mark one feeding delivery system It could be mark three at this point. It's not working out It's just uh, and it's it's something that gets mentioned, you know later on when they they're at the, uh Tyrannosaurus um enclosure and then they just put the goat there. It's like T-Rex doesn't want to just be like fed a goat like on a on a slab, right? Like the animals have behavior And the way that they treat and take care of these animals clashes very heavily with their behavior because they don't really understand their behavior They're like animals humans have never interacted with before It's like the notion that you could meaningfully affect control over these animals when you barely even understand how they behave You know, it's like bound for disaster really Yeah, because like we already have that problem with animals today They're not taking care of well in a lot of like the worst zeroes Um, so imagine doing it with something as the the power in dinosaurs. Yeah, exactly I do love this thing with them talking to each other in the board room. It's so great. It's really efficient Everyone is within character and they raise some really great and very uh Deep thought points about how everything's going. I just like the uh the inversion, right? The lawyer guy when he comes to like, you know, the investors, they're worried like if one thing's wrong They're going to pull your funding and then as soon as he sees all the dinosaurs. It's like, so this is awesome We're going to be merchandising this we're going to charge like $10,000 per ticket You see in dollar bills It's flipped right the enthusiasm of all of the scientists It's now, you know, it's it's very muted and it's all just focused on Hmm, you probably shouldn't be doing this and the fact that yeah Malcolm is the one who was like the most fervent in saying you shouldn't be doing this When originally he had the most like laxadaisical sort of chill attitude about, you know, coming here Yeah, it's just interesting, right? There's a reason uh why he's the because they treat him as the he's the trendy one They're bringing in to get like approval because he's probably good in his field But this is a seeing that he's good in his field He is good in his field because he in any setup, you know in the scene with the uh The the velociraptor's hatching, you know the the life finds a way like you The illusion of control that you think that you have here is Is uh, it's ridiculous and and I think he says like the lack of respect essentially for like the powers that you're playing with here are staggering Like it's it's actually offensive to him how little regard they're showing for what they're doing Um, and then of course it culminates in in that classic line You were so concerned with whether or not you could that you didn't stop to think whether or not you should The classic love that line. It's so good It was funny. That's um, I really enjoy the line, but his His speeches, uh, which I repurposed for talking about the state of mcu and I think it was the black widow video um So he says like don't you see the danger genetic power is the most awesome power this world has ever seen And you wield it like a kid with his dad's gun Which is something a lot of people will reference with anything going forward It's just a really great way to explain what you're doing Like because children are oftentimes they're not ill intended with the gun necessarily But they're just right around guns are cool toys and it's like that's not respect you need There was a there was a line. I remember an assassin's creed three. Um, where uh Like connor he's just assassinated this guy and um He basically the the guy believes it like connor the main character is is idealistic and just doesn't understand the world And he says you you may wield you you you wield your blade like a man But your mouth like a child just the notion of yeah, you're very competent, but like your ideology is so Like narrow and and um and underdeveloped like that. I don't have any respect for you kind of It's uh reminds me of that Just sort of the clashing of like yeah, your means that you have here to achieve things is incredible But you just haven't thought about it. You just haven't thought it through Um, you're just not seeing the bigger picture almost Yeah, uh Because I'll just say the this power didn't require any discipline to attain it. You read what others have done You took the next step. You didn't ruin the knowledge yourselves On the shoulders guys It does hit hard especially when you package it for uh for media For Jurassic or Jurassic Park the ip. Yeah, you didn't you didn't have the discipline to acquire this ip You didn't do all the work to get it to where it is. You don't even understand it Well, is that not just a great representation of Jurassic world as a whole like a whole series Yeah, you do what he says you stole the soldiers of geniuses being Spielberg and all of the army of amazing people that made this film And then to accomplish something as fast as you could they rolled out Jurassic world as soon as they would realize they had that potential And before you knew what you had you patented it patched it and slapped it on a plastic ludge box So now you're selling it selling it selling it selling out merchandising and all of the the attempts box office growth Of Jurassic park Jurassic world as a franchise Man, and you could just apply it to so many things you could apply it to all of the franchises that have been run into the fucking dirt Yeah Fantastic example alien Predator Yeah, all of these classics, you know 70s 80s 90s Why why do you think Why do you think it is that These franchises obviously I understand keeping the IP going But why do you think IPs are I I would dare say that perhaps the mad max franchise because the creator of that franchise has stuck with it George Miller has been involved with all of them but why Why is it that the incentive to make to to make IP? to continue a franchise is to make money and yet They're not as good as the original and and it's a law of diminishing returns and all we do is see These great franchises that you would think are no brainer brainers to continue Why why are they not? Why are they not done? Well, what what is like? Jurassic park is not exactly um The most difficult franchise in the world to understand and yet When it goes on we don't get Greatness in them. Whereas if you look at a franchise like the mad max franchise I mean some people when uh beyond thunderedome came out in in in 85 people were disappointed by it And I understand it. It wasn't the roadwork because that was amazing mad max 2 was amazing However, it was if you look at it as far as it goes and you get to fury road still respected But the Jurassic park franchise Even after the first film is the law of diminishing returns So I think I just don't really know What it is that was great about the thing that they're copying um it's It's like when you're looking at a great piece of art and you don't It you just sort of see what it is. It's like, oh, it's a bunch of people on the ceiling and all these guys in robes and Oh, look at that guy But you don't really understand You know underneath what the stories are about or the effort that went into it or the thought process behind making it They're not copying the things It quote unquote soul in a way. They're just the thing as it in its most superficial sense Uh, they're trying to copy what people think of not copying the process that made it a copying like the results Yeah, almost there's no skipping to the finish line in a sense Why they're all they're painting the finish line. They're not painting the you know the dash there I um, I'm now thinking about video games Often get sequels. There are a lot of video long running video game franchises that have been running for like 30 plus years That still feel new and fresh and are of high quality like mario or legend of zelda um Like why why is because video games get sequels all the time I think that video games Like if you were to present to me the premise of do you want a sequel to a film or a sequel to a video game? Like which do you think is going to have the better result? I generally defer to a video game because like finding an excuse to keep a story going Is a lot harder than we have a game here that has mechanics that we can like expand upon and further develop um Then attach a story to finding Yeah, and and you and you know some games aren't very focused on story other games are and they find a way to make it work But if you're like trying to continue Jurassic Park It's like that's kind of challenging because this this film ends so conclusively that finding a reason to Come back here and to keep telling this story beyond the simple incentive of making more money It's like that's kind of challenging Like that that's really hard and some in some respect It could be harder than like creating the original story because now you've got material set in stone And you have to try and move on from there in a logical way that keeps the original story intact While creating something new that people enjoy and if and and then you combine that with cynicism You combine that with greed a desire to push these things out of the door to make more money And a lack of respect for the craft and a failure to recognize what it was about the original work That was so great in the first place. I don't think it's any surprise that you get a lot of bad results It's why good sequels to films are often like exception rare. Yeah rare terminator two being better than the first terminator It's like that's how often does that happen? Well, hey, that's that's not that's not better as alien A lot of people think turn into one is better. Oh, well, sure. But like but but basically everybody universally agrees that terminator two Was a great film. Yes And that is Yeah, so people to look at a uh At like a a film sequel and go, yeah, you know what that was an improvement and not not totally unnecessary like as a project to even exist Um, but the necessity is money, right? They want to make money and franchise is really good as a company because What would you rather bankroll as a studio something that may or may not latch on with an audience or a sequel to something that It's proven to be popular like Jurassic Park I think the more interesting examples are going to be sequels at any point in the franchise be at two to three Three to four four to five one to two. Um, but that are made by a different creative team and are still good. That's very rare Because um when you have terminator one and two, I think that makes a lot more sense James Cameron's been he's like attached and in Doing a lot himself But the idea to go from Ridley Scott to James Cameron Not to say that there's an implication of like a lack of talent moving from one to the other Just the fact that it's a different Very very different voice creating a sequel and yet Alien and aliens and people have fought over for a while.  That's like Way way way way way better. That's very recent as well. Wrath of Khan has usually considered the best Star Trek movie, right? Yeah, as far as I know, I think Rob is one of the people that you very much like a picture, right? Uh, well, here's here's that that this is a long conversation which I did with the drinker for four hours Um, and and by the way, can I just give a shout out to the critical drinker here? Um, no I I can't okay. Yeah, you can you can't yeah I'm a huge fan of his story analysis and moller, you know, I'm a huge fan of yours as well And I think one of the great don't worry fringy. We'll get there one day I just don't know you guys is the first time But I do I do have to say that that um It's weird because the the Story telling analysis is something I've been like Great stories is something I've loved my whole life And the analysis of what makes stories great Are also something I've loved And and the drinker and moller are two people that have Really delved into what makes a story good And I think that I believe that storytelling is one of the most important things human beings can do Since the days of when we're putting cave paintings on walls to to to document today's hunt To where we're at now Understanding why stories are good Is important It means something as Richard drive is saying close encounters, but um So so story analysis to me is a very important thing to do I completely agree and Right because that's as a story analyzer. I agree. Well, I guess the implications. We're doing it beyond reasons of korea It's it's very much. Oh absolutely Many people say we are beyond reason that is true It's true and then they get pissed, but the thing about Analyze stories are are are how we convey The truths of being human And and what does it mean to be a human being that lives a finite life? And all stories are are in some way referencing that and this Jurassic park the the the tale of Jurassic park Written by originally Michael Crichton like in the novel like Ian Malcolm dies Spoiler alert in the book. He dies um in the first book and I know but but but This kind of storytelling analysis is meaningful in the sense that That Jurassic park deals with a lot of of fears of technology fears of hubris of mankind thinking they're gods I mean, there's so much going on in this tale That as much as it's hey, it's a fun movie about Dinosaurs coming back to life in a park But it does have a lot to say about us as people in a technologically advanced space And what I love about it seems well, absolutely Yeah, you know and the ethics The ethics Ian Malcolm's idea just because you can do a thing doesn't mean you should do a thing And you know now in the last I mean what's really interesting Isn't it fascinating in the last two months or three or four months? AI whether it's mid-journey or chat GPT that AI has just jumped on us like in a way It was designed to be released at a certain point All at once because it As a matter of fact, maybe all these companies are a little bit of collusion If you want to believe in that sort of thing and I do because they did it for a reason Because they have to interject these things in culture. They can't they they they disrupt and and it's interesting But what I love about this movie Is even though it subtly does this it makes us ask the question that Ian Malcolm asks But all through this I want to go to Jurassic Park I do I want to see real dinosaurs and if they could do it if they could bring them back I would be the first person on that plane to East Lanubar and be like, hey man But at the same time I understand the danger and I think that's why this movie works Because we Want to be there Oh, yeah, yet we know it's probably a bad idea.  Um, I know and that's the big part I just you know what I love this movie. I'm talking about it with you guys. I love this movie Very good. I want to go watch it right now. I've got I've got the 3d Blu-ray And the 3d conversion is great. I was gonna say how does the how does the 3d play out? Is it it's really good? I mean it it like 3d convert It's too bad that in especially in the united states 3d tv failed utterly But the discs the titanic top gun Jurassic park Incredible 3d conversions and I have a lot of other 3d discs, but Jurassic park really works in 3d I mean, it's it's it's pretty great And now you make me want to go watch it again, but of course I have to wear the glasses I'm sure my glasses that I've put new batteries in them because they're dead But um man go out 3d glasses need batteries Really? Yes. Yeah, how do the Really? Okay. That's interesting. I didn't know I thought they'd All right. There's active and passive. Uh, yeah, they're there because they they flicker And uh, the if you