I feel like we've found an interesting little corner of the sandbox here as far as the way we're telling sci-fi stories. I don't think it's limited to sci-fi - I think anything fantastic can co-exist with people you and I know, and not these hyper-real movie people.
I feel like, whatever movie I was making, there would always be moments of human intimacy and insight into a little bit of what makes us tick as people.
There's scary stuff in 'Raiders of the Lost Ark.' There's some really nasty skeletons and dead bodies.
I think, if you can, it's OK to put something in a movie because it makes you feel good.
I read certain articles about how all of the new filmmakers are immediately being given massive tentpoles, and there's a lot of original movies that we have now lost as a result of this. I don't want to call it a fad because I think it's a good thing. I think the movies are better as a result.
There's something really interesting about how human beings just want to see animals tear each other apart, maybe because we can't do it.
I was going to go and do what I should do as a filmmaker and make slightly larger films each time, learn my craft, make mistakes and solve them.
I would just encourage people: your childhood belongs to you, and don't give anyone, especially me, the power to ruin your childhood.
I didn't watch horror movies when I was a kid. I didn't watch any bad movies.
I've said before: 'If you're going to earnestly sing a song around a campfire, you'd better be a Muppet!' Or else we're just not going to buy it.
'Jurassic World' takes place in a fully functional park on Isla Nublar. It sees more than 20,000 visitors every day. You arrive by ferry from Costa Rica. It has elements of a biological preserve, a safari, a zoo, and a theme park. There is a luxury resort with hotels, restaurants, nightlife and a golf course. And there are dinosaurs.
I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.
That's the thing about leaks: sometimes they aren't misinterpreted or false. They're real story elements that the filmmakers were hoping to introduce to the audience in a darkened movie theater.
I don't believe that a female character needs to surrender her femininity in order to be an action hero.
My wife is French, and so I get to see America through her eyes, which informs a lot of little moments. It means I can poke fun at very particular things about us.
'Jurassic Park' doesn't belong to America; it belongs to the whole world.
Jake Johnson wanted to make clear that he was the great American actor, not just the funny guy on 'New Girl.'
Nobody wants to make a bad 'Flight of the Navigator' remake. There's just no interest. We're going to do it if it's good.
I've said before, if you're going to earnestly sing a song around a campfire, you'd better be a Muppet!
Small moments can coexist with big moments and even back right up against each other.
We're surrounded by wonder, and yet we want more, and we want it bigger, faster, louder, better.
Marketing for a film is tricky because you release stuff without context.
I think that no relationship goes completely according to plan or the way you wished it had.
We're so surrounded by so much of this marketing and just being told on a regular basis that you have to like this, you will go here, you want this. I found that to me that fit perfectly into what a theme park of dinosaur would be about.
I love the challenge of having one character who is traveling back in time to find someone. Nowadays, the only way we think to find someone is on Facebook.
I was not a kid who watched every movie. I watched a very small number of movies over and over again.
I'm in a kind of weird position where I want to prove that I can do smaller movies.
The best of all kinds of movies are character-driven, and I definitely don't want to lose sight of why Derek and I started to write movies together in the first place.
I feel like, on a more macro scale, there's started to be a relationship between filmmakers and people who watch their films - you know, on Twitter and on the Internet.
Obviously it's a thrill to direct a 'Jurassic Park' film, and it's a great honor.
Like a lot of people my age, I grew up on Amblin movies. They're a part of who I am as a filmmaker and, arguably, as a person.
The movies of our particular childhood were so great that it's almost impossible to recapture that magic, especially as adults.
Intimacy between humans need not be relegated to independent film. Real characters can exist no matter what the scale of a movie is.
There's no need for a female character that does things like a male character; that's not what makes interesting female characters in my view.
I've always been someone with a small circle of friends. Each stretch of my life has been defined by one person who was just my person. We became inseparable for a certain number of years, and that time was our season, just the two of us making our way through life.
I don't know if I wanted to be Spielberg; I would never say that.
Kids go through a stage where they love dinosaurs - boy or girl.
I can say pretty confidently that I am not the right guy to do a superhero movie, just because I was not a comic book kid. I don't know that mythology, and I don't have it ingrained in me in the way that a lot of these other directors do.
I'm a 'Star Wars' kid. I'm a 'Back to the Future' kid. I'm a Spielberg kid.
There's something about dinosaurs that should be very humbling to human beings.
You really get to direct the movie three times when it comes to the action sequences and the set pieces.
'Jurassic Park' is like 'Star Wars.' Different directors can give a different taste to each movie.
There's no shame in being romantic at all. I think people want to feel that sense of romance, which is rarely even attempted anymore.
Anytime somebody tells me they saw 'Safety Not Guaranteed' in the theater, my answer is, 'That was you?'
I prefer to be scared in a way that a 12-year-old would want to be.