Colin Trevorrow has his eye on the next generation of filmmakers.
Following the massive success of his Jurassic World trilogy, earning close to $4 billion globally, the director has now shifted focus towards his film production company, Metronome Film Company. Trevorrow’s aim is to provide opportunities for budding filmmakers, much like Steven Spielberg did for him during the making of 2015’s Jurassic World.
After making a lot of money with the Jurassic World trilogy, the director is now concentrating on his production company, Metronome Film Company, and wants to help new filmmakers as Steven Spielberg helped him when he made Jurassic World in 2015.
Trevorrow emphasizes that his primary goal, given his career success, is not just repaying the favor but also helping bring forth fresh talent. He shares this view with The Hollywood Reporter, saying “We don’t have minor leagues in Hollywood,” and he feels it’s filmmakers’ duty to spot upcoming talent. Many of today’s icons were discovered by other directors, and that’s a role Trevorrow aspires to play himself.
Approximately 15 years back, Trevorrow and his regular partner Derek Connolly came across a tale about the NYPD’s “Knockoff Squad” and their practice of using civilians in covert sting operations to tackle the excessive counterfeit goods on Canal Street. Inspired by this real-life scenario, Trevorrow and Connelly initially drafted Deep Cover, a screenplay that reimagines the premise with improv actors who infiltrate and ascend through the criminal underworld’s ranks.
Eventually, the control of the film “Deep Cover” was passed to director Tom Kingsley and writing duo/comedic pair Ben Ashenden and Alexander Owen. Recognizing their comedic backgrounds would be ideal for the now popular action-comedy on Amazon Prime Video, Trevorrow took on the producer role.
In Trevorrow’s Jurassic World, Bryce Dallas Howard, who played the lead role, heads an impressive cast in Deep Cover, which also includes Orlando Bloom and a career-best comedic performance from him. Howard portrays Kat, an improv teacher dissatisfied with her career trajectory. However, things change when a London police officer (Sean Bean) propositions her for low-key undercover work. As the story unfolds, Howard’s character enlists Bloom’s Marlon, who aspires to emulate Daniel Day-Lewis despite having limited acting experience, with only a few pizza commercials to his name. The improv undercover team is completed by Nick Mohammed’s Hugh, who stumbles into Kat’s class just moments beforehand and turns out to be another struggling performer.
Trevorrow and Howard have maintained a strong bond since their work on Jurassic, becoming even closer as she progresses in her filmmaking journey. They’ve both been associated with the remakes of Disney’s Flight of the Navigator (1986) in 2012 and 2021, making them regular sources of advice for each other.
Trevorrow mentions that he’s reviewed all the revisions of ‘Flight of the Navigator’ that she’s been developing, as she strives to perfect it. Indeed, they have been in constant touch about it. They also discuss her Star Wars series and other projects she is involved in. It’s quite unusual for directors to find peers with whom they can exchange ideas, and even vent frustrations at times, but she has been fantastic in this regard.
Concerning the Jurassic franchise, Trevorrow isn’t taken aback by the upcoming release of another chapter titled Jurassic World Rebirth, which comes only three years after his previous film. It’s worth noting that his 2022 installment, Jurassic World Dominion, was advertised as the “epic conclusion of the Jurassic era.” However, while this might hold true for the characters from Jurassic Park and Jurassic World who finally united, the franchise has branched out beyond the big screen with a second Netflix animated series called Jurassic World: Chaos Theory, theme park attractions, and various merchandise. Therefore, it was only a matter of time before we saw a return to the silver screen.
Trevorrow stated that we constructed something robust enough to continue progressing, and he feels quite proud about it. Moreover, he believes that with almost every newborn child comes a new fan of dinosaurs. Thus, he doesn’t think the fascination with witnessing dinosaurs will ever wane.”
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“In Trevorrow’s own words, we constructed something solid enough to keep advancing, and he takes great pride in this. He also notes that every time a child is born, a new dinosaur enthusiast emerges. Therefore, he doesn’t think the enthusiasm for seeing dinosaurs will ever fade away.
Prior to taking up the director’s chair for “Jurassic World Dominion”, Colin Trevorrow was in the middle of creating “Star Wars: Duel of the Fates”, his interpretation of what eventually became “Star Wars: The Rise of Skywalker” (2019). In 2017, he decided to part ways with Lucasfilm due to creative disagreements, allowing him to wrap up his “Jurassic World” series. In 2020, a script and early artwork for “Duel of the Fates” were leaked online, receiving widespread acclaim. Notably, a TIE fighter from Trevorrow’s abandoned project can be found at Disneyland’s Star Wars: Galaxy’s Edge.
In 2022, during our chat for Jurassic World Dominion, Trevorrow shared that the positive feedback on the leaked materials gave him a boost of enthusiasm. Yet, he’s managed to maintain some distance from the franchise that shaped his childhood until this coming summer.
This summer, my son and I have agreed to binge-watch the entire series of ‘Andor.’ However, I must confess that it’s been challenging for me to connect with anything Star Wars on an emotional level. Yet, the creators of ‘Andor’ have managed to draw me back into the Star Wars universe.
In a recent chat with THR, Trevorrow reveals the actor he’d swiftly recruit for a genuine undercover mission. Moreover, he shares insights into his forthcoming directorial project centered around Area 51, which is jointly produced by Ryan Reynolds’ Maximum Effort.
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For quite some time now, I’ve occasionally pondered if the acting skills or improvisational abilities of actors depicted in spy films would be sufficient for them to excel as real-life spies. The movie “Deep Cover” delves into a comparable theme, focusing on undercover police work. Have you ever found yourself questioning this as well?
Indeed, I’ve found myself navigating my way through challenging situations in life with an improvisational flair, and it seems we all have our ways of doing so. The idea for “Deep Cover” originated from a tale that my co-writer, Derek Connolly, and I encountered long ago. It involved police officers in New York requesting actors to purchase counterfeit Fendi handbags in the Canal Street area, as part of a sting operation against the counterfeiters. We mused, “What if these actors were improvisational performers? What if they were so skilled that they delved deeper than any officer ever could?” From this organic idea, our story began to take shape.
Some concepts are as harmonious as peanut butter and chocolate, while others, like peanut butter and salmon, simply don’t work well together. However, the unexpected pairing of improv actors going incognito reminded me of a delightful blend of peanut butter and chocolate.
Previously when we chatted, you shared that your preferred watering hole in New York City is a spot frequented by comedians honing their acts. Given this tidbit, it sparked my imagination that the concept for Deep Cover may have originated from conversations over drinks at this very hangout.
I might have been referring to the bar located above the Comedy Cellar. My passion lies in stand-up comedy, improv, and comedy as a whole. While I’m more of a fan than a professional in this field – be it a writer or a director – I’m deeply drawn to the atmosphere surrounding it. At times, this environment can feel almost melancholic, carrying an undercurrent of sadness that comes with the lifestyle. Yet, there’s also a potent creative energy that I find myself becoming increasingly captivated by. It’s no surprise that many film directors are enamored with Saturday Night Live. Even Steven Spielberg shares this obsession; he frequently attends it. This fascination stems from the fact that SNL is a stark contrast to our usual work routines. There’s nothing but what transpires in the moment, and whatever results are what you’re left with. So, I can empathize with where that addiction originates.
In your professional experience working with talented actors who excel at improvising and method acting, is there anyone else you’d consider to join the undercover team in the film?
Jake Johnson is undeniably exceptional. In any predicament, he’s the one you’d wish was by your side. With him around, you’d stand a better chance of making it through safely. Therefore, without a doubt, Jake is the right choice.
Were you ever in the mix to direct? Or was it always something you eyed for somebody else?
Originally, the idea seemed more suitable for someone else. Perhaps when Derek and I initially conceptualized it, I may have pondered over it, but at that point, I hadn’t directed a movie yet. As time passed, around 10 to 12 years later, the thought resurfaced. It presented an opportunity for me to potentially introduce a promising new comedy director, Tom Kingsley, and a duo of budding comedy writers, Ben Ashenden & Alexander Owen, to the industry. Throughout my life, I’ve been fortunate enough to have others invest in me, so I feel it’s my responsibility to return the favor by backing upcoming talent. This project seemed like an ideal platform for nurturing fresh talent.
Did you pitch this project to Bryce Dallas Howard on the set of Jurassic World Dominion?
Indeed, Bryce joined our team at a critical juncture when we truly needed someone to bring this project to completion. This independent film was financed in London, with Amazon distributing it, but let’s not be misled; it’s a low-budget production compared to the usual standards. Producing and financing movies today, regardless of location, is an uphill battle. Each actor joining our crew significantly contributed to making this investment appear more promising, with Bryce ultimately sealing the deal. I will forever appreciate her role in elevating our film project.
In general, could you share your overall thoughts on the process of managing a production company in today’s post-pandemic and post-strike phase of the entertainment industry?
Prior to the strikes and pandemic, I didn’t run a production company, which means I can’t compare my experience then. However, the hands-on process of producing a film is incredibly fulfilling and gratifying for me. The term ‘producer’ encompasses various meanings, and its duties are often unclear, but having worked with exceptional ones, I know what an outstanding producer does. As such, I was present daily to ensure that our director, Tom Kingsley, and the actors had all the necessary resources to thrive. I aimed to secure the ideal locations, making everything feel authentic and genuine, while maximizing our resource usage for optimal results. This challenge was one I sought and required. There were times when we doubted if it would happen, but the struggle added a unique intensity to the project, right up until weeks before we started filming, when it could have easily unraveled. Yet, there’s something invigorating about that close call.
But the main objective of Metronome, as you said, is to pay it forward?
Indeed, our debut production is titled “Trash Mountain“. It’s written by the gifted comedian, Caleb Hearon. Kris Rey is at the helm as director, and Lilly Wachowski is also involved. These aren’t high-budget films, and they’re not typically projects that have a chance of getting made these days. However, given my success in the industry, my primary goal is not just to repay favor, but also to nurture new talent for future progress. Hollywood doesn’t have farm teams, and I believe it’s the duty of filmmakers to spot the next rising stars. Filmmakers like Steven Spielberg, Chris Columbus, and Robert Zemeckis have done this often, and that’s something I aspire to achieve. When my journey here comes to an end, I hope I was able to provide a platform for a few exceptional talents.
In 2021, Bryce took on the role of director for a possible remake of ‘Flight of the Navigator’. It seems that you also had a connection with this project back in 2012. Have the two of you ever talked about your unique perspectives on the project at any point?
Absolutely, constantly. I’ve reviewed every single draft she’s been developing, trying to perfect it. If you’re born at a particular time, there are certain things that captivate you, and this is one of them. As a child, the notion that everyone around you has grown older while you remain the same age is truly terrifying. Indeed, we share a strong bond over this topic. We even discuss her Star Wars series and any other projects she’s working on. It’s quite uncommon for directors to find peers they can converse with and sometimes even vent to, but she’s been fantastic in that regard.
We’ve reached the obligatory Jurassic portion of the interview.
Here we go!
Aren’t you taken aback by the fact that another Jurassic World film is coming out, given it’s only been three years since the release of Jurassic World: Dominion?
To clarify, I wasn’t merely a spectator; I was fully immersed in the intricate process of crafting our incredible universe over all that time. It wasn’t just about the films and the two animated series on Netflix, but also the toys, theme parks, and countless other projects we brought to life. Together, we created something resilient and robust, and I’m incredibly proud of what we accomplished. Plus, every newborn child brings a fresh dinosaur enthusiast into the world. So, I have no doubt that the fascination with dinosaurs will continue to thrive.
The Jurassic World trilogy displayed dinosaurs in populated regions more frequently than the original Jurassic Park trilogy, yet the main actions mainly occurred in secluded parts of the globe. In this new film, Jurassic World Rebirth, we’re going back to an island. Why does it appear that the creators are hesitant to primarily locate most of these films in densely populated areas? Is it because it might be too complex or too similar to Godzilla?
The Jurassic World movies have shown dinosaurs more often in busy cities than the original trilogy, but they usually take place in remote locations. Why don’t the filmmakers seem keen on setting most of these films in bustling cities? Could it be too hard to manage or too much like a Godzilla movie?
In my approach, I consistently treated dinosaurs like any other animals, considering how they’d behave in different environments. For instance, if a tiger escapes in a city, it gets caught quickly – that was a pattern of behavior I wondered about when it came to dinosaurs roaming around cities too. We always found ways to rationalize their presence in our world as convincingly as possible. While the image of dinosaurs rampaging through urban streets might seem like a departure from Michael Crichton’s original concept, we aimed to explore their interaction with our world as extensively as feasible. This isn’t limited to the films; our animated series also delved into this topic, particularly in the newest one titled “Jurassic World: Chaos Theory“.
Is it possible that the latest movie borrows the raft sequence from Michael Crichton’s “Jurassic Park” novel, a scene that was unfortunately omitted during production in Steven Spielberg’s original film. Did you consider adapting this sequence in some manner during your discussions about the adaptation?
I wasn’t expecting it, but I’m thrilled they went ahead with it, and I can’t wait to witness it. Jurassic Park, a timeless classic of science fiction, has sparked numerous inquiries about our handling of genetic power in today’s world. Jeff Goldblum’s speech about sea bass in Jurassic Park still rings true, and given that Michael Crichton’s work from that era remains remarkable even in 2025, it doesn’t surprise me that this will be equally impressive.
I wasn’t anticipating it, but I’m excited they did it, and I can’t wait to see it. Jurassic Park is a classic sci-fi movie that makes us wonder about our use of genetic power today. Jeff Goldblum’s sea bass speech in the movie still feels relevant, so it doesn’t shock me that what Michael Crichton wrote back then would still be amazing in 2025.
As a huge fan, I couldn’t help but notice your recent headlines for directing an ’80s-inspired Area 51 conspiracy thriller, and it seems like there have been quite a few exciting projects associated with your name lately. Atlantis is another example. Could you share any updates on which project currently appears to be the front-runner?
This Untitled Conspiracy Thriller currently stands as the front-runner. Creating an original film these days is incredibly tough, but this one holds great significance for me. I’ve actually spent time with journalist George Knapp in Las Vegas, whose work brought Area 51 to light. At this juncture, I believe this tale offers a unique opportunity to explore our fascination with extraterrestrial crafts in a more down-to-earth, realistic manner. It revolves around a journalist gathering facts to uncover the truth, and I think this method could prompt even the most skeptical among us to contemplate questions that we might not otherwise consider.
Previously, we discussed the favorable reactions to your Star Wars: Duel of the Fates content that somehow got posted online. Just wondering if you’ve had a chance to watch Andor yet? You might still need some space, but I’m curious to know if you have.
This summer, my son and I have chosen to binge-watch the entire series of Andor. Though I acknowledge its brilliance, I must admit it’s been challenging for me to connect with anything Star Wars on an emotional level lately. However, I have to hand it to the creators of Andor; they’ve managed to reel me back in. I understand their work is exceptional, and I’m eagerly looking forward to viewing it.
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Deep Cover is now streaming on Amazon Prime Video.
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2025-06-13 23:25