Colin Trevorrow Discusses 'Star Wars: Episode IX' and the 'Jurassic World' Sequel

Esquire just named Colin Trevorrow, director of a little film called Jurassic World, as one of the breakouts of the year. Prior to directing and co-writing the biggest weekend blockbuster in history, Trevorrow’s only other directing role was for a small, but well-received, film titled Safety Not Guaranteed starring Aubrey Plaza of Parks and Recreation fame. However, he now has big plans lined up that include directing The Book of Henry, a drama set to star Naomi Watts; co-writing a screenplay for a Jurassic Park sequel; and directing Star Wars: Episode IX. You can read excerpts from Trevorrow’s interview with the publication below, and can head over to Esquire to read the article in its entirety.

Before signing on, were you intimidated by Jurassic World—the budget, the special effects, and maybe most of all, the expectations surrounding it?
There’s not a lot of room for feeling intimidated. Directors require a level of confidence that can border on the delusional. You have to push it right up to the edge of arrogance, but never cross the line. Honestly, I never had a moment on Jurassic World like the one I had before shooting my next film The Book of Henry. Going from a $150 million film to a $10 million film—that’s intimidating.

What are some of the biggest differences for you, as a storyteller, between making big movies (particularly one like Jurassic World, with its well-known and sprawling mythology) and small movies?
Storytelling doesn’t become more or less difficult when you have more resources. The main difference between those two films was the size of the audience we had to engage. Safety Not Guaranteed, which I made just before Jurassic World, only needed to entertain a small fraction of the populace to be successful. Jurassic World had to play for everyone—from an 80-year-old retired shop worker in Florida to a 25-year-old graphic designer in Paris to a 7-year-old kid in Japan. Not to mention the fans, who had their own expectations. That kind of global entertainment runs the risk of turning into airplane food—just barely good enough to satisfy everyone, but great for no one. We focused on universal themes and emotions, but we also tried to surprise people and play with expectations. The global audience wants to be entertained, but they want ideas to go with it. You can’t just blow stuff up and expect these results.

Sprawling mythology, massive budget, and titanic expectations: as a storyteller, what lessons from Jurassic World do you think might come in handy with Star Wars?
I try to question my choices, learn from my mistakes and always listen to those around me who might have a better idea. Filmmaking is a collaborative process, and the combination of knowing exactly what you want while being open to other perspectives can make all the difference. I know there are expectations for these films, but trying to meet them is not where the real invention comes from. That’s not the engine of creativity. I’m going to keep learning, keep listening, and keep challenging myself. I won’t be phoning any of this in. I’m still hungry.