When Life Keeps Finding a Way On- and Off-Screen: Gareth Edwards, Manuel Garcia-Rulfo and Rupert Friend Chat 'Jurassic World Rebirth'

Jurassic Park and Jurassic World films typically have a moment — more than one, sometimes — where an ominous sound gets the franchise's characters looking upwards. The source of that noise tends to be a towering dinosaur, which also becomes everyone's next sight, the movie-watching audience included. In those seconds, folks on- and off-screen tend to share a look. Viewers of 1993's OG picture in the saga, and of 1997's The Lost World: Jurassic Park, 2001's Jurassic Park III, 2015's Jurassic World, 2018's Jurassic World: Fallen Kingdom, 2022's Jurassic World Dominion and now 2025's Jurassic World Rebirth, have all spied it. Awe, wonder, surprise, shock, amazement, reverence, a touch of fear: that's the Jurassic expression when the kind of critter that lived more than 66-million years ago looms large over modern-day humans.

Audiences do indeed sport the same reaction. Jurassic World Rebirth star Rupert Friend (The Phoenician Scheme) has witnessed it. At the film's premiere, "occasionally we turned around in our seats to look at the faces watching it," he tells Concrete Playground, "and you saw a thousand people with that look on their face". If you're thinking that perhaps that is just the innate, instinctual response to dinosaurs, then, you're not alone. "So maybe it's just a natural thing when you're experiencing this stuff, to have that — somewhere between awe, wonder and terror, maybe — I would say," Friend continues.

Friend's character is the entire reason that the new narrative, which is set five years post-Jurassic World Dominion, kicks into gear. In the seventh instalment in the big-screen series, and in a movie directed by Gareth Edwards (The Creator) — adding a Jurassic Park franchise film to a resume that's already seen him tackle sizeable creatures in 2010's Monsters and 2014's Godzilla, and jump into huge sagas courtesy of the latter and Rogue One: A Star Wars Story — Martin Krebs is the man with the plan. Working for pharmaceutical company ParkerGenix, he recruits ex-special forces operative Zora Bennett (Friend's The Phoenician Scheme co-star Scarlett Johansson), her seasoned associate Duncan Kincaid (Mahershala Ali, Leave the World Behind) and palaeontologist Dr Henry Loomis (Jonathan Bailey, Wicked) on a mission to collect dino DNA. The idea is to use the specimens in medical research to create new treatments. Making money is as much of a goal.

Venturing to an island that's one of the last places on the planet with a climate and ecology still suitable for ancient beasts — and to a location that's forbidden to people as a result — Zora, Duncan and Henry are Jurassic World Rebirth's core trio. Fans know that the saga has enjoyed putting that dynamic front and centre since Sam Neill (The Twelve), Laura Dern (Lonely Planet) and Jeff Goldblum (Wicked) were at the heart of 1993's franchise-starter. Unsurprisingly given his employers, and befitting the series' fondness for a human villain, too, Krebs and the latest film's three leads don't always agree.

Experiencing the wonders of living dinosaurs right now equally harks back to the original flick. That's where Manuel Garcia-Rulfo (The Lincoln Lawyer) comes in as Reuben Delgado, a father holidaying at sea with his daughters, 11-year-old Isabella (Audrina Miranda, Criminal Minds) and 18-year-old Teresa (Luna Blaise, Manifest), plus Teresa's boyfriend Xavier (David Iacono, Fear Street: Prom Queen). Their sailing getaway crosses paths with giant prehistoric critters of the deep, and with Zora and her crew's clandestine trip.

Garcia-Rulfo partly credits Jurassic Park for him even being an actor. "The first one, the Spielberg one, it was such a big part of me. For me, films are like my second mother, my second school. I thought since I was a kid, I was a terrible student, and all I did was watch movies — and a big one was Jurassic Park. So now to be part of that, it's just very, very big for me." Also filled with affection, his Rebirth director admits that many of his features before now have all been secret attempts to make a Jurassic entry. "Well, it's just not so secret anymore, I think," Edwards advises.

Roy Rochlin/Getty Images for Universal Pictures and Amblin Entertainment

Those throwback-style leanings to Jurassic World Rebirth's story aren't just a case of a filmmaker getting a chance to pay tribute to something that he's long loved within its own realm, and doing so entertainingly, however. After respectively directing and adapting Jurassic Park and The Lost World, Steven Spielberg (The Fabelmans) and David Koepp (Black Bag) are back among the movie's team — one as an executive producer, the other penning the script. Accordingly, Edwards is working with the two figures who initially made movie magic from Michael Crichton's novel. Koepp's script delivers him the job of not only crafting a dinosaur action-adventure, though, but also a heist film with Krebs' mission, an anti-big pharma movie there as well, a family drama with Reuben and his children, an ocean creature feature at times, and a leap into sci-fi horror territory with a Frankenstein angle thanks to its new to genetically engineered dinosaurs, such as the Mutadon and the Distortus rex.

With Edwards, Garcia-Rulfo and Friend, we chatted more about what it means to be part of this now 32-year-old franchise, working with Spielberg and Koepp, dreaming up new dinos, always grounding the tale in humans first and other topics — including its multiple-movies-in-one narrative, plus how nature's persistence remains pivotal. Yes, life keeps finding a way, just as it does in bringing all things Jurassic Park and Jurassic World back to cinemas.

On Edwards Taking the Helm on a Franchise That He Grew Up with — and Has Said He's Been Trying to Secretly Make in All of His Other Films So Far

Gareth: "I think it's like a coming out party where I can finally declare that Jurassic Park, it was just such an inspiration as a kid. I ended up buying a computer and learning how to do computer animation, and doing dinosaurs in my bedroom-type stuff — thinking 'oh, this is going to be the way you make films and if you learn how to do this, you'll be able to make a movie from home' kind of thing.

Cut to 15 years later, I'm still doing visual effects, thinking I've wasted my life, I made a terrible mistake — but it actually turned out okay in the end, I think.

I don't really understand how it led to this, but I feel like I'm in a simulation or something. I don't really know how it happened is the honest truth."

On What Being Part of the Jurassic Park Franchise Means to Its Cast

Manuel: "It's huge. For me, it's so big. So honestly, it's kind of overwhelming. I don't know if that's the word, but Jurassic Park really changed me — and, I guess, marked a generation — but it really changed me as a person. Meaning, when I saw it, I really wanted to be part of the films, of this industry, of that world.

So now to be part of that franchise, which is one of the biggest franchises in cinema, I'm just really, really happy and grateful — and very happy with the result. I've seen it two times, the film, and it's so good — it's such a fun film."

Rupert: "Yeah, likewise. Of any of the sort of super blockbuster franchises, I was always my favourite. I think the idea of exotic foreign locales plus that weird thing which is not science fiction, but it's not totally known to us — the world of dinosaurs. If you think about things that are set in space, that's sort of complete science fiction, and this always felt like the most-perfect hybrid.

Aside from being made by Spielberg, who I've loved all my life, and Crichton, who I read when I was a child and continue to adore his writing.

So to do it as a kind of brand-new venture within a familiar universe with this incredible new cast, new dinosaurs, Gareth Edwards at the helm, it was just the perfect melting pot."

On How Working with Steven Spielberg and David Koepp, Who Started the Film Franchise Three Decades Ago, Assists When You're Directing the Saga's Sixth Sequel

Gareth: "It was the key to everything. Essentially, Steven had kind of come up with the whole premise with David Koepp, figured out the storyline. And then David, I think, wrote a first draft and that got greenlit. It was a really fast process. I think it existed in December and by March I was going to meetings at Universal.

And then we did this movie in a year and a quarter. Normally on a giant film like this, you have two-and-a-half years — and this is half the amount of time.

My editor, he put a sign up on the edit suite, a quote — I think it's from Leonard Bernstein — and it said something like "art is when you have a plan and not quite enough time".

It's like having a gun at your head. It's really interesting, because it makes — you can't second guess yourself. Everyone who worked on the movie had to just go with their first instincts first time. And there was no messing around. If anyone got in the way of anything, the film wouldn't make the release date.

And weirdly, looking back now, I kind of feel like 'okay, my next contract, if I ever make another film, I'm going to tell them to take the schedule and halve it' — because I think it leads to a more interesting result. It's like you just have to go with your gut."

On the Importance of Jurassic World Rebirth Grounding Its Dinosaur Adventure in Its Human Characters

Manuel: "I think that's the most important for me. That's what really drew me to the story. And I really believe that Gareth was the perfect one. I recently, before being cast, I watched his latest film, which was The Creator, and it really made me want to see all his films.

And he's a perfect director that works with science fiction, even though this is different. But he never loses the element of humanity in his stories. And I think this is for me, it's just the heart of the film. Otherwise you don't care for the characters.

And again, I think this movie has not just very scary moments, but a lot of heart because of the characters."

On Whether It's a Dream Come True Getting to Create New Dinosaurs — Creatures Literally Whipped Up in a Lab — for a Jurassic Movie

Gareth: "I love monsters. And I love, obviously, when you get given the task of designing a monster for some reason — it's also one of the hardest things you can do, because there's so many great monsters that have already been done.

There was a concept artist I worked with who did the Joker's mask in The Dark Knight and stuff like that, and he said it's like trying to find the last carpark space in the Disney World carpark or something — where you're going around, you know it's there somewhere, there is a new monster that's not been done, but everywhere you go, you go 'well, that's been done, that's been done, that's been done'.

And so what you end up in a situation is, sometimes, like real animals, like breeding things. So it was a bit like the rancor monster from Star Wars had a sexual relationship with the HR Giger's alien, and had a little kid that was like a T. rex.

And then what's interesting is, then the animators have to animate that stuff, and one of the questions they ask you is 'if this was a real character from a real film, who would it be?' — so we just get the personality across. And it was a tricky question.

For the D. rex, the big, massive dinosaur you see on the posters, it was like 'well, go rewatch The Elephant Man'. Because I felt like that was kind of where I was imagining it in my head — is that something where you had a little bit of empathy for them as well. It wasn't just a monster. And it makes the audience feel a little bit more uncomfortable because they can't just want to kill this thing."

On the Idea of Nature's Persistence Being So Pivotal to the Film

Rupert: "Life finds a way. Certainly all the characters in this film have a temerity and a tenacity to survive — and in the case of the family, to survive as a team; and in the case of the more bounty-hunter gang, to complete the mission as well as survive.

And in terms of the dinosaurs as well, we see the laboratory now ruined from which they escaped, and that's a perfect visual metaphor for life finding a way. Even if it's locked up in some laboratory on a remote island, eventually evolution will have its day."

On What Excites Edwards About Getting the Chance to Add His Voice and Vision to Big Beloved Franchises, Including Godzilla and Rogue One: A Star Wars Story in the Past

Gareth: "It's funny because it does feel a bit like — when I grew up, the films that were being made were all very original movies. Every single one of them. What we call a franchise now was at one point original.

And so there's half of me that's like 'what's the matter? What's going on? Why is it all franchises and IPs?'. And then you start to realise that what's probably going on is it's a little bit like a mythical story.

Like, for hundreds of thousands of years, you'd be a little kid around the campfire, and some elder would tell you this tale about how they went off over the hill and fought some animal and came back with all the things for the village. And you would hear that story and go 'oh wow, that's amazing'. And then one day as you got older, you would then want to tell that story to the little kids around the campfire.

I feel like that's what a franchise is, a good one — it's like a modern myth. And what you're doing is you're getting the chance to retell that thematic mythology. I'm basically being allowed to take one of these things that I grew up around the campfire loving and made me want to tell stories, and now I get to tell it, but put your own spin on it and add a few things and all that sort of stuff. And so I just think it's a modern version of that.

For instance, when we were shooting or editing the film, Jonathan Bailey was in Richard II, the Shakespeare play in London. And I was sitting in the audience, because I went to see it with him, and thinking 'this is like a franchise, really'. Like Shakespeare, everyone comes along and they do their version of it, and retell it and make a new film or make a new play, and no one thinks twice about it. Everyone's very happy. And they're really like franchises or IPs.

And when you get the right idea and the right ingredients and everyone's excited about it like Jurassic Park, then it sort of catches fire, and then it's something that — it's like there's this thing, and you can remake it and retell it, and there's offshoot ideas and storylines or different takes on it.

And dinosaurs, I think, are very embedded genetically in being human. To have that reaction to an animal that might come and kill someone we love at any moment, I think it's very hardwired in us. And so it's not going anywhere.

I think dinosaur stories and films are so primal, they'll keep happening as long as there are people in the world."

On What Interested Garcia-Rulfo About His Character's Ocean Survival Thriller-Meets-Family Drama Journey

Manuel: "Personally, everything. I mean, being part of the franchise, knowing that Gareth was going to direct, knowing that all these amazing actors — Scarlett, Rupert and Mahershala — were going to be in it, knowing that David wrote the script again. So it was all those elements.

But also, I really, when I read it, it really fell in love with the story of the family — because, for me, it's like the heart of the film, especially because there's a little kid. So that becomes very vulnerable. It's like the most-vulnerable character of the film. So everybody's going to want to care for her or want her to be okay.

And so I fell in love with it. I fell in love with this guy, with this father, knowing nothing about survival or dinosaurs and all this, and having just to protect the loved ones and being this journey. And I think that was fascinating, and I loved it."

On Friend's Task Playing a Big Pharma Representative Chasing Something That'll Both Change Human Existence and Bring in a Huge Profit

Rupert: "I think it's a balancing act for Krebs, and the film is definitely interested in exploring that. At the head of the film, Scarlett's character, Mahershala's character and my character are all in it for pretty much the same reason — it's just that there is an overarching validation of that reason. It's not just 'get money to sock it away under your bed'. It's to do something that is altruistic.

And I think that that motivation evolves and changes for the characters as it goes along. But yeah, it's a fascinating dichotomy, for sure."

On Jurassic World Rebirth Playing Like a Few Different Movies in One, From Creature Feature and Frankenstein-Esque Sci-Fi Horror to Family Drama, Heist Flick and Anti-Big Pharma Film

Gareth: "It was like having a bunch of kids, in that one kid grows up really well and becomes really strong and you go 'oh, this is really working, this section of the film' — and so then it was my job to then look at another section and go 'okay, let's make this better, let's help this one and refine it and try to add ideas' until that was now competing with the other one. And so you're basically moving around the whole movie, trying to take each sequence and elevate it, and just make it as strong as the others.

And so yeah, that was my job mainly on the film, because there were some really strong ideas in there. Like visually, when I read the script, the section where there's a T. rex chasing a family in a raft, I was like 'well, that's worth directing the movie just for this sequence'. It's a kind of killer visual that's going to definitely work.

And so then it's like 'okay, well, my job is now to make sure all these other sequences around it are as good as that'. And so it was really tricky, because it's the highest of high bars to compete with Jurassic Park. It's a masterpiece of filmmaking. And ultimately, you can't compete with it. It's a moment in cinema that you're never going to get again, where the world got to see dinosaurs for the very first time.

But so what we did do is go 'well, let's imagine that we made this movie back then' — like we shot this in the early 90s. It has all that flavour of the original. And for whatever reason, Universal went 'okay, well, we've got this big dinosaur [movie] this summer, this Jurassic Park film, so we're going to put this in the vault, on the shelf, for a second', and then they forgot they'd done that. And then suddenly, in like 2025, they go 'oh my god, we completely forgot we made this movie' and they decided to release it.

We wanted it to feel like a throwback to something of that kind of movie we grew up loving as kids."

Jurassic World Rebirth released in cinemas Down Under on Thursday, July 3, 2025.