After everything had been said, even by the assembly team, Steven finally decided to move forward with the jungle shoots. Given the challenges—humidity, relentless rain—it was a wise choice to relocate the shoot to the jungles of a nearby Hawaiian island, as they should have done from the start.
-The heat is unbearable, and we have very little time to film due to the constant rain, but let's make the most of it, - Steven told his directing and production teams, who were already planning the next steps to ensure smooth shooting.
-Any questions?- he asked the crew. No one moved a muscle; they were all on board.
The dedicated team began setting up water-resistant equipment in key locations, organizing the biomes, and bringing in the dinosaur—scale models that would be used for wide shots. The largest barely measured over two meters, and they even had a baby dinosaur, a toy-like prototype that would serve as a mold for several scenes.
Hollywood was a place where models and illusions ruled. The magic of cinema lay in small modifications that made everything appear larger than life. One such model was a miniature T. rex, a reminder of how the industry thrived on these tricks.
…
Billy's arrival in Hawaii was sweltering. His trailer was far from what he expected—a large black tent, well-positioned, fully enclosed except for the open lower edges and the entrance, which was draped with a white curtain to keep the mosquitoes at bay. There was also a small wooden structure with a short front wall for privacy—a compact 4x4 space. There were at least six similar setups for the lead actors, while the stunt doubles slept on a boat, sharing bunk beds.
Billy set up his drafting table, preparing to work on his upcoming projects—delivering Madagascar, Finding Nemo, and Monster House. He already had the scripts; now, it was just a matter of executing the visuals. Unlike manga, these projects didn't require major modifications.
It was mostly about adaptation and adding details that connected the films and their sequels. For example, Monsters, Inc. was already slated for release next year. Though production might take longer, by June or July, the film would be completed, with only final touches left.
-It's not as glamorous as I imagined,- Monica admitted. The island had two sides—one well-known and picturesque, and the other, hidden and far less inviting. She stretched, turned on the radio to add some warmth to the space, then kicked off her sandals and sprawled out on the double bed. Taking a deep breath, she quickly drifted into sleep.
Billy, meanwhile, finished sketching the drafts for Robots and Finding Nemo, which needed to be delivered when Pixar resumed work in October. He then moved on to storyboarding Monster House, Happy Feet, and The Incredibles.
Once he wrapped up, he grabbed his coat and headed out to shoot his scene. It was an exhausting process, but that was just how things were—quick shots while pretending to be drenched in the rain.
-Is everyone ready?- Steven's assistant called out. The actors were gradually arriving, and the crew was already in position.
Scene 4.
Dense jungle.
They ran, watching Julianne Moore perform aerial stunts against a green screen. The set was dimly lit, but strategic lighting illuminated a vast section of the jungle.
His character, Nick Van Owen, was a cocky young American who had skipped college to travel the world. He joined Greenpeace for the girls and Earth First for the cause—a bold, reckless personality.
VINCE VAN O: She's fine, buddy. You don't have to worry. Honestly, she's safer than we are.
IAN MALCOLM: Keep your comments to yourself. No need to give us any ideas.
VINCE VAN O: Looks like we've got company.
Billy stepped forward, taking a few photos while gesturing at the space that was supposed to be filled with thousands of trucks and hunting gear.
VINCE VAN O: Guess we're not the only ones sent here. The competition is fiercer than ever.
His tone was smug, self-assured—the voice of a 23-year-old who believed he was invincible. Following the script, he spun around dramatically and took his position.
They continued filming, running through artificial rain while Billy remained a background presence. They moved in a sweeping curve, an "S" formation, toward the rival camp—a trek that was cleverly disguised by lighting, which created the illusion of a vast, darkened jungle.
SARAH HARDING: They're capturing them. This is barbaric!
IAN MALCOLM: There's nothing we can do. We're a research team going up against poachers.
VINCE VAN O: Maybe we can do something. Just give it time. The rain will help us.
Billy infiltrated the camp, snapping fake locks with prop cutters. They were made of metal but weren't secured—it was all for the performance. Humming a James Bond tune, he fully immersed himself in the role, exuding a mix of calm and barely concealed paranoia.
…
He returned soaked, exhausted, and covered in mud. He wiped himself down in the designated area, peeling off his drenched gear. More rain, he thought bitterly. His previous shoots had all been rain-heavy—a genuine nuisance.
-Great work,- Billy told a crew member. Despite all the obstacles, they had pulled off stunning shots in record time. That's what held them together—a seasoned team with years of experience.
He sorted out his clothes and retreated to his cabin, where a much-needed moment of peace awaited him. It was late—well past midnight.
Monica instinctively curled up against him, seeking warmth in a way he had grown used to.
Tomorrow, he'd have to get back to organizing the next round of storytelling.
...