Latest / Have You Seen?! The Movie Podcast / The Art of Terror: How Jaws Created the Summer Blockbuster

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The Art of Terror: How Jaws Created the Summer Blockbuster · Have You Seen?! The Movie Podcast

• 0:00
  Dylan: Joe, would you pass the popcorn man?
• 0:03
  Dylan: We should have made some, that would have been good.
• 0:05
  Dylan: So this week we're diving into the movie that made everyone afraid of the water.
• 0:10
  Dylan: It's a great white.
• 0:12
  Dylan: A what?
• 0:13
  Dylan: the way that he delivers that line is just so funny.
• 0:44
  Joe: so this is actually your first time watching Jaws, right?
• 0:48
  Joe: Yeah, I've never seen it before.
• 0:49
  Joe: So like have you?
• 0:52
  Joe: You were exposed to maybe some pop culture, maybe some references, but you've never seen the whole thing.
• 0:58
  Dylan: Right, like I mean, everybody knows the iconic like film score Dun dun Dun dun Yep, but like you know, know that's all I knew of it and so, yeah, I loved like how much in the movie that they actually like used that flowing throughout it right, so quick plot rundown.
• 1:22
  Joe: Uh, if you haven't seen Jaws, it basically goes from a shark terrorizing the town.
• 1:28
  Joe: The mayor doesn't want to do anything about it.
• 1:32
  Joe: The chief of police wants to save people, but he gets the let's see, how would you say it the wrong end of the stick?
• 1:43
  Dylan: Yeah, he gets the short stick on that one wrong end of the stick.
• 1:45
  Joe: yeah, he gets the short short stick short in his stick on the whole.
• 1:48
  Joe: Thing uh famous slap scene is in there, uh from a mom, and then it becomes, uh, a team-up movie, and then it becomes an adventure at Sea movie and they slay the dragon.
• 2:09
  Dylan: Yep in one big bite.
• 2:11
  Dylan: But yeah, joe, I had no idea how much suspense that they were going to build in without even showing the shark.
• 2:21
  Joe: Yeah, yeah.
• 2:23
  Joe: So, uh, I guess we can get into this part is that the famous, you know, the shark didn't work for the whole movie, really, and so their whole, uh, their whole way to get around in that was the music and the camera scenes and, um, the biggest thing about it was like you had, instead of having, the shark, you had objects, and so there's a scene where these two fishermen go, uh, go after the shark, and they're trying to go after them oh yeah takes out the, the whole dock completely, rips it off yeah and so, instead of showing the shark, the dock chases after the guy and it works, it works, it's like you.
• 3:08
  Joe: You just have that feeling that the doc is attached to the shark and so it's just.
• 3:13
  Joe: It's the doc chasing the, you know.
• 3:16
  Dylan: Oh my gosh.
• 3:17
  Dylan: And when it's like floating out to the water and then pauses and just comes right back in like oh that's so good.
• 3:23
  Dylan: And just comes right back in like, oh that's so good, yeah.
• 3:24
  Dylan: So, touching back on Mayer, it's crazy to me how much he's pressing Brody to change his report from the first shark attack is he wants to change it to a boat?
• 3:41
  Dylan: What is it?
• 3:43
  Dylan: A boat propeller?
• 3:44
  Joe: Yeah, or a boat accident or a propeller yeah, exactly, and it's like the the minute uh hooper comes in and sees the body.
• 3:55
  Joe: He's just like this is not right.
• 3:58
  Dylan: Right, he tries to like start off using all of like kind of the proper, proper phrases and names for things, and just the chief is just like what.
• 4:09
  Dylan: What are you talking about?
• 4:11
  Joe: The nomenclature for all the things at sea and what the actual names of the sharks are.
• 4:18
  Joe: Right, yeah, so Chief Brody is kind of at first the main hero and, um, they, they basically try to get money together to kill the shark and they try to have a reward.
• 4:35
  Joe: And so quint comes, in which the okay, the reward was originally offered by the the ladies whose son died, right, yeah, okay yeah, and then I think quint um up the ante to ten thousand dollars, yeah, and they didn't want to do that, they couldn't afford it or whatever.
• 4:59
  Joe: So then Hooper comes in to try to give a more educated view on the shark Right.
• 5:12
  Dylan: Yeah, but Chief Brody was like very much started off as kind of the reluctant hero though.
• 5:16
  Dylan: Yeah, and so it's.
• 5:20
  Dylan: It's funny too because, like in the scene where Brody's son they gave him the boat for his birthday and he's, you know, brody, is like holding the shark book and hands it to his wife and starts yelling at the son to get off.
• 5:39
  Dylan: And then Brody's wife just goes like she flips from, like oh he's fine in the boat, and then she like reads the page.
• 5:49
  Dylan: He's like get him out now.
• 5:51
  Dylan: Get out of the boat.
• 5:52
  Joe: Yeah Well, she yells at them.
• 5:56
  Joe: She just, you know, passes by Brody.
• 5:59
  Joe: It's just like get off the boat, right, yeah, the?
• 6:05
  Joe: I think the first scene in the movie where the couple goes out is just so nostalgic of all horror movies yeah you know, it's that whole, like you know, the biggest, I think the biggest point that people.
• 6:20
  Joe: You know, what is that movie?
• 6:21
  Joe: Um, scary movie where it talks about all the cliches of horror movies.
• 6:26
  Joe: Okay, and so you have this couple who are, you know, gonna do the the deed or mess around, and so she goes swimming and all of a sudden she's the first victim.
• 6:37
  Joe: Yeah, you know, she goes swimming and you know the, the boyfriend goes and stays on the beach and she just, um, you know, gets, gets eaten alive.
• 6:49
  Dylan: So well, and it's.
• 6:50
  Dylan: It's interesting too of how she like thrashes back and forth like you know, you know supposedly from the shark, yeah, and then like it's funny, because they just like cut back to the beach and he's just laying there trying to take off his pants yeah, just just chilling, just chilling.
• 7:06
  Joe: Yeah, she's just screaming like why he doesn't hear.
• 7:10
  Dylan: I don't know right, because it's so funny because when they cut back to like you don't hear her screaming in the background, you don't like all you hear is like the calm waves and like him just kind of struggling, yeah and so.
• 7:23
  Dylan: So it's kind of interesting.
• 7:24
  Joe: So yeah, and that scene, uh, the, the actress who who is in that scene is the actual stunt woman.
• 7:33
  Joe: Um, so, instead of having you know, uh, so in this movie there were several stunt people who just played the part.
• 7:41
  Joe: Okay, rather than having an actor and then a stunt person come in for that, yeah, the actor, um, she was the stunt woman, and so they actually had a set of pulleys on her.
• 7:54
  Joe: They tried to kind of have her do it on her own, but then they actually attached pulleys to her.
• 8:00
  Joe: They had a harness.
• 8:01
  Joe: Um, so when you can see her from the top, they had, uh, she had shorts on underneath the and then like a pulley system under her.
• 8:12
  Joe: Oh, okay, and so then steven spielberg would pull on on the pulley, and then she would get yanked.
• 8:18
  Joe: And so then that would be the shark, and then she would react to being pulled yeah, it was kind, kind of a reaction to what was going on.
• 8:28
  Dylan: Yeah, because then that just definitely makes it so much more authentic looking of where she did not know which way she was going to get yanked next.
• 8:37
  Joe: Yeah, so she's just jerking back and forth.
• 8:39
  Joe: They said that she was supposed to say the Lord's Prayer or some kind of prayer in between.
• 8:45
  Joe: And they said, like she said, that there were like eight Catholics on set and they couldn't put it together to save their life.
• 8:58
  Dylan: That's so funny.
• 9:00
  Joe: And then, when they overdubbed her lines, just her thrashing they had her in the studio upside down and Steven Spielberg sort of waterboarded her and poured water on her face while she screamed.
• 9:16
  Dylan: So you had that drenching sound, that's one way to do it.
• 9:20
  Dylan: It was pretty intense.
• 9:21
  Dylan: That's crazy Upside down.
• 9:25
  Joe: Yeah, upside down man, and then they just poured water and then she read her lines of screaming and all that stuff.
• 9:35
  Dylan: It's funny when the mayor goes to talk to Brody After that attack and kind of the the first introduction to brody, and um, brody goes out to where they're having, like, their swimming race, yeah, and he's gonna get him out of the water, and the mayor, like is honking driving up and he's got the whole crew with him, yeah, and it's so funny that they get out and like the ferryman, you know, takes him across and they have this whole conversation and then, as soon as they're done, they're like okay, you can take us back now, yeah yeah, yeah, and he, he pretty much was just like no, you're not, you're not shutting things down, we're not gonna make any money, right um which like I totally, I, I I totally understand why, like he feels they need to, but it's like you know, if you have a thin winter, so be it.
• 10:35
  Dylan: It's.
• 10:35
  Dylan: You know it's what helped save people and you know, because of that, because of the mayor's actions, many more people died and the little boy died and and um, yeah, like rolling into that when, like the grieving mother comes up to brody and just rocks his world just smacks the crap out of him and it's like, why didn't, why didn't brody just be like, oh, yep over here right like yeah, this is the one who made that decision.
• 11:08
  Joe: That's the thing about brody too.
• 11:09
  Joe: Is that like you really see, like, like his character of leadership, like he's not gonna throw his superiors under the bus, like that that it's kind of like one of those things that you don't.
• 11:24
  Joe: you don't complain upwards or you don't complain downwards, like you know.
• 11:28
  Joe: And so like in private he's giving them, you know, like his mind, but in front of everybody else he's just like, okay, I'm going to take it, you know, it's just, it's just his like, the way his character is as a character just is that heroic, like I'm not gonna throw my superiors under the bus, um, I'm gonna keep leading this team, no matter how bad it gets right, and it's just, it's just, yeah, it just serves to to his, you know, heroicness, I guess right now like true heroes in movies usually will take that.
• 12:06
  Joe: You know it's like you look at superman or any of those other kind of people.
• 12:10
  Joe: Yeah, um, and that shot, uh, you know, when he's on the beach and he's just nervous and he's he's like just trying to watch out for people.
• 12:22
  Joe: And then that first, that that I guess second attack would be the you know her son, that just you know he gets eaten by the shark in front of everybody in that pan of just like just terror.
• 12:39
  Dylan: You know, with that camera shot, it's just like Well and like of everybody, just just everybody, just rushing out of the water, does the dog die?
• 12:46
  Dylan: I don't think so.
• 12:48
  Dylan: Don't think so because, like I don't think, it showed the dog, oh yeah like after the guy was yelling for, for the dog right, but then it shows from the spark the shark's view coming up underneath the dog yeah, because it shows the dog paddling around.
• 13:03
  Dylan: That's right, yeah, and then the guy you know is like it shows the dog paddling around, that's right, yeah.
• 13:07
  Dylan: And then the guy you know is like calling for his dog and, like you, just don't see any signs of the dog.
• 13:10
  Joe: It's probably just yeah, maybe he did.
• 13:12
  Joe: I kind of think now that I think about it he probably was and then went for the boy.
• 13:18
  Dylan: Yeah, yeah, a little before the meal, I guess, but yeah, and that's the first shark attack that we actually see on screen.
• 13:30
  Joe: For the movie yeah, and the blood and the guts and all this stuff.
• 13:36
  Dylan: Wait, do you see?
• 13:37
  Dylan: I think you just see the blood, right.
• 13:40
  Joe: Well, so they actually had somebody pull the kid down.
• 13:46
  Dylan: Oh really.
• 13:47
  Joe: It was kind of a switcheroo, where they had a scuba diver or a swimmer underneath the kid and then they counted out, they pulled him down and then the blood was right next to him.
• 14:00
  Dylan: So he just squirted up in the air.
• 14:01
  Dylan: So it's just all of them on go, yeah, wow.
• 14:07
  Joe: OK, that was another one where they tried to have him do it on his own and he just couldn't do it.
• 14:10
  Joe: So they made it so right, because like when you're in the water.
• 14:13
  Dylan: I I don't even know how like I could get my body to perform that action, like just yeah, throwing your arms up I guess, and then going, yeah, it's kind of like diving in a diving while you're in the water.
• 14:28
  Joe: That's just like hard right even for a advanced swimmer, it's just a hard thing to do so yeah, and then especially trying to get a kid to do that.
• 14:38
  Dylan: But yeah, then you have just the sheer panic of everybody just rushing out of the water and the mayor's there to witness that, isn't he?
• 14:49
  Dylan: Yeah, so yeah, that should have been.
• 14:51
  Dylan: Hey, mayor, here's your, here's your eye opener.
• 14:54
  Dylan: Yeah.
• 14:54
  Dylan: Then after that you kind of come to the slapping scene.
• 14:58
  Dylan: Yeah, brody saves face and you know it toughs up, and then you have the, the scene of just all of the, the fisher boats, like coming in yeah, when they they give the, uh, the number of you know how much it's gonna be right oh yeah, because, because in the in the room and that horrible chalkboard sound.
• 15:22
  Joe: Yeah, oh, that's awful.
• 15:24
  Dylan: I plugged my ears for that part.
• 15:25
  Dylan: Yeah, it's so good though it's so good, it's definitely one way to introduce a character.
• 15:31
  Dylan: Yeah, because then the kid's mom offers three grand.
• 15:39
  Joe: Mm-hmm.
• 15:43
  Dylan: And then Quinn is like you, pay me me 10, I'll take care of it for you because he's, he's, this is what he does, right?
• 15:52
  Joe: you know?
• 15:53
  Dylan: yep he's shark hunter, yeah.
• 15:55
  Dylan: And so then, like, have all of like the, the novice finisher men out there, yeah, they're like oh well, we can you know we can do it better.
• 16:04
  Joe: Yeah, you know yeah, everybody always thinks they can do better the boats are being, um you know, overweighted, right, everybody crowding into it.
• 16:13
  Dylan: You have the shot of like everybody just in one go, like leaving the docks and stuff.
• 16:19
  Joe: Yeah, it's just pure chaos well thing too is it's kind of greed because, like, if you're on the boat and you catch that shark, then you get a cut of $3,000.
• 16:30
  Dylan: Right.
• 16:31
  Joe: You know.
• 16:31
  Joe: So, like I wasn't, you know you don't think about it when you're watching it, but it's like, why are all these people getting on one boat?
• 16:39
  Joe: It's like because they get to split the money, right?
• 16:41
  Joe: You know, like they all want to have a you know a piece and like yeah, um you know.
• 16:49
  Dylan: So right, get, get the buddies together, we're going.
• 16:51
  Joe: We're going fishing yeah, half of them are drunk anyway, and and the one tossing the dynamite into the water yeah, just just willy-nilly yeah, right on the coast, they're just, they're just getting out and they're tossing the water.
• 17:05
  Joe: Yeah, just just willy-nilly.
• 17:06
  Joe: Yeah, right on the coast, they're just, they're just getting out and they're tossing time into the water.
• 17:08
  Joe: Yeah, so, the fisherman, um, there's a, there's the character, um ben gardner, and he was a, he was a fisherman, one of the multi people eventually, like he gets, you know, taken by the shark, because you find them later.
• 17:28
  Joe: Um, but that that actor actually showed.
• 17:32
  Joe: So craig kingsbury, who played ben gardner, showed robert shaw, who plays quint, how to actually talk like a fisherman oh, yeah, him all the and steven spielberg said if um, pretty much like, if he could act better, he would have played quinn.
• 17:49
  Joe: Oh really yeah, but but he ended up just being a side side part in that after they're all going out, you have the um fishermen trying to go out at night and do the roast beef and oh, okay, yep, trying to get, trying to get the shark, and then you know they they fail and the shark comes after them.
• 18:11
  Joe: Right turns around.
• 18:12
  Joe: Yeah, yeah, you have people trying to go after the shark and then they come back with a, with a tiger shark, right?
• 18:22
  Dylan: which they think is their shark, yeah, and then this is where we meet hooper.
• 18:28
  Dylan: Yeah, and he, he kind of has a, a funny introduction because he's trying to, he's trying to hail down the, the chief, yeah, and chief is like pretty much like blowing him off, yeah, and well, the funny thing is he gives them jobs to do because it's like hey, go tell those people to stop.
• 18:47
  Joe: He's like hey guys, stop.
• 18:49
  Joe: Uh right, the chief said, chief said, stop doing that.
• 18:52
  Joe: And they're like, and then he's like oh, where's the, where's a good place to eat, you know?
• 18:58
  Dylan: yeah yeah and then they just tell him just down the road.
• 19:02
  Joe: Yeah, just down the road.
• 19:04
  Joe: Yeah, keep walking.
• 19:05
  Dylan: Because then they then they bring in the shark, yeah, and they think it's their shark, yeah, and it's a nice little tiger shark, uh huh who?
• 19:15
  Dylan: Yeah, not going to hurt nobody.
• 19:17
  Joe: Yeah, and he's trying to tell everybody that's just the tiger shark, right.
• 19:22
  Dylan: Yeah and like, yeah, your shirt right.
• 19:23
  Dylan: Yeah, and like, yeah, they totally are like oh, no, no, this is, this is the one we want yeah, yeah that's a shark expert yeah, yeah, yeah and then they all all pose around it for the, for the newspaper picture.
• 19:38
  Joe: Yeah, be the big heroes and uh, that's not, you know, the whole time he's just kind of like shaking his head and just like, right, no, this isn't you know well, and it's.
• 19:51
  Joe: It's funny too, because then, like, the photographer is trying to like get him out of the shot yeah move because he's standing right beside the shark right, everybody else is like wanting to be in it, be in it and be around it and yeah yeah, and then he's wanting to cut it open right there and I kind of had the feeling that he didn't want to necessarily cut it open right there, but you know right he's no better proof, though, yeah right, yeah, and they're like, well, we don't want the kids spilling out, and she's like pretty much like that's not gonna happen right.
• 20:24
  Dylan: Because what is?
• 20:26
  Dylan: Because it's the mayor that says, well, we don't want the one, it's spilling out all over the dock in front of everybody, yeah, yeah, which I mean I would understand that.
• 20:37
  Dylan: You know, that'd be a pretty graphic scene.
• 20:40
  Dylan: But then for the mayor to also turn it around and be like, well, just don't cut it open at all, just get rid of it and just completely trying to just bury the whole thing, the whole time he's just trying to bury it, trying to bury it Right right.
• 20:59
  Joe: Yeah, how does it come up?
• 21:03
  Dylan: there's the shark that's trying to kill the people is not a tiger shark right, and then, like that night, hooper and chief brody then go in and actually cut open the tiger shark and yeah, they find license plates right, yeah license plate and all just sorts of stuff.
• 21:24
  Joe: Because because he said uh, hooper said that tiger sharks just pretty much eat whatever's on the bottom yeah, and the the cool thing about his like even detective skills of knowing how to identify a shark is he was like, well, he came from, he probably came from this area, right, and sure enough they found it right, because he said that I was gonna say.
• 21:49
  Dylan: He said he said that part before they even cut it open right yeah, yeah, yeah.
• 21:53
  Joe: So they cut it open.
• 21:54
  Joe: It's like there's the proof, you know right there's like good old louisiana.
• 21:59
  Dylan: Yeah, is it that night that they go out onto hooper's boat?
• 22:04
  Joe: yeah, the super sci-fi fancy right boat and like that, that.
• 22:11
  Joe: That scene is where you can really hear john williams influences of music right, and you know there's like, uh, you know the, the scene we both mentioned sounds a little like harry potter you know, right, it's like those little like uh, just nuances and then.
• 22:34
  Joe: But he was influenced by.
• 22:36
  Joe: You know, we were talking about the planets and how the different arrangements from the planets have influences, with Jurassic Park and Jaws and all that stuff, and so it's like if you really listen to a lot of these little scores in here, you can hear all these throwbacks to things that will happen in future movies.
• 23:03
  Dylan: Yeah, I mean that's cool for them to kind of go back to that and take the influence from that.
• 23:12
  Joe: There's points, like in this point, where they're on the sci-fi boat, on the super and all the water is like Cooper mobile boat.
• 23:21
  Joe: Yeah, it's like.
• 23:22
  Joe: Now I think about it.
• 23:24
  Joe: It's like why didn't they take that one?
• 23:25
  Joe: Probably had lasers on it.
• 23:31
  Dylan: It's like yeah, that would have made quick work on it.
• 23:36
  Dylan: Yeah, and then they.
• 23:38
  Dylan: So then that night they, they come up to the boat that's just drifting there, got a nice little bite taken out of the side of it yeah, so he goes down and checks it out.
• 23:49
  Joe: Stupid move yeah, yeah but it's typical.
• 23:53
  Joe: It's typical thriller horror genre like yeah you know, I see a, I see a haunted house in the middle of the forest with, like you know, clearly, uh, there's demons inside.
• 24:06
  Dylan: I think I'm just gonna go look you know, to make sure you know.
• 24:10
  Joe: So this is like you know, there's a boat that's drifting that looks like it's half sunk and you know, I'm just gonna get my scuba gear and and make sure that you know right and, like chief brody is kind of the the you know, the voice of common sense in this one, because doesn't isn't he like, let's just tow it back?
• 24:30
  Joe: Yeah, yeah, to the shore, tow it back, yeah it out.
• 24:34
  Joe: Uh, you know that's.
• 24:36
  Joe: Yeah, we don't have to get in the water, right?
• 24:41
  Dylan: but hooper does anyways.
• 24:42
  Dylan: Yeah, he's down there and comes up to the, to the bite in the hall of it underwater and like kind of like lingers there and you're like, okay, like so he's like it's just quiet and you're like you just feel it, it's just a pressure on your chest.
• 25:00
  Dylan: You're like something is going to happen.
• 25:03
  Dylan: You're waiting for the shark to pop up, or a shark.
• 25:08
  Dylan: Something is going to come at him.
• 25:10
  Joe: Yeah, it's just, ben Gardner's head just comes popping out with his eyes bulged and he finds a tooth popping out with his eyes bulged, and you know, and he finds a tooth, and that that it's funny because up until then my wife had not had a jump scare, and that just we both, just you know I forgot about it.
• 25:33
  Joe: And so it's just, you're just like ah.
• 25:38
  Dylan: And it was so funny though, because, like it made it made me jump so bad, but then, like, sitting beside your wife and and her, her jumping, it just made me like so much worse and I was like jumped off the couch and it's it's so.
• 25:55
  Joe: Like you, you laugh at yourself too, because you're just like that I should have known that that was going to happen, or like it wasn't even that big a deal, but like when it happens, it's just, I think, like the calmness and and you're not expecting anything.
• 26:10
  Joe: You know, like I was.
• 26:12
  Joe: You know, I was watching some of the documentaries and they just talked about how that.
• 26:18
  Joe: You know, people, people, the editor won awards for that because she just timed it so well and like Steven Spielberg wanted it that way, but she just like edited it so well, she's the one like yeah, yeah, so she's the one to blame.
• 26:35
  Dylan: Yeah, yeah, yeah.
• 26:37
  Joe: It's like Steven Spielberg was like I want it like this and she just, she just nailed it, she nailed it, yeah, and it takes.
• 26:45
  Joe: You know, editors don't get a lot of credit for things, you know, because you never think about somebody who's.
• 26:51
  Joe: You think the director is there the whole time, but the editor is putting things together Right and so.
• 26:57
  Dylan: Yeah, the director has the vision for it.
• 26:59
  Dylan: For it, sure, but like, your editors are the ones who are your go-getters, they're the ones that make it happen yeah, make it sound great or look great or right, you know.
• 27:11
  Dylan: So when, when the head you know floats out of the boat is, is that, is that his actual, like face um?
• 27:22
  Joe: like is it yeah?
• 27:24
  Dylan: like, is it like?
• 27:25
  Dylan: Did they make?
• 27:26
  Dylan: Like a mask of his?
• 27:28
  Joe: oh, yeah, so they made like that they made like a foam latex, uh, cast of his face, of his head, and then they added like the eyeballs and everything, yeah, so it's like they cast his head, they put foam latex into the mold and then, uh, you know, they just had a ben gardner head and right, you know it's still like the.
• 27:51
  Joe: You know, you know the actor's head is still floating around as a prop from collectors and things like yeah, yeah, yeah, because it's so iconic.
• 28:01
  Joe: There's so many of these things in the movie that are iconic that things like that are floating around, right, you know.
• 28:10
  Dylan: So then once they like kind of the next morning, is then like that's when they're talking to the mayor, right, yeah, they're basically basically like so the sign, um, it's.
• 28:25
  Joe: It's funny, uh, because at the beginning of the movie they show amity and and there's this, you know, girl on the beach, and it's, it's all nice right picturesque and everything, and it's a painting and as they're talking to the mayor, you can see behind it that somebody's put a shark on it and her eyes are all like scared and she's all yeah, yeah, that's the thing about like that.
• 28:50
  Joe: I that, even without seeing the movie, that I noticed right away in the movie.
• 28:54
  Joe: Um, I know I grew up going to Universal Studios and going on the Jaws ride and that's one thing that is so like you see right away as you pull in, cause it's a tram ride and so, um, little backstory, if you haven't been to Universal Studios Hollywood, um, they have a tram ride and you get on an escalator, go down, you get onto the tram and you go and watch the sets and as you go through the sets, you go through a set of Amity Island and so you're going through and you kind of see this dock area and you see a fisherman and he's like hanging out and you know, and so there's like when I was there and they had actual humans on the trams, now they have like Jimmy Fallon narrating the whole thing.
• 29:47
  Dylan: Oh, that's weird, it's just terrible, but you would have.
• 29:50
  Dylan: It was pre -recorded, yeah.
• 29:51
  Joe: You would have the guy going.
• 29:53
  Joe: Oh hey, you know, they say there's a shark out there, you better get out of the water, and you know, know, and so, like you're looking at the guy, yeah trying to warn him and everything, and so when you come up to it, you see that first, uh, billboard of amity island with the, with the girl and oh yeah happy.
• 30:13
  Joe: And so then, like, as you go down, you kind of go a little down into this, you know, and you're right next to the dock and you start hearing and then you start seeing a fin coming around and you're like, oh no, what's going to happen?
• 30:32
  Joe: And sure enough, as you're right, in the middle Jaws comes out, and just you know he's like middle jaws comes out, and just you know he's like you know, and uh, you know he goes, and uh, before he he comes to you, know to you, he goes after the guy in the boat and you see, yeah, he just it's just gore and and then you see him come and then, like, the dock blows up and supposedly he dies and all that.
• 30:59
  Joe: It's like all in one, it fails, you know.
• 31:02
  Joe: But uh, after you come off of the ride and you exit, there's the billboard again and it's the exact painting.
• 31:10
  Joe: Oh yeah, it's in that scene, yeah, so it's just awesome.
• 31:15
  Joe: Help shark, yeah, help shark.
• 31:18
  Dylan: So great, yeah.
• 31:20
  Dylan: And then you have like the shot of the crowd, just like coming in off the ferries and just the huge boats, yeah, coming to the island tons of people, yeah just a flood of people yeah, it's like a ferry boat bringing people in and you, just, you just feel like a massacre about to happen, right, you know it's just yeah, feeding time, right, and it's like you know you still go back to we know what's, you know what's been happening, and it's like those poor people had no idea.
• 32:00
  Dylan: So then, like the next scenes is like they're down on the beach, but then, like you know, they have some inkling of what's going on because nobody gets in the water right, yeah and you have the, you have the reporter man.
• 32:16
  Dylan: Yeah, who's who's?
• 32:17
  Dylan: You know like they're.
• 32:19
  Dylan: Does it say where he's from or just off the island?
• 32:23
  Dylan: Yeah, um, he's, he says where he's from, but but it's kind of it's from off, it's yeah, yeah more, just to tell the audience of you know, hey, this is not, you know he is not from the island like, yeah, because he's there.
• 32:37
  Dylan: They're there like pretty much investigating the shark attacks, right, yeah?
• 32:41
  Joe: yeah, and he, so he's reporting on it, saying this is what's going on, yada, yada, um.
• 32:47
  Joe: The funny thing about the reporter is that the reporter is the writer of the book.
• 32:53
  Joe: Oh really yeah and they had him do it because he had done newscasting in the past, so he had experience already being a newscaster and doing yeah, so it was like it was just a natural thing like, hey, we want to get you in the movie, and so they.
• 33:08
  Joe: They made him the the newscaster.
• 33:11
  Dylan: That's awesome, yeah yeah, that's so cool that, like the author of that wrote, the book got to pop up in the world that he created right?
• 33:21
  Joe: yeah, it's like who gets to do that right?
• 33:24
  Dylan: it's like not a lot of people so yeah, um, do you know when, the when the book actually came out?
• 33:32
  Dylan: oh, man it was 74, right, yeah, I think so.
• 33:37
  Dylan: Yeah, so it came out in 74.
• 33:39
  Dylan: And the yeah, the book was such a hit that the?
• 33:45
  Dylan: The movie rights were bought before the book even hit the shelves.
• 33:48
  Dylan: Yeah, yeah, and the?
• 33:51
  Dylan: The movie keeps the basic idea of a giant shark is terrorizing a small town.
• 33:56
  Dylan: But then, like a lot of like the subplots of the book.
• 33:59
  Dylan: I've started reading the book, by the way.
• 34:00
  Dylan: Yeah, a lot like the subplots of the book.
• 34:00
  Dylan: I've started reading the book.
• 34:01
  Dylan: By the way.
• 34:01
  Dylan: Yeah, a lot of the subplot of the book is um, yeah, ellen brody, chief brody's wife, has an affair with hooper and yeah, so thank you, spielberg, for cutting that one out.
• 34:15
  Dylan: Yeah, you know, there was a little like when they kind of kind of brushed on that at the dinner scene.
• 34:23
  Dylan: Yeah, In the dinner scene it seemed a little like hmm, and it seems like with the flow of the movie it just feels so out of place.
• 34:31
  Joe: Yeah, it would be so like.
• 34:32
  Dylan: I wonder like how much of that they ended up filming and leaving on the cutting room floor.
• 34:37
  Joe: Yeah, yeah, the actress did say she liked, uh, richard dreyfus more oh yeah I think she would have would have liked to continue with the novel version right?
• 34:53
  Dylan: yeah, because in in the movie like it just trims everything down it just trims everything down mostly to the good stuff.
• 35:00
  Dylan: You got suspense, the hunt, but even the ending is different the shark doesn't blow up.
• 35:10
  Dylan: Spoilers the shark doesn't blow up like it does in the movie.
• 35:14
  Dylan: It just kind of almost just kind of rolls over and dies from its injuries, like gets stabbed or something, and then right floats down or yeah and so.
• 35:26
  Dylan: So, yeah, like I definitely appreciate spielberg for for changing that up then, because, yeah, that's definitely more of a big ending yeah, they talked about how it was, they debated on that and they they kind of yeah debated with steven spielberg on like we can't just like blow them up.
• 35:50
  Joe: You know, like we gotta, there's gotta be some there's gotta be a reason.
• 35:53
  Joe: Yeah, there's gotta be a reason.
• 35:55
  Joe: And he was like, if, if I have them in my hands by this point, yeah, like, blowing them up is not going to be out of, out of you know like out of left field, because by that time they just you know they're, they've gone through so much, you know they've just gone through so much and and it's like so, by the time they get to it, it's like itvable for people to even want to see that, right, right.
• 36:22
  Dylan: Because now you're rooting for it pretty much, yeah, but yeah, going back to the beach scene, though, after the mayor pressures everybody into the water and you kind of think, think, oh, maybe the coast is clear.
• 36:43
  Dylan: Definitely not yeah, and it's like it's such a good turnaround of they have like the shark fin and just everybody's screaming running out of the water.
• 36:54
  Joe: Yeah, and there's the, the one guy that like gets trampled yeah, yeah, old people get trampled and like, yeah, they're pulling in and like it's just a joke, right.
• 37:05
  Dylan: Right, and it's just mass panic, yeah.
• 37:09
  Dylan: And then you have the scene of every all the people on the boats.
• 37:14
  Dylan: Like you know, they've got their guns just pointed down at the shark and like the fin pops up and it's the two kids you know.
• 37:27
  Dylan: Oh my gosh, imagine being that dumb and then picking your head up and seeing all these guns drawn on you like I've been like yeah, and then right after that he actually shows up right in just the best turnaround, because everybody's like over at the beach, yeah, like, oh, we're, you know, kind of disarming ourselves.
• 37:53
  Dylan: You know false alarm, yeah, and then, and then the gal is like shark, shark, shark shark in the pond.
• 38:00
  Joe: Yeah, and just before that, brody tells his kid and his friends like hey go over there.
• 38:06
  Dylan: Oh, yeah, yeah, yeah.
• 38:06
  Dylan: Because that was the likely place that he wasn't going to be at.
• 38:09
  Dylan: This is the safer area, yeah Right, yeah, which it's not a pond.
• 38:15
  Joe: Yeah.
• 38:16
  Dylan: Yeah, yeah, yeah.
• 38:17
  Joe: It's not a pond.
• 38:18
  Joe: I didn't even call it that because it's not a pond, right, yeah, but yeah.
• 38:24
  Dylan: So yeah, he's like go go into the pond and then you have the guy on the boat.
• 38:31
  Dylan: That's that comes up to the, the kids yeah who's you know, playing with their boat?
• 38:37
  Joe: on their boat.
• 38:37
  Dylan: Yeah, and he's like are you guys okay?
• 38:40
  Joe: Yeah.
• 38:41
  Dylan: And, just like, honestly, one of the best shots of the movie.
• 38:44
  Joe: Yeah.
• 38:45
  Dylan: It's just when it's above him looking down.
• 38:48
  Joe: Yeah.
• 38:48
  Dylan: And you just see just the massive I mean because it's the first time you get scale, yeah, and it's just massive, massive.
• 38:59
  Dylan: Yeah, and it's such a good shot.
• 39:01
  Dylan: That's one of my favorite shots of the movie honestly, yeah, they actually had that scene.
• 39:08
  Joe: It was going to be a lot more gory, oh yeah.
• 39:11
  Joe: And so he was going to like somehow the kid was going to end up in the water at the same time he was in the water, and so, like he was going to, was gonna like, push the kid out of the way oh, yeah, and then the shark was gonna get the the adult, oh man.
• 39:26
  Joe: And so, as he's pushing him out of the way, the shark, um, is pushing the adult, and the adult is pushing the kid, oh man, yeah.
• 39:36
  Joe: So it was just like, but, as in the scene, as the shark was biting down on him, he was going to be gushing blood and all.
• 39:44
  Joe: And they said like no, we can't do that.
• 39:46
  Dylan: That's too much.
• 39:47
  Dylan: That's too much.
• 39:48
  Dylan: Yeah.
• 39:49
  Dylan: And what was Jaws rated when it came out?
• 39:52
  Dylan: Did they have the rating system then?
• 39:54
  Joe: Yeah, they did Okay.
• 39:55
  Joe: So they wanted it to be PG Okay.
• 40:01
  Dylan: So they had it to be PG, okay, so they had to yeah, wow, yeah, yeah, and so they had to take out.
• 40:07
  Dylan: You can traumatize yourselves.
• 40:08
  Joe: Yeah, so originally when they ran it through the ratings board, yeah, they gave it an R, understandable.
• 40:17
  Joe: Yeah, so then they had to like cut some stuff out.
• 40:19
  Joe: I guess the the pivotal scene was when I think when he gets bit they show his leg, go to the bottom of the the ocean.
• 40:31
  Dylan: Yeah, and they still showed that, didn't they?
• 40:33
  Joe: They did, but it was like a longer cut and so, like it, it slowly like went down and they showed like this blood coming, you know, like it was a little longer.
• 40:43
  Joe: And so they said, okay, you can show it, but you got to cut that down a bit.
• 40:47
  Dylan: Oh really.
• 40:48
  Joe: Okay, so it was just like gushing blood.
• 40:50
  Dylan: Yeah, oh yeah, yeah, as one does, yeah, exactly.
• 40:54
  Joe: Yeah, exactly, or a limb gets taken Right our limb gets taken?
• 41:08
  Dylan: yeah, right, so.
• 41:08
  Dylan: But yeah, then is it the same day that then they go, they all go out on on uh quinn's boat.
• 41:12
  Joe: Yeah, okay, so they uh, yeah, they get ready and they're just like we're, we're going after them.
• 41:16
  Joe: Yeah, it's.
• 41:17
  Joe: It's time we have the team, it's time to regulate A simple team, yeah, well.
• 41:25
  Dylan: And then you have the like, the scene of like after they get everything loaded and like they're actually like heading out, yeah, and like the scene through the shack, yeah the shack yeah, and you see through the window, the, the orca uh-, huh, yeah and and through the, the, the jaw, you know, of the shark, like, oh yeah, that's such a good shot too.
• 41:48
  Joe: Yeah, it's because it this is foreshadowing my favorite scene is when quentin is ordering people around and and hooper just gives him these like faces.
• 41:59
  Dylan: He's like yeah he's just like, yeah, totally just mocking him behind his back totally like like a school kid and a teacher.
• 42:10
  Dylan: You know like I'm not gonna listen to you.
• 42:12
  Joe: You're just right.
• 42:16
  Dylan: Well, and then even even quinn Quinn kind of comments on that of how Quinn is old school and Hooper is new school and has all the tech and gadgets and gizmos.
• 42:29
  Dylan: Quinn scoffs at that and he's like that's not going to help you.
• 42:33
  Joe: Yeah, yeah, yeah, and it's learning to work together because both of those are useful.
• 42:41
  Joe: Right, you know, it's like not one or the other, it's both of them.
• 42:45
  Joe: Yeah, you know, the chief is just like okay, I'm just here, I'm an unassuming, not wanting to be a sailor person.
• 42:57
  Dylan: Just chumming the water.
• 42:59
  Joe: I'm just chumming and then, as he's chumming, the shark pops up.
• 43:05
  Dylan: You know, that's like that's a good shot too.
• 43:08
  Dylan: Yeah, like chief brody is like kind of turned, turned back towards the boat.
• 43:12
  Joe: Yeah, you know, facing the camera yeah, and just up behind him yeah, just out of nowhere too, yeah, and it's just like he's just kind of chumming, like okay, I'm chumming right.
• 43:23
  Dylan: What's the point of this?
• 43:25
  Joe: yeah and then all of a sudden, boom, yeah, as fast as he pops up, um, it's just so great, just like you know, one minute he's like looking at the water and then they cut on him and he's just like pops up, like you know, right, and then he runs in and tells them you're gonna need a bigger boat which I can't believe that that line was improv.
• 43:55
  Dylan: Yeah like such such an iconic line, yeah, and so much stuff like has stemmed from that.
• 44:02
  Joe: Like you've got it in commercials and just so many people like you know, just quoting that, yeah, you're gonna need a bigger boat.
• 44:09
  Joe: Yeah, yeah, yeah.
• 44:13
  Joe: So that's when it shifts from like the horror movie genre to this like adventure at sea, you know, going for the Kraken you know, like the pirates or you know like just, it just shifts right there.
• 44:32
  Dylan: Yeah, and like, like even in the the, the score of it like it very much changes to much.
• 44:46
  Dylan: You know, brighter, playful, adventurous music.
• 44:49
  Dylan: Yeah, versus versus.
• 44:49
  Dylan: You know just the the, you know the the dark and then, yeah, during, during, like the fishing scene where you know his line starts reeling out.
• 45:00
  Dylan: Yeah, yeah, and he knows it's coming and he like, starts to put on the harness yeah, you know off the and like I thought the harness was going to be attached to the chair yeah, because I'm like boat.
• 45:12
  Dylan: Yeah, right, you've you've got, you know a lot of, you know several tons of shark that he's used to dealing with.
• 45:21
  Dylan: Yeah, you know, and this shark is bigger than anything he's ever dealt with before.
• 45:25
  Dylan: Yeah, and it's like, even then, like that shark's gonna fight back because it's what they do, yeah, and yeah, yeah, I just thought that they would, you know, attach him to the chair, but nope, he's like, let's just go for it.
• 45:41
  Joe: Yeah he's totally just attached to.
• 45:46
  Dylan: Basically it's attached to him and the line is made of piano wire, right, you know, it's just like and then the line ends up, ends up snapping, and that's kind of how he gets away the first time, yeah, and they kind of regroup and lick their wounds, mm-hmm.
• 46:07
  Dylan: And so is that also the same day that they start the barrels.
• 46:14
  Joe: Yeah, yeah, because they can't catch them with the piano wire Right.
• 46:18
  Joe: So, they're like let's do the barrel thing.
• 46:20
  Dylan: Here's our traditional way that he normally does it.
• 46:23
  Dylan: Yeah, and that's such an interesting concept too of the barrels is because, you know, shark surfaces and kind of swims by, checks him out and he gets.
• 46:35
  Dylan: He's got the, the harpoon gun attached to barrel, which Hooper almost flubs it.
• 46:41
  Dylan: Yeah, because the shark almost gets away, yeah, and he, you know, manages to get it tied at the last minute.
• 46:47
  Dylan: And what was it that he was tying to the barrel?
• 46:51
  Joe: Oh, he had a tracker Tracker, wasn't it?
• 46:53
  Joe: Yeah, yeah, that's right, he had the tracker that was on it, the first one, so that if they lost him they could find where he was going and and all that.
• 47:04
  Joe: But it was like the doing the tracker and tying the rope kind of delayed him, and so then it slowed him down and yeah, yeah, but he made it but do they show the tracker like much more?
• 47:15
  Dylan: because I know in later scenes they showed the barrel like popping up out of the water with the tracker flashing and beeping.
• 47:21
  Dylan: Yeah, yeah, but I don't think they ever actually like showed him trying to use the tracker.
• 47:27
  Joe: Yeah, which is kind of interesting.
• 47:28
  Joe: Yeah, the cool thing about all that too is, again, it goes back to so the shark didn't work until the end of filming, yeah, work until the end of filming, yeah.
• 47:40
  Joe: And so, as they were just making the movie and as they were doing all these shots, the idea of the barrels was another view of the shark yeah, and so like, rather than you know, again not showing the shark right sure not working right.
• 47:56
  Dylan: Let's have these barrels floating around and that gives you an idea that the shark is down there and is pulling the barrels around interesting because from a movie standpoint, it's the barrels are pulling the shark to the surface and the shark is constantly having to like fight against that and using energy and wearing itself out yeah, but then from the filmmaking standpoint yeah, man, they just have like the barrels just running around bobbing around and like watching it like it's you totally believe it, totally buy it.
• 48:30
  Joe: Yeah, yeah you totally buy it.
• 48:31
  Dylan: Yeah, and like that's such a good shot too.
• 48:35
  Dylan: I was just seeing the barrels go by yeah, you're, you're like oh, here we go.
• 48:40
  Joe: Yeah, and the same thing with the pier, same thing with a lot of the other things.
• 48:44
  Joe: Like you get that this huge shark is capable of moving all of this.
• 48:51
  Joe: You know whatever it is Right.
• 48:54
  Dylan: And so, like, by the time you've gotten to that point, you already know, you know you're, you're buying that yeah, and then, and then that night when they tell their, tell their war stories, show off you know who has the the best scar.
• 49:10
  Dylan: Yeah, and so it's actually like chief brody is the one who points out where Quinn had a big scar on his arm and asks what that's from expecting some grand story.
• 49:28
  Dylan: But Hooper makes a joke about it and then Quinn sobers up real fast and he tells the story of it being from the USS Indianapolis, which was sunk during when did he say it was World War II?
• 49:44
  Dylan: Right, yeah, I think it was World War II.
• 49:45
  Dylan: Yeah, and the boat went down and it was supposed to be like a top secret mission and so nobody knew they were out there.
• 49:55
  Dylan: For he said a couple of weeks, right.
• 49:58
  Dylan: Yeah, like a long time and how the boat went down and they all started huddling together and the sharks started coming and circling, yeah, and they would try to fight off the shark kicking, screaming, yelling.
• 50:12
  Dylan: But I mean, it's a shark, yeah, like there's not not much you can do and you know he talks about it being just a machine with cold, dead eyes and the story of that in the movie kind of sounds fantastical.
• 50:31
  Joe: Right.
• 50:31
  Dylan: Just a good made-up backstory for the character.
• 50:36
  Joe: Yeah.
• 50:37
  Dylan: That actually happened.
• 50:38
  Dylan: Yeah.
• 50:39
  Dylan: The character yeah, that actually happened.
• 50:43
  Dylan: Yeah, like that's.
• 50:44
  Dylan: That's.
• 50:44
  Dylan: The terrifying part is like just thinking about how much of that was actually true to life and what happened to those guys, and like that's horrifying yeah, there was um.
• 50:54
  Joe: So yeah, it was basically a secret mission that people didn't know about and it was.
• 51:00
  Joe: I can't remember if they were part of it or they were part of the bombing, but it was.
• 51:05
  Joe: It had to do with hiroshima, and so hiroshima was bombed.
• 51:10
  Dylan: They were still out there and a sub from japan sent the ship and yeah they were delivering components for the atomic bomb yeah, and, and so they got sunk.
• 51:23
  Joe: I think it was Spielberg, who I don't know if it was like a housekeeper or somebody who worked for them yeah, said I, you know, called in and said they couldn't come in, and they said what happened?
• 51:37
  Joe: And they said well, I saw the movie and this is the first time I figured out how I think it was like my son died, oh, wow, and because it was so secret and people didn't know the story that and it was just coming out at that time, oh really, they put it in the movie, wow, and it was like people actually got that information through the movie.
• 51:58
  Dylan: Culture shock yeah, yeah, yeah, yeah, because of that original mission only like out of a crew of 1200 people, it was like 360 something people that actually survived and that's that's just crazy.
• 52:18
  Dylan: Kind of right after he gets finished saying that, boop up, pops the barrel yeah.
• 52:24
  Dylan: And like it's the one with the tracker on it and you like see it moving in the dark.
• 52:30
  Dylan: That's when the shark like turns on the boat right.
• 52:35
  Joe: He starts to yeah, hit the boat and try to go after it, and you know it, it's.
• 52:42
  Joe: It's crazy how smart they make them out to be right planning yeah, he's probably like.
• 52:49
  Joe: They're probably asleep by now.
• 52:51
  Dylan: I'm gonna go after them yeah, that's crazy, and that's when the the other boat too.
• 52:57
  Dylan: I just realized like was in the nighttime too.
• 53:01
  Joe: Yeah, yeah or at least that's when they find it right, right yeah, but you figure, by the time they get out there and find him right, it's been a while, right you?
• 53:10
  Dylan: know.
• 53:11
  Dylan: So, yeah, he starts to flood the boat and it's kind of the next morning they come back to it or you know, in shot, yeah, they come back to it.
• 53:20
  Dylan: And that's when you know, chief brody is like standing on the deck and handing tools to and whatever else they need and trying to fix the right, and they pull out, you know, the cup and you see just the, the nasty they said it the seawater mixed with the fuel, right, uh-huh, yeah, and burned out the rings and so.
• 53:43
  Dylan: So then, like they're down underneath the underneath the floor working, and chief brody's standing up top and sees, sees the barrel go by.
• 53:53
  Dylan: Yeah, so that's when they they pop out and they get more barrels shot to him right, but they.
• 54:03
  Dylan: They tried to tie the barrel to the boat and then the um what are they called?
• 54:09
  Joe: the hooks or whatever give?
• 54:12
  Dylan: yeah, well, and hooper gets pinned by one of the ropes.
• 54:18
  Joe: Yeah yeah, because since brody isn't a skilled, you know sea person, right, uh, right, it's like you wouldn't you're?
• 54:28
  Dylan: you're in the heat of things.
• 54:29
  Dylan: Yeah, everything's happening all at one time, like you're.
• 54:32
  Dylan: Like I just focused.
• 54:34
  Dylan: I gotta gotta get this tied down yeah, not realizing right.
• 54:38
  Dylan: He could have been cut in half right and then pulling at the boat and starts coming apart.
• 54:46
  Dylan: Yeah, and that's when the boat starts getting dragged backwards by the shark.
• 54:51
  Dylan: Yeah, and just shows the power of the shark.
• 54:56
  Joe: Yeah, that is the crazy part.
• 54:58
  Joe: That huge boat, that Orca, just gets pulled by the shark.
• 55:02
  Dylan: Right, like it's nothing.
• 55:05
  Joe: So those barrels, like what are they really doing?
• 55:08
  Dylan: right, the boat gets pulled, like steven spielberg pulled the out.
• 55:11
  Dylan: Yeah, so yeah, then they, they do.
• 55:16
  Dylan: They cut the line right to to get it from stop.
• 55:21
  Dylan: Dragon barrels are still attached to the shark, right?
• 55:24
  Dylan: So then that's when they fire the engine back up and try to start taking off after the shark.
• 55:31
  Dylan: Yeah, but then you have the scene of when driving, piloting the boat, yeah, and and um, is it chief brody that's in the front and hooper is like telling chief brody who is like deathly afraid of the water yeah, just like this is the first time he's been on the water since he was a little kid.
• 55:53
  Dylan: Yeah, and trying to tell him to, to go out onto, uh, the pulpit right, that's what they call it the pulpit.
• 55:59
  Dylan: Yeah, just for you know.
• 56:01
  Joe: To take a picture, yeah it's like, oh my, he's like, no do it.
• 56:06
  Dylan: Yeah, that's kind of a funny, a funny scene, cause you just see like the kind of the chief Brody like fighting with himself.
• 56:18
  Dylan: It was like you know, he wants me to do it, but I can't, I can't, I can't, yeah.
• 56:23
  Dylan: And yeah, he's, he's, he's the hero too, you know, you just see this fear and they've got, you know they're, they're running out of options, because then you know, later the boat like putters out and because they they push it too hard, the engine explodes, doesn't it Something?
• 56:50
  Joe: like that.
• 56:50
  Joe: Yeah, it just seizes, burns and at some point, at some point, brody goes to use the, goes to call for help.
• 57:03
  Dylan: Oh, yeah, yeah.
• 57:06
  Joe: Quint takes it out and he's just like what are you doing, you maniac?
• 57:09
  Dylan: did that.
• 57:10
  Dylan: So what was the point of that like?
• 57:12
  Dylan: Was there a reason that he smashed it?
• 57:15
  Joe: I think, I think he just wanted to do it himself, you know he just wanted to have a hero moment.
• 57:21
  Joe: Yeah, I think he I don't know, I I think he just didn't want to get help.
• 57:25
  Joe: He probably just felt like this is it, this is time.
• 57:29
  Joe: Right, this is this is my time.
• 57:31
  Dylan: Yeah, uh-huh, everybody, you know, looks at me and scoffs yeah, it's just crazy, yeah.
• 57:38
  Dylan: But like definitely goes to show like, hey, quinn's not all there, yeah, yeah.
• 57:44
  Dylan: So then after the boat kind of gives up the ghost and they're like well, we're not going to go anywhere fast on this.
• 57:51
  Dylan: So then they have the brilliant idea of putting Hooper down in the shark cage.
• 57:58
  Joe: Hooper likes to go swimming with sharks.
• 58:00
  Joe: Oh my gosh.
• 58:02
  Dylan: And it's like you're like if the shark was powerful enough to drag the orca backwards, like fighting against its motor and everything like that, which is already powerful enough to move that big old boat, and it's fighting against all that it's.
• 58:28
  Dylan: And then you're like, so you're gonna go down in a toothpick cage and, yeah, serve yourself up on a silver platter yeah, with a, with a harpoon, just one harpoon, that you know right you know, yes, they try to give it the poison right.
• 58:41
  Dylan: But it's like you really, because his goal was to pretty much get the poison squirted out pretty much in front of the shark Right, well, swimming along.
• 58:49
  Joe: He squirted the poison into the harpoon and capped it with the cork, and then he was going to uncork it and stab him.
• 58:58
  Joe: Oh, and that would get the poison to him, oh, yeah.
• 59:02
  Joe: But the shark was too smart and got him from behind, right Totally, snuck up and he drops the harpoon, yeah, so which that's it, as all that like fighting happens like it's.
• 59:17
  Dylan: It's.
• 59:17
  Dylan: It's funny too, because then in one of the shots you can see one of the camera divers.
• 59:23
  Dylan: Yeah, in the in the shot, like just a real quick flash, but like I don't know, I noticed it and you said you didn't yeah.
• 59:32
  Joe: So the thing with that scene is so it took place in three different places.
• 59:40
  Dylan: Oh really.
• 59:41
  Joe: Or two different, I would say two different places.
• 59:43
  Dylan: Okay.
• 59:44
  Joe: But they shot it in three different like sequences.
• 59:47
  Joe: So, like the idea came from, like they were going to originally, you know, have them go down and then do everything that they were supposed to, yeah, but as they were setting up one of the shots with one of the, they had a miniature cage that fit a small person.
• 1:00:05
  Joe: Oh, and as they were setting up the miniature cage, they had a shark out there and they were just getting some B-roll footage.
• 1:00:12
  Joe: Yeah, the great white got its nose caught in the cage.
• 1:00:17
  Joe: And when great whites get their nose caught, they start thrashing.
• 1:00:21
  Joe: Oh and so it-.
• 1:00:24
  Dylan: Oh, and that's how they got that scene of the shark attacking the cage and just completely crashing, and then it detaches the cage detaches right.
• 1:00:35
  Joe: So it actually detached from the boat it was connected to in real life, and so then they had to write into the script it detaching from the orca they had to write into the script it detaching from the the work Really yeah.
• 1:00:46
  Joe: And so they kind of shot it in a weird sequence because you know the, the shark hit it, you know, and then and then.
• 1:00:55
  Joe: So they had to make it so that when the shark hit the um hit, hits Hooper down there, hooper gets out and escapes, because when they shot it there was nobody in the cage.
• 1:01:08
  Joe: So yeah, oh, wow, and so they shot parts of it.
• 1:01:14
  Joe: They shot with a real shark in Australia and a real small person for the miniature scale.
• 1:01:21
  Joe: Better paid him good.
• 1:01:22
  Dylan: Yeah, yeah.
• 1:01:24
  Joe: So they actually said.
• 1:01:26
  Joe: Steven Spielberg said that when they went to interview people and they had people come in, yeah, well, this guy came in and he said he was a bloody mess.
• 1:01:35
  Joe: And he was like what happened?
• 1:01:37
  Joe: And he said, well, I was trying to get here and yada, yada, and I got in an accident, but I needed to get here to get the job.
• 1:01:44
  Joe: And so he's like did you flee the scene?
• 1:01:46
  Joe: And he and he said, well, you know like I had to get in here.
• 1:01:50
  Joe: And so he's like go back, go back to the scene of the you know the accident and go fix that.
• 1:01:55
  Joe: And he said, because of that guy's like vigilance of wanting that part, he's like I got to give it to him because he was just like yeah're the lucky victim.
• 1:02:04
  Joe: Yeah, so he was the small person who got the job, wow.
• 1:02:09
  Joe: And so they put him through scuba school and gave him training.
• 1:02:13
  Dylan: Oh, really yeah OK.
• 1:02:14
  Joe: To be able to be underwater.
• 1:02:16
  Joe: That's awesome, yeah, and so they shot all that in Australia.
• 1:02:19
  Joe: And then, for the scenes where it was Hooper and he was underwater, they shot in a pool in LA, in Universal Studios.
• 1:02:30
  Dylan: Oh, okay.
• 1:02:32
  Joe: Yeah, and so the shot where you actually see Hooper's face being scared is the stuntman, yeah, he turns back up at it.
• 1:02:39
  Dylan: Oh, it's a stuntman, yeah.
• 1:02:42
  Joe: Oh, okay, because they had him underwater and they were doing it Right?
• 1:02:45
  Joe: Yeah, but it was close enough that you could kind of not tell wow, yeah, because it looks just like him.
• 1:02:52
  Dylan: Yeah, I guess that's the point of a stuntman right, anyways, yeah, yeah, exactly yeah but yeah, like, and then it's so interesting too is that he like, he like hid underwater and then the, the shark takes off the back of the boat.
• 1:03:09
  Dylan: Yeah, skipping anything no, I think it just completely takes off the back of the boat yeah and like you get the shot of quinn, like fighting literally for his life and trying to get away from the, the gnashing jaws yeah of jaws yeah, right and it's, it's like, it's such like a hardcore gory scene yeah of you know the shark getting a hold of quinn, just swallowing him, just chomping away at him and like you.
• 1:03:44
  Dylan: That's when you really get like the blood and and they even show, you know, quinn's face of pain and struggle, and he's got the blood coming out of his mouth and he's still whacking him with that, that machete, yeah you know he takes a good slice out of him.
• 1:03:59
  Joe: Yeah, he does you know it's like yeah, it's just, and even at that point, when they were filming, they said that.
• 1:04:08
  Joe: So there's an Orca 1 and an Orca 2.
• 1:04:10
  Dylan: Oh yeah.
• 1:04:12
  Joe: And Orca 1 actually started to sink and so, like, as it started to sink, people were fighting because they were like you know, we need to get the actors off the you know.
• 1:04:24
  Joe: And then people were like, no, we need to get the audio equipment off the boat and we need to get all this stuff.
• 1:04:28
  Joe: And so they started like just jetting towards the coast and trying to get on the beach.
• 1:04:37
  Joe: So like they tried to go so fast that if they got to the beach they could just go right up on it and try to save the rest of the boat.
• 1:04:44
  Joe: Well, it ended up sinking and the cameras ended up going in the water.
• 1:04:49
  Joe: But because of how film is made and and all of that, they use like saliency solution to do some, you know, editing and, oh, really, to do development okay, so the sea water actually didn't affect the film so they thought they lost all this footage and when they went to like process it and like try to save it, see what they can save, it was saved, wow.
• 1:05:14
  Joe: So like they thought it was over.
• 1:05:16
  Joe: And so then they made another boat and like they got it running again.
• 1:05:21
  Joe: Yeah, but the Orca 2, in those scenes where you know you see Quint, you know getting killed and like all of that, they actually made the Orca 2 to be able to, with hydraulics and everything, go above the water and then go down and go down on its own yeah.
• 1:05:40
  Dylan: Oh, interesting.
• 1:05:41
  Joe: And so it's made so that it looks like a boat, but underneath it it's hollow.
• 1:05:46
  Joe: Yeah, yeah, so it's like that's the beauty of movie, magic, right, you know.
• 1:05:53
  Joe: So they can take different takes, they can do whatever they want, yeah.
• 1:05:58
  Dylan: They have complete control over it.
• 1:06:00
  Dylan: Yeah, wow, so so.
• 1:06:04
  Dylan: Yeah, wow so, so, yeah.
• 1:06:10
  Dylan: Then after quinn gets gets swallowed whole, then orca's going down and you get the shot of, like chief brody like going back into the cabin.
• 1:06:18
  Dylan: And what was he going back for, like, was he?
• 1:06:24
  Joe: he was trying to get away from the shark, basically.
• 1:06:26
  Joe: But yeah, because he's like the boat's sinking, Quint's gone.
• 1:06:32
  Dylan: Right Water is that way.
• 1:06:33
  Dylan: I'm going this way.
• 1:06:34
  Joe: Yeah, so he closes the door.
• 1:06:36
  Joe: He's like.
• 1:06:36
  Joe: You know I'm in my safe space.
• 1:06:39
  Joe: Yeah, Let me close.
• 1:06:40
  Joe: This is going to help.
• 1:06:41
  Joe: Yeah yeah, in at the side Right.
• 1:06:48
  Dylan: When life closes a door, you go through the window.
• 1:06:50
  Joe: Yeah, that's what the shark did, right, the positivity of jaws Right.
• 1:06:57
  Dylan: Life lessons.
• 1:06:58
  Dylan: Yeah, yeah.
• 1:07:01
  Dylan: So yeah, it comes through the like.
• 1:07:03
  Dylan: That's a good jump scare too, is, is him coming in the window?
• 1:07:11
  Dylan: Because, like, one minute no jaws, then the next only jaws, yeah, yeah, yeah and that was the thing too.
• 1:07:19
  Joe: It's like the way they filmed it and all the sequences, like they had to go back and film when they finally got the shark to work yeah, you know they.
• 1:07:27
  Joe: They went back to film all those scenes where they needed the shark in, but they they kept.
• 1:07:32
  Joe: You know all the mystery there as well.
• 1:07:35
  Joe: Yeah, you know.
• 1:07:35
  Joe: So it's like the chronology of, or lack of chronology when you film a movie, yeah, and so you get some good shots and, um, you know, when you actually get the, the shark to?
• 1:07:50
  Dylan: work, yeah.
• 1:07:52
  Dylan: So then, like as the orc is going down, brody climbs up the mast and you know he's making a last stand yeah, well, he gets when he's, when he tries to be in a safe space.
• 1:08:08
  Joe: He gets to the air tanks, yeah, and then he throws one of those tanks in the shark's mouth.
• 1:08:15
  Joe: Oh, that's right, yeah, and then he grabs his gun yeah goes up the mass and just tries to shoot at it.
• 1:08:25
  Dylan: Yeah, because then kind of in the last scene, you know you have, you have the shark coming straight at brody.
• 1:08:33
  Dylan: Yeah and, and brody's like waiting and waiting and I'm sitting there watching it and I'm like take the shot.
• 1:08:43
  Dylan: Yeah, yeah, yeah.
• 1:08:45
  Dylan: You know and he's waiting and waiting, and he, you know, sights in on it, mm-hmm.
• 1:08:53
  Dylan: And then, yeah, just smile, you son of a kaboom, yeah.
• 1:08:59
  Joe: And I just love how, like you know, he does take a couple shots before that, but like when the shark explodes, you almost see like the upper half of his jaw, just you know like Just take off, yeah.
• 1:09:13
  Joe: Bye-bye yeah just in bits and pieces.
• 1:09:15
  Joe: Yeah, it's like his lower jaw was left, but the rest was just destroyed, you know, just yeah.
• 1:09:25
  Dylan: And then Hooper comes back after that, you know yeah, man did absolutely nothing to help yeah, yeah, underwater just yeah, watching, enjoying the view, I guess yeah, well, he had enough air, you know.
• 1:09:39
  Joe: But yeah, I just imagined him being under there like obviously scared but just going, you know, looking from below and seeing that the carnage, you know like oh yeah, I think he killed him.
• 1:09:52
  Dylan: Oh, this, that's, that's the boat being ripped apart.
• 1:09:55
  Dylan: Yeah, shredded like paper mache.
• 1:09:58
  Dylan: Yeah, oh man, just climactic ending though, of the shark blowing up and it's just cloud or shark parts just flying, yeah mist of shark blood what, what do you think you would uh rate it out of like rewatch value?
• 1:10:17
  Joe: man, uh, are we going like one to five or?
• 1:10:21
  Joe: Like four stars, I rate it 18 stars yeah let's go to 10 okay, I think, yeah, that's a good number oh, I think it's a 10 yeah yeah, I mean, I'm not, you know, I'll be like uh that uh dave the pizza guy, where he like rates things high and then starts to think about like oh, maybe I should not rate everything a 10.
• 1:10:45
  Joe: But yeah, oh man, let's give it an 8.5.
• 1:10:57
  Joe: Okay, yeah, I'll pull it back and give it an 8.5.
• 1:11:01
  Dylan: Just so that I you have something to go off of.
• 1:11:02
  Joe: Because all of these movies that we're doing I love and so I want to give a fair and balanced rating.
• 1:11:10
  Joe: Because, yeah, again, I think the way it's sold and even the way the book and all the, you just see a big shark and you just see like this terror, but you don't see the characters and like peeling back the onion of like you know what's going on, the corruptness in the town.
• 1:11:38
  Joe: You know even like going after the little kids who are doing karate.
• 1:11:44
  Dylan: you know Chopping off the fence posts.
• 1:11:46
  Dylan: Yeah, they're chopping up who are doing karate.
• 1:11:47
  Dylan: You know chopping off the fence post, you know like I mean there's just so much.
• 1:11:52
  Joe: And then, like you see this like little bit of good old boy, when all these guys start coming out to you know, and so there's just, there's just a lot of layers to this town, there's a lot of layers to the characters and how they're built, and you have like the new school and the old built, and you have like the new school and the old school and you have just the guy who just wants to do something right, um and and so like there's so much writing and and things built into this movie yeah that you don't get just from, like you know, you know, in a there's one shark One, shark One man, one man, yeah, which like, yeah, like to touch on, like your layers and stuff like.
• 1:12:35
  Dylan: I didn't ever think of that, like all of like the kind of world building that went into it and like, yeah, it really does give it like such depth to the town, yeah, and like you know everything, the town, yeah, and like you know everything going on and you know chief brody coming in and trying to solve everybody's problems, and yeah, yeah, yeah, trying to be the problem solver and trying to, you know, and it's hard because, like you get this feeling that he's, he's I'm not sure if is new, but it seems like he's new there and like, yeah, yeah, because I think I think they gave a timeframe in the movie.
• 1:13:13
  Joe: Yeah, it was like within a year, wasn't it yeah?
• 1:13:15
  Dylan: Like yeah, very fresh from New York, uh-huh, and you know he, he wanted to come to a small town and make a big impact.
• 1:13:24
  Joe: Yeah.
• 1:13:25
  Dylan: Did that.
• 1:13:26
  Joe: Yeah, and so, yeah, there's so many things, and then again with the different chapters of the movie, that you start off with this horror genre into this drama, into a you know, sea hero film, you know like going after the Leviathan Kraken, Right.
• 1:13:52
  Joe: You know, like it's so, so layered.
• 1:13:56
  Joe: And I don't think the, I don't think the last, and maybe this is probably good for the film, but I don't think the last chapters of the film get enough credit, you know.
• 1:14:07
  Joe: So, yeah, so what would you rate it?
• 1:14:13
  Dylan: oh, I think, as, like from a first-time viewer, there's definitely parts that hold up and is just it frames, you know, cinema going forward, I mean really.
• 1:14:26
  Dylan: And then there's, like other parts that, well, you know they started filming in 75.
• 1:14:32
  Dylan: So it's showing its age, but I think, for you know, for a first time viewer though, I probably would give it a seven, so but I mean, do you think that it's a must watch classic.
• 1:14:46
  Joe: I think it is.
• 1:14:47
  Joe: I definitely think it is.
• 1:14:48
  Joe: Yeah, I think that's why, like people, people watch it and people talk about it.
• 1:14:52
  Joe: I don't think they talk about it enough you know, um, and there are a lot of, you know, directors, cinematographers, who look at this and the way they filmed it, right, the things that they had to come up with.
• 1:15:06
  Joe: That's the thing about Spielberg too, and we'll see with other movies is Spielberg and George Lucas all came up with different ways of filming, whether it's special effects or the way they, you know, did things like.
• 1:15:28
  Joe: So, yeah, it's just you know, even though it was filmed in the 70s, it just stands the test of time.
• 1:15:34
  Dylan: Yeah, and there's the creativity of all those shots and you know, like we were talking, like I was talking about, you know before, of, like you know, seeing like the top down shot of the, just the shark underwater, yeah, and it's like just I could, I couldn't do that, I could not, I would not be able to, you know, be the director of something like that, and you know, think of that yeah, like oh, what if we did it this way?
• 1:16:01
  Dylan: and it's like you watch that and it feels so natural, yeah, yeah, but but then, like you know, just the amount of creativity that spielberg had, and you know, put into that because it is the 70s and you don't have the cgi right like that we have today yeah and like a lot of the modern cgi like kind of takes away from movies and it's like you know, there they actually had to figure it out yeah we want this shot.
• 1:16:35
  Dylan: How do we put it together?
• 1:16:37
  Joe: yeah, yeah, and even using, like, with that small cage and and filming the actual shark.
• 1:16:44
  Joe: You know, going nuts like they're like this is good.
• 1:16:46
  Joe: We need to figure out how to use this.
• 1:16:46
  Joe: You know, going nuts like they're like this is good.
• 1:16:47
  Joe: We need to figure out how to use this because you know, right, and even the scaling thing and having a small person, like it's just how to film things, how to the shots with you know where, you know Brody's watching the kid get, you know, killed, right, and that zoom in shot.
• 1:17:07
  Joe: Directors and cinematographers just look at that as, like, you know, here's what we should do, or here's what they did, even the voice over for the trailer.
• 1:17:19
  Joe: That was the first time they actually, you know, had that deep voice.
• 1:17:24
  Joe: Oh yeah, it was like they innovated that, like the person who was, uh, doing the, the voiceover, you know it.
• 1:17:34
  Joe: It was going to be a high voice, you know, and I just picture it being like jaws, you know, coming this summer you know, yeah, but he was like this is too.
• 1:17:45
  Joe: Like even the, the music was ominous and he was like, let's try it this way yeah yeah, and so they were like yeah, you know, so that that just you know, made that genre, you know, and in the trailers and yeah, all that it's just but yeah, it's just like going back on the fact of, like you know, it's what created that summer blockbuster.
• 1:18:10
  Dylan: How you know, you know it, that summer blockbuster is like they didn't really have like that.
• 1:18:29
  Joe: We need to get this big thing out during the summer, you know so that everybody goes and sees it.
• 1:18:34
  Joe: You know it's like that pulled so many people and um, they had, they had posters to where they had the picture of jaws eating other movies records because it was blowing up so much over the summer.
• 1:18:50
  Joe: That's cool.
• 1:18:51
  Joe: They would have you know.
• 1:18:52
  Joe: I would say the Godfather, or I would say that you know, and he's just like chomping and the numbers are going in his mouth.
• 1:18:57
  Joe: And like you know.
• 1:18:59
  Joe: So it just that's cool so every summer it was like we got it.
• 1:19:03
  Joe: We got to get this movie out, we got to get that movie out and it's adventure or like whatever it is.
• 1:19:08
  Joe: So, yeah, it just shaped the movies Well.
• 1:19:13
  Joe: Thank you for listening to the have you Seen it podcast.
• 1:19:19
  Dylan: Yeah, if you have any movie suggestions, you can go check the socials and links and make a suggestion down there.
• 1:19:27
  Joe: Yeah, we're going through some classics first, so we probably got Back to the Future some other good things coming out, but we definitely want to focus on the classics first and then come to any maybe side suggestions of maybe things that people haven't reviewed on podcasts.
• 1:19:48
  Dylan: Right, which for spooky season.
• 1:19:49
  Dylan: We do have some spookier ones, but not too spooky coming up in the pipeline, so that's going to be a good watch.
• 1:19:57
  Dylan: So yeah, if you're headed to the beach this summer, maybe just stay on the shore, stay on the shore.
• 1:20:04
  Joe: Stay on the shore.