Transcript

Jaws 50th · Citizen Frame

0:07
Martin, it's all psychological. You yell, barracuda.
0:12
You're racist. Huh? What? You yell, shark.
0:16
We've got a panic on our hands on the 4th of July.
0:20
Music.
0:28
We'll be right back.
0:32
You're gonna need a bigger boat all right people it's the beginning of shark
0:36
month that's right you didn't ask for it so we're giving it to you hold on to your surfboards,
0:43
oh my god really you just probably like god i got a good one for this opening
0:47
is that what is that what you came up with that's cracker that's cracker yeah
0:52
you know we talk masterpieces a couple times in this podcast,
0:57
it's very hard to be a masterpiece.
0:59
Crossing your T's and your D's to perfection. We talked about that with It's
1:04
a Wonderful Life. We talked about that with Die Hard.
1:07
In my eyes, this is. We talked about that with Psycho.
1:12
We talked, well, we haven't talked about it yet, but Shawshank Redemption.
1:15
Citizen Kiem? Certainly talked about it. No, Citizen Kiem's not a masterpiece to me.
1:19
But, yeah, but it is to many others. And we talked about it with Raiders of the Lost Ark.
1:24
Those are the films I consider to be masterpieces in my eyes.
1:29
And Jaws is certainly one of them. So if you guys are going to try to find a
1:35
flaw, if I were to try to find something like, I got to not like something, I can't do it.
1:42
Jaws is fucking a masterpiece. Not only is it the first film to be coined the
1:48
summer blockbuster in 1975, It is a $7 million budget.
1:55
It ended up being a little bit over because of the shark issues.
2:00
Ended up making $477 worldwide. And still making money, no doubt.
2:06
Yeah. And what better day to
2:08
kick off Shark Month than with the 50th anniversary of this gem of a film.
2:15
This is going to be a great podcast. It's going to be easy to talk about.
2:19
A film that I have seen more times probably than Halloween.
2:24
It's a film that we are taught in school and through all different levels.
2:30
We've seen Jaws, Psycho, Singing in the Rain, and Bridge on the River Kwai are
2:37
some of the go-to films that you watch religiously in school.
2:41
But yeah I can't count how many times I've seen this film every time I watch
2:47
it I catch something new and I did for this podcast some stuff I missed which
2:51
I couldn't believe I missed but it was certainly fun revisiting which I revisit this film all the time,
2:57
I think it's really overrated and I think it's pretty poor I'm only joking.
3:02
Yeah no I would say that you ask people to point out flaws there you might get
3:07
someone sort of I don't know email or whatever saying something along the lines
3:11
of yeah but the shark looks fake,
3:13
you know what, I have never had an issue with the shark, I have always ran with
3:18
it and I don't see the issue, I know Spielberg himself has even apparently had
3:23
issues with it but it works for me and it always has done,
3:27
Well, the funny thing is the shark story, the shark is pretty much the thorn in Spielberg's paw,
3:36
and it kept breaking and And not to disrespect Spielberg, but I think Spielberg even made this.
3:43
And I think this is kind of funny. And I could be wrong, but it makes sense.
3:49
So he brought in John Williams to score it.
3:53
And he actually laughed at the score. He didn't like it. He goes,
3:58
what's with the score? This is not going to work.
4:01
But the funny thing is, with the shark breaking down, the score ended up working
4:06
because the score becomes pretty much the shark. Yes.
4:10
And so, to kind of full pause there on Spielberg, Spielberg didn't like the
4:15
original score until he realized his shark wasn't working.
4:19
Bruce the shark, by the way, if anyone doesn't know that.
4:23
And so, when Bruce kept breaking down, he decided, fuck it, we're not going to show the shark.
4:29
We're just gonna you know let people
4:31
use our imagination seeing was
4:35
it really a shark that's underneath the ocean here and then
4:38
he complimented it with john williams score and that's
4:41
what makes the legacy of jaws is the score and not
4:44
seeing the shark i would say as well
4:47
apparently spielberg is on record as
4:51
saying the shark malfunctioning was a godsend
4:54
because it then had to be essentially kept in
4:57
the shadows um spielberg has also admitted
5:00
that he was pretty naive by wanting to shoot
5:03
this entire film out in the ocean not taking
5:06
into consideration mother nature because he was only like 26 or so at the time
5:10
and apparently well that contributed to the shark breaking as well but apparently
5:16
it was a rough shoot to say the least apparently there was a lot of problems
5:21
because most films up to that time,
5:24
you know, which were set in the ocean, were basically filmed on a set or basically a big pool,
5:32
you know, in a Hollywood studio type thing. Yeah.
5:36
But you know what? I'm watching this now, man. I'll tell you what.
5:40
I just, it's, it's fucking amazes me. Practical, practical, practical.
5:45
Well, the whole way. And the work and the effort that went into the team that made this film.
5:50
And a guy, his name escapes me, who worked on the shark.
5:54
And all the team that worked on it. The one thing he couldn't hear in Spielberg's
5:59
mouth, unless it was an audio thing, was, well, we'll just fix it in post.
6:04
And that's what Hollywood does now. Let's just fix it in post.
6:08
We'll CGI it. We'll do this and this.
6:11
And maybe that's a good thing. You CGI as minimal as you can to help clean up stuff. I get that.
6:17
But when you watch all these Marvel films, they're done just on a green screen
6:20
now, and then you see these bastards in the middle of the ocean trying to get
6:24
this mechanical shark to work.
6:25
We talked about this with George Miller, commando film shooting, where you just go for it.
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Now, this was a big studio at Universal, so a little more support than what
6:38
the guys had on Mad Max, but the idea is the same.
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You improvise as you go.
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And I'll tell you what, 477 worldwide, one of the most beloved films of all
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time, three Oscar wins, best score for John Williams, best sound, best editing.
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I'm shocked, and I'm watching this again today, I'm shocked that Robert Shaw
7:00
wasn't nominated for Best Supporting Actor.
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Yeah, and I was also going to say one of
7:05
the great things that people don't always talk
7:08
about about jaws that really sells it
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and really makes it a great film and not just a
7:13
great summer blockbuster but as the characters and
7:16
the writing and performance of the characters especially obviously the three
7:20
main characters you know of brody shaw and hooper you know rob you know rob
7:25
quent you know robert shaw's character yeah well let's jump into that now let's
7:30
jump into the cast here very minimal roy shires chief brody richard dreyfuss is hooper.
7:34
Robert Shaw is Quint. Lorraine Gary is Ellen. Another scene stealer.
7:39
He's the guy we love to hate. We've talked to him a couple times.
7:41
Murray Hamilton plays Vaughn.
7:43
Jeffrey Kramer is Hendricks. And a little shout-out, very small role, but powerful role.
7:50
Lee Freero, who just passed away. She plays Mrs.
7:54
Kintner. Yes. And a master shout-out to Chrissy. She also just played Susan Backliney.
8:01
Backliney, I'm sorry if I'm butchering that. She just passed herself.
8:04
She is Chrissy in the opening scene of Jaws. Before we get going here,
8:10
this is Spielberg's pretty much second major motion picture.
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How Spielberg worked, he was a TV kid. Yes. Columbo, Night Gallery, a lot of TV shows.
8:20
Then he ended up doing a TV movie that was so good.
8:25
This is what made him. Was so good in the U.S.
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And the U.S. was shocked we didn't release it in the theaters.
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A UK team decided we're not going to put this on TV. This needs to go in the theaters.
8:39
Yeah. So it's technically not a studio, a theater production.
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But that movie was called Duel.
8:45
You guys should see it. It is, we'll definitely get to it. We'll probably do
8:49
like road chase movies or something.
8:51
Yeah. And we'll certainly get to it. But he did another movie right before Josh
8:55
called Sugar Land Express.
8:57
A lot of people don't know it. It's quite fun with Goldie Hawn. guys should
9:00
check it out it is pretty much a a road
9:04
a road movie a couple of uh outlaws being
9:07
chased down by cops it's pretty
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fun actually you guys should check it out and then
9:13
obviously we got jaws and to this day even
9:16
all the movies he has made i would
9:20
say jaws oh jaws are
9:23
raiders well I mean it's hard the different
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films it's hard to compare Jaws with
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Raiders of the Lost Ark and the Enchanted List or Catch Me If You Can you know
9:34
so another great thing about Spielberg is although he's a sci-fi nerd guy you
9:41
know at heart a kid at heart he's done the serious stuff as well and he's always spread his wings.
9:47
Yeah a good filmmaker can do that and branch out and do different genres I can
9:54
even see that as Carpenter. Carpenter's done that himself. Yes, I know. Yeah.
9:57
And so, yeah.
10:00
Easily my top filmmakers are very open to other genres and not just label themselves to one. Yeah.
10:08
Based on the book by Peter Bensley. Yeah.
10:11
He made a fortune office. I would like to think so. He made a fucking fortune.
10:16
He also wrote the script here, or part of it anyway.
10:19
Yeah. Carl Gottlieb, I believe. He's also in the film.
10:23
Yes. He also wrote it. He's also a producer and director. I think he even passed that too long ago.
10:28
But we have just a really great team, and we got a small cast,
10:33
which I really like. And you mentioned it there a second ago.
10:37
The good thing about a small cast, there's going to be better cameras to do
10:40
there. because you're not peppering all these extras and stuff. Absolutely.
10:44
And you're on more screen time with them.
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So the chemistry is definitely going to show, and it definitely shows with Jaws.
10:52
We are going to jump into it. I know I said that about 25 minutes ago,
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but this is Jaws. It's the 50th anniversary, so fuck off. We're taking our time.
10:59
Yeah. I would say as well, you're talking about the chemistry.
11:02
I suppose you could call it between Dreyfus and Robert Shaw,
11:06
anti-chemistry, because apparently they fucking hated each other on set.
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And Robert Shaw was apparently drunk for a lot of the shoot,
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but that totally worked again. Another sort of godsend, as Spielberg would have
11:20
said, because the two characters hit each other.
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So that tension in real life is played out on the screen between the characters and worked so well.
11:30
Yeah, that whole, I heard about that with Robert Shaw and our boy Dreyfuss.
11:34
It's kind of like that Oliver Reed, Benny Davis story we talked about not too
11:38
long ago with Burnt Offerings.
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Yes Robert Shaw was part of that Brad pack
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with I think with with Oliver
11:45
Reed and with Peter O'Toole and Richard Harris yeah
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he was history there he was one of those sort of hard-drinking tough guy actors
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that we don't really see as much of these days I mean obviously we've had people
11:57
like Russell Crowe and stuff but yeah he was a sort of old-school sort of Hollywood
12:01
tough guy yeah I saw him I was After Jaws,
12:06
I saw it in one of his last films, and I fucking love it.
12:09
It's with Harrison Ford, of course, and Carl Weathers, and Richard Keel.
12:16
What's it called? And it's called Force 10 from Navarone.
12:20
Yes, I know it. I think I might have watched it on TV a long time ago.
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But yes, I don't know of it, but I wouldn't be familiar enough with it.
12:30
It's a good film. I've seen it quite a few times. But yeah, that was one of
12:33
his last films. Yeah. Yeah. All right, now we're jumping into it.
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At last. Like, we're halfway through what would be a normal podcast,
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you know. We're finally getting there.
12:44
Let's talk about the introduction to our boy, Bruce. I'm going to be calling
12:48
Jaws his Bruce. That was his stage name. Oh, no, his real name.
12:52
Right. Apparently, there was more than one Bruce. He's still alive today.
12:55
What? There was more than one Bruce, like, you know. Well, the main Bruce is
13:00
in Universal Studios. Yeah.
13:03
What, that features more of the whole body. Right. And then there's like half Bruce and whatever.
13:09
Anyways, you know, an introduction of film, anything that just,
13:14
just really just grabs you and boy, just Jaws do it.
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And to this day, I will tell you right now, and I love my horror and I love
13:23
my gore, but This is one of, still to this day, one of the most upsetting,
13:30
unsettling opening sequences of all time.
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And what sells it, not only does the score bring you in, but the young actress
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who I just mentioned, Susan Baccholini, who plays Chrissy, small cameo in the beginning of the film.
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She sells it so well that this poor girl is being eaten alive.
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All the way it's her screams is echo
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and it's just it's terrifying the scene where
13:59
she's just swimming around and she's kind of goofy and laughing
14:02
at herself because she's still drunk and then
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she gets bob bobbed under and then she pops back up and she's almost like she's
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almost having like a panic attack yes and she's losing her breath and then moments
14:14
pass he's bubbled up again and then she's getting more anxiety like she's being
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nibbled on it's terrifying and then it just rips into her and you can hear her
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scream as she's screaming for help.
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Even as I just finished it, it still is a terrifying opening scene to this day.
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It sets it up as a horror film opening.
14:35
I know there's a lot more to Jaws than simply a horror film.
14:40
It jumps across various genres, including adventure, but certainly from the
14:47
opening here, this is a monster horror film.
14:51
Yeah, you know, we talked about the 70s a lot, and the one thing the 70s got
14:55
right was the, well, a couple things actually.
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The 70s became more experimental, more risky, more, like I just said,
15:05
commando filmmaking, where studio, big studio execs stood away and let the directors direct.
15:11
You know, we had the Freakins, the Freakins, the Coppolas, the Bormans, all these people.
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And so, and that's what makes Jaws.
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Because even if you haven't seen Jaws, or you haven't seen The Exorcist,
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or if you haven't seen Apocalypse Now, all these films in the 70s,
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and I'm only giving you a couple here, even if you haven't seen these films,
15:34
you know about the shark attack.
15:36
You know about the pea soup exorcist throw up scene. You'll know about the little
15:40
boy in the mask in Halloween.
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You'll know about the helicopter raid in Apocalypse Now.
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They're all iconic scenes. 100%. A lot of cinema today, you don't get that anymore.
15:51
It's disappointing. Well, several reasons, actually.
15:54
One of them, which you just suggested, and that the movie studio execs aren't
15:59
prepared to take risks or have a sort of maverick director out there.
16:03
They're always wanting to reign a man and call the shots.
16:06
You know, that type of thing. So I've no doubt there are perhaps the next Spielberg
16:11
or Friedkins or whatever out there,
16:13
but they've never been given a chance because of essentially the studios being
16:19
overly zealous with their control.
16:22
Again, it goes back to you, you mentioned earlier as well about the Marvel type
16:26
films where it's just pumping out stuff these just studio sort of conveyor belt
16:32
type films and there's no actual you know,
16:35
there's no art or craft to it essentially, you know,
16:38
whereas these guys, the likes of Spielberg, De Palma Carpenter,
16:42
Freakin all the rest, they were actual proper artists with balls who were,
16:48
you know prepared to sort of suffer for their art you know, and their vision.
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I don't get a bit arty-farty here, but it's true.
16:57
Well, I think cinema's changing a bit. I do think, and I think that's why horror
17:02
has made a resurgence, a massive resurgence, and is more appreciated and respected
17:06
now because A, it makes money, but also because they let the directors direct.
17:11
I might not be a fan of Rubber Dijkers. I might be not a fan of Ari Lester.
17:16
I might not be a fan of their work. I might not be, I'm not a fan of animated
17:19
horror, but I can appreciate their, They're doing what they want to do.
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There's no studio interference in their work. That I can tell you.
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Maybe that's a bad thing because they don't like their work.
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But you are seeing these, you're seeing more ballsy directors coming out now.
17:39
Mike Flanagan has a lot of hearsay now. And he has more complains, as he say, in his work.
17:48
So, yeah, there's a lot of good filmmakers out there. So hopefully we'll get
17:51
more of this kind of filmmaking rather than, and I think people,
17:56
I think the Marvel is coming to an end here. I think so. They're trying to do this big resurgence.
18:00
I don't think it's going to pull it off. I think people are getting a little.
18:03
It's fatigue. People are sick of it. But let's jump back into Jaws here.
18:08
Yeah, this opening scene is ultimately still terrifying to this day.
18:11
And that's what I meant by 70s. It holds to this day.
18:15
It doesn't lose its effect. It doesn't lose its shock value.
18:20
You still get something out of it. Even how many times I've watched this scene,
18:25
it's just absolutely, absolutely wonderful.
18:28
Yeah. I mean, I would say overall, and I'm not giving me overall sort of analysis,
18:33
which I think people sort of know anyway for the two of us, but overall,
18:37
I would say pretty much all of Joe's holds up, not just the beginning, you know?
18:44
Yeah, no. Like I said, I even said that there's no fault in this film.
18:47
There just really isn't. We talked about the dialogue, and for years,
18:51
I thought Vaughn, the mayor, was such a douche.
18:54
He's met the patient. Technically, he is a douche, but he's got some great lines,
18:58
and he's not wrong in some of his points. Well, this is because it's well-written?
19:02
There's a great scene where Brody's told that it was a shark attack,
19:08
and then the doctor goes back, recants on that, and the mayor says,
19:13
no, it could have been the boat. Yeah. Wait a minute.
19:16
And because he's feeling the pressure of the mayor. Exactly.
19:19
It's a great line that Vaughn gives when they're on the ferry,
19:24
and he's trying to convince him to not close the beach for something that we
19:28
don't even know is a shark attack, which he isn't wrong if it isn't a shark attack.
19:33
He also says that he's got- But he says, let me finish real quick.
19:37
He says, you don't understand, Brody.
19:40
You yell barracuda where people are swimming. They look around. What? What's going on?
19:45
But you yell shark, we've got a panic on our hands on the 4th of July.
19:49
Yeah. And I love that fucking rhyme.
19:52
Yeah. I just, and he, and the funny thing is, he has some of the best lines in the film, Vaughn.
19:57
Yeah. And his argument is that, you know, he's looking out for the turn and the town folk die.
20:03
With the character, I think he's more sort of self-centered than that.
20:06
You know, where it's, you know, his ego, it's about himself.
20:09
But there's still that argument there. And, you know, the conflict here,
20:13
it's played so very well. and Vaughn is great in the role. He's perfect for it, actually.
20:19
Yeah. Well, you mean Murray Hamilton who played Vaughn's character.
20:23
Sorry, that's what I mean. Yeah, yeah. Of course. Yeah, Murray Hamilton always
20:26
played Dick well. Yes, yeah.
20:29
That sort of smarmy type, you know, know-it-all sort of bureaucrat.
20:33
Well, he decides to close the beach, as we know, and then we get the next iconic
20:37
death. Yes. The Kintner boy. Wow.
20:41
Again, copy and paste what I said in the beginning with Christy.
20:44
This scene is terrifying. And you see it from a distance.
20:48
And you can see the boy's hands flaying in the air and the raft and the fins
20:52
of the shark as they're wrestling.
20:54
And the blue of the water becoming red.
20:58
And especially because it's a kid as well. Yeah.
21:01
It's even worse. they shot a scene where you see the shark disengulf the kid
21:05
but he pulled back and I believe the shark didn't work,
21:10
so that's also another reason they cut it but,
21:15
you didn't need it this is a terrifying scene yeah I think as well it's so powerful
21:20
because you know it's a kid essentially and it is pretty devastating and harrowing,
21:26
yeah I know it is I mean it's and so,
21:31
subtly done oh it's funny well handled and directed and I mean this is this
21:37
is Spielberg at his best wow,
21:40
I love the introduction of Quint I can't stand nails on the chalkboard and you're
21:45
supposed to pretty much hate this character and it's a great introduction kind
21:48
of him putting his nails on the chalkboard because you know you're already going
21:51
to hate him he's going to create on you yeah yeah.
21:55
Uh i'll find him for three but i'll find
21:58
him and catch him and kill him for ten yeah he
22:01
demands and later on he demands a tba and all sorts he's
22:04
just right yeah all the beer all the beer you can drink whatever it was i would
22:10
say well for me anyway one of the most powerful scenes emotionally for the whole
22:16
film is coming up soon with yeah we'll talk about that we're not there yet yeah
22:20
I don't know what you're talking about.
22:23
There's nothing I noticed, which I never, I never caught. So he's reading through
22:27
this book of sharks during the, during the first half of this movie.
22:32
And there's a shot where he sees, it's a real, you know, real photographs of
22:36
people who got eaten or people who've gotten limbs, you know,
22:40
bitten off and shit. Yes.
22:41
But he turns the page and there's a shark with the, with the oxygen tank in his mouth.
22:48
Right. Oh yeah. Right. Yes. It's a drawing, isn't it?
22:52
No, it's an actual picture. Is it right? Yes, so that's where I...
22:55
Yeah, it's foreshadowing.
22:57
Yeah, exactly. I never caught that. I never caught that.
23:00
Researching the film a little bit. I had to be spoofed at it,
23:02
and I didn't catch it at all.
23:03
Well, there's a couple of bits here as well where he's reading the book,
23:09
and the wife, Ellen, he's shouting at his kids to come back in because he's
23:12
worried about them being out in the water, and she's like, I'll just leave them alone.
23:16
And then she glances at the book, and then straight away after glancing at the
23:20
book and seeing the shark she says boys get in you know so it's just really well played subtly done,
23:27
and it's just and that's the whole film it's just quick little banter quick
23:31
one there's no long drawn out dialogue yeah well apart from Quince Monologue
23:36
later on which is superb yeah that's fucking powerful.
23:39
That's what I meant where he should be nominated yes because that's where he
23:44
lets his vulnerabilities down
23:45
and apparently yeah a lot of that was ad-lib we'll get to it but Yeah.
23:50
Yeah, I love the introduction of Hooper and everything's chaos.
23:53
They're offering this, you know, three grand. So all these assholes from the
23:57
East Coast are coming in, overloading boats, and Hooper's just having to try to control everything.
24:02
And this is where we're introduced to Richard Dreyfuss' character, Hooper.
24:05
And I just love that you meet him during all this chaos. Yes.
24:08
And again, the chemistry between him and Roy Scheider is wonderful.
24:14
They hit it off right away. It's rat-tat-tat, which I like to use a lot when
24:18
the dialogue flows so smooth.
24:20
And you believe every line they're saying, this scene completely pulls it off to introduce.
24:26
And then when they do catch the shark, they catch a tiger shark is what they catch.
24:30
And there's a great scene where, again, all chaos. People are all,
24:34
you know, congratulations.
24:35
You got Mayor Vaughn being all badass and blah, blah, blah.
24:41
And during all this cheering, and Cooper just goes, listen, it might be the shark.
24:47
It could be the shark. it most likely is the shark and he goes the tiger shark
24:53
is rare for these waters it's a man eater it probably is the shark but the fact
24:59
is that bite radius does not match what was on the woman.
25:02
And then everything quiets down I just love
25:06
the way that was presented yeah no no I agree but I
25:08
would add as well while Quint is
25:11
set up as an irritating character I actually find personally
25:15
Hooper to be much more irritating than Quint
25:18
quince no nonsense whereas hooper is
25:21
he's very smug and irritating maybe it's
25:24
dreyfus you know because he could be a bit like that i've seen him in interviews and
25:27
stuff so i just think what
25:30
yeah no no there is a sort of like it's with hooper the character certainly
25:34
there is a smug know-it-all sort of i'm a scientist i know everything type attitude
25:40
about him um no no that's not fair Because he respects what Quint's rules when he's on that boat.
25:47
Oh, they come to respect each other. The whole point is he's more modern, comes from money. Yes.
25:52
He's modern, but he knows his shit where Quint's old school hands on blue collar.
25:57
But he is still quite smug.
25:58
I don't think he is. Oh, he is to me. At all. I didn't get that at all.
26:03
I don't quit as being smug. But I would say that the two of them,
26:07
despite their differences, and there's a generational difference,
26:09
which you said as well, again, down to the writing, great writing,
26:13
they come to have a mutual respect for each other by the end.
26:17
But, yeah, you had to have that.
26:19
That's exactly the writing. You had to have that conflict between those two.
26:24
Because that would be boring. Yeah.
26:26
You know? but yeah and then when they find when he wants to cut the shark open and.
26:33
The letter of violence goes you think I'm going to let you cut
26:36
open that shark and have the kitten boy and he's obviously lying so he has you
26:41
know to cover his because he's now doubting that after what Hooper said that
26:45
if it is the shark that killed the two you know the young girl and the kid he's
26:51
now doubting after what Hooper says so that's why he says you're not cutting it open you know,
26:55
in case he's, they improved wrong in front of the turnstool.
26:58
Yeah, because the digestive system, the digestive system, the shark's 24 hours.
27:02
He cut this thing open. He's like, I'm not going to have the Kittner boy falling
27:05
off on the dark parts of the Kittner boy.
27:08
And then the minute he says that, Brody walks away and there's,
27:11
and there's the scene you were probably about to talk about.
27:13
Yes, exactly. With the mother.
27:15
Even though she had, she has a very small part, it's a very effective part.
27:20
And that's Lee Fierro who plays Mrs.
27:23
Kittner. Very powerful scene. all she says is I heard you knew you heard about
27:28
the shark you still kept the beaches open and she just slaps him yes and then after it,
27:35
I think a trooper says to Brody yeah you didn't deserve that somebody says to
27:39
Brody you didn't deserve that he goes no she was right just a greatly played
27:43
line and just a great character moment for Brody you know says no she was right,
27:48
you know where he's prepared to take the blame you know not that he's prepared
27:51
to take the blame he does blame himself you know.
27:55
When they figure out it's not the shark after they cut it open, which is another.
28:02
He was throwing out stuff on his stomach and there's a license plate. Ten times and stuff.
28:07
But, so they're trying to tell Vaughn, okay, there's a shark out there.
28:13
We need to, you know, step it up.
28:17
Because didn't they, this is before, no, wait. Yeah, this is before the hard quent.
28:23
Yeah, but this is when, sorry, I'm getting over.
28:27
It's when they, after they cut the shark open, they take their super,
28:33
he takes his super boat out.
28:34
Yes. And this is where you meet Ben Gardner, this great jump scare in the film with his head.
28:39
That scared the shitter to me as a small kid watching this for the first time with the head.
28:43
There's two scenes that absolutely are embedded in my basically mind,
28:48
since it was a very small kid watching this.
28:50
There's this, spoiler alert, quince death later on,
28:54
not the shark itself but the bobbin head that comes out of the boat and later
28:59
on quince death totally you know I've always stuck out in my mind and terrified
29:05
scared the shit out of me as a kid,
29:08
because this happened with the Ben Garner head they go back to Vaughn,
29:11
listen Ben Garner's dead he's being eaten by a fucking shark oh where's your
29:14
so called tooth you had, I dropped it,
29:17
oh inconvenient so finally Vaughn gives in and goes, listen,
29:21
no matter what happens, we're opening tomorrow on 4th of July.
29:25
We're not closing down the show.
29:27
The whole scene is very funny. And Hooper's got mad of laughter because this guy's so ignorant.
29:32
And he goes, you do anything you want, I don't care. But these beaches are open the next day.
29:38
So we cut to, and this is the humor of the film.
29:41
It's, you know, you see 4th of July, all these people coming off the boats and
29:45
they're running around with their families and the beaches are packed. Yes.
29:49
But at the same time, you've got cops. You've got the towers. You've got the cops.
29:54
And you've got big people patrolling the waters.
29:58
And Von's looking around and he sees the place is packed. He's got a big smile
30:02
on his face, the greedy bastard.
30:03
Yeah, I don't know. He looks up and he sees these low helicopters flying over.
30:09
And you can hear him going, son of a bitch. You know?
30:12
Because once he said, spend whatever you need to keep the beaches safe, but we're opening.
30:18
So it's just kind of it's coming back at him he's like shut
30:21
up bitch well Vaughn is most definitely the sort of politician that would be
30:25
skimming money and you know for himself that type of thing but also I love where
30:31
he's like trying to basically browbeat like some of the townsfolk to get into
30:35
the water he's going to go in for a swim you know that type of thing you know
30:38
why aren't I swimming you know,
30:41
I mean, the movie is so well paced. It's two hours, like seven minutes long. And it is amazing.
30:48
They just, you know, it's the perfect timing when to put, you know,
30:51
okay, we're getting a little dull now. Let's put another shark attack in.
30:54
You know, he times everything perfectly.
30:58
Yeah. And the scene when he got the two fake brats, he made me do it.
31:02
I love that scene. I'll tell you why. Because that is the sort of shit I ever
31:05
done when I was a kid. Yeah. I can see it, you sick fuck.
31:10
I don't know. But it's really well-planned, you know, obviously.
31:12
But the whole thing is. The whole thing is. It's messing about.
31:15
Yeah. Well, the whole thing is a never cry wolf kind of moment here.
31:18
Yep. So when a lady who's in the pond area, which is a side section of the ocean.
31:25
And that's where, so she's screaming shark, shark, shark. And everyone's like,
31:30
oh, whatever. We're not going through this again.
31:32
You know, Brody, his wife, Ellen, comes up to him and goes, you sent Michael
31:38
to the pond with his boat.
31:39
And this is a wonderful shot. All it is is Brody getting faster and faster and
31:45
faster running to the pond. Yep.
31:47
And they accompany that with John Williams' score, but instead of this time
31:53
being in the shark, getting the music, it's Brody as he's getting faster and
31:57
faster to the pond with the jaw score.
32:00
It's an awesome transition from going from the shark to using that music to
32:05
using it for Brody. Really cool.
32:07
Re-watching this for the podcast, and I know we watched it not that long ago
32:10
in the cinema as well, but with John Williams' score, you know,
32:14
the famous, you know, Jaws score,
32:16
it's actually, although it's so iconic and stuff, it's actually restrained in
32:21
terms of they don't use it that much throughout the film.
32:24
I think maybe it was just in my head, I thought that it was like,
32:27
it was used a lot more within the film, but whenever it is used,
32:31
it's obviously used very, very effectively and works great.
32:35
Yes, come back to the shots of Brody as well, There are some other great shots of Brody on the beach.
32:40
You know, that one where it's like zooming into him, zooming into his face.
32:43
It's a very, that's a very Hitchcock move. Oh yeah.
32:45
Yeah. Yeah. Yeah.
32:48
Yeah. Yeah. And then the famous one, you can actually, it's on my 4k desk.
32:53
It's the, it's, it's the cut scene where the, the boat man who's helping the kids.
33:01
He's the one who gets his leg bitten off. Yep. And we just see the leg fall
33:06
down and him being pulled underneath the boat.
33:09
There's actually, you can see it. You can Google it. I believe it's on YouTube.
33:13
The actual scene that he did film where he's still in the shark's mouth.
33:18
And the scene where you see Michael who's frozen in water, they cut that.
33:24
Then they cut away from there. Like the guy said, the shark moved away from him.
33:27
But that's not what happened. And the man is in the shark's mouth and grabs the kid out of fear.
33:34
And now the guy is in the shark's mouth and he's holding on to Michael at the same time.
33:40
I didn't know that. And you see them in the shot and you see him dragging Michael with him.
33:45
That's why Michael is more petrified and terrified because that's what happened
33:49
to him. And also what adds to the tension? I didn't know that, by the way.
33:52
Spielberg says it was too much. Yeah. It was, I want to be more.
33:57
And he was right. It still works. you didn't need it especially another
34:00
child in peril you didn't want to have to see that again well what also works
34:04
for this scene too is that it happens in the part of the beach the sea where
34:10
they've been told before that it's too shallow for the shark to come to it's
34:13
like a safe zone but it's not realized on the pond that's what they call it yeah that's right yeah,
34:18
Yeah. Now, this is a scene I really enjoyed. And we talk about Oxalot,
34:23
and he gets the best one. That's our boy, Vaughn.
34:27
It's a great scene. It's in the hospital.
34:30
They're checking on Michael, make sure he's okay. And Vaughn has lost it now. He's mumbling.
34:38
He's ridden of guilt at this point.
34:41
And his performance is really, really good here.
34:46
And there's a line where he's just kind of mumbling he's like you're going to
34:51
pay Quint all that money right you're going to pay him the $10,000 I don't care
34:55
what it costs you're going to pay him and,
34:58
Murray just stops during all the chaos and he's blubbering whatever he's saying
35:03
because like I said he's shocked or whatever's going on but he stops and he
35:06
tells Brody my kids were on that beach too,
35:12
and right there it kind of humanized him a little a bit. It's a realisation.
35:16
He sort of eventually comes, and I believe it's the last time the character's even in the film,
35:22
so he goes to a sort of food journey with his arc of realising that,
35:27
yes, I've been a complete dick this whole time, and it could have cost the life
35:31
of, well, it has cost the life of a couple of kids,
35:35
but it could have cost the life of his own kids.
35:38
Exactly. And through his greed and selfishness. And this is where We're in the sea now.
35:46
Half the film is pretty much in the sea. It's what I like to call a surfer turf movie. Yeah.
35:52
That's a good one. So, yeah, the second act is now going to be on the boat with Quentin and everyone.
36:00
The chemistry between these guys is so fun. Shepard. Yeah.
36:06
It is. You can't. It makes the film for me.
36:10
One of the best shots in the film. It's so simple, but it's so creepy.
36:18
And they're just talking, shooting the shit, and they cut too. It's a quiet scene.
36:23
And Quentin, he's always eating these little crackers, whatever they are. Yeah.
36:27
And he's eating away. And then we have this camera shot. And the camera shot
36:33
is a big close-up of the fishing pole and him behind it.
36:39
And then we hear a click. Sick.
36:43
And it's the fishing, the rod moving.
36:46
And he sees it, and he slowly starts strapping himself in as the other guys
36:52
are doing their thing. They don't know what's happening. Yeah, that's right. Yeah.
36:54
And he's getting ready for a showdown, pretty much is what he's doing with the shark.
36:58
Uh-huh. It is such a great scene. And then, boom, the chase is on. Yeah.
37:05
I also love how Brody, despite basically, well, he's a sheriff.
37:09
He's not actually a lifeguard. But despite, you know, being,
37:13
you know, his patch being a bait, he doesn't like the water.
37:16
And he doesn't like, you know, the sea and being in the water.
37:19
So, you know, he has to come to terms with all that. And, again,
37:22
Roy Schneider is brilliant at playing that. You know, that fear.
37:25
And he's great throughout.
37:27
But, you know, he's really good at sort of playing that aspect of it.
37:31
When we first get the major look at the shark, when he's throwing the chum bait
37:35
and the thing, and he's bitching about it.
37:37
Why don't you come here and shovel this shit for a while? And...
37:41
He, then you see the shark pop up and when he goes backwards,
37:46
of course, one of the most famous lines of all time is you're going to need
37:49
a bigger boat. Yep. Which was improvised.
37:53
Was it? I thought that was improvised. Yep. He found that out.
37:56
He improvised it and they decided to keep it in.
37:58
Now a lot of people think we need a bigger boat. It's not. It's always been
38:01
you're going to. You're going to need a bigger boat. Yeah.
38:05
And the whole, and the rest of the movie is kind of funny because he's always
38:08
bringing that up. He's like, let me call the Coast Guard so they can bring us a bigger boat.
38:11
I love when Quint... He's always peppering that in. Well, Quint's sort of drunkenness
38:16
and sort of vanity and arrogance as well.
38:19
There's one time wherever he's trying to ring through to get the Coast Guard
38:22
to come out, and Quint literally busts up the phone to have on the boat.
38:27
Yeah, I don't get that. Why do you do that?
38:30
Arrogance, pride, and probably a bit drunk as well because this is my game.
38:37
If the Coast Guard had to come out, it would have been an admission of defeat
38:43
by Quint, at least in his head, you know, where this was his show.
38:47
He was the man, and he was going to catch this shark.
38:50
It's hubris, essentially, and it kills him, you know? So that's why he does that.
38:56
Also, probably he was pissed out of his fucking loaf as well,
38:59
you know, with the attitude.
39:01
Yeah. You don't know how much of that stuff is improv. Oh, I would say a lot
39:07
of it. You know, and not just the stuff we know about.
39:09
I love the barrel scene and the great thing about the barrel scene,
39:15
again, rewatching it so many times, you understand why they emphasize,
39:20
especially yellow barrels, A, to keep track of them. Yes.
39:23
But it was a way for the audience to know, like John Williams,
39:27
the music score was part of the shark at this point, right? Exactly.
39:31
Now the barrels are part of the shark. Probably as well. So you keep the audience
39:35
knowing there's something there.
39:36
There's something there. and that's why the the emphasis on the barrels which
39:41
is wonderful there's also a couple of really nice shots with quint and it's
39:46
almost like they're playing off where he's quint the villain.
39:50
Because there's two shots pretty much mirror image one is where he's up in the
39:57
crow's nest and he's looking down at brody and he's he's bitching about something
40:02
can't remember what it was,
40:03
but, but when you look up from the crow's nest, all we see is a shadow figure.
40:08
We don't see his face. We just see a shadow of a man sitting in the crow's nest
40:12
and you know that shadows are staring down at Brody.
40:15
Yep. And then there's a similar shot where, where Quint is in the sun,
40:21
it's the sun, the sun, the sun, sunset, it's a sunset shot.
40:25
And he's in the tip of the boat leaning back and holding the spear gun or whatever
40:30
he's holding and they're looking at him and he's again shadow all in black. Yep.
40:37
Because when you, what he does with the radio, the, the things he does,
40:45
are the reasons why this boat sinks. Yeah, and it cost him his life.
40:50
Yeah, he's the one who fucked this up. Because you talked about Hooper,
40:54
he's there. I think it's reversed, man. I think he's the problem.
40:57
I think because there's a great shot where he's making fun of Hooper the whole
41:02
time about using technology.
41:03
I got a cage, and I got this and this and this.
41:06
But at the end, Quinn of Miss Defeat. He turns to him and goes,
41:11
how does this cage thing work?
41:13
Hooper is right. and yeah but yes and
41:16
like you say quint eventually admits it later on and
41:20
hooper is right but the problem with hooper is he's
41:23
smug about it and he knows he's right so he's just a bit sort of smug and so
41:28
in a way you're sort of rooting for quint you know because he you know he's
41:32
sort of old school and he's a larger than life character but and you know as
41:38
even quint says himself that Hooper's the sort of smug little college boy that comes from money.
41:43
But Hooper is right and he's proved to be right and even Quint admits it later on.
41:48
By accepting the needle thing, the jabbing, whatever it was, the spear idea.
41:56
One of the best scenes is where it humanizes Quint a bit where he talks about
42:00
the USS Indianapolis. Yep.
42:04
Real quick, you guys don't know this story. The USS Indianapolis was...
42:09
It was sunk in the Philippine Sea by a Japanese submarine in 1945.
42:20
Approximately 880 sailors, I think it was, survived the sinking,
42:26
but they were in the water for a few days.
42:28
Only 316 axes were survived.
42:32
The rest were sunk. And a lot of them was just due to dehydration,
42:37
overexposed, the sun, and shark attacks, which he talks about in the film.
42:41
There's a movie about it, actually.
42:43
I believe our boy Nicolas Cage is in it.
42:47
I'm not too sure. I don't know. I'm pretty sure. Yeah. But there's another version of it too.
42:51
But that whole scene, that whole scene when they're talking about,
42:56
they're sharing their scars.
42:56
It's funny. They're talking about their scars. Yeah. They're having a good laugh.
43:00
And Brody's looking at his body. He doesn't have any scars.
43:04
And they're exchanging, you know, war stories, having a good time.
43:07
And then he drops the bomb that he was part of the USS Indianapolis.
43:11
And he tells the story and he sells it so well. and that's the scene where I
43:16
think the Academy overlooked him and apparently Robert Shaw apparently this
43:21
scene was written differently before and they couldn't get it to work,
43:25
it just wasn't working out,
43:27
but apparently the scene that they did use, not quite improvised by Robert Shaw,
43:31
he was also apparently blind drunk when he did it, but apparently he wrote the
43:35
scene that they decided,
43:37
the version of it that they decided to go with because it was the only one that
43:41
worked and boy does at work. It's an iconic cinematic scene.
43:45
Yeah, it's definitely definitely.
43:49
Yeah. And then when they're all wasted, it's like the shark knows. Okay, got it.
43:54
Bruce is down there under the water. There is a suggestion that the shark's
43:57
intelligent. I know later on in the sequels it gets imposterous, but yeah.
44:01
They're wasted. Now's my time to hit. But because Quint is so wasted at this
44:06
point and well the whole team kind of is they, uh, the shark takes advantage
44:10
of Because it's a smart shark Yeah,
44:14
He's like these drunken bastards I got him now.
44:19
But again The scene of Quint's death,
44:23
Traumatized me Not traumatized me but in a good way It just stuck out in my
44:27
mind so much But especially the part Whenever the shark's eating him and he
44:31
vomits His own blood for some reason that just Really sort of freaked me out
44:36
But in a cool sort of blown away way As a kid I,
44:40
Yeah, we're not talking about that scene. I know, but it's coming up.
44:44
So we are. It's all part of this boat scene, this finale.
44:47
All right, okay. And we're talking about Quint.
44:51
Yeah. Well, the minute the shark hits the boat, and it penetrates the boat,
44:57
actually, and it starts to sink at this point. Yes. Slowly.
45:02
There's, after all the arguments that we've had on the boat,
45:05
and some of the dark stories they were telling on the boat, there's a moment,
45:09
finally with Brody, especially.
45:10
Has a big smile on his face because this is playful and there's playful music
45:15
by John Williams in the background.
45:16
It's like boys and their toys and all they see, they got the shark and they
45:21
tag the shark and they can see the barrels and they're just impressed at how fast the shark is.
45:27
And it puts a smile on Brody's and Hooper's face that they're just amazed at this animal.
45:33
At this point, there's that one moment where they just left their guard down
45:36
and they just are just like, wow. Well, especially Hooper.
45:41
Well, I say more Brody because he's scared of the fucking thing.
45:44
He doesn't want to go in the first place. He hates water.
45:47
So it's really the one time you see him just, he's pretty much just amazed.
45:51
Yeah. Of what they're seeing, of what they're up against.
45:55
And there's even a place where after they lose the shark, they think they say
46:02
it's under the boat or something, whatever.
46:04
And all of a sudden the boat starts moving. Like, what? Fuck, the shark's telling us.
46:10
Yeah, it was just so fun. And again, never see the shark.
46:15
No, and again, as Spielberg has been quoted as saying, the shark malfunctioning
46:21
so much was a godsend because they had to use it as little as possible.
46:26
And it works not just with the score and the stuff with John Williams,
46:29
but in so many other ways that we've just discussed.
46:33
The Defequence Tough Watch. Powerful. It's the most graphic of all of them.
46:38
But he had to die. He had to die.
46:41
Yeah, he caused some of this ruckus. So he— Hooper.
46:46
I mean, the end game was when Hooper yells at him, you know,
46:53
stop putting pressure on the throttle.
46:55
Stop doing it. You're going to blow the boat.
46:58
And Quince just got— I think it wasn't that he was arrogant.
47:03
I think he was going to have some young, rich Harvard kid tell him how to run his boat.
47:10
I guess it would be arrogance, I suppose.
47:13
And then obviously the boat...
47:16
Goes on fire and the engine goes and that's where he gets pretty much his arrogance
47:22
costs him his life if he had,
47:26
swallowed a bitter pill of pride and let Hooper run the show he would have survived
47:32
it whereas Brody, even though Brody's the main character and the main star when
47:38
it comes to being out in the ocean in the boat,
47:40
he's a novice, he's a dipshit because he's a New York street cop he's not a sailor Oh, I know. Yeah.
47:49
And his death with, with Clint's death, I think why it's tougher to watch.
47:55
Yeah. You got the blood and you get to see something.
47:58
Cause you, you can see the moment where the shark presses down his teeth into
48:02
his stomach. Yeah. And he's, and he, you can hear him screaming at that point.
48:06
It's, it's, and then the blood comes out.
48:09
I think it's because his scream is so echoing, just like we have Chrissy's death
48:14
in the beginning. But this time you have Chrissy, a vulnerable naked woman in
48:19
the, in the, in the ocean, drunk.
48:21
You're going to feel for her right away because of that. But here you got Quint,
48:26
who's master of the ocean, Submariner guy, badass.
48:30
And he's screaming like she was in the beginning. Because he's not much for the shark either.
48:35
The great wife. It's just, yeah, it's just, oh, and it is tough because you love to hate him.
48:41
Yeah. That's the kind of character he was. I wouldn't even say hated him.
48:43
I just thought he was just a great character,
48:46
Yeah, yeah, yeah And the whole famous smile You son of a bitch It finally got
48:52
him, yeah Finally, you know, after all those years Since the Indianapolis And escaping the Sharks,
48:59
They finally caught up with him But it's his own fault as well,
49:03
Yeah. But yeah, that boy blows up the shark.
49:08
Yeah. After, I would say, which is quite, I find it quite a claustrophobic scene
49:12
when Hooper goes into the water in that cage thing.
49:16
I would never do that in a million years. You know what? I thought the cage
49:19
thing was kind of stupid.
49:20
I found a flaw. Right, there you go. I found something I didn't like.
49:25
I thought the cage, I think it was just to get him out of there.
49:27
I think, yeah. Let's get him out of there, put him in the cage. Blood device?
49:30
Possibly. But I would say that I don't like it for different reasons in that it's claustrophobic.
49:36
I would never in a million years do that in real life. I wouldn't even go deep
49:39
sea diving. Are you mental? No fucking way.
49:42
Man does not belong in the ocean.
49:46
I'd be in there. I'll be in there. Would you fuck? Yeah, I'll be kicking some
49:50
ass. You'd be like the kid who gets it.
49:54
It'd be the most boring Jaws movie ever because it'd be like,
49:57
God, that guy's kicking everyone's ass. And I start facing.
50:00
What a great movie. No, if it was me, it would be like, Trevor,
50:04
do you want to go to the water? No. And then the end.
50:08
You know, shortest jaw is full of ever. We just chuck you in his chum, babe.
50:12
All right, chuck a bone or something. Yeah.
50:17
And then Hooper.
50:19
Yes. Brody, paddle back to safety as credits roll.
50:23
It's a classic. And I would say 50 years on, it still stands up.
50:29
You know, nothing, nothing will beat Jaws. I just can't.
50:33
There's some good, we're going to do Shark Mall. It's going to be fun because
50:35
there's some, there's some really good ones out there.
50:39
You know, they always say Jaws on, you know, everyone's comparing themselves to Jaws.
50:42
There's one that I really like and I'll put my cars on the table,
50:45
Deep Blue Sea, that I really fucking enjoy. Was that around the time that Cameron released The Abyss?
50:52
No, no. That was like, no. Deep Blue Sea is like 2000. Right,
50:56
right. The Abyss was in 88.
50:59
Well, sadly, with Shark Month, we can't do the Meg films. What was it?
51:04
Jason Statham. Because we've already done those. So, sorry.
51:09
If anything's going to touch John's, it's going to be Meg, too.
51:11
It's going to be Jason Statham. Yeah.
51:16
We've got to do The Baykeeper. That's by Jason Statham. That's pretty good,
51:20
right? I haven't seen the beatkeeper. I've watched the recent one. I'm working, man.
51:24
Oh, that was terrible. But no, the beatkeeper. He plays Jason Statham playing
51:29
a generic role once again. You know, out for revenge.
51:33
He gives a shit. It's Jason Statham.
51:34
What give a fuck? Don't talk about me wrong. I like Jason Statham.
51:38
You know, I'm far proud of that guy. Hey, we don't have our Arnie's and Stallone's
51:41
anymore from the 80s or Chuck Norris's. We have Statham now. Yeah.
51:46
Go Jason. Beatkeeper. He's the beekeeper. And then he's doing part two right now. Right?
51:55
What's it called? The waterkeeper? I don't know. I don't know.
52:01
It's probably like, you know, the beekeeper too. And it's probably like... Into the nest. Yeah.
52:08
It's probably like, yeah. Beyond the nest. This time it's personal.
52:14
Yeah. Uh...
52:17
That's all I've got. Yeah, there's nothing else we can say, guys.
52:19
This is a masterpiece film.
52:22
Masterpiece. I've got galore fucking everything in my flat in regards to Jaws.
52:29
Posters, prints, collectibles, you name it.
52:33
Jaws is just, I can go watch it again and put a smile on my face and enjoy it
52:38
and get something out of it.
52:39
There's a shot I've never even seen, and I've seen this movie so many times,
52:44
and I just caught it, and it's beautiful.
52:46
And Spielberg says it was by chance we got the shot,
52:50
and it's where Brody is playing with his gun it's night time and there's a there's
52:56
a falling star yes that's right shooting star shooting star yeah,
53:03
beautiful I couldn't believe we got that shot it was just perfect timing so there you go,
53:11
yeah classic alright guys up next we're going to do Jaws 2 but we're going to
53:15
take a little break from Jaws.
53:17
You don't want to do back-to-back, so we'll get another one in there.
53:20
I don't know what one yet, but it won't be as good as Jaws. I'll tell you that
53:26
right now, no matter what.
53:28
It might be if Jason Statham is in it.
53:30
Jason Statham, I think great if Jason Statham is in it. Well,
53:34
maybe he'd do make three.
53:36
If there was a make three? Well, I don't see them that. They all have done well.
53:43
Yeah. uh uh listen i got some news today i guess prime probably because i write for the magazine,
53:50
because lately it's been getting a lot of award nods ever since i jumped on
53:54
board to phantasm goria totally ever since i started writing for him they seem
53:59
to be getting a lot more acknowledgements yeah they know because of well my
54:05
incredible review of frogman i think really,
54:10
was the ice on the cake,
54:12
because it looks like Phantasmagoria magazine has been nominated for an award.
54:18
Yes, the British Fantasy Award for Best Magazine Periodical for last year.
54:25
Obviously it's for the awards this year, but for work last year.
54:28
So yes, that does include your review of Frogman, I believe.
54:32
So yeah, it's one for us all on Phantasmagoria.
54:35
So very honoured.
54:37
Yeah, so that's pretty cool. so congrats to that yep two years old there you
54:44
go no we should get a podcast award for like I don't know,
54:49
Google host guy. Yeah. Charming, intelligent, and handsome podcast hosts of the year.
54:57
Yeah.
54:59
Oh, yeah. That's him. Yeah. Or not. Or not. You know what I mean? Whatever.
55:08
Dipshits of the year. Whatever. I could go either way. We got a couple of new
55:14
listeners, I think. Some really massive downloads.
55:17
I think they're downloading all of our podcasts, which you got to be fucking batshit crazy.
55:22
Oh God, we do appreciate it. That's, don't know the person, but he's from New
55:28
Jersey. I can see that. Make a load of New Jersey.
55:31
The Sopranos. Aren't they New Jersey? Yes, I think so. Yeah.
55:35
Yeah. And then somebody from California.
55:39
So whoever you mystery downloaders are, we do appreciate that.
55:43
And certainly give us a shout at, and there's another one.
55:46
There's a lonely person not lonely, like literally lonely but there's a lone
55:51
person in Indiana of all states Hello Indiana,
55:54
yes So we're in Indiana now I'm thinking maybe the guy in New Jersey is maybe
56:01
a gangster and he's downloaded all of our podcasts to play back to someone as torture you know,
56:10
It's like a new mafia ploy you know, torture device No, please.
56:15
Don't play the Nosferatu again. Please. Not that one.
56:18
Yeah. If I hear fucking, you know, an atmospheric one more time from Trevor,
56:23
I'm going to kill myself.
56:24
Yeah. So you go, the mafia have developed a new form of torture.
56:30
Hey, more downloads. We'd have a shit. We'd sell our soul.
56:34
It'd be like, you know, what's that? It's Wonderful Life. Every time a bell
56:39
rings and Angel kiss his wings. Yeah.
56:41
Every time in New Jersey when someone downloads our podcast,
56:45
somebody dies. Yeah, yeah. Somebody swims with their faces.
56:48
There's a bit of a sea pond there as well.
56:51
Well, no, all joking. Thank you, Indiana. Thank you, Jersey.
56:54
And thank you, California. We appreciate the downloads. Yep. And welcome aboard.
56:59
That's all we've got. Give us a shout out if you've got some recommendations
57:03
on what you felt about JAWS.
57:07
And see if we maybe get some more requests or something you'd like us to do.
57:13
That's Sinisterframe underscore podcast on Instagram and of course on Facebook.
57:17
That's all we got. Take care of yourselves.
57:19
Music.