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STEVEN SPIELBERG:
I'm in Wilshire Boulevard,
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Downloaded from
YTS.MX
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and I just came
across a theater
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that has a very apropos sign.
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If you can read it,
the sign says
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Official YIFY movies site:
YTS.MX
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"Robert Shaw in Jaws."
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Also, "Take the Money
and Run."
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That's pretty funny,
wouldn't you say?
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Well, there were
all sorts of reasons
for people going in,
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but the people coming out,
they were ecstatic.
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Smoking lounge is sold out,
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seats downstairs in
the first seven rows only.
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I was in New York at the time,
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and I went with
two friends of mine,
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Janet Maslin
and Albert Brooks.
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The three of us
were in the car,
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going over to the Rivoli
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to see if there
might be a line.
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MAN 1:
The ticket holders' line
went on and on.
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It became this spectacle.
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I kept thinking,
"Who are the lucky people
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that made this
movie?" (LAUGHS)
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This shark, swallow you whole.
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WOMAN 1: Was it good?
Very tasty.
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Bloody as hell.
All these people
got eaten up, you know.
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They just... Ah!
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The best I've seen in my life,
the best movie.
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MAN 2: Fifty years,
and we've come so far.
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We're still talking about Jaws
and the effect and value
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of what that movie
said and still says.
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I'll never forget
walking into the theater,
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and all the lobby cards
were on the wall.
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And I thought, (GASPS)
"That shark is huge."
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Part of the film's charm today
is almost the nostalgia factor
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of remembering
what it was like
to see it then.
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(SCREAMS)
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It was sort of life-changing.
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At nine years old,
I don't remember
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having an experience
that was that visceral
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and that thrilling.
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The whole theater reacted
like a musical instrument.
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Ahhh!
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I read the book first,
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so I sort of knew
what I was gonna see.
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MAN 3: Peter Benchley
wrote a book called Jaws.
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A film was
made from the book.
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It has already
made more money
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than any motion picture
in history.
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(LAUGHS)
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It was the first blockbuster.
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(SCREAMING)
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I've seen Jaws
in a theater 31 times.
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I was 12, and this started me
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thinking about
a career in movies.
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MAN 4: ls this
your first time?
Ninth time.
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Your how many?
Nine.
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It's the film
I've seen the most,
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and I could still watch it
if it's on any time.
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Who are you?
Matt Hooper.
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I'm from the
Oceanographic Institute.
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I wanted to be Matt Hooper.
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I wanted to be
a shark scientist.
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That's a 20-footer.
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Twenty-five.
Three tons of him.
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WOMAN 2: Jaws has been
an inspiration,
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and there is
a completely different
attitude now
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about sharks and the ocean.
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In 50 years, it's been used
in so many different ways.
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It was a time when movies
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were at the pinnacle
of a cultural conversation.
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I loved Jaws. I really did.
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Because it didn't
eat up no Black people.
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(AUDIENCE LAUGHING)
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You said that there
are very few perfect movies.
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I think Jaws fits into that.
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MAN 5: ls that movie
gonna keep you
out of the water?
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It'll keep me out
for a while. (LAUGHS)
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I definitely won't
be going in now.
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MAN 5: Ever again?
Never.
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I was one of those people
who, in a bath,
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would have a hard time
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not picturing a shark
underneath me.
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NARRATOR: it is as if God
created the devil
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and gave him Jaws.
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See it before you go swimming.
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For me, the story of Jaws
is the fact that a movie
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that I thought would
really end my career
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is the film that began it.
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INTERVIEWER: Steven,
50 years since Jaws.
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When you hear that,
what do you think?
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When I hear 50 years...
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MAN 1: Roll sound.
SPIELBERG: ...I think of home.
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Because the theme of home
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is so consistent
with the story of Jaws.
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It's about getting home.
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(ALL SINGING)
Show me the way to go home
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SPIELBERG:
About returning home...
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(SIGHS) Can we
go home now?
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SPIELBERG:
And already being home.
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MARTIN BRODY:
Want to take him home?
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Like to New York?
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No, home here.
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SPIELBERG: So when
I look back at Jaws today,
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at those moments
of difficulty...
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Was there good movement
like that?
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SPIELBERG: The film wound up
100 days behind schedule.
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The shark was not working...
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MAN 2: No, cut, cut!
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SPIELBERG:
...and I was terrified
I was gonna be fired.
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All I thought about
was going home. (CHUCKLES)
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INTERVIEWER:
ls there anything that you've
never said about Jaws?
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(SPIELBERG LAUGHS)
Let's find out.
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Steven, how old are you?
Quantos anos tienes?
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Twenty-seven.
Veintisiete.
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How long have you been
in the motion picture
industry?
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(SPEAKS SPANISH)
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( IN ENGLISH) Oh, I've been
professionally making movies
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since I was 21.
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MAN 3: I have always
had an incredible belief
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in Steven's ability
to do material
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that sometimes
others questioned.
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There may have been occasions
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when I had a belief
in Steven's ability
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to make material that exceeded
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Steven's conviction
about the material.
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And I never had
any doubt in my mind
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that Steven would
do a great job.
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MAN 4:
Steve used to hang around
the film department at USC
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and so that's where I met him.
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He was always coming over
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to see if he could
find a cameraman
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or somebody who could help him
with the student films.
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So when Steve did Duel
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and it was like
a feature film for television,
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I said,
"Wow, this is fantastic."
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(TRUCK HONKING)
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DEL TORO:
Duel opened in Mexico
as a feature.
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And I remember
seeing it in the drive-in,
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and people clapped
with their horns.
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(CHUCKLES)
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I met Steven
for the first time
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when he brought
Sugarland Express
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to the USC Film School.
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WOMAN 1: I want my baby back.
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Now, are you gonna
help me or not?
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ZEMECKIS: I couldn't believe
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that this really
young filmmaker
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made a movie on that scale.
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He became instantly my hero.
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CROWE: I held filmmakers
and directors off
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as people that existed
in another world.
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And I remember feeling
like Spielberg was a guy
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who was kind of from
my side of the world.
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And that was the beginning
of me feeling like,
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"Maybe I could do
something like this, too."
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He had made his bones
as a director
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long before he did Jaws.
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I think we all felt
that this was somebody
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who was going places.
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But not until Jaws
was there any idea
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of how big this could get.
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I didn't know what
I wanted to do next.
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I had been wanting
to do a UFO movie,
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not yet called
Close Encounters
of the Third Kind,
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but that was sort of
all I had in my mind.
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And I was also
in post-production
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on Sugarland Express.
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I had gone
into Richard Zanuck
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at his partner
David Brown's office
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many, many times.
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When I saw a stack of papers
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in the outer office,
and it was galleys.
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I looked at the top sheet
and it said
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Jaws by Peter Benchley.
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And I had no idea
what that meant, Jaws.
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I mean, was it
the history of dentistry?
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I read it
and I was enthralled.
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And if I read
Peter Benchley's Jaws
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for the first time right now,
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I would have the same
rush of excitement
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that I had when
I first read the galleys.
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Because, in a way,
Jaws was a sequel to Duel.
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Duel was this murderous
leviathan on the highway
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trying to kill this
traveling salesman
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in a little car.
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And Jaws is the story
of this leviathan of the sea
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that is rending this seaside
resort into bankruptcy
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unless they hire somebody
to kill the threat.
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When I wrote
a novel called Jaws,
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I was faced with
a fascinating challenge.
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How to describe the instincts
of an ancient animal
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that threatens modern man
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with the most horrible
of deaths.
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Most people, when they hear
about Jaws and they realize
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what a culture-changing event
that was,
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they want to know,
how did my dad come up
with the idea?
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What I've always
heard from him was,
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growing up as
a New York City boy,
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born and raised in New York...
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He also spent
the summers in Nantucket
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fishing with his dad.
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I grew up on
a neighboring island,
Nantucket,
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where I first
encountered sharks.
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We used to fish for swordfish,
but they were rare,
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and we caught sharks instead.
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Not only did he see
a lot of sharks
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when he was
fishing with his dad,
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but he also
knew what it was like
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to live on an island.
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Our father explained
what it means to grow up
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in a community
like Amity or Nantucket,
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and he talked about islanders.
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And by islander,
I don't mean a year-rounder.
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To be an Islander,
you have to have
been born here,
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and nothing short
of reincarnation
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can change your status.
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When do I get to
become an Islander?
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Ellen, never. Never!
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Before writing Jaws,
I had had
very little experience
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in the water with sharks.
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I knew a lot
about them academically.
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I'd studied them
since I was a child,
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but I really had no experience
with sharks at all underwater.
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And then
Blue Water, White Death
came out.
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MAN 1: Oh, he's gotta be 12.
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MAN 2: Yeah, at least 12.
Look at his back.
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BOTH: Oh!
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I first started diving
in the early '50s,
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and then a little bit
later on,
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I got a 16-millimeter
movie camera
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and was shooting film
for television,
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and people wanted
to see sharks.
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WOMAN 2: it was
in about 1965 or '67
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where we first started to work
with great white sharks.
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Nobody else in the world
had ever done it before.
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There, look at him.
Sitting on top of the cage.
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Eventually, Peter Gimbel
wanted to make a film,
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and he employed us
to work on it.
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You couldn't believe.
It's fantastic.
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Peter Benchley saw
Blue Water, White Death
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and that was
one of the reasons
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00:10:05,776 --> 00:10:07,986
that he got the idea
for writing Jaws.
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Peter also had seen
Frank Mundus,
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who caught a huge
4,500-pound, 18-foot shark
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off of Long Island.
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So Peter,
with his imagination,
248
00:10:21,708 --> 00:10:23,961
put all of that together
and thought,
249
00:10:24,044 --> 00:10:26,880
"What would it be like
if one of those sharks
250
00:10:26,964 --> 00:10:30,259
"just randomly decided
to stay in one place?"
251
00:10:31,468 --> 00:10:33,387
SKERRY: Peter eventually
researched the science.
252
00:10:33,470 --> 00:10:35,931
He knew these animals,
he understood their behavior.
253
00:10:36,014 --> 00:10:39,017
But if you read the book,
the animal is not a villain.
254
00:10:39,101 --> 00:10:41,061
It is doing what it does.
255
00:10:41,603 --> 00:10:44,398
And he created characters
who could represent
256
00:10:44,481 --> 00:10:47,192
both a hardened
shark fisherman like Quint...
257
00:10:47,276 --> 00:10:49,778
I wrote the character
of Quint as a man who begins
258
00:10:49,862 --> 00:10:51,238
with great contempt
for sharks,
259
00:10:51,321 --> 00:10:53,365
and is finally
obsessed with
260
00:10:53,448 --> 00:10:55,367
and driven to kill
this particular one.
261
00:10:55,450 --> 00:10:58,787
SKERRY:
And he created a PhD
scientist like Hooper
262
00:10:58,871 --> 00:11:01,290
who understands
this is just an animal.
263
00:11:01,373 --> 00:11:04,293
That doesn't make it
good or bad, it just is.
264
00:11:04,376 --> 00:11:05,919
It's part of nature.
265
00:11:06,003 --> 00:11:07,796
Peter filled in
all these other stories
266
00:11:07,880 --> 00:11:10,299
about Brody and his wife
and the affair with Hooper
267
00:11:10,382 --> 00:11:11,925
and all the stuff
with the Mafia
268
00:11:12,009 --> 00:11:15,137
because that added texture
and depth to the story.
269
00:11:16,346 --> 00:11:17,514
WENDY:
Really, one of the most
270
00:11:17,598 --> 00:11:19,433
humorous things, though,
about the book,
271
00:11:19,516 --> 00:11:20,767
was finding the title.
272
00:11:24,313 --> 00:11:27,524
There are several pages
of suggested titles,
273
00:11:27,608 --> 00:11:29,443
and Peter and Wendy
and our parents
274
00:11:29,526 --> 00:11:31,403
were struggling over
what to call it.
275
00:11:31,486 --> 00:11:35,282
Oh, we had pretentious ones
like "Leviathan Rising,"
276
00:11:35,365 --> 00:11:38,118
and then we had ones...
"The Terror of the Deep."
277
00:11:39,328 --> 00:11:40,829
And Peter's father said,
278
00:11:40,913 --> 00:11:42,164
"I know what
we should call it."
279
00:11:42,247 --> 00:11:44,917
"What's That Noshin'
On My Leg?"
280
00:11:45,000 --> 00:11:46,460
(LAUGHS)
281
00:11:48,086 --> 00:11:49,671
And this went on for months.
282
00:11:49,755 --> 00:11:51,423
None of them quite worked.
283
00:11:51,506 --> 00:11:53,842
NAT: The day the book
was to go to press,
284
00:11:53,926 --> 00:11:56,011
Tom Congdon
from Doubleday said,
285
00:11:56,094 --> 00:11:57,429
"I hate to bother
you about this,
286
00:11:57,512 --> 00:11:58,764
"but we kind of need a title."
287
00:11:58,847 --> 00:12:00,766
Peter said. "Yeah, we've been
worrying about that,
288
00:12:00,849 --> 00:12:02,851
"and the only thing
that comes to mind
289
00:12:02,935 --> 00:12:05,938
"that has pleased everybody
is the word 'jaws."'
290
00:12:07,856 --> 00:12:10,234
Congdon said,
"Okay, what's it mean?"
291
00:12:10,734 --> 00:12:12,277
He said, "I don't know,
but it's short."
292
00:12:17,616 --> 00:12:21,161
The cover of Jaws
was really difficult.
293
00:12:21,245 --> 00:12:24,122
The dust jackets
for the books evolved.
294
00:12:24,790 --> 00:12:26,541
The first one was Amity,
295
00:12:26,625 --> 00:12:29,670
like an idyllic island
in between the shark jaws.
296
00:12:31,213 --> 00:12:32,673
And they scrapped that one.
297
00:12:32,756 --> 00:12:36,969
And then they did a version
of the shark underneath her.
298
00:12:37,052 --> 00:12:39,263
And the shark
wasn't very scary.
299
00:12:39,346 --> 00:12:41,348
It was a little
too phallic-looking.
300
00:12:41,431 --> 00:12:43,850
You know, what you wanna say
is a penis with teeth, right?
301
00:12:43,934 --> 00:12:46,436
That's exactly
what it looked like.
(CHUCKLES)
302
00:12:47,354 --> 00:12:49,564
NICOTERO: And that's when
Roger Kastel came in
303
00:12:49,648 --> 00:12:53,318
and created that painting
for the paperback.
304
00:12:53,860 --> 00:12:56,571
And then Universal
used the same painting,
305
00:12:56,655 --> 00:12:59,700
which is probably one
of the perfect movie posters.
306
00:13:00,617 --> 00:13:05,831
Jaws was rocketing up
the bestseller list in 1974.
307
00:13:06,748 --> 00:13:08,542
And then when
the paperback came out,
308
00:13:08,625 --> 00:13:11,086
it was a multi-million
bestseller.
309
00:13:15,048 --> 00:13:17,676
Peter just wanted
to get a novel written,
310
00:13:17,759 --> 00:13:19,386
and when his agent
came and said
311
00:13:19,469 --> 00:13:21,722
the movie people were
interested in optioning it,
312
00:13:21,805 --> 00:13:23,807
he said, "I don't care.
Sell them the option."
313
00:13:24,766 --> 00:13:26,143
WENDY: it was
Helen Gurley Brown
314
00:13:26,226 --> 00:13:28,854
who was the editor
of Cosmopolitan magazine,
315
00:13:28,937 --> 00:13:31,898
who gave it to her husband,
David Brown, a producer.
316
00:13:32,441 --> 00:13:34,568
And he and
Richard Zanuck bought it,
317
00:13:34,651 --> 00:13:36,737
and the rest is history
318
00:13:36,820 --> 00:13:38,238
Just by reading
the book, the last...
319
00:13:38,322 --> 00:13:40,365
I think it was
110 pages of the novel,
320
00:13:40,449 --> 00:13:41,491
the hunt for the shark.
321
00:13:41,616 --> 00:13:43,785
It was so enthralling
and so suspenseful.
MAN: Yeah.
322
00:13:43,869 --> 00:13:45,495
You know, it's
frightened me so much.
323
00:13:46,079 --> 00:13:47,789
And I was so angry
at being frightened,
324
00:13:47,873 --> 00:13:49,124
that I wanted
to frighten back.
325
00:13:49,207 --> 00:13:50,792
"I'll make this movie
and scare them all back."
326
00:13:52,210 --> 00:13:53,253
SPIELBERG: When I read it,
327
00:13:53,337 --> 00:13:55,213
I went to Dick and David's
office on Monday
328
00:13:55,297 --> 00:13:56,757
and I said,
"Do you have a director?
329
00:13:56,840 --> 00:13:58,008
"Because I would
love to direct this."
330
00:13:58,091 --> 00:13:59,384
And they said,
"Oh, my goodness,
331
00:13:59,468 --> 00:14:01,261
"there's already
a director assigned."
332
00:14:01,970 --> 00:14:03,680
Peter was part of the process
333
00:14:03,764 --> 00:14:07,100
of interviewing various people
to be the director,
334
00:14:07,184 --> 00:14:09,936
and remember that
there was one director
335
00:14:10,020 --> 00:14:12,647
who called the shark
a whale all the time.
336
00:14:12,731 --> 00:14:13,857
So he was out.
337
00:14:13,940 --> 00:14:15,567
(PHONE RINGING)
338
00:14:15,650 --> 00:14:18,153
SPIELBERG: A week or so later,
Dick and David called me
339
00:14:18,236 --> 00:14:19,321
and they said,
340
00:14:19,404 --> 00:14:21,114
"It's available.
Do you still want to do it?
341
00:14:21,865 --> 00:14:23,450
I was as hungry,
as the shark was hungry,
342
00:14:23,533 --> 00:14:25,077
to tell the story of Jaws.
343
00:14:25,786 --> 00:14:27,329
And I didn't know how
it was going to be done,
344
00:14:27,412 --> 00:14:28,705
how it could be done.
345
00:14:29,289 --> 00:14:32,959
But my instincts told me
that it needed authenticity
346
00:14:33,043 --> 00:14:35,003
so the shark wouldn't
get laughed at.
347
00:14:36,296 --> 00:14:38,048
When I made Duel,
the studio tried to get me
348
00:14:38,131 --> 00:14:39,508
to do the whole thing
on process stage
349
00:14:39,591 --> 00:14:41,676
with screens out
the windows of the car.
350
00:14:41,760 --> 00:14:44,471
And I basically said
I'd rather not make Duel
351
00:14:44,554 --> 00:14:46,306
if I have to go
and do it all fake
352
00:14:46,390 --> 00:14:48,517
on a soundstage,
using rear projection.
353
00:14:48,600 --> 00:14:50,394
And I felt the same way
about Jaws.
354
00:14:50,477 --> 00:14:53,313
I wanted to go
to the natural environment,
355
00:14:53,397 --> 00:14:55,399
so there was some
kind of verisimilitude,
356
00:14:55,482 --> 00:14:58,026
so it needed to be
in the ocean, out to sea.
357
00:14:58,110 --> 00:15:00,737
And so I knew somehow
it had to be done on location.
358
00:15:02,155 --> 00:15:03,824
You know as an
audience member,
359
00:15:03,907 --> 00:15:05,992
when something is real
and when something is not.
360
00:15:06,076 --> 00:15:09,704
And that choice
to shoot in open water,
361
00:15:09,788 --> 00:15:11,498
the audience wins.
362
00:15:11,581 --> 00:15:14,126
Because when you
see these characters
363
00:15:14,209 --> 00:15:16,420
surrounded in
complete isolation,
364
00:15:16,503 --> 00:15:20,048
the loneliness of them,
we feel that, we're scared.
365
00:15:20,132 --> 00:15:22,134
If you really
think about Jaws,
366
00:15:22,217 --> 00:15:26,096
it really is an exercise
in pushing the boundaries.
367
00:15:26,972 --> 00:15:30,642
Like, they could have made
that movie on the backlot
or in a tank,
368
00:15:30,725 --> 00:15:32,811
and it would have been
a very, very different movie.
369
00:15:32,894 --> 00:15:35,272
But they were
pushing the art form.
370
00:15:35,355 --> 00:15:38,525
At the same time
as Jaws was made,
371
00:15:38,608 --> 00:15:42,654
you saw this new crop
of unbelievable talent
372
00:15:42,737 --> 00:15:45,031
coming in to Hollywood
in the '70s
373
00:15:45,115 --> 00:15:46,658
that challenged
every assumption
374
00:15:46,741 --> 00:15:48,952
of what was possible,
and challenged everything.
375
00:15:49,035 --> 00:15:50,662
1974.
376
00:15:50,745 --> 00:15:51,788
(PEOPLE LAUGHING)
377
00:15:51,872 --> 00:15:54,708
In 1974, when I started
making Jaws,
378
00:15:54,791 --> 00:15:57,169
my focus was
trying to figure out
379
00:15:57,252 --> 00:15:58,587
how to adapt the novel.
380
00:15:58,670 --> 00:16:01,339
I had never experienced
adapting a novel before.
381
00:16:01,423 --> 00:16:03,467
And Peter Benchley
wrote the first three drafts
of the screenplay,
382
00:16:03,550 --> 00:16:05,802
admitted that
a screenplay and a novel
383
00:16:05,886 --> 00:16:07,220
are two different
kettles of fish.
384
00:16:08,138 --> 00:16:11,224
That was
a completely different
kind of writing for him.
385
00:16:11,308 --> 00:16:13,977
So he put a lot of effort
into the screenplay
386
00:16:14,060 --> 00:16:16,104
and did it a couple of
different times.
387
00:16:16,188 --> 00:16:18,148
And then various
other writers came in.
388
00:16:18,773 --> 00:16:21,651
David Brown said,
"Why not Howard Sackler?
389
00:16:21,735 --> 00:16:22,736
"He's a great writer.
390
00:16:22,819 --> 00:16:25,113
"He won a Pulitzer
for The Great White Hope."
391
00:16:25,197 --> 00:16:27,782
I was thinking
Great White Hope,
great white shark.
392
00:16:27,866 --> 00:16:29,367
That makes sense.
393
00:16:29,868 --> 00:16:31,453
He created the structure.
394
00:16:31,536 --> 00:16:34,080
And then after that,
for a comedy punch up,
395
00:16:34,164 --> 00:16:36,750
I wanted to bring
my friend Carl Gottlieb along
396
00:16:36,833 --> 00:16:39,127
to just try to find some
lightness and some humor
397
00:16:39,211 --> 00:16:41,296
between these three
disparate characters.
398
00:16:41,421 --> 00:16:43,215
The mate. Where's the mate?
The mate is dead.
We'll have to...
399
00:16:43,298 --> 00:16:45,175
Where's the body?
Why is the boat
torn to pieces?
400
00:16:45,258 --> 00:16:46,468
Because it's
a great white shark.
401
00:16:46,551 --> 00:16:49,262
GOTTLIEB: Nice thing was,
I was able to write
a nice part for myself.
402
00:16:49,346 --> 00:16:51,264
I play Meadows,
the editor of the newspaper.
403
00:16:51,348 --> 00:16:53,099
I want to get on
the state wire services,
404
00:16:53,183 --> 00:16:55,227
see if Boston will
pick it up and go national.
405
00:16:55,310 --> 00:16:56,645
Call Dave Axelrod in New York,
406
00:16:56,728 --> 00:16:58,271
tell him he owes me
a favor, all right?
407
00:16:58,355 --> 00:17:00,315
And Steven sent me a script
408
00:17:00,398 --> 00:17:03,276
with a note on the cover
saying, "Eviscerate it."
409
00:17:04,110 --> 00:17:06,154
We decided to lose
the love interest
410
00:17:06,238 --> 00:17:07,739
because it was in a movie
411
00:17:07,822 --> 00:17:09,282
that was a straight-line
adventure film
412
00:17:09,366 --> 00:17:10,742
about the shark
and the town
413
00:17:10,825 --> 00:17:13,078
and the, uh...
the, uh... the hunt.
414
00:17:13,161 --> 00:17:17,457
The film became much more
a story of Chief Brody,
415
00:17:17,541 --> 00:17:21,503
a kind of reluctant hero,
in this case,
416
00:17:21,586 --> 00:17:24,631
tested by the elements,
by nature itself.
417
00:17:24,714 --> 00:17:26,633
This is a great white,
Larry, a big one.
418
00:17:26,716 --> 00:17:28,635
And any shark expert
in the world will tell you
419
00:17:28,718 --> 00:17:29,886
it's a killer.
It's a man eater.
420
00:17:31,429 --> 00:17:33,640
CAMERON: The great white shark
was not well-understood
421
00:17:33,723 --> 00:17:36,476
by the public at large
when the film first came out.
422
00:17:36,560 --> 00:17:39,187
And it became this
kind of mythical beast.
423
00:17:39,271 --> 00:17:40,939
What we are
dealing with here
424
00:17:41,022 --> 00:17:42,148
is a perfect engine,
425
00:17:42,232 --> 00:17:44,359
uh, an eating machine.
426
00:17:45,026 --> 00:17:47,696
MAN: I've never seen
anything as perfect
as a great white shark.
427
00:17:48,321 --> 00:17:49,406
What really strikes you
428
00:17:49,489 --> 00:17:50,991
when you see a great white
shark in person
429
00:17:51,074 --> 00:17:52,617
is not just how long
they can be,
430
00:17:52,701 --> 00:17:54,452
but how big
around they are.
431
00:17:56,288 --> 00:17:59,207
Great whites
are one of the most
epic predators
432
00:17:59,291 --> 00:18:01,042
that you'll ever
find in the wild.
433
00:18:01,126 --> 00:18:04,254
They're essentially governors
in the way that they control
434
00:18:04,337 --> 00:18:07,382
the sizes of all the
populations beneath them.
435
00:18:07,465 --> 00:18:09,718
VAUGHN: And what did you say
the name of the shark is?
436
00:18:09,801 --> 00:18:11,886
It's a carcharodon carcharias.
It's a great white.
437
00:18:13,597 --> 00:18:16,224
The great white shark
is a species
438
00:18:16,308 --> 00:18:19,185
that has been described
all over the world
439
00:18:19,269 --> 00:18:20,562
in many different ways.
440
00:18:21,938 --> 00:18:24,983
From man eater
to white pointer
441
00:18:26,109 --> 00:18:27,485
to great white shark.
442
00:18:28,695 --> 00:18:32,324
I remember seeing the shark
in Jaws for the first time
443
00:18:32,407 --> 00:18:33,867
and being completely
blown away
444
00:18:33,950 --> 00:18:36,953
at how realistic it looked,
how large it was,
445
00:18:37,037 --> 00:18:39,623
how impressive
and truly authentic
446
00:18:39,706 --> 00:18:42,292
to what white sharks
actually look like.
447
00:18:43,293 --> 00:18:46,630
This animal still looks
just as good as anything
448
00:18:46,713 --> 00:18:48,590
that's coming out today
if not better,
449
00:18:48,673 --> 00:18:51,426
relying almost exclusively
on practical effects.
450
00:18:54,721 --> 00:18:56,848
INTERVIEWER: So, Joe,
tell me, where are we?
451
00:18:58,141 --> 00:19:00,352
ALVES:
Well, this is what I call
the art department.
452
00:19:01,519 --> 00:19:03,271
This is sort of my home base.
453
00:19:09,944 --> 00:19:13,782
These are the concept sketches
that I did early on
454
00:19:13,865 --> 00:19:15,825
before we had
a finished script.
455
00:19:16,868 --> 00:19:19,621
What happened was
David Brown called me
456
00:19:19,704 --> 00:19:21,790
and he said,
"Joe, we think Jaws
457
00:19:21,873 --> 00:19:23,583
"might make a damn good movie
458
00:19:23,667 --> 00:19:25,418
"if we could
sort of illustrate
459
00:19:25,502 --> 00:19:26,920
"the activity of the shark."
460
00:19:27,962 --> 00:19:31,716
So he said, "Just give me
a couple dozen illustrations
461
00:19:31,800 --> 00:19:33,551
"of the shark activity."
462
00:19:33,635 --> 00:19:36,429
I pretty well did these
as it's described
463
00:19:36,513 --> 00:19:37,972
in the galley sheets.
464
00:19:39,224 --> 00:19:42,977
Joe Alves designed
drawings of a shark
465
00:19:43,061 --> 00:19:44,437
that he could
put up against the wall
466
00:19:44,521 --> 00:19:45,522
in a production office.
467
00:19:46,147 --> 00:19:48,233
He did an 18-foot long shark.
468
00:19:48,817 --> 00:19:51,277
He did a 26-foot long shark.
469
00:19:51,361 --> 00:19:53,321
He did a 32-foot long shark.
470
00:19:54,572 --> 00:19:56,574
These are full-size drawings.
471
00:19:56,658 --> 00:19:58,159
And we had to evaluate,
472
00:19:58,243 --> 00:20:00,120
"Which one do we commit to,
which one do we build?"
473
00:20:00,203 --> 00:20:03,456
And for me, the 18-foot shark
was not that intimidating.
474
00:20:04,082 --> 00:20:08,753
But the 32-foot long shark
was not realistic,
475
00:20:08,837 --> 00:20:10,755
and it would've turned
the genre of the film
476
00:20:10,839 --> 00:20:12,465
into science fantasy.
477
00:20:13,425 --> 00:20:16,469
The 26-foot-long shark
was just right,
478
00:20:16,553 --> 00:20:17,554
I thought, for Jaws.
479
00:20:19,222 --> 00:20:22,183
ALVES: October 1st, 1973.
480
00:20:22,267 --> 00:20:24,602
Marshall Green had a meeting.
481
00:20:24,686 --> 00:20:26,980
He was the head of production
at Universal.
482
00:20:27,063 --> 00:20:29,816
And he said, "Okay, Joe,
can you make the shark?"
483
00:20:29,899 --> 00:20:32,318
I says, "Yeah,
I certainly could try."
484
00:20:32,402 --> 00:20:34,821
He says, "Okay, find somebody
and make it off the lot.
485
00:20:34,904 --> 00:20:36,990
And somebody
recommended Bob Mattey,
486
00:20:37,073 --> 00:20:39,325
and I found Bob
and put a crew together.
487
00:20:39,451 --> 00:20:42,078
To the ingenious shark
building team.
Cheers.
488
00:20:42,162 --> 00:20:44,664
Bob and Whitey.
Yeah.
489
00:20:44,748 --> 00:20:46,833
Whitey doesn't like to turn
around and look at the camera,
490
00:20:46,916 --> 00:20:48,501
he's camera shy.
( INDISTINCT)
491
00:20:48,585 --> 00:20:50,628
Right. Okay, just for Steve.
492
00:20:50,754 --> 00:20:51,963
Final pose here.
(LAUGHS)
493
00:20:52,046 --> 00:20:53,173
One in a million.
494
00:20:53,256 --> 00:20:54,758
ALVES: We got seven
in the crew.
495
00:20:54,841 --> 00:20:56,384
I called them
the Magnificent Seven.
496
00:20:56,468 --> 00:20:58,970
MAN: Joe Alves?
(GROANS) Yes.
497
00:20:59,888 --> 00:21:01,347
And we started
building the shark.
498
00:21:04,142 --> 00:21:06,478
Bob Mattey was
taken out of retirement
499
00:21:06,561 --> 00:21:07,854
to create the creature,
500
00:21:07,937 --> 00:21:10,690
the great white shark
and its many incarnations.
501
00:21:11,399 --> 00:21:14,861
ALVES: What we needed was
a shark to go left to right,
502
00:21:14,944 --> 00:21:16,696
and one to go right to left.
503
00:21:17,947 --> 00:21:19,824
And then one on a big crane.
504
00:21:21,493 --> 00:21:23,703
So we had three sharks
to build.
505
00:21:25,914 --> 00:21:28,374
BROWN: A shed was set up
in the San Fernando Valley.
506
00:21:28,458 --> 00:21:29,959
It was like making Apollo.
507
00:21:30,043 --> 00:21:32,253
It was like a new invention.
508
00:21:33,004 --> 00:21:34,839
NICOTERO: Bob Mattey,
he had the chops.
509
00:21:35,924 --> 00:21:38,551
And the fact that he had built
all this other great stuff,
510
00:21:39,469 --> 00:21:42,555
like the 20,000 Leagues
Under the Sea giant squid.
511
00:21:43,348 --> 00:21:44,599
He knew how to build it.
512
00:21:44,682 --> 00:21:47,018
So, yeah, in theory,
it'll work.
513
00:21:47,852 --> 00:21:50,104
SPIELBERG:
I thought it'd be fun
to nickname the shark
514
00:21:50,188 --> 00:21:51,773
after my attorney,
Bruce Ramer.
515
00:21:51,856 --> 00:21:53,900
So I started calling
the shark Bruce.
516
00:21:53,983 --> 00:21:55,693
And then in the shark shed,
517
00:21:55,777 --> 00:21:58,279
where Whitey and Bob Mattey
everybody else was working,
518
00:21:58,363 --> 00:22:00,073
they started calling
the shark Bruce.
519
00:22:00,156 --> 00:22:02,909
And then everybody forgot
why it was being called Bruce.
520
00:22:02,992 --> 00:22:04,452
It just was named Bruce.
521
00:22:05,286 --> 00:22:06,746
CAMERON: The film
happened to come out at a time
522
00:22:06,830 --> 00:22:09,415
when I was really
teaching myself
523
00:22:09,499 --> 00:22:11,876
how visual effects
and mechanical effects
524
00:22:11,960 --> 00:22:13,711
and makeup effects were done.
525
00:22:13,795 --> 00:22:15,380
Like Bruce,
like the shark in Jaws.
526
00:22:15,463 --> 00:22:16,923
Because I wanted a career
in that business.
527
00:22:17,006 --> 00:22:18,716
And I just loved
all that stuff.
528
00:22:19,717 --> 00:22:22,762
As a constructor of
animatronics and puppets,
529
00:22:22,846 --> 00:22:25,807
to operate in that scale
with basically hydraulic
530
00:22:25,890 --> 00:22:28,059
and incredibly
powerful machinery,
531
00:22:28,726 --> 00:22:30,478
that is remarkable.
532
00:22:32,188 --> 00:22:35,275
Basically, I was doing
a lot of research with sharks,
533
00:22:36,025 --> 00:22:38,695
and talked to Ron
and Valerie Taylor.
534
00:22:38,778 --> 00:22:39,904
SPIELBERG:
Ron and Valerie Taylor,
535
00:22:39,988 --> 00:22:42,657
I knew well
from the documentary,
Blue Water, White Death.
536
00:22:43,324 --> 00:22:45,243
And I wanted them
to bless our production.
537
00:22:45,326 --> 00:22:48,121
I also wanted them to be able
to work on the film.
538
00:22:48,204 --> 00:22:49,706
And I said to them,
"Was there any way
539
00:22:49,789 --> 00:22:52,083
"we can get actual
great white footage
540
00:22:52,166 --> 00:22:54,002
"that I could intercut
with a mechanical shark?"
541
00:22:55,211 --> 00:22:56,838
And they said, "Absolutely.
542
00:22:56,921 --> 00:22:59,757
"We'll go to
the Great Barrier Reef
off of Australia,
543
00:22:59,841 --> 00:23:02,051
"and we'll get the footage
that you need."
544
00:23:02,135 --> 00:23:04,220
He simply left it up
to Valerie and I
545
00:23:04,304 --> 00:23:05,763
to get what we could
546
00:23:05,847 --> 00:23:07,348
according to the script.
547
00:23:07,432 --> 00:23:10,435
He basically realized
at that time
548
00:23:10,518 --> 00:23:12,687
that there would be
the possibility
549
00:23:12,770 --> 00:23:14,981
that he would have
to shoot around what we got
550
00:23:15,064 --> 00:23:17,525
because it's a wild animal,
551
00:23:17,609 --> 00:23:19,402
and they just don't do
what you want them to.
552
00:23:23,197 --> 00:23:25,116
ALVES: Back on the lot,
the studio said,
553
00:23:25,199 --> 00:23:26,618
"We're going to start
shooting this movie
554
00:23:26,701 --> 00:23:28,161
"in the next month."
555
00:23:28,244 --> 00:23:30,288
And I'm saying,
"Wait a minute.
556
00:23:30,371 --> 00:23:32,832
"I have a year and a half
to build the shark."
557
00:23:32,916 --> 00:23:34,000
"No, you don't.
558
00:23:34,083 --> 00:23:37,337
"We're going to start shooting
because the book's
so popular."
559
00:23:37,420 --> 00:23:39,047
That's all they care about,
is the money.
560
00:23:39,130 --> 00:23:41,549
They don't have any idea
what we're doing,
561
00:23:41,633 --> 00:23:43,509
how complicated it was. No.
562
00:23:43,593 --> 00:23:46,888
So Steven got them
to postpone it until May.
563
00:23:47,472 --> 00:23:48,598
SPIELBERG: I remember
going out there
564
00:23:48,681 --> 00:23:50,642
with John Milius
and George Lucas,
565
00:23:50,725 --> 00:23:53,895
and John stuck his head
in the shark and said,
566
00:23:53,978 --> 00:23:55,772
"Okay, close the jaws!"
567
00:23:56,481 --> 00:23:58,483
And I was screaming
"Don't close the jaws!
568
00:23:58,566 --> 00:24:00,234
"John, get out of the shark!"
569
00:24:00,860 --> 00:24:03,112
A bunch of us went
and visited Steven,
570
00:24:03,196 --> 00:24:06,157
and he wanted to show us
the construction of the shark,
571
00:24:06,240 --> 00:24:07,659
which was impressive.
572
00:24:07,742 --> 00:24:09,494
So I thought,
"Great, this'll
be a good movie."
573
00:24:09,577 --> 00:24:12,330
And it was obvious
it was going to be a big hit.
574
00:24:12,830 --> 00:24:14,666
SPIELBERG: George looked
at the shark and said,
575
00:24:14,749 --> 00:24:17,377
"Wow, this is gonna be
the most successful movie
ever made."
576
00:24:17,460 --> 00:24:18,878
And I, of course,
looked at George like,
577
00:24:18,962 --> 00:24:20,338
"Well, from your
lips to..." You know.
578
00:24:20,421 --> 00:24:21,756
But I didn't believe that.
579
00:24:23,007 --> 00:24:25,843
We never,
until the last minute,
580
00:24:25,927 --> 00:24:30,223
had a script that was
to everybody's liking,
581
00:24:30,890 --> 00:24:35,728
and the studio wanted us to
go ahead before some strike.
582
00:24:36,270 --> 00:24:38,856
And so we were forced
to go on the location,
583
00:24:38,940 --> 00:24:40,650
forced to start shooting.
584
00:24:40,733 --> 00:24:43,069
And he had some
serious reservations
585
00:24:43,152 --> 00:24:44,696
whether we were
doing the right thing.
586
00:24:46,406 --> 00:24:50,243
We did not go into
this picture fully prepared.
587
00:24:53,746 --> 00:24:55,790
CAMERON: In the first
frames of the movie,
588
00:24:55,873 --> 00:24:58,584
you are a shark
and you're just hunting.
589
00:24:58,668 --> 00:25:01,754
It really shows you
what's possible in cinema.
590
00:25:01,838 --> 00:25:05,049
And so my favorite scene
in the film is the opening.
591
00:25:08,302 --> 00:25:10,138
LUCAS: The opening
is sensational.
592
00:25:10,972 --> 00:25:13,516
Really sets you up...
like that.
593
00:25:14,392 --> 00:25:16,602
Where are we going?
Swimming!
594
00:25:17,311 --> 00:25:19,439
PEELE: The opening of a film
is everything.
595
00:25:20,732 --> 00:25:22,108
If you don't get
that part right,
596
00:25:22,191 --> 00:25:23,276
the rest of it doesn't matter.
597
00:25:24,193 --> 00:25:26,863
The opening of Jaws,
it's simple,
598
00:25:26,946 --> 00:25:29,407
and it may be the most
violent scene in the film,
599
00:25:29,991 --> 00:25:31,451
and at the same time,
600
00:25:31,534 --> 00:25:34,537
it is one that
obscures the monster.
601
00:25:35,830 --> 00:25:37,623
(PANTING)
602
00:25:41,127 --> 00:25:43,963
SPIELBERG:
In the original script
that Peter Benchley did,
603
00:25:44,047 --> 00:25:45,423
we did show the shark.
604
00:25:46,841 --> 00:25:48,968
But the shark was down,
getting repaired.
605
00:25:50,386 --> 00:25:52,889
And it was dawning on me
that things were scarier
606
00:25:52,972 --> 00:25:54,849
without the shark
than with the shark.
607
00:25:54,932 --> 00:25:56,142
(SCREAMS)
608
00:25:56,225 --> 00:25:58,895
I always kind of relate
my scene in Jaws
609
00:25:58,978 --> 00:26:00,605
to the scene in Psycho.
610
00:26:01,147 --> 00:26:03,024
The lady in the shower,
611
00:26:03,107 --> 00:26:06,069
because it's that kind
of horrifying thing
612
00:26:06,152 --> 00:26:07,695
that comes out of nowhere.
613
00:26:07,779 --> 00:26:10,823
And I think a lot
of what made the scene
very, very scary
614
00:26:10,907 --> 00:26:13,659
was the fact that you knew
what was down there
615
00:26:13,743 --> 00:26:15,119
and you knew
what was happening,
616
00:26:15,203 --> 00:26:16,496
but you couldn't see it.
617
00:26:17,789 --> 00:26:21,292
SPIELBERG: The one filmmaker
that influenced me the most
618
00:26:21,375 --> 00:26:23,461
in the making of Jaws
was Alfred Hitchcock.
619
00:26:24,253 --> 00:26:27,340
What Alfred Hitchcock could do
with the power of suggestion,
620
00:26:27,423 --> 00:26:29,258
I thought, "if just
a little bit of that
621
00:26:29,342 --> 00:26:31,344
"could be sprinkled
on my mojo,
622
00:26:32,136 --> 00:26:33,387
"then maybe I could make Jaws
623
00:26:33,471 --> 00:26:36,724
"with a real tip of my cap
toward Hitch."
624
00:26:37,850 --> 00:26:41,104
PEELE: The whole question
of Jaws is "How big is it?
625
00:26:41,979 --> 00:26:44,774
"What does this fish
really look like underneath?"
626
00:26:44,857 --> 00:26:47,026
And throughout the film,
627
00:26:47,110 --> 00:26:49,362
he gives us a little bit
more of a taste as we go.
628
00:26:51,447 --> 00:26:53,407
When we were
shooting the scene,
629
00:26:53,491 --> 00:26:55,034
she had a harness on,
630
00:26:55,118 --> 00:26:57,537
and so we had
a line that would go
631
00:26:57,620 --> 00:27:00,581
to five people on one rope,
632
00:27:00,665 --> 00:27:03,084
and five people
on another rope.
633
00:27:04,544 --> 00:27:06,087
I wanted this effect.
634
00:27:07,004 --> 00:27:08,631
Back and forth.
635
00:27:09,841 --> 00:27:11,467
And I thought
it would be a lot scarier
636
00:27:11,551 --> 00:27:13,594
if we see the force
637
00:27:13,678 --> 00:27:16,472
of how the shark is
carrying her across the water.
638
00:27:16,556 --> 00:27:18,641
I will never forget
the opening sequence,
639
00:27:18,724 --> 00:27:22,103
where she is dragged
ruthlessly through the ocean,
640
00:27:22,186 --> 00:27:24,397
and the different
camera perspectives
641
00:27:24,480 --> 00:27:26,274
and how she's being
pulled away from us,
642
00:27:26,357 --> 00:27:29,569
powerless to this threat
beneath the surface.
643
00:27:29,652 --> 00:27:34,031
If they're willing to do that
three minutes into the movie,
644
00:27:34,115 --> 00:27:37,535
what else are they
willing to do?
645
00:27:37,618 --> 00:27:40,121
(SCREAMING) Oh, God, help me!
646
00:27:40,746 --> 00:27:42,999
God, please help!
647
00:28:00,266 --> 00:28:02,101
Martha's Vineyard,
Massachusetts,
648
00:28:02,768 --> 00:28:04,937
an island off
the Eastern Seaboard.
649
00:28:05,021 --> 00:28:08,357
Beautiful, picturesque,
and about to be disguised
650
00:28:08,441 --> 00:28:10,484
as the fictional town
of Amity.
651
00:28:14,280 --> 00:28:15,865
MAN: ls it true
that the art director
652
00:28:15,948 --> 00:28:17,742
is the one that chose
Martha's Vineyard?
653
00:28:17,825 --> 00:28:19,035
The art director came down
654
00:28:19,118 --> 00:28:21,078
and looked at the
entire Eastern Seaboard.
655
00:28:22,705 --> 00:28:25,333
I don't know why,
but I had heard a lot about
Martha's Vineyard
656
00:28:25,416 --> 00:28:28,169
as a small summer community
657
00:28:28,252 --> 00:28:29,879
that might suit this picture,
658
00:28:29,962 --> 00:28:31,380
and I suggested
he go to see it.
659
00:28:32,840 --> 00:28:37,762
ALVES: I needed a bay
with a 25-foot depth
and a low tide.
660
00:28:38,429 --> 00:28:40,014
I had a whole map
of New England,
661
00:28:40,848 --> 00:28:43,935
and I went through all these
various little villages,
662
00:28:44,936 --> 00:28:47,146
and I see there's a boat
to Martha's Vineyard.
663
00:28:47,772 --> 00:28:50,608
So I went there, January 17th,
664
00:28:51,984 --> 00:28:55,488
and I found out
the depth was only 25 feet,
two-foot tide,
665
00:28:56,072 --> 00:29:00,076
and I thought, "Oh my God,
this is gonna be a success."
666
00:29:01,410 --> 00:29:04,080
KRAMER: Martha's Vineyard
is an island.
667
00:29:04,163 --> 00:29:05,873
It's a little spit of land
668
00:29:05,957 --> 00:29:07,875
off the coast
of Massachusetts.
669
00:29:08,542 --> 00:29:13,047
It is a stunning piece of land
and a summer resort.
670
00:29:14,924 --> 00:29:17,218
I've spent a lot of time
in Martha's Vineyard,
671
00:29:17,301 --> 00:29:19,804
and all of the non-actors
that he used,
672
00:29:19,887 --> 00:29:21,806
they really
represent the spirit
673
00:29:21,889 --> 00:29:24,600
of this idyllic,
peaceful, safe place
674
00:29:24,684 --> 00:29:26,185
that's sort of bohemian,
675
00:29:26,269 --> 00:29:27,853
and I think
even if you go now,
676
00:29:27,937 --> 00:29:29,981
it feels like a '70s
time capsule still.
677
00:29:30,064 --> 00:29:32,733
And I think all of that helped
678
00:29:32,817 --> 00:29:36,195
because it gives the world
such authenticity.
679
00:29:36,279 --> 00:29:37,280
Listen, Chief.
680
00:29:38,489 --> 00:29:39,615
Be careful, will you?
681
00:29:39,699 --> 00:29:40,700
In this town?
682
00:29:40,783 --> 00:29:42,159
Hey.
Hi, Dad.
683
00:29:42,952 --> 00:29:44,870
Martha's Vineyard was
a delightful place to shoot.
684
00:29:44,954 --> 00:29:45,997
I really enjoyed it.
685
00:29:46,080 --> 00:29:47,373
It was thrilling.
686
00:29:47,456 --> 00:29:49,917
I'd never been
on a location before,
687
00:29:50,001 --> 00:29:52,253
other than for
television shoots.
688
00:29:52,336 --> 00:29:53,838
But never for a movie,
689
00:29:53,921 --> 00:29:56,549
and I was feeling
so full of myself.
690
00:29:57,466 --> 00:29:59,885
MAN: Martha's Vineyard means
so much to this movie, Jaws.
691
00:29:59,969 --> 00:30:02,346
If you think of it,
there are only eight people
692
00:30:02,430 --> 00:30:03,848
that came from Hollywood
to be in this movie.
693
00:30:03,931 --> 00:30:06,225
You have Roy Scheider,
Richard Dreyfuss,
694
00:30:06,309 --> 00:30:07,810
Robert Shaw, Lorraine Gary,
695
00:30:07,893 --> 00:30:10,104
Murray Hamilton,
Teddy Grossman,
696
00:30:10,187 --> 00:30:12,106
Susan Backlinie
and Carl Gottlieb.
697
00:30:12,189 --> 00:30:13,899
Everyone else
you see in the movie
698
00:30:13,983 --> 00:30:15,526
are locals from
Martha's Vineyard.
699
00:30:15,609 --> 00:30:17,403
We had a shark attack
at South Beach
700
00:30:17,486 --> 00:30:19,030
this morning, Mayor! Fatal!
701
00:30:19,113 --> 00:30:20,364
I've got to batten down
the beach!
702
00:30:20,948 --> 00:30:23,492
KRAMER: I read about
the shooting of Jaws
703
00:30:23,576 --> 00:30:25,911
in the Vineyard newspapers.
704
00:30:25,995 --> 00:30:29,040
So I called my agent
and he set up a meeting,
705
00:30:29,123 --> 00:30:31,292
and I flew to Boston
and met Steven.
706
00:30:31,375 --> 00:30:33,627
He knew I was from the island,
707
00:30:33,711 --> 00:30:37,798
and I think he wanted
some real island feel.
708
00:30:37,882 --> 00:30:41,052
And listen, I was lucky
to be in this.
709
00:30:41,177 --> 00:30:43,679
You folks were
born here, right?
Yeah. I'm an islander.
710
00:30:43,763 --> 00:30:47,266
When we did Jaws, I turned 19
in January of that year.
711
00:30:47,350 --> 00:30:51,062
They tried to put me
in a pair of sort of
bell bottom blue jeans,
712
00:30:51,145 --> 00:30:53,898
and what almost
would have been the top
of a union suit
713
00:30:53,981 --> 00:30:55,483
that was sort of
tie-dyed and pink.
714
00:30:55,566 --> 00:30:59,111
And I was like, "it's not
really what I'd wear."
715
00:30:59,695 --> 00:31:01,947
So they said,
"Okay, well, bring
your own wardrobe."
716
00:31:02,031 --> 00:31:05,076
So a pair of khakis,
an Oxford cloth shirt,
717
00:31:05,159 --> 00:31:08,245
and I still have
the sweater that I wore.
718
00:31:08,329 --> 00:31:09,580
INTERVIEWER:
Wow, put it on like this.
719
00:31:09,663 --> 00:31:10,664
There we go.
720
00:31:11,791 --> 00:31:14,293
INTERVIEWER:
Wow. You know what
the best news is?
721
00:31:14,377 --> 00:31:16,212
It still fits.
Yes! Amazing, huh?
722
00:31:17,171 --> 00:31:20,341
SPIELBERG:
Well, I had very good success
casting Sugarland Express
723
00:31:20,424 --> 00:31:22,843
with a casting director
named Shari Rhodes.
724
00:31:23,594 --> 00:31:26,305
And we had tremendous
success with real people.
725
00:31:26,389 --> 00:31:28,140
Did you ever do some
time in prison, son?
726
00:31:28,224 --> 00:31:30,184
So I asked Shari
if she would cast Jaws,
727
00:31:30,267 --> 00:31:32,311
and I said, "Let's get locals
from Martha's Vineyard
728
00:31:32,395 --> 00:31:34,814
to perform in this movie,
or even from Boston.
729
00:31:35,398 --> 00:31:38,609
SODERBERGH: Shari Rhodes
did an amazing job
730
00:31:38,692 --> 00:31:41,070
of casting people
who looked and acted
731
00:31:41,153 --> 00:31:43,823
like they just walked in
off the street.
732
00:31:43,906 --> 00:31:44,949
What kind of shark?
733
00:31:45,032 --> 00:31:46,367
A tiger shark.
734
00:31:47,535 --> 00:31:48,619
A what?
735
00:31:48,702 --> 00:31:50,996
She spent time there
and got to know people.
736
00:31:51,580 --> 00:31:53,791
I just put some
sun tan lotion on
737
00:31:53,874 --> 00:31:56,293
and, uh, I'm trying
to absorb some of this sun.
738
00:31:56,377 --> 00:31:57,586
Nobody's going in.
739
00:31:58,712 --> 00:32:00,548
Please. Get in the water.
740
00:32:00,631 --> 00:32:03,676
I mean, all those people
in that board meeting
741
00:32:03,759 --> 00:32:06,345
in the town hall,
they're real.
742
00:32:06,429 --> 00:32:10,057
Is that $3,000
bounty on the shark
in cash or check?
743
00:32:10,141 --> 00:32:11,767
(ALL LAUGHING)
744
00:32:11,851 --> 00:32:12,852
I don't think
that's funny.
745
00:32:12,935 --> 00:32:14,728
I don't think
that's funny at all.
746
00:32:14,812 --> 00:32:16,147
It gives the whole movie
747
00:32:16,230 --> 00:32:18,732
more of a documentary
impromptu feel.
748
00:32:18,816 --> 00:32:21,610
Hello.
Hello back,
young feller.
749
00:32:21,694 --> 00:32:22,945
How are you?
750
00:32:23,028 --> 00:32:24,488
MAN 1:
This is Craig Kingsbury,
751
00:32:24,572 --> 00:32:26,824
known by some folks
on the island
752
00:32:26,907 --> 00:32:28,075
as the island character.
753
00:32:28,159 --> 00:32:30,369
KINGSBURY:
it's like one big family.
754
00:32:30,453 --> 00:32:32,746
And you hear what's
going on in Edgartown?
755
00:32:32,830 --> 00:32:35,583
A lot of it's laughable
and joking and fun
756
00:32:35,666 --> 00:32:37,418
and family fights
and all that,
757
00:32:37,501 --> 00:32:38,752
but they all get out.
758
00:32:38,836 --> 00:32:40,713
MAN 2: What's the serious
business, though?
759
00:32:40,796 --> 00:32:42,590
We don't have
anything too serious.
760
00:32:42,673 --> 00:32:45,217
SPIELBERG: Kingsbury made
all his dialogue up.
761
00:32:45,301 --> 00:32:47,636
Every time he opens his mouth,
that's Craig talking.
762
00:32:47,720 --> 00:32:49,054
We didn't write lines for him.
763
00:32:49,138 --> 00:32:51,140
Why don't we get
them silly bastards
764
00:32:51,223 --> 00:32:52,433
down in that rock pile?
765
00:32:52,516 --> 00:32:53,517
There'll be some fun.
766
00:32:53,601 --> 00:32:55,895
They'll wish their fathers
had never met their mothers
767
00:32:55,978 --> 00:32:57,897
when they start
taking their bottoms out
768
00:32:57,980 --> 00:33:00,107
and slamming
into them rocks, boy.
769
00:33:00,191 --> 00:33:01,901
Every character
has a little bit of an arc,
770
00:33:01,984 --> 00:33:03,235
a little bit of a story,
771
00:33:03,319 --> 00:33:04,778
so that when they
enter the picture,
772
00:33:04,862 --> 00:33:06,280
you're interested in them,
773
00:33:06,363 --> 00:33:08,574
and when they
exit the picture,
you miss them.
774
00:33:09,867 --> 00:33:12,495
SPIELBERG: I feel that Jaws
is more of a people picture
775
00:33:12,578 --> 00:33:13,787
than a shark movie.
776
00:33:13,871 --> 00:33:15,414
Without those people,
777
00:33:15,498 --> 00:33:17,166
you wouldn't give a hang
about the shark.
778
00:33:22,004 --> 00:33:24,507
We're in one of our locations
here on Martha's Vineyard
779
00:33:24,590 --> 00:33:26,050
in the town of Oak Bluffs,
780
00:33:26,133 --> 00:33:28,969
and this is one of our
four retail stores in town,
781
00:33:29,053 --> 00:33:30,471
and it's one of the places
782
00:33:30,554 --> 00:33:33,057
where we keep
the Jaws memory alive.
783
00:33:34,183 --> 00:33:36,936
I'm Todd Rebello,
my brother played
Michael Brody.
784
00:33:37,019 --> 00:33:38,270
His name was Chris Rebello.
785
00:33:38,354 --> 00:33:40,272
Mom. I got cut.
786
00:33:40,356 --> 00:33:41,732
I got bit by a vampire.
787
00:33:41,815 --> 00:33:43,734
I have one great memory
788
00:33:43,817 --> 00:33:45,528
of the day when he says,
"I got bit by a vampire."
789
00:33:46,362 --> 00:33:47,571
We were out on the front lawn,
790
00:33:47,655 --> 00:33:50,366
and it was my brother
and I and Steven,
791
00:33:50,449 --> 00:33:53,577
and he was just asking us
question after question.
792
00:33:53,661 --> 00:33:55,621
He really did relate
to somebody young.
793
00:33:55,704 --> 00:33:58,624
You know, it could have been
your older brother in a sense.
794
00:33:59,166 --> 00:34:00,709
The pond's
for old ladies.
795
00:34:00,793 --> 00:34:01,961
I know it's for
the old ladies,
796
00:34:02,044 --> 00:34:03,837
but just do it for
the old man, huh?
797
00:34:03,921 --> 00:34:05,673
TODD: My brother
passed away at 37.
798
00:34:05,756 --> 00:34:07,841
It was fairly tragic.
Three kids.
799
00:34:07,925 --> 00:34:10,594
So anything I could do
to keep that memory alive
800
00:34:10,678 --> 00:34:12,513
and the memory of him,
I try to help.
801
00:34:17,059 --> 00:34:20,813
After a couple of days
of being on the set
with my children,
802
00:34:20,896 --> 00:34:25,693
I was asked to be in charge
of taking care of the kids.
803
00:34:26,569 --> 00:34:29,113
Most of the time,
I was in the background
804
00:34:29,196 --> 00:34:30,906
and I had my
movie camera with me.
805
00:34:30,990 --> 00:34:33,200
That was back
in the Super 8 days.
806
00:34:35,703 --> 00:34:38,872
I was very happy to see
all the local people
807
00:34:38,956 --> 00:34:40,040
being a part of this,
808
00:34:40,124 --> 00:34:42,626
and we would talk about it
even years later.
809
00:34:42,710 --> 00:34:44,503
We still do,
as a matter of fact,
810
00:34:44,587 --> 00:34:45,879
with Jeff Voorhees,
811
00:34:45,963 --> 00:34:48,173
the little boy that
gets eaten by the shark.
812
00:34:48,257 --> 00:34:51,385
I'm gonna go and get my raft
and go back out in the water.
813
00:34:51,468 --> 00:34:52,636
Let me see your fingers.
814
00:34:53,846 --> 00:34:56,390
Oh. Alex Kintner,
they're beginning
to prune.
815
00:34:56,473 --> 00:34:58,183
Just let me go out
a little longer.
816
00:34:58,809 --> 00:35:00,102
Just ten more minutes.
817
00:35:00,185 --> 00:35:01,186
Thanks.
818
00:35:01,687 --> 00:35:04,106
VOORHEES: They filmed
that here in May,
819
00:35:04,189 --> 00:35:05,733
that's when
that scene I was in.
820
00:35:06,233 --> 00:35:07,651
And if you know
the water up here
821
00:35:07,735 --> 00:35:09,695
in New England,
Martha's Vineyard,
822
00:35:10,321 --> 00:35:12,489
you know, I won't swim
here now until July.
823
00:35:12,573 --> 00:35:14,867
This water's
freezing cold in May.
824
00:35:14,950 --> 00:35:16,201
So people were like,
"Were you afraid
of the shark?"
825
00:35:16,285 --> 00:35:19,371
No, I was afraid of freezing
my 12-year-old ass off
in that water.
826
00:35:22,124 --> 00:35:23,542
SODERBERGH: I think
the Kintner scene
827
00:35:23,626 --> 00:35:27,546
is a beautiful example
of Spielberg's gift.
828
00:35:28,213 --> 00:35:30,591
J.J. ABRAMS: Every single
choice he makes,
829
00:35:30,674 --> 00:35:33,552
it's about the tension
and the paranoia
830
00:35:33,636 --> 00:35:36,180
and that sense of,
you don't know
quite where to look.
831
00:35:36,263 --> 00:35:39,558
JORDAN PEELE: The tension
that's built with the
cinematic devices
832
00:35:39,642 --> 00:35:41,602
in this scene
are so immersive,
833
00:35:41,685 --> 00:35:43,604
so seamless and flawless.
834
00:35:45,689 --> 00:35:49,151
It's got the wipes,
it's got the split diopter.
835
00:35:49,943 --> 00:35:52,613
And then when it hits
the push-pull zoom
836
00:35:52,696 --> 00:35:54,281
that Hitchcock pioneered...
837
00:35:54,365 --> 00:35:56,742
It just brings
the audience along
838
00:35:56,825 --> 00:35:58,702
in the perfect pacing,
839
00:35:59,578 --> 00:36:01,080
and then it's delivered.
840
00:36:06,293 --> 00:36:07,920
SODERBERGH:
All of this is in the aid
841
00:36:08,003 --> 00:36:12,466
of putting you inside
of Brody's experience
842
00:36:12,549 --> 00:36:14,760
of being on the beach that day
843
00:36:14,843 --> 00:36:17,429
when this terrible
thing happens.
844
00:36:18,263 --> 00:36:19,848
Get everybody out! Come on.
845
00:36:19,932 --> 00:36:21,433
Everybody, get out!
846
00:36:21,517 --> 00:36:23,727
In those days,
I wasn't thinking
about cinema.
847
00:36:24,353 --> 00:36:26,855
I was thinking about shots.
848
00:36:26,939 --> 00:36:28,816
When to go close
and when to be wide,
849
00:36:28,899 --> 00:36:30,859
when to give the audience
a sense of geography
850
00:36:30,943 --> 00:36:32,111
so they're not lost.
851
00:36:32,653 --> 00:36:35,698
VOORHEES:
At first, shooting the scene,
they had a mannequin.
852
00:36:36,949 --> 00:36:38,450
They put it on a raft,
853
00:36:38,534 --> 00:36:41,495
and the mechanical shark
bites this little mannequin.
854
00:36:44,623 --> 00:36:46,250
And there was this big barrel
855
00:36:46,333 --> 00:36:47,751
right near the top
of the water,
856
00:36:47,835 --> 00:36:49,128
and it's full of blood.
He goes,
857
00:36:49,211 --> 00:36:51,839
"You're gonna take your
raft out to that barrel,"
858
00:36:51,922 --> 00:36:52,923
and all of a sudden,
859
00:36:53,006 --> 00:36:55,676
all the blood
starts shooting up
like a rocket.
860
00:36:56,385 --> 00:36:58,345
When you see me
go up and down,
861
00:36:58,429 --> 00:37:00,806
that's two guys lifting me
in and out of the water,
862
00:37:00,889 --> 00:37:02,015
then pull you under
and give you air.
863
00:37:02,099 --> 00:37:03,392
(GASPING)
864
00:37:04,852 --> 00:37:05,853
FLIGOR: Poor Jeff.
865
00:37:05,936 --> 00:37:07,813
He came up out of the water,
866
00:37:07,896 --> 00:37:10,607
you know, he got all that
stuff out of his eyes.
867
00:37:11,358 --> 00:37:12,609
Alex?
868
00:37:12,693 --> 00:37:14,820
FLIGOR:
And then he did it again
and it worked fine.
869
00:37:16,071 --> 00:37:17,156
Alex?
870
00:37:20,743 --> 00:37:24,496
These are rare events,
but the reality is
it does happen.
871
00:37:24,580 --> 00:37:27,291
A shark is attracted to
the exact kind of splashing
872
00:37:27,374 --> 00:37:29,710
and activity that occurs
whenever human beings
go in swimming.
873
00:37:29,793 --> 00:37:30,836
You cannot avoid it.
874
00:37:31,503 --> 00:37:33,005
The sharks are not
infesting the waters,
875
00:37:33,088 --> 00:37:34,590
the sharks live
in the water, right?
876
00:37:34,673 --> 00:37:37,301
And we put ourselves
into their environment,
877
00:37:37,384 --> 00:37:38,886
and so we are taking
an inherent risk
878
00:37:38,969 --> 00:37:41,221
any time we choose
to go into the water.
879
00:37:41,305 --> 00:37:43,807
The only way that a shark
can taste something
880
00:37:43,891 --> 00:37:45,309
or can know what something is,
881
00:37:45,392 --> 00:37:46,852
is literally by biting it.
882
00:37:46,935 --> 00:37:48,395
And they make a decision
about whether
883
00:37:48,479 --> 00:37:50,689
that's going to be what
they're going to eat or not.
884
00:37:50,773 --> 00:37:52,691
And in a lot of cases,
they'll just say
885
00:37:52,775 --> 00:37:54,860
"No, that's not right,"
and they'll swim away.
886
00:37:54,943 --> 00:37:57,738
There was a deadly
shark attack on Cape Cod.
887
00:37:57,821 --> 00:38:00,407
It is the first
fatal shark attack
888
00:38:00,491 --> 00:38:03,869
in Massachusetts since 1936.
889
00:38:03,952 --> 00:38:07,122
When boogie boarder
Arthur Medici was killed
890
00:38:07,206 --> 00:38:09,416
by a great white shark
off Cape Cod,
891
00:38:09,500 --> 00:38:11,335
where we do
all of our research,
892
00:38:11,418 --> 00:38:14,004
it had a profound
effect personally
893
00:38:14,087 --> 00:38:16,548
and subsequently,
professionally.
894
00:38:16,632 --> 00:38:20,427
It was the first fatality
in over 80 years on the Cape,
895
00:38:20,511 --> 00:38:23,222
and it impacted
the whole community.
896
00:38:23,305 --> 00:38:25,641
Are you going
to close the beaches?
897
00:38:26,809 --> 00:38:27,976
Yes, we are.
898
00:38:28,060 --> 00:38:29,686
(ALL CLAMORING)
899
00:38:29,770 --> 00:38:32,606
SKOMAL:
Unlike the film, we weren't
trying to hide anything.
900
00:38:32,689 --> 00:38:36,276
And I will admit there was
one or two beach managers
901
00:38:36,360 --> 00:38:38,445
that didn't want
to talk about sharks.
902
00:38:38,529 --> 00:38:39,655
It's all psychological.
903
00:38:40,322 --> 00:38:41,782
You yell, "Barracuda,"
904
00:38:42,574 --> 00:38:44,076
everybody says, "Huh? What?"
905
00:38:45,744 --> 00:38:47,162
You yell, "Shark,"
906
00:38:48,872 --> 00:38:51,416
we've got a panic on our hands
on the Fourth of July.
907
00:38:52,835 --> 00:38:54,753
SKERRY: Jaws came out
at a moment in history,
908
00:38:54,837 --> 00:38:56,129
certainly in
the United States,
909
00:38:56,213 --> 00:38:58,048
but worldwide as well,
910
00:38:58,841 --> 00:39:02,344
where we were just
emerging from civil unrest.
911
00:39:03,262 --> 00:39:05,556
That era in the early '70s
912
00:39:05,639 --> 00:39:10,686
spoke to these
emotional elements
within humans
913
00:39:10,769 --> 00:39:12,604
about fear, about danger,
914
00:39:12,688 --> 00:39:16,233
about things that
don't have easy answers.
915
00:39:16,316 --> 00:39:18,777
What was happening in America
was the Vietnam War
916
00:39:18,861 --> 00:39:19,945
and Watergate.
917
00:39:20,028 --> 00:39:23,615
I shall resign the presidency
effective at noon tomorrow.
918
00:39:24,199 --> 00:39:26,743
SPIELBERG:
These were the turbulent times
while we were making the film.
919
00:39:28,704 --> 00:39:30,289
The idea of
a corrupt politician
920
00:39:30,372 --> 00:39:32,666
trying to hide something
from the citizens
921
00:39:32,749 --> 00:39:34,418
was very powerful.
922
00:39:34,501 --> 00:39:37,671
Murray Hamilton,
in a kind of local government,
923
00:39:37,754 --> 00:39:42,009
represented power and commerce
over human safety,
924
00:39:42,843 --> 00:39:44,136
so he represented a lot.
925
00:39:45,888 --> 00:39:49,433
(SOBBING)
You knew it was dangerous,
926
00:39:49,516 --> 00:39:51,768
but you let people
go swimming anyway.
927
00:39:52,352 --> 00:39:55,689
PEELE: The shark isn't even
the greatest monster
in the film.
928
00:39:55,772 --> 00:39:58,984
The fact that the money
in the bottom line
929
00:39:59,067 --> 00:40:00,903
is working under the surface
930
00:40:00,986 --> 00:40:04,323
as being more valuable
than the lives at stake
931
00:40:04,406 --> 00:40:06,533
is something that is always
932
00:40:06,617 --> 00:40:10,287
true to a certain extent
in this capitalist society.
933
00:40:10,370 --> 00:40:11,872
We will be
open for business.
934
00:40:11,955 --> 00:40:13,832
It's gonna be
one of the best summers
we've ever had.
935
00:40:13,916 --> 00:40:15,626
The book got a lot
of curious reviews.
936
00:40:15,709 --> 00:40:17,127
Some people
really liked it a lot,
937
00:40:17,210 --> 00:40:18,211
some people hated it.
938
00:40:18,295 --> 00:40:20,756
Those beaches will be open
for this weekend.
939
00:40:20,839 --> 00:40:22,633
My favorite review of all,
940
00:40:22,716 --> 00:40:24,343
I never even read
because it wasn't written.
941
00:40:24,426 --> 00:40:27,304
Frank Mankiewicz
was interviewing Fidel Castro
942
00:40:27,387 --> 00:40:29,431
and asking,
"What do you read?"
943
00:40:29,514 --> 00:40:30,891
And Castro said,
944
00:40:30,974 --> 00:40:33,018
"Well, most recently,
I've read a book
called Tiburon."
945
00:40:33,685 --> 00:40:34,853
And Mankiewicz said
946
00:40:34,937 --> 00:40:36,855
"Why are you reading
commercial American
thrillers?"
947
00:40:36,939 --> 00:40:38,649
And Castro said,
"Ah, no, you're wrong.
948
00:40:38,732 --> 00:40:40,192
"This is not a commercial
American thriller.
949
00:40:40,275 --> 00:40:43,278
"This is a marvelous metaphor
about the corruption
of capitalism."
950
00:40:44,196 --> 00:40:46,949
And I tried to get Doubleday
to use it in an ad.
951
00:40:47,032 --> 00:40:48,700
Can you imagine
the ad that says,
952
00:40:48,784 --> 00:40:51,411
"Marvelous metaphor about
the corruption of capitalism
953
00:40:51,495 --> 00:40:52,871
"- Fidel Castro"?
954
00:40:52,955 --> 00:40:56,249
Who else could have a quote
from Fidel Castro. Please?
955
00:40:56,333 --> 00:40:57,334
But they wouldn't do it.
956
00:40:58,627 --> 00:41:00,754
REPORTER: In recent days,
a cloud has appeared
957
00:41:00,837 --> 00:41:03,340
on the horizon of this
beautiful resort community.
958
00:41:03,423 --> 00:41:06,093
A cloud in the shape
of a killer shark.
959
00:41:06,927 --> 00:41:09,429
MAN: I was in my apartment,
and Jaws was on the TV.
960
00:41:09,513 --> 00:41:12,307
My dad has almost
been dead for 20 years now,
961
00:41:12,391 --> 00:41:14,476
and suddenly I heard
my dad talking to me.
962
00:41:15,102 --> 00:41:16,436
And I kind of stopped
and turned around.
963
00:41:16,520 --> 00:41:17,938
It was because it was
the scene in Jaws,
964
00:41:18,021 --> 00:41:19,481
where he was interviewing
the mayor on the beach.
965
00:41:20,273 --> 00:41:21,274
MAN 1: Background action.
966
00:41:21,358 --> 00:41:23,986
With me here today
is the mayor of Amity,
Lawrence Vaughn.
967
00:41:24,569 --> 00:41:27,072
Now, Mr. Vaughn,
how about those rumors?
968
00:41:27,155 --> 00:41:28,407
MAN 2: All right, Murray,
that'll do it.
969
00:41:28,991 --> 00:41:30,117
MAN 3: Cut!
970
00:41:30,200 --> 00:41:31,910
CLAYTON: I love when
we're able to go back
and see him
971
00:41:31,994 --> 00:41:33,537
and remember
everything about him.
972
00:41:33,620 --> 00:41:35,080
And it's really a gift.
973
00:41:35,706 --> 00:41:38,834
The beaches are open,
and people are having
a wonderful time.
974
00:41:38,917 --> 00:41:40,794
Amity, as you know,
means friendship.
975
00:41:41,837 --> 00:41:43,213
MAN: David, you and I
have talked about this.
976
00:41:43,296 --> 00:41:44,631
We were both around
during the shooting
977
00:41:44,715 --> 00:41:47,384
of a big beach panic scene,
and we wondered,
978
00:41:47,467 --> 00:41:50,429
"God, what would happen
if something really
did come in
979
00:41:50,512 --> 00:41:52,264
"during a scene like this,
and begin to eat people?"
980
00:41:52,347 --> 00:41:54,808
The Cape Cod radio,
only last night,
981
00:41:54,891 --> 00:41:57,310
recorded the spotting
of a great white.
982
00:41:58,061 --> 00:42:01,440
So close to the shore
that it was observed
by a lifeguard,
983
00:42:01,523 --> 00:42:04,693
which adds further
credence to the notion
that our beach panic
984
00:42:04,776 --> 00:42:08,447
might indeed have been
invaded by a great white,
985
00:42:08,530 --> 00:42:10,824
in which case,
we would have had
a double beach panic,
986
00:42:10,907 --> 00:42:12,200
or, more horrifyingly,
987
00:42:12,284 --> 00:42:14,703
our actors would have thought
it was part of the movie.
988
00:42:14,786 --> 00:42:16,997
We would have had to use
the old Pearl Harbor line,
989
00:42:17,080 --> 00:42:18,749
"This is no drill."
(MEN LAUGHING)
990
00:42:25,505 --> 00:42:27,674
The bridge is
the number one spot,
991
00:42:27,758 --> 00:42:29,843
and it's also the
number one fun spot
992
00:42:29,926 --> 00:42:32,721
because while
you're not supposed
to jump off the bridge,
993
00:42:33,388 --> 00:42:36,391
150,200 people
jump off that bridge an hour.
994
00:42:37,809 --> 00:42:40,312
I have yet to jump off
the Jaws Bridge.
995
00:42:40,395 --> 00:42:43,065
I have not plucked up
the courage to do that.
996
00:42:43,148 --> 00:42:44,775
Sha... Shark!
997
00:42:45,358 --> 00:42:46,401
It's a shark!
998
00:42:47,778 --> 00:42:50,489
Jaws Bridge is where
it all happened for me.
999
00:42:51,073 --> 00:42:54,451
I was one of the three boys
on the sailfish
1000
00:42:54,534 --> 00:42:56,078
inside the estuary.
1001
00:42:56,703 --> 00:42:58,622
I can't do a damn thing
until we get this undone.
Get that rope undone.
1002
00:42:58,705 --> 00:43:00,165
You gotta untangle
that up there!
1003
00:43:00,248 --> 00:43:01,333
( INDISTINCT)
I'm doing it!
1004
00:43:01,917 --> 00:43:04,377
BEN DAVID:
My biggest highlight in life
was having my children.
1005
00:43:04,878 --> 00:43:06,713
This was probably number two.
1006
00:43:07,506 --> 00:43:09,132
You guys okay over there?
1007
00:43:09,216 --> 00:43:11,343
I was gonna be a victim
in the estuary.
1008
00:43:14,513 --> 00:43:16,139
When I dropped into the mouth,
1009
00:43:17,265 --> 00:43:19,101
the shark head would open,
1010
00:43:19,184 --> 00:43:21,186
and there's a lot of
mechanism under there.
1011
00:43:22,020 --> 00:43:23,939
And so that particular shot
1012
00:43:24,022 --> 00:43:26,108
was worked by the guys
in the barge with air rams.
1013
00:43:26,191 --> 00:43:27,818
You know, everybody's
working the mouth,
1014
00:43:27,901 --> 00:43:30,070
one guy works the head,
moving back and forth.
1015
00:43:31,071 --> 00:43:32,823
You think, "Jeez, am I gonna
get in this shark's mouth?
1016
00:43:32,906 --> 00:43:34,491
"Thing's gonna clamp on me."
1017
00:43:34,574 --> 00:43:36,159
(PANTING)
1018
00:43:36,243 --> 00:43:38,745
But Bob Mattey did
all the shark special effects.
1019
00:43:38,829 --> 00:43:39,830
He was fabulous.
1020
00:43:44,709 --> 00:43:45,919
(MAN SCREAMING)
1021
00:43:46,002 --> 00:43:48,255
There are a couple of scenes
that were shot
1022
00:43:48,338 --> 00:43:51,800
where he really does look
like a great white shark
1023
00:43:51,883 --> 00:43:54,553
that I would see
in my work right now.
1024
00:43:55,137 --> 00:43:57,389
When the shark
turns on its side,
1025
00:43:57,472 --> 00:44:00,934
that to me is an
incredibly realistic view
1026
00:44:01,017 --> 00:44:02,477
of a white shark.
1027
00:44:03,270 --> 00:44:04,396
SPIELBERG:
I wanted it to be real.
1028
00:44:04,479 --> 00:44:06,565
I wanted to show what happens
when a shark bites you.
1029
00:44:09,192 --> 00:44:10,861
I was certainly aware
I was going to make it
1030
00:44:10,944 --> 00:44:14,656
as scary and as realistically
brutal as I possibly could.
1031
00:44:14,739 --> 00:44:15,949
MAN: Marking.
1032
00:44:17,868 --> 00:44:19,619
And then later on
in the editing room,
1033
00:44:19,703 --> 00:44:21,079
I was able to
come to my senses
1034
00:44:21,163 --> 00:44:23,498
in a couple of sequences,
and cut things out
1035
00:44:23,582 --> 00:44:26,793
long before the MPAA
ever saw the movie.
1036
00:44:28,712 --> 00:44:32,090
I think a great horror
or great thriller
1037
00:44:32,174 --> 00:44:36,178
is the perfect
tailor-made nightmare
1038
00:44:36,261 --> 00:44:38,054
for its protagonist.
1039
00:44:38,138 --> 00:44:39,556
And, you know,
when you talk about
1040
00:44:39,639 --> 00:44:41,391
the mysticism of Jaws,
1041
00:44:41,474 --> 00:44:44,394
this shark getting
closer and closer
1042
00:44:44,477 --> 00:44:48,398
to this person who
doesn't like the water.
1043
00:44:49,065 --> 00:44:51,026
It's this mystical
connection between
1044
00:44:51,109 --> 00:44:53,028
hero and monster,
and you feel that.
1045
00:44:57,532 --> 00:45:00,035
MAN 1: Guys, we can't shoot
right now. Hold on.
MAN 2: Hold on.
1046
00:45:01,536 --> 00:45:04,247
MAN 3: Pull the anchor up
and reset it out there, okay?
1047
00:45:04,956 --> 00:45:09,502
YOUNG SPIELBERG:
This is my second day at sea,
and I have 54 more days to go.
1048
00:45:10,337 --> 00:45:14,466
And if I survive this,
I'll have learned a lot,
1049
00:45:14,549 --> 00:45:16,635
because right now,
all I can tell you
1050
00:45:16,718 --> 00:45:18,762
is it's twice as slow
shooting at sea
1051
00:45:18,845 --> 00:45:20,138
as it is shooting on land.
1052
00:45:20,222 --> 00:45:21,973
MAN 4: When they finally
went on the water,
1053
00:45:22,057 --> 00:45:25,268
they needed local
support boats and operators.
1054
00:45:25,352 --> 00:45:27,145
I did my acting part
1055
00:45:27,229 --> 00:45:28,730
and then I was
fortunate enough
1056
00:45:28,813 --> 00:45:30,649
to be able to be part
of the Marine department.
1057
00:45:30,732 --> 00:45:33,860
And that's where I really saw
the bit of behind the scenes
1058
00:45:33,944 --> 00:45:35,654
of what went into the show.
1059
00:45:35,737 --> 00:45:37,697
They started filming
at the beginning of May,
1060
00:45:37,781 --> 00:45:40,784
and thought they were gonna
be gone by the Fourth of July.
1061
00:45:41,368 --> 00:45:43,703
And the schedule wasn't
really holding that well
1062
00:45:43,787 --> 00:45:45,997
just because of what
they were dealing with.
1063
00:45:46,081 --> 00:45:52,545
The month of August 1974
is a death march on the water.
1064
00:45:52,629 --> 00:45:55,674
We were on the ocean
for, like, four and a half,
five months,
1065
00:45:55,757 --> 00:45:59,344
and we all began going
off the deep end, literally.
1066
00:45:59,427 --> 00:46:03,056
It's not the time it takes
to take the take
that takes the time,
1067
00:46:03,139 --> 00:46:04,641
it's the time it takes
between the takes
1068
00:46:04,724 --> 00:46:07,018
that takes the time
it takes to take.
1069
00:46:07,102 --> 00:46:08,561
CAMERON: Anytime
you're dealing with water,
1070
00:46:08,645 --> 00:46:10,522
it doesn't get twice as hard,
1071
00:46:10,605 --> 00:46:13,149
it instantly gets
five times as hard.
1072
00:46:13,233 --> 00:46:15,610
He always laughs
whenever I do a water film.
1073
00:46:15,694 --> 00:46:17,570
He says, "Don't you know
how hard this stuff is?
1074
00:46:17,654 --> 00:46:19,072
I said, "Yeah, I know!"
(CHUCKLES)
1075
00:46:19,155 --> 00:46:22,117
SPIELBERG:
There was nothing fun
about making Jaws.
1076
00:46:22,200 --> 00:46:26,037
It was a very, very hard thing
to go out on the real ocean,
1077
00:46:26,121 --> 00:46:27,914
be knocked around
by the waves,
1078
00:46:27,998 --> 00:46:29,082
by the currents.
1079
00:46:29,165 --> 00:46:30,500
One more time.
1080
00:46:30,583 --> 00:46:31,626
Shark comes up.
1081
00:46:31,710 --> 00:46:34,963
And then we have to re-anchor,
reposition the camera boat.
1082
00:46:35,046 --> 00:46:37,215
Suddenly, the electrical barge
1083
00:46:37,299 --> 00:46:40,218
with the generators
running the arcs
is too far away.
1084
00:46:40,302 --> 00:46:41,845
And then on top of all that,
1085
00:46:41,928 --> 00:46:43,346
80% of the time,
the shark didn't work.
1086
00:46:44,806 --> 00:46:46,433
The first mistake
with the shark was,
1087
00:46:46,516 --> 00:46:48,059
they built it for freshwater.
1088
00:46:48,143 --> 00:46:50,270
INTERVIEWER:
What's the difference?
Well, electrolysis.
1089
00:46:51,187 --> 00:46:52,772
They built the shark
in a hurry,
1090
00:46:52,856 --> 00:46:55,734
and then they realized that
saltwater eats everything.
1091
00:46:55,817 --> 00:46:57,861
They tested the shark
for the first time
in the water,
1092
00:46:57,944 --> 00:47:00,071
and we had at least
20 boats of tourists
1093
00:47:00,155 --> 00:47:01,531
who had gathered
around an area
1094
00:47:01,614 --> 00:47:02,782
to watch the shark work.
1095
00:47:02,866 --> 00:47:04,909
And we had the shark
on a huge 90-foot platform,
1096
00:47:04,993 --> 00:47:06,369
30 feet underwater.
1097
00:47:06,453 --> 00:47:07,996
At the press
of a hydraulic button
1098
00:47:08,079 --> 00:47:09,706
and pulling the lever
back, supposedly,
1099
00:47:09,789 --> 00:47:11,958
the shark comes shooting
out of the water headfirst,
1100
00:47:12,042 --> 00:47:13,126
and this has
absolutely happened,
1101
00:47:13,209 --> 00:47:15,045
the shark came up tail first.
1102
00:47:15,837 --> 00:47:16,838
(PEOPLE LAUGHING)
1103
00:47:16,921 --> 00:47:20,175
Tail first,
and it was like
a 25-foot moon.
1104
00:47:20,258 --> 00:47:21,718
(BOTH LAUGH)
1105
00:47:22,302 --> 00:47:24,929
Some nights,
we'd go to the warehouse,
1106
00:47:25,013 --> 00:47:27,432
and you'd see the sharks
lined up there,
1107
00:47:27,515 --> 00:47:29,559
and they were
always working on it.
1108
00:47:31,269 --> 00:47:34,064
And sometimes
you'd get in the water,
1109
00:47:34,147 --> 00:47:35,565
and you'd see the shark go,
1110
00:47:35,648 --> 00:47:36,900
"Whoa... womp!"
1111
00:47:38,818 --> 00:47:42,447
You thought,
"Oh, my God, are they
gonna finish this movie?"
1112
00:47:43,656 --> 00:47:45,992
There were
all these radio mics
all over the island,
1113
00:47:46,076 --> 00:47:47,869
and they were always saying,
1114
00:47:47,952 --> 00:47:49,871
(MIMICS RADIO BUZZ)
"The shark is not working.
1115
00:47:49,954 --> 00:47:51,122
"The shark is not working."
1116
00:47:51,206 --> 00:47:53,958
And then one day,
you heard this,
1117
00:47:54,042 --> 00:47:56,961
"The shark is working.
Repeat, the shark is working.
1118
00:47:57,045 --> 00:47:59,339
"The boat is sinking.
The boat is sinking."
1119
00:47:59,422 --> 00:48:00,673
(LAUGHS)
1120
00:48:00,757 --> 00:48:02,092
And I was on that boat.
1121
00:48:02,675 --> 00:48:03,676
Time!
1122
00:48:03,760 --> 00:48:05,220
SPIELBERG:
What happened was
we were pulling
1123
00:48:05,303 --> 00:48:07,097
one of the barrels
away from the boat.
1124
00:48:07,180 --> 00:48:09,057
The problem was
the motorboat went so fast,
1125
00:48:09,140 --> 00:48:11,935
it pulled the planking out
from the hull of the Orca,
1126
00:48:12,018 --> 00:48:13,311
and, of course,
the water rushed in,
1127
00:48:13,395 --> 00:48:15,688
and the boat sank
in about two minutes.
1128
00:48:15,772 --> 00:48:17,190
DREYFUSS: "Get the actors
off the boat!
1129
00:48:17,774 --> 00:48:19,275
"Get the actors off the boat!"
1130
00:48:19,859 --> 00:48:22,779
John Carter, who won an
Academy Award for best
sound for Jaws,
1131
00:48:22,862 --> 00:48:24,280
picked up the Nagra.
1132
00:48:24,364 --> 00:48:25,782
He was on the boat.
And held it over his head,
1133
00:48:25,865 --> 00:48:28,535
and said, "(BLEEP) the actors,
save the sound department!"
1134
00:48:29,744 --> 00:48:31,996
And I had this image
to this day of John sinking,
1135
00:48:32,080 --> 00:48:33,498
holding the Nagra
over his head,
1136
00:48:33,581 --> 00:48:34,666
and he came up months later
1137
00:48:34,749 --> 00:48:36,334
with an Academy Award
in his hand instead.
1138
00:48:37,669 --> 00:48:40,130
Sea conditions
have been so impossible
1139
00:48:40,213 --> 00:48:41,965
that it's really
hurt our schedule,
1140
00:48:42,048 --> 00:48:44,384
and we've been here
105 shooting days,
1141
00:48:44,467 --> 00:48:47,637
and we were only scheduled
for something like 65 or 70.
1142
00:48:47,720 --> 00:48:49,389
MAN: What's this done
to the budget?
1143
00:48:49,472 --> 00:48:52,142
Well, it's kicked it up about
a million and a half dollars,
unfortunately.
1144
00:48:53,059 --> 00:48:54,352
We're not sailors.
1145
00:48:54,436 --> 00:48:57,647
We were filmmakers
and we were a film company,
1146
00:48:57,730 --> 00:48:59,858
and we were way
out of our element.
1147
00:49:00,525 --> 00:49:02,068
There were times
making that movie
1148
00:49:02,152 --> 00:49:04,737
where I thought Jaws
would probably be
1149
00:49:04,821 --> 00:49:06,948
the last thing I ever made
1150
00:49:07,031 --> 00:49:09,075
before people
would stop hiring me.
1151
00:49:10,493 --> 00:49:12,036
I mean, it was
reported everywhere.
1152
00:49:12,787 --> 00:49:15,540
And when I did talk
to him once in a while,
1153
00:49:15,623 --> 00:49:17,292
I knew he was
having a hard time.
1154
00:49:18,293 --> 00:49:19,461
SODERBERGH: You're a story.
1155
00:49:19,544 --> 00:49:21,838
I mean, people in
the entertainment industry
1156
00:49:21,921 --> 00:49:23,840
are talking about
1157
00:49:23,923 --> 00:49:27,010
what a troubled
production this is.
1158
00:49:27,093 --> 00:49:29,012
The director said he faced
the head of the studio
1159
00:49:29,095 --> 00:49:30,763
and he said,
"I can't do it in time!"
1160
00:49:31,347 --> 00:49:32,974
SPIELBERG: About 60 days
into the schedule,
1161
00:49:33,057 --> 00:49:35,393
and we were already, like,
20 days behind schedule.
1162
00:49:35,477 --> 00:49:37,645
And somebody from Hollywood,
an actor,
1163
00:49:37,729 --> 00:49:38,730
came over to me and said,
1164
00:49:38,813 --> 00:49:42,066
"Everybody's talking about
you're never gonna get a job
after this movie
1165
00:49:42,150 --> 00:49:44,402
"because you're
irresponsible with budget."
1166
00:49:44,486 --> 00:49:46,988
This actor was so sure
I would never work again,
1167
00:49:47,071 --> 00:49:48,531
they didn't care
if they told me that.
1168
00:49:48,615 --> 00:49:50,200
It was a very mean thing,
by the way, to do.
1169
00:49:51,868 --> 00:49:53,870
I totally forgot about it
when I got back to studio,
1170
00:49:53,953 --> 00:49:55,163
the movie that next week.
1171
00:49:55,788 --> 00:49:57,248
But that was
really demoralizing.
1172
00:49:57,332 --> 00:49:58,791
And halfway through Jaws,
1173
00:49:58,875 --> 00:50:01,628
I couldn't guarantee
control over anything.
1174
00:50:03,630 --> 00:50:05,757
There's a very real point
1175
00:50:05,840 --> 00:50:07,592
in the production
of this film,
1176
00:50:07,675 --> 00:50:09,928
where conversations
are being had
1177
00:50:10,011 --> 00:50:14,933
about whether or not it's
actually physically possible
1178
00:50:15,016 --> 00:50:16,601
to make this film.
1179
00:50:16,684 --> 00:50:18,853
We were so far over budget
1180
00:50:18,937 --> 00:50:21,022
on both shooting days
and money,
1181
00:50:21,105 --> 00:50:24,067
there was
a strong undercurrent
1182
00:50:24,150 --> 00:50:26,569
that the studio
would close us down,
they'd say, "Enough."
1183
00:50:26,653 --> 00:50:28,905
I never once felt
like I wanted to quit.
1184
00:50:28,988 --> 00:50:31,574
I was terrified
I was gonna be fired.
1185
00:50:31,658 --> 00:50:34,285
At one point, Sid Sheinberg,
who ran the studio,
1186
00:50:34,369 --> 00:50:38,665
flew to Martha's Vineyard
just to assess the damage.
1187
00:50:38,748 --> 00:50:40,625
And he was staying
at the Kelley House,
1188
00:50:40,708 --> 00:50:42,418
a hotel there in Edgartown,
1189
00:50:42,502 --> 00:50:44,879
and he just pulled me
behind the house.
1190
00:50:44,963 --> 00:50:47,840
We sat on these steps,
these gray steps, together.
1191
00:50:47,924 --> 00:50:49,259
And we sat on the same step.
1192
00:50:49,342 --> 00:50:52,595
And he said, "I'm not sure
this is possible,
1193
00:50:52,679 --> 00:50:53,972
"finishing the film this way.
1194
00:50:54,055 --> 00:50:55,139
"What do you think
we should do?"
1195
00:50:55,223 --> 00:50:57,225
And I just said,
"No, I want to go.
I want to finish it.
1196
00:50:57,308 --> 00:50:58,476
"I can finish this movie."
1197
00:50:59,018 --> 00:51:00,853
When you're
by yourself at night,
1198
00:51:00,937 --> 00:51:02,897
it weighs more heavily
than during the working day
1199
00:51:02,981 --> 00:51:05,775
when your mind is
on getting good film.
1200
00:51:05,858 --> 00:51:08,152
SPIELBERG: Scorsese used to
come over to the set.
1201
00:51:08,236 --> 00:51:10,572
From New York, he'd fly down
to Martha's Vineyard.
1202
00:51:10,655 --> 00:51:12,448
And he would just sit there
feeling sorry for me,
1203
00:51:12,532 --> 00:51:14,951
(LAUGHS) and we
would commiserate.
1204
00:51:15,034 --> 00:51:16,578
I noticed you bite
your fingernails a lot.
1205
00:51:16,661 --> 00:51:18,663
Is that why, because you're
juggling all the cash?
1206
00:51:18,746 --> 00:51:20,540
Yeah. No, because
I don't smoke, I don't drink.
1207
00:51:20,623 --> 00:51:24,544
I asked Steven,
"What did you do to unwind
on those days where,
1208
00:51:24,627 --> 00:51:27,297
"if the shark wasn't breaking,
your spirit was breaking?"
1209
00:51:27,380 --> 00:51:30,341
(LAUGHS) Like,
"What did you do to relax
and blow off steam?"
1210
00:51:30,425 --> 00:51:32,510
And he said, "I used
to go to the arcade."
1211
00:51:34,596 --> 00:51:35,888
SPIELBERG:
I talked to my mom a lot.
1212
00:51:35,972 --> 00:51:37,390
I mean, I was talking
to my mom, kind of like,
1213
00:51:37,473 --> 00:51:41,102
"Mommy, this is
really impossible! Help!"
1214
00:51:42,520 --> 00:51:48,192
It's really hard to read
how slow things were going,
1215
00:51:48,818 --> 00:51:51,154
but also fascinating to see
1216
00:51:51,237 --> 00:51:56,034
how he's recalibrating,
rebuilding it, reshooting,
1217
00:51:56,117 --> 00:51:58,745
coming up with ideas on set
1218
00:51:58,828 --> 00:52:04,042
to keep bringing the movie
to life as he saw it.
1219
00:52:06,586 --> 00:52:07,920
"Slow ahead."
1220
00:52:08,004 --> 00:52:09,088
I can go slow ahead.
1221
00:52:09,172 --> 00:52:10,632
Come on down
and chum some of this.
1222
00:52:13,426 --> 00:52:14,427
When the shark comes out
1223
00:52:14,510 --> 00:52:17,138
and Brody backs
into the cabin,
1224
00:52:17,221 --> 00:52:19,515
I say, "Roy, when you back in,
don't even look at him.
1225
00:52:19,599 --> 00:52:21,726
"Just keep looking
at where the shark breached.
1226
00:52:21,809 --> 00:52:24,062
"Just back into the cabin."
1227
00:52:24,145 --> 00:52:26,272
"And just say, 'You're gonna
need a bigger boat."'
1228
00:52:26,356 --> 00:52:27,815
You're gonna need
a bigger boat.
1229
00:52:28,483 --> 00:52:32,654
Chief Brody was, like,
my first on-screen crush,
with that tan.
1230
00:52:32,737 --> 00:52:34,238
It's actually the expression
on his face,
1231
00:52:34,322 --> 00:52:36,574
where he's chumming,
and then he comes up
1232
00:52:36,658 --> 00:52:38,826
and his head comes
into frame like that,
1233
00:52:38,910 --> 00:52:41,663
and the cigarette's,
like, wet, you know? (LAUGHS)
1234
00:52:41,746 --> 00:52:43,206
I will never forget that shot.
1235
00:52:43,289 --> 00:52:45,458
I was like, "Oh, God,
he's like my dream guy."
1236
00:52:45,541 --> 00:52:47,210
You're gonna need
a bigger boat.
1237
00:52:47,293 --> 00:52:48,795
(LAUGHS)
1238
00:52:49,420 --> 00:52:50,672
"You're gonna
need a bigger boat",
1239
00:52:50,755 --> 00:52:55,218
is a flag that you can fly
after you leave that movie.
1240
00:52:55,968 --> 00:52:59,055
CAMERON:
I think it's impossible
to write a timeless line.
1241
00:52:59,138 --> 00:53:00,932
You know what I mean?
I don't think you're
sitting there going,
1242
00:53:01,015 --> 00:53:02,100
"Oh, that...
1243
00:53:02,183 --> 00:53:04,060
"What I just wrote,
that's gonna be timeless."
1244
00:53:04,143 --> 00:53:05,395
You know, because
it's all the context.
1245
00:53:05,478 --> 00:53:07,313
Where is the audience
in the film?
1246
00:53:07,397 --> 00:53:08,523
How tense are they?
1247
00:53:08,606 --> 00:53:10,775
And what kind of release
will it trigger?
1248
00:53:10,858 --> 00:53:12,944
Even a line that's
not that funny.
1249
00:53:13,027 --> 00:53:14,112
When Arnold said...
1250
00:53:14,195 --> 00:53:15,363
I'll be back.
1251
00:53:16,030 --> 00:53:18,783
CAMERON: You know,
I didn't think that was
going to be any big deal.
1252
00:53:18,866 --> 00:53:20,451
But the value of it is,
1253
00:53:20,535 --> 00:53:23,705
the audience is already
in on the joke by that point,
1254
00:53:23,788 --> 00:53:25,123
so they read into it.
1255
00:53:25,206 --> 00:53:27,291
You put your gloves on,
both of you!
1256
00:53:27,375 --> 00:53:30,169
Where the Hooper and Brody
and Quint characters
1257
00:53:30,253 --> 00:53:33,297
came together and had to deal
with each other's backgrounds,
1258
00:53:33,381 --> 00:53:35,049
it involved a lot
of improvisation.
1259
00:53:35,133 --> 00:53:36,634
Hey, Quint. Let it go.
1260
00:53:36,718 --> 00:53:38,094
Hey, Hooper!
1261
00:53:38,177 --> 00:53:39,429
You may be a big
yahoo in the lab,
1262
00:53:39,512 --> 00:53:40,763
but out here,
you're just supercargo!
1263
00:53:40,847 --> 00:53:42,765
If you don't want
to backstroke home,
you get down here!
1264
00:53:42,849 --> 00:53:44,392
YOUNG SPIELBERG: And we had
tape recorders running.
1265
00:53:44,475 --> 00:53:45,643
And taking that improvisation,
1266
00:53:45,727 --> 00:53:47,395
finding a good line
from Dreyfuss here
1267
00:53:47,478 --> 00:53:49,480
and a good line
from Robert Shaw here,
1268
00:53:49,564 --> 00:53:50,565
writing it down,
1269
00:53:50,648 --> 00:53:52,650
that became the day's work
for the next day.
1270
00:53:52,734 --> 00:53:55,653
Hey, Chief.
Best drop another
chum marker.
1271
00:53:56,654 --> 00:53:58,197
SPIELBERG:
And a lot of the movie
was done that way.
1272
00:53:58,281 --> 00:54:00,658
The whole scene between
Dreyfuss and Shaw,
1273
00:54:00,742 --> 00:54:02,493
sort of challenging
each other,
1274
00:54:02,577 --> 00:54:05,288
where Quint drinks
an entire can of beer,
1275
00:54:05,371 --> 00:54:06,831
and he crushes the can.
1276
00:54:07,749 --> 00:54:10,543
And Dreyfuss has a little
Dixie Styrofoam cup of coffee,
1277
00:54:10,626 --> 00:54:12,295
and he crushes the Styrofoam.
1278
00:54:14,088 --> 00:54:15,298
That was made up on the day.
1279
00:54:15,381 --> 00:54:17,675
But we kept throwing
ideas into the pot.
1280
00:54:18,176 --> 00:54:19,844
SHAW: Well, you know,
we'll go out there.
1281
00:54:19,927 --> 00:54:21,012
There's just the three of us,
1282
00:54:21,095 --> 00:54:23,431
Scheider, Dreyfuss,
me and the shark.
1283
00:54:23,514 --> 00:54:25,850
I think I know every detail
of those two men's lives,
1284
00:54:25,933 --> 00:54:29,395
and it has been,
to some extent, very boring.
1285
00:54:29,479 --> 00:54:31,981
They were three
very different men
1286
00:54:32,064 --> 00:54:34,734
at three very different
stages of their careers.
1287
00:54:34,817 --> 00:54:38,070
But I think
part of the chemistry
1288
00:54:38,154 --> 00:54:41,073
is that there was
a bit of themselves
1289
00:54:41,157 --> 00:54:42,909
that bled into those roles.
1290
00:54:42,992 --> 00:54:45,161
You've got city hands,
Mr. Hooper.
1291
00:54:45,244 --> 00:54:46,704
You've been
counting money all your life.
1292
00:54:46,788 --> 00:54:48,372
All right, all right.
Hey, I don't need this!
1293
00:54:48,456 --> 00:54:50,917
I don't need this
working-class hero crap!
1294
00:54:51,000 --> 00:54:52,335
SCHEIDER:
We were very competitive.
1295
00:54:52,418 --> 00:54:55,421
And the desire
for all three to excel
1296
00:54:56,297 --> 00:54:59,675
pushed most of the scenes
right to their limits.
1297
00:55:00,218 --> 00:55:02,637
And I think it was
a challenge every day out,
1298
00:55:02,720 --> 00:55:06,015
to do as good or better
as the other guy.
1299
00:55:06,098 --> 00:55:08,976
It also is exactly
what's happening in the story.
1300
00:55:09,477 --> 00:55:11,395
And that, of course,
helps the film.
1301
00:55:11,479 --> 00:55:12,772
What you got here?
1302
00:55:12,855 --> 00:55:14,982
A portable shower
or a monkey cage?
1303
00:55:15,066 --> 00:55:16,442
Anti-shark cage.
1304
00:55:16,984 --> 00:55:20,613
Robert's off-screen
skirmishes with Richard
1305
00:55:20,696 --> 00:55:22,907
helped the chemistry
of the piece.
1306
00:55:23,533 --> 00:55:25,034
SHAW: We all have
different methods.
1307
00:55:25,117 --> 00:55:27,745
I do tend to drink
when totally bored,
1308
00:55:27,829 --> 00:55:31,207
and Roy does exercises
and sunbathes,
1309
00:55:31,290 --> 00:55:33,376
Scheider does that,
and Dreyfuss talks.
1310
00:55:33,459 --> 00:55:34,669
Dreyfuss just talks.
1311
00:55:35,211 --> 00:55:37,505
DREYFUSS: The character,
as explained to me
1312
00:55:37,588 --> 00:55:39,632
before we began shooting,
interested me.
1313
00:55:40,675 --> 00:55:43,094
INTERVIEWER:
And after you had started
shooting, what happened?
1314
00:55:45,555 --> 00:55:47,098
I had made a mistake.
1315
00:55:47,181 --> 00:55:49,559
SPIELBERG: There was a lot
of Richard challenging Robert,
1316
00:55:49,642 --> 00:55:51,435
and Robert
challenging Richard.
1317
00:55:51,519 --> 00:55:53,271
Stop playing
with yourself, Hooper!
1318
00:55:53,354 --> 00:55:54,605
They were kind of
sparring partners.
1319
00:55:54,689 --> 00:55:56,482
Hooper! Full throttle!
1320
00:55:56,566 --> 00:55:59,110
I don't have to take
this abuse much longer.
1321
00:55:59,193 --> 00:56:01,487
But it really turned out,
in hindsight,
1322
00:56:01,571 --> 00:56:03,447
to be a kind of playful banter
1323
00:56:03,948 --> 00:56:06,534
that was unique to their
personal relationships.
1324
00:56:07,201 --> 00:56:10,746
DREYFUSS:
Robert was one of the most
powerful people I've ever met.
1325
00:56:10,830 --> 00:56:12,623
Incredibly intense.
1326
00:56:12,707 --> 00:56:15,543
I mean, there was something
that radiated out of him.
1327
00:56:15,626 --> 00:56:18,588
He was a remarkably gifted
actor and writer.
1328
00:56:18,671 --> 00:56:20,798
He was also, unfortunately,
1329
00:56:20,882 --> 00:56:23,718
the most extraordinarily
competitive person.
1330
00:56:24,510 --> 00:56:26,137
Unnecessarily competitive.
1331
00:56:26,721 --> 00:56:28,222
LAN: There was
a love-hate relationship
1332
00:56:28,306 --> 00:56:29,515
between the two of them.
1333
00:56:29,599 --> 00:56:33,978
Robert was very frustrated
with Richard's attitude.
1334
00:56:34,061 --> 00:56:37,440
As an actor, it's been
an exercise in futility.
1335
00:56:37,523 --> 00:56:40,151
And Robert gave him
a really hard time,
1336
00:56:40,234 --> 00:56:41,569
at least publicly.
1337
00:56:42,153 --> 00:56:44,614
But also, Robert could see
the talent that was there,
1338
00:56:44,697 --> 00:56:46,991
and wanted him to succeed.
1339
00:56:47,074 --> 00:56:48,993
You want a drink?
Drink to your leg?
1340
00:56:49,076 --> 00:56:51,579
I'll drink to your leg.
Okay, so we drink to our legs.
1341
00:56:51,662 --> 00:56:52,663
(LAUGHS)
1342
00:56:52,747 --> 00:56:54,624
SPIELBERG:
The scene that I'm proudest
of in Jaws
1343
00:56:54,707 --> 00:56:56,125
was everything
that takes place
1344
00:56:56,208 --> 00:56:58,294
in that one night
in that cabin.
1345
00:56:58,377 --> 00:57:01,130
From the scar comparing
1346
00:57:01,213 --> 00:57:03,174
right through
the Indianapolis speech,
1347
00:57:03,257 --> 00:57:05,468
is something that
I actually and objectively,
1348
00:57:05,551 --> 00:57:06,969
can watch over and over again.
1349
00:57:08,387 --> 00:57:09,931
(LAUGHS)
1350
00:57:10,723 --> 00:57:13,351
So, Hooper, that's
the USS Indianapolis.
1351
00:57:14,852 --> 00:57:18,356
Not only is it
the 50th anniversary of Jaws,
1352
00:57:18,439 --> 00:57:20,316
but it's also
the 80th anniversary
1353
00:57:20,399 --> 00:57:22,526
of the sinking of
the USS Indianapolis.
1354
00:57:22,610 --> 00:57:24,195
You were
on the Indianapolis?
1355
00:57:24,278 --> 00:57:25,404
One of the greatest things
1356
00:57:25,488 --> 00:57:26,989
Howard Sackler
left me with was,
1357
00:57:27,073 --> 00:57:30,242
he said, "I'd like to give
Quint a motivation
1358
00:57:30,326 --> 00:57:32,036
for his hatred of sharks.
1359
00:57:33,120 --> 00:57:35,998
"Have you ever heard
of the USS Indianapolis?"
1360
00:57:36,082 --> 00:57:37,667
And I got to tell you,
I hadn't.
1361
00:57:38,334 --> 00:57:40,544
He told me the story
of the Indianapolis
1362
00:57:40,628 --> 00:57:43,047
and its duty in World War ll,
1363
00:57:43,130 --> 00:57:46,217
bringing bomb parts
for the atomic bomb.
1364
00:57:46,300 --> 00:57:47,468
What happened?
1365
00:57:48,761 --> 00:57:51,430
Japanese submarine
slammed two torpedoes
1366
00:57:51,514 --> 00:57:53,099
into her side, Chief.
1367
00:57:53,975 --> 00:57:55,768
1,100 men went into the water.
1368
00:57:56,769 --> 00:57:58,688
Vessel went down
in 12 minutes.
1369
00:57:59,605 --> 00:58:02,024
And all hands in the water,
1370
00:58:02,108 --> 00:58:04,235
ravaged by sharks.
1371
00:58:04,318 --> 00:58:06,862
Didn't see the first shark
for about half an hour.
1372
00:58:07,488 --> 00:58:09,281
GOTTLIEB: Sackler knew
about the Indianapolis.
1373
00:58:09,365 --> 00:58:10,658
Well, he was in the Navy.
1374
00:58:10,741 --> 00:58:14,120
And he brought that incident
into the screenplay.
1375
00:58:14,203 --> 00:58:16,580
He said, "This is
the motivation we need."
1376
00:58:16,664 --> 00:58:20,501
Very first light, Chief,
sharks come cruising.
1377
00:58:21,252 --> 00:58:22,336
SPIELBERG:
And down the road a bit,
1378
00:58:22,420 --> 00:58:23,754
I went to my friend,
John Milius.
1379
00:58:23,838 --> 00:58:26,882
He wrote Apocalypse Now
and was a wonderful director.
1380
00:58:26,966 --> 00:58:28,300
And I said,
"John, read the script
1381
00:58:28,384 --> 00:58:29,844
"and focus on this speech."
1382
00:58:30,511 --> 00:58:31,971
So John went away
and he came back
1383
00:58:32,054 --> 00:58:34,932
and he sent me
a seven and a half,
eight page monologue.
1384
00:58:36,100 --> 00:58:38,227
Shaw said, "This is
gonna bore the audience.
1385
00:58:38,310 --> 00:58:40,855
"I can't sit there
and talk for eight minutes.
1386
00:58:41,689 --> 00:58:43,733
"Will you let me
tonight, go home
1387
00:58:43,816 --> 00:58:45,609
and do a little
rewrite of the speech?"
1388
00:58:45,693 --> 00:58:47,653
I said, "Please, have at it."
1389
00:58:48,904 --> 00:58:50,781
And Robert Shaw
was a wonderful writer.
1390
00:58:50,865 --> 00:58:52,908
He had written
The Man in the Glass Booth,
the play.
1391
00:58:54,201 --> 00:58:55,786
And that's what
is in the movie.
1392
00:58:56,370 --> 00:58:58,247
The shark comes
to the nearest man
1393
00:58:58,330 --> 00:59:01,083
and then he starts poundin',
hollerin' and screamin'.
1394
00:59:01,167 --> 00:59:03,002
Sometimes the shark
would go away...
1395
00:59:04,795 --> 00:59:06,422
sometimes he
wouldn't go away.
1396
00:59:07,048 --> 00:59:09,925
It's a fascinating thing
to watch Robert Shaw
1397
00:59:10,009 --> 00:59:14,305
make the choice to play it
with a smile, with relish,
1398
00:59:14,889 --> 00:59:18,017
and for you to then
understand his obsession.
1399
00:59:18,100 --> 00:59:20,227
Like, he's haunted
by the screams of those men
1400
00:59:20,311 --> 00:59:22,521
who all died around him,
and you feel it.
1401
00:59:22,605 --> 00:59:25,399
The whole scene
pulses with trauma.
1402
00:59:25,483 --> 00:59:27,068
Ah, then you hear
that terrible
1403
00:59:27,151 --> 00:59:28,819
high-pitch screamin'.
1404
00:59:29,361 --> 00:59:31,113
The ocean turns red.
1405
00:59:31,614 --> 00:59:34,200
In spite
of all the poundin'
and the hollerin',
1406
00:59:34,283 --> 00:59:35,618
they all come in, they...
1407
00:59:37,119 --> 00:59:39,038
rip you to pieces.
1408
00:59:39,121 --> 00:59:41,332
How do you psych yourself up
for this kind of...
1409
00:59:41,415 --> 00:59:45,294
Well, scotch, vodka,
gin, whatever.
1410
00:59:45,377 --> 00:59:46,670
With every week
we were shooting,
1411
00:59:46,754 --> 00:59:47,963
he was becoming more
and more like Quint.
1412
00:59:48,589 --> 00:59:50,966
He said to me,
"I just want to have
1413
00:59:51,050 --> 00:59:52,176
a little buzz when
I'm doing the speech,
1414
00:59:52,259 --> 00:59:55,638
"because I don't
want to play drunk
or act inebriated.
1415
00:59:55,721 --> 00:59:58,224
"Just one small drink,
and that's all
I'm gonna need."
1416
00:59:58,307 --> 01:00:00,434
INTERVIEWER: Have you pulled
any benders, you, yourself,
1417
01:00:00,518 --> 01:00:01,685
while you're here?
No.
1418
01:00:01,769 --> 01:00:04,605
The only time
I'm ever drunk ever
is on television.
1419
01:00:04,688 --> 01:00:07,566
I'm never drunk
in private life
or at work, or...
1420
01:00:07,650 --> 01:00:08,818
You all know that.
1421
01:00:08,901 --> 01:00:11,487
Stupidly, I said,
"Sure! Go ahead."
1422
01:00:12,071 --> 01:00:13,322
I would never do that today.
1423
01:00:14,615 --> 01:00:16,367
The next day,
two crew members
1424
01:00:16,450 --> 01:00:18,702
had to help Robert
onto the Orca.
1425
01:00:20,287 --> 01:00:23,582
And he wasn't able to really
get through the speech.
1426
01:00:24,834 --> 01:00:27,711
That night, I'm sleeping,
sound asleep, my phone rings.
1427
01:00:27,795 --> 01:00:29,588
And it's Robert on the phone.
1428
01:00:30,214 --> 01:00:33,259
He says, "What happened?
Did I embarrass you?
1429
01:00:33,342 --> 01:00:35,678
"I am so sorry if I did,
I won't have a drink.
1430
01:00:35,761 --> 01:00:37,555
"Please give me a chance
to do this tomorrow."
1431
01:00:37,638 --> 01:00:39,723
And he knocked it out
of the ballpark the next day.
1432
01:00:39,807 --> 01:00:40,808
That was it.
1433
01:00:40,891 --> 01:00:41,892
Anyway...
1434
01:00:43,227 --> 01:00:44,562
we delivered the bomb.
1435
01:00:45,855 --> 01:00:47,940
Quint chose to be
a shark hunter,
1436
01:00:48,023 --> 01:00:49,316
and he's put himself
in direct line
1437
01:00:49,400 --> 01:00:52,153
with the thing that's caused
all this trauma from the past.
1438
01:00:52,820 --> 01:00:53,988
Part of him is thinking,
1439
01:00:54,071 --> 01:00:56,448
"If I can overcome this,
I can let go
of the past finally."
1440
01:00:56,949 --> 01:00:58,367
You see fear in his eyes,
1441
01:00:58,909 --> 01:01:01,162
and he thinks,
"This is the shark
that's come to get me."
1442
01:01:02,329 --> 01:01:04,915
There's something really
powerful about that kind of
1443
01:01:04,999 --> 01:01:06,500
inevitable tragic end.
1444
01:01:07,835 --> 01:01:09,670
This was always
this character's fate.
1445
01:01:13,382 --> 01:01:15,759
Great whites have
one of the most impressive
1446
01:01:15,843 --> 01:01:17,261
hunting behaviors,
called a breach.
1447
01:01:19,471 --> 01:01:21,182
Oh, my gosh!
1448
01:01:21,265 --> 01:01:23,267
And you see this
in the movie Jaws
1449
01:01:23,350 --> 01:01:24,435
when it breaches on the Orca.
1450
01:01:26,854 --> 01:01:29,398
I've never seen a great white
do this on a boat.
1451
01:01:30,357 --> 01:01:32,401
Most of the time, you see
great whites breaching,
1452
01:01:32,484 --> 01:01:35,279
it is a sure-fire kill
on a seal.
1453
01:01:35,362 --> 01:01:39,158
But the suspense,
as a piece of cinema,
it was great.
1454
01:01:39,241 --> 01:01:40,910
(PANTING)
1455
01:01:40,993 --> 01:01:44,205
Horror is about things
that shouldn't be but are.
1456
01:01:44,830 --> 01:01:46,749
If the shark is on the boat,
1457
01:01:46,832 --> 01:01:49,960
the laws of physics
and the universe
are upside down.
1458
01:01:51,503 --> 01:01:54,006
My death, you know,
going into the shark's jaws,
1459
01:01:54,089 --> 01:01:56,884
quite an unpleasant thing,
it weighs about several tons.
1460
01:01:56,967 --> 01:01:59,136
And the jaws absolutely
come down on me
1461
01:01:59,220 --> 01:02:00,679
with hydraulic pressure,
you know.
1462
01:02:02,056 --> 01:02:03,432
(SCREAMING)
1463
01:02:03,515 --> 01:02:05,601
When you do it
14 or 15 times
1464
01:02:05,684 --> 01:02:07,811
in this kind of weather,
in the cold,
1465
01:02:07,895 --> 01:02:09,521
slide right into it,
1466
01:02:10,105 --> 01:02:12,149
and then the teeth
come and bite you.
1467
01:02:12,233 --> 01:02:13,567
Not very nice.
1468
01:02:13,651 --> 01:02:16,111
Now my character's
left aboard the boat,
1469
01:02:16,195 --> 01:02:17,863
and he's trapped
inside the cabin,
1470
01:02:17,947 --> 01:02:18,989
and the boat is sinking.
1471
01:02:19,073 --> 01:02:20,199
INTERVIEWER:
ls this your big scene?
1472
01:02:20,866 --> 01:02:21,867
SCHEIDER: it's the big scene.
1473
01:02:21,951 --> 01:02:23,619
And I'm not gonna
tell you anymore.
1474
01:02:23,702 --> 01:02:25,871
One of the things that,
for me as a kid,
1475
01:02:25,955 --> 01:02:27,206
made me say, "it's real,"
1476
01:02:27,289 --> 01:02:29,083
is the piece of meat.
1477
01:02:29,959 --> 01:02:33,712
When the shark is thrashing,
and you see this piece of meat
1478
01:02:33,796 --> 01:02:36,340
stuck between
the teeth, dangling.
1479
01:02:36,423 --> 01:02:37,841
That is the genius.
1480
01:02:37,925 --> 01:02:39,009
MAN: Okay, start it.
1481
01:02:39,593 --> 01:02:41,512
Okay, Roy, action.
1482
01:02:41,595 --> 01:02:43,180
SPIELBERG:
Blowing up the shark
was not my idea.
1483
01:02:43,806 --> 01:02:45,224
Some of my
earliest collaborators,
1484
01:02:45,307 --> 01:02:47,268
Hal Barwood
and Matthew Robbins,
1485
01:02:47,351 --> 01:02:49,103
they wrote Sugarland Express.
1486
01:02:49,603 --> 01:02:51,230
I gave him Jaws to read,
1487
01:02:51,313 --> 01:02:52,606
and they gave me
a lot of notes.
1488
01:02:52,690 --> 01:02:54,024
And one of the notes was,
1489
01:02:54,108 --> 01:02:55,693
"The shark's got to
blow up at the end."
1490
01:02:55,776 --> 01:02:56,860
"What do you mean,
'Blow up at the end"'?
1491
01:02:56,944 --> 01:02:58,070
"It's got to blow up
in the end,
1492
01:02:58,153 --> 01:02:59,154
"and you know how you do it?
1493
01:03:00,155 --> 01:03:03,784
"You throw into his mouth,
into his jaws, a scuba tank.
1494
01:03:04,493 --> 01:03:07,871
"And then he chomps down
on the scuba tank,
1495
01:03:07,955 --> 01:03:10,541
"and the pressure
from the bite force
blows it up."
1496
01:03:12,376 --> 01:03:13,794
I said, "That's not credible.
1497
01:03:13,877 --> 01:03:16,046
"A shark cannot bite
through a scuba tank."
1498
01:03:17,298 --> 01:03:18,632
And then either
Hal or Matt said,
1499
01:03:18,716 --> 01:03:21,552
"Okay, well, how about
one of the characters
takes a rifle
1500
01:03:21,635 --> 01:03:25,389
"and he shoots a bullet
into the tank
1501
01:03:25,472 --> 01:03:27,516
while the shark
is approaching
1502
01:03:27,599 --> 01:03:29,101
"and blows it up that way?"
1503
01:03:29,184 --> 01:03:31,395
BRODY: Show me the tank.
Show me the tank.
1504
01:03:32,062 --> 01:03:33,105
Blow up!
1505
01:03:33,188 --> 01:03:35,649
CAMERON:
I think it's been debunked
that you can actually blow up
1506
01:03:35,733 --> 01:03:38,736
a charged scuba cylinder
with a high-powered rifle.
1507
01:03:38,819 --> 01:03:40,904
But I was a diver
and I understood
1508
01:03:40,988 --> 01:03:42,614
the power of compressed air,
1509
01:03:42,698 --> 01:03:43,699
so I bought it.
1510
01:03:43,782 --> 01:03:46,368
You screw around
with these tanks
and they're gonna blow up!
1511
01:03:46,452 --> 01:03:48,912
CAMERON: And it was just
a perfect moment of character.
1512
01:03:48,996 --> 01:03:50,372
The fact that he hates water,
1513
01:03:50,456 --> 01:03:51,915
the boat's sinking out
from underneath him,
1514
01:03:51,999 --> 01:03:53,542
the shark's coming
back for him.
1515
01:03:53,625 --> 01:03:56,754
All the pieces fell into place
instantly in the moment.
1516
01:03:58,339 --> 01:04:00,924
And you just wind the tension
tighter and tighter
and tighter,
1517
01:04:01,008 --> 01:04:02,634
and, man, I'll tell you,
that is an art form.
1518
01:04:02,718 --> 01:04:03,969
BRODY: Blow up!
1519
01:04:04,762 --> 01:04:07,473
When you think about it,
it is a bit like
the Death Star moment.
1520
01:04:07,556 --> 01:04:09,058
Smile, you son of a...
1521
01:04:12,144 --> 01:04:14,438
SODERBERGH: There is
an undeniable satisfaction
1522
01:04:14,521 --> 01:04:16,190
in finally destroying
this thing
1523
01:04:16,273 --> 01:04:18,108
that you've seen
cause such carnage.
1524
01:04:18,192 --> 01:04:20,694
(LAUGHING)
1525
01:04:22,821 --> 01:04:25,991
For a movie in which
you've invested two hours,
1526
01:04:26,658 --> 01:04:29,453
you need that kind of release.
1527
01:04:31,330 --> 01:04:33,707
I think the reason it works
is that they really...
1528
01:04:33,791 --> 01:04:34,833
They earn it.
1529
01:04:37,711 --> 01:04:39,880
When the film wrapped
in Martha's Vineyard,
1530
01:04:39,963 --> 01:04:42,216
I had a full-blown
1531
01:04:42,883 --> 01:04:43,884
panic attack.
1532
01:04:45,761 --> 01:04:48,472
I was in it, shall I say,
over my head
1533
01:04:48,555 --> 01:04:51,350
for about seven
or eight months
on Martha's Vineyard.
1534
01:04:51,433 --> 01:04:53,727
It was, logistically,
the most difficult movie
1535
01:04:53,811 --> 01:04:55,312
I think I'll ever make.
1536
01:04:55,396 --> 01:04:58,440
I couldn't breathe,
I thought I was having
a heart attack.
1537
01:04:58,524 --> 01:05:00,317
I couldn't get
a full breath of air.
1538
01:05:00,401 --> 01:05:01,485
I kept going to the bathroom
1539
01:05:01,568 --> 01:05:03,612
and splashing water
on my face.
1540
01:05:03,695 --> 01:05:05,239
I was shaking.
1541
01:05:05,322 --> 01:05:07,574
And I was... I was out of it.
1542
01:05:07,658 --> 01:05:09,410
I was completely out of it.
1543
01:05:10,244 --> 01:05:11,578
And I think it was everything
1544
01:05:11,662 --> 01:05:13,247
that I had experienced
on the island,
1545
01:05:13,330 --> 01:05:15,749
at least trying to not only
hold myself together,
1546
01:05:15,833 --> 01:05:17,459
but hold the crew together.
1547
01:05:17,543 --> 01:05:19,711
And I had
great people helping me
hold the crew together.
1548
01:05:19,795 --> 01:05:24,133
I had Tom Joyner, the AD,
I had Bill Butler, the DP,
1549
01:05:24,216 --> 01:05:26,301
Mike Chapman,
the camera operator.
1550
01:05:27,177 --> 01:05:29,179
I had just a great crew,
1551
01:05:29,263 --> 01:05:31,640
and yet I felt responsible
for everybody there,
1552
01:05:31,723 --> 01:05:33,183
and I felt really responsible
for keeping them there
1553
01:05:33,267 --> 01:05:35,686
for as long as we had to stay.
1554
01:05:35,769 --> 01:05:37,396
And I think I just lost it.
1555
01:05:42,693 --> 01:05:44,069
WOMAN: Well, we're looking
for a nice place
1556
01:05:44,153 --> 01:05:46,447
to show that Quint refuses
to slow down the boat.
1557
01:05:53,412 --> 01:05:54,496
And we'll splice it.
1558
01:05:56,457 --> 01:06:00,502
Verna Fields, she was
a force of stability for me.
1559
01:06:00,586 --> 01:06:02,796
Am in trouble
with Jaws? (LAUGHS)
1560
01:06:02,880 --> 01:06:04,173
In Jaws trouble?
1561
01:06:04,256 --> 01:06:06,592
Verna was working
at Martha's Vineyard.
1562
01:06:07,342 --> 01:06:09,344
I mean, I'm looking
for our mark, our good place.
1563
01:06:10,095 --> 01:06:11,388
That's the spot, Steve.
1564
01:06:11,472 --> 01:06:14,057
But once they wrapped
in Martha's Vineyard,
1565
01:06:14,141 --> 01:06:18,020
they came back to LA
and they shot in the MGM tank.
1566
01:06:19,813 --> 01:06:21,398
MAN 1: You want to
walk the plank here, Steven?
1567
01:06:21,482 --> 01:06:22,608
This is it.
1568
01:06:25,819 --> 01:06:27,112
We are ready.
1569
01:06:27,196 --> 01:06:28,363
MAN 2:
Roll B camera, please.
1570
01:06:30,449 --> 01:06:32,910
The whole attack in the cage
of the mechanical shark
1571
01:06:32,993 --> 01:06:36,246
attacking Richard Dreyfuss,
was done in the tank at MGM.
1572
01:06:36,830 --> 01:06:37,915
MAN 2: Okay, attack!
1573
01:06:43,795 --> 01:06:47,049
And also the close-ups
of the shark on the surface,
1574
01:06:47,132 --> 01:06:48,550
with the tank in its mouth.
1575
01:06:49,384 --> 01:06:50,385
And even the shots of, like,
1576
01:06:50,469 --> 01:06:51,929
the marbles that
they were slingshotting
1577
01:06:52,012 --> 01:06:54,932
through the water
to resemble the bullets.
1578
01:06:55,015 --> 01:06:56,558
Even though we wrapped
in Martha's Vineyard,
1579
01:06:56,642 --> 01:06:58,977
the film kept shooting
for another two months.
1580
01:06:59,978 --> 01:07:02,564
Cut, cut, cut, cut,
cut, cut, cut, cut.
1581
01:07:02,648 --> 01:07:03,815
Once again, right away.
1582
01:07:03,899 --> 01:07:07,528
In a couple of cases,
he had to go rogue
1583
01:07:07,611 --> 01:07:11,156
and pick up some of these
inserts on his own
1584
01:07:11,240 --> 01:07:13,492
without really
letting anybody know.
1585
01:07:13,575 --> 01:07:17,371
Because they told him,
like, "The spigot is off."
1586
01:07:18,455 --> 01:07:22,292
I actually went into my editor
Verna Field's swimming pool
in the Valley.
1587
01:07:22,376 --> 01:07:23,585
I think Sherman Oaks.
1588
01:07:24,044 --> 01:07:27,589
When Hooper goes underwater
and finds Ben Gardner's head.
1589
01:07:27,673 --> 01:07:29,174
We went into the pool,
we shot it.
1590
01:07:29,883 --> 01:07:32,344
Keeps going back
and making changes
1591
01:07:32,427 --> 01:07:35,430
and redoing things
and making them better.
1592
01:07:36,014 --> 01:07:37,599
Hey! I got it!
1593
01:07:37,683 --> 01:07:39,142
(LINE ZIPPING)
1594
01:07:40,269 --> 01:07:41,770
What?
Get behind me.
1595
01:07:41,853 --> 01:07:43,647
Watching Jaws
for the first time
1596
01:07:43,730 --> 01:07:45,107
was a wonderful experience,
1597
01:07:45,190 --> 01:07:47,859
I would say, also very typical
of Steven Spielberg
1598
01:07:47,943 --> 01:07:49,444
and his filmmaking technique
1599
01:07:49,528 --> 01:07:51,989
and the fun that
he has making films.
1600
01:07:52,072 --> 01:07:54,199
And I remember thinking
and telling him that
1601
01:07:54,283 --> 01:07:57,202
it was a great opportunity
for me to create music
1602
01:07:57,286 --> 01:07:59,580
with a very young man
that I worked with once,
1603
01:07:59,663 --> 01:08:01,999
Sugarland Express,
who I liked enormously.
1604
01:08:02,082 --> 01:08:03,041
Show me the bass.
1605
01:08:03,166 --> 01:08:05,043
It should be big
on the A, D.
MAN: Yeah.
1606
01:08:05,127 --> 01:08:07,296
You have two notes there.
(NOTES PLAYING ON INSTRUMENT)
1607
01:08:07,379 --> 01:08:10,716
I don't know that
you can talk about Jaws
1608
01:08:10,799 --> 01:08:14,344
without talking about
those two iconic notes
1609
01:08:14,428 --> 01:08:16,263
that John Williams created.
1610
01:08:17,389 --> 01:08:19,349
SPIELBERG: All human beings
come equipped...
1611
01:08:19,433 --> 01:08:20,642
Hey, take, please.
1612
01:08:20,726 --> 01:08:23,854
...to be able to
suspend our disbelief,
1613
01:08:23,937 --> 01:08:26,982
to be transported
more by music
1614
01:08:27,065 --> 01:08:30,652
than any other
single art stimulus.
1615
01:08:31,612 --> 01:08:35,574
Music, with our eyes closed,
will take us places
1616
01:08:35,657 --> 01:08:38,452
that no other medium
or art form can take us.
1617
01:08:39,077 --> 01:08:41,913
John Williams told us
when to react
1618
01:08:41,997 --> 01:08:45,042
and when to start
getting ready for an attack.
1619
01:08:45,125 --> 01:08:47,753
One, two, three, one.
1620
01:08:47,836 --> 01:08:50,839
John Williams
showed you the power
of just music and image,
1621
01:08:50,922 --> 01:08:54,217
and you see the victim
from the predator's
point of view.
1622
01:08:54,885 --> 01:08:57,679
That relentless score
with those low cellos,
1623
01:08:57,763 --> 01:08:59,139
you become that shark.
1624
01:09:00,515 --> 01:09:03,185
This idea of characterizing
the shark musically...
1625
01:09:03,268 --> 01:09:04,895
He's taking it.
He's taking it. Hey!
1626
01:09:04,978 --> 01:09:07,397
WILLIAMS:
...was the result of a
very simple idea that I had.
1627
01:09:07,481 --> 01:09:09,691
I thought maybe
some kind of bom, bom,
bom, bom, bom,
1628
01:09:09,775 --> 01:09:13,362
might indicate this
mindless attack of the shark,
1629
01:09:14,029 --> 01:09:15,906
this relentless
drive that it has.
1630
01:09:16,823 --> 01:09:18,659
And you don't know if
it will work on an audience
1631
01:09:18,742 --> 01:09:19,826
until you try it.
1632
01:09:27,584 --> 01:09:29,378
REBELLO: Next door
is The Island Theater.
1633
01:09:29,461 --> 01:09:31,129
It's closed down
at the moment.
1634
01:09:31,213 --> 01:09:34,758
But back in 1975,
when the movie came out,
1635
01:09:34,841 --> 01:09:35,884
it had the premiere there.
1636
01:09:36,885 --> 01:09:39,471
It was the biggest thing
to really hit the island
1637
01:09:39,554 --> 01:09:40,722
in my lifetime, at that point.
1638
01:09:44,518 --> 01:09:47,354
When they had
the debut in June,
1639
01:09:47,437 --> 01:09:49,231
it was very crowded, very hot.
1640
01:09:50,315 --> 01:09:53,485
And a bunch of us got
to go in and sit upstairs,
1641
01:09:53,568 --> 01:09:55,445
which is like the VIP area.
1642
01:09:56,655 --> 01:09:58,115
We didn't know what to expect.
1643
01:09:58,740 --> 01:10:00,742
Within ten minutes,
I'm jumping out of my seat
and I'm saying,
1644
01:10:00,826 --> 01:10:02,703
"I never saw that when I was
on the beach all summer."
1645
01:10:03,370 --> 01:10:05,414
We started to realize that,
while we experienced
1646
01:10:05,497 --> 01:10:07,457
this whole summer
on the beach,
1647
01:10:08,041 --> 01:10:10,669
we never really knew
how a movie's made.
1648
01:10:10,752 --> 01:10:13,046
My whole first time I saw it,
1649
01:10:13,130 --> 01:10:15,841
was just seeing
who was in it
that I didn't know.
1650
01:10:16,675 --> 01:10:18,927
MAN 1: You know, it was
almost embarrassing.
1651
01:10:19,678 --> 01:10:22,556
It was the first time
I'd seen myself on the screen,
1652
01:10:22,639 --> 01:10:24,015
but to see
the finished product
1653
01:10:24,099 --> 01:10:26,351
be as spectacular as it was,
1654
01:10:26,435 --> 01:10:27,853
was very rewarding.
1655
01:10:28,603 --> 01:10:31,189
WENDY: David Brown
and Richard Zanuck
asked Peter and I
1656
01:10:31,273 --> 01:10:34,359
to go to a private
screening of Jaws
1657
01:10:34,443 --> 01:10:37,154
along with many
of our dive friends,
1658
01:10:37,237 --> 01:10:40,615
Ron and Valerie Taylor,
Stan Waterman.
1659
01:10:40,699 --> 01:10:43,243
And we had no idea
whether this movie
1660
01:10:43,326 --> 01:10:45,662
was going to really
work with people
1661
01:10:45,746 --> 01:10:48,123
who knew the ocean
and knew sharks.
1662
01:10:48,206 --> 01:10:51,501
And at the end, they all
got up and applauded
1663
01:10:51,585 --> 01:10:54,045
and thought it was
absolutely fabulous.
1664
01:10:55,046 --> 01:10:57,716
MAN 2: it was the first movie
to break $100 million.
1665
01:10:57,799 --> 01:11:00,051
It annihilated the competition
that had come before it.
1666
01:11:00,135 --> 01:11:02,763
The Exorcist, The Godfather,
those big massive hits.
1667
01:11:02,846 --> 01:11:04,639
Jaws eclipsed them
by a long, long way.
1668
01:11:04,723 --> 01:11:07,392
And by the end of it,
it actually finished
its domestic run,
1669
01:11:07,476 --> 01:11:09,352
it had made a quarter
of a billion dollars,
1670
01:11:09,436 --> 01:11:11,980
which is over
a billion dollars today.
1671
01:11:12,063 --> 01:11:13,106
GOTTLIEB: There were
mixed reviews.
1672
01:11:13,190 --> 01:11:15,817
The reviews at first
were what we were expecting,
1673
01:11:15,901 --> 01:11:18,653
which was, "Okay, here's
the popcorn summer picture."
1674
01:11:18,737 --> 01:11:20,238
And it wasn't until, like,
1675
01:11:20,322 --> 01:11:23,450
the third month of release
when it kept grossing.
1676
01:11:23,533 --> 01:11:24,993
A lot of the reviewers said,
1677
01:11:25,076 --> 01:11:26,745
"You know, there's
something here we missed,"
1678
01:11:26,828 --> 01:11:28,663
and that turned out
to be true.
1679
01:11:30,290 --> 01:11:32,292
The summer and fall of '75
1680
01:11:32,375 --> 01:11:35,837
had two major events
in terms of our culture.
1681
01:11:35,921 --> 01:11:37,881
Jaws became a part
of the culture.
1682
01:11:37,964 --> 01:11:41,092
And they had
the first live telecast
1683
01:11:41,176 --> 01:11:42,219
of Saturday Night Live.
1684
01:11:42,302 --> 01:11:45,013
Live from New York,
it's Saturday night!
1685
01:11:45,096 --> 01:11:48,517
I was in the audience
when the land shark showed up.
1686
01:11:48,600 --> 01:11:49,601
What is it?
1687
01:11:50,227 --> 01:11:51,228
Land shark.
1688
01:11:51,311 --> 01:11:53,271
Remember Candygram?
MAN 1: Candygram.
1689
01:11:53,980 --> 01:11:55,023
That was hysterical!
1690
01:11:55,106 --> 01:11:56,274
(SCREAMS)
1691
01:11:57,150 --> 01:11:58,735
Not only was it summer,
1692
01:11:58,819 --> 01:12:01,196
and suddenly you were afraid
of going to the beach,
1693
01:12:01,279 --> 01:12:02,405
but it was also
just something that
1694
01:12:02,489 --> 01:12:03,657
was on everyone's lips.
1695
01:12:03,740 --> 01:12:05,283
Jaws! (LAUGHS)
1696
01:12:05,367 --> 01:12:08,745
Jaws wasn't just a movie,
it was a pop culture
phenomenon.
1697
01:12:09,371 --> 01:12:11,706
People wanted to put things on
that were about Jaws.
1698
01:12:12,541 --> 01:12:14,584
And I desperately
wanted a T-shirt.
1699
01:12:16,711 --> 01:12:20,257
The first two records I bought
as a kid with my own money
1700
01:12:20,340 --> 01:12:21,716
were The Godfather and Jaws.
1701
01:12:21,800 --> 01:12:23,927
MAN 2: Shark business
has been terrific.
1702
01:12:24,469 --> 01:12:26,847
Everything's gone
that even looks like a shark.
1703
01:12:26,930 --> 01:12:29,808
And I just wanted to get
every little thing
I could find,
1704
01:12:29,891 --> 01:12:31,685
toys, magazines, books.
1705
01:12:32,269 --> 01:12:34,104
SPIELBERG: Jaws made
the cover of Time,
1706
01:12:34,187 --> 01:12:36,106
and we also made
the cover of Mad Magazine.
1707
01:12:36,731 --> 01:12:38,608
I got to tell you,
I was prouder
1708
01:12:38,692 --> 01:12:40,402
of being on the cover
of Mad Magazine.
1709
01:12:40,485 --> 01:12:41,945
(LAUGHS)
1710
01:12:42,028 --> 01:12:43,864
They had towels and T-shirts.
1711
01:12:44,364 --> 01:12:47,117
There's that great picture
of Dick Zanuck sitting there
1712
01:12:47,200 --> 01:12:48,827
with all the merch around him.
1713
01:12:49,870 --> 01:12:52,914
So it became this monster
in its own right.
1714
01:12:58,795 --> 01:13:00,255
When a film is on the cusp
1715
01:13:00,338 --> 01:13:02,799
of being considered
for awards,
1716
01:13:02,883 --> 01:13:05,594
it's not so much
what you want for yourself,
1717
01:13:05,677 --> 01:13:08,680
it's what everybody else says
is going to happen for you.
1718
01:13:08,763 --> 01:13:10,181
Steve, if you're not
number one,
1719
01:13:10,265 --> 01:13:11,558
then I know there's a fix in.
1720
01:13:12,309 --> 01:13:13,810
SPIELBERG:
So I just understood
1721
01:13:13,894 --> 01:13:15,061
that I guess
I'm getting nominated.
1722
01:13:16,104 --> 01:13:18,315
So when I wasn't,
I was surprised,
1723
01:13:18,398 --> 01:13:19,649
and I was disappointed.
1724
01:13:19,733 --> 01:13:21,860
I wasn't nominated
for best director for Jaws.
1725
01:13:21,943 --> 01:13:24,613
Because I was
believing the noise,
1726
01:13:24,696 --> 01:13:26,656
and you have to not
believe that stuff.
1727
01:13:28,074 --> 01:13:29,868
But the film won for music.
1728
01:13:29,951 --> 01:13:31,202
John Williams for Jaws.
1729
01:13:31,286 --> 01:13:32,287
SPIELBERG: And sound.
1730
01:13:32,370 --> 01:13:35,206
Robert L. Hoyt,
Roger Heman, Earl Madery
1731
01:13:35,290 --> 01:13:36,708
and John Carter for Jaws!
1732
01:13:36,791 --> 01:13:38,001
SPIELBERG: And editing.
1733
01:13:38,543 --> 01:13:40,337
Verna Fields for Jaws.
1734
01:13:41,671 --> 01:13:44,883
SPIELBERG: And Jaws was up
for best picture against
1735
01:13:44,966 --> 01:13:46,801
One Flew Over
the Cuckoo's Nest,
1736
01:13:46,885 --> 01:13:48,637
which, of course,
won the Oscar.
1737
01:13:48,720 --> 01:13:49,930
Oh, yeah,
I would have voted for
1738
01:13:50,013 --> 01:13:51,222
One Flew Over
the Cuckoo's Nest
1739
01:13:51,306 --> 01:13:52,557
over Jaws for best picture.
1740
01:13:52,641 --> 01:13:53,683
I would have done that.
1741
01:13:54,267 --> 01:13:55,644
REPORTER: You have
to ask the question,
1742
01:13:55,727 --> 01:13:58,229
would people have gotten
this excited over a shark
1743
01:13:58,313 --> 01:13:59,314
two or three years ago,
1744
01:13:59,397 --> 01:14:01,900
before the book
and the movie of Jaws?
1745
01:14:01,983 --> 01:14:03,818
Well, one of the crewmen
on the boat that caught it
1746
01:14:03,902 --> 01:14:05,528
said, "Two or three years ago,
1747
01:14:05,612 --> 01:14:08,156
"we wouldn't have even
taken the time to catch it."
1748
01:14:08,239 --> 01:14:11,660
When Jaws came out,
we were truly horrified
1749
01:14:11,743 --> 01:14:15,413
to see that some people
took it as a license
1750
01:14:15,497 --> 01:14:16,831
to go kill sharks.
1751
01:14:19,125 --> 01:14:21,002
One of the bad things
that came out of the film
1752
01:14:21,086 --> 01:14:22,837
was shark hunting spiked.
1753
01:14:22,921 --> 01:14:25,090
MAN 3: Teeth fall out
and you put them
on a gold chain
1754
01:14:25,173 --> 01:14:26,549
and you go to the movie
and see Jaws,
1755
01:14:26,633 --> 01:14:27,884
and you have it made.
1756
01:14:27,968 --> 01:14:28,969
Everybody thinks
you're the best.
1757
01:14:29,052 --> 01:14:31,012
Trophy hunting
was very popular,
1758
01:14:31,096 --> 01:14:33,264
and the numbers
of white sharks
1759
01:14:33,348 --> 01:14:36,101
had gone down as much as 80%.
1760
01:14:36,977 --> 01:14:38,687
People wanted
to be like Quint,
1761
01:14:39,312 --> 01:14:41,564
people wanted
to have that trophy
1762
01:14:41,648 --> 01:14:42,691
that they could show off.
1763
01:14:42,774 --> 01:14:45,110
$10,000 for me, by myself.
1764
01:14:45,193 --> 01:14:47,612
For that, you get
the head, the tail,
1765
01:14:47,696 --> 01:14:49,447
the whole damn thing.
1766
01:14:49,531 --> 01:14:52,450
There's definitely that
kind of negative connotation
1767
01:14:52,534 --> 01:14:54,911
that came from Jaws
about sharks,
1768
01:14:54,995 --> 01:14:56,621
which is very unfortunate
because I think
1769
01:14:56,705 --> 01:14:58,289
there's other
takeaways as well.
1770
01:14:58,999 --> 01:15:00,583
The impact of the movie,
you know,
1771
01:15:00,667 --> 01:15:02,669
was horrendous at first,
1772
01:15:02,752 --> 01:15:04,170
but now people
are really interested
1773
01:15:04,254 --> 01:15:05,255
in the shark itself,
1774
01:15:05,338 --> 01:15:07,048
you know, not just
something scary.
1775
01:15:08,425 --> 01:15:09,551
Because of this film,
1776
01:15:09,634 --> 01:15:13,263
we've had so much energy
that has come into the field
1777
01:15:13,346 --> 01:15:14,889
of learning
and understanding sharks
1778
01:15:14,973 --> 01:15:16,349
and also safeguarding them.
1779
01:15:18,351 --> 01:15:20,854
SKERRY: There's hundreds
of species of sharks.
1780
01:15:20,937 --> 01:15:24,899
They all do vital things,
keeping the ocean healthy,
1781
01:15:25,859 --> 01:15:28,695
and therefore,
the scariest thing
1782
01:15:28,778 --> 01:15:30,280
would be an ocean
without sharks.
1783
01:15:31,489 --> 01:15:33,408
Now we're much more
enlightened,
1784
01:15:33,491 --> 01:15:35,410
but there's still horrific
1785
01:15:35,493 --> 01:15:37,829
slaughter of sharks
going on out there.
1786
01:15:37,912 --> 01:15:40,123
There's a lot
of the fishing industry
where they fin them
1787
01:15:40,206 --> 01:15:41,916
and they put them back
in the water still alive,
1788
01:15:42,000 --> 01:15:44,127
so they just sink
to the bottom and die.
1789
01:15:44,210 --> 01:15:47,005
And those of us
that are in ocean conservation
1790
01:15:47,088 --> 01:15:48,506
are trying to prevent that.
1791
01:15:49,090 --> 01:15:52,844
That is the really
big issue in the oceans
1792
01:15:52,927 --> 01:15:55,680
for the devastation
of the shark population.
1793
01:15:57,307 --> 01:16:00,852
With conservation efforts
and protection of the species,
1794
01:16:00,935 --> 01:16:03,980
we're seeing the population
start to rebound.
1795
01:16:04,064 --> 01:16:06,191
Today, if a shark
washes up on a beach,
1796
01:16:06,274 --> 01:16:07,275
which has actually happened,
1797
01:16:07,358 --> 01:16:09,527
now we see people
trying to get this animal
1798
01:16:09,611 --> 01:16:11,529
back into the water
and resuscitate it.
1799
01:16:12,113 --> 01:16:14,240
That would have never
happened 50 years ago.
1800
01:16:15,366 --> 01:16:18,828
The negative reaction
hurt us and horrified us,
1801
01:16:18,912 --> 01:16:22,874
and we became passionate
defenders of sharks.
1802
01:16:22,957 --> 01:16:26,461
We went with
the National Geographic
on expeditions,
1803
01:16:26,544 --> 01:16:28,463
and we were so fortunate
1804
01:16:28,546 --> 01:16:31,466
to learn
with these scientists
and other experts.
1805
01:16:31,549 --> 01:16:35,470
After all of this time
of being aware of
and fishing for
1806
01:16:35,553 --> 01:16:37,889
and somehow
encouraging the animal,
1807
01:16:37,972 --> 01:16:39,307
now the time has
come to protect it.
1808
01:16:40,100 --> 01:16:42,185
Peter died in '06,
1809
01:16:42,268 --> 01:16:44,145
and I wish he were here now
1810
01:16:44,229 --> 01:16:46,815
to be able to see
all of these changes,
1811
01:16:46,898 --> 01:16:49,984
and to see that
Jaws is still relevant
1812
01:16:50,068 --> 01:16:51,277
after 50 years.
1813
01:16:51,361 --> 01:16:53,446
I think he'd be
very, very pleased.
1814
01:16:55,782 --> 01:16:58,993
We've also got people outside
of the immediate Jaws family
1815
01:16:59,077 --> 01:17:01,830
picking up the gauntlet
and driving
the legacy forward.
1816
01:17:02,455 --> 01:17:03,748
Like Robert Shaw's son,
1817
01:17:03,832 --> 01:17:06,501
who has co-written a play
called The Shark ls Broken,
1818
01:17:06,584 --> 01:17:08,545
about the making of Jaws,
which is set on the Orca,
1819
01:17:08,628 --> 01:17:09,629
in which he plays his dad.
1820
01:17:09,712 --> 01:17:10,713
(LAUGHING)
1821
01:17:10,797 --> 01:17:12,340
Who gets top billing?
1822
01:17:12,423 --> 01:17:15,885
There's such a generosity
of feeling towards Jaws,
1823
01:17:15,969 --> 01:17:19,556
and there's such a desire
to revisit and go back.
1824
01:17:20,140 --> 01:17:21,808
My father would
have been shocked.
1825
01:17:22,350 --> 01:17:25,019
The idea that
50 years later,
1826
01:17:25,103 --> 01:17:27,939
people would still
be quite so interested.
1827
01:17:28,773 --> 01:17:29,858
He would think
it would be like
1828
01:17:29,941 --> 01:17:31,359
some sort of
weird religious cult.
1829
01:17:32,026 --> 01:17:33,361
I honest to God thought
1830
01:17:33,444 --> 01:17:35,655
I was really the only
Jaws fan out there.
1831
01:17:35,738 --> 01:17:37,323
And then came the Internet.
1832
01:17:38,116 --> 01:17:39,951
Now, on Facebook,
there's Jaws groups.
1833
01:17:40,451 --> 01:17:42,120
Instagram,
there's Jaws groups.
1834
01:17:42,704 --> 01:17:44,247
The Daily Jaws is out there.
1835
01:17:44,789 --> 01:17:47,876
The goal was to post something
about Jaws on social media
1836
01:17:47,959 --> 01:17:50,170
every day to celebrate
the 40th anniversary.
1837
01:17:51,171 --> 01:17:53,798
People were really resonating
with what we were posting,
1838
01:17:53,882 --> 01:17:55,884
and people said,
"You got to keep going."
1839
01:17:55,967 --> 01:17:57,468
So 10 years later,
here we are.
1840
01:17:57,969 --> 01:17:59,721
Just last week,
I was at the grocery store,
1841
01:17:59,804 --> 01:18:03,224
and on the inside
of the grocery cart,
1842
01:18:03,308 --> 01:18:05,810
it said, "You're gonna
need a bigger cart."
1843
01:18:07,103 --> 01:18:08,897
MAN: Jaws has become
one of these movies
1844
01:18:08,980 --> 01:18:10,899
that's kind of taken on
a life of its own.
1845
01:18:10,982 --> 01:18:13,818
In terms of
the main community,
there's quite a few.
1846
01:18:14,652 --> 01:18:16,946
When you look on your phone
and you're looking at the map,
1847
01:18:17,030 --> 01:18:21,534
you see Jaws Bridge as one of
the locations on Google Maps.
1848
01:18:22,035 --> 01:18:25,747
They have names of drinks
at bars named after Jaws.
1849
01:18:25,830 --> 01:18:27,582
For the beach scene in Us,
1850
01:18:27,665 --> 01:18:31,252
I remember begging Steven
to allow me to use
1851
01:18:31,336 --> 01:18:33,338
the Jaws shirt in my scene
1852
01:18:33,421 --> 01:18:35,715
because what he was
doing with Hitchcock,
1853
01:18:35,798 --> 01:18:38,509
I was piggybacking
and sort of doing with him.
1854
01:18:38,593 --> 01:18:42,347
There's still Jaws
merchandise being created.
1855
01:18:45,892 --> 01:18:47,518
There's a LEGO coming out.
1856
01:18:47,602 --> 01:18:49,812
There's people doing
T-shirts, posters.
1857
01:18:49,896 --> 01:18:52,190
And people are still buying it
because they're still drawn
1858
01:18:52,273 --> 01:18:54,651
to everything
associated with Jaws.
1859
01:18:54,734 --> 01:18:56,236
My theme of my birthday party
1860
01:18:56,319 --> 01:18:58,029
when I was, like,
two years old was Jaws..
1861
01:18:58,446 --> 01:18:59,447
What?
Mmm-hmm.
1862
01:19:01,032 --> 01:19:03,743
You know
what's very interesting
about this, Laurent.
1863
01:19:03,868 --> 01:19:06,246
You know that
shower scene in...
INTERVIEWER: Psycho.
1864
01:19:06,329 --> 01:19:08,206
(PLAYS PSYCHO STING)
1865
01:19:08,289 --> 01:19:10,792
Which has terrified us
when we saw the movie,
1866
01:19:10,875 --> 01:19:13,002
and now if I say it
to an audience
1867
01:19:13,086 --> 01:19:14,754
and demonstrate something,
they all laugh.
1868
01:19:14,837 --> 01:19:15,838
It becomes funny.
1869
01:19:15,922 --> 01:19:17,173
What also is funny...
1870
01:19:17,257 --> 01:19:18,549
(PLAYS JAWS THEME)
1871
01:19:18,633 --> 01:19:19,634
They will laugh.
1872
01:19:20,301 --> 01:19:24,055
So there's been a change
of response over the years
1873
01:19:24,138 --> 01:19:26,057
to something that actually,
when we first...
1874
01:19:26,140 --> 01:19:28,184
in the context for which
it was written,
1875
01:19:28,268 --> 01:19:31,145
has become now
a cultural thing.
1876
01:19:31,229 --> 01:19:34,023
Where it's going to be
50 years from now,
I don't know.
1877
01:19:34,941 --> 01:19:36,609
MAN: All right,
it's January 12.
1878
01:19:36,693 --> 01:19:39,821
So we have
successfully stripped
1879
01:19:39,904 --> 01:19:43,491
all of the textured paint off.
1880
01:19:44,284 --> 01:19:47,620
NICOTERO: In 1991, the shark
ended up in a junkyard.
1881
01:19:47,704 --> 01:19:49,080
The junkyard was closing.
1882
01:19:49,163 --> 01:19:52,667
It got donated to the
Motion Picture Academy Museum,
1883
01:19:52,750 --> 01:19:54,252
and I reached out
to them and I said,
1884
01:19:54,335 --> 01:19:57,171
"I would love to do
the restoration."
1885
01:19:57,255 --> 01:19:59,966
I'm friends with Joe Alves.
We can consult.
1886
01:20:00,591 --> 01:20:02,802
I have access to all the
original teeth,
1887
01:20:02,885 --> 01:20:05,555
because the inside
of the mouth
needed to be sculpted,
1888
01:20:05,638 --> 01:20:07,473
the gills needed
to be sculpted,
1889
01:20:07,557 --> 01:20:08,766
some of the fins were gone.
1890
01:20:08,850 --> 01:20:10,351
As you can see,
1891
01:20:10,435 --> 01:20:14,147
it's really in fantastic
condition underneath.
1892
01:20:14,856 --> 01:20:17,275
And we had a crew
of about nine people,
1893
01:20:17,358 --> 01:20:19,861
and it took us
about six months.
1894
01:20:20,862 --> 01:20:22,238
So I donated
a lot of the labor
1895
01:20:22,322 --> 01:20:23,948
because I really
wanted to do it.
1896
01:20:24,449 --> 01:20:27,201
And lo and behold,
now it exists again.
1897
01:20:32,665 --> 01:20:34,375
YOUNG SPIELBERG:
When you make a film,
at least when I make a film,
1898
01:20:34,459 --> 01:20:36,044
I have to be passionate
about the subject matter.
1899
01:20:36,127 --> 01:20:37,462
I have to know that
that's all I want to do
1900
01:20:37,545 --> 01:20:38,880
for the next couple of years.
1901
01:20:38,963 --> 01:20:40,423
And I have to know
that's where my lifestyle
1902
01:20:40,506 --> 01:20:41,966
will be two years from now.
1903
01:20:42,050 --> 01:20:43,551
I just think it's
very important to...
1904
01:20:43,634 --> 01:20:46,346
You know, to spend
the time and, you know,
1905
01:20:46,429 --> 01:20:49,265
consider each film kind of
1906
01:20:49,349 --> 01:20:50,892
the beginning, middle
and end of your life.
1907
01:20:51,642 --> 01:20:54,145
SPIELBERG:
I had a real tough time
when I finished the movie,
1908
01:20:54,228 --> 01:20:56,439
and the success
was fantastic,
1909
01:20:56,522 --> 01:20:58,524
but it didn't stop
the nightmares.
1910
01:20:58,608 --> 01:21:01,611
It didn't stop me waking up
in the middle of the night
in a cold sweat,
1911
01:21:01,694 --> 01:21:03,988
where the sheets
would be soaking wet.
1912
01:21:04,072 --> 01:21:07,241
We didn't have the words
"PTSD" in those days,
1913
01:21:07,325 --> 01:21:08,826
and I had
consistent nightmares
1914
01:21:08,910 --> 01:21:11,454
about directing Jaws
for years afterwards.
1915
01:21:11,537 --> 01:21:14,582
I was still on the movie,
and the film was never ending.
1916
01:21:15,208 --> 01:21:16,501
When they brought
one of the boats
1917
01:21:16,584 --> 01:21:18,211
all the way back
from Martha's Vineyard
1918
01:21:18,294 --> 01:21:19,921
and shipped the boat,
the Orca,
1919
01:21:20,004 --> 01:21:21,255
to the Universal back lot
1920
01:21:21,339 --> 01:21:23,633
and put it in the water
right next to the Jaws ride.
1921
01:21:23,716 --> 01:21:24,967
(PEOPLE SCREAMING)
1922
01:21:26,344 --> 01:21:28,221
I used to get on
my electric cart
1923
01:21:28,304 --> 01:21:29,764
without telling anybody,
1924
01:21:30,348 --> 01:21:31,808
and I would sneak
behind the trams,
1925
01:21:31,891 --> 01:21:33,142
nobody could see me.
1926
01:21:33,226 --> 01:21:35,395
And I'd just sneak
onboard the boat,
1927
01:21:35,478 --> 01:21:37,730
and I would sit in the cabin
1928
01:21:37,814 --> 01:21:40,316
in that little
leather red booth,
1929
01:21:41,234 --> 01:21:44,487
and I would just sit there
and sometimes cry.
1930
01:21:44,570 --> 01:21:47,407
I had nothing to cry about.
The film was this phenomenon.
1931
01:21:47,490 --> 01:21:50,201
And I'm sitting here
shedding tears
1932
01:21:50,284 --> 01:21:54,122
because I am not able
to divest myself
1933
01:21:54,205 --> 01:21:55,456
of the experience.
1934
01:21:55,540 --> 01:21:58,626
The boat helped me
to begin to forget.
1935
01:21:58,709 --> 01:22:02,505
That Orca was
my therapeutic companion
1936
01:22:02,588 --> 01:22:05,800
for several years
after Jaws came out.
1937
01:22:08,511 --> 01:22:10,596
NICOTERO: Jaws
has transcended time
1938
01:22:10,680 --> 01:22:13,975
because it's built
this mythology.
1939
01:22:14,058 --> 01:22:16,686
And aside from the fact
that it's a great movie,
1940
01:22:16,769 --> 01:22:20,398
it's also a unique
cautionary tale
about filmmaking.
1941
01:22:21,858 --> 01:22:27,155
People are still enthralled
with how man slayed the beast.
1942
01:22:27,238 --> 01:22:28,865
MAN: Break it up,
will ya, Chief?
1943
01:22:29,574 --> 01:22:31,242
Daylight's wastin'!
1944
01:22:31,993 --> 01:22:36,998
This was a movie
that taught me that horror
1945
01:22:37,081 --> 01:22:41,794
didn't have to be something
that left me feeling icky.
1946
01:22:43,629 --> 01:22:44,922
You okay?
1947
01:22:45,006 --> 01:22:48,259
MASLIN:
it hasn't lost a minute
in terms of timeliness.
1948
01:22:48,926 --> 01:22:51,679
If anything, it seems fresher
to me now than it did then.
1949
01:22:51,762 --> 01:22:54,807
We're more afraid
of the natural world
than we were.
1950
01:22:55,349 --> 01:22:59,103
And we're more acclimated
to the same kind of corruption
1951
01:22:59,187 --> 01:23:01,147
where politicians
will do anything
1952
01:23:01,230 --> 01:23:03,191
to hide what they
don't want you to know.
1953
01:23:04,817 --> 01:23:05,943
ZEMECKIS: I think
it's fair to say that
1954
01:23:06,027 --> 01:23:07,612
cinema wouldn't be
where it is without Jaws.
1955
01:23:08,696 --> 01:23:12,533
It just supercharged
the language of cinema.
1956
01:23:12,617 --> 01:23:14,076
Hurry it up. He's coming
straight for us.
1957
01:23:14,160 --> 01:23:15,870
Don't screw it up now.
Don't wait for me.
1958
01:23:17,163 --> 01:23:19,040
Jaws moved the bar
in terms of
1959
01:23:19,123 --> 01:23:22,376
audiences and what kind
of thrill they might get.
1960
01:23:25,796 --> 01:23:27,590
GOTTLIEB:
it's only the audience
that makes a hit.
1961
01:23:28,549 --> 01:23:31,052
And after 50 years,
they've been telling us,
"Okay, Jaws is a hit."
1962
01:23:31,135 --> 01:23:32,136
We like this movie.
1963
01:23:33,179 --> 01:23:35,723
It's an endless conversation
you can have about Jaws,
1964
01:23:35,806 --> 01:23:37,892
and all the details
forever seem
1965
01:23:37,975 --> 01:23:39,060
to reveal themselves to me.
1966
01:23:39,143 --> 01:23:41,771
You kind of noticed
something new every time.
1967
01:23:41,854 --> 01:23:44,315
I love that film
can morph into being
1968
01:23:44,398 --> 01:23:45,816
one thing for one generation
1969
01:23:45,900 --> 01:23:48,069
and then another thing
to the next generation.
1970
01:23:48,861 --> 01:23:50,071
One of my favorite lines is...
1971
01:23:50,154 --> 01:23:52,907
Michael! Did you
hear your father?
1972
01:23:52,990 --> 01:23:54,158
Out of the water!
1973
01:23:54,242 --> 01:23:55,243
Now!
1974
01:23:55,326 --> 01:23:56,702
Now!
1975
01:23:56,786 --> 01:23:58,454
I love that scene.
(WHISTLE BLOWS)
1976
01:23:59,664 --> 01:24:03,209
The lesson in cinema for me,
with Steven in particular,
1977
01:24:03,709 --> 01:24:06,671
is the ability
to make things work
1978
01:24:06,754 --> 01:24:08,297
when nothing is working.
1979
01:24:08,923 --> 01:24:11,300
I want the safety boat out
because they can't see
what I'm doing.
1980
01:24:11,384 --> 01:24:12,677
The whole thing
is a complete mess,
1981
01:24:12,760 --> 01:24:14,845
but it ends up being
this symphony
1982
01:24:14,929 --> 01:24:17,098
where everything
just comes together.
1983
01:24:18,057 --> 01:24:19,767
The editing, the music,
the acting,
1984
01:24:19,850 --> 01:24:21,185
the wonderful direction.
1985
01:24:22,019 --> 01:24:24,313
A wise director
understands that
1986
01:24:24,397 --> 01:24:27,233
directing is his
hostage negotiation
with reality,
1987
01:24:27,775 --> 01:24:29,777
and the movie is
as flawless today
1988
01:24:29,860 --> 01:24:31,946
as it will be
100 years from now.
1989
01:24:33,990 --> 01:24:37,660
It's one of those
rare occurrences where
1990
01:24:37,743 --> 01:24:40,997
a generational phenomenon
1991
01:24:41,080 --> 01:24:43,749
turns out to also
be a masterpiece.
1992
01:24:45,918 --> 01:24:47,920
CAMERON: I think certain films
just get a status.
1993
01:24:48,004 --> 01:24:49,005
Quint!
1994
01:24:49,088 --> 01:24:52,341
There have been movies
made since, using CG sharks,
1995
01:24:52,425 --> 01:24:53,551
that aren't nearly as good.
1996
01:24:53,634 --> 01:24:56,762
It was those actors,
in that moment in history,
1997
01:24:56,846 --> 01:24:58,014
with that director,
1998
01:24:58,097 --> 01:25:01,100
and no one ever having seen
anything like that before.
1999
01:25:04,061 --> 01:25:06,063
Some films just
hit that perfection.
2000
01:25:06,147 --> 01:25:09,066
They've become sharks,
they're perfect machines.
2001
01:25:12,695 --> 01:25:16,157
To me, Jaws was
a life-altering experience.
2002
01:25:16,782 --> 01:25:17,783
On the one hand,
2003
01:25:17,867 --> 01:25:20,536
it was a traumatizing
experience for me
2004
01:25:20,620 --> 01:25:23,164
that was mostly
about survival.
2005
01:25:23,247 --> 01:25:24,248
(SIGHS)
2006
01:25:24,332 --> 01:25:26,000
And I think all of us
feel we survived something.
2007
01:25:26,500 --> 01:25:27,501
(LAUGHS)
2008
01:25:27,585 --> 01:25:29,587
Jaws also,
I owe everything to.
2009
01:25:29,670 --> 01:25:31,922
Because of Jaws,
I got final cut,
2010
01:25:32,006 --> 01:25:33,799
and I've had it
for the past 50 years.
2011
01:25:35,593 --> 01:25:37,511
And I just hope
that all the people
2012
01:25:37,595 --> 01:25:38,846
that worked on Jaws...
2013
01:25:41,599 --> 01:25:45,478
wore that experience proudly
like a badge of honor.
2014
01:25:48,022 --> 01:25:49,523
And was able
to go through life
2015
01:25:49,607 --> 01:25:52,943
in the glory of the success
that Jaws became.
2016
01:25:54,945 --> 01:25:57,531
To be able to say,
each individually,
2017
01:25:57,615 --> 01:26:00,326
"Hey, I helped
make that movie.
2018
01:26:01,786 --> 01:26:03,204
"I helped tell that story.
2019
01:26:05,790 --> 01:26:07,333
"I share in its success."
2020
01:26:08,959 --> 01:26:10,169
BRODY: I used to
hate the water.
2021
01:26:13,339 --> 01:26:14,548
I can't imagine why.