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Speaker 1: All right, everybody, welcome back to episode three of Jaws

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versus Jurassic Park. This is gonna be the Kapper. This

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is where we're gonna give our final judgment on these

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two great films.

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Speaker 2: I'm super excited to talk about Quin's speech and the

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composer for both of these movies, who is an icon.

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But I am not quite as excited as I am

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about what's coming up next week, which is Guns N'

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Roses Appetite for Destruction versus AC DC, Back and Black.

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And the first one that we tackle is Appetite for

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Destruction and it's gonna get released on the thirty third

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anniversary of the release of the album. How awesome is that?

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So you guys, be sure and whatever app you're using

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right now, be sure and subscribe or follow or do

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whatever you need to do to automatically download so that

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you don't miss that episode next week. And without further ado.

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Speaker 3: Hello everybody, and welcome to the Surely You Can't Be

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Serious Podcast, discussing and debating the iconic and the forgotten

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of eighties and nineties pop culture with your co hosts

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James D.

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Speaker 2: Graves and Jason Colibn. Welcome back, everybody, to these, surely

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you can't be serious podcasts. We are on part three

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of our Jaws Versus Jurassic Park episode. We are going

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to dive right in forgive the pun there. So both

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of the movies start off with a death scene. Right

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in Jaws, you have Chrissy being attacked by an unseen

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monster underneath the water, and that sets the impetus for

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the whole first portion act one of the movie, if

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you will, same thing happens in Jurassic Park. We start

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off with a death scene. Despite you know, amazing scientific abilities,

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for some reason, they can't get cage that just locks

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in place, and so guy falls in, and you have

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the Muldoon character who's doing everything he can close upon

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his teeth closer, closer, one of his teeth. I kind

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of want to see.

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Speaker 1: The cavity the Here's the other thing about that scene

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that drives me insane. Okay, whatever they're shooting the velasciraptor

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with is not working, okay, right, Okay, the little zappers,

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the bug zappers pull out the shotguns. Okay, yeah, shoot

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hard with the bazooka.

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Speaker 2: So both of those set the story going for the

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first act of the movie. So with Jaws. You get

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this idea that there's a shark out there, maybe we

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should shut things down, and then you begin the power

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struggle to determine whether the beach gets shut down or

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whether it doesn't get shut down. If we switch over

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to Jurassic Park, the death is the impetus behind the

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lawyer going to the park and putting together the team

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of people to establish whether this park is really safe

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or not. Do you have the very strange scene where

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there's a kid out on an archaeological dig that gets

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threatened by doctor Grant.

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Speaker 1: That's not very scary.

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Speaker 2: You know, these are incredibly well done movies, but they're

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definitely parts that I was just like, why did we

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choose to do it this way? Why is there a

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kid out there in the middle of this, and why

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is he like a smart alecky, little snot nosed brat

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kid of all things?

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Speaker 1: Yeah, somebody's dad needs to whoop him for talking back

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to doctor Grant.

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Speaker 2: Is And they're all around the computer like I mean,

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they're hovering. They're hovering over the computer where we established

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this idea that doctor Grant doesn't like computer seeing the

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machines don't get along, right, So it's that whole man

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versus technology thing. And then this kid, who three feet

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back from the entire crowd is able to look at

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the screen and go that scary. So the impetus is

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said in place so that these experts are called in

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to establish whether the park is safe or not. And

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of of course the lawyer, whose job it is to

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come in and really scrutinize this for the investors, once

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he sees the dinosaurs, with everybody else, he becomes full on,

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let's forget about safety. We're going to make millions and

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millions of dollars, which is of course what this is

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the big issue in this movie. It's all about money

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versus how safe is it.

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Speaker 1: We're going to make a fortune with this place.

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Speaker 2: And then, of course the lawyer, the bloodsucking lawyer who's

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the only one that's agreeing with John Hammond, is also

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the first one to die, and appropriately so toiletting on

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top of a toilet.

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Speaker 1: The toilet, Yeah, thanks to Jeff Goldblum's character, who wouldn't

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stay in the car.

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Speaker 2: Well, no, no, no.

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Speaker 1: He leaves the team rex to the toilet.

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Speaker 2: Oh yeah he does. That's right, Yeah, yeah, that's right.

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So let me ask you this to the toilet. Yes,

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what was your thought whenever you the scene didn't go

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the way that originally it wasn't written that way. It

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was Jeff Goldbloom's suggestion that he also grab atorch and

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try to distract the t Rex. And so you have

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this great moment where doctor Grant distracts the t Rex

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from the kids. He throws the flare into the park.

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The dinosaur looks and makes a motion to follow the flare,

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only to be distracted again by another flare. Ian Malcolm,

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we're waving another flare who then brings him back, which

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I mean, you see the look on doctor Grant's face,

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and it's absolutely appropriate. It's like everybody's he is the

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audience at that point, Like what the f are you doing?

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Speaker 1: Supposedly to heroically get the kids, you know, but he

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the t Rex right back to him, goes off to

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the toilet, gets the lawyer killed and breaks his leg

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in the process. Not very heroic in my opinion, but

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it was better than the runaway that he was originally

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gonna do.

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Speaker 2: So we've talked before, our Chief Brody was every man right,

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He's supposed to be the audience, right, So one of

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the big ideas with Jaws, and I mentioned this in

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our last episode, is this idea of the power struggle, right,

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it's the pissing contest, and it's almost exclusively man and

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nature and man and man that's involved. Here we got

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Brody versus the mayor and he's the new guy. And

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here's a big idea that kind of gets lost in

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the movie, but it's there is this idea of an

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islander and a non islander, like you know, the kid

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at the beginning he talks about, you know, are you

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you know, from the island, and he's like, oh, I

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live this other place, he says, but I was born here,

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which makes him an islander. And then later on the

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woman is you know, Brody's wife is like, well, one

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am I an island? And she's like, Ellen, you'll never

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be an islander. You weren't born here. You'll never it

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doesn't matter how long you're here.

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Speaker 1: Right.

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Speaker 2: So it's this insider versus outsider thing that goes along

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with the power struggle that's going on between Brody and

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the mayor, right right. And then you have, of course,

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you know the probably the biggest pissing contest is between

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Quin and.

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Speaker 1: Hooper, right, Yes, yes, for sure.

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Speaker 2: And but before you even get there, even the mayor

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and Hooper have their little power struggle as well. You know,

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you'd like to prove that would and you get your

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name in one of those national geographic magazines or whatever

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it is.

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Speaker 1: He says, right, I'm not talking to a man who's

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lining up to be a hot lunch, right, right.

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Speaker 2: And then you also have this kind of weird dynamic

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when they're all on the boat together of Quintin Hooper,

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who even though they're warring with each other, they have

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a power struggle with Brody. They're not letting Brody do anything.

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I mean, We'll get the freaking chief of police on

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the boat and he's like subservient to everything that they're saying.

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You know, I gets yelled at from messing with the tanks,

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and then Shaw he's like, it's okay, you just ask

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me like a condescending little It's this neat power dynamic,

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and they do a great job both in the script

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writing and the acting of without overtly saying it, establishing

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that power contest. Right.

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Speaker 1: Ye.

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Speaker 2: So back to my original idea, Brody, we see him

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and we know from the beginning that he's a protector. Right,

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he's talking to the kids, don't swing on the swing.

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It's broken, right, And he's willing to admit that he's

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wrong when he's made mistakes, specifically not closing the beaches

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and letting Alex die is wrong and he's not your fault.

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Yes it was. She's wrong, that's what we said. She's wrong. No,

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she's not. And so you see this character development of

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Brody going through this process, you know, and he has

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to he's already kind of left his known spot and

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come into this little island that he's not familiar with,

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and then he really has to go into the unknown

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of the water because we learned at the beginning he

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hates the water. Don't know why he moved to be

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the chief of police of an island town when he

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hates the water.

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Speaker 1: But yeah, and we don't really get a sense of

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why he hates the water, do we. I don't think

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that's ever really mentioned. No, huh.

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Speaker 2: Hooper tells his story in a little bit. We can

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talk about Quinn and his story, so we understand why

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they don't. But the most we get is, you know,

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they call it that fear. What's it called? And he

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goes drowning, right, drowning not so good. So Brody goes

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through this entire you know, we get to the second

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death and then he has to go through this entire

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process where he moves from being the guy that everybody's

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picking on or condescending to and who he can't have

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a voice for. So he's the last guy left. And

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where is he. He's in the middle of the water

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on a sinking ship. He is facing his biggest fear.

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We talked about it with Indiana Jones. We talked about

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it with Marty McFly. Chief Brody is stuck in his

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biggest fear and what is that. He's in the water sinking,

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but he has grown. We watched Chief Brody grow up

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and become a man so that he is able to

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save everyone else, even and he thinks probably sacrificing his

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own life so that everyone else can be said.

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Speaker 1: Yeah, it's good. When they were filming these types of

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scenes out at sea, Spielberg really wanted to make sure

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you could not ever see land, because they wanted them

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to be isolated. And there was this thought process that

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if you could see land, then if they got in trouble,

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they just take the boat back. You know, we'll get

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them tomorrow, you know. So I wanted them to feel isolated,

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and I thought it was funny. This is of course

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before digital removing anything. Right. So they would be out

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at sea and there would be a sailboat that would

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come into like the right edge of the frame, and

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they had to wait and wait and wait for that

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sailboat to completely cross across all the way from the

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right side to the left side, and they had to

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pray that there was not another sailboat on the right

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side of the screen.

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Speaker 2: Right. I mean, this was all because Steven Spielberg was like,

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we have to shoot this on the real ocean, right right,

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that's right. Had they been on a lake, had they

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been in a back lot, none of this would have

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been a problem. But we also if you look at

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this movie, this movie has a reality that I will

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go ahead and say our other movie, even though they

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were filming in an actual place, it doesn't seem to

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have to be like the other movie has a cartoon

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quality about it. I don't know what. I don't know

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how to describe it exactly, but there is a reality

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that I get with Jaws that is missing in Jurassic Park.

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Speaker 1: What do you think I agree with you that the

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elements of Jaws are just as life threatening as the shark.

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Whereas the jungle. You know, doctor Grant and the kids

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they go to sleep in the jungle, they're sleeping with

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giant dino cows, you know what I mean. So it's

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just not as threatening as deep ocean.

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Speaker 2: To that, to Jurassic Park. Our main character, of course,

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is doctor Grant, and we learn from the beginning, not

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only does he scare the crap out of the little

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kid by basically threatening to disembowel him, he doesn't want kids, right,

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they smell, yeah, and they're loud, you know it's but

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he doesn't like kids. The relationship that he has with

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Sadler is so so subtle. I don't know that I

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even noticed that they were actually romantically involved for the

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first several times I watched it. I mean, what do

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they hug? Maybe half a second in the movie. There's

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no romance.

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Speaker 1: I don't think there really is. I think we're supposed

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to believe that there is, but I don't see any

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kind of chemistry romantically between them at all. Really, No

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huh do they kiss?

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Speaker 2: No, no hug?

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Speaker 1: Do they hold hands?

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Speaker 2: I kind of think that maybe Ian Malcolm touches her

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more than doctor Grant.

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Speaker 1: I think you're right.

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Speaker 2: So doctor Grant doesn't like children, but then is thrown

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into this situation again where he has to protect it.

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And it's one of my favorite parts in the movie

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when Lex screams, he left us, he left us, and

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he says, yes, but I'm not going to At that moment,

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he becomes responsible for the lives of others, and so

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he starts with He starts as this guy who is

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interested only in dead old things and doesn't want to

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be involved with kids, and ends up with a guy

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who hates the dinosaurs and loves the kids. He grows

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to be their protector over the course of the movie.

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Speaker 1: Yeah, I think that's interesting. One of the things that

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I did want to talk about is I mean, you

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talk about this tension between Quinn and Hooper back to Jaws. Yeah,

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there was a tension between Robert Shaw and Richard Dreyfus.

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Speaker 2: Oh yeah, and it's rather famous. You know, Shaw had

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been acting for much of his life at that point.

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He's in his late forties. He started acting when he

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was in his early twenties, and so he's been around

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a while now. Richard Dreyfuss had been in a few

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small things, but it hadn't been very much years before

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that that he had really gotten his first major film experiences.

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He had a couple, he had like two lines in

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the Graduate, and then he gets he gets this part

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in American Graffiti, right, yep, and that one's a decent

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that's a decent supporting role for him. And then he

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gets his first starring role that we talked about last episode, in.

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Speaker 1: The Apprenticeship of Duddy Kravitz, right, And.

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Speaker 2: So he is he's a young guy. I mean, he's

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a young and relatively speaking, inexperienced guy. And so Robert

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Shaw would have this this power dynamic put with him

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that he said, you know, he was the nicest guy

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in the world to me when we weren't on set,

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and then once we got on set, it became this

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condescending make fun of him, you know, do whatever you

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can to go to him for the entire production. And

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I have heard this that during the production of this movie,

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you know, they're in a beach, right, and so tourists

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come in and they're a lot of them are young

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girls in bathing suits, and the crew was pretty familiar,

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but everybody said that Richard Dreyfus was the man with

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regard to the young ladies who might be taking their

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vacation in Martha's vineyard.

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Speaker 1: Yeah, movie crews in general when they come to your

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town are pretty popular guys, and Richard Dreyfus and some

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of his buddies tried to enjoy as much of the

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benefits of being a movie star as they possibly could.

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Speaker 2: Right, So there may have he Obviously, Richard Dreyfus probably

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has a little bit of confidence as he's coming in

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and Robert Shaw is trying to put that in place.

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Speaker 1: Yep.

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Speaker 2: On the flip side of that, Robert Shaw has a drinking.

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Speaker 1: Problem, for sure, Absolutely he does.

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Speaker 2: Now there are a certain contingent of British actors who

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are just known for being heavy drinkers. We talked about

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Oliver Reed when we had our Gladiator episode and how

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he hung with Peter O'Toole and some of those guys,

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and it sounds like Robert Shaw probably would have fit

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in very well with those folks. Yep, for sure, and

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he was willing to admit it. Apparently. I've heard a

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couple of different versions of this story, and one version

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goes Robert Shaw was, you know, trying to move along

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the boat and had to use two hands to do something,

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but he had a drink in one hand, and he

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says to Richard Dreyfus, can you help me out with this?

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And Richard Dreyfus says, you want me to help you

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out with it? He says yeah, and the hands in

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the glass and Richard Dreyfus immediately just chunks it into

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the ocean. And then the other version was I've got

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a drinking problem? Can anybody help me? And it's at

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that point that Richard Dreyfus takes his drink and throws

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it into the ocean. Either way, it's funny. It's a

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funny response to the heckling that he's been getting from

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this actor all the while that they're on stage.

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Speaker 1: It was the funny, but the entire crew was like, uh, oh,

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we might have a blow up here.

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Speaker 2: Yeah, I mean, and we don't want to give Shaw

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too much credit credit I mean he was He was like,

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you're such a pandemic. I bet you won't even climb

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to the top of the mast on the ship, right,

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And he keeps offering him more and more money to

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do it, and finally Spielberg is like, you're not allowed.

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I am saying, as the director of this movie, you

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are forbidden to climb to the top of that mast

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because it looked like Gryfus was about to go do

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it right, right, And it's the same power struggle that

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you see going on on film.

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Speaker 1: All right, Well, let's talk about the scene that they

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discussed the Indianapolis. I thought this was brilliant.

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Speaker 2: So that part was not in the book at all.

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It was Howard Sackler's idea. He said, hey, you should

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have him have been on the USS Indianapolis. And Spielberg

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didn't know what it was. I mean, I didn't know

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what it was until I saw the movie. It's not

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you know now that this movie, being forty five years old,

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it's something that everybody knows. But even back in nineteen

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seventy five, it wasn't common knowledge. You didn't know about

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the event unless you were related to somebody or you

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were somebody that was on that ship, right.

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Speaker 1: Right, right. They needed something for the character to hate sharks.

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Why does he hate sharks so much? Why is he

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dead set on getting this shark?

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Speaker 2: Right?

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Speaker 1: The Indianapolis gives us the reason.

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Speaker 2: Right, and so Howard Sackler had come up with the idea.

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And then I mentioned before John Millius had been involved

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with the script and was a good friend of Steven Spielberg.

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He was one of the guys there with Spielberg and

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Lucas when they came in and broke the Shark, and

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he took it upon himself to develop that particular monologue,

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that scene, and he wrote a ten page monologue for this,

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which is too much. I mean, you got to figure

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there's approximately one minute for each page. Somebody talking for

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ten solid minutes is too much. And so they had

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the scene, they couldn't figure out exactly how to whittle

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it down. And it was Robert Shaw who said, can

360
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I take a stab at it? Can I take can?

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Will you give it to me and let me work

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on it a little bit? And he took it home

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and he worked on it, or he took it back

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and he worked on it overnight and came back with

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roughly a five page script, and Spielberg looked at it

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and said this is perfect.

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Speaker 1: Yes, that's exactly right. And then on the day of filming,

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Robert Shaw said, hey, before I do this, I think

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I'm gonna have a few drinks and Spielberg is like,

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all right, you know, method actor, Sure, go for it,

371
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all right, And he got hammered. He got hammered, he

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got hammer headed, and I mean he was slashed and

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he couldn't do it. The next day he came back

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and said, how bad did I embarrass myself? Spielberg said, well,

375
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I don't really know if we can use much of that. Well,

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I'd like another shot at it. Can I have another shot?

377
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And then he came back and he nailed it.

378
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Speaker 2: He didn't just nail it, he changed the entire perception

379
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of the movie in one take. He made everyone in

380
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the crew that Steven Spielberg, everyone in the cast, suddenly go,

381
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this is a movie that might be a success. Because

382
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up until that point they had dealt with the shark,

383
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they had dealt with the script problems, they had dealt

384
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with the problems of filming in the ocean, and Steven

385
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Spielberg thought he was going to get fired every single day.

386
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He almost went and quit the production. And then in

387
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a moment, everyone's perception changed.

388
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Speaker 1: Yep, that's exactly right. You know, you talk about Steven

389
00:20:39,960 --> 00:20:42,000
Spielberg thinking every day he is going to be fired.

390
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He used to sleep with Celery under his pillow because

391
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it was considered good luck. But you're exactly right. That

392
00:20:47,799 --> 00:20:52,319
scene gave them that sort of emotional connection between the

393
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characters where they thought, Okay, this is more than just

394
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a silly shark movie. We got some here.

395
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Speaker 2: Yeah, and it's still watching it. Every time that I

396
00:21:02,440 --> 00:21:06,079
see that scene, I am entranced. I know exactly what

397
00:21:06,119 --> 00:21:08,400
he's going to say. I can almost quote it for

398
00:21:08,519 --> 00:21:11,799
you word for word, and I just sit there and

399
00:21:12,680 --> 00:21:17,400
am totally engrossed in it. And it's at the it's

400
00:21:17,640 --> 00:21:21,880
just after that moment that the shark comes back.

401
00:21:22,119 --> 00:21:26,279
Speaker 1: The scars that they're showing, like the scar scene, Yeah,

402
00:21:26,319 --> 00:21:29,720
it's funny, and I think one of them is an

403
00:21:29,720 --> 00:21:31,359
actual scar. Richard Dreyff shows it.

404
00:21:31,599 --> 00:21:34,119
Speaker 2: So yeah, so they're comparing scars and it's it is

405
00:21:34,200 --> 00:21:38,400
wonderful because this is the way it is with men. Right.

406
00:21:38,519 --> 00:21:41,920
You know, you you fight and then you become best friends. Right,

407
00:21:42,240 --> 00:21:45,079
you antagonize an antagony. It's like being on a sports team. Right,

408
00:21:45,440 --> 00:21:48,640
It's you are constantly giving the other guy crap, you're

409
00:21:48,680 --> 00:21:52,279
trash talking, and then something happens that brings you guys

410
00:21:52,279 --> 00:21:55,519
together and suddenly you're the best of friends, right, yes,

411
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And so that's what happens when they start talking about

412
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the scars, that somebody points out a scar. What happened

413
00:22:00,920 --> 00:22:04,279
to you? What happened to me? You know? And they're

414
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showing scars of where they were attacked by eels or

415
00:22:07,640 --> 00:22:11,720
attacked by sharks, and suddenly Quin and Hooper have found

416
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their common ground. And Brody has this wonderful little moment

417
00:22:16,359 --> 00:22:19,559
where he lifts up his shirt and looks at an

418
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appendix scar to try to decide whether he should mention

419
00:22:23,680 --> 00:22:26,440
it or and then decides not to mention it. And

420
00:22:26,480 --> 00:22:30,039
that scar, as it turns out, is actually Roy Scheider

421
00:22:30,079 --> 00:22:33,240
actually had an appendectomy. It was a real scar. Wait wait, wait,

422
00:22:33,319 --> 00:22:46,440
let me guess mother. Okay, So with both of these movies,

423
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you have this idea of man versus nature, intellect versus ignorance, right, okay,

424
00:22:54,599 --> 00:22:58,759
So you know, the the intellect for Jaws is obviously

425
00:22:59,680 --> 00:23:02,759
the Hooper and Quint and a little bit of Brodie,

426
00:23:03,119 --> 00:23:06,200
and then the intellect for Jurassic Park is all of

427
00:23:06,240 --> 00:23:11,039
the archaeologists and doctor Ian Malcolm. And then you have

428
00:23:11,359 --> 00:23:14,519
what you believe to be the ignorant animals, right, the

429
00:23:14,559 --> 00:23:19,680
ignorant shark or the ignorant dinosaurs. But what makes these

430
00:23:19,720 --> 00:23:23,240
things truly scary is they don't seem to be that

431
00:23:23,359 --> 00:23:24,720
ignorant for sure.

432
00:23:25,000 --> 00:23:25,359
Speaker 1: That's right.

433
00:23:25,440 --> 00:23:30,759
Speaker 2: Right, So this it turns from intellect versus ignorance to

434
00:23:31,359 --> 00:23:37,240
intellect versus something almost supernatural, because not only is this

435
00:23:37,359 --> 00:23:43,720
thing gigantic and powerful and deadly, it also appears that

436
00:23:43,799 --> 00:23:44,440
it's smart.

437
00:23:44,680 --> 00:23:48,319
Speaker 1: That's right. The scene where the shark goes underneath the boat,

438
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really he's taken by surprise. Now use the audience. You're thinking, man,

439
00:23:52,440 --> 00:23:55,039
this guy's in charge, and he knows exactly what's going

440
00:23:55,119 --> 00:23:58,440
on until now, and now he's like, whoa right?

441
00:23:58,480 --> 00:24:02,519
Speaker 2: And that's when, Yeah, that's that's when Quint and Hooper's

442
00:24:02,599 --> 00:24:07,359
power struggle suddenly takes a turn, right, because with them

443
00:24:07,519 --> 00:24:13,559
you had Hooper's intellect versus Quint's know how and experience

444
00:24:14,119 --> 00:24:18,680
and the working class kind of idea, and he Quin

445
00:24:18,799 --> 00:24:23,400
has done nothing but belittle Hooper's fancy gadgets and stuff

446
00:24:23,839 --> 00:24:26,720
until the point that he realizes that the shark is

447
00:24:26,799 --> 00:24:30,400
smart too. And it's at that point that he says,

448
00:24:31,039 --> 00:24:33,359
what exactly can you do with these things of yours?

449
00:24:33,480 --> 00:24:36,119
Speaker 1: Yep, that's really cool? Hey, there is something about that

450
00:24:36,240 --> 00:24:39,200
right around that moment that I want to mention. There

451
00:24:39,319 --> 00:24:42,759
is a scene where Chief Brody is loading his revolver

452
00:24:42,920 --> 00:24:45,880
and it's sort of set at dusk, and you see

453
00:24:45,920 --> 00:24:48,079
a massive shooting star. Did you notice this.

454
00:24:48,079 --> 00:24:49,680
Speaker 2: When you watch the movie every time?

455
00:24:49,839 --> 00:24:52,279
Speaker 1: That is not an optical effect. They just happen to

456
00:24:52,319 --> 00:24:55,079
catch that shooting star at that moment, and it looks

457
00:24:55,279 --> 00:24:55,960
super cool.

458
00:24:56,279 --> 00:24:59,440
Speaker 2: Dumb luck to find the movie right, They got so

459
00:24:59,559 --> 00:25:06,519
many it's InCred So we have the Leviathan versus man

460
00:25:06,880 --> 00:25:10,400
in both scenarios, which goes to the idea of super

461
00:25:10,519 --> 00:25:18,920
much supernatural power versus mankind. You've got mythic, unemotional, almost

462
00:25:18,920 --> 00:25:22,880
demonic and unbeatable with intellect with but both with intellect.

463
00:25:23,000 --> 00:25:28,119
Shark and dinosaurs, and I love I love Iam Malcolm's

464
00:25:28,400 --> 00:25:30,759
lines and all of this. He is the guy who's

465
00:25:30,839 --> 00:25:35,680
trying to he's he's mocking, but he is absolutely right

466
00:25:35,920 --> 00:25:39,279
in everything that he says. Right, life will not be contained.

467
00:25:39,359 --> 00:25:43,400
Life finds a way. He says what you call I

468
00:25:43,440 --> 00:25:46,319
call discovery, I call the rape of the natural world.

469
00:25:46,480 --> 00:25:51,279
He realizes that they are just hurtling headlong into this

470
00:25:51,599 --> 00:25:54,359
idea without taking the time to think about it. You're

471
00:25:54,400 --> 00:25:58,599
so preoccup you're so preoccupied with whether they could, they

472
00:25:58,640 --> 00:26:01,319
never stopped to think of what whether they should.

473
00:26:01,640 --> 00:26:05,000
Speaker 1: He actually even says the line, boy do I hate

474
00:26:05,039 --> 00:26:14,240
being right all the time. Okay, I've got a couple

475
00:26:14,200 --> 00:26:15,720
of little tidbits that I want to throw at you.

476
00:26:16,000 --> 00:26:18,599
I think you're going to be amazed. I really will

477
00:26:18,640 --> 00:26:20,960
be surprised if you heard this stuff. All right, Okay,

478
00:26:21,000 --> 00:26:23,599
So the shark in Jaws doesn't show up until one

479
00:26:24,160 --> 00:26:27,559
hour and two minutes into the film. Okay, yes, in

480
00:26:27,680 --> 00:26:31,680
Jurassic Park, the full view of the adult Veloci raptor

481
00:26:31,720 --> 00:26:34,920
doesn't show up until one forty three into the movie.

482
00:26:35,160 --> 00:26:38,000
Almost two hours into the movie. You don't get the

483
00:26:38,039 --> 00:26:41,440
full view of the raptor. Here is my tidbit. Okay,

484
00:26:42,000 --> 00:26:45,559
you know the scene where the local fishermen put like

485
00:26:45,599 --> 00:26:47,279
a brisket on a hook and they throw it and

486
00:26:47,319 --> 00:26:50,359
they're sitting on that rickety old doc that's just barely

487
00:26:50,400 --> 00:26:53,880
hanging on by three nails. Sure enough, boom, shark hits it.

488
00:26:54,200 --> 00:26:56,880
The chain starts to go and they're like, well look

489
00:26:56,920 --> 00:27:01,480
at that, Charlie, and the doc falls. He drags it

490
00:27:01,519 --> 00:27:04,920
out to see that's a really tense scene, right, drags

491
00:27:04,960 --> 00:27:07,759
that guy on the dock out to the you know,

492
00:27:07,759 --> 00:27:11,079
one hundred yards off shore, and the dock turns around,

493
00:27:11,079 --> 00:27:12,799
starts to come back, and the guy's going to swim,

494
00:27:12,920 --> 00:27:13,759
Charlie swim.

495
00:27:14,400 --> 00:27:18,000
Speaker 2: Yeah, So first is the first point that you suddenly

496
00:27:18,039 --> 00:27:22,000
go this shark is not just a mindless man eater. Yep,

497
00:27:22,200 --> 00:27:25,039
he's coming back. Yep, he's just turned around.

498
00:27:25,160 --> 00:27:28,119
Speaker 1: Yeah, he's gonna make Charlie pay for this decision. But

499
00:27:28,160 --> 00:27:30,960
there was a young filmmaker on set that day who

500
00:27:31,000 --> 00:27:33,079
was just stopping by to see how things were going,

501
00:27:33,720 --> 00:27:36,680
and they're like, all right, you, hey, come over here,

502
00:27:36,720 --> 00:27:38,519
grab a hammer and nails and help us put together

503
00:27:38,559 --> 00:27:41,480
this rickety old doc. Do you know who that filmmaker.

504
00:27:41,039 --> 00:27:43,200
Speaker 2: Was, No, Jason, I don't know who that is. Can

505
00:27:43,240 --> 00:27:43,720
you tell me.

506
00:27:45,880 --> 00:27:48,799
Speaker 1: The young filmmaker on set that day that built that

507
00:27:48,920 --> 00:27:53,079
crappy little doc none other than John Landis, director of

508
00:27:53,640 --> 00:27:58,160
Coming to America Trading Places American werel from London Animal House.

509
00:27:58,599 --> 00:28:01,599
Speaker 2: That's awesome, good, has a great tidbit. We're going to

510
00:28:01,640 --> 00:28:02,839
put that one on the trivia card.

511
00:28:03,160 --> 00:28:06,720
Speaker 1: Okay. A couple of little tidbits also for you that

512
00:28:06,799 --> 00:28:09,599
I thought were interesting. The voice on the radio on

513
00:28:09,680 --> 00:28:12,400
Quince's boat when Missus Brodie tries to contact her husband

514
00:28:12,920 --> 00:28:16,799
is actually Steven Spielberg's Ye, Peter Benchley has a cameo

515
00:28:16,880 --> 00:28:19,720
as a news reporter on the beaches, yes, which is

516
00:28:19,799 --> 00:28:24,039
kind of cool. Okay, here's another tidbit for you. Quinn's

517
00:28:24,079 --> 00:28:28,079
boat is called the Orca in real life, the Orca whale,

518
00:28:28,240 --> 00:28:30,799
which we typically called the killer whale.

519
00:28:31,240 --> 00:28:33,319
Speaker 2: Yes, is the only known.

520
00:28:33,200 --> 00:28:34,960
Speaker 1: Predator of the great white shark.

521
00:28:35,519 --> 00:28:35,759
Speaker 2: Yep.

522
00:28:36,279 --> 00:28:42,119
Speaker 1: Pretty cool, huh yeah. And then finally I thought this

523
00:28:42,240 --> 00:28:44,319
was interesting. Nobody else may find it interesting. But the

524
00:28:44,359 --> 00:28:49,920
sound editor, the sound editor who had to find sound

525
00:28:49,960 --> 00:28:53,400
effects for everything in the movie. When the shark comes

526
00:28:53,519 --> 00:28:57,359
out of the water and onto Quint's boat, yes, the

527
00:28:57,440 --> 00:29:01,400
sound effect that he used right there is a fizzy

528
00:29:01,400 --> 00:29:04,519
bottle of coke poured out on the concrete.

529
00:29:05,400 --> 00:29:06,680
Speaker 2: It goes got random.

530
00:29:06,839 --> 00:29:13,759
Speaker 1: He jumps out, and it's like, that'd be.

531
00:29:13,799 --> 00:29:17,000
Speaker 2: Fun job to have sound editor to just go, this

532
00:29:17,079 --> 00:29:18,680
is a cool sound. Let's see what I can put

533
00:29:18,680 --> 00:29:19,000
this with.

534
00:29:19,279 --> 00:29:22,039
Speaker 1: I would love to do fully, artist, you got to need

535
00:29:22,039 --> 00:29:22,799
a bigger potion.

536
00:29:25,079 --> 00:29:27,640
Speaker 2: And so then, of course, once they finished filming and

537
00:29:27,720 --> 00:29:31,240
we talked about how they did the editing process and

538
00:29:31,440 --> 00:29:33,839
at Vernon Fields Pool they poured milk in the water

539
00:29:33,920 --> 00:29:36,920
so that they could shoot that scare scene. And I

540
00:29:37,160 --> 00:29:39,799
just to touch on Vernon Fields. She was somebody who

541
00:29:39,799 --> 00:29:44,039
had done like TV editing and wasn't particularly big in Hollywood,

542
00:29:44,079 --> 00:29:46,799
but you know, knew her way around. She started teaching

543
00:29:47,000 --> 00:29:50,799
at USC and a couple of people that happened to

544
00:29:50,839 --> 00:29:54,440
be in her classes were George Lucas and Steven Spielberg.

545
00:29:55,559 --> 00:29:56,119
Speaker 1: Who are they?

546
00:29:59,559 --> 00:30:02,559
Speaker 2: And so so she had such a great mind that

547
00:30:02,680 --> 00:30:05,920
really hadn't been appreciated at that point. But when George

548
00:30:05,960 --> 00:30:08,559
Lucas like, need I need an editor, I'm gonna go

549
00:30:08,599 --> 00:30:11,680
call Vernie. She was smart as whip. I like Vernon yep,

550
00:30:11,720 --> 00:30:14,359
And so she gets involved there. She gets involved with

551
00:30:14,720 --> 00:30:18,319
Steven Spielberg because she actually worked with him, I think

552
00:30:18,359 --> 00:30:23,039
on Sugarland Express as well. When she was teaching. She

553
00:30:23,839 --> 00:30:28,119
actually hired This is crazy, She hired George Lucas before

554
00:30:28,119 --> 00:30:31,319
he hired her, when he was still just in at USC.

555
00:30:31,759 --> 00:30:36,720
She hired him and also hired a lady named Marcia

556
00:30:36,759 --> 00:30:40,319
Griffin who ended up being his future wife and is

557
00:30:40,480 --> 00:30:44,839
also an editor. And who you know because you were

558
00:30:44,839 --> 00:30:46,920
the one that sent me the video on how Star

559
00:30:47,000 --> 00:30:49,920
Wars was saved by the editing. It was because of

560
00:30:50,000 --> 00:30:54,200
Marcia Griffin that Star Wars probably was the success that

561
00:30:54,240 --> 00:30:56,079
it was instead of a dismal failure.

562
00:30:56,519 --> 00:30:59,079
Speaker 1: It's absolutely correct. Yeah, that video is really cool. If

563
00:30:59,079 --> 00:31:00,480
you haven't seen it, you needed to check it out.

564
00:31:00,480 --> 00:31:04,680
But yeah, Marshall Lucas cut Star Wars to get rid

565
00:31:04,680 --> 00:31:08,440
of all the confusing crap and streamlined it to the

566
00:31:08,519 --> 00:31:10,119
to the movie that we know and love today.

567
00:31:10,519 --> 00:31:12,559
Speaker 2: Yeah. On first showing, everybody hated it.

568
00:31:16,119 --> 00:31:17,839
Speaker 1: This crap. I don't understand any of it.

569
00:31:19,039 --> 00:31:20,920
Speaker 2: Yeah, and so as Marsha Griffin that came in and

570
00:31:20,960 --> 00:31:23,400
said it, who had been introduced to George Lucas by

571
00:31:23,559 --> 00:31:27,680
Verna Fields. Verna Fields then gets called by Steven Spielberg

572
00:31:27,720 --> 00:31:31,119
to edit Sugarland Express and they start to call her

573
00:31:31,160 --> 00:31:37,599
the mother cutter. Nice nice, yes, right, and just just

574
00:31:37,680 --> 00:31:41,160
to talk about her amazing abilities. She developed this. She

575
00:31:41,240 --> 00:31:44,960
pioneered a technique called wipe by cut, where the cut

576
00:31:45,039 --> 00:31:48,880
takes place as like a figure crosses between the camera

577
00:31:48,960 --> 00:31:52,920
and the character, which so you're at a distant shot.

578
00:31:53,319 --> 00:31:56,119
Somebody walks in front of the camera and suddenly you're

579
00:31:56,119 --> 00:31:58,680
at a close up shot because you do the cut

580
00:31:58,839 --> 00:32:01,160
right as the person crossed in front of the camera,

581
00:32:01,599 --> 00:32:05,680
and so you were having what would normally be called

582
00:32:05,680 --> 00:32:08,759
a jump cut, where you've got a staggering thing into

583
00:32:08,759 --> 00:32:11,400
something that you don't even notice that it happens. Because

584
00:32:11,440 --> 00:32:14,359
of this wipe by cut type of procedure that verna

585
00:32:14,400 --> 00:32:18,799
Field's pioneered. After editing those movies and Jaws, she was

586
00:32:18,920 --> 00:32:23,839
nominated for the Oscar and she won. She goes on

587
00:32:23,920 --> 00:32:26,119
to be a Hollywood executive. At that point, she moves

588
00:32:26,119 --> 00:32:29,240
from the lady editing TV shows to the lady who's

589
00:32:29,279 --> 00:32:33,440
now ordering people around at major Hollywood studios. And then

590
00:32:33,559 --> 00:32:38,440
once they're done with the editing process, the last thing

591
00:32:38,519 --> 00:32:40,240
left to do put in the soundtrack.

592
00:32:40,440 --> 00:32:43,160
Speaker 1: Before we do that, I just want to mention one thing. Yeah,

593
00:32:43,559 --> 00:32:46,480
on Jaws, they were scheduled for fifty five days of

594
00:32:46,519 --> 00:32:50,359
shooting right May first to June twenty eighth, nineteen seventy four.

595
00:32:50,519 --> 00:32:53,839
They actually finished in one hundred and fifty nine days.

596
00:32:54,599 --> 00:32:57,440
That's three times what they were scheduled for. This is

597
00:32:57,559 --> 00:33:00,880
late September when they wrapped Flash Forward nineteen ninety three.

598
00:33:01,079 --> 00:33:05,480
Principal photography was wrapped on November twelfth, nineteen ninety two.

599
00:33:06,079 --> 00:33:09,880
That's twelve days ahead of schedule and on budget. Spielberg

600
00:33:09,960 --> 00:33:12,720
learned a great deal from Jaws, and he applied that

601
00:33:12,920 --> 00:33:13,720
to later movies.

602
00:33:17,920 --> 00:33:22,960
Speaker 2: Okay, so onto soundtrack in both of these movies, the

603
00:33:23,079 --> 00:33:26,640
composer is the same. You may have heard of this guy.

604
00:33:26,960 --> 00:33:28,960
His name is John Williams.

605
00:33:29,240 --> 00:33:32,119
Speaker 1: The soundtrack for My Youth is John Williams music.

606
00:33:32,319 --> 00:33:35,079
Speaker 2: You cannot have watched movies in the eighties and not

607
00:33:35,200 --> 00:33:38,720
heard a soundtrack by John Williams. It's the greatest of

608
00:33:38,839 --> 00:33:42,160
the soundtracks. Like if you put soundtrack greatest hits of

609
00:33:42,200 --> 00:33:44,680
the eighties, it's all John Williams.

610
00:33:44,720 --> 00:33:45,519
Speaker 1: Absolutely is.

611
00:33:45,680 --> 00:33:45,920
Speaker 2: Yeah.

612
00:33:46,519 --> 00:33:48,559
Speaker 1: And if you I don't care who you are, you've

613
00:33:48,559 --> 00:33:50,799
been living in a forest in the entire time for

614
00:33:50,799 --> 00:33:53,400
the past forty years. You've heard the Star Wars theme.

615
00:33:53,640 --> 00:33:56,640
Speaker 2: Yeah, anybody, if I come up to you, it's like

616
00:33:56,799 --> 00:33:59,519
it's like the Watch on Bad If I come to you,

617
00:33:59,640 --> 00:34:03,599
come up you and I go, dud. You know exactly

618
00:34:03,640 --> 00:34:06,759
what I'm gonna do. Right. That's two notes, two notes

619
00:34:07,279 --> 00:34:09,920
that he made into something amazing. I'll tell you the

620
00:34:09,920 --> 00:34:13,119
story of John Williams. Okay, yeah, I did So John

621
00:34:13,360 --> 00:34:16,679
was born to John and so most people call John

622
00:34:16,719 --> 00:34:20,039
Williams Johnny because that was his name growing up. His

623
00:34:20,199 --> 00:34:23,639
dad was also a music guy who worked in music

624
00:34:23,719 --> 00:34:26,760
for films. They ended up moving out to la where

625
00:34:26,800 --> 00:34:30,880
he went to high school with his future wife. They

626
00:34:30,920 --> 00:34:32,679
didn't actually date while they were in high school, but

627
00:34:32,800 --> 00:34:36,119
Barbara Ruick met her there. She went on to become

628
00:34:36,440 --> 00:34:40,880
an actress and was in several movies and films and

629
00:34:40,920 --> 00:34:44,440
TV shows in the fifties and was a singer as well.

630
00:34:44,599 --> 00:34:47,679
Had a musical background. And there's this really cool here's

631
00:34:48,000 --> 00:34:50,960
here's my interesting tie in for this particular episode. Right,

632
00:34:51,320 --> 00:34:56,039
So I saw this picture of Barbara Ruick dancing with

633
00:34:56,800 --> 00:35:00,400
Bob Fosse and a couple of other folks w Olds

634
00:35:00,400 --> 00:35:04,960
and somebody else on the affairs of Adobie Gillis. Bob

635
00:35:05,039 --> 00:35:09,760
Fosse went on to direct a semi autobiographical picture about

636
00:35:09,840 --> 00:35:14,880
himself called All That Jazz, which starred Rus Schider. Very good.

637
00:35:15,400 --> 00:35:16,880
He had all ties in, right.

638
00:35:17,280 --> 00:35:21,360
Speaker 1: And de Wie Relds is mother of Princess Leah.

639
00:35:21,079 --> 00:35:25,840
Speaker 2: Very good, very good. All ties In scored by Johnny Williams.

640
00:35:29,079 --> 00:35:33,800
And so John Williams gets drafted. He does his military

641
00:35:33,840 --> 00:35:37,719
service as a musician does pretty well. Ends up. He

642
00:35:37,960 --> 00:35:42,159
themes his first like a promotional video for the Navy

643
00:35:42,239 --> 00:35:45,440
while he's in the Navy, and then he comes back

644
00:35:45,440 --> 00:35:47,039
and has to decide do I want to go to

645
00:35:47,159 --> 00:35:51,559
Juilliard or do I want to go arrange and compose music.

646
00:35:51,840 --> 00:35:54,760
He is pianist. He plays several instruments, but he is

647
00:35:54,840 --> 00:35:57,079
best at piano, and he says, Okay, I'm gonna go

648
00:35:57,119 --> 00:35:59,599
to Juilliard. So he goes to Juilliard to become a

649
00:35:59,599 --> 00:36:03,679
concert pianist. And after a while there he starts to

650
00:36:03,719 --> 00:36:06,039
look at all of the other pns who are there

651
00:36:06,079 --> 00:36:09,639
and he's like, I'm not as good as these guys.

652
00:36:09,679 --> 00:36:11,960
This is not this is maybe not what I should do,

653
00:36:12,519 --> 00:36:17,840
and that it's crazy. At that moment, he changes movie

654
00:36:17,920 --> 00:36:21,639
history because he decides I'll go back and I'll start

655
00:36:22,400 --> 00:36:25,760
arranging and composing. And that's what he does. He goes

656
00:36:25,800 --> 00:36:32,639
back to la and he before Jaws. He composes dozens

657
00:36:32,800 --> 00:36:38,480
of movies and hundreds of TV show episodes and so

658
00:36:38,559 --> 00:36:41,880
he's getting his ten thousand hours in and through that

659
00:36:42,000 --> 00:36:44,800
process he decides to start conducting because he doesn't want

660
00:36:44,840 --> 00:36:48,599
to leave it to lesser conductors to get the conducting

661
00:36:48,679 --> 00:36:52,760
right as well. And one of the movies that he

662
00:36:52,840 --> 00:36:55,599
happens to write the score for is a movie called

663
00:36:56,039 --> 00:37:00,440
The Reavers starring Steve McQueen, and I was to the

664
00:37:00,559 --> 00:37:05,559
soundtrack and it's very It starts off very folky like

665
00:37:05,599 --> 00:37:07,679
if you listen to the theme, it's got this kind

666
00:37:07,679 --> 00:37:11,639
of folky guitar going and Southern style to it, and

667
00:37:11,719 --> 00:37:22,320
then it moves into the orchestra and you're like, there,

668
00:37:22,320 --> 00:37:25,360
I could see that's John Williams. You're familiar. You get

669
00:37:25,360 --> 00:37:31,119
that John Williams familiarity. And so, of course that movie

670
00:37:31,119 --> 00:37:33,920
came out in sixty nine, right about the same time

671
00:37:33,960 --> 00:37:38,840
that Steven Spielberg is becoming a director of TV shows,

672
00:37:38,960 --> 00:37:42,039
having to write scripts, waiting for his big break, which

673
00:37:42,079 --> 00:37:45,159
is going to be Sugarland Express. And what he does,

674
00:37:45,559 --> 00:37:49,360
because he's the son of a musician, is he goes

675
00:37:49,559 --> 00:37:54,239
and buys soundtracks and listens to them while he writes

676
00:37:54,280 --> 00:37:56,719
his scripts. And I identify with this. I've done this

677
00:37:56,800 --> 00:38:00,280
exact same thing many many times. You just listen. You'll

678
00:38:00,280 --> 00:38:03,800
listen to classical music or you listen to soundtracks and

679
00:38:04,079 --> 00:38:07,239
it inspires you to make a story out of it,

680
00:38:07,280 --> 00:38:09,400
and so that's what he's doing. And so he's at

681
00:38:09,440 --> 00:38:11,639
the album store. He's flipping through the albums and he

682
00:38:11,760 --> 00:38:15,760
sees this album for a soundtrack from the reverse, takes

683
00:38:15,800 --> 00:38:18,840
it home, listening to it, writing a script, writes a

684
00:38:18,880 --> 00:38:22,440
wonderful script, and thinks to himself, Man, this guy is good.

685
00:38:22,639 --> 00:38:26,480
If I ever get a chance to direct a feature film,

686
00:38:26,920 --> 00:38:29,159
I want this guy to be the guy that composes

687
00:38:29,199 --> 00:38:29,760
the soundtrack.

688
00:38:29,880 --> 00:38:30,159
Speaker 1: Nice.

689
00:38:30,599 --> 00:38:34,000
Speaker 2: And so, just as it happens, a few years later,

690
00:38:34,039 --> 00:38:37,559
he gets the opportunity at a Sugarland Express and he says,

691
00:38:38,000 --> 00:38:41,119
I want John Williams. And so John Williams, who at

692
00:38:41,119 --> 00:38:44,920
this point he's in his early forties. Now, he's been

693
00:38:44,960 --> 00:38:47,480
the young guy most of his life, right, he has been.

694
00:38:48,119 --> 00:38:50,840
The directors have all been older than he is, and

695
00:38:50,880 --> 00:38:55,280
he's been the young guy who's learning the ropes. But

696
00:38:55,400 --> 00:38:58,920
then with Spielberg, I mean, Spielberg's in his early twenties.

697
00:38:59,079 --> 00:39:02,400
He's a young young man, right he's And John Williams says,

698
00:39:02,400 --> 00:39:03,920
he looked like he was eighteen when I went to

699
00:39:03,920 --> 00:39:06,519
go talk to him. And he says, but just within

700
00:39:06,599 --> 00:39:09,519
the first five minutes of talking to him, I realized

701
00:39:09,559 --> 00:39:13,480
that Spielberg knew more about soundtracks of history than I did,

702
00:39:13,840 --> 00:39:17,000
which is as a that's a big statement for John Williams.

703
00:39:17,119 --> 00:39:20,199
Yeah really, and so he's like, I just I'm thinking

704
00:39:20,199 --> 00:39:22,280
this kid's going to be listening to rock and roll music.

705
00:39:22,320 --> 00:39:26,079
But apparently he rebelled against his parents who played classical

706
00:39:26,159 --> 00:39:29,360
music by listening to soundtracks and not listening to led

707
00:39:29,400 --> 00:39:32,840
Zeppelin or whatever. And so they do the Sugarland Express

708
00:39:32,960 --> 00:39:36,440
and he still has that same style. He still has.

709
00:39:36,599 --> 00:39:39,880
You've got this kind of folky guitar, it's very similar

710
00:39:39,880 --> 00:39:42,360
to the Reavers. And then it moves into something that

711
00:39:42,440 --> 00:39:45,280
you can say, yeah, I feel John Williams in this.

712
00:39:45,320 --> 00:39:48,840
I've got the orchestra. I've got the same orchestration going on.

713
00:39:48,920 --> 00:39:52,480
I feel it. But Jaws is different. John Williams talks

714
00:39:52,519 --> 00:39:57,119
about this. He says there's a point in his life

715
00:39:57,360 --> 00:39:59,559
where he lose to somebody very important to him, and

716
00:39:59,599 --> 00:40:03,039
it was his wife, Barbara, when he was young man,

717
00:40:03,119 --> 00:40:07,199
younger than we are right now, early forties. Barbara suddenly

718
00:40:07,280 --> 00:40:12,679
had a brain aneurysm died suddenly and John was left

719
00:40:12,719 --> 00:40:15,760
as the father of three teenage children. But he says

720
00:40:15,880 --> 00:40:19,480
that point in his life it was almost like a

721
00:40:19,599 --> 00:40:23,599
gift where he realized how he needed to do things.

722
00:40:24,280 --> 00:40:29,159
And I can say with certainty if you listen to

723
00:40:29,400 --> 00:40:33,880
his soundtracks before Jaws and then listen to Jaws, you

724
00:40:33,960 --> 00:40:38,960
can hear a difference. And he lost his wife in

725
00:40:39,000 --> 00:40:42,159
March of nineteen seventy four, and he wrote the soundtrack

726
00:40:42,199 --> 00:40:44,679
for Jaws in March of nineteen seventy five.

727
00:40:45,320 --> 00:40:50,119
Speaker 1: Dang, let's talk about his meeting with Spielberg. Okay, okay,

728
00:40:50,159 --> 00:40:53,960
So Spielberg is working on the movie and he meets

729
00:40:53,960 --> 00:40:56,039
with John Williams and says, all right, let's hear what

730
00:40:56,079 --> 00:40:58,599
you got. And John Williams goes to the piano and says,

731
00:40:58,679 --> 00:41:01,039
all right, here's what I think the soundtrack for Jaws

732
00:41:01,119 --> 00:41:08,559
is going to be. Ready, dun Bill, why's like that's good,

733
00:41:09,039 --> 00:41:12,199
that's really good. I no, seriously, He's like, no, seriously,

734
00:41:12,280 --> 00:41:16,320
that's it. Two notes become the most recognizable soundtrack of

735
00:41:16,360 --> 00:41:16,960
all time.

736
00:41:17,159 --> 00:41:23,719
Speaker 2: And it's perfect. It is perfect because it's frightening. It's frightening,

737
00:41:24,719 --> 00:41:28,960
and with two notes, he he is able to give

738
00:41:29,039 --> 00:41:33,559
you not only here's the shark, but here's how far

739
00:41:33,639 --> 00:41:34,880
the shark is away from you.

740
00:41:34,960 --> 00:41:37,840
Speaker 1: Oh, it's so good. How he manipulates the audience with

741
00:41:38,199 --> 00:41:38,719
this theme.

742
00:41:39,320 --> 00:41:45,440
Speaker 2: Right, If it's that's too, that's far away, you've got

743
00:41:45,440 --> 00:41:47,719
a long space and poop, he's around, but he's not.

744
00:41:48,679 --> 00:41:51,119
If it's duh, dump dump dump dump dump dump dump

745
00:41:51,159 --> 00:41:55,119
dot dump dump, you're about to get your legs bitten off, right, right,

746
00:41:55,960 --> 00:42:00,360
So I listened to this and thought about it carefully.

747
00:42:00,920 --> 00:42:03,039
When he was still a young man, he worked under

748
00:42:03,079 --> 00:42:06,559
a composer named Bernard Hermann, who you may not know,

749
00:42:06,679 --> 00:42:08,559
but that's the composer of Psycho.

750
00:42:08,880 --> 00:42:10,159
Speaker 1: Yeah, I didn't know that.

751
00:42:10,119 --> 00:42:13,639
Speaker 2: And so I look back and I listened to specifically

752
00:42:13,960 --> 00:42:18,679
the shower scene. So I listened to the shower scene. Right,

753
00:42:19,199 --> 00:42:22,880
it is almost the reverse of Jaws, and I can

754
00:42:22,920 --> 00:42:24,400
we'll play both of them for you here, and you

755
00:42:24,400 --> 00:42:39,920
can kind of hear out how it's the reverse. But

756
00:42:40,079 --> 00:42:48,719
whereas Psycho starts with and then it goes u uh uh,

757
00:42:49,840 --> 00:42:52,239
it's the reverse. It is the reverse of Jaws, which

758
00:42:52,280 --> 00:42:58,119
is bu It's incredible.

759
00:42:58,360 --> 00:43:03,760
Speaker 1: Psycho goes und done done instead of done dune.

760
00:43:04,239 --> 00:43:08,960
Speaker 2: So yeah, okay, yeah cool. And just for the for

761
00:43:09,199 --> 00:43:12,880
the musicians out there, he does a fantastic John Williams

762
00:43:12,880 --> 00:43:16,239
does a fantastic thing with the other part of the

763
00:43:16,280 --> 00:43:22,480
melody in this where you've got the and then you

764
00:43:22,480 --> 00:43:25,000
go no, no, you know you've got this other part

765
00:43:25,039 --> 00:43:30,079
to it. But whereas the underlying part is in e,

766
00:43:31,440 --> 00:43:34,599
the higher pitched melodic part is in E flat, which

767
00:43:34,599 --> 00:43:36,840
means they're right next to each other on the keyboard.

768
00:43:36,960 --> 00:43:39,280
Most notes, you've got spaces between the notes for them

769
00:43:39,320 --> 00:43:41,119
to sound good. When you played notes that are a

770
00:43:41,119 --> 00:43:43,960
half step apart, they don't sound right together. They don't

771
00:43:44,000 --> 00:43:48,960
go together, and that creates the discomfort that you feel

772
00:43:49,119 --> 00:43:52,559
whenever you hear those notes that don't belong together. He's

773
00:43:52,559 --> 00:43:55,000
playing notes that don't belong together, and it makes you

774
00:43:55,360 --> 00:43:58,280
on edge. It puts you at the edge of your seat,

775
00:43:58,360 --> 00:44:00,320
in fear of whatever it is that's going on.

776
00:44:00,400 --> 00:44:02,800
Speaker 1: The brilliant Well, let's talk about what he did for

777
00:44:02,920 --> 00:44:03,519
Jurassic Park.

778
00:44:04,400 --> 00:44:08,960
Speaker 2: All right. So Jurassic Park you have dinosaurs eating people right.

779
00:44:08,920 --> 00:44:11,559
Speaker 1: Yes, scary scenes, yes.

780
00:44:12,360 --> 00:44:20,119
Speaker 2: But whereas with Jaws you have tension and fear, John

781
00:44:20,119 --> 00:44:26,119
Williams does something completely different with Jurassic Park. With Jurassic

782
00:44:26,239 --> 00:44:31,920
Park you have awe and reference. It is like you

783
00:44:31,960 --> 00:44:33,840
were walking into a cathedral.

784
00:44:34,480 --> 00:44:40,400
Speaker 1: Yeah it is. It's fascination and wonder and amazement and

785
00:44:40,480 --> 00:44:45,079
beauty rather than the mindless eating machine that the shark.

786
00:44:44,920 --> 00:44:49,760
Speaker 2: Is, right, because Steven Spielberg didn't want this to be

787
00:44:49,800 --> 00:44:54,599
a horror movie, right. He wanted to approach it from

788
00:44:54,639 --> 00:45:00,360
the perception of a little kid. And little kids aren't

789
00:45:00,440 --> 00:45:05,239
scared of dinosaurs. They're in awe of dinosaurs. And so

790
00:45:05,360 --> 00:45:08,159
that was the idea that he conveyed to Williams. And

791
00:45:08,280 --> 00:45:13,639
that's why Williams composed a score that was majestic and

792
00:45:13,880 --> 00:45:18,440
awe inspiring, as opposed to having this discontinent sound of

793
00:45:18,920 --> 00:45:21,760
notes that don't belong together that puts you in fear

794
00:45:21,800 --> 00:45:22,320
and tension.

795
00:45:23,039 --> 00:45:27,480
Speaker 1: The scene in Jurassic Park when John Hammond brings doctor

796
00:45:27,519 --> 00:45:30,880
Grant and doctor Sadler and they see the brachiosaur eating

797
00:45:30,880 --> 00:45:34,119
from the trees and the swell of the music and

798
00:45:34,360 --> 00:45:38,400
doctor Grant is about to faint and John Hammond is like,

799
00:45:38,760 --> 00:45:42,599
doctor Grant, my dear doctor Sadler, welcome to Jurassic Park.

800
00:45:43,360 --> 00:45:46,239
That scene I've seen a thousand times. And when that

801
00:45:46,360 --> 00:45:49,840
goes with what I'm seeing on the screen and the

802
00:45:49,960 --> 00:45:54,920
emotion of the music, it's emotional. I mean I get

803
00:45:55,000 --> 00:45:57,320
choked up sometimes when I watch it, it's amazing.

804
00:45:58,039 --> 00:46:03,119
Speaker 2: Yeah's incredible. So I want to go back just real quick,

805
00:46:03,280 --> 00:46:06,719
because there is this moment in Jaws. You've got all

806
00:46:06,760 --> 00:46:10,280
of this tension music that gives you fear and trepidation,

807
00:46:10,960 --> 00:46:14,960
but there's this moment when the chase is on. Right,

808
00:46:15,519 --> 00:46:16,119
did you listen?

809
00:46:16,119 --> 00:46:16,199
Speaker 1: Did?

810
00:46:16,360 --> 00:46:17,000
Speaker 2: Did you get a chance?

811
00:46:17,079 --> 00:46:17,920
Speaker 1: Yep?

812
00:46:18,920 --> 00:46:25,079
Speaker 2: And suddenly, in the midst of all of this scary,

813
00:46:26,119 --> 00:46:37,039
intense music, suddenly it turns into a swashbuckling adventure. It's

814
00:46:37,079 --> 00:46:41,599
amazing because every time I see it, it just the

815
00:46:41,840 --> 00:46:45,920
whole mood of the movie changes in a moment. And

816
00:46:46,280 --> 00:46:50,360
Steven Spielberg said this. He said that Jaws would only

817
00:46:50,440 --> 00:46:56,400
have been half as successful as it was without John Williams.

818
00:46:56,880 --> 00:46:59,840
And so you look at this and you go, wow,

819
00:47:00,239 --> 00:47:03,199
if if I don't hear the shark, I don't know

820
00:47:03,239 --> 00:47:07,119
what's going on. The shark is invisible because, as we noted,

821
00:47:07,159 --> 00:47:10,440
there were production problems which made them make decisions about this.

822
00:47:10,920 --> 00:47:13,360
But even though you can't see it.

823
00:47:13,719 --> 00:47:16,320
Speaker 1: You hear it right right, that's right.

824
00:47:16,519 --> 00:47:20,280
Speaker 2: You fear it, you have you understand how near or

825
00:47:20,400 --> 00:47:23,760
far away it is. And then in just a moment,

826
00:47:23,960 --> 00:47:28,559
he switches, he switches gears on you, and suddenly you're

827
00:47:28,639 --> 00:47:33,400
no longer following the shark. You're following the three adventurers

828
00:47:33,519 --> 00:47:37,039
on their quest to conquer the shark, and you think

829
00:47:37,079 --> 00:47:41,239
to yourself, we're going to win. We're going to win.

830
00:47:41,320 --> 00:47:44,199
This is this is the this is where the sailors win,

831
00:47:44,320 --> 00:47:48,159
they take over, they win, and it's this wonderful, exciting,

832
00:47:48,639 --> 00:47:55,039
exhilarating music, which then when it twists again and everything

833
00:47:55,079 --> 00:47:58,079
goes badly, makes it that much more effective.

834
00:47:58,079 --> 00:48:01,000
Speaker 1: When John Williams won the Best Score for Jobs, he

835
00:48:01,159 --> 00:48:05,760
was conducting the orchestra at the Academy Awards and when

836
00:48:05,800 --> 00:48:08,760
they announced his name, he had to leave the orchestra,

837
00:48:09,400 --> 00:48:12,000
run up there except his award, and then hustle back

838
00:48:12,199 --> 00:48:15,119
to continue directing the orchestra. Here's a couple of tidbits

839
00:48:15,119 --> 00:48:17,079
I want to throw at you about Jurassic Park that

840
00:48:17,079 --> 00:48:20,880
I thought were pretty cool. Right. One of the things

841
00:48:20,880 --> 00:48:24,519
that Steven Spielberg takes a sort of creative license on

842
00:48:24,719 --> 00:48:28,280
is the height of the velociraptors. Lost raptors are kind

843
00:48:28,280 --> 00:48:31,440
of known archaeologically to be only about six feet tall, right,

844
00:48:31,559 --> 00:48:35,079
six foot turkey ish, but he makes them ten feet tall.

845
00:48:36,400 --> 00:48:39,559
That he just decides they're going to be scarier that way. Well,

846
00:48:39,920 --> 00:48:44,719
during filming, paleontologists uncovered a ten foot tall specimen of

847
00:48:44,840 --> 00:48:47,480
raptor called the Utah Raptors. Pretty cool. They were super

848
00:48:47,519 --> 00:48:50,480
excited when they discovered that while they were filling that's awesome.

849
00:48:50,480 --> 00:48:53,480
Speaker 2: I'm going to throw in a tidbit between you dibits here, okay,

850
00:48:54,400 --> 00:48:57,800
because of it. It also involves a discovery three years ago.

851
00:48:58,000 --> 00:49:01,719
On August nineteenth, two thousand and seven, teen forty two

852
00:49:01,920 --> 00:49:05,199
years after the movie Jaws brought the story of the

853
00:49:05,320 --> 00:49:09,679
USS Indianapolis to the world at large, a co founder

854
00:49:09,760 --> 00:49:14,280
of Microsoft named Paul Allen located the wreck of the

855
00:49:14,400 --> 00:49:18,599
USS Indianapolis in the Philippine Sea at a depth of

856
00:49:18,679 --> 00:49:20,000
over eighteen thousand feet.

857
00:49:20,039 --> 00:49:22,960
Speaker 1: That is awesome. Love that a couple of tidbits for you.

858
00:49:22,960 --> 00:49:26,280
At Jurassic Park, when Dennis nedri is first introduced, he

859
00:49:26,480 --> 00:49:29,320
is watching Jaws on his computer screen.

860
00:49:29,599 --> 00:49:29,760
Speaker 2: Nu.

861
00:49:29,800 --> 00:49:33,679
Speaker 1: Huh, Yes, how did I miss that? He is watching

862
00:49:34,000 --> 00:49:35,119
freaking Jaws?

863
00:49:36,000 --> 00:49:37,039
Speaker 3: What? Yes?

864
00:49:37,559 --> 00:49:39,239
Speaker 2: Scrap Now I got to go look at it again.

865
00:49:40,239 --> 00:49:42,840
Did we already talk about his clothes and his wardrobe change?

866
00:49:43,000 --> 00:49:46,880
Speaker 1: No, let's talk about that, okay.

867
00:49:47,000 --> 00:49:54,480
Speaker 2: So Dennis Nedri. Wayne Knight has several different outfits that

868
00:49:54,519 --> 00:49:57,079
he wears during the course of this movie. One of

869
00:49:57,079 --> 00:50:00,239
them is a Hawaiian shirt, the other one is like

870
00:50:00,400 --> 00:50:04,599
a member's only jackets, gray jacket as it turns out,

871
00:50:04,880 --> 00:50:08,880
and his yellow raincoat. Yes, the yellow raincoat, right, this

872
00:50:09,119 --> 00:50:13,239
is what the kids each one of the kids, Sean Aston,

873
00:50:13,639 --> 00:50:15,159
Corey Feldman.

874
00:50:15,360 --> 00:50:18,119
Speaker 1: And and Chunk Jeff Cohen.

875
00:50:18,760 --> 00:50:21,880
Speaker 2: That is the costumes that they are wearing in the movie.

876
00:50:21,920 --> 00:50:25,639
Speaker 1: Uneyes, Oh that's incredible man. The yellow raincoat is what

877
00:50:25,719 --> 00:50:28,559
Mikey is wearing. The Hawaiian shirt is what Chunk is

878
00:50:28,559 --> 00:50:31,800
wearing when he does the truffle shuffle. And members only

879
00:50:32,280 --> 00:50:35,320
jacket is what Corey Feldman is wearing over his purple

880
00:50:35,400 --> 00:50:41,599
rain shirt in the Goonies. Really purple rain Okay, a

881
00:50:41,599 --> 00:50:44,800
couple more tidbits if you go back and watch the movie.

882
00:50:45,320 --> 00:50:51,119
When the Dela posaurus is spitting venom at Dennis Nedri, okay, yeah,

883
00:50:51,800 --> 00:50:57,480
the first shot that he spits, he goes and it

884
00:50:57,559 --> 00:51:01,320
hits him kind of in the chest. He actually, if

885
00:51:01,360 --> 00:51:03,920
you watch closely, the actor Wayne Knight has a big

886
00:51:04,039 --> 00:51:06,760
blob of it in his hand and he takes it

887
00:51:06,840 --> 00:51:09,199
and wipes it on his chest to sort of help

888
00:51:09,280 --> 00:51:12,719
the help the effect a little bit of a blooper

889
00:51:12,760 --> 00:51:15,119
that you can see he goes from having a little

890
00:51:15,119 --> 00:51:16,880
bit on his chest to having a whole lot because

891
00:51:16,880 --> 00:51:19,119
he just took a big scoop of it and rubbed

892
00:51:19,159 --> 00:51:22,719
it on himself from his hand. And then finally, one

893
00:51:22,760 --> 00:51:25,400
of the things that a lot of people were kind

894
00:51:25,400 --> 00:51:27,920
of interested in, and it's never really covered, it's kind

895
00:51:27,920 --> 00:51:31,119
of mentioned and then dropped, is is what's wrong with

896
00:51:31,159 --> 00:51:34,679
the triceratops? Why is the triceratops sick? And it's this

897
00:51:34,800 --> 00:51:37,119
sort of mini mystery. In the middle of the movie,

898
00:51:37,239 --> 00:51:41,119
by the way, the big gigantic pile of triceratops dung

899
00:51:41,239 --> 00:51:45,880
that she's digging through to check for lilac berries made

900
00:51:45,920 --> 00:51:49,320
of clay and straw, and they poured honey on it

901
00:51:49,360 --> 00:51:52,239
to draw flies. So it really wasn't that smully, It

902
00:51:52,280 --> 00:51:54,239
wasn't really that big of a deal. But when Lauren

903
00:51:54,519 --> 00:51:58,079
Duran's character is sifting through the poop looking for lilac berries,

904
00:51:58,280 --> 00:52:01,079
she doesn't find any. But the answer to the mystery

905
00:52:01,400 --> 00:52:04,079
is the scene that was kind of cut out was

906
00:52:04,199 --> 00:52:08,039
that the triceratops would swallow stones to help grind up

907
00:52:09,480 --> 00:52:13,840
for digestive purposes, and it had thrown up the stones

908
00:52:14,039 --> 00:52:16,760
after they had rounded out and were no longer of use,

909
00:52:17,079 --> 00:52:19,239
and that's where the lilac barriers were, and that's what

910
00:52:19,280 --> 00:52:28,679
was making the triceratops sick. All right, let's talk about

911
00:52:28,679 --> 00:52:30,000
the reception of these movies.

912
00:52:30,519 --> 00:52:36,679
Speaker 2: Okay. So we've mentioned before that Jaws was the first blockbuster, right,

913
00:52:37,039 --> 00:52:39,960
and blockbuster is a word that existed since World War Two.

914
00:52:40,000 --> 00:52:42,639
It's actually where it came out. They would drop bombs

915
00:52:42,679 --> 00:52:46,079
during the Blitz, which our friend John Hammond, you know,

916
00:52:46,280 --> 00:52:52,400
the actor Richard Attenborough, lived through drop bombs that would

917
00:52:52,400 --> 00:52:54,880
take out a whole block. They would call those blockbusters,

918
00:52:54,960 --> 00:52:58,039
and so that there was a little bit of an

919
00:52:58,039 --> 00:53:00,320
idea that you know, hey, a movie can you know,

920
00:53:00,559 --> 00:53:03,800
have a bigger impact. That's what the blockbuster came from.

921
00:53:03,800 --> 00:53:07,880
But it wasn't until nineteen seventy five that the word

922
00:53:07,920 --> 00:53:13,280
became associated with movies that were major hits during the summer,

923
00:53:13,599 --> 00:53:18,920
because in nineteen before nineteen seventy five, summer was considered

924
00:53:19,159 --> 00:53:22,800
a dead period for movies. People were on vacation, they

925
00:53:22,840 --> 00:53:25,920
weren't going, they weren't school, they were doing other things,

926
00:53:26,159 --> 00:53:28,719
and so people did not go and watch movies during

927
00:53:28,760 --> 00:53:34,159
the summer until nineteen seventy five. And you mentioned to

928
00:53:34,199 --> 00:53:38,000
me this movie was originally supposed to be released in December.

929
00:53:38,559 --> 00:53:41,599
That's right, But because of that, because of going long

930
00:53:41,639 --> 00:53:45,639
on the production, it didn't get released until midsummer June

931
00:53:45,840 --> 00:53:47,280
of nineteen seventy five.

932
00:53:47,519 --> 00:53:50,360
Speaker 1: But what happened, Yeah, so the release date was pushed

933
00:53:50,400 --> 00:53:52,599
back to the summer of nineteen seventy five. In May,

934
00:53:52,760 --> 00:53:55,920
And keep in mind, at this point, Steven Spielberg and

935
00:53:56,039 --> 00:54:00,679
his crew are still wondering if audio are going to

936
00:54:00,719 --> 00:54:03,320
accept a giant rubber shark as the threat.

937
00:54:03,599 --> 00:54:06,079
Speaker 2: They may not. They they didn't know how the public

938
00:54:06,159 --> 00:54:08,280
at large was going to feel about this. But they

939
00:54:08,320 --> 00:54:10,719
had done some screenings, and there is a point in

940
00:54:10,760 --> 00:54:14,559
the movie Steven Spielberg is watching one of the original

941
00:54:14,639 --> 00:54:17,800
screenings that they do for the test audiences. So there's

942
00:54:17,840 --> 00:54:20,679
this scene where Alex Kittner is getting eaten by the

943
00:54:20,679 --> 00:54:23,719
shark and the blood literally shoots up out of the water.

944
00:54:24,199 --> 00:54:26,800
You know, they had to it was it was an

945
00:54:26,840 --> 00:54:30,960
amazingly grotesque scene given that this is a little kid,

946
00:54:31,639 --> 00:54:35,199
and so at this point in the pre screening, someone

947
00:54:35,400 --> 00:54:39,199
jumps out of their chair and runs out of the theater,

948
00:54:39,559 --> 00:54:44,079
and Steven Spielberg thinks, oh no, I went too far.

949
00:54:44,519 --> 00:54:46,719
And he watches this guy and he goes out of

950
00:54:46,760 --> 00:54:50,400
the theater and he sees him throw up in the

951
00:54:50,440 --> 00:54:53,760
trash can. He sees him vomit into the trash can.

952
00:54:53,800 --> 00:54:56,679
He's like, oh God, I've made it too bad. It's

953
00:54:56,760 --> 00:54:59,440
not going to work. Oh no, what's going to happen.

954
00:54:59,760 --> 00:55:02,639
And and the guy, after he gets done throwing up,

955
00:55:03,360 --> 00:55:06,599
turns around and goes back in and watches the rest

956
00:55:06,639 --> 00:55:11,559
of the movie, and he's like, holy cow, this might work.

957
00:55:12,280 --> 00:55:16,039
Speaker 1: Yeah. You know. It was tested in Dallas because it

958
00:55:16,079 --> 00:55:20,440
was far from the ocean. He wanted to know if

959
00:55:20,920 --> 00:55:24,880
a shark was scary to people who are landlocked, and

960
00:55:24,920 --> 00:55:25,679
the answer.

961
00:55:25,519 --> 00:55:28,800
Speaker 2: Was yep, yes it is. Bat Yes it is.

962
00:55:28,880 --> 00:55:31,280
Speaker 1: People were scared to go swimming and swimming pools. After

963
00:55:31,320 --> 00:55:36,119
this movie came out, this was the first movie to

964
00:55:36,159 --> 00:55:39,039
gross over one hundred million dollars at the box office.

965
00:55:39,239 --> 00:55:43,039
That was something that nobody had ever achieved before.

966
00:55:43,800 --> 00:55:47,679
Speaker 2: So another thing that had never that did not happen before.

967
00:55:47,679 --> 00:55:51,559
This was a mass release all on the same day,

968
00:55:51,960 --> 00:55:54,480
so they took an entirely different tack with this movie.

969
00:55:54,519 --> 00:55:58,440
When they saw their final product, when they saw how

970
00:55:58,519 --> 00:56:03,239
test the audiences reacted, they thought, wow, we may actually

971
00:56:03,280 --> 00:56:05,920
have a real hit on our hands. And so they

972
00:56:05,920 --> 00:56:09,119
did a marketing campaign where they had all of the

973
00:56:09,159 --> 00:56:12,559
actors come and do all of these TV spots promoting

974
00:56:12,559 --> 00:56:15,920
the movie. And it's it's incredible because if you watch

975
00:56:15,920 --> 00:56:18,840
some of the stuff that Richard Dreyfus did, he's not

976
00:56:19,400 --> 00:56:22,639
he's not complimentary. He's like, if this movie fails, it's

977
00:56:22,639 --> 00:56:26,599
not Steven Spielberg's fault, it's the it's the production company's fault.

978
00:56:26,760 --> 00:56:29,840
I mean, he doesn't look favorably upon it.

979
00:56:30,239 --> 00:56:35,880
Speaker 1: He is actually defending the movie before the release, like

980
00:56:35,960 --> 00:56:38,639
he's like, I know people are gonna hate it, and

981
00:56:39,079 --> 00:56:41,239
you know, it's just not going and it's not Spielberg's

982
00:56:41,239 --> 00:56:42,679
fault that this movie is gonna fail.

983
00:56:43,440 --> 00:56:48,239
Speaker 2: Right, But they do these promotions the other not everybody

984
00:56:48,239 --> 00:56:53,159
else is as critical as Richard Dreyfus is. They're doing

985
00:56:53,159 --> 00:56:57,440
their promotion and then they do something unprecedented. They release

986
00:56:57,519 --> 00:57:02,480
it in over four hundreds all on the same day. Now,

987
00:57:02,480 --> 00:57:04,199
people listening to this or brother are gonna be like,

988
00:57:05,559 --> 00:57:08,440
why Is that unprecedented? What happens all the time? Yeah,

989
00:57:08,480 --> 00:57:12,400
it didn't before this time. It used to be that

990
00:57:13,119 --> 00:57:15,159
a movie would come out in a few theaters and

991
00:57:15,199 --> 00:57:17,320
then a few more, and it was something that was

992
00:57:17,400 --> 00:57:21,679
a trickle out effect. But with jaw, as they said,

993
00:57:21,880 --> 00:57:24,960
we wanted to all hit all at the same time

994
00:57:25,079 --> 00:57:28,239
so that everyone is talking about it at once, and

995
00:57:28,320 --> 00:57:32,360
it changed. Forgive me for saying this again, it changed

996
00:57:32,400 --> 00:57:36,679
the paradigm. It was a shift, and from that moment on,

997
00:57:37,960 --> 00:57:42,880
every major motion picture would have a gigantic release. I

998
00:57:42,920 --> 00:57:45,840
mean a standard for today is twenty five hundred theaters

999
00:57:45,880 --> 00:57:47,199
on release day. Yep.

1000
00:57:48,159 --> 00:57:51,440
Speaker 1: The marketing campaign was genius on this deal too. It

1001
00:57:51,519 --> 00:57:55,840
included shark related messages like, if you happen to see

1002
00:57:55,880 --> 00:57:58,599
a great white here's how you deal with it. This

1003
00:57:58,639 --> 00:58:01,840
is part of the marketing, right. Awesome. There was a

1004
00:58:01,880 --> 00:58:04,920
great white shark on the cover of Time magazine, and

1005
00:58:04,960 --> 00:58:09,280
it also created a boom in tourism at Martha's Vineyard, which.

1006
00:58:09,079 --> 00:58:11,519
Speaker 2: Oh yeah, it's great. At the time that they filmed this,

1007
00:58:11,920 --> 00:58:16,360
the population of Martha's Vineyard was five thousand people. Within

1008
00:58:16,519 --> 00:58:20,800
just a few years it had increased to fifteen thousand people.

1009
00:58:20,920 --> 00:58:23,800
Speaker 1: So let's talk about the reception of Jurassic Park. Okay, So,

1010
00:58:24,159 --> 00:58:27,000
Jurassic Park was released June eleventh, nineteen ninety three. The

1011
00:58:27,039 --> 00:58:30,239
studio's biggest concern in competition the summer of ninety three

1012
00:58:30,440 --> 00:58:32,800
was The Last Action Hero, which also happens to be

1013
00:58:33,119 --> 00:58:34,880
the last movie that I walked out of it because

1014
00:58:34,880 --> 00:58:35,440
it sucks over.

1015
00:58:38,719 --> 00:58:40,599
Speaker 2: That's interesting. The first movie I walked out of it

1016
00:58:40,679 --> 00:58:43,119
was Jaws three. The last movies you walked out it

1017
00:58:43,159 --> 00:58:44,119
was Last Action Hero.

1018
00:58:46,920 --> 00:58:50,519
Speaker 1: The movie and book generated so much interest in dinosaurs

1019
00:58:50,519 --> 00:58:54,599
and paleontology that universities had a record increase in students.

1020
00:58:54,920 --> 00:58:57,719
I'm sorry, I get ahead of myself. Jurassic Park was

1021
00:58:57,760 --> 00:59:00,400
released on Friday, June eleven, nineteen ninety three, and it

1022
00:59:00,559 --> 00:59:04,400
broke box office records its first weekend with forty seven

1023
00:59:04,440 --> 00:59:05,400
million dollars on the.

1024
00:59:05,360 --> 00:59:07,239
Speaker 2: First weekend, first weekend.

1025
00:59:07,480 --> 00:59:11,199
Speaker 1: Yes, it eventually went to make more than nine hundred

1026
00:59:11,239 --> 00:59:14,599
million worldwide. Compared that to what we just discussed with Jaws.

1027
00:59:14,599 --> 00:59:17,480
One hundred million, right, nine hundred million. David Kep, who

1028
00:59:17,519 --> 00:59:19,880
is the screenwriter, remembers the day it opened. I was

1029
00:59:19,920 --> 00:59:23,199
in New York and I walked to the theater that

1030
00:59:23,239 --> 00:59:25,719
he was watching, and the guy comes out and announces

1031
00:59:25,719 --> 00:59:28,599
this to the giant line ladies and gentlemen. The seven

1032
00:59:28,639 --> 00:59:30,960
o'clock show of Jurassic Park is sold out and people

1033
00:59:31,000 --> 00:59:34,159
go oh, and he goes. Also, the ten o'clock show

1034
00:59:34,239 --> 00:59:38,559
is sold out, and they went oh. Also, Saturday Night

1035
00:59:38,679 --> 00:59:41,199
seven and ten o'clock show are sold out. And David

1036
00:59:41,280 --> 00:59:44,039
Kep's like, I'm not an expert, but that seems like

1037
00:59:44,079 --> 00:59:44,920
it's doing pretty good.

1038
00:59:45,280 --> 00:59:47,639
Speaker 2: Yeah. Yeah, it's a good sign.

1039
00:59:48,000 --> 00:59:52,239
Speaker 1: This movie was very well received. It made tons of money.

1040
00:59:52,599 --> 00:59:56,719
I thought this was interesting. Spielberg received two hundred and

1041
00:59:56,840 --> 01:00:01,239
fifty million dollars from the movie gross and profit participations,

1042
01:00:01,599 --> 01:00:03,840
which is the largest sum ever for a director.

1043
01:00:04,239 --> 01:00:07,360
Speaker 2: Can I just say something about Steven Spielberg and the

1044
01:00:07,400 --> 01:00:10,599
finishing up of this movie. We talked about the soundtrack

1045
01:00:10,880 --> 01:00:15,719
and what happens with it, but Spielberg, at this time,

1046
01:00:16,599 --> 01:00:22,239
I mean, while while Jurassic Park is being finalized, before

1047
01:00:22,320 --> 01:00:28,239
it has the soundtrack finished, he's already filming Schindler's List.

1048
01:00:29,000 --> 01:00:33,400
It's astounding that he's doing both of these movies almost

1049
01:00:33,519 --> 01:00:36,360
at the same time. I mean, he's finishing one as

1050
01:00:36,400 --> 01:00:39,360
he's in the midst of directing the other. But what

1051
01:00:39,360 --> 01:00:43,039
would happen is he would be directing in Poland. He

1052
01:00:43,039 --> 01:00:46,039
would have the weekends off. On the weekends, he would

1053
01:00:46,039 --> 01:00:50,400
fly to Paris. Someone from the US would take tapes

1054
01:00:50,800 --> 01:00:54,480
of what John Williams had been composing for Jurassic Park,

1055
01:00:54,920 --> 01:00:58,440
fly them over to Paris. They would sit and listen

1056
01:00:58,480 --> 01:01:01,199
to the tapes and watch the film. At the same time,

1057
01:01:01,599 --> 01:01:04,840
Steven Spielberg would give his notes. The guy would fly

1058
01:01:05,039 --> 01:01:08,559
back give them to John Williams. Steven Spielberg would fly

1059
01:01:08,719 --> 01:01:12,440
over to watch to continue directing Schindler's List, and then

1060
01:01:12,639 --> 01:01:15,920
he within the span of two years, he makes two

1061
01:01:16,039 --> 01:01:19,840
of his biggest movies of all time as they overlap.

1062
01:01:20,000 --> 01:01:21,320
It's astounder.

1063
01:01:21,599 --> 01:01:24,559
Speaker 1: It is, it really is. Laura Dern when she saw

1064
01:01:24,760 --> 01:01:28,280
the dinosaur CGI on screen for the first time, she cried,

1065
01:01:28,400 --> 01:01:31,320
people don't appreciate it now because it's so commonplace. But

1066
01:01:31,519 --> 01:01:34,440
at that time, when when you looked on the screen

1067
01:01:34,440 --> 01:01:36,760
and you saw a freakin dinosaur, it was like nothing

1068
01:01:36,800 --> 01:01:39,559
you'd ever seen. Like we were used to giant rubber sharks.

1069
01:01:39,719 --> 01:01:42,719
Speaker 2: Holy how did they do that?

1070
01:01:42,719 --> 01:01:46,039
Speaker 1: That's right, all right, so let's get final judgment.

1071
01:01:46,679 --> 01:01:50,639
Speaker 2: Indeed, Okay, where Are you all right? These are two

1072
01:01:50,760 --> 01:01:55,800
iconic movies. Yes, they changed the paradigm in different ways,

1073
01:01:56,159 --> 01:01:59,480
nearly twenty years apart from each other. Okay, we've talked

1074
01:01:59,480 --> 01:02:02,800
about for two and a half episodes. We've talked about

1075
01:02:02,880 --> 01:02:07,599
what they did. Looking back, I just have to say

1076
01:02:07,679 --> 01:02:11,480
to myself, Okay, I'm just gonna look and watch these

1077
01:02:11,480 --> 01:02:17,119
two movies. As I look and watch these two movies, now,

1078
01:02:17,599 --> 01:02:21,920
it's been forty five years since Jaws came out, it

1079
01:02:21,960 --> 01:02:25,679
has been twenty seven years since Jurassic Park came out.

1080
01:02:25,800 --> 01:02:29,119
They're both old movies at this point. And so I

1081
01:02:29,320 --> 01:02:32,239
just looked and I said, okay, what problems do I have?

1082
01:02:32,840 --> 01:02:37,119
And how have these movies aged over time? Right? Okay,

1083
01:02:37,639 --> 01:02:41,320
I look at Jaws, and it's impressive. As the mechanical

1084
01:02:41,400 --> 01:02:44,039
shark comes out of the water and onto the boat,

1085
01:02:44,079 --> 01:02:48,559
I'm not thinking to myself, Oh, there's the mechanical shark

1086
01:02:48,599 --> 01:02:51,480
coming out of the water. I'm thinking, holy crap, that

1087
01:02:51,519 --> 01:02:53,719
guy is gonna eat one of those guys. And sure enough,

1088
01:02:53,719 --> 01:02:56,679
that's what happens. As I see the shark's jaws chomped

1089
01:02:56,719 --> 01:02:59,920
down on quin and him screaming for mercy, I am

1090
01:03:00,239 --> 01:03:02,840
I am not thinking about the production of this movie.

1091
01:03:02,920 --> 01:03:04,800
Speaker 1: It's great se at all, great scene.

1092
01:03:05,039 --> 01:03:07,679
Speaker 2: It is a movie that, despite the fact that it

1093
01:03:07,719 --> 01:03:12,599
is forty five years old, in its technology, I am

1094
01:03:12,639 --> 01:03:16,599
not distracted Jurassic Park. I loved it when it came out.

1095
01:03:16,760 --> 01:03:19,599
When I watched it and I saw the dinosaur for

1096
01:03:19,639 --> 01:03:22,480
the first time, I was just like everybody else in like,

1097
01:03:23,280 --> 01:03:28,239
holy crap, how did they do that? That is astounding.

1098
01:03:28,559 --> 01:03:31,400
It changed the way the movies were made. Looking at

1099
01:03:31,519 --> 01:03:37,039
back at it twenty seven years later, it's still amazing.

1100
01:03:37,960 --> 01:03:42,000
But there are features that I kind of go that

1101
01:03:42,039 --> 01:03:44,840
did an age as well as I had hoped it would.

1102
01:03:45,280 --> 01:03:47,119
And it's not just me. I watched this with my

1103
01:03:47,199 --> 01:03:50,880
children and the first scene that was so amazing back

1104
01:03:50,920 --> 01:03:53,400
in nineteen ninety three of the Bracyosaurus when you see

1105
01:03:53,400 --> 01:03:55,599
it for the first time, my kids went, that doesn't

1106
01:03:55,639 --> 01:03:58,960
appeal and I kind of went, guys, I mean, remember,

1107
01:03:59,039 --> 01:04:01,760
this was the first time that this had ever been done,

1108
01:04:01,960 --> 01:04:05,719
but it hasn't aged as well. Then i look at

1109
01:04:05,719 --> 01:04:09,440
the first scene with doctor Grant and the kid, and

1110
01:04:09,480 --> 01:04:11,639
I'm going, why is this kid here? And why is

1111
01:04:11,679 --> 01:04:15,039
doctor Grant so mean to him? And then I'm looking

1112
01:04:15,159 --> 01:04:21,000
at the scene where the car is falling through the

1113
01:04:21,079 --> 01:04:23,800
tree as they're trying to escape and trying to escape,

1114
01:04:24,199 --> 01:04:26,280
and I'm thinking, why don't they just go to the

1115
01:04:26,320 --> 01:04:30,000
other side of the tree. And so as amazing as

1116
01:04:30,119 --> 01:04:35,360
Jurassic Park is, there are problems with it from my perspective,

1117
01:04:35,960 --> 01:04:39,440
and I can't say that it is as timeless as

1118
01:04:40,079 --> 01:04:44,920
Jaws is. And so that is why I say Jaws

1119
01:04:44,960 --> 01:04:47,840
wins the contest between Jurassic Park and Jows.

1120
01:04:48,280 --> 01:04:55,119
Speaker 1: Okay, your way off base. Here's what we're looking at here,

1121
01:04:55,239 --> 01:04:59,199
all right. Yes, these movies are old. Yes, when you

1122
01:04:59,239 --> 01:05:01,599
look at them from twenty twenty, there are things that

1123
01:05:01,760 --> 01:05:05,400
are not as favorable. I mean, the shark that we

1124
01:05:05,480 --> 01:05:08,840
only see for about twenty seconds of Jaws would have

1125
01:05:08,880 --> 01:05:11,159
a lot more problems if we got a good look

1126
01:05:11,239 --> 01:05:15,039
at it. These two movies are amusement park rides. Think

1127
01:05:15,239 --> 01:05:20,000
of the greatest roller coaster, like I'm thinking the Titan

1128
01:05:20,199 --> 01:05:25,880
at six Flags over Texas. Okay, that's Jaws. Super high,

1129
01:05:26,519 --> 01:05:33,960
super straight drop, exciting thrill ride, still fun today no

1130
01:05:34,039 --> 01:05:38,239
matter what. Jurassic Park is like that same ride, except

1131
01:05:38,239 --> 01:05:43,519
you have ten loop to loops. So it takes something

1132
01:05:43,559 --> 01:05:48,880
that's awesome and it makes it even more awesome. Okay, Now,

1133
01:05:49,280 --> 01:05:54,880
do you have Jurassic Park without Jaws? Probably not. Jaws

1134
01:05:55,000 --> 01:05:58,559
is the granddaddy of Jurassic Park, and it owes a

1135
01:05:58,599 --> 01:06:01,920
lot to Jaws. But I do think it steps up.

1136
01:06:02,000 --> 01:06:05,679
Instead of having one threat, you've got two raptors and

1137
01:06:05,679 --> 01:06:08,960
a t Rex instead of one shark. You also have

1138
01:06:09,320 --> 01:06:13,239
a poison spitting de laphosaurs running around, so you have

1139
01:06:13,320 --> 01:06:16,000
more things to be scared of. I do think the

1140
01:06:16,039 --> 01:06:19,800
water element makes it more scary, but I know when

1141
01:06:19,840 --> 01:06:23,199
I watch these two, the more entertaining movie for me

1142
01:06:23,480 --> 01:06:27,559
is Jurassic Park. Do I love them both? Absolutely? Do

1143
01:06:27,840 --> 01:06:30,880
we owe a lot to what they've contributed to the

1144
01:06:30,920 --> 01:06:37,039
movie culture. Absolutely, Jaws changed everything. But from my perspective,

1145
01:06:37,079 --> 01:06:40,440
the most entertaining of these two movies is Jurassic Park.

1146
01:06:40,840 --> 01:06:45,719
Speaker 2: Okay, I'm gonna give a quick rebuttal argument, ok because

1147
01:06:45,719 --> 01:06:49,199
there there's an idea that I wanted to touch on,

1148
01:06:49,920 --> 01:06:52,920
and I'll just as as kudos to Jurassic Park. The

1149
01:06:52,960 --> 01:06:55,639
same kids who are like, yeah, that doesn't look real

1150
01:06:56,000 --> 01:06:59,800
when it when it came to the velociraptors chasing the

1151
01:07:00,079 --> 01:07:03,880
children through the kitchen or the t Rex like attacking

1152
01:07:03,920 --> 01:07:08,239
people in the land Rovers, they were burying their head

1153
01:07:08,400 --> 01:07:11,480
in my shoulder and saying, tell me when it's over right.

1154
01:07:11,639 --> 01:07:16,159
I mean they may have been unimpressed initially, but with

1155
01:07:16,320 --> 01:07:20,400
Jurassic Park, from t Rex moment on, except for that

1156
01:07:20,639 --> 01:07:26,679
car falling scene, it is intense and frightening. But I

1157
01:07:26,760 --> 01:07:30,000
talked in our very first episode on this on these

1158
01:07:30,039 --> 01:07:34,719
two movies about how the criticism of sugar Land Express

1159
01:07:35,079 --> 01:07:39,039
was even though they had these fantastic car chase scenes,

1160
01:07:39,800 --> 01:07:42,840
there wasn't any character development. In Jurassic Park. I feel

1161
01:07:42,880 --> 01:07:47,239
like he falls back into that same trap. I think

1162
01:07:47,239 --> 01:07:52,079
that the character development is minimal. It's there, it's there's

1163
01:07:52,119 --> 01:07:58,119
something there, but you do not, from my perspective, emotionally

1164
01:07:58,199 --> 01:08:03,119
connect with doctor Graham Sattler. Maybe no, not even Ian Malcolm.

1165
01:08:03,239 --> 01:08:07,199
You don't really have the connection with them that you

1166
01:08:07,400 --> 01:08:11,719
do with the characters in Jaws. And we talked about

1167
01:08:11,800 --> 01:08:14,920
how the movie was about the shark and the movie

1168
01:08:14,960 --> 01:08:17,239
was about the dinosaurs, so they weren't as much worried

1169
01:08:17,279 --> 01:08:21,640
about the actors. But I just think that Jaws brings

1170
01:08:21,840 --> 01:08:25,760
a higher caliber of actor and especially that scene that

1171
01:08:25,760 --> 01:08:30,560
we talked about earlier today, the USS Indianapolis, the drunk

1172
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talk the comparing of Scars. I can see why that

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01:08:35,600 --> 01:08:40,000
moment changed everyone's perception about this movie, because it was

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01:08:40,199 --> 01:08:44,039
that moment that you made a heart to heart connection

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01:08:44,520 --> 01:08:48,239
with all of the characters, the Holy Trinity that was

1176
01:08:48,279 --> 01:08:52,680
fighting against the demonic Shark. You made that connection at

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01:08:52,680 --> 01:08:55,720
that moment, and I just never had that moment in

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01:08:55,760 --> 01:08:56,359
Jurassic Park.

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Speaker 1: No, you're exactly right. I will not argue I don't

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01:08:59,520 --> 01:09:02,920
really care about the characters in Jurassic Park. The one

1181
01:09:03,000 --> 01:09:07,399
character that I do care about the biggest emotional impact

1182
01:09:07,399 --> 01:09:10,439
for me character wise is when the raptors are fighting

1183
01:09:10,439 --> 01:09:14,960
the t Rex. I want the t Rex to win. Yeah,

1184
01:09:15,039 --> 01:09:17,199
everybody else, I'm just like, Oh, who's gonna get it next?

1185
01:09:17,319 --> 01:09:20,760
I don't really care, right Les the Hacker.

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Speaker 2: Eh So, so you felt when you watch Jurassic Park.

1187
01:09:26,560 --> 01:09:29,359
You felt the same way Steven Spielberg when he read

1188
01:09:29,359 --> 01:09:32,039
the book of the of Jaws. At the end, you

1189
01:09:32,159 --> 01:09:34,560
wanted the shark to win. You wanted the t Rex

1190
01:09:34,600 --> 01:09:34,880
to win.

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01:09:34,960 --> 01:09:36,039
Speaker 1: I want the t Rex to win.

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01:09:36,359 --> 01:09:38,199
Speaker 2: So they did that. I mean, at least for that,

1193
01:09:38,279 --> 01:09:41,199
you can say they did that perfectly because the t

1194
01:09:41,319 --> 01:09:43,560
Rex wins and the people still survive.

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01:09:43,880 --> 01:09:46,600
Speaker 1: Right. Yeah, that's well, we sure want to hear from

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01:09:46,600 --> 01:09:49,399
you guys. Are we way off base? De took Jaws,

1197
01:09:49,640 --> 01:09:52,520
I'm taking Jurassic Park. Where are you? Hit us up

1198
01:09:52,560 --> 01:09:55,199
on Facebook, hit us up on Twitter, email us. You

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01:09:55,279 --> 01:09:58,399
might even get a shout out on the next podcast.

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01:09:58,760 --> 01:09:59,960
Speaker 2: We'll see you guys next week.