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Speaker 1: Hey, everybody, welcome back to the Shirley Can't Be Serious Podcast.

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This is episode three of our Jaws Versus Jurassic Park episode.

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We're on vacation this week. We hope you're enjoying your

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vacation time with your family. The crazy thing about Jaws

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and Jurassic Park when we first put this out in

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twenty twenty, they were the number one and number two

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movies at the box office because of stupid COVID, which

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we all freaking hated, but people were still going to

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the drive ins and drive in theaters were showing Jaws

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in Jurassic.

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Speaker 2: Park because they are two iconic movies, two big Spielberg

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movies from the seventies and the nineties.

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Speaker 1: Yeah, and this is the fiftieth anniversary of Jaws, so

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enjoy this final episode of our Jaws Versus Jurassic Park comparison.

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Speaker 2: Okay, guys, and we're going to be talking about Jaws

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again with our friend Chuck Bryan at the Cinematic Flashback

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Podcast where we're going to deep dive into it again.

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It's a great podcast, go check it out. It's got

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all kinds of good episodes and we're excited to talk

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to you about Jaws again now fifty years later.

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

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versus Jurassic Park.

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Speaker 3: This is gonna be the Kapper.

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Speaker 1: This is where we're gonna give our final judgment on

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these 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 4: 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. Graves and Jason Coliban.

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Speaker 2: Welcome back everybody to these Surely you can't be serious podcasts.

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We are on part three of our Jaws Versus Jurassic

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Park episode. We are going to dive right in forgive

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the pun there. So both of the movies start off

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with a death scene. Right in Jaws, you have Chrissy

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being attacked by an unseen monster underneath the water, and

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that sets the impetus for the whole first portion Act

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one of the movie, if you will, same thing happens

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in Jurassic Park. We start off with a death scene.

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Despite you know, amazing scientific abilities, for some reason, they

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can't get a kid that just locks in place. And

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so guy falls in and you have the Muldoon character

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who's doing everything.

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Speaker 5: He can't.

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Speaker 2: Close up on his teeth closer, closer, and one of

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his teeth. I kind of want to see the.

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Speaker 1: Cavity get close the lling. Here's the other thing about

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

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the velasciraptor with is not working, okay, right, Okay, the

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

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shoot hard with the bazuka.

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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 3: That's not very scary, you know.

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Speaker 2: There These are incredibly well done movies, but they're definitely

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parts that I was just like, why did we choose

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to do it this way? Why is there a kid

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out there in the middle of this, and why is

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he like a smart alecky, little snot nosed brat kid

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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 not 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 the 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. We're going to make a

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fortune with this place. And then, of course the lawyer,

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the bloodsucking lawyer who's the only one that's agreeing with

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John Hammond, is also the first one to die, and

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appropriately so toiletting on 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 3: He leads the t Rex to the toilet.

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

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is the audience at that point, like what the f

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are you doing?

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

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brings the te 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 how 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 islander? 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. Right. So it's this

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insider versus outsider thing that goes along with the power

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struggle that's going on between Brody and the mayor, right, right.

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And then you have, of course, you know the probably

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the biggest pissing contest is between quin and.

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Speaker 3: 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.

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Speaker 2: Right right. And then you also have this kind of

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weird dynamic when they're all on the boat together of

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Quinton Hooper, who even though they're warring with each other,

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they have a power struggle with Brody. They're not letting

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Brody do anything. I mean, we'll get the freaking chief

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of police on the boat and he's like subservient to

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everything that they're saying. You know, they might gets yelled

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at for messing with the tanks, and then Shaw he's like,

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it's okay, you just ask me like a condescending little

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It's this neat power dynamic, and they do a great

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job both in the script writing and the acting of

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without overtly saying it, establishing that power contest.

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Speaker 3: Right yep.

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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, as 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. I don't know why he moved to

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be the chief of police of an island town when

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he 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.

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Speaker 2: No, huh. Hooper tells his story in a little bit.

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We can talk about Quinn and his story, so we

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understand why they don't. But the most we get is

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you know, they call it that fear. What's it called?

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Speaker 3: And he goes drowning, right, drowning not so good.

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Speaker 2: So Brody goes through this entire you know, we get

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to the second death and then he has to go

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through this entire process where he moves from being the

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guy that everybody's picking on or condescending to and who

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he can't have a voice for. So he's the last

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guy left. And where is he. He's in the middle

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of the water on a sinking ship. He is facing

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his biggest fear. We've talked about it with Indiana Jones.

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We talked about it with Marty McFly. Chief Brody is

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stuck in his biggest fear and what is that. He's

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in the water sinking, but he has grown. We watched

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Chief Brody grow up and become a man so that

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he is able to save everyone else, even and he

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thinks probably sacrificing his own life so that everyone else

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can be said.

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Speaker 3: Yeah, it's good.

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Speaker 1: When they were filming these types of scenes out at sea,

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Spielberg really wanted to make sure you could not ever

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see land, because I wanted them to be isolated. And

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there was this thought process that if you could see land.

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Then if they got in trouble, they just take the

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boat back. You know, we'll get them tomorrow, you know.

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So I wanted them to feel isolated, and I thought

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it was funny. This is of course before digital removing anything.

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Speaker 3: Right.

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Speaker 1: So they would be out at sea and there would

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be a sailboat that would come into like the right

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edge of the frame, and they had to wait and

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wait and wait for that sailboat to completely cross across

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all the way from the right side to the left side,

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and then had to pray that there's not another sailboat

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on the right side 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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What do you think.

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Speaker 1: I agree with you that the elements of Jaws are

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just as life threatening as the shark. Whereas the jungle.

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You know, doctor Grant and the kids they go to

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sleep in the jungle, they're sleeping with giant dino cows,

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you know what I mean. So it's just not as

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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 3: I don't think there really is.

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Speaker 1: I think we're supposed to believe that there is, but

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I don't see any kind of chemistry romantically between them

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at all.

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Speaker 3: Really, no, huh, Do they kiss? No, no, hug? Do

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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 3: 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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And 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 3: Yeah, I think that's interesting.

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Speaker 1: One of the things that I did want to talk

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about is I mean, you talk about this tension between

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Quinn and.

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Speaker 3: Hooper back to Jaws. Yeah, there was a tension between

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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 Dreyfus had been in a few

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small things, but it hadn't been very many 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 3: The Apprenticeship of Duddy Kravitz, right.

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

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he's a young and relatively speaking, inexperienced guy. And so

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Robert Shaw would have this this power dynamic put with

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

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guy 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 goad him for the entire production. And I

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have heard this that during this production of this movie,

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

307
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come in and there 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 3: Yep.

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

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Speaker 3: Problem, for sure, Absolutely he does.

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

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just known for being heavy drinkers. We talked about Oliver

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Reed when we had our Gladiator episode and how he

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

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it sounds like Robert Shaw probably would't fit in very

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well with those folks, yep, for sure, and he was

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willing to admit it. Apparently. I've heard a couple of

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different versions of this story, and one version goes Robert

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Shaw was, you know, trying to move along the boat

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and had to use two hands to do something, but

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he had a drink in one hand, and he says

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

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And Richard Dreyfus says, you want me to help you

335
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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 right 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,

347
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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

349
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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.

351
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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 mask

353
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because it looked like Gryfus was about to go do

354
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it right, right, And it's the same power struggle that

355
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you see going on on film.

356
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Speaker 1: All right, Well, let's talk about the scene that they

357
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discussed the Indianapolis.

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Speaker 3: I thought this was brilliant.

359
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Speaker 2: So that part was not in the book at all.

360
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It was Howard Sackler's idea. He said, hey, you should

361
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have him have been on the USS Indianapolis. And Spielberg

362
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didn't know what it was. I mean, I didn't know

363
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what it was until I saw the movie. It's not

364
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you know now that this movie, now, being forty five

365
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years old, it's something that everybody knows. But even back

366
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in nineteen seventy five, it wasn't common knowledge. You didn't

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know about the event unless you're related to somebody or

368
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you were somebody that was on that ship, right.

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Speaker 3: Right, right.

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Speaker 1: They needed something for the character to hate sharks. Why

371
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does he hate sharks so much? Why is he dead

372
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set on getting this shark right, the Indianapolis gives us

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the reason.

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

375
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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.

377
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He was one of the guys there with Spielberg and

378
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Lucas when they came in and broke the Shark, and

379
00:19:43,799 --> 00:19:48,000
he took it upon himself to develop that particular monologue,

380
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that scene, and he wrote a ten page monologue for this,

381
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which is too much. I mean, you got to figure

382
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there's approximately one minute for each page. Somebody talking for

383
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ten solid minutes is too much. And so they had

384
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the scene, they couldn't figure out exactly how how to

385
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whittle it down. And it was Robert Shaw who said,

386
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can I take a stab at it? Can I take can?

387
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Will you give it to me and let me work

388
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on it a little bit? And he took it home

389
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and he worked on it, or he took it back

390
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and he worked on it overnight and came back with

391
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roughly a five page script and Spielberg looked at it

392
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and said, this is perfect.

393
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Speaker 3: Yes, that's exactly right.

394
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Speaker 1: And then on the day of filming, Robert Shaw said, Hey,

395
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before I do this, I think I'm gonna have a

396
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few drinks. And Spielberg is like, m all right, you know,

397
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method actor, Sure, go for it, all right?

398
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Speaker 3: And he got hammered.

399
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Speaker 1: He got hammered, got he got hammer headed, and I

400
00:20:47,079 --> 00:20:49,920
mean he was he was slashed, and he couldn't do it.

401
00:20:50,039 --> 00:20:52,039
The next day he came back and said, how bad

402
00:20:52,079 --> 00:20:55,000
did I embarrass myself? Spielberg said, well, I don't really

403
00:20:55,039 --> 00:20:57,400
know if we can use much of that. Well, I'd

404
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like another shot at it. Can I have another shot?

405
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Speaker 3: And then he came back and he nailed it.

406
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Speaker 2: He didn't just nail it, he changed the entire perception

407
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of the movie in one take. He made everyone in

408
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the crew, that Steven Spielberg, everyone in the cast, suddenly go,

409
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this is a movie that might be a success. Because

410
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up until that point they had dealt with the shark,

411
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they had dealt with the script problems, they had dealt

412
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with the problems of filming in the ocean, and Steven

413
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Spielberg thought he was going to get fired every single day.

414
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He almost went and quit the production. And then in

415
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a moment, everyone's perception changed.

416
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Speaker 3: Yep, that's exactly right.

417
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Speaker 1: You know, you talk about Steven Spielberg thinking every day

418
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he is going to be fired. He used to sleep

419
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with Celery under his pillow because it was considered good luck.

420
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Speaker 3: But you're exactly right.

421
00:21:47,000 --> 00:21:51,839
Speaker 1: That scene gave them that sort of emotional connection between

422
00:21:51,880 --> 00:21:54,759
the characters where they thought, Okay, this is more than

423
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just a silly shark movie.

424
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Speaker 3: We got some here.

425
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Speaker 2: Yeah, and it it's still watching. Every time that I

426
00:22:02,039 --> 00:22:05,720
see that scene, I am entranced. I know exactly what

427
00:22:05,759 --> 00:22:08,079
he's going to say. I can almost quote it for

428
00:22:08,119 --> 00:22:11,400
you word for word, and I just sit there and

429
00:22:12,279 --> 00:22:17,039
am totally engrossed in it. And it's at the it's

430
00:22:17,279 --> 00:22:21,480
just after that moment that the shark comes back.

431
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Speaker 1: The scars that they're showing, like the scar scene, Yeah,

432
00:22:25,920 --> 00:22:29,319
it's funny, and I think one of them is an

433
00:22:29,359 --> 00:22:29,880
actual scar.

434
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Speaker 3: Richard Dreyfas shows.

435
00:22:31,240 --> 00:22:33,759
Speaker 2: So yeah, so they're comparing scars and it's it is

436
00:22:33,839 --> 00:22:38,039
wonderful because this is the way it is with men, right.

437
00:22:38,160 --> 00:22:41,559
You know, you you fight and then you become best friends. Right,

438
00:22:41,880 --> 00:22:44,720
You antagonize an antagony. It's like being on a sports team. Right,

439
00:22:45,079 --> 00:22:48,279
It's you are constantly giving the other guy crap. You're

440
00:22:48,319 --> 00:22:52,279
trash talking, and then something happens that brings you guys together,

441
00:22:52,319 --> 00:22:55,279
and suddenly you're the best of friends. Right, yes, And

442
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so that's what happens when they start talking about the scars,

443
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that somebody points out a scar. What happened to you?

444
00:23:00,799 --> 00:23:04,920
What happened to me? You know? And they're showing scars

445
00:23:05,119 --> 00:23:08,319
of where they were attacked by eels or attacked by sharks,

446
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and suddenly Quin and Hooper have found their common ground.

447
00:23:13,200 --> 00:23:17,240
And Brody has this wonderful little moment where he lifts

448
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up his shirt and looks at an appendix scar to

449
00:23:21,559 --> 00:23:24,000
try to decide whether he should mention it, and then

450
00:23:24,039 --> 00:23:27,000
decides not to mention it. And that scar, as it

451
00:23:27,039 --> 00:23:31,039
turns out, is actually Roy Scheider actually had an appendectomy.

452
00:23:31,079 --> 00:23:33,200
It was a real scar. Wait wait, wait, let me

453
00:23:33,240 --> 00:23:46,279
guess mother. Okay, so with both of these movies, you

454
00:23:46,480 --> 00:23:54,160
have this idea of man versus nature, intellect versus ignorance, right, Okay,

455
00:23:54,240 --> 00:23:58,359
so you know, the the intellect for Jaws is obviously

456
00:23:59,319 --> 00:24:02,400
the Whooper and Quint and a little bit of Brodie,

457
00:24:02,720 --> 00:24:05,839
and then the intellect for Jurassic Park is all of

458
00:24:05,839 --> 00:24:10,640
the archaeologists and doctor Ian Malcolm and then you have

459
00:24:10,960 --> 00:24:14,160
what you believe to be the ignorant animals, right, the

460
00:24:14,160 --> 00:24:19,319
ignorant shark or the ignorant dinosaurs. But what makes these

461
00:24:19,359 --> 00:24:22,839
things truly scary is they don't seem to be that

462
00:24:23,000 --> 00:24:27,359
ignorant for sure, that's right. Right, So this it turns

463
00:24:27,400 --> 00:24:34,559
from intellect versus ignorance to intellect versus something almost supernatural,

464
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because not only is this thing gigantic and powerful and deadly,

465
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it also appears that it's smart.

466
00:24:44,279 --> 00:24:44,759
Speaker 3: That's right.

467
00:24:45,279 --> 00:24:48,440
Speaker 1: The scene where the shark goes underneath the boat, really

468
00:24:48,480 --> 00:24:52,000
he's taken by surprise, right, use the audience. You're thinking, man,

469
00:24:52,039 --> 00:24:54,680
this guy's in charge, and he knows exactly what's going

470
00:24:54,720 --> 00:24:57,880
on until now, and now he's like whoa.

471
00:24:57,880 --> 00:25:01,319
Speaker 2: Right, And that's when, Yeah, that's when. That's when Quint

472
00:25:01,519 --> 00:25:06,119
and Hooper's power struggle suddenly takes a turn, right, because

473
00:25:06,480 --> 00:25:12,119
with them you had Hooper's intellect versus Quint's know how

474
00:25:12,160 --> 00:25:17,160
and experience and the working class kind of idea, and

475
00:25:17,599 --> 00:25:22,480
he Quin has done nothing but belittle Hooper's fancy gadgets

476
00:25:22,480 --> 00:25:25,680
and stuff until the point that he realizes that the

477
00:25:25,720 --> 00:25:29,359
shark is smart too. And it's at that point that

478
00:25:29,480 --> 00:25:32,480
he says what exactly can you do with these things

479
00:25:32,519 --> 00:25:32,960
of yours?

480
00:25:33,079 --> 00:25:34,119
Speaker 3: Yep, that's really cool.

481
00:25:34,160 --> 00:25:37,359
Speaker 1: Hey, there is something about that right around that moment

482
00:25:37,559 --> 00:25:40,440
that I want to mention. There is a scene where

483
00:25:40,640 --> 00:25:43,640
Chief Brody is loading his revolver and it's sort of

484
00:25:43,720 --> 00:25:46,880
set at dusk and you see a massive shooting star.

485
00:25:47,079 --> 00:25:49,279
Did you notice this when you watch the movie every time?

486
00:25:49,480 --> 00:25:51,920
That is not an optical effect. They just happen to

487
00:25:51,960 --> 00:25:54,720
catch that shooting star at that moment, and it looks

488
00:25:54,880 --> 00:25:55,599
super cool.

489
00:25:55,880 --> 00:25:58,200
Speaker 2: Dumb luck to find the movie.

490
00:25:58,119 --> 00:26:01,039
Speaker 3: Right, they got so many dumb luck. Yes, it's InCred.

491
00:26:03,119 --> 00:26:07,720
Speaker 2: So we have the Leviathan versus man in both scenarios,

492
00:26:08,160 --> 00:26:11,920
which goes to the idea of super much supernatural power

493
00:26:12,519 --> 00:26:19,880
versus mankind. You've got mythic, unemotional, almost demonic and unbeatable

494
00:26:19,920 --> 00:26:24,200
with intellect with but both with intellect. Shark and dinosaurs,

495
00:26:24,680 --> 00:26:28,680
and I love I love Iam Malcolm's lines and all

496
00:26:28,720 --> 00:26:31,599
of this. He is the guy who's trying to he's

497
00:26:31,759 --> 00:26:36,359
he's mocking, but he is absolutely right in everything that

498
00:26:36,440 --> 00:26:39,880
he says. Right, life will not be contained, Life finds

499
00:26:39,920 --> 00:26:44,000
a way. He says what you call I call discovery,

500
00:26:44,119 --> 00:26:47,279
I call the rape of the natural world. He realizes

501
00:26:47,759 --> 00:26:52,240
that they are just hurtling headlong into this idea without

502
00:26:52,279 --> 00:26:54,799
taking the time to think about it. You're so preoccup

503
00:26:55,039 --> 00:26:58,880
you're so preoccupied with whether they could, they never stopped

504
00:26:58,880 --> 00:27:00,559
to think of whether they should.

505
00:27:01,240 --> 00:27:04,680
Speaker 1: He actually even says the line, boy do I hate

506
00:27:04,680 --> 00:27:13,799
being right all the time. Okay, I've got a couple

507
00:27:13,839 --> 00:27:15,400
of little tidbits that I want to throw at jet.

508
00:27:15,640 --> 00:27:18,240
I think you're going to be amazed. I really will

509
00:27:18,240 --> 00:27:20,599
be surprised if you heard this stuff. All right, Okay,

510
00:27:20,640 --> 00:27:23,240
so the shark in Jaws doesn't show up until one

511
00:27:23,799 --> 00:27:25,720
hour and two minutes into the film.

512
00:27:25,920 --> 00:27:27,240
Speaker 3: Okay, yes, in.

513
00:27:27,279 --> 00:27:31,319
Speaker 1: Jurassic Park, the full view of the adult Veloci raptor

514
00:27:31,319 --> 00:27:34,519
doesn't show up until one forty three into the movie.

515
00:27:34,799 --> 00:27:37,640
Almost two hours into the movie. You don't get the

516
00:27:37,680 --> 00:27:39,000
full view of the raptor.

517
00:27:39,359 --> 00:27:40,319
Speaker 3: Here is my tidbit.

518
00:27:40,720 --> 00:27:45,079
Speaker 1: Okay, you know the scene where the local fishermen put

519
00:27:45,119 --> 00:27:46,799
like a brisket on a hook and they throw it,

520
00:27:46,839 --> 00:27:49,519
and they're sitting on that rickety old doc that's just

521
00:27:49,599 --> 00:27:51,400
barely hanging on by three nails.

522
00:27:51,440 --> 00:27:53,519
Speaker 3: Sure enough, boom, shark hits it.

523
00:27:53,839 --> 00:27:56,519
Speaker 1: The chain starts to go, and they're like well, look

524
00:27:56,519 --> 00:27:59,359
at that, Charlie, and the doc.

525
00:27:59,240 --> 00:28:01,839
Speaker 3: Falls apart and he drags it out to see.

526
00:28:02,240 --> 00:28:05,079
Speaker 1: That's a really tense scene, right, drags that guy on

527
00:28:05,119 --> 00:28:07,839
the dock out to the to you know, one hundred

528
00:28:07,880 --> 00:28:11,039
yards off shore, and the doc turns around, starts to

529
00:28:11,039 --> 00:28:13,359
come back, and the guy's going to swim, Charlie swim.

530
00:28:14,039 --> 00:28:17,640
Speaker 2: Yeah, So first is the first point that you suddenly

531
00:28:17,680 --> 00:28:21,599
go this shark is not just a mindless man eater. Yep,

532
00:28:21,799 --> 00:28:24,720
he's coming back. Yep, he's turned around.

533
00:28:24,799 --> 00:28:27,759
Speaker 1: Yeah, he's gonna make Charlie pay for this decision. But

534
00:28:27,799 --> 00:28:30,519
there was a young filmmaker on set that day who

535
00:28:30,640 --> 00:28:32,720
was just stopping by to see how things were going,

536
00:28:33,319 --> 00:28:36,279
and they're like, all right, you hey, come over here,

537
00:28:36,359 --> 00:28:38,160
grab a hammer and nails and help us put together

538
00:28:38,200 --> 00:28:41,640
this rickety old doc. Do you know who that filmmaker was, No, Jason,

539
00:28:41,720 --> 00:28:42,640
I don't know who that is.

540
00:28:42,680 --> 00:28:43,359
Speaker 2: Can you tell me.

541
00:28:45,519 --> 00:28:48,440
Speaker 1: The young filmmaker on set that day that built that

542
00:28:48,559 --> 00:28:52,680
crappy little doc none other than John Landis, director of

543
00:28:53,279 --> 00:28:55,559
Coming to America, Trading Places America.

544
00:28:55,599 --> 00:28:57,759
Speaker 3: We're from London, Animal House.

545
00:28:58,200 --> 00:29:01,200
Speaker 2: That's awesome. Good, that's a great tidbit. We're going to

546
00:29:01,279 --> 00:29:02,480
put that one on the trivia card.

547
00:29:02,759 --> 00:29:03,160
Speaker 3: Okay.

548
00:29:04,359 --> 00:29:06,440
Speaker 1: A couple of little tidbits also for you that I

549
00:29:06,480 --> 00:29:09,640
thought were interesting. The voice on the radio on Quint's

550
00:29:09,680 --> 00:29:12,640
boat when Missus Brodie tries to contact her husband is

551
00:29:12,720 --> 00:29:16,599
actually Steven Spielberg's Ye. Peter Benchley has a cameo as

552
00:29:16,640 --> 00:29:19,599
a news reporter on the beaches, yes, which is kind

553
00:29:19,599 --> 00:29:23,920
of cool. Okay, here's another tidbit for you. Quin's boat

554
00:29:23,960 --> 00:29:27,759
is called the Orca in real life, the Orca whale,

555
00:29:27,880 --> 00:29:30,359
which we typically call the killer whale.

556
00:29:30,839 --> 00:29:32,960
Speaker 2: Yes, is the only known.

557
00:29:32,799 --> 00:29:34,599
Speaker 3: Predator of the great white shark.

558
00:29:35,119 --> 00:29:35,359
Speaker 2: Yep.

559
00:29:35,880 --> 00:29:36,359
Speaker 3: Pretty cool.

560
00:29:36,440 --> 00:29:37,839
Speaker 2: Huh yeah.

561
00:29:37,880 --> 00:29:42,400
Speaker 3: And then finally I thought this was interesting.

562
00:29:42,440 --> 00:29:44,799
Speaker 1: Nobody else may find it interesting, but the sound editor,

563
00:29:45,640 --> 00:29:50,000
the sound editor who had to find sound effects for

564
00:29:50,400 --> 00:29:51,359
everything in the movie.

565
00:29:51,720 --> 00:29:54,640
Speaker 3: When the shark comes out of the water and.

566
00:29:54,640 --> 00:29:59,160
Speaker 1: Onto Quint's boat, Yes, the sound effect that he used

567
00:29:59,240 --> 00:30:02,559
right there is a fizzy bottle of coke poured out

568
00:30:02,559 --> 00:30:04,160
on the concrete.

569
00:30:05,000 --> 00:30:07,799
Speaker 3: It goes random, he jumps out, and it's like.

570
00:30:13,039 --> 00:30:16,440
Speaker 2: That'd be fun job to have sound editor to just go,

571
00:30:16,559 --> 00:30:18,119
this is a cool sound. Let's see what I can

572
00:30:18,119 --> 00:30:18,599
put this with.

573
00:30:18,880 --> 00:30:21,240
Speaker 3: I would love to fully artist if.

574
00:30:21,160 --> 00:30:25,160
Speaker 2: You would to need a pig poke. And so then

575
00:30:25,160 --> 00:30:28,160
of course once they finished filming and we talked about

576
00:30:28,200 --> 00:30:31,920
how they did the editing process, and at Vernon Field's

577
00:30:31,960 --> 00:30:33,880
pool they poured milk in the water so that they

578
00:30:33,880 --> 00:30:37,200
could shoot that scare scene. And I just to touch

579
00:30:37,240 --> 00:30:39,799
on Vernon Fields. She was somebody who had done like

580
00:30:39,839 --> 00:30:44,319
TV editing and wasn't particularly big in Hollywood, but you know,

581
00:30:44,400 --> 00:30:48,400
knew her way around. She started teaching at USC and

582
00:30:48,720 --> 00:30:50,839
a couple of people that happened to be in her

583
00:30:50,839 --> 00:30:55,319
classes were George Lucas and Steven Spielberg. Of them, who

584
00:30:55,400 --> 00:31:02,160
are they? And so she had such a great mind

585
00:31:02,160 --> 00:31:05,119
that really hadn't been appreciated at that point. But when

586
00:31:05,240 --> 00:31:08,079
George Lucas like, need I need an editor, I'm gonna

587
00:31:08,119 --> 00:31:10,480
go call Vernie. She was smart as whip. I like

588
00:31:10,559 --> 00:31:13,359
Vernon yep, And so she gets involved there. She gets

589
00:31:13,359 --> 00:31:17,680
involved with Steven Spielberg because she actually worked with him,

590
00:31:17,720 --> 00:31:21,559
I think on Sugarland expressed as well. When she was teaching,

591
00:31:22,559 --> 00:31:27,440
she actually hired This is crazy. She hired George Lucas

592
00:31:27,480 --> 00:31:29,759
before he hired her, when he was still just in

593
00:31:30,319 --> 00:31:35,680
at USC. She hired him and also hired a lady

594
00:31:35,759 --> 00:31:39,039
named Marcia Griffin who ended up being his future wife

595
00:31:39,279 --> 00:31:44,079
and is also an editor, and who you know because

596
00:31:44,160 --> 00:31:46,039
you were the one that sent me the video on

597
00:31:46,079 --> 00:31:48,960
how Star Wars was saved by the editing. It was

598
00:31:49,000 --> 00:31:53,240
because of Marcia Griffin that Star Wars probably was the

599
00:31:53,279 --> 00:31:55,680
success that it was instead of a dismal failure.

600
00:31:56,119 --> 00:31:57,319
Speaker 3: It's absolutely correct.

601
00:31:57,559 --> 00:31:59,240
Speaker 1: Yeah, that video is really cool. If you haven't seen it,

602
00:31:59,279 --> 00:32:01,920
you need to check it out. But yeah, Marshall Lucas

603
00:32:02,160 --> 00:32:05,400
cut Star Wars to get rid of all the confusing

604
00:32:05,440 --> 00:32:08,759
crap and streamlined it to the to the movie that

605
00:32:08,759 --> 00:32:09,839
we know and love today.

606
00:32:10,160 --> 00:32:12,279
Speaker 2: Yeah, on first showing, everybody hated.

607
00:32:12,039 --> 00:32:17,480
Speaker 3: It this crap. I don't understand any of it.

608
00:32:18,680 --> 00:32:20,559
Speaker 2: Yeah, and so as Marsha Griffin that came in and

609
00:32:20,599 --> 00:32:23,000
say it, who had been introduced to George Lucas by

610
00:32:23,200 --> 00:32:27,319
Verna Fields. Verna Fields then gets called by Steven Spielberg

611
00:32:27,359 --> 00:32:30,759
to edit Sugarland Express and they start to call her

612
00:32:30,799 --> 00:32:31,480
the mother cutter.

613
00:32:32,839 --> 00:32:35,359
Speaker 3: Nice nice, yes, right, and.

614
00:32:35,799 --> 00:32:40,400
Speaker 2: Just just to talk about her amazing ability. She developed this.

615
00:32:40,680 --> 00:32:44,200
She pioneered a technique called wipe by cut, where the

616
00:32:44,279 --> 00:32:48,160
cut takes place as like a figure crosses between the

617
00:32:48,160 --> 00:32:52,559
camera and the character, which so you're at a distant shot,

618
00:32:52,960 --> 00:32:55,720
somebody walks in front of the camera, and suddenly you're

619
00:32:55,759 --> 00:32:58,279
at a close up shot because you do the cut

620
00:32:58,480 --> 00:33:00,759
right as the person crosses in front of the camera,

621
00:33:01,240 --> 00:33:05,319
and so you were having what would normally be called

622
00:33:05,319 --> 00:33:08,319
a jump cut, where you've got a staggering thing into

623
00:33:08,400 --> 00:33:11,039
something that you don't even notice that it happens. Because

624
00:33:11,039 --> 00:33:13,839
of this wipe by cut type of procedure that we're

625
00:33:13,839 --> 00:33:18,000
in a Field's pioneered after editing those movies and Jaws,

626
00:33:18,119 --> 00:33:23,000
she was nominated for the Oscar and she won. She

627
00:33:23,119 --> 00:33:25,279
goes on to be a Hollywood executive. At that point,

628
00:33:25,319 --> 00:33:28,279
she moves from the lady editing TV shows to the

629
00:33:28,319 --> 00:33:32,519
lady who's now ordering people around at major Hollywood studios.

630
00:33:32,559 --> 00:33:37,440
And then once they're done with the editing process, the

631
00:33:37,559 --> 00:33:39,880
last thing left to do put in the soundtrack.

632
00:33:40,039 --> 00:33:43,160
Speaker 3: Before we do that, I just want to mention one thing. Yeah,

633
00:33:43,160 --> 00:33:44,240
on Jaws.

634
00:33:44,160 --> 00:33:46,759
Speaker 1: They were scheduled for fifty five days of shooting right

635
00:33:46,839 --> 00:33:50,319
May first to June twenty eighth, nineteen seventy four. They

636
00:33:50,400 --> 00:33:54,440
actually finished in one hundred and fifty nine days. That's

637
00:33:54,559 --> 00:33:57,400
three times what they were scheduled for this is late

638
00:33:57,440 --> 00:34:00,599
September when they wrapped Flash Forward to nineteen nine tinety three.

639
00:34:00,720 --> 00:34:05,240
Principal photography was wrapped on November twelfth, nineteen ninety two.

640
00:34:05,720 --> 00:34:09,519
That's twelve days ahead of schedule and on budget. Spilberg

641
00:34:09,599 --> 00:34:12,320
learned a great deal from Jaws, and he applied that

642
00:34:12,559 --> 00:34:13,360
to later movies.

643
00:34:17,559 --> 00:34:22,559
Speaker 2: Okay, so onto soundtrack in both of these movies, the

644
00:34:22,679 --> 00:34:26,280
composer is the same. You may have heard of this guy.

645
00:34:26,599 --> 00:34:28,639
His name is John Williams.

646
00:34:28,840 --> 00:34:31,760
Speaker 3: The soundtrack for My Youth is John Williams music.

647
00:34:31,960 --> 00:34:34,679
Speaker 2: You cannot have watched movies in the eighties and not

648
00:34:34,800 --> 00:34:38,360
heard a soundtrack by John Williams. It's the greatest of

649
00:34:38,440 --> 00:34:41,800
the soundtracks. Like if you put soundtrack greatest hits of

650
00:34:41,840 --> 00:34:44,320
the eighties, it's all John Williams.

651
00:34:44,360 --> 00:34:45,559
Speaker 3: Absolutely is Yeah.

652
00:34:46,159 --> 00:34:48,159
Speaker 1: And if you I don't care who you are, you've

653
00:34:48,199 --> 00:34:50,400
been living in a forest in the entire time for

654
00:34:50,440 --> 00:34:51,440
the past forty years.

655
00:34:51,800 --> 00:34:53,039
Speaker 3: You've heard the Star Wars theme.

656
00:34:53,280 --> 00:34:56,360
Speaker 2: Yeah, anybody, if I come up to you, it's like

657
00:34:56,440 --> 00:34:59,599
it's like the watch on bad. If I come up

658
00:34:59,639 --> 00:35:03,559
to you, I go, dud. You know exactly what I'm

659
00:35:03,599 --> 00:35:07,000
going to do. Right. That's two notes, two notes that

660
00:35:07,119 --> 00:35:09,800
he made into something amazing. I'll tell you the story

661
00:35:09,800 --> 00:35:10,440
of John Williams.

662
00:35:10,480 --> 00:35:11,880
Speaker 3: Okay, yeah, I did so.

663
00:35:12,400 --> 00:35:16,000
Speaker 2: John was born to John and so most people call

664
00:35:16,119 --> 00:35:18,760
John Williams Johnny because that was his name growing up.

665
00:35:19,480 --> 00:35:22,840
His dad was also a music guy who worked in

666
00:35:22,960 --> 00:35:26,039
music for films. They ended up moving out to la

667
00:35:26,159 --> 00:35:30,360
where he went to high school with his future wife.

668
00:35:30,400 --> 00:35:32,199
They didn't actually date while they were in high school,

669
00:35:32,239 --> 00:35:35,400
but Barbara Ruick met her there. She went on to

670
00:35:35,400 --> 00:35:40,400
become an actress and was in several movies and films

671
00:35:40,400 --> 00:35:43,599
and TV shows in the fifties and was a singer

672
00:35:43,639 --> 00:35:46,719
as well. Had a musical background. And there's this really

673
00:35:46,760 --> 00:35:50,559
cool here's my interesting tie in for this particular episode. Right,

674
00:35:50,960 --> 00:35:55,519
So I saw this picture of Barbara Ruick dancing with

675
00:35:56,440 --> 00:36:00,000
Bob Fosse and a couple of other folks, Debbie Reynolds,

676
00:36:00,119 --> 00:36:05,000
somebody else on the affairs of Dobie Gillis. Bob Fosse

677
00:36:05,320 --> 00:36:09,920
went on to direct a semi autobiographical picture about himself

678
00:36:10,039 --> 00:36:14,480
called All That Jazz, which starred Russ Schider. Very good.

679
00:36:15,039 --> 00:36:17,119
He had all ties in right, and de.

680
00:36:17,159 --> 00:36:20,440
Speaker 3: Wie Reyalds is mother of Princess Leah.

681
00:36:20,719 --> 00:36:22,239
Speaker 2: Very Good, Very Good.

682
00:36:22,440 --> 00:36:26,280
Speaker 3: All Ties in scored by Johnny Williams.

683
00:36:28,719 --> 00:36:33,440
Speaker 2: And so John Williams gets drafted. He does his military

684
00:36:33,480 --> 00:36:37,320
service as a musician, does pretty well. Ends up. He

685
00:36:37,559 --> 00:36:41,800
themes his first like a promotional video for the Navy

686
00:36:41,880 --> 00:36:45,039
while he's in the Navy, and then he comes back

687
00:36:45,079 --> 00:36:46,679
and has to decide do I want to go to

688
00:36:46,760 --> 00:36:51,159
Juilliard or do I want to go arrange and compose music.

689
00:36:51,480 --> 00:36:54,400
He is pianist. He plays several instruments, but he is

690
00:36:54,480 --> 00:36:56,719
best at piano, and he says, Okay, I'm gonna go

691
00:36:56,719 --> 00:36:59,239
to Juilliard. So he goes to Juilliard to become a

692
00:36:59,280 --> 00:37:03,320
concert piano and after a while there he starts to

693
00:37:03,320 --> 00:37:05,639
look at all of the other pns who are there

694
00:37:05,679 --> 00:37:09,280
and he's like, I'm not as good as these guys.

695
00:37:09,280 --> 00:37:11,599
This is not this is maybe not what I should do,

696
00:37:12,159 --> 00:37:17,400
and that it's crazy. At that moment, he changes movie

697
00:37:17,519 --> 00:37:21,239
history because he decides I'll go back and I'll start

698
00:37:22,039 --> 00:37:25,400
arranging and composing, and that's what he does. He goes

699
00:37:25,400 --> 00:37:32,239
back to la and he before Jaws. He composes dozens

700
00:37:32,440 --> 00:37:38,119
of movies and hundreds of TV show episodes, and so

701
00:37:38,199 --> 00:37:41,480
he's getting his ten thousand hours in and through that

702
00:37:41,639 --> 00:37:44,440
process he decides to start conducting because he doesn't want

703
00:37:44,440 --> 00:37:48,239
to leave it to lesser conductors to get the conducting

704
00:37:48,320 --> 00:37:52,400
right as well. And one of the movies that he

705
00:37:52,480 --> 00:37:55,199
happens to write the score for is a movie called

706
00:37:55,639 --> 00:37:59,920
The Reavers starring Steve McQueen. And I listened to the

707
00:38:00,199 --> 00:38:05,199
soundtrack and it's very It starts off very folky like

708
00:38:05,239 --> 00:38:07,320
if you listen to the theme, it's got this kind

709
00:38:07,320 --> 00:38:11,280
of folky guitar going and Southern style to it, and

710
00:38:11,320 --> 00:38:12,760
then it moves into.

711
00:38:12,559 --> 00:38:22,559
Speaker 5: The orchestra and you're like, there, I could see that's

712
00:38:22,639 --> 00:38:23,360
John Williams.

713
00:38:23,639 --> 00:38:29,239
Speaker 2: You're familiar. You get that John Williams familiarity. And so,

714
00:38:29,360 --> 00:38:32,519
of course that movie came out in sixty nine, right

715
00:38:32,599 --> 00:38:36,840
about the same time that Steven Spielberg is becoming a

716
00:38:36,920 --> 00:38:40,559
director of TV shows, having to write scripts, waiting for

717
00:38:40,639 --> 00:38:43,320
his big break, which is going to be Sugarland Express.

718
00:38:43,760 --> 00:38:47,079
And what he does, because he's the son of a musician,

719
00:38:47,840 --> 00:38:52,840
is he goes and buys soundtracks and listens to them

720
00:38:52,960 --> 00:38:55,800
while he writes his scripts. And I identify with this.

721
00:38:55,880 --> 00:38:58,840
I've done this exact same thing many many times. You

722
00:38:58,920 --> 00:39:02,440
just listen. You'll to classical music, or you listen to soundtracks,

723
00:39:03,000 --> 00:39:06,840
and it inspires you to make a story out of it.

724
00:39:06,880 --> 00:39:09,039
And so that's what he's doing. And so he's at

725
00:39:09,039 --> 00:39:11,280
the album store. He's flipping through the albums and he

726
00:39:11,400 --> 00:39:15,400
sees this album for a soundtrack from the reverse, takes

727
00:39:15,400 --> 00:39:18,480
it home, listening to it, writing a script, writes a

728
00:39:18,519 --> 00:39:22,079
wonderful script, and thinks to himself, Man, this guy is good.

729
00:39:22,239 --> 00:39:26,119
If I ever get a chance to direct a feature film,

730
00:39:26,559 --> 00:39:28,760
I want this guy to be the guy that composes

731
00:39:28,800 --> 00:39:29,360
the soundtrack.

732
00:39:29,519 --> 00:39:29,800
Speaker 3: Nice.

733
00:39:30,239 --> 00:39:33,599
Speaker 2: And so, just as it happens a few years later,

734
00:39:33,639 --> 00:39:37,159
he gets the opportunity at a Sugarland Express and he says,

735
00:39:37,599 --> 00:39:40,719
I want John Williams. And so John Williams, who at

736
00:39:40,760 --> 00:39:44,559
this point he's in his early forties. Now, he's been

737
00:39:44,599 --> 00:39:47,119
the young guy most of his life, right, he has been.

738
00:39:47,719 --> 00:39:50,440
The directors have all been older than he is, and

739
00:39:50,519 --> 00:39:54,880
he's been the young guy who's learning the ropes. But

740
00:39:55,000 --> 00:39:58,599
then with Spielberg, I mean, Spielberg's in his early twenties.

741
00:39:58,679 --> 00:40:02,000
He's a young young man, right he's And John Williams says,

742
00:40:02,039 --> 00:40:03,519
he looked like he was eighteen when I went to

743
00:40:03,519 --> 00:40:06,119
go talk to him, and he says, but just within

744
00:40:06,199 --> 00:40:09,159
the first five minutes of talking to him, I realized

745
00:40:09,159 --> 00:40:13,119
that Spielberg knew more about soundtracks of history than I did,

746
00:40:13,480 --> 00:40:17,280
which is as a that's a big statement for John Williams. Yeah. Really,

747
00:40:17,639 --> 00:40:20,239
And so he's like, I just I'm thinking this kid's

748
00:40:20,239 --> 00:40:22,000
going to be listening to rock and roll music. But

749
00:40:22,039 --> 00:40:26,039
apparently he rebelled against his parents who played classical music

750
00:40:26,079 --> 00:40:29,400
by listening to soundtracks and not listening to led Zeppelin

751
00:40:29,480 --> 00:40:32,679
or whatever. And so they do the Sugarland Express and

752
00:40:32,760 --> 00:40:36,440
he still has that same style. He still has. You've

753
00:40:36,440 --> 00:40:39,599
got this kind of folky guitar. It's very similar to

754
00:40:39,599 --> 00:40:42,159
the Reavers. And then it moves into something that you

755
00:40:42,440 --> 00:40:45,119
can say, yeah, I feel John Williams in this. I've

756
00:40:45,119 --> 00:40:48,480
got the orchestra. I've got the same orchestration going on.

757
00:40:48,519 --> 00:40:52,079
I feel it. But Jaws is different. John Williams talks

758
00:40:52,119 --> 00:40:56,719
about this. He says, there's a point in his life

759
00:40:56,960 --> 00:40:59,320
where he loses somebody very important to him, and it

760
00:40:59,400 --> 00:41:03,079
was his wife, Barbara. When he was young man younger

761
00:41:03,079 --> 00:41:07,119
than we are right now, early forties, Barbara suddenly had

762
00:41:07,199 --> 00:41:12,519
a brain aneurysm died suddenly and John was left as

763
00:41:12,559 --> 00:41:15,639
the father of three teenage children. But he says that

764
00:41:15,719 --> 00:41:20,079
point in his life it was almost like a gift

765
00:41:20,159 --> 00:41:24,079
where he realized how he needed to do things. And

766
00:41:24,920 --> 00:41:29,119
I can say with certainty if you listen to his

767
00:41:29,239 --> 00:41:33,719
soundtracks before Jaws and then listen to Jaws, you can

768
00:41:33,800 --> 00:41:38,880
hear a difference. And he lost his wife in March

769
00:41:38,920 --> 00:41:41,880
of nineteen seventy four, and he wrote the soundtrack for

770
00:41:42,000 --> 00:41:44,280
Jaws in March of nineteen seventy five.

771
00:41:44,920 --> 00:41:48,519
Speaker 1: Dang, let's talk about his meeting with Spielberg.

772
00:41:48,599 --> 00:41:51,320
Speaker 3: Okay, okay, So Spielberg.

773
00:41:51,119 --> 00:41:53,920
Speaker 1: Is working on the movie and he meets with John

774
00:41:53,920 --> 00:41:56,039
Williams and says, all right, let's hear what you got.

775
00:41:56,119 --> 00:41:58,800
And John Williams goes through the piano and says, all right,

776
00:41:58,920 --> 00:42:00,800
here's what I think. The sound track for Jaws is

777
00:42:00,800 --> 00:42:08,159
going to be ready done. Bill WREK's like, that's good,

778
00:42:08,639 --> 00:42:11,840
that's really good. I no, seriously, He's like, no, seriously,

779
00:42:11,880 --> 00:42:15,960
that's it. Two notes become the most recognizable soundtrack of

780
00:42:15,960 --> 00:42:16,639
all time.

781
00:42:16,800 --> 00:42:23,320
Speaker 2: And it's perfect. It is perfect because it's frightening. It's frightening,

782
00:42:24,360 --> 00:42:28,599
and with two notes he he is able to give

783
00:42:28,639 --> 00:42:33,159
you not only here's the shark. But here's how far

784
00:42:33,239 --> 00:42:34,519
the shark is away from you.

785
00:42:34,599 --> 00:42:37,440
Speaker 3: Oh, it's so good how he manipulates the audience with

786
00:42:37,840 --> 00:42:38,360
this theme.

787
00:42:38,920 --> 00:42:44,760
Speaker 2: Right. If it's d D that's too, that's far away.

788
00:42:44,800 --> 00:42:47,360
You've got a long space and poops around, but he's not.

789
00:42:48,280 --> 00:42:50,760
If it's du dump dump dump dump dump dump dump

790
00:42:50,800 --> 00:42:54,760
dut dump dump, you're about to get your legs bitten off, right, right,

791
00:42:55,559 --> 00:43:00,159
So I listened to this and thought about it carefully.

792
00:43:00,519 --> 00:43:02,679
When he was still a young man, he worked under

793
00:43:02,719 --> 00:43:06,199
a composer named Bernard Hermann, who you may not know,

794
00:43:06,280 --> 00:43:08,199
but that's the composer of Psycho.

795
00:43:08,519 --> 00:43:08,840
Speaker 3: Yeah.

796
00:43:09,000 --> 00:43:11,320
Speaker 2: I didn't know that, and so I look back and

797
00:43:11,360 --> 00:43:15,280
I listened to specifically the shower scene. So I listened

798
00:43:15,280 --> 00:43:21,480
to the shower scene. Right, it is almost the reverse

799
00:43:21,639 --> 00:43:23,480
of Jaws, And I will play both of them for

800
00:43:23,559 --> 00:43:25,239
you here, and you can kind of hear out how

801
00:43:25,280 --> 00:43:44,440
it's the reverse. But whereas Psycho starts with and then

802
00:43:44,480 --> 00:43:50,760
it goes u uh uh, it's the reverse. It is

803
00:43:50,800 --> 00:43:57,760
the reverse of Jaws, which is bu b. It's incredible.

804
00:43:58,000 --> 00:44:03,400
Speaker 1: Psycho goes done done, done done instead of done done.

805
00:44:03,840 --> 00:44:08,559
Speaker 2: So yeah, okay, yeah, cool, And just for the for

806
00:44:08,840 --> 00:44:12,480
the musicians out there. He does a fantastic John Williams

807
00:44:12,519 --> 00:44:15,840
does a fantastic thing with the other part of the

808
00:44:15,880 --> 00:44:22,039
melody in this where you've got the and then you

809
00:44:22,119 --> 00:44:24,599
go no, no, no, you know you've got this other part

810
00:44:24,679 --> 00:44:29,679
to it. But whereas the underlying part is in e,

811
00:44:31,079 --> 00:44:34,199
the higher pitched melodic part is in E flat, which

812
00:44:34,239 --> 00:44:36,480
means they're right next to each other on the keyboard.

813
00:44:36,559 --> 00:44:38,920
Most notes, you've got spaces between the notes for them

814
00:44:38,920 --> 00:44:40,679
to sound good. When you played notes that are a

815
00:44:40,760 --> 00:44:43,559
half step apart, they don't sound right together. They don't

816
00:44:43,599 --> 00:44:48,559
go together, and that creates the discomfort that you feel

817
00:44:48,719 --> 00:44:52,159
whenever you hear those notes that don't belong together. He's

818
00:44:52,159 --> 00:44:54,639
playing notes that don't belong together, and it makes you

819
00:44:54,960 --> 00:44:57,800
on edge. It puts you at the edge of your seat,

820
00:44:58,000 --> 00:45:00,880
in fear of whatever it is that's going on. Brilliant.

821
00:45:01,280 --> 00:45:03,159
Speaker 3: Well, let's talk about what he did for Jurassic Park.

822
00:45:04,000 --> 00:45:08,840
Speaker 2: All right. So Jurassic Park you have dinosaurs eating people right, yes,

823
00:45:09,400 --> 00:45:18,119
scary scenes, yes, But whereas with Jaws you have tension

824
00:45:18,400 --> 00:45:23,199
and fear, John Williams does something completely different with Jurassic Park.

825
00:45:24,159 --> 00:45:30,679
With Jurassic Park, you have awe and reference. It is

826
00:45:30,920 --> 00:45:33,480
like you are walking into a cathedral.

827
00:45:34,119 --> 00:45:34,840
Speaker 3: Yeah, it is.

828
00:45:35,199 --> 00:45:42,159
Speaker 1: It's fascination and wonder and amazement and beauty rather than

829
00:45:42,559 --> 00:45:44,679
the mindless eating machine that the Shark is.

830
00:45:45,159 --> 00:45:49,519
Speaker 2: Right, because Steven Spielberg didn't want this to be a

831
00:45:49,519 --> 00:45:54,320
horror movie, right. He wanted to approach it from the

832
00:45:54,360 --> 00:46:00,440
perception of a little kid. And little kids aren't scared

833
00:46:00,440 --> 00:46:05,079
of dinosaurs, They're in awe of dinosaurs. And so that

834
00:46:05,280 --> 00:46:08,079
was the idea that he conveyed to Williams, and that's

835
00:46:08,119 --> 00:46:14,400
why Williams composed a score that was majestic and awe inspiring,

836
00:46:14,599 --> 00:46:18,960
as opposed to having this discontinent sound of notes that

837
00:46:19,000 --> 00:46:21,920
don't belong together that puts you in fear and tension.

838
00:46:22,639 --> 00:46:27,119
Speaker 1: The scene in Jurassic Park when John Hammond brings doctor

839
00:46:27,159 --> 00:46:30,480
Grant and doctor Sadler and they see the brachiosaur eating

840
00:46:30,519 --> 00:46:33,719
from the trees and the swell of the music and

841
00:46:33,960 --> 00:46:38,039
doctor Grant is about to faint and John Hammond is like,

842
00:46:38,360 --> 00:46:42,199
doctor Grant, my dear doctor Sadler, welcome to Jurassic Park.

843
00:46:42,960 --> 00:46:45,880
That scene I've seen a thousand times, and when that

844
00:46:45,960 --> 00:46:48,000
goes with what I'm seeing on the.

845
00:46:47,960 --> 00:46:50,840
Speaker 3: Screen and the emotion of the music.

846
00:46:51,719 --> 00:46:53,360
Speaker 1: It's emotional.

847
00:46:53,440 --> 00:46:56,199
Speaker 3: I mean I get choked up sometimes when I watch it.

848
00:46:56,199 --> 00:46:56,960
It's amazing.

849
00:46:57,639 --> 00:47:02,280
Speaker 2: Yeah, it's incredible. So I want to go back just

850
00:47:02,320 --> 00:47:06,000
real quick, because there is this moment in Jaws. You've

851
00:47:06,039 --> 00:47:09,039
got all of this tension music that gives you fear

852
00:47:09,159 --> 00:47:14,599
and trepidation, but there's this moment when the chase is on. Right,

853
00:47:15,159 --> 00:47:16,639
did you listen? Did did you get a chance?

854
00:47:17,400 --> 00:47:17,599
Speaker 4: Yep?

855
00:47:18,559 --> 00:47:24,679
Speaker 2: And suddenly in the midst of all of this scary,

856
00:47:25,719 --> 00:47:36,639
intense music, suddenly it turns into a swashbuckling adventure. It's

857
00:47:36,719 --> 00:47:41,199
amazing because every time I see it, it just the

858
00:47:41,440 --> 00:47:45,559
whole mood of the movie changes in a moment. And

859
00:47:45,920 --> 00:47:50,000
Steven Spielberg said this. He said that Jaws would only

860
00:47:50,039 --> 00:47:56,039
have been half as successful as it was without John Williams.

861
00:47:56,480 --> 00:47:59,480
And so you look at this and you go, wow.

862
00:47:59,800 --> 00:48:02,840
If if I don't hear the shark, I don't know

863
00:48:02,880 --> 00:48:06,760
what's going on. The shark is invisible because, as we noted,

864
00:48:06,760 --> 00:48:10,079
there were production problems which made them make decisions about this.

865
00:48:10,519 --> 00:48:15,280
But even though you can't see it, you hear it, right, right,

866
00:48:15,519 --> 00:48:19,320
that's right, you fear it, you have you understand how

867
00:48:19,400 --> 00:48:22,679
near or far away it is. And then in just

868
00:48:22,840 --> 00:48:27,039
a moment, he switches, He switches gears on you, and

869
00:48:27,199 --> 00:48:31,079
suddenly you're no longer following the shark. You're following the

870
00:48:31,199 --> 00:48:36,159
three adventurers on their quest to conquer the shark. And

871
00:48:36,239 --> 00:48:40,519
you think to yourself, we're going to win. We're going

872
00:48:40,559 --> 00:48:42,840
to win. This is this is the this is where

873
00:48:43,000 --> 00:48:45,719
the sailors win, they take over, they win, and it's

874
00:48:45,760 --> 00:48:52,639
this wonderful, exciting, exhilarating music, which then when it twists

875
00:48:52,719 --> 00:48:57,599
again and everything goes badly, makes it that much more effect.

876
00:48:57,679 --> 00:49:00,880
Speaker 1: When John Williams won the Best Score for he was

877
00:49:00,960 --> 00:49:05,519
conducting the orchestra at the Academy Awards, and when they

878
00:49:05,559 --> 00:49:09,239
announced his name, he had to leave the orchestra, run

879
00:49:09,320 --> 00:49:11,920
up there except his award, and then hustle back to

880
00:49:12,039 --> 00:49:14,800
continue directing the orchestra. Here's a couple of tidbits I

881
00:49:14,840 --> 00:49:16,760
want to throw at you about Jurassic Park that I

882
00:49:16,760 --> 00:49:17,679
thought were pretty cool.

883
00:49:17,920 --> 00:49:18,119
Speaker 2: Right.

884
00:49:19,719 --> 00:49:22,639
Speaker 1: One of the things that Steven Spielberg takes a sort

885
00:49:22,639 --> 00:49:26,159
of creative license on is the height of the velociraptors.

886
00:49:26,880 --> 00:49:29,760
Lost raptors are kind of known archaeologically to be only

887
00:49:29,800 --> 00:49:33,159
about six feet tall, right, six foot turkey ish, but

888
00:49:33,360 --> 00:49:36,800
he makes him ten feet tall that he just decides

889
00:49:36,840 --> 00:49:41,320
they're gonna be scarier that way. Well, during filming, paleontologists

890
00:49:41,400 --> 00:49:45,239
uncovered a ten foot tall specimen of raptor called the

891
00:49:45,360 --> 00:49:46,119
Utah Raptors.

892
00:49:46,199 --> 00:49:48,239
Speaker 3: Pretty cool. They were super excited when they discovered that

893
00:49:48,239 --> 00:49:49,039
while they were filming.

894
00:49:49,599 --> 00:49:51,840
Speaker 2: That's awesome. I'm going to throw in a bit between

895
00:49:51,880 --> 00:49:56,599
your digbits here, okay, because it also involves a discovery

896
00:49:56,639 --> 00:50:01,360
three years ago. On August nineteenth, twenty seventeen, forty two

897
00:50:01,519 --> 00:50:04,840
years after the movie Jaws brought the story of the

898
00:50:04,920 --> 00:50:09,320
USS Indianapolis to the world at large, a co founder

899
00:50:09,360 --> 00:50:13,920
of Microsoft named Paul Allen located the wreck of the

900
00:50:14,039 --> 00:50:18,239
USS Indianapolis in the Philippine Sea at a depth of

901
00:50:18,280 --> 00:50:19,639
over eighteen thousand feet.

902
00:50:19,679 --> 00:50:22,559
Speaker 1: That is awesome. Love that a couple of tidbits for you.

903
00:50:22,599 --> 00:50:25,880
At Jurassic Park, when Dennis Nedri is first introduced, he

904
00:50:26,119 --> 00:50:28,960
is watching Jaws on his computer screen.

905
00:50:29,239 --> 00:50:32,719
Speaker 3: Nu uh, yes, how did I miss that? He is

906
00:50:32,840 --> 00:50:34,760
watching freaking Jaws?

907
00:50:35,639 --> 00:50:35,880
Speaker 1: What?

908
00:50:36,320 --> 00:50:36,679
Speaker 3: Yes?

909
00:50:36,960 --> 00:50:38,880
Speaker 2: I scrap Now I got to go look at it again.

910
00:50:39,239 --> 00:50:42,440
Did we already talk about his clothes and his wardrobe change.

911
00:50:42,639 --> 00:50:43,599
Speaker 3: No, let's talk about that.

912
00:50:46,159 --> 00:50:53,960
Speaker 2: Okay. So Dennis Nedri Wayne Knight has several different outfits

913
00:50:54,000 --> 00:50:56,599
that he wears during the course of this movie. One

914
00:50:56,639 --> 00:50:59,480
of them is a Hawaiian shirt, the other one is

915
00:50:59,639 --> 00:51:03,639
like a member's only jackets, a gray jacket as it

916
00:51:03,679 --> 00:51:07,719
turns out, and his yellow raincoat. Yes, the yellow raincoat, right,

917
00:51:08,400 --> 00:51:11,800
this is what the kids each one of the kids,

918
00:51:11,880 --> 00:51:14,719
Sean Aston, Corey Feldman.

919
00:51:14,960 --> 00:51:17,719
Speaker 3: And and Chunk Jeff Cohen.

920
00:51:18,360 --> 00:51:21,480
Speaker 2: That is the costumes that they are wearing in the movie.

921
00:51:21,559 --> 00:51:25,280
Speaker 1: Uneys, Oh that's incredible man. The yellow raincoat is what

922
00:51:25,360 --> 00:51:28,159
Mikey is wearing. The Hawaiian shirt is what Chunk is

923
00:51:28,199 --> 00:51:31,440
wearing when he does the truffle shuffle. And members only

924
00:51:31,920 --> 00:51:34,960
jacket is what Corey Felderman is wearing over his purple

925
00:51:35,000 --> 00:51:37,239
rain shirt in the Goonies.

926
00:51:37,039 --> 00:51:42,239
Speaker 3: Really purple rain purple. Okay, a couple more tidbits.

927
00:51:42,400 --> 00:51:45,159
Speaker 1: Okay, if you go back and watch the movie, when

928
00:51:45,360 --> 00:51:50,760
the Delaphosaurus is spitting venom at Dennis Nedri, Okay, yeah,

929
00:51:51,400 --> 00:51:57,119
the first shot that he spits, he goes and it

930
00:51:57,199 --> 00:51:59,559
hits him kind of in the chest.

931
00:52:00,079 --> 00:52:02,559
Speaker 3: He actually, if you watch closely, the actor.

932
00:52:02,400 --> 00:52:05,000
Speaker 1: Wayne Knight has a big blob of it in his hand,

933
00:52:05,559 --> 00:52:07,960
and he takes it and wipes it on his chest

934
00:52:08,119 --> 00:52:10,800
to sort of help the help the effect a little

935
00:52:10,840 --> 00:52:14,000
bit of a blooper that you can see he goes

936
00:52:14,000 --> 00:52:15,679
from having a little bit on his chest to having

937
00:52:15,679 --> 00:52:16,719
a whole lot because.

938
00:52:16,480 --> 00:52:18,760
Speaker 3: He just took a big scoop of it and rubbed

939
00:52:18,760 --> 00:52:19,840
it on himself from his hand.

940
00:52:21,360 --> 00:52:23,360
Speaker 1: And then finally, one of the things that a lot

941
00:52:23,400 --> 00:52:26,480
of people were kind of interested in, and it's never

942
00:52:26,559 --> 00:52:30,119
really covered, it's kind of mentioned and then dropped, is

943
00:52:30,119 --> 00:52:33,239
is what's wrong with the triceratops? Why is the triceratops sick?

944
00:52:33,760 --> 00:52:36,159
And it's this sort of mini mystery. In the middle

945
00:52:36,159 --> 00:52:39,199
of the movie, by the way, the big gigantic pile

946
00:52:39,239 --> 00:52:43,440
of triceratops dung that she's digging through to check for

947
00:52:43,519 --> 00:52:48,360
lilac berries made of clay and straw, and they poured

948
00:52:48,400 --> 00:52:51,159
honey on it to draw flies. So it really wasn't

949
00:52:51,199 --> 00:52:53,039
that smully, It wasn't really that big of a deal.

950
00:52:53,119 --> 00:52:56,320
But when Lauren Duran's character is sifting through the poop

951
00:52:56,400 --> 00:52:59,400
looking for lilac berries, she doesn't find any. But the

952
00:52:59,480 --> 00:53:02,159
answer to the mystery is the scene that was kind

953
00:53:02,159 --> 00:53:06,519
of cut out was that the triceratops would swallow stones

954
00:53:06,559 --> 00:53:11,519
to help grind up for digestive purposes, and it had

955
00:53:11,920 --> 00:53:15,239
thrown up the stones after they had rounded out and

956
00:53:15,360 --> 00:53:17,760
were no longer of use, and that's where the lilac

957
00:53:17,800 --> 00:53:20,280
barriers were, and that's what was making the triceratops sick.

958
00:53:27,239 --> 00:53:29,639
All right, let's talk about the reception of these movies.

959
00:53:30,159 --> 00:53:36,280
Speaker 2: Okay, So we've mentioned before that Jaws was the first blockbuster, right,

960
00:53:36,639 --> 00:53:39,599
and blockbuster is a word that existed since World War Two.

961
00:53:39,639 --> 00:53:42,239
It's actually where it came out. They would drop bombs

962
00:53:42,320 --> 00:53:45,719
during the Blitz, which our friend John Hammond, you know,

963
00:53:45,920 --> 00:53:52,000
the actor Richard Attenborough, lived through drop bombs that would

964
00:53:52,039 --> 00:53:54,559
take out a whole block. They would call those blockbusters,

965
00:53:54,599 --> 00:53:57,639
and so that there was a little bit of an

966
00:53:57,679 --> 00:53:59,840
idea that you know, hey, a movie can you know,

967
00:54:00,199 --> 00:54:03,400
have a bigger impact. That's what the blockbuster came from.

968
00:54:03,440 --> 00:54:07,480
But it wasn't until nineteen seventy five that the word

969
00:54:07,559 --> 00:54:12,880
became associated with movies that were major hits during the summer,

970
00:54:13,199 --> 00:54:17,960
because in nineteen before nineteen seventy five, the summer was

971
00:54:18,000 --> 00:54:21,840
considered a dead period for movies. People were on vacation,

972
00:54:22,280 --> 00:54:25,519
they weren't going, they weren't school, they were doing other things,

973
00:54:25,760 --> 00:54:28,320
and so people did not go and watch movies during

974
00:54:28,360 --> 00:54:33,760
the summer until nineteen seventy five. And you mentioned to

975
00:54:33,800 --> 00:54:37,599
me this movie was originally supposed to be released in December.

976
00:54:38,199 --> 00:54:41,239
That's right, But because of that, because of going long

977
00:54:41,280 --> 00:54:45,280
on the production, it didn't get released until midsummer June

978
00:54:45,480 --> 00:54:46,920
of nineteen seventy five.

979
00:54:47,119 --> 00:54:50,000
Speaker 1: But what happened, Yeah, so the release date was pushed

980
00:54:50,039 --> 00:54:51,760
back to the summer of nineteen seventy five.

981
00:54:51,800 --> 00:54:52,239
Speaker 3: In May.

982
00:54:52,400 --> 00:54:55,559
Speaker 1: And keep in mind, at this point, Steven Spielberg and

983
00:54:55,679 --> 00:55:00,280
his crew are still wondering if audiences are going to

984
00:55:00,360 --> 00:55:02,960
accept a giant rubber shark as the threat.

985
00:55:03,239 --> 00:55:05,960
Speaker 2: They may not. They didn't know how the public at

986
00:55:06,039 --> 00:55:08,119
large was going to feel about this. But they had

987
00:55:08,159 --> 00:55:10,480
done some screenings and there is a point in the

988
00:55:10,519 --> 00:55:14,800
movie Steven Spielberg is watching one of the original screenings

989
00:55:14,800 --> 00:55:17,559
that they do for the test audiences. So there's this

990
00:55:17,679 --> 00:55:20,559
scene where Alex Kittner is getting eaten by the shark

991
00:55:20,599 --> 00:55:23,360
and the blood literally shoots up out of the water.

992
00:55:23,800 --> 00:55:26,400
You know, they had to it was it was an

993
00:55:26,480 --> 00:55:30,599
amazingly grotesque scene given that this is a little kid.

994
00:55:31,239 --> 00:55:34,800
And so at this point in the pre screening, someone

995
00:55:35,039 --> 00:55:38,920
jumps out of their chair and runs out of the theater,

996
00:55:39,159 --> 00:55:43,679
and Steven Spielberg thinks, oh no, I went too far.

997
00:55:44,119 --> 00:55:46,320
And he watches this guy and he goes out of

998
00:55:46,360 --> 00:55:50,039
the theater and he sees him throw up in the

999
00:55:50,079 --> 00:55:53,360
trash can. He sees him vomit into the trash can.

1000
00:55:53,440 --> 00:55:56,320
He's like, oh God, I've made it too bad. It's

1001
00:55:56,400 --> 00:55:59,079
not going to work. Oh no, what's going to happen?

1002
00:55:59,400 --> 00:56:02,239
And then the guy, after he gets done throwing up,

1003
00:56:03,000 --> 00:56:06,199
turns around and goes back in and watches the rest

1004
00:56:06,239 --> 00:56:11,199
of the movie, and he's like, holy cow, this might work.

1005
00:56:11,880 --> 00:56:12,239
Speaker 3: Yeah.

1006
00:56:13,000 --> 00:56:15,800
Speaker 1: You know, it was tested in Dallas because it was

1007
00:56:15,840 --> 00:56:16,800
far from the ocean.

1008
00:56:18,360 --> 00:56:22,360
Speaker 3: He wanted to know if a shark was scary to

1009
00:56:22,519 --> 00:56:25,280
people who are landlocked, and the answer was.

1010
00:56:26,119 --> 00:56:28,400
Speaker 2: Yep, yes it is. Bat Yes it is.

1011
00:56:28,519 --> 00:56:30,679
Speaker 3: People were scared to go swimming and swimming pools.

1012
00:56:30,679 --> 00:56:35,679
Speaker 1: After this movie came out, this was the first movie

1013
00:56:35,679 --> 00:56:38,679
to gross over one hundred million dollars at the box office.

1014
00:56:38,880 --> 00:56:42,679
That was something that nobody had ever achieved before.

1015
00:56:43,440 --> 00:56:47,280
Speaker 2: So another thing that had never that did not happen before.

1016
00:56:47,320 --> 00:56:51,159
This was a mass release, all on the same day.

1017
00:56:51,599 --> 00:56:54,079
So they took an entirely different tack with this movie.

1018
00:56:54,119 --> 00:56:58,079
When they saw their final product, when they saw how

1019
00:56:58,119 --> 00:57:02,880
test the audiences reacted, they thought, Wow, we may actually

1020
00:57:02,880 --> 00:57:05,519
have a real hit on our hands. And so they

1021
00:57:05,559 --> 00:57:08,719
did a marketing campaign where they had all of the

1022
00:57:08,800 --> 00:57:12,159
actors come and do all of these TV spots promoting

1023
00:57:12,199 --> 00:57:15,519
the movie, and it's it's incredible because if you watch

1024
00:57:15,559 --> 00:57:18,480
some of the stuff that Richard Dreyfus did, he's not

1025
00:57:19,039 --> 00:57:22,239
he's not complimentary. He's like, if this movie fails, it's

1026
00:57:22,280 --> 00:57:26,239
not Steven Spielberg's fault, it's the it's the production company's fault.

1027
00:57:26,400 --> 00:57:29,480
I mean, he doesn't look favorably upon it.

1028
00:57:29,880 --> 00:57:35,480
Speaker 1: He is actually defending the movie before the release, like

1029
00:57:35,559 --> 00:57:38,280
he's like, I know people are gonna hate it, and

1030
00:57:38,719 --> 00:57:40,840
you know, it's just not gonna and it's not Spielberg's

1031
00:57:40,880 --> 00:57:42,280
fault that this movie is gonna fail.

1032
00:57:43,079 --> 00:57:47,800
Speaker 2: Right, But they do these promotions the other not everybody

1033
00:57:47,840 --> 00:57:52,719
else is as critical as Richard Dreyfus is. They're doing

1034
00:57:52,800 --> 00:57:57,079
their promotion and then they do something unprecedented. They release

1035
00:57:57,119 --> 00:58:02,079
it in over four hundred theaters all on the same day. Now,

1036
00:58:02,119 --> 00:58:05,440
people listening to this brother are gonna be like, why

1037
00:58:05,519 --> 00:58:08,199
is that unprecedented? What happens all the time? Yeah, it

1038
00:58:08,280 --> 00:58:12,840
didn't before this time. It used to be that a

1039
00:58:12,920 --> 00:58:14,920
movie would come out in a few theaters and then

1040
00:58:14,960 --> 00:58:17,199
a few more, and it was something that was a

1041
00:58:17,239 --> 00:58:22,119
trickle out effect. But with Jaws, they said, we wanted

1042
00:58:22,159 --> 00:58:25,000
to all hit all at the same time so that

1043
00:58:25,159 --> 00:58:28,679
everyone is talking about it at once, and it changed.

1044
00:58:29,519 --> 00:58:32,679
Forgive me for saying this again, it changed the paradigm.

1045
00:58:32,840 --> 00:58:38,000
It was a shift, and from that moment on, every

1046
00:58:38,440 --> 00:58:42,679
major motion picture would have a gigantic release. I mean

1047
00:58:42,719 --> 00:58:45,559
a standard for today is twenty five hundred theaters on

1048
00:58:45,639 --> 00:58:46,199
release day.

1049
00:58:46,559 --> 00:58:46,800
Speaker 3: Yep.

1050
00:58:47,760 --> 00:58:51,079
Speaker 1: The marketing campaign was genius on this deal too. It

1051
00:58:51,119 --> 00:58:55,480
included shark related messages like, if you happen to see

1052
00:58:55,480 --> 00:58:57,679
a great white here's how you deal with it.

1053
00:58:58,079 --> 00:59:00,599
Speaker 3: This is part of the marketing, right.

1054
00:59:00,719 --> 00:59:01,079
Speaker 2: Awesome.

1055
00:59:01,159 --> 00:59:02,719
Speaker 1: There was a great white shark on the cover of

1056
00:59:02,840 --> 00:59:06,920
Time magazine, and it also created a boom in tourism

1057
00:59:07,119 --> 00:59:08,920
at Martha's Vineyard, which.

1058
00:59:08,679 --> 00:59:11,119
Speaker 2: Oh yeah, it's great. At the time that they filmed this,

1059
00:59:11,559 --> 00:59:15,960
the population of Martha's vineyard was five thousand people. Within

1060
00:59:16,159 --> 00:59:20,440
just a few years it had increased to fifteen thousand people.

1061
00:59:20,559 --> 00:59:23,079
Speaker 1: So let's talk about the reception of Jurassic Park. Okay,

1062
00:59:23,239 --> 00:59:26,440
So Jurassic Park was released June eleventh, nineteen ninety three.

1063
00:59:26,559 --> 00:59:29,639
The studio's biggest concern in competition the summer of ninety

1064
00:59:29,639 --> 00:59:32,239
three was The Last Action Hero, which also happens to

1065
00:59:32,280 --> 00:59:34,199
be the last movie that I walked out of it

1066
00:59:34,239 --> 00:59:35,079
because it sucks of it.

1067
00:59:38,360 --> 00:59:40,360
Speaker 2: That's interesting. The first movie I walked out of was

1068
00:59:40,440 --> 00:59:42,840
Jaws three. The last movies you walked out it was

1069
00:59:42,920 --> 00:59:43,719
Last Action Hero.

1070
00:59:46,519 --> 00:59:50,119
Speaker 1: The movie and book generated so much interest in dinosaurs

1071
00:59:50,119 --> 00:59:54,239
and paleontology that universities had a record increase in students.

1072
00:59:54,559 --> 00:59:57,360
I'm sorry, I get ahead of myself. Jurassic Park was

1073
00:59:57,400 --> 00:59:59,880
released on Friday, June eleventh, nineteen ninety three, and it

1074
01:00:00,199 --> 01:00:03,960
broke box office records its first weekend with forty seven

1075
01:00:04,079 --> 01:00:08,039
million dollars on the first weekend, first weekend. Yes, it

1076
01:00:08,079 --> 01:00:12,039
eventually went to make more than nine hundred million worldwide.

1077
01:00:12,199 --> 01:00:14,199
Speaker 3: Compared that to what we just discussed with Jaws.

1078
01:00:14,239 --> 01:00:17,119
Speaker 1: One hundred million, right, nine hundred million. David Kep, who

1079
01:00:17,159 --> 01:00:19,519
is the screenwriter remembers the day it open. I was

1080
01:00:19,559 --> 01:00:22,800
in New York and I walked to the theater that

1081
01:00:22,880 --> 01:00:25,320
he was watching, and the guy comes out and announces

1082
01:00:25,360 --> 01:00:27,480
this to the giant line ladies and gentlemen.

1083
01:00:27,880 --> 01:00:30,159
Speaker 3: The seven o'clock show of Jurassic Park is sold out.

1084
01:00:30,159 --> 01:00:33,119
Speaker 1: And people go oh, and he goes Also, the ten

1085
01:00:33,119 --> 01:00:37,280
o'clock show is sold out, and they went oh. Also,

1086
01:00:37,519 --> 01:00:40,440
Saturday night seven and ten o'clock show are sold out.

1087
01:00:40,480 --> 01:00:43,199
And David Kep's like, I'm not an expert, but that

1088
01:00:43,239 --> 01:00:44,519
seems like it's doing pretty good.

1089
01:00:44,880 --> 01:00:47,239
Speaker 2: Yeah. Yeah, it's a good sign.

1090
01:00:47,639 --> 01:00:50,519
Speaker 1: This movie was very well received.

1091
01:00:50,599 --> 01:00:53,360
Speaker 3: It made tons of money. I thought this was interesting.

1092
01:00:53,519 --> 01:00:58,719
Speaker 1: Spielberg received two hundred and fifty million dollars from the

1093
01:00:58,760 --> 01:01:02,360
movie gross and profit participations, which is the largest sum

1094
01:01:02,400 --> 01:01:03,440
ever for a director.

1095
01:01:03,840 --> 01:01:06,559
Speaker 2: Can I just say something about Steven Spielberg and the

1096
01:01:07,000 --> 01:01:10,199
finishing up of this movie. We talked about the soundtrack

1097
01:01:10,480 --> 01:01:15,360
and what happens with it, but Spielberg at this time,

1098
01:01:16,199 --> 01:01:21,880
I mean, while while Jurassic Park is being finalized, before

1099
01:01:21,920 --> 01:01:27,840
it has the soundtrack finished, he's already filming Schindler's List.

1100
01:01:28,599 --> 01:01:33,039
It's astounding that he's doing both of these movies almost

1101
01:01:33,119 --> 01:01:35,960
at the same time. I mean he's finishing one as

1102
01:01:36,000 --> 01:01:38,960
he's in the midst of directing the other. But what

1103
01:01:39,000 --> 01:01:42,639
would happen is he would be directing in Poland, he

1104
01:01:42,679 --> 01:01:45,639
would have the weekends off. On the weekends, he would

1105
01:01:45,679 --> 01:01:50,000
fly to Paris. Someone from the US would take tapes

1106
01:01:50,400 --> 01:01:54,079
of what John Williams had been composing for Jurassic Park,

1107
01:01:54,519 --> 01:01:58,079
fly them over to Paris. They would sit and listen

1108
01:01:58,119 --> 01:02:00,840
to the tapes and watch the film. At the same time,

1109
01:02:01,199 --> 01:02:04,440
Steven Spielberg would give his notes. The guy would fly

1110
01:02:04,639 --> 01:02:08,159
back give them to John Williams. Steven Spielberg would fly

1111
01:02:08,360 --> 01:02:12,079
over to watch to continue directing Schindler's List, and then

1112
01:02:12,239 --> 01:02:15,519
he within the span of two years, he makes two

1113
01:02:15,679 --> 01:02:19,480
of his biggest movies of all time as they overlap.

1114
01:02:19,599 --> 01:02:22,440
Speaker 3: It's astounder it is, it really is.

1115
01:02:22,719 --> 01:02:26,559
Speaker 1: Laura Dern when she saw the dinosaur cgi on screen

1116
01:02:26,559 --> 01:02:29,239
for the first time, she cried, people don't appreciate it

1117
01:02:29,280 --> 01:02:32,559
now because it's so commonplace. But at that time, when

1118
01:02:32,960 --> 01:02:34,519
when you looked on the screen and you saw a

1119
01:02:34,519 --> 01:02:37,239
freakin dinosaur, it was like nothing you'd ever seen. Like

1120
01:02:37,320 --> 01:02:39,000
we were used to giant rubber.

1121
01:02:38,679 --> 01:02:41,679
Speaker 2: Sharks, holy how did they do that?

1122
01:02:42,320 --> 01:02:47,360
Speaker 3: That's right? All right, so let's get final judgment. Indeed, okay,

1123
01:02:47,400 --> 01:02:47,840
where are you?

1124
01:02:48,480 --> 01:02:53,519
Speaker 2: All right? These are two iconic movies. Yes, they change

1125
01:02:53,559 --> 01:02:57,519
the paradigm in different ways, nearly twenty years apart from

1126
01:02:57,559 --> 01:03:00,480
each other. Okay, we've talked about for two and a

1127
01:03:00,480 --> 01:03:04,400
half episodes. We've talked about what they did. Looking back,

1128
01:03:05,159 --> 01:03:09,079
I just have to say to myself, Okay, I'm just

1129
01:03:09,119 --> 01:03:13,239
gonna look and watch these two movies. As I look

1130
01:03:13,559 --> 01:03:19,440
and watch these two movies, now, it's been forty five

1131
01:03:19,559 --> 01:03:23,280
years since Jaws came out. It has been twenty seven

1132
01:03:23,360 --> 01:03:27,119
years since Jurassic Park came out. They're both old movies

1133
01:03:27,159 --> 01:03:30,400
at this point. And so I just looked and I said, okay,

1134
01:03:30,599 --> 01:03:34,400
what problems do I have? And how have these movies

1135
01:03:34,480 --> 01:03:35,920
aged over time? Right?

1136
01:03:36,360 --> 01:03:36,719
Speaker 3: Okay?

1137
01:03:37,239 --> 01:03:40,960
Speaker 2: I look at Jaws, and it's impressive. As the mechanical

1138
01:03:41,039 --> 01:03:43,320
shark comes out of the water and onto the boat,

1139
01:03:43,719 --> 01:03:48,159
I'm not thinking to myself, Oh, there's the mechanical shark

1140
01:03:48,199 --> 01:03:51,079
coming out of the water. I'm thinking, holy crap, that

1141
01:03:51,119 --> 01:03:53,320
guy is gonna eat one of those guys. And sure enough,

1142
01:03:53,320 --> 01:03:56,239
that's what happens. As I see the shark's jaws chomped

1143
01:03:56,360 --> 01:04:00,239
down on Quin and him screaming for mercy. I am

1144
01:03:59,760 --> 01:04:02,400
I am not thinking about the production of this movie.

1145
01:04:02,519 --> 01:04:04,440
Speaker 3: It's great scene at all, great scene.

1146
01:04:04,639 --> 01:04:07,280
Speaker 2: It is a movie that, despite the fact that it

1147
01:04:07,360 --> 01:04:12,239
is forty five years old in its technology, I am

1148
01:04:12,280 --> 01:04:16,239
not distracted Jurassic Park. I loved it when it came out.

1149
01:04:16,360 --> 01:04:19,239
When I watched it and I saw the dinosaur for

1150
01:04:19,280 --> 01:04:22,079
the first time, I was just like everybody else in like,

1151
01:04:22,880 --> 01:04:27,880
holy crap, how do they do that? That is astounding.

1152
01:04:28,159 --> 01:04:31,000
It changed the way that movies were made. Looking at

1153
01:04:31,119 --> 01:04:36,639
back at it twenty seven years later, it's still amazing.

1154
01:04:37,559 --> 01:04:41,599
But there are features that I kind of go that

1155
01:04:41,639 --> 01:04:44,480
did an age as well as I had hoped it would.

1156
01:04:44,920 --> 01:04:46,719
And it's not just me. I watched this with my

1157
01:04:46,840 --> 01:04:50,519
children and the first scene that was so amazing back

1158
01:04:50,519 --> 01:04:53,000
in nineteen ninety three of the Bracyosaurus when you see

1159
01:04:53,039 --> 01:04:55,199
it for the first time, my kids went that doesn't

1160
01:04:55,199 --> 01:04:58,559
appeal and I kind of went, guys, I mean, remember,

1161
01:04:58,679 --> 01:05:01,320
this was the first time that this had ever been done,

1162
01:05:01,559 --> 01:05:05,320
but it hasn't aged as well. Then I look at

1163
01:05:05,360 --> 01:05:09,079
the first scene with doctor Grant and the kid, and

1164
01:05:09,119 --> 01:05:11,280
I'm going, why is this kid here? And why is

1165
01:05:11,320 --> 01:05:14,639
doctor Grant so mean to him? And then I'm looking

1166
01:05:14,760 --> 01:05:20,639
at the scene where the car is falling through the

1167
01:05:20,679 --> 01:05:23,480
tree as they're trying to escape and trying to escape,

1168
01:05:23,840 --> 01:05:25,960
and I'm thinking, why don't they just go to the

1169
01:05:25,960 --> 01:05:29,639
other side of the tree. And so as amazing as

1170
01:05:29,719 --> 01:05:35,000
Jurassic Park is, there are problems with it from my perspective,

1171
01:05:35,599 --> 01:05:39,039
and I can't say that it is as timeless as

1172
01:05:39,679 --> 01:05:44,559
Jaws is. And so that is why I say Jaws

1173
01:05:44,599 --> 01:05:47,199
wins the contest between Jurassic Park and Jaws.

1174
01:05:47,880 --> 01:05:54,719
Speaker 3: Okay, your way off base. Here's what we're looking at here,

1175
01:05:54,840 --> 01:05:57,440
all right. Yes, these movies are old.

1176
01:05:57,760 --> 01:06:00,360
Speaker 1: Yes, when you look at them from twenty twenty, there

1177
01:06:00,440 --> 01:06:04,320
are things that are not as favorable. I mean, the

1178
01:06:04,360 --> 01:06:07,119
shark that we only see for about twenty seconds of

1179
01:06:07,199 --> 01:06:10,360
Jaws would have a lot more problems if we got.

1180
01:06:10,199 --> 01:06:12,719
Speaker 3: A good look at it. These two movies are amusement

1181
01:06:12,719 --> 01:06:13,320
park rides.

1182
01:06:14,400 --> 01:06:19,239
Speaker 1: Think of the greatest roller coaster, like I'm thinking the

1183
01:06:19,280 --> 01:06:25,480
Titan at six Flags over Texas. Okay, that's Jaws. Super high,

1184
01:06:26,159 --> 01:06:33,599
super straight drop, exciting thrill ride, still fun today. No

1185
01:06:33,639 --> 01:06:37,840
matter what Jurassic Park is like that same ride, except

1186
01:06:37,880 --> 01:06:43,119
you have ten loop to loops, So it takes something

1187
01:06:43,159 --> 01:06:46,519
that's awesome and it makes it even more awesome.

1188
01:06:47,360 --> 01:06:53,239
Speaker 3: Okay, now, do you have Jurassic Park without Jaws? Probably not.

1189
01:06:54,159 --> 01:06:58,039
Jaws is the granddaddy of Jurassic Park, and it owes

1190
01:06:58,119 --> 01:07:01,559
a lot to Jaws. I do think it steps up.

1191
01:07:01,639 --> 01:07:05,280
Speaker 1: Instead of having one threat, you've got two raptors and

1192
01:07:05,320 --> 01:07:08,599
a t Rex instead of one shark. You also have

1193
01:07:08,960 --> 01:07:12,719
a poison spitting de la Vosaurus running around, so you

1194
01:07:12,760 --> 01:07:14,360
have more things to be scared of.

1195
01:07:14,920 --> 01:07:18,199
Speaker 3: I do think the water element makes it more scary.

1196
01:07:18,320 --> 01:07:21,119
Speaker 1: But I know when I watch these two, the more

1197
01:07:21,360 --> 01:07:22,880
entertaining movie for me.

1198
01:07:23,079 --> 01:07:26,559
Speaker 3: Is Jurassic Park. Do I love them both? Absolutely?

1199
01:07:27,039 --> 01:07:30,360
Speaker 1: Do we owe a lot to what they've contributed to

1200
01:07:30,400 --> 01:07:36,639
the movie culture. Absolutely, Jaws changed everything. But from my perspective,

1201
01:07:36,679 --> 01:07:40,039
the most entertaining of these two movies is Jurassic Park.

1202
01:07:40,480 --> 01:07:45,320
Speaker 2: Okay, I'm gonna give a quick rebuttal argument. Okay, because

1203
01:07:45,360 --> 01:07:49,639
there's there's an idea that I wanted to touch on, and

1204
01:07:49,679 --> 01:07:52,840
I'll just as as kudos to Jurassic Park. The same

1205
01:07:52,920 --> 01:07:55,760
kids who are like, yeah, that doesn't look real when

1206
01:07:56,199 --> 01:08:00,360
when it came to the velociraptors chasing the children through

1207
01:08:00,400 --> 01:08:04,159
the kitchen, or the t rex like attacking people in

1208
01:08:04,360 --> 01:08:08,320
the land Rovers. They were burying their head in my

1209
01:08:08,760 --> 01:08:11,320
shoulder and saying, tell me when it's olf right. I

1210
01:08:11,360 --> 01:08:16,720
mean they may have been unimpressed initially, but with Jurassic Park,

1211
01:08:16,920 --> 01:08:21,319
from t Rex moment on, except for that car falling scene,

1212
01:08:22,119 --> 01:08:27,000
it is intense and frightening. But I talked in our

1213
01:08:27,159 --> 01:08:31,039
very first episode on this on these two movies about

1214
01:08:31,039 --> 01:08:35,720
how the criticism of sugar Land Express was even though

1215
01:08:35,720 --> 01:08:40,119
they had these fantastic car chase scenes, there wasn't any

1216
01:08:40,199 --> 01:08:43,359
character development in Jurassic Park. I feel like he falls

1217
01:08:43,399 --> 01:08:47,479
back into that same trap. I think that the character

1218
01:08:47,560 --> 01:08:53,279
development is minimal. It's there, it's there's something there, But

1219
01:08:53,760 --> 01:09:00,359
you do not, from my perspective, emotionally connect with doctor Grantler.

1220
01:09:00,800 --> 01:09:04,079
Maybe no, not even Ian Malcolm. You don't really have

1221
01:09:04,680 --> 01:09:09,680
the connection with them that you do with the characters

1222
01:09:09,720 --> 01:09:12,800
in Jaws. And we talked about how the movie was

1223
01:09:12,840 --> 01:09:15,640
about the shark and the movie was about the dinosaurs,

1224
01:09:15,640 --> 01:09:18,399
so they weren't as much worried about the actors. But

1225
01:09:18,840 --> 01:09:23,479
I just think that Jaws brings a higher caliber of actor,

1226
01:09:24,039 --> 01:09:26,760
and especially that scene that we talked about earlier today,

1227
01:09:28,000 --> 01:09:31,960
the USS Indianapolis, the drunk talk, the comparing of scars.

1228
01:09:33,000 --> 01:09:38,079
I can see why that moment changed everyone's perception about

1229
01:09:38,079 --> 01:09:41,800
this movie because it was that moment that you made

1230
01:09:41,840 --> 01:09:45,800
a heart to heart connection with all of the characters,

1231
01:09:46,159 --> 01:09:49,960
the Holy Trinity that was fighting against the demonic Shark.

1232
01:09:51,079 --> 01:09:54,359
You made that connection at that moment, and I just

1233
01:09:54,399 --> 01:09:55,960
never had that moment in Jurassic Park.

1234
01:09:56,319 --> 01:09:57,399
Speaker 3: No, you're exactly right.

1235
01:09:57,439 --> 01:10:00,359
Speaker 1: I will not argue I don't really care about the

1236
01:10:00,399 --> 01:10:03,319
characters in Jurassic Park. The one character that I do

1237
01:10:03,399 --> 01:10:08,199
care about, the biggest emotional impact for me character wise

1238
01:10:08,680 --> 01:10:11,840
is when the raptors are fighting the t Rex. I

1239
01:10:11,880 --> 01:10:15,520
want the t Rex to win. Yeah, everybody else, I'm

1240
01:10:15,560 --> 01:10:16,960
just like, Oh, who's going to get it next? I

1241
01:10:17,000 --> 01:10:20,319
don't really care, right, let's the hacker?

1242
01:10:20,680 --> 01:10:20,920
Speaker 3: Eh.

1243
01:10:22,960 --> 01:10:26,239
Speaker 2: So so you felt when you watched Jurassic Park. You

1244
01:10:26,279 --> 01:10:29,039
felt the same way Steven Spielberg when he read the

1245
01:10:29,039 --> 01:10:32,439
Book of Jaws. At the end, you wanted the shark

1246
01:10:32,479 --> 01:10:34,520
to win. You wanted the t Rex to win.

1247
01:10:34,600 --> 01:10:35,640
Speaker 3: I want the t Rex to win.

1248
01:10:35,960 --> 01:10:37,840
Speaker 2: So they did that. I mean at least for that

1249
01:10:37,920 --> 01:10:40,800
you can say they did that perfectly because the t

1250
01:10:40,960 --> 01:10:44,640
Rex wins and the people still survive. Right. Yeah, that's good.

1251
01:10:44,760 --> 01:10:46,840
Speaker 3: Well, we sure want to hear from you guys. Are

1252
01:10:46,840 --> 01:10:50,560
we way off base? De took Jaws, I'm taking Jurassic Park?

1253
01:10:50,960 --> 01:10:53,079
Where are you? Hit us up on Facebook, hit us

1254
01:10:53,159 --> 01:10:55,439
up on Twitter, email us. You might even get a

1255
01:10:55,439 --> 01:10:58,000
shout out on the next podcast.

1256
01:10:58,359 --> 01:10:59,600
Speaker 2: We'll see you guys next week.

1257
01:11:00,079 --> 01:11:00,279
Speaker 4: Yeah,