1 00:00:02,040 --> 00:00:04,120 Speaker 1: Well, everybody, welcome back to the Shirley You Can't Be 2 00:00:04,200 --> 00:00:08,119 Serious podcast. Jason, I was thinking, instead of doing something 3 00:00:08,199 --> 00:00:11,480 from our past, maybe what we should do is do 4 00:00:11,759 --> 00:00:14,240 like the movies that are number one and number two 5 00:00:14,279 --> 00:00:15,519 in the box office right now. 6 00:00:15,519 --> 00:00:17,079 Speaker 2: What do you think that sounds fantastic? 7 00:00:17,199 --> 00:00:19,320 Speaker 1: What are they? What's just tell me look it up, 8 00:00:19,559 --> 00:00:21,480 google it, whatever you need to do. Tell me what 9 00:00:21,600 --> 00:00:23,800 number one and number two in the box office right now. 10 00:00:23,679 --> 00:00:26,480 Speaker 2: Are number one and number two? Right eye? It's kind 11 00:00:26,480 --> 00:00:28,199 of neck and neck. Uh, different week. 12 00:00:28,480 --> 00:00:29,679 Speaker 1: Is it a Marvel movie? 13 00:00:29,760 --> 00:00:29,879 Speaker 3: No? 14 00:00:30,079 --> 00:00:32,640 Speaker 1: Okay? Is it in one of the new James Bond movies? No? 15 00:00:32,880 --> 00:00:33,399 Start trenk. 16 00:00:33,479 --> 00:00:35,840 Speaker 2: No. Basically every movie theater in the country is shut 17 00:00:35,840 --> 00:00:40,200 down except for drive ins, and so the number one 18 00:00:40,320 --> 00:00:43,679 and number two movies at the box office this week, 19 00:00:44,520 --> 00:00:47,359 coinciding with this podcast that we recorded over a month ago, 20 00:00:48,119 --> 00:00:55,880 Jaws and Jurassic Park. That is no joke. What that 21 00:00:56,039 --> 00:00:57,840 is no freakin joke. 22 00:00:57,960 --> 00:00:59,039 Speaker 1: What a great coincidence. 23 00:00:59,039 --> 00:01:01,719 Speaker 2: I love it crazy, So I really hope you guys 24 00:01:01,799 --> 00:01:05,439 enjoy what we have already recorded. It just so happens 25 00:01:05,439 --> 00:01:08,599 it coincides with this crazy event due to COVID nineteen, 26 00:01:08,599 --> 00:01:10,840 which we will no longer talk about all. 27 00:01:10,799 --> 00:01:11,959 Speaker 1: Right without further ado. 28 00:01:12,799 --> 00:01:17,079 Speaker 4: Hello everybody, and welcome to the Surely You Can't Be 29 00:01:17,400 --> 00:01:22,159 Serious Podcast, discussing and debating the iconic and the forgotten 30 00:01:22,319 --> 00:01:25,519 of eighties and nineties pop culture with your co hosts 31 00:01:25,799 --> 00:01:28,319 James D. Graves and Jason Colivin. 32 00:01:31,120 --> 00:01:33,560 Speaker 1: Just when you thought it was safe to go back into. 33 00:01:33,359 --> 00:01:36,000 Speaker 2: The podcast, hold on to your butts. 34 00:01:37,359 --> 00:01:40,680 Speaker 1: Welcome back, everybody. We are here for our Jaws versus 35 00:01:40,760 --> 00:01:44,319 Jurassic Park episode of the Shirley You Can't Be Serious Podcast. 36 00:01:44,680 --> 00:01:47,959 I'm here with my co host and best friend Jason Colvin. 37 00:01:48,239 --> 00:01:48,480 Speaker 4: Up D. 38 00:01:48,760 --> 00:01:50,280 Speaker 1: How you doing, man, Man, I'm good. 39 00:01:50,359 --> 00:01:52,799 Speaker 2: This is gonna be fun today. I really really, I 40 00:01:52,879 --> 00:01:55,920 know I say this every time, but these movies get 41 00:01:55,920 --> 00:01:57,159 me fired up to talk about. 42 00:01:57,319 --> 00:02:00,879 Speaker 1: These movies change the course of movie history twenty years apart. 43 00:02:01,000 --> 00:02:01,680 Speaker 2: They really did. 44 00:02:01,719 --> 00:02:05,239 Speaker 1: It's crazy, and I'm excited about one of them being 45 00:02:05,719 --> 00:02:07,519 the movie that came out the year I was born. 46 00:02:07,719 --> 00:02:10,319 You know, Jaws came out in nineteen seventy five, just 47 00:02:10,360 --> 00:02:13,400 a few months before I was born, and it is 48 00:02:14,000 --> 00:02:17,439 monumental in the history of movies, and it is such 49 00:02:17,520 --> 00:02:18,319 a great movie. 50 00:02:18,360 --> 00:02:22,520 Speaker 2: Both of these movies were so impactful and imaginative and 51 00:02:22,759 --> 00:02:27,639 fun and scary, and I mean they're just pure summer 52 00:02:27,800 --> 00:02:31,639 popcorn gold. I just love both of these shows. Do 53 00:02:31,680 --> 00:02:33,560 you remember when you saw these movies for the first time. 54 00:02:33,680 --> 00:02:36,360 Speaker 1: I remember seeing Jurassic Park in the theater and being 55 00:02:36,400 --> 00:02:39,879 amazed and going back in the memory banks. I would 56 00:02:39,879 --> 00:02:41,960 have had a girlfriend at the time, so I'm sure 57 00:02:42,000 --> 00:02:43,719 I went and saw it with her, But all I 58 00:02:43,759 --> 00:02:46,719 can remember is the emotion with Jaws. I can't say 59 00:02:46,719 --> 00:02:49,199 when I saw it for the first time, because you know, 60 00:02:49,439 --> 00:02:51,400 like I said, it came out before, just just before 61 00:02:51,439 --> 00:02:54,840 I was born. Yeah, but it was. It was one 62 00:02:54,840 --> 00:02:57,719 of those movies that was a big factor of my childhood. 63 00:02:58,000 --> 00:03:01,120 My dad was very into show. We would watch all 64 00:03:01,159 --> 00:03:04,759 the shark documentaries long before Shark Week ever was a thing, right, 65 00:03:05,120 --> 00:03:07,520 and we you know, I learned to scuba dive with 66 00:03:07,599 --> 00:03:10,400 him whenever I was in grade school, and so I 67 00:03:10,439 --> 00:03:13,599 had all kinds of education about deep sea diving and sharks, 68 00:03:13,680 --> 00:03:15,439 and we went shark fishing when I was a kid. 69 00:03:15,520 --> 00:03:18,240 We'd go to Florida and deep sea fish for all 70 00:03:18,319 --> 00:03:21,639 kinds of things, including sharks. Saw a huge one. One 71 00:03:21,639 --> 00:03:23,879 of the times that we saw one that was Jaws 72 00:03:23,919 --> 00:03:26,360 proportioned shark like he was going by the boat and 73 00:03:26,400 --> 00:03:29,039 you're like, holy crap, this guy is as big as 74 00:03:29,039 --> 00:03:31,240 the boat. We weren't trying to catch those Yeah, we 75 00:03:31,240 --> 00:03:32,960 weren't trying to catch those guys. We were just trying 76 00:03:32,960 --> 00:03:34,680 to catch the little ones, which were funn as can 77 00:03:34,719 --> 00:03:37,319 be to catch. But I've always been a shark guy. 78 00:03:37,360 --> 00:03:38,400 That's about you, do you remember? 79 00:03:38,879 --> 00:03:41,800 Speaker 2: Well, So for Jaws, you know we've talked before. You 80 00:03:41,840 --> 00:03:43,639 and I have a little bit of an age difference. 81 00:03:44,080 --> 00:03:46,639 So I was two when the movie came out, but 82 00:03:46,800 --> 00:03:49,439 I mean shark mania took over the world in the 83 00:03:49,560 --> 00:03:53,159 late seventies, and so even though I was too young 84 00:03:53,199 --> 00:03:55,080 to see the movie or appreciate the movie or any 85 00:03:55,080 --> 00:03:58,919 of that stuff, I do recall the idea of you know, 86 00:03:59,000 --> 00:04:02,479 sharks and being scared in the swimming pool. And even 87 00:04:02,520 --> 00:04:05,080 though I lived in a landlocked state for some reason, 88 00:04:05,159 --> 00:04:07,800 you know, sharks were kind of on my mind, you know, right, 89 00:04:08,560 --> 00:04:10,960 I had a toy it's like a shark set, and 90 00:04:11,520 --> 00:04:13,280 the shark would open up and you have all this 91 00:04:13,360 --> 00:04:15,360 crap in his mouth and you had to fish out 92 00:04:15,400 --> 00:04:18,639 like wheels and stuff like that. So sharks were part 93 00:04:18,680 --> 00:04:21,920 of my imagination because of this movie now, Jurassic Park. 94 00:04:22,360 --> 00:04:25,240 I saw an opening night. I had a roommate in college. 95 00:04:25,279 --> 00:04:27,360 His name is Craig Parrish, good friend of mine, friend 96 00:04:27,399 --> 00:04:29,519 of the show. It was like the perfect roommate for 97 00:04:29,560 --> 00:04:31,959 a summer roommate, because every dime that we earned that 98 00:04:32,000 --> 00:04:35,560 summer we spent on entertainment and doing stuff and blowing 99 00:04:35,560 --> 00:04:37,639 it on stuff. So the weekend that it came out 100 00:04:37,800 --> 00:04:40,160 the Friday, I believe it was Friday, June eleventh, nineteen 101 00:04:40,240 --> 00:04:42,600 ninety three, we saw it in Norman, So we were 102 00:04:42,680 --> 00:04:45,439 blown away. We were like, man, that is unbelievable what 103 00:04:45,480 --> 00:04:48,399 we just saw. Right next day we drove to a 104 00:04:48,439 --> 00:04:50,879 Texas Ranger baseball game, came home the next day when 105 00:04:50,920 --> 00:04:53,319 saw Durst Park again. So it was a killer weekend. 106 00:04:53,360 --> 00:04:55,279 Speaker 1: Yeah, I can still I can. I can remember the 107 00:04:55,279 --> 00:04:57,560 moment in the theater where you see the brachiosaurus for 108 00:04:57,600 --> 00:05:01,120 the first time and you're just like, whole crap, how 109 00:05:01,160 --> 00:05:01,959 do they do that? 110 00:05:02,240 --> 00:05:03,439 Speaker 2: It really was amazing. 111 00:05:03,639 --> 00:05:05,399 Speaker 1: The other thing and I'll just throw this out there. 112 00:05:05,399 --> 00:05:07,279 I hadn't really thought about it until just this moment, 113 00:05:07,360 --> 00:05:09,759 But when you were talking about the sharks, the poster 114 00:05:09,879 --> 00:05:13,120 for Jaws is so iconic, and I can as you 115 00:05:13,160 --> 00:05:16,120 were talking, I'm like, I can remember drawing that shark 116 00:05:16,480 --> 00:05:18,439 over and over again, drawing that shark coming up to 117 00:05:18,480 --> 00:05:19,040 get the girl. 118 00:05:19,279 --> 00:05:22,279 Speaker 2: Oh man, you're absolutely right, one of the best movie 119 00:05:22,319 --> 00:05:23,839 posters of all time. 120 00:05:24,160 --> 00:05:26,680 Speaker 1: And then you go to Jurassic Park and again it's 121 00:05:26,759 --> 00:05:31,120 it's totally iconic poster. That's the perfect color combination. You 122 00:05:31,160 --> 00:05:34,160 get the black skeleton on the gold background with kind 123 00:05:34,199 --> 00:05:36,600 of the tropical lettering on it. It's just both of them 124 00:05:36,879 --> 00:05:46,079 are masterpieces in movie poster history. So you want to 125 00:05:46,079 --> 00:05:48,360 talk about a little bit about the history of how 126 00:05:48,399 --> 00:05:50,040 these movies came to be? Is that where we want 127 00:05:50,040 --> 00:05:50,319 to start. 128 00:05:50,639 --> 00:05:53,560 Speaker 2: Yeah, I'd say let's start just on the development of 129 00:05:53,560 --> 00:05:54,439 these two movies. 130 00:05:54,639 --> 00:05:57,680 Speaker 1: Okay, So I'll start with Jaws since it came out first. 131 00:05:57,920 --> 00:06:00,879 The book was written by a guy named Peter Benchley 132 00:06:01,000 --> 00:06:03,240 now Peter Benchley. He had been a journalist. He ended 133 00:06:03,319 --> 00:06:07,160 up being a speech writer for LBJ, and then lbj's 134 00:06:07,240 --> 00:06:11,360 term ended in nineteen sixty nine and he spent the 135 00:06:11,399 --> 00:06:15,079 next few years struggling to make it as a freelance writer. 136 00:06:15,319 --> 00:06:18,199 And he's sitting on the beach kind of going through 137 00:06:18,360 --> 00:06:20,800 what he's going to do with his life. He thought 138 00:06:20,839 --> 00:06:23,240 back to a time where he had read a story 139 00:06:23,439 --> 00:06:27,319 back in the sixties about this fisherman who had caught 140 00:06:27,360 --> 00:06:31,680 this forty five one hundred pound great white shark, and 141 00:06:31,720 --> 00:06:34,959 he's like, I think that would be a great idea 142 00:06:35,199 --> 00:06:40,040 for a story, have a man eating shark that terrorizes 143 00:06:40,079 --> 00:06:42,600 the town. So he goes home and he tells his 144 00:06:42,639 --> 00:06:45,160 wife about it, and she says, I don't think that's 145 00:06:45,199 --> 00:06:49,079 a good idea. I think you should probably think of 146 00:06:49,120 --> 00:06:53,439 something else. But he doesn't listen to her. His wife right, 147 00:06:53,879 --> 00:06:56,920 And so every time his literary agent gets him in 148 00:06:56,959 --> 00:07:00,319 front of a publisher, he proposes two ideas. The first 149 00:07:00,399 --> 00:07:03,879 idea is a nonfiction book about pirates, and the second 150 00:07:03,879 --> 00:07:08,839 idea is man eating shark terrorizes town, and everybody goes, no, 151 00:07:08,959 --> 00:07:11,240 thank you, No, I don't think that anybody wanted to 152 00:07:11,240 --> 00:07:14,160 read that. Now. Interestingly, the other movie that came out 153 00:07:14,240 --> 00:07:16,319 very close at the same time that he was involved 154 00:07:16,360 --> 00:07:18,279 in was called The Deep. You familiar with this movie, 155 00:07:18,319 --> 00:07:21,519 I am, yeah, right, yeah, and it is about pirates, 156 00:07:21,519 --> 00:07:27,600 and yes, Jack limbsset google search, Google Search. So interestingly, 157 00:07:27,639 --> 00:07:29,959 at the same time that he's making these pitches. There 158 00:07:30,000 --> 00:07:33,079 happens to be a documentary that comes out called Blue 159 00:07:33,079 --> 00:07:36,360 Water White Death. So this morning I called my dad 160 00:07:36,720 --> 00:07:39,079 and I was like, hey, you know we're doing this thing. 161 00:07:39,160 --> 00:07:41,360 I remember Sharks is a big part of me growing up. 162 00:07:41,399 --> 00:07:43,439 Tell me what happened when you went and saw Jaws. 163 00:07:43,879 --> 00:07:47,399 And there's this long pause and I'm like, it was 164 00:07:47,439 --> 00:07:50,360 a few months before I was born, and that helps. 165 00:07:50,360 --> 00:07:52,639 He's like, oh, okay, let's see we'd have been in 166 00:07:52,639 --> 00:07:56,199 Georgia that I'm uh, yeah, I really know. I don't remember. 167 00:07:56,199 --> 00:07:58,480 And I'm like, what, Okay, I can remember as a 168 00:07:58,560 --> 00:08:02,480 kid watching TV and seeing Ron and Valerie Taylor and 169 00:08:02,560 --> 00:08:05,079 you telling me things. And he's like, oh, yeah, well 170 00:08:05,160 --> 00:08:07,759 I saw a blue Water White Death back in seventy 171 00:08:07,800 --> 00:08:10,639 one that was in Little Rock, Arkansas, and yeah that 172 00:08:10,800 --> 00:08:13,439 was crazy. And so apparently it wasn't Jaws that was 173 00:08:13,439 --> 00:08:16,480 the big movie for him. It was this Blue Water 174 00:08:16,680 --> 00:08:21,040 White Death, which was a Ron and Valerie Taylor documentary 175 00:08:21,160 --> 00:08:23,360 where they're going and trying to film sharks. They were 176 00:08:23,399 --> 00:08:28,040 a couple of spearfishers who were champion spearfishers, and then 177 00:08:28,120 --> 00:08:30,360 they realized, hey, we're killing all the fish. Maybe we 178 00:08:30,360 --> 00:08:33,080 should just photograph them instead, and so they start shooting 179 00:08:33,159 --> 00:08:35,200 videos and they decided, let's try to video a great 180 00:08:35,240 --> 00:08:37,840 white shark because nobody else is doing it. Why not, 181 00:08:38,120 --> 00:08:41,120 right right, right? Well, why not? It's because they eat you, 182 00:08:41,200 --> 00:08:44,360 That's why not. Dad said that it was just looking 183 00:08:44,440 --> 00:08:46,639 at the idiotic stuff that they would try to do 184 00:08:46,799 --> 00:08:49,200 just to get near a great white shark, Like they'd 185 00:08:49,200 --> 00:08:51,840 find dead whales and just wait for the sharks to 186 00:08:51,919 --> 00:08:53,879 come and start eating the whale so that they could 187 00:08:53,879 --> 00:08:56,279 try to film them. He said they were absolutely insane. 188 00:08:56,320 --> 00:08:58,799 He was saying, you know, cage goes in the water 189 00:09:00,039 --> 00:09:03,279 as are going to die, and the chain mail swimsuit, 190 00:09:03,480 --> 00:09:05,399 all of that stuff. Those are all things that were 191 00:09:05,440 --> 00:09:08,039 impactful for him. And so that's why sharks were such 192 00:09:08,039 --> 00:09:10,879 a big deal. And then so of course they put 193 00:09:10,879 --> 00:09:15,200 out this documentary. It's interesting to folks. So Peter Benchley 194 00:09:15,240 --> 00:09:18,679 gets his funding to write the book of Jaws. 195 00:09:18,919 --> 00:09:21,279 Speaker 2: So Peter Binchley, when he was doing his research for 196 00:09:21,320 --> 00:09:24,440 this book, came across a story of a shark that 197 00:09:24,639 --> 00:09:26,600 was just off the coast of the Jersey Beach in 198 00:09:26,720 --> 00:09:29,440 nineteen sixteen. It attacked a swimmer, it ate a dog, 199 00:09:29,720 --> 00:09:32,559 it ate a boy. Actually, if you watch Jaws, like 200 00:09:32,720 --> 00:09:35,919 sort of sequentially, it's the same type of attacks. Wow, 201 00:09:36,120 --> 00:09:39,240 and Hooper actually mentions it in the film. The titles 202 00:09:39,240 --> 00:09:42,000 that were originally considered for the novel A Stillness in 203 00:09:42,039 --> 00:09:44,679 the Water that it was like, h nah, it's like, okay, 204 00:09:44,679 --> 00:09:48,720 how about this one Leviathan Rising? No, all right, how 205 00:09:48,759 --> 00:09:52,080 about Jaws of Death. No, that's no good either. So 206 00:09:52,120 --> 00:09:53,639 they sat and they kind of went round and round 207 00:09:53,679 --> 00:09:56,399 and round, and basically the only word that Peter Benchley 208 00:09:56,440 --> 00:09:59,080 and his editor liked was the word jaws. And Peter 209 00:09:59,120 --> 00:10:00,919 Benchley was like, look, I just call it Jaws. And 210 00:10:00,919 --> 00:10:03,159 they're like, well, we don't even really know what that means. 211 00:10:03,200 --> 00:10:04,840 He's like, yeah, but it looked great on a book. 212 00:10:07,480 --> 00:10:09,200 So that's how they got the title. 213 00:10:09,039 --> 00:10:11,000 Speaker 1: Jaws is right. I don't even know if they say 214 00:10:11,000 --> 00:10:13,360 the word at all in the movie. I definitely don't 215 00:10:13,360 --> 00:10:14,879 know if they say it in the book. It is 216 00:10:15,000 --> 00:10:16,279 just a word that looks good. 217 00:10:16,159 --> 00:10:17,799 Speaker 2: Four letters, and it scares the crab out of. 218 00:10:17,799 --> 00:10:21,639 Speaker 1: People, right, and it becomes a best seller and it 219 00:10:21,720 --> 00:10:25,919 spends forty four weeks on the best seller list. Everybody's 220 00:10:25,960 --> 00:10:28,159 picking up this book and reading it. Back in nineteen 221 00:10:28,240 --> 00:10:30,639 seventy four, and two of the guys that happened to 222 00:10:30,679 --> 00:10:34,519 pick up the book are David Brown and Richard Zanok. 223 00:10:34,679 --> 00:10:38,360 Richard Zanuck and David Brown had just come out of 224 00:10:38,440 --> 00:10:43,240 the big studio production world. Richard Zanuck's dad, Darryl Zanik, 225 00:10:43,360 --> 00:10:47,360 was actually one of those cigar chomping studio guys, you know, 226 00:10:47,480 --> 00:10:52,279 like in the Three Amigos, one of those guys who 227 00:10:52,399 --> 00:10:55,840 he hired Richard to run his company. And then, like 228 00:10:55,840 --> 00:10:58,399 in Richard was like twenty six at the time, and 229 00:10:58,440 --> 00:11:01,120 then he goes off to Europe and starts having an 230 00:11:01,159 --> 00:11:03,720 affair with this twenty year old when he's sixty three, 231 00:11:04,000 --> 00:11:06,559 and she's like, Okay, you're gonna start writing new movies. 232 00:11:06,600 --> 00:11:09,879 He's like, okay, I'm gonna start writing new movies whatever 233 00:11:09,919 --> 00:11:13,440 you say, yes, yes, yeah. So Richard is this young guy, 234 00:11:13,480 --> 00:11:16,960 but he's making these great movies. He is involved with 235 00:11:17,279 --> 00:11:20,399 the sound of music, he's involved with hiring Francis Ford 236 00:11:20,440 --> 00:11:24,399 Coppola for writing patent, and he's involved with the plan 237 00:11:24,519 --> 00:11:27,039 of the apes. All these things are huge hits. And 238 00:11:27,080 --> 00:11:30,639 then after seven eight years he has a few flops. 239 00:11:30,720 --> 00:11:33,200 His dad is doing this stupid stuff with this girl, 240 00:11:33,879 --> 00:11:38,559 and he basically cancels the contract with his dad's mistress, 241 00:11:39,360 --> 00:11:42,080 and so his dad gets mad and he comes back 242 00:11:42,120 --> 00:11:44,919 and he fires him, and so Richard's like, hey, you 243 00:11:44,919 --> 00:11:47,279 know what, guess what you're going to be next. And 244 00:11:47,639 --> 00:11:50,120 as it turns out, his dad had been giving his 245 00:11:50,240 --> 00:11:52,960 mom these shares of the company as kind of a hey, 246 00:11:53,000 --> 00:11:55,440 I'm sorry, I'm having an affair right now, you have 247 00:11:55,559 --> 00:11:58,039 some more stock in the company. She takes all the stock, 248 00:11:58,240 --> 00:12:01,759 goes to the Border directors and they throw out Darryl. 249 00:12:01,879 --> 00:12:04,919 So he's the last of the cigar jumping It's awesome, 250 00:12:04,960 --> 00:12:07,080 it's deserving of a movie on its own. But anyway, 251 00:12:07,240 --> 00:12:10,279 all through that process, David Brown becomes a head of 252 00:12:10,320 --> 00:12:15,200 the creative operations for twenty century Fox. When Richard leaves, 253 00:12:15,320 --> 00:12:18,279 David leaves with him. They go and spend a bit 254 00:12:18,279 --> 00:12:19,840 of time with Warner Brothers, and then they go out 255 00:12:19,879 --> 00:12:22,480 on their own form this production company. And one of 256 00:12:22,480 --> 00:12:25,879 the first movies that they produce is The Sting And 257 00:12:26,039 --> 00:12:30,120 the next movie they produce is Sugarland Express. 258 00:12:29,720 --> 00:12:31,279 Speaker 2: Young director Steven Spielberg. 259 00:12:31,440 --> 00:12:34,600 Speaker 1: So Steven Spielberg had been discovered by Sid Scheinberg, who 260 00:12:34,639 --> 00:12:38,519 is the CEO of Universal Pictures for about forty years, 261 00:12:38,879 --> 00:12:42,200 and whose wife is Lorraine Gary, who you might know 262 00:12:42,320 --> 00:12:46,320 better as Missus Brody. I can't remember Missus Brody. So 263 00:12:46,480 --> 00:12:48,919 they've got this book that they've read. They both excited 264 00:12:48,960 --> 00:12:50,600 about it. They talk to each other like, we want 265 00:12:50,600 --> 00:12:54,639 to make this a movie, and so they work with 266 00:12:54,840 --> 00:12:57,679 Peter Benchley. They get this script, they hire a director, 267 00:12:57,720 --> 00:13:01,440 and the director is not Steven Spielberg. That's right. 268 00:13:01,879 --> 00:13:05,000 Speaker 2: Actually, when they made the deal for the screenplay, the 269 00:13:05,000 --> 00:13:07,320 director was part of the deal. When Peter eventually sold 270 00:13:07,399 --> 00:13:10,000 him the rights to make his story, he's like, well, 271 00:13:10,120 --> 00:13:11,840 this is the guy I want in charge. Well, then 272 00:13:11,879 --> 00:13:13,879 they bring him in. They had to sit down with 273 00:13:13,960 --> 00:13:15,759 him and they're like, okay, let's talk about what you 274 00:13:15,840 --> 00:13:17,679 got going and what do you think. He's like okay. 275 00:13:17,720 --> 00:13:21,759 So the whale pops up and scans the beach and 276 00:13:21,759 --> 00:13:24,720 they're like shark. He's like, right, right, right, right, shark. 277 00:13:25,039 --> 00:13:27,600 So anyway, when the whale comes up to the people, 278 00:13:29,519 --> 00:13:31,679 they're like, we can't hire this guy. He doesn't know 279 00:13:31,679 --> 00:13:33,919 the difference between a shark and a whale. 280 00:13:34,759 --> 00:13:37,879 Speaker 1: Yeah, And so just before they had that meeting, Steven 281 00:13:37,879 --> 00:13:40,960 Spielberg happened to have been walking through and saw the 282 00:13:41,000 --> 00:13:42,960 script and they're like, hey, you know, tell us what 283 00:13:43,000 --> 00:13:44,679 you think of this script. And he reads it and 284 00:13:44,720 --> 00:13:47,440 he comes back and he says, hey, if you guys 285 00:13:47,440 --> 00:13:49,639 don't end up going with the director you have in mind, 286 00:13:49,799 --> 00:13:51,159 I would love to direct this. 287 00:13:51,759 --> 00:13:55,399 Speaker 2: Okay, this is an interesting story. That is a nice 288 00:13:55,679 --> 00:13:59,039 little story. But the version that I heard was he 289 00:13:59,200 --> 00:14:02,600 was in the dude's off, looked down, saw a thick 290 00:14:02,720 --> 00:14:06,879 manuscript that said Jaws on it, and he stole it 291 00:14:07,120 --> 00:14:09,639 and took it home and read it. Oh, he's trying 292 00:14:09,679 --> 00:14:11,840 to get a crack in, and he's like, Hm, this 293 00:14:11,879 --> 00:14:13,720 looks like a very important project. I'm going to take 294 00:14:13,720 --> 00:14:16,240 this home, figure this thing out, see what they're doing. 295 00:14:16,320 --> 00:14:18,480 I love that about Spielberg. I mean, he was doing 296 00:14:18,519 --> 00:14:20,120 whatever it takes to crack in, you know. 297 00:14:20,240 --> 00:14:22,200 Speaker 1: And of course they end up offering it to him. 298 00:14:22,320 --> 00:14:25,120 But at the time, he's thinking about another script. He's 299 00:14:25,159 --> 00:14:28,000 thinking about directing another movie. You know about this? No, okay. 300 00:14:28,279 --> 00:14:33,120 So he had done Sugarland Express and critics raved about 301 00:14:33,279 --> 00:14:36,000 the quality of like the car chase scenes that they 302 00:14:36,000 --> 00:14:38,840 had had in Sugarland Express, but they had criticized him 303 00:14:38,840 --> 00:14:41,759 a bit for not developing the characters very well, and 304 00:14:41,840 --> 00:14:46,559 so he was considering the script called Lucky Lady, which 305 00:14:46,600 --> 00:14:50,519 did start Liza Minelli, Gene Hackman, and Burt Reynolds, and 306 00:14:50,919 --> 00:14:53,000 he's really thinking, Okay, this is a good way for 307 00:14:53,000 --> 00:14:55,360 me to develop some characters. I'll be able to put 308 00:14:55,360 --> 00:14:58,039 this on and I will have rounded myself out. So 309 00:14:58,120 --> 00:15:00,639 Sid Sheinberg, who was his mentor, who was the guy 310 00:15:00,639 --> 00:15:04,080 who had given the youngest director in history a long 311 00:15:04,159 --> 00:15:07,840 term contract of seven years, is like, don't direct that. 312 00:15:08,080 --> 00:15:12,240 Direct Jaws, and so he gives up. He says, all right, 313 00:15:12,279 --> 00:15:16,000 final direct Jaws. And at the time he's directing Jaws, 314 00:15:16,080 --> 00:15:18,679 he's thinking, oh my gosh, this was the worst thing. 315 00:15:18,759 --> 00:15:21,799 You've damned my existence. I'm going to get fired. I'm 316 00:15:21,799 --> 00:15:24,840 never going to work in Hollywood again. And Lady Luck 317 00:15:25,039 --> 00:15:28,480 has made Liza Minelli and Burt Reynolds into a star. 318 00:15:28,919 --> 00:15:31,519 Speaker 2: So when he's out in Martha's vineyard watching a shark 319 00:15:31,559 --> 00:15:34,679 snk to the bottom of the ocean, Burt Reynolds and 320 00:15:34,720 --> 00:15:36,720 Liza Minelli are living it up, and he's like, what 321 00:15:36,840 --> 00:15:39,399 in the heck was I thinking? Yeah, one thing about 322 00:15:39,440 --> 00:15:42,919 this story, this movie. There was a writer strike looming 323 00:15:42,960 --> 00:15:45,039 and so they needed to make it fast. 324 00:15:45,440 --> 00:15:48,600 Speaker 1: Yeah. That was a huge deal because people went into 325 00:15:48,600 --> 00:15:53,440 the movie with some expectations that were misplaced. When whenever 326 00:15:53,639 --> 00:15:56,000 Xanak and Brown decided, hey, you know, we can do 327 00:15:56,080 --> 00:15:58,559 this shark movie. We'll just get a shark trainer to 328 00:15:58,679 --> 00:15:59,320 train the shark. 329 00:16:00,440 --> 00:16:02,080 Speaker 2: Let's just train the sharks is no problem. 330 00:16:02,159 --> 00:16:04,360 Speaker 1: Yeah. So I went and I asked a buddy of 331 00:16:04,360 --> 00:16:07,159 mine who's a scuba diving instructor and he dives with 332 00:16:07,200 --> 00:16:09,080 sharks all the time. And I'm like, you know, so 333 00:16:09,440 --> 00:16:11,240 what do you want to dive? And when I'm asking 334 00:16:11,240 --> 00:16:13,480 these questions and he's like, well, you know, as long 335 00:16:13,480 --> 00:16:15,480 as you're with the shark trainer, it's okay. And I'm like, oh, 336 00:16:15,519 --> 00:16:18,799 can you train sharks? He goes, no, the shark trainer 337 00:16:18,799 --> 00:16:23,200 trains the people. I'm like, oh, okay, he's training the 338 00:16:23,200 --> 00:16:25,480 people how to be You can't train a shark. Yeah. 339 00:16:25,519 --> 00:16:27,639 So they found that out the hard way. You're not 340 00:16:27,679 --> 00:16:29,559 going to be able to train a shark. So that 341 00:16:29,679 --> 00:16:31,600 meant they had to build one. In addition to that, 342 00:16:31,799 --> 00:16:36,559 Steven Spielberg, in a moment of artistic foolery, I don't know, 343 00:16:36,960 --> 00:16:41,120 he demanded that they film on the actual ocean. Any 344 00:16:41,159 --> 00:16:43,320 other director would have said, all right, we'll go to 345 00:16:43,360 --> 00:16:45,240 the back lot, or we'll go over to a lake 346 00:16:45,440 --> 00:16:48,559 or whatever. But Spielberg was like, Nope, it's not going 347 00:16:48,600 --> 00:16:50,399 to look like the ocean. I don't want to use it. 348 00:16:50,759 --> 00:16:52,960 We have to go and film in the actual ocean. 349 00:16:53,000 --> 00:16:55,399 I wonder how many times he went to sleep at 350 00:16:55,480 --> 00:16:57,720 night going why the heck did I say that? 351 00:16:58,240 --> 00:17:02,840 Speaker 2: Every step along the way during the making of this movie, 352 00:17:02,879 --> 00:17:07,359 it could have either been complete disaster or genius. Right, 353 00:17:07,400 --> 00:17:10,720 and he makes the right step every step of the way, 354 00:17:10,799 --> 00:17:13,920 even though he is precariously on the edge of falling 355 00:17:13,960 --> 00:17:15,440 and dying and never working again. 356 00:17:15,480 --> 00:17:18,079 Speaker 1: It's the right step that he regrets every single time. 357 00:17:18,119 --> 00:17:20,799 It's the right step that looks like the wrong step 358 00:17:20,960 --> 00:17:21,920 every single time. 359 00:17:24,960 --> 00:17:26,839 Speaker 2: Let's flip over to Jurassic Park and talk about the 360 00:17:26,839 --> 00:17:28,079 development of Jurassic Park. 361 00:17:28,319 --> 00:17:29,440 Speaker 1: Yeah, sure, this sounds great. 362 00:17:29,599 --> 00:17:33,440 Speaker 2: So here we catch Steven Spielberg about eighteen years down 363 00:17:33,480 --> 00:17:35,680 the road. By the time he gets to Jurassic Park, 364 00:17:35,960 --> 00:17:39,599 he has directed Jaws, Close Encounters, et Raiders of the 365 00:17:39,640 --> 00:17:42,400 Lost Ark, Empire of the Sun, Nina Jones, and The 366 00:17:42,400 --> 00:17:45,480 Temple of Doom. Last Crusade, Last Crusade, and now he 367 00:17:45,519 --> 00:17:46,880 gets to Jurassic Park. 368 00:17:47,279 --> 00:17:47,559 Speaker 1: Yeah. 369 00:17:47,680 --> 00:17:50,680 Speaker 2: This is based on a nineteen ninety book by Michael Crichton. 370 00:17:50,839 --> 00:17:55,319 Speaker 1: Right now, Michael Crichton writes this story about these guys 371 00:17:55,319 --> 00:17:59,160 who go to an amusement park and suddenly the attractions 372 00:17:59,200 --> 00:18:03,279 at the amusement park turn on the guests and start 373 00:18:03,359 --> 00:18:06,720 killing them. And the name of that movie is West 374 00:18:06,720 --> 00:18:07,480 Worlds World. 375 00:18:10,799 --> 00:18:13,480 Speaker 2: You know, it's funny because as he was developing this 376 00:18:13,599 --> 00:18:16,119 story Jurassic Park, He's like, I can't make it a 377 00:18:16,119 --> 00:18:17,759 theme park again. I've already done that. 378 00:18:18,039 --> 00:18:21,000 Speaker 1: Right. He had come up with the idea of dinosaurs 379 00:18:21,039 --> 00:18:23,799 and come up with the kind of science behind it, 380 00:18:23,920 --> 00:18:27,200 but he couldn't figure out why why would we bring 381 00:18:27,279 --> 00:18:31,319 dinosaurs back to life? What would be the motivation? And honestly, 382 00:18:31,400 --> 00:18:33,400 I mean, the only one that really does make sense 383 00:18:33,480 --> 00:18:35,680 is an amusement park. I mean there's got to be 384 00:18:35,680 --> 00:18:37,319 a profit motive, right, That's right. 385 00:18:37,640 --> 00:18:40,400 Speaker 2: He mentions. In nineteen eighty one, he had a screenplay 386 00:18:40,440 --> 00:18:42,799 that he was working on where it was like a 387 00:18:42,880 --> 00:18:45,559 Frankenstein type of thing where some guy figures it out, 388 00:18:46,039 --> 00:18:49,119 resurrects a dinosaur, and then it terrorizes people. But yeah, 389 00:18:49,440 --> 00:18:52,000 the only thing that made sense was entertainment purposes. Who 390 00:18:52,039 --> 00:18:55,079 would pay for this. There's no real scientific reason to 391 00:18:55,119 --> 00:18:57,279 do it, and it costs billions of dollars, so it 392 00:18:57,359 --> 00:18:59,640 has to be for entertainment purposes. 393 00:18:59,319 --> 00:19:02,880 Speaker 1: Right, And his book idea got to turn down in 394 00:19:02,960 --> 00:19:06,839 his mind. He wanted it was interesting to him that 395 00:19:06,960 --> 00:19:11,079 kind of universally kids are fascinated by dinosaurs, so he 396 00:19:11,200 --> 00:19:14,920 always wrote the book from the perspective of a kid. 397 00:19:15,079 --> 00:19:16,880 He wrote it from a perspective a kid who was 398 00:19:17,000 --> 00:19:20,039 at Jurassic Park, and he kept pushing this book on 399 00:19:20,119 --> 00:19:23,119 the publishers and nobody was interested, nobody wanted to publish it, 400 00:19:23,160 --> 00:19:25,440 and finally one of them said, I want a book 401 00:19:25,519 --> 00:19:28,559 that is for me, an adult, not a book that's 402 00:19:28,599 --> 00:19:31,599 from the kid's perspective. And it was that rewrite that 403 00:19:31,680 --> 00:19:33,799 led to the story that became Jurassic Park. 404 00:19:33,880 --> 00:19:37,119 Speaker 2: That's interesting. That's really interesting because Steven Spielberg, when he 405 00:19:37,200 --> 00:19:40,279 later gets the directorial job, decides that he's going to 406 00:19:40,319 --> 00:19:42,680 shoot the movie with the awe of a child, which 407 00:19:42,720 --> 00:19:46,480 I think was genius. So you needed that adult story, 408 00:19:46,559 --> 00:19:48,759 but maybe from a kid's perspective and the awe and 409 00:19:48,799 --> 00:19:51,400 the fascination that goes with it. So, as he's writing 410 00:19:51,480 --> 00:19:55,359 this book, he's working on a TV show called Er 411 00:19:55,599 --> 00:19:56,599 with Steven Spielberg. 412 00:19:56,680 --> 00:19:59,599 Speaker 1: Right, it just to be a movie, is that right? Okay? Yeah, 413 00:20:00,039 --> 00:20:01,400 stuff was a movie idea. 414 00:20:01,599 --> 00:20:03,720 Speaker 2: So they're sitting around one day and Spielberg's like, well, 415 00:20:03,960 --> 00:20:05,799 what are you doing. And he's like, well, I'm working 416 00:20:05,839 --> 00:20:08,519 on this story about dinosaurs, and Steven's like, well, tell 417 00:20:08,559 --> 00:20:11,839 me about it. He's like, well, you know amber and mosquitoes, 418 00:20:11,839 --> 00:20:19,640 and you know dinosaurs, DNA dinosaurs and so and bingo, 419 00:20:19,839 --> 00:20:24,039 mister DNA. And so Spielberg's like, man, I'd love to 420 00:20:24,039 --> 00:20:26,440 direct that. He said, well, when I get done with it, 421 00:20:26,519 --> 00:20:27,920 you're going to have a crack at it, right, And 422 00:20:27,960 --> 00:20:30,720 so they had this kind of informal discussion and sort 423 00:20:30,720 --> 00:20:33,680 of agreement which the lawyers later get involved in the 424 00:20:33,680 --> 00:20:36,279 blood sucking lawyers get involved and they have to work 425 00:20:36,319 --> 00:20:40,160 out the details. But the studios were bidding on this 426 00:20:40,319 --> 00:20:43,599 before it was even complete. Yeah, just the idea of 427 00:20:43,640 --> 00:20:46,400 this story, right, Which that's how you know your big 428 00:20:46,440 --> 00:20:47,440 time in Hollywood, right. 429 00:20:47,480 --> 00:20:50,200 Speaker 1: Well, I mean that they were all major studios, but 430 00:20:50,319 --> 00:20:54,720 they all had their own director associated with the idea. 431 00:20:54,960 --> 00:20:56,880 Speaker 2: This is the type of stuff that really I get 432 00:20:56,880 --> 00:21:00,160 fired up about, Like, we have this movie already in 433 00:21:00,160 --> 00:21:03,000 our history of Steven Spielberg, but this is what we 434 00:21:03,079 --> 00:21:04,519 could have got. You ready for this? 435 00:21:04,920 --> 00:21:05,160 Speaker 1: Yeah? 436 00:21:05,200 --> 00:21:07,839 Speaker 2: So Warner Brothers wanted it for Tim Burton. 437 00:21:07,720 --> 00:21:09,839 Speaker 1: Right, that's the one that I'm just like. That would 438 00:21:09,880 --> 00:21:12,799 have been such a different movie. I mean it would 439 00:21:12,799 --> 00:21:16,119 have been It would have been Claymation dinosaurs, It's true, 440 00:21:16,359 --> 00:21:20,680 and probably claymation archaeologists and probably clamation kids. 441 00:21:20,480 --> 00:21:22,640 Speaker 2: That Beatlejews would have shown up and it had been 442 00:21:22,680 --> 00:21:25,279 weird Columbia. 443 00:21:25,319 --> 00:21:27,119 Speaker 1: Michael Keaton would have played the t Rex. 444 00:21:27,480 --> 00:21:35,640 Speaker 2: What what are you talking about? Yeah, Columbia. They wanted Richard. 445 00:21:35,400 --> 00:21:38,119 Speaker 1: Donner and Joe Dante. Is that the other one? 446 00:21:38,200 --> 00:21:41,480 Speaker 2: Twentieth Century Fox wanted Joe Dante, who did Grimlins? Who 447 00:21:41,480 --> 00:21:42,160 did Grimlins? 448 00:21:42,240 --> 00:21:43,400 Speaker 1: So that could have been interesting. 449 00:21:43,759 --> 00:21:49,400 Speaker 2: Richard Donner, Leith, the Weapon, Goonies, Superman makes good movies, right, 450 00:21:49,720 --> 00:21:52,039 But here's the one that caught my attention to the most. 451 00:21:52,480 --> 00:21:53,359 You ready for this one? 452 00:21:53,599 --> 00:21:54,119 Speaker 1: Yeah? 453 00:21:54,160 --> 00:21:56,920 Speaker 2: He didn't have the vacuum any specific studio, but James 454 00:21:57,000 --> 00:21:58,559 Cameron wanted to make Jurassic Park. 455 00:21:58,880 --> 00:22:00,839 Speaker 1: I can see the way that capture your attention. You're 456 00:22:00,880 --> 00:22:01,680 the James Cameron. 457 00:22:01,720 --> 00:22:05,440 Speaker 2: I love James Cameron's work. Yeah, this is what he 458 00:22:05,519 --> 00:22:06,000 wanted to. 459 00:22:05,960 --> 00:22:06,319 Speaker 1: Do with it. 460 00:22:06,440 --> 00:22:07,160 Speaker 2: You ready for this? 461 00:22:07,640 --> 00:22:07,839 Speaker 1: Yeah? 462 00:22:07,839 --> 00:22:10,119 Speaker 2: And you can see this coming right? You know who 463 00:22:10,119 --> 00:22:13,240 he wanted to play doctor Grant, Right, Arnold Schwitzendega n 464 00:22:13,440 --> 00:22:18,000 uh yes, And he wanted Bill Paxton his Malcolm okay, 465 00:22:18,279 --> 00:22:20,000 and Charlton Heston as mister. 466 00:22:19,799 --> 00:22:22,400 Speaker 1: Hammond that a can kind of see. Yeah. Yeah. 467 00:22:22,400 --> 00:22:25,119 Speaker 2: But when Michael Crichton set the rights to the novel 468 00:22:25,240 --> 00:22:27,880 out for movies to bid on, he set the price 469 00:22:27,960 --> 00:22:30,799 really low. His price was one point five million dollars. 470 00:22:30,960 --> 00:22:34,240 So when the bidding war went out for Michael Crichton's 471 00:22:34,519 --> 00:22:36,960 novel to be made into a movie, he set the 472 00:22:37,000 --> 00:22:39,480 price low on purpose. The price was set at one 473 00:22:39,480 --> 00:22:43,079 point five million dollars because he wanted to guarantee that 474 00:22:43,119 --> 00:22:45,720 this movie was made. When he auctioned off the rights 475 00:22:45,720 --> 00:22:49,359 for a movie called Congo, it sat in development hell 476 00:22:49,599 --> 00:22:52,519 until after Jurassic Park, basically, so he got a chunk 477 00:22:52,559 --> 00:22:54,920 of money for it, but it didn't ever seem to 478 00:22:55,039 --> 00:22:57,440 get made, and he was frustrated with that process, and 479 00:22:57,480 --> 00:22:59,480 so he wanted to ensure that this movie was going 480 00:22:59,519 --> 00:23:05,759 to get made. 481 00:23:03,279 --> 00:23:06,000 Speaker 1: All right. We will be right back after these messages. 482 00:23:07,799 --> 00:23:09,960 Speaker 3: With so many podcasts out in the world, you have 483 00:23:10,000 --> 00:23:12,720 a plethora of options. Take a chance with Too Many 484 00:23:12,720 --> 00:23:16,400 Captains a movie podcast mixing comedy with an academic look 485 00:23:16,480 --> 00:23:19,599 at film and Hollywood culture. This podcast is perfect for 486 00:23:19,640 --> 00:23:22,960 those looking for a fresh perspective, from deep dives into 487 00:23:23,000 --> 00:23:27,119 classic films, to debates on digital streaming versus physical media, 488 00:23:27,160 --> 00:23:30,079 and film discussions based on randomly chosen topics and are 489 00:23:30,079 --> 00:23:33,079 what are we talking about? Segments. There's something to satisfy 490 00:23:33,160 --> 00:23:36,480 all your movie podcast cravings. So if you're feeling lucky 491 00:23:36,599 --> 00:23:38,640 or feel the need for speed, grab your shake and 492 00:23:38,720 --> 00:23:41,319 martini or some fava beans and a nice ki Anti 493 00:23:41,720 --> 00:23:45,480 and subscribe to us on Spotify, Apple Podcast, or Google Play. 494 00:23:46,119 --> 00:23:49,599 For more content, visit a Movie podcast dot com. Find 495 00:23:49,680 --> 00:23:52,680 us on Instagram at Too Many Captains Productions and on 496 00:23:52,720 --> 00:23:56,200 Twitter at It's a Film Podcast, Too Many Captains, the 497 00:23:56,319 --> 00:23:58,480 jolliest bunch of podcasters this side of the. 498 00:23:58,519 --> 00:24:02,359 Speaker 1: Nuthouse, and the mates's too many Captains on this island. 499 00:24:03,480 --> 00:24:06,559 Speaker 2: All right, So let's flip it back to pre production 500 00:24:06,880 --> 00:24:07,400 for jows. 501 00:24:07,640 --> 00:24:10,759 Speaker 1: All right, so Xanak and Brown were wrong about the 502 00:24:10,799 --> 00:24:13,000 idea that you can train a shark, so they then 503 00:24:13,119 --> 00:24:17,279 have to build one. They hired Joe Alves to design 504 00:24:17,279 --> 00:24:19,839 the shark. He did the model of New York and 505 00:24:20,079 --> 00:24:22,920 Escape from New York, and later on he was the 506 00:24:23,079 --> 00:24:26,880 director of Jaws three and three D. I don't know 507 00:24:26,920 --> 00:24:29,240 if that's something he should be proud of or not, 508 00:24:29,319 --> 00:24:32,599 but he was that guy. Not too bad going from 509 00:24:32,599 --> 00:24:34,200 the guy who made the shark to the guy who 510 00:24:34,240 --> 00:24:34,880 makes the movie. 511 00:24:34,920 --> 00:24:36,759 Speaker 2: But that's a pretty big jump right there. 512 00:24:37,079 --> 00:24:39,200 Speaker 1: Yeah, so this is just a bit of trivia. But 513 00:24:39,240 --> 00:24:42,680 when they were doing Jaws two, they fired their initial director, 514 00:24:42,680 --> 00:24:45,559 They fired John D. Hancock and it was suggested at 515 00:24:45,559 --> 00:24:49,039 the time that Joe Alps come in and co direct 516 00:24:49,119 --> 00:24:51,960 with Verna Fields, who was the one who had edited 517 00:24:52,079 --> 00:24:56,880 Jaws and she's an amazing editor and amazing person all around. 518 00:24:56,960 --> 00:24:59,119 But they decided not to do that. They went with 519 00:24:59,319 --> 00:25:02,680 Jenos Bizarre to finish up Jaws two. 520 00:25:03,079 --> 00:25:05,440 Speaker 2: Okay, side note, real quick, go ahead, what do you 521 00:25:05,480 --> 00:25:06,359 think about Jaws two? 522 00:25:06,759 --> 00:25:07,559 Speaker 1: Many? 523 00:25:07,960 --> 00:25:09,039 Speaker 2: What do you think about just three? 524 00:25:09,319 --> 00:25:09,839 Speaker 1: Horrible? 525 00:25:10,000 --> 00:25:11,079 Speaker 2: What do you think about just four? 526 00:25:11,240 --> 00:25:13,519 Speaker 1: You know, I talked about Jaws movies and my dad. 527 00:25:13,799 --> 00:25:16,559 That is one specific memory I have from my childhood. 528 00:25:16,599 --> 00:25:19,279 We went to go see Jaws three in three D 529 00:25:19,880 --> 00:25:23,079 in the theater. I'm wearing the glasses and three quarters 530 00:25:23,119 --> 00:25:25,240 in the movie. My dad turns to me and says, 531 00:25:25,880 --> 00:25:28,799 this is the most awful movie I've ever seen in 532 00:25:28,799 --> 00:25:34,359 my life. We're leaving. What that the movie's not over? Yeah, 533 00:25:34,480 --> 00:25:35,880 I'm not going to watch the rest of this. 534 00:25:36,119 --> 00:25:37,440 Speaker 2: I an option. 535 00:25:38,319 --> 00:25:40,519 Speaker 1: Yeah, I really didn't. I thought, man, once you're here, 536 00:25:40,559 --> 00:25:42,319 you got to go to the end. That's just what happened. 537 00:25:43,680 --> 00:25:46,880 So I didn't. I didn't. I never got the experience 538 00:25:46,960 --> 00:25:49,599 of the exploding shark pieces coming at you in three D. 539 00:25:49,759 --> 00:25:52,200 We were gone before that moment in the movie because 540 00:25:52,240 --> 00:25:55,680 it was so bad, and Jaws four was worse. 541 00:25:55,799 --> 00:25:59,000 Speaker 2: Okay, Jaws two pretty good. Jaws three. For a ten 542 00:25:59,039 --> 00:26:01,279 year old me with three D glasses on inside the theater, 543 00:26:01,599 --> 00:26:03,480 I was entertained. I thought it was great when the 544 00:26:03,519 --> 00:26:06,480 shark broke the glass and three D nearly wet my 545 00:26:06,599 --> 00:26:10,240 pants in the movie theater. All right, Jaws four was 546 00:26:10,279 --> 00:26:13,519 the biggest steaming pile of crap in nineteen eighty seven, 547 00:26:14,200 --> 00:26:17,160 with maybe the exception of Superman four Quest for Peace. 548 00:26:17,240 --> 00:26:17,680 I don't know. 549 00:26:18,039 --> 00:26:21,720 Speaker 1: Ooh, that's a hard one. I don't know that I 550 00:26:21,720 --> 00:26:23,240 can give a judge McCall on which one of those 551 00:26:23,279 --> 00:26:23,599 is worse. 552 00:26:23,680 --> 00:26:25,039 Speaker 2: I mean, you have to talk about that later. 553 00:26:25,160 --> 00:26:30,559 Speaker 1: Okay. So the shark that Joe Alves built was named Bruce. Bruce. 554 00:26:30,599 --> 00:26:31,720 Do you know why it was named Bruce. 555 00:26:31,759 --> 00:26:34,039 Speaker 2: Steven Spielberg's lawyer was named Bruce. 556 00:26:34,079 --> 00:26:40,480 Speaker 1: Blood sucking lawyer. Yeah, so he named the mechanical shark 557 00:26:40,640 --> 00:26:44,440 after his lawyer, which they built in Sun Valley, California, 558 00:26:44,519 --> 00:26:46,400 but never tested in the water. 559 00:26:46,920 --> 00:26:49,400 Speaker 2: This is what I was talking about. These decisions that 560 00:26:49,440 --> 00:26:52,599 they made along the way could have been absolute train 561 00:26:52,680 --> 00:26:57,119 wreck disasters, and in some cases really were, and they 562 00:26:57,440 --> 00:27:01,160 skillfully or luckily figured it out of way around it. 563 00:27:01,519 --> 00:27:04,519 Speaker 1: I really think that Verna Fields is such a major 564 00:27:04,559 --> 00:27:09,079 part of this movie being what it became because you 565 00:27:09,160 --> 00:27:12,000 had to I mean, in the script it called for 566 00:27:12,039 --> 00:27:14,559 a shark and then shark and then shark, and there 567 00:27:14,599 --> 00:27:16,559 was no shark to be had, and so you had 568 00:27:16,599 --> 00:27:18,680 to do stuff, and they had to come up with 569 00:27:18,759 --> 00:27:22,119 ways to give you the shark without showing you the shark. 570 00:27:22,599 --> 00:27:25,599 But as it turns out, that's the perfect thing to do, 571 00:27:26,079 --> 00:27:28,920 because you're more scared of what you can't see than 572 00:27:28,920 --> 00:27:29,839 what you can't see. 573 00:27:29,920 --> 00:27:34,759 Speaker 2: It's absolutely true, and they lucked into it. So there 574 00:27:34,759 --> 00:27:38,720 are three mechanical bruises that were made, each with specialized functions. 575 00:27:39,119 --> 00:27:41,160 One shark was open on the right side, one was 576 00:27:41,200 --> 00:27:43,960 open on the left side, and the third was fully skinned. 577 00:27:44,359 --> 00:27:46,640 I think each one of these ended up the bottom 578 00:27:46,680 --> 00:27:50,160 of the Atlantic at one point or another. But each 579 00:27:50,440 --> 00:27:54,279 shark costs two hundred and fifty thousand dollars. You know, 580 00:27:54,279 --> 00:27:56,440 we didn't really talk about this, but the budget the 581 00:27:56,480 --> 00:28:00,960 initial budget of Jaws. Yeah, seven million bucks, not very much. 582 00:28:01,559 --> 00:28:03,880 And when you get ten percent of it into a shark, 583 00:28:03,920 --> 00:28:07,279 that doesn't work at all in a movie starring a shark, right, 584 00:28:07,599 --> 00:28:09,400 he is the star of the movie. 585 00:28:09,920 --> 00:28:13,559 Speaker 1: Right, So the very first time that they are to 586 00:28:13,599 --> 00:28:17,440 have the shark, they put him in, they say action 587 00:28:17,799 --> 00:28:21,880 and the shark sinks to the bottom of Nantucket sound 588 00:28:23,240 --> 00:28:26,119 And as David Brown puts it, and we thought, so 589 00:28:26,240 --> 00:28:28,440 did our careers in the movie industry with it. 590 00:28:29,160 --> 00:28:31,559 Speaker 2: Okay, when you get a bunch of twenty somethings working 591 00:28:31,599 --> 00:28:34,599 on this thing, I can just see the way it goes. Hey, 592 00:28:34,599 --> 00:28:37,720 we've built this shark. Great, did you test it? Oh? Yeah, 593 00:28:37,759 --> 00:28:40,519 work great in the garage. Sweet should we test it 594 00:28:40,519 --> 00:28:42,279 in the water before Now, we'll test it when we 595 00:28:42,279 --> 00:28:46,519 get out there. Oh mentioned that this is going to 596 00:28:46,519 --> 00:28:49,160 be saltwater. The whole time. I didn't realize that that 597 00:28:49,279 --> 00:28:50,559 was going to short out the shark. 598 00:28:50,440 --> 00:28:52,640 Speaker 1: And talking about the twenty year old. So one of 599 00:28:52,640 --> 00:28:55,440 the guys who helped out with the script and specifically 600 00:28:55,480 --> 00:29:00,000 helped out with the monologue that Quinn does was a guy, 601 00:29:00,319 --> 00:29:04,160 John Millius. And he's a young guy. He's a friend 602 00:29:04,519 --> 00:29:09,400 of Steven Spielberg's. And one night George Lucas shows up 603 00:29:09,519 --> 00:29:13,480 and then they're probably I'm guessing, drinking or whatever, and 604 00:29:13,480 --> 00:29:18,160 they're like, hey, let's go look at the shark. And 605 00:29:18,160 --> 00:29:20,000 then so they go out and they're looking at the 606 00:29:20,000 --> 00:29:22,519 shark that doesn't work anyway, and then somebody gets the 607 00:29:22,519 --> 00:29:25,160 bright idea to climb into its mouth, and then all 608 00:29:25,200 --> 00:29:28,039 of a sudden, the jaw breaks. It's like a chunk, 609 00:29:28,519 --> 00:29:32,799 and John Milius is like, and we all scattered like 610 00:29:33,000 --> 00:29:34,559 children that's just been. 611 00:29:34,519 --> 00:29:39,359 Speaker 2: Caught, including the director of the movie. I mean, this 612 00:29:39,480 --> 00:29:39,680 is not. 613 00:29:41,359 --> 00:29:43,880 Speaker 1: The director of that movie, and the director of the 614 00:29:43,880 --> 00:29:46,680 future biggest blockbuster of the seventies. 615 00:29:48,680 --> 00:29:51,960 Speaker 2: It was Lucas who got stuck in there by the way. 616 00:29:50,839 --> 00:29:54,599 It was So this is very interesting to me. Okay, 617 00:29:54,880 --> 00:29:57,400 the shark was untested, not all the roles were cast, 618 00:29:57,480 --> 00:30:00,319 and they were still waiting on a completed script, and 619 00:30:00,359 --> 00:30:02,799 they had started principal photography. 620 00:30:03,319 --> 00:30:10,000 Speaker 1: Yeah, holy crap, Great, let's get started. Yeah right, so yeah, yeah, 621 00:30:10,000 --> 00:30:11,839 and not only that, you have a deadline. You know, 622 00:30:11,880 --> 00:30:14,160 we're not only gonna get started, We're gonna get started 623 00:30:14,160 --> 00:30:17,039 with the deadline because they're supposed to be this strike 624 00:30:17,240 --> 00:30:19,799 and so they're doing everything to scramble to get done 625 00:30:19,839 --> 00:30:22,400 with this thing by June so that they don't run 626 00:30:22,400 --> 00:30:26,720 into trouble with that strike. Peter Benchley wrote three different 627 00:30:26,839 --> 00:30:31,000 versions of this script and finally told Spielberg, I am 628 00:30:31,200 --> 00:30:34,680 written out. I cannot write another bit of this, And 629 00:30:34,759 --> 00:30:38,720 so Xanak and Brown said, hey, Steven, go talked to 630 00:30:39,400 --> 00:30:43,279 Howard Sackler, and Spielberg's like, who's that. He's a playwright. 631 00:30:43,599 --> 00:30:47,880 He wrote this play called The Great White Hope. You're like, oh, perfect, 632 00:30:48,480 --> 00:30:50,599 great White Yeah, sounds good. So they worked on the 633 00:30:50,599 --> 00:30:53,759 script and kind of got the basic outline of the movie. 634 00:30:53,920 --> 00:30:57,279 Then Spielberg tried to write a script himself that didn't 635 00:30:57,279 --> 00:31:00,559 work out real well, and then he very wisely this 636 00:31:00,599 --> 00:31:03,839 is another one of those brilliant decisions, says, Okay, this 637 00:31:04,079 --> 00:31:08,680 is an intense, scary movie. We got to have some humor. 638 00:31:09,079 --> 00:31:11,400 I mean, what do I say. A movie is not 639 00:31:11,440 --> 00:31:13,720 going to be good unless there's at least a little 640 00:31:13,720 --> 00:31:17,279 bit of humor in there, right, So that's right. Yeah. 641 00:31:17,319 --> 00:31:20,240 So he goes and he finds Carl Gottlieb, who is 642 00:31:20,240 --> 00:31:23,200 a friend of his, who is a fantastic comedy writer. 643 00:31:23,400 --> 00:31:25,839 He at the time is working on working on TV 644 00:31:25,920 --> 00:31:28,200 scripts for The Odd Couple. He was one of the 645 00:31:28,200 --> 00:31:31,720 guys in mash He does some acting and obviously script writing, 646 00:31:31,839 --> 00:31:34,799 and so every night they would shoot during the day 647 00:31:35,160 --> 00:31:37,559 and then at night they stayed in the same little 648 00:31:37,799 --> 00:31:42,079 cabin there on Martha's vineyard, and they would work on 649 00:31:42,119 --> 00:31:43,240 the script throughout the night. 650 00:31:43,319 --> 00:31:48,440 Speaker 2: It's an incredibly stressful writing situation. I mean, basically, every 651 00:31:48,559 --> 00:31:52,720 hour of every day you're either shooting a movie, writing 652 00:31:52,759 --> 00:31:55,480 a movie, worrying about a movie, thinking about the movie. 653 00:31:55,799 --> 00:31:59,119 I mean, Steven Spielberg has talked publicly about how his 654 00:31:59,279 --> 00:32:02,039 nightmares about It's day one. I'm over budget, I need 655 00:32:02,079 --> 00:32:04,119 to get shots in and then Shark's not working and 656 00:32:04,799 --> 00:32:05,519 all that stuff. 657 00:32:05,960 --> 00:32:10,000 Speaker 1: Oh yeah, I can identify with that, Like I still 658 00:32:10,240 --> 00:32:12,160 have dreams to this day. I haven't been in a 659 00:32:12,200 --> 00:32:14,599 play in twenty years, and I still have dreams that 660 00:32:14,640 --> 00:32:18,240 suddenly I'm at the stage and I've not studied my lines. 661 00:32:18,400 --> 00:32:20,400 I don't know what the play is about, but I'm 662 00:32:20,440 --> 00:32:22,119 about to walk out on stage. 663 00:32:21,799 --> 00:32:27,480 Speaker 2: And I'm in my underwear. Hey, I thought this was interesting. 664 00:32:27,559 --> 00:32:31,599 So Carl Gottlieb told Spielberg, if we managed to pull 665 00:32:31,680 --> 00:32:34,559 this off, people will feel about the ocean the way 666 00:32:34,599 --> 00:32:38,240 people felt about the shower after watching Psycho. And you 667 00:32:38,279 --> 00:32:41,160 know what, he is exactly right. 668 00:32:41,480 --> 00:32:43,920 Speaker 1: Yeah, he nailed it. It's funny, you know when he 669 00:32:43,960 --> 00:32:46,839 first when Spielberg first sent this script to Gottlieb, he 670 00:32:47,039 --> 00:32:55,599 just attached a note to it and said, ifiscerted. So 671 00:32:55,839 --> 00:33:00,440 things are going so badly at this point Steven's Fielberg 672 00:33:00,519 --> 00:33:04,599 decides to quit, he said. He said multiple times he 673 00:33:04,680 --> 00:33:07,480 just was waiting to get fired, and eventually he had 674 00:33:07,519 --> 00:33:08,880 just had so much of it that he was like, 675 00:33:09,000 --> 00:33:11,400 forget it, I can't I can't finish this. I'm going 676 00:33:11,440 --> 00:33:14,640 to quit. And so Richard Zanak heard he was coming, 677 00:33:14,960 --> 00:33:17,799 heard he was coming to quit, went and got his 678 00:33:17,920 --> 00:33:21,319 Jaws T shirt. They already had the merchandise made, right. 679 00:33:21,799 --> 00:33:24,440 He goes and puts his T shirt on before Steven 680 00:33:24,440 --> 00:33:26,599 can walk in, and when Steven walks in and sees 681 00:33:26,680 --> 00:33:29,559 him in the shirt, he cannot bring himself to quit. 682 00:33:29,920 --> 00:33:32,799 And so Xana says, I think I might have saved 683 00:33:32,799 --> 00:33:34,359 the movie just by changing my clothes. 684 00:33:34,440 --> 00:33:36,799 Speaker 2: That's awesome, what a great story that is. 685 00:33:37,400 --> 00:33:37,680 Speaker 4: All right? 686 00:33:37,720 --> 00:33:39,640 Speaker 2: Do we ready to go talk about pre production for 687 00:33:39,720 --> 00:33:40,319 Dressing Park? 688 00:33:40,759 --> 00:33:44,960 Speaker 1: Right? So interestingly, these two, these two movies, nearly twenty 689 00:33:45,039 --> 00:33:47,279 years apart, end up having the same kind of trouble. 690 00:33:47,480 --> 00:33:51,440 They build a gigantic t Rex. They actually built several 691 00:33:51,519 --> 00:33:55,640 of them. It is animatronics, just like The Shark was 692 00:33:55,680 --> 00:34:00,599 supposed to be hydraulics and everything. But get it on. 693 00:34:00,839 --> 00:34:04,119 They've tested it all out. It works well. You know, 694 00:34:04,200 --> 00:34:06,200 we're not gonna be in the ocean, so no problem 695 00:34:06,240 --> 00:34:10,119 there until Steven Spielberg decides, hey, the t Rex scene 696 00:34:10,159 --> 00:34:11,360 needs to be in the rain. 697 00:34:11,559 --> 00:34:12,599 Speaker 2: It needs to be pouring rain. 698 00:34:14,239 --> 00:34:20,599 Speaker 1: And he's like, if I may, We've tested this for 699 00:34:20,679 --> 00:34:23,239 the weight that it has on it right now, and 700 00:34:23,280 --> 00:34:26,199 you're about to pour water on it and it's made 701 00:34:26,199 --> 00:34:30,119 out of foam rubber, and he's like, well, let's see 702 00:34:30,119 --> 00:34:30,679 if it works. 703 00:34:32,119 --> 00:34:36,800 Speaker 2: Stevens is like, listen, dude, I've been through Jaws. Tests 704 00:34:36,920 --> 00:34:38,320 are overrated, Okay. 705 00:34:38,639 --> 00:34:41,280 Speaker 1: And so the answer to the question was, no, it 706 00:34:41,320 --> 00:34:45,639 doesn't work. If you pour the rain on top of 707 00:34:45,679 --> 00:34:48,239 the foam rubber, it makes it very heavy and the 708 00:34:48,320 --> 00:34:53,039 hydraulics that were specifically precisely tuned to adjust to a 709 00:34:53,079 --> 00:34:55,639 certain amount of weight do not do it right. And 710 00:34:55,679 --> 00:34:58,079 the t rex started shivering in the rain. 711 00:35:00,280 --> 00:35:02,599 Speaker 2: It looked like it had It was like having a 712 00:35:02,599 --> 00:35:03,360 seizure or something. 713 00:35:03,400 --> 00:35:03,599 Speaker 1: It was. 714 00:35:03,880 --> 00:35:05,159 Speaker 2: It was shaking, shake and shaken. 715 00:35:05,400 --> 00:35:08,320 Speaker 1: They would take a break from time to time and 716 00:35:08,400 --> 00:35:11,440 suddenly the t rex, without anybody there, would just start moving. 717 00:35:16,480 --> 00:35:18,679 Speaker 2: Okay, so let's talk about that t rex for a minute. 718 00:35:18,719 --> 00:35:22,320 It took two years of prep to get the sets 719 00:35:22,639 --> 00:35:25,039 and all the dinosaurs ready to go for this movie. 720 00:35:25,039 --> 00:35:28,079 Speaker 1: Two years, right, So they hired the guys that were 721 00:35:28,119 --> 00:35:30,480 the best in the businesses at Animatronics at this time. 722 00:35:30,599 --> 00:35:33,199 Speaker 2: Right, So you're talking about guys like stan Winston, Field 723 00:35:33,239 --> 00:35:37,119 Tippet and Crash McCreery. Yes, they took on this project 724 00:35:37,280 --> 00:35:41,320 Steven Spielberg is like, okay, guys, I need dinosaurs on screen. 725 00:35:41,480 --> 00:35:43,199 So here's what I want to do. I'm wanna do 726 00:35:43,280 --> 00:35:46,920 as much animatronics as I can. I wanted to subsidize 727 00:35:46,920 --> 00:35:50,840 that with stop motion stuff, and then maybe we do 728 00:35:50,960 --> 00:35:52,679 a little bit of computer stuff here and there. 729 00:35:52,719 --> 00:35:54,639 Speaker 1: If it works, what do you think, And. 730 00:35:54,599 --> 00:35:56,960 Speaker 2: They're like, sounds good. Yeah, heck yeah, let's do it, 731 00:35:57,039 --> 00:35:59,480 without knowing whether they could actually do it or not. 732 00:35:59,679 --> 00:36:03,840 Speaker 1: The animatronics that they have on this are amazing. They 733 00:36:03,880 --> 00:36:07,840 are amazing, they really are. They look realistic, and from 734 00:36:07,840 --> 00:36:10,320 what I understand, the boy who played Timmy, when he 735 00:36:10,480 --> 00:36:13,760 saw the animatronic Tricerah Cops for the first time, he 736 00:36:13,880 --> 00:36:16,960 started crying because it looks so amazing and real. 737 00:36:17,280 --> 00:36:21,119 Speaker 2: It's really really good. When you say animatronics, I think 738 00:36:21,239 --> 00:36:24,880 Chuck E Cheese, you know what I'm talking about. You 739 00:36:24,920 --> 00:36:28,679 know the jug band Christmas whatever, where they're up there. 740 00:36:28,519 --> 00:36:33,079 Speaker 1: And everybody's imagining the sharp robotic movements up and down 741 00:36:33,159 --> 00:36:36,119 and the heads turning sharply and scarily. 742 00:36:36,320 --> 00:36:40,360 Speaker 2: It looked like robots. Yeah, but all this stuff was hydraulic, 743 00:36:40,440 --> 00:36:44,079 and so when the door shuts to the Explorer and 744 00:36:44,119 --> 00:36:47,079 the t rex is like sharply pulls his head around 745 00:36:47,119 --> 00:36:49,719 to look. You think it's real because it's it doesn't 746 00:36:49,719 --> 00:36:51,719 shake and it doesn't move like a robot, you. 747 00:36:51,639 --> 00:36:55,639 Speaker 1: Know, right, They're they're filming a being that looks real, 748 00:36:55,840 --> 00:36:59,280 actually moving. Now you mentioned just a second ago stop motion. 749 00:36:59,360 --> 00:37:01,039 Do we want to go into that a little bit. Yeah, 750 00:37:01,119 --> 00:37:04,320 let's talk about it. Okay, So stop motion. If you 751 00:37:04,400 --> 00:37:07,679 watch some of the older like Clash of the Titans, 752 00:37:08,079 --> 00:37:10,639 you can see that. You can see how stop motion looks, 753 00:37:10,679 --> 00:37:15,159 and there's a bit of jitteriness to it because with 754 00:37:15,199 --> 00:37:19,159 stop motion, what you're doing is you're taking a figurine 755 00:37:19,199 --> 00:37:23,599 of some kind, you are photographing a frame of film 756 00:37:23,760 --> 00:37:25,920 with the camera, and then you're moving it a little 757 00:37:25,960 --> 00:37:28,599 bit and then you're doing another one. Well, what that 758 00:37:28,719 --> 00:37:31,639 means is you have a series of still shots as 759 00:37:31,639 --> 00:37:34,960 opposed to a series of someone in motion, and so 760 00:37:35,039 --> 00:37:38,199 you get this jitter. And what they had developed was 761 00:37:38,639 --> 00:37:41,639 a thing called motion blur. And so they called the 762 00:37:41,639 --> 00:37:45,440 guys over at Industrial Lights and Magic, which was just 763 00:37:45,440 --> 00:37:47,840 i mean in a little warehouse at the time, and 764 00:37:47,880 --> 00:37:49,719 they said, hey, can you guys help us out and 765 00:37:49,719 --> 00:37:53,239 put some motion blur with this stop motion dinosaur stuff 766 00:37:53,239 --> 00:37:55,119 that we got going so that it looks more like 767 00:37:55,159 --> 00:37:58,159 it's in motion, and they said, yeah, or we could 768 00:37:58,199 --> 00:38:01,679 just do the whole dinosaur. And the head the head 769 00:38:01,760 --> 00:38:04,719 of ILM at the time was like, hey, guys, you know, 770 00:38:05,159 --> 00:38:07,639 shut up. You know, Stan is a friend of mine. 771 00:38:08,800 --> 00:38:10,800 He gets us jobs like this. You know, shut up. 772 00:38:10,880 --> 00:38:12,679 You're going to try to take his job away from him. 773 00:38:12,719 --> 00:38:14,960 That's not cool. And Spielberg was like, hey, you know, 774 00:38:15,079 --> 00:38:17,159 just to show me whatever, you got to guess. But 775 00:38:17,480 --> 00:38:20,199 the kind of director. The manager of ILM was like, 776 00:38:20,320 --> 00:38:22,800 you guys, don't do this all right, just leave it alone. 777 00:38:22,880 --> 00:38:25,559 But they weren't going to do that on their off time. 778 00:38:25,559 --> 00:38:29,920 They would come after hours and they developed a running 779 00:38:30,239 --> 00:38:35,480 t Rex skeleton. Yes, And so the manager was like, 780 00:38:35,559 --> 00:38:39,039 don't you dare show that to any of the Jurassic 781 00:38:39,079 --> 00:38:42,320 Park people. And so when Kathleen Kennedy came in, who 782 00:38:42,360 --> 00:38:44,599 was the producer of Jurassic Park, when she came in 783 00:38:45,000 --> 00:38:48,360 to see what their motion blurred looked like, he of 784 00:38:48,360 --> 00:38:50,920 course had it playing on a monitor and she was 785 00:38:50,960 --> 00:38:56,800 instantly like, oh my gosh, yeah, this is amazing. The 786 00:38:56,840 --> 00:38:59,239 world is about to change. Yep, yep. 787 00:39:00,519 --> 00:39:01,840 Speaker 2: So I actually wrote down the date. 788 00:39:01,880 --> 00:39:02,960 Speaker 1: I thought this was interesting. 789 00:39:03,159 --> 00:39:06,840 Speaker 2: So we talked about when the match meets the gasoline, right, 790 00:39:06,960 --> 00:39:07,480 this is it? 791 00:39:07,679 --> 00:39:07,880 Speaker 1: Right? 792 00:39:08,559 --> 00:39:12,800 Speaker 2: So April twentieth, nineteen ninety two they called black Monday 793 00:39:13,280 --> 00:39:17,280 because that was the day that CGI was realized as 794 00:39:17,360 --> 00:39:20,920 being much better than stop motion, and Spielberg said, we're 795 00:39:20,960 --> 00:39:23,519 going with this, and they realized. I heard one guy 796 00:39:23,559 --> 00:39:26,440 who is the stop motion animator. He's like, you know, 797 00:39:26,559 --> 00:39:28,960 we knew that our job was going to end one day. 798 00:39:29,039 --> 00:39:30,519 It's kind of like when you have a dog. You 799 00:39:30,559 --> 00:39:32,639 know the dog's going to die, but when the dog 800 00:39:32,719 --> 00:39:36,679 actually dies, you still grieve like you weren't expecting to. Right, 801 00:39:36,880 --> 00:39:39,000 they didn't get fired. Spielberg kept them on. 802 00:39:39,239 --> 00:39:41,920 Speaker 1: They were the experts in the motion of dinosaurs. I mean, 803 00:39:41,920 --> 00:39:44,559 they had done all kinds of work. They had a 804 00:39:44,679 --> 00:39:46,719 database of knowledge that was very useful. 805 00:39:46,840 --> 00:39:49,559 Speaker 2: This is a huge moment in movie making history. I 806 00:39:49,599 --> 00:39:51,840 don't want to glaze over this real quick, but no, 807 00:39:51,960 --> 00:39:52,360 I mean. 808 00:39:52,239 --> 00:39:55,440 Speaker 1: This is the most important thing that this did for 809 00:39:55,679 --> 00:40:03,159 movie history. I mean, you you move from we use 810 00:40:03,320 --> 00:40:06,599 computers to do a little bit of cleaning up to 811 00:40:07,480 --> 00:40:12,880 we make living breathing organisms with computers that you believe 812 00:40:12,920 --> 00:40:17,679 are real. Yeah, it's incredible, And I'm gonna I'm gonna 813 00:40:17,679 --> 00:40:20,440 point this out, and I'm somebody liable to throw something 814 00:40:20,480 --> 00:40:23,639 at me for this. This is interesting. So the idea 815 00:40:23,880 --> 00:40:28,519 of Jurassic Park is, of course that John Hammond's creates 816 00:40:28,599 --> 00:40:32,920 this thing that ends up the thing he creates destroys 817 00:40:32,960 --> 00:40:37,760 his own creation. Right, Yes, So Steven Spielberg had been 818 00:40:37,880 --> 00:40:42,039 the special effects guy for twenty years, right, he had been. 819 00:40:42,440 --> 00:40:45,280 He had he had done amazing things, or for a 820 00:40:45,320 --> 00:40:48,800 twenty year period, amazing effects. You've got Close Encounters, You've 821 00:40:48,800 --> 00:40:51,880 got et you've got Jaws, you get Jurassic Park. And 822 00:40:51,920 --> 00:40:56,559 then after Jurassic Park he doesn't make really any special 823 00:40:56,599 --> 00:41:01,199 effects movies anymore. Like he loses is his edge, and 824 00:41:01,239 --> 00:41:04,719 the thing that he was a part of creating ends 825 00:41:04,760 --> 00:41:06,239 up destroying who he was. 826 00:41:06,960 --> 00:41:11,920 Speaker 2: Interesting, that's interesting. I do think it's funny that when 827 00:41:11,960 --> 00:41:15,639 the stop motion guys realized that the computer generated effects 828 00:41:15,639 --> 00:41:18,440 we're going to take over this project, one guy said 829 00:41:18,480 --> 00:41:21,400 to the other guy, he said, we're out of a job, 830 00:41:21,880 --> 00:41:25,159 and the other guy said, don't you mean extinct? And when 831 00:41:25,159 --> 00:41:29,400 Spielberg heard that, He's like, that's going in the movie. 832 00:41:34,920 --> 00:41:38,159 Speaker 1: The Yeah, they so once it started and once it 833 00:41:38,159 --> 00:41:42,239 started rolling, they were literally creating new things every day 834 00:41:42,320 --> 00:41:45,039 and making it better every day. The guy said, we 835 00:41:45,079 --> 00:41:48,280 would do things that a week before we had no 836 00:41:48,400 --> 00:41:50,920 idea that we could do, just because we were given 837 00:41:51,079 --> 00:41:55,159 free reign on this, and we ended up amazing ourselves 838 00:41:55,239 --> 00:41:56,119 once it was all finished. 839 00:41:56,159 --> 00:41:58,079 Speaker 2: We would do something that we thought was done, and 840 00:41:58,119 --> 00:42:00,880 we'd get better the next day. And then we didn't 841 00:42:00,880 --> 00:42:02,840 prove it. We couldn't believe how fast weare. 842 00:42:02,920 --> 00:42:04,599 Speaker 4: Movie. 843 00:42:05,800 --> 00:42:08,480 Speaker 1: And just so it's clear, in this movie, there's only 844 00:42:08,519 --> 00:42:12,320 about fifteen minutes worth of dinosaur footage in the movie itself, 845 00:42:13,239 --> 00:42:17,000 and nine of that is animatronics. I mean, we're talking 846 00:42:17,039 --> 00:42:21,119 about eight minutes of digital footage that changed the landscape 847 00:42:21,159 --> 00:42:22,760 of movies from that point on. 848 00:42:23,639 --> 00:42:26,239 Speaker 2: And I'm just going to say from my personal perspective, 849 00:42:26,440 --> 00:42:30,960 in my opinion, the minimizing of computer generated effects is 850 00:42:31,239 --> 00:42:34,559 important because it grounds it in the real world. When 851 00:42:34,599 --> 00:42:36,559 I watch movies like I don't know, some of the 852 00:42:36,639 --> 00:42:40,360 later Star Wars movies where it's all CGI, Yeah, it 853 00:42:40,480 --> 00:42:42,960 just doesn't work for me. It's dead, you know. 854 00:42:43,679 --> 00:42:46,480 Speaker 1: Yeah, So you know, we did Man of Steel, Zack 855 00:42:46,519 --> 00:42:50,800 Snyder says at one moment in the documentary that they did. 856 00:42:51,360 --> 00:42:55,679 He feels like that CGI can be useful, but if 857 00:42:55,719 --> 00:42:59,039 a character is putting his hands on something, it needs 858 00:42:59,079 --> 00:43:01,679 to be real. And I think that's a good line 859 00:43:01,719 --> 00:43:04,199 to draw, especially as far as it's come at this point. 860 00:43:04,679 --> 00:43:07,000 But there are a great many movies out there that 861 00:43:07,039 --> 00:43:09,920 they don't They don't hold fast to that rule, and 862 00:43:10,480 --> 00:43:14,079 some of the CGI is just an absolute distraction. And 863 00:43:14,119 --> 00:43:16,400 the thing that's springing to my mind is, of course 864 00:43:16,480 --> 00:43:20,480 jarge our Binks and I hope you want Goobi's inability 865 00:43:20,519 --> 00:43:25,199 to look him in the eye. And I think I 866 00:43:25,280 --> 00:43:27,480 said this before, but I'll say it again because it 867 00:43:27,519 --> 00:43:31,440 makes my point. I'm watching The Jedi Council with my 868 00:43:31,559 --> 00:43:35,079 boy who's eight at the time, who says, is this 869 00:43:35,119 --> 00:43:41,480 the car soon? No? Then why is Yoda animated? Yes, 870 00:43:42,159 --> 00:43:46,000 that's right. If it looks like it's animated, you shouldn't 871 00:43:46,039 --> 00:43:48,440 have it in the movie. You had something real before. 872 00:43:48,599 --> 00:43:51,079 Speaker 2: So as a rule, anytime you're watching Jurassic Park and 873 00:43:51,119 --> 00:43:53,800 you see the full body of the dinosaur, that's a 874 00:43:53,840 --> 00:43:57,760 computer generated effect. Okay, So the t Rex at the 875 00:43:58,280 --> 00:44:00,440 pad when he's on top of the car up the 876 00:44:01,000 --> 00:44:02,960 you can actually tell when you see his full body, 877 00:44:03,000 --> 00:44:06,079 that's computerized. When all you see is his teeth, that's animatronic. 878 00:44:06,679 --> 00:44:09,960 The real famous footprint in the mud by the t Rex, 879 00:44:10,280 --> 00:44:13,159 that's animatronic. All that is is a pair of legs 880 00:44:13,199 --> 00:44:17,760 that they made a special animatronic for. Spielberg had this 881 00:44:17,840 --> 00:44:22,239 exposition problem, right, so we needed to explain how they 882 00:44:22,280 --> 00:44:24,639 got the dinosaurs and how they created it, and it's 883 00:44:24,960 --> 00:44:25,960 DNA and all. 884 00:44:25,800 --> 00:44:28,159 Speaker 1: This weird DNA. 885 00:44:28,760 --> 00:44:32,480 Speaker 2: Yeah, so he came up with the Mister DNA ride 886 00:44:32,840 --> 00:44:36,159 that the main characters go on and explains how this 887 00:44:36,280 --> 00:44:40,559 all happens. And they said that it took fifteen pages 888 00:44:40,960 --> 00:44:42,639 of script and cut it down to three. 889 00:44:42,840 --> 00:44:48,639 Speaker 1: Genius move Yeah, and it's it's so very simplified but perfect, 890 00:44:48,920 --> 00:44:51,239 I mean, because it's a perfect exposition. It gives you 891 00:44:51,280 --> 00:44:54,519 what you need to know, and it's engaging. And there's 892 00:44:54,519 --> 00:44:56,559 a great little scene where they look like dig Doug. 893 00:44:56,679 --> 00:45:04,800 Is there? Crowd amber? All right, everybody? That we'll do 894 00:45:04,880 --> 00:45:07,400 it for this episode of the Shirley You Can't Be 895 00:45:07,480 --> 00:45:10,719 Serious Podcasts. Please join us next week as we take 896 00:45:10,760 --> 00:45:14,519 on part two of Jaws Versus Jurassic Park. Jason. 897 00:45:14,719 --> 00:45:17,280 Speaker 2: Join us next week where you'll Get the Head, the Tail, 898 00:45:17,440 --> 00:45:24,760 and the whole damn podcast. 899 00:45:26,519 --> 00:45:28,679 Speaker 1: All music images and movie clips are used for the 900 00:45:28,679 --> 00:45:32,000 purposes of commentary and education in conjunction with the fair 901 00:45:32,079 --> 00:45:33,960 Use agreement under the US copyright law.