Jurassic Park ('93) vs. Jaws ('75): Part 2

<v Speaker 1>Boom boom.
<v Speaker 2>All right, everybody, welcome back to episode two of the
<v Speaker 2>Jaws Versus Jurassic Park podcast on the Shureley You Can't
<v Speaker 2>Be Serious Podcast, the what do you think? Uh?
<v Speaker 3>Now? Eventually do plan to have dinosaurs on your dinosaur podcast? Right? Hello? Hello?
<v Speaker 4>Yes, I really do hate that, man, That's not true.
<v Speaker 5>Hello everybody, and welcome to the Surely You Can't Be
<v Speaker 5>Serious podcast, discussing and debating the iconic and the forgotten
<v Speaker 5>of eighties and nineties pop culture with your co hosts
<v Speaker 5>James D. Graves and Jason Kolovin.
<v Speaker 3>Welcome back, everybody, Thank you for joining us again. We
<v Speaker 3>are here to talk about sharks and dinosaurs.
<v Speaker 4>Dinosaurs and sharks tonight, let's look at the cast and
<v Speaker 4>crew of each of these movies, who they thought about
<v Speaker 4>bringing in, who they ended up hiring, and then what
<v Speaker 4>it meant to them. All right, let's start with Jaws,
<v Speaker 4>since it's the first one here sounds good. Initially, Peter
<v Speaker 4>Benchley went to Spielberg and said, I've got an idea.
<v Speaker 4>I think we should hire Paul Newman as Quint, Robert
<v Speaker 4>Redford as Chief Brody, and John Voight for Hooper. And
<v Speaker 4>then they told him, here's the deal. The shark is
<v Speaker 4>the star of the movie.
<v Speaker 3>Right. Yes, Spielberg had all kinds of guys in mind
<v Speaker 3>for these different parts, and of all of the people
<v Speaker 3>that he had in mind, the only one, the only
<v Speaker 3>first choice that he actually got was the mayor.
<v Speaker 4>That's right.
<v Speaker 3>So Murray Hamilton is his name, and he was the
<v Speaker 3>choice that Spielberg had for the mayor that actually came through.
<v Speaker 3>I mean, that guy's perfect as the mayor. He is perfect.
<v Speaker 4>He nails it. He has that sweet coat that has
<v Speaker 4>the anchors on it that I a couple of jealous of. Yeah.
<v Speaker 3>Now, he had been in an at me of a
<v Speaker 3>murder and he had been the cuckold husband and the
<v Speaker 3>graduate if you've ever seen that. And he's this weird
<v Speaker 3>scene with him having a drink with Justin Hoffman who's
<v Speaker 3>having an affair with missus Robinson. He's mister Robinson.
<v Speaker 4>There you go.
<v Speaker 3>But he is the perfect slimy, bad decision making but
<v Speaker 3>going to push my bad decisions on you mayor for
<v Speaker 3>this movie. Fantastic.
<v Speaker 4>And later he does a great job in my opinion
<v Speaker 4>of you know, he was all gung ho on keeping
<v Speaker 4>the beaches open for economic reasons, and then when there's
<v Speaker 4>an attack at the beach, he does a great job
<v Speaker 4>of sort of emotionally saying, my kids were on that
<v Speaker 4>beach too.
<v Speaker 3>Yeah. I mean the part where he's he convinces people
<v Speaker 3>to go out and swim, I mean, why why would you?
<v Speaker 3>Why would you do that?
<v Speaker 4>Okay, so the part of Chief Brody, this is interesting.
<v Speaker 4>Steven Spielberg wanted several different people for this part. One
<v Speaker 4>person in particular really wanted it. Charlton Heston really wanted
<v Speaker 4>the part of Chief Brody. Yeah, and Spielberg was like,
<v Speaker 4>no way, dude, No.
<v Speaker 3>Yeah. Heston had been in these parts where he was
<v Speaker 3>always the conquering hero, like you just knew he was
<v Speaker 3>going to win. And Spielberg didn't want people in the
<v Speaker 3>theater to get you know, just be relaxed knowing, Hey,
<v Speaker 3>Heston's got this right.
<v Speaker 4>Roy Scheider is every man. He is the representative of
<v Speaker 4>the audience. I taught between his a sticky situation. I
<v Speaker 4>got my job responsibilities, I've got my family responsibilities. I
<v Speaker 4>got the shark that's screwing up everything and I'm scared,
<v Speaker 4>but I got to do my job, you know. And
<v Speaker 4>it was interesting that Spielberg had never met Roy Scheider
<v Speaker 4>until he went to a party. So Spielberg wanted to
<v Speaker 4>offer the role of Chief Brody to Robert Duvall, but
<v Speaker 4>he turned him down. He saw the movie as a
<v Speaker 4>potential phenomenon, but he was worried it might make him
<v Speaker 4>too famous.
<v Speaker 3>Steven Spielberg was specific about, I don't want somebody that's
<v Speaker 3>too big and too famous, because he had this idea
<v Speaker 3>that Brody needed to be vulnerable and somebody that the
<v Speaker 3>audience could identify with. But he had talked to five
<v Speaker 3>or six actors and he couldn't find the right person
<v Speaker 3>for the job. And so he's at this party at
<v Speaker 3>Andrea Eastman's house, who was the casting director for The Godfather,
<v Speaker 3>and Roy Scheider also happens to be there and several
<v Speaker 3>other Hollywood folks and Roy Scheider over here's Spielberg talking
<v Speaker 3>to some writer about the scene where the shark comes
<v Speaker 3>out of the water, and he kind of becomes fascinated.
<v Speaker 3>And then you know, parties, you move on, you you
<v Speaker 3>have your drinks, and then he sees Spielberg just kind
<v Speaker 3>of sitting alone by himself, and so he just goes
<v Speaker 3>over for instance down and he's like, you know, Hey,
<v Speaker 3>what's up, what's wrong? And he just Spielberg just spills
<v Speaker 3>all of his depression and anxiety about, you know, talking
<v Speaker 3>to all these actors, he can't find the right person
<v Speaker 3>to be the to be his Chief Brody and be
<v Speaker 3>the every man. And finally, after listening very quietly and
<v Speaker 3>patiently for a while, Roy Scheider goes, what about me,
<v Speaker 3>I'm an actor. I would love to be in Jo's
<v Speaker 3>and bingo bogo. There you go, Yep, going to the
<v Speaker 3>right party.
<v Speaker 4>That's awesome, that's awesome. I love that story. So Chief
<v Speaker 4>Rody is Roy Scheider, and he had been in the
<v Speaker 4>French Connection. Later he did all that Jazz and Blue.
<v Speaker 3>Thunder, and he was on a series a little bit
<v Speaker 3>later on where it was kind of a deep sea
<v Speaker 3>SeaQuest man.
<v Speaker 4>Yeah, yeah, that was on for about five and I
<v Speaker 4>remember I was all excited about it.
<v Speaker 3>And then yeah, Star Trek for the Water or something
<v Speaker 3>like that. He had been in a few things, but
<v Speaker 3>he really found his way as a cop. He was
<v Speaker 3>in Clute, he was in and then he was in
<v Speaker 3>the French Connection and just something about him said cop.
<v Speaker 3>And that's why he's the chief of police in this one.
<v Speaker 4>For Matt Hooper. The studio wanted Jeff Bridges or Jan
<v Speaker 4>Michael Vincent or Timothy Bottoms, and like we said before,
<v Speaker 4>John Voight was considered, but George Lucas was the one
<v Speaker 4>who said, Hey, how about Ricky?
<v Speaker 3>Right, Richard Dreyfus. Yeah, the other guys were more pretty boys,
<v Speaker 3>which was kind of the way that he was that
<v Speaker 3>the character of Hooper was portrayed in the book that
<v Speaker 3>he was kind of this handsome, young just out of college,
<v Speaker 3>kind of dashing figure. And obviously Richard Dreyfus is not
<v Speaker 3>that kind of guy, especially not in this movie.
<v Speaker 4>Yep, this is really interesting to me that the process
<v Speaker 4>of the hiring of Richard Dreyfus. Okay, now, Spielberg calls
<v Speaker 4>him and says, Hey, I've got this project I'm working
<v Speaker 4>on called Jaws, and I need this guy Hooper, who's
<v Speaker 4>a shark expert and all this stuff. Would you like
<v Speaker 4>to play him? And rich drefs sayes, no, way, man, no, and.
<v Speaker 3>He it was like a great movie to watch. It's
<v Speaker 3>like a terrible movie to be a part of.
<v Speaker 4>That's what he said. He said, Well he was right
<v Speaker 4>about that too, though. He was absolutely right. So he
<v Speaker 4>kept asking him, right, He was very emphatic, like no,
<v Speaker 4>I'm not doing this, and he's like, how about we
<v Speaker 4>all say it at the same time. Already one, two, three,
<v Speaker 4>I'm not doing this.
<v Speaker 3>But yeah, kind of it started to be a little
<v Speaker 3>bit of a d about it. Yeah.
<v Speaker 4>Yeah, But he had recently started a movie called The
<v Speaker 4>Apprenticeship of Duddy Kravitz.
<v Speaker 3>Yeah. It was his first starring role where he was
<v Speaker 3>the lead man.
<v Speaker 4>And when he sat to watch the premiere, he watched
<v Speaker 4>himself on screen and thought, I suck. He thought he
<v Speaker 4>was terrible.
<v Speaker 3>Oh my gosh, I am never going to get cast
<v Speaker 3>in anything again. I better go take this thing before
<v Speaker 3>news gets out that I think it's terrible, terrible performance.
<v Speaker 4>He immediately called Spielberg and begged for the part of
<v Speaker 4>Matt Hooper, which was funny, and when he showed up.
<v Speaker 4>He showed up to talk it over with him. He
<v Speaker 4>had that scraggly beard and those remless glasses and the
<v Speaker 4>little stocking gap, and they were like, that's it, you
<v Speaker 4>got it. Don't change the thing. Joel Gray wanted to
<v Speaker 4>play the part of Hooper too. I don't know if
<v Speaker 4>you are familiar with him, but oh yeah.
<v Speaker 3>Joel Gray was in Caparet For those interested in the
<v Speaker 3>eighties movies, he was in Remo Williams.
<v Speaker 4>And then the third main role he had to fill
<v Speaker 4>with Quinn. The one guy that Spielber had in mind
<v Speaker 4>for this part was Lee Marvin. But Lee Marvin he
<v Speaker 4>was fishing off of the coach Mexico. Yeah, and they're like, well,
<v Speaker 4>we want to talk to you about fishing sort of.
<v Speaker 4>He's like, I'm on vacation. I'm on vacation. Uh huh,
<v Speaker 4>And he refused to talk to them, so like, well,
<v Speaker 4>I guess we got to move on without Lee Marvin.
<v Speaker 3>He also offered it to Sterling Hayden. For those of
<v Speaker 3>you who don't know Sterling Hayden. If you've seen Doctor Strangelove,
<v Speaker 3>he's the American general who kind of puts everything into
<v Speaker 3>action to cause the destruction of the world, who only
<v Speaker 3>drinks vodka because of fluoridation of the water. He's that guy.
<v Speaker 4>The producers of the show said, well, you know what
<v Speaker 4>about Robert Shaw. They had just worked with him on
<v Speaker 4>the Sting and said, you know, he can be a
<v Speaker 4>little honery, but he's a good actor. He's he's Shakespeare
<v Speaker 4>and he's a professional.
<v Speaker 3>What do you think about him?
<v Speaker 4>And they decided to.
<v Speaker 3>Go with him. You know, we talked about them starting
<v Speaker 3>the movie without having things done. Nine days before they
<v Speaker 3>started filming, they still didn't have the parts of quent
<v Speaker 3>or Hooper cast. It's crazy nine days, which means for
<v Speaker 3>those actors, hey you're hired, see you in less than
<v Speaker 3>a week and a half start production.
<v Speaker 4>Here's a copy. Still memorize it.
<v Speaker 3>Yeah so, but even I mean, we know there wasn't
<v Speaker 3>even a script. There was not a complete There was
<v Speaker 3>multiple scripts that were completed, but they weren't scripts that
<v Speaker 3>they were going to use. They were working on new
<v Speaker 3>lines every night. Spielberg and Carl Gottlieb were working on
<v Speaker 3>fresh dialogue that people would have to learn that next day.
<v Speaker 3>So I guess that's part of the production. Robert Shaw
<v Speaker 3>is an interesting choice for Quin because he had kind
<v Speaker 3>of been in his early career a more of a
<v Speaker 3>dashing leading man type of guy, swashbuckling type of guy,
<v Speaker 3>and then he was like maybe one one of the
<v Speaker 3>best villains for James Bond and from Russia with Love.
<v Speaker 3>He was like the evil James Bond. I mean, he
<v Speaker 3>was awesome, but he's now got to play the part
<v Speaker 3>of this kind of crotchety old man. You know, it's weird.
<v Speaker 3>And I looked at this, he's only forty seven. When
<v Speaker 3>he was filming this, I'm thinking, I'm thinking he's in
<v Speaker 3>his sixties and he's forty seven years old. He was
<v Speaker 3>doing a part unlike any part that he had done before,
<v Speaker 3>and so he was looking for kind of inspiration on
<v Speaker 3>how to play the part. And one of the guys
<v Speaker 3>that he looked to was was a guy named Craig
<v Speaker 3>Kingsbury who was just a local fisherman. But the guy
<v Speaker 3>that they cast as Ben Gardner in Gardner's head. But
<v Speaker 3>this is an interesting story. I just got I pitched
<v Speaker 3>to pick this one up today. So when they were
<v Speaker 3>there and they were putting together like the boat and
<v Speaker 3>stuff like that. They're putting together other boats, making all
<v Speaker 3>the props for the set. Some spray paint that they
<v Speaker 3>were spray painting like blue over to the neighboring house.
<v Speaker 3>And as it out, there was a crotchety, old, angry
<v Speaker 3>man who lived in that house. And his name's Lynn Murphy.
<v Speaker 3>And so he you know, you've just blown paint over
<v Speaker 3>the guy who you shouldn't cross and at any point
<v Speaker 3>in life, and so he goes and balls them out,
<v Speaker 3>and then somehow, because I guess he's the local mechanic
<v Speaker 3>and knows how machines work, they're like, hey, could you
<v Speaker 3>help us out with this boat stuff? And then hey,
<v Speaker 3>could you help us out with a shark? And so
<v Speaker 3>he becomes like a guy on the set who's like
<v Speaker 3>teaching them how to do stuff like he There have
<v Speaker 3>been several actors who have said, had it not been
<v Speaker 3>for Lynn Murphy, the movie Jaws might not have come out.
<v Speaker 3>And he's gotten like no credit. He's not created in
<v Speaker 3>the credits of the movie. It's nowhere. It just just
<v Speaker 3>just happens to be this old car mudgeon league guy.
<v Speaker 3>And I looked at him, and he was in his
<v Speaker 3>forties too. I guess I'm just thinking. I think I
<v Speaker 3>thought I had like twenty years before I could become
<v Speaker 3>a car budget. I guess I could do it right now.
<v Speaker 3>And so Robert Shaw is having trouble with this line
<v Speaker 3>on the reading. He's talking to Spielberg and as they're talking,
<v Speaker 3>Lenn Murphy over yelling at the crew about stop doing
<v Speaker 3>what you're doing. You're messing everything. He's just like yelling
<v Speaker 3>at him because of how stupid they are, and Steven
<v Speaker 3>Spielberg goes you hear that, read it like that, and
<v Speaker 3>that was the inspiration for shop for the rest of
<v Speaker 3>the movie. Quit. That's awesome.
<v Speaker 4>So those three roles are hugely important. Obviously, there's the
<v Speaker 4>three main roles of the movie, right, right, Except I
<v Speaker 4>would argue the most important hire in the cast was
<v Speaker 4>Lorrange Gary as the role of Ellen Brody. And let
<v Speaker 4>me tell you why.
<v Speaker 3>It is not who I thought you were going to say,
<v Speaker 3>but okay, go for it. Okay.
<v Speaker 4>She was the most important hire because she was the
<v Speaker 4>wife of Sid Sheinberg, who was Steven Spielberg's boss, so
<v Speaker 4>he and her and her husband had skin in the
<v Speaker 4>game here, right. The fact that she had an important
<v Speaker 4>role in this movie meant that he was less likely
<v Speaker 4>to fire Spielberg and shut it down.
<v Speaker 3>Yeah, yeah, probably so.
<v Speaker 4>And when you're a twenty seven year old director and
<v Speaker 4>you hire your boss's wife, it's never a bad thing, right.
<v Speaker 3>And you could you know, you can say that maybe
<v Speaker 3>she had she had preferential treatment or whatever. But she
<v Speaker 3>did a great job.
<v Speaker 4>She did a great job.
<v Speaker 3>I thought she was a perfect wife in this one.
<v Speaker 3>I mean, she acted well. She it was very real.
<v Speaker 3>You just she was very believable as the displaced wife
<v Speaker 3>of a New York family who's now in amity. So
<v Speaker 3>who I thought you were going to say as the
<v Speaker 3>most important casting was.
<v Speaker 4>A mo on pins and needles here. I can't wait
<v Speaker 4>for you to tell me who in the world this
<v Speaker 4>is Susan Becklanine. You know what? She was pretty dagonam
<v Speaker 4>important now that she was.
<v Speaker 3>Vital because that first scene, if you don't sell that
<v Speaker 3>first scene the rest of the movies like mah right, yeah,
<v Speaker 3>and that first scene is all her, It is all her.
<v Speaker 4>Let's talk about No, you're exactly right, Let's talk about
<v Speaker 4>her for a second. So she was a competitive swimmer
<v Speaker 4>and a stunt woman, not really an actress.
<v Speaker 3>They knew what had to happen in the scene, and
<v Speaker 3>so they had three very important things that they had
<v Speaker 3>to consider. Right, They had to have somebody who was tough,
<v Speaker 3>who could handle the physical demands of the scene. They
<v Speaker 3>had to have somebody who was beautiful because it was
<v Speaker 3>supposed to be a girl that this guy is going
<v Speaker 3>to be chasing after. And they had to have somebody
<v Speaker 3>who was willing to get naked.
<v Speaker 4>Thank you, Susan Beckliny.
<v Speaker 3>Yeah, And so she pointed out. She was like, you know,
<v Speaker 3>so they do a casting call. You know, it's just like, hey,
<v Speaker 3>this part exists. Here's what we got. And I'm sure
<v Speaker 3>part of it was, hey, we need beautiful, tough, willing
<v Speaker 3>to get naked. And so she comes in. Before she
<v Speaker 3>goes in, she thinks, ah, they always make you take
<v Speaker 3>your clothes off. And I'm like, you haven't been in
<v Speaker 3>that many moves, at least not ones that are on IMDb.
<v Speaker 3>I wonder, I wonder how many auditions you had that
<v Speaker 3>you had to take your clothes off for. It was
<v Speaker 3>the seventies, it was a different time anyway. So she decides,
<v Speaker 3>instead of, you know, giving them that option, what I'll
<v Speaker 3>do is I will stick a naked picture of me
<v Speaker 3>in my portfolio folder.
<v Speaker 4>And when she went to the audition, he went and
<v Speaker 4>talked to Bill Gilmore, showed him that picture and he
<v Speaker 4>said when he saw the picture all he could do
<v Speaker 4>was blush. Right, So he went to Steven Spielberg with
<v Speaker 4>the picture and said, hey, Steve, here you go.
<v Speaker 3>What do you think of this?
<v Speaker 4>And Stephen's like, well, yeah, but can she act? He's like,
<v Speaker 4>Steve would look at this picture again?
<v Speaker 3>On come on? So she was very important.
<v Speaker 4>She screamed her lungs out too, and she made that
<v Speaker 4>scene super believable. She was screaming like she would die
<v Speaker 4>in you know.
<v Speaker 3>They well, the way that they rigged her up. They
<v Speaker 3>had ropes on either side of her. I mean, you
<v Speaker 3>see her like moving one way through the water and
<v Speaker 3>the other way, because it has to be like this
<v Speaker 3>nonlinear movement through the water like a fish would do.
<v Speaker 3>And what they did was like they had guys with
<v Speaker 3>rope and three hundred pound weights and this thing wrapped
<v Speaker 3>around her underneath the water and she was really just
<v Speaker 3>being thrown back and forth. And there was there was
<v Speaker 3>rumors that went around like that she's screaming like that
<v Speaker 3>because her ribs were breaking, but that's apparently false. You know,
<v Speaker 3>she did a fantastic job. And then when they had
<v Speaker 3>to go back in and and put in more sound
<v Speaker 3>before the scene, she had to scream while Steven Spielberg
<v Speaker 3>was pouring water down her throat, which you know now
<v Speaker 3>is called waterboarding. We don't do that anymore.
<v Speaker 4>Rights the Geneva Convention, Steven Spielberg is guilty of a
<v Speaker 4>war crime. So that pretty much is the cast of Jaws.
<v Speaker 4>If you don't include Bruce the Shark. Let's switch over
<v Speaker 4>to Dress and Kark and talk about who was almost
<v Speaker 4>cast in these roles. All right. So Spielberg now has
<v Speaker 4>a little bit more clout in Hollywood, and so he
<v Speaker 4>can a little bit I think, yeah, little scream a bit.
<v Speaker 3>I've directed The Sugarland Express. Hey, I've directed every single
<v Speaker 3>great movie of the eighties.
<v Speaker 4>Seriously. So here's here's who was considered for these roles.
<v Speaker 4>All right. So the role of doctor Alan Grant went
<v Speaker 4>to Sam Neil does a great job. Or He had
<v Speaker 4>been in the Hunt for Red October. He was later
<v Speaker 4>in The Piano and Event Horizon. He was an Australian actor.
<v Speaker 4>All right, here's who was considered for the role of
<v Speaker 4>doctor Allan Grant. So, just off the top of his head,
<v Speaker 4>Steven Spielberg was like, how about Harrison Ford. I think
<v Speaker 4>that was a little bit overkill for that role. You
<v Speaker 4>don't need Indiana Jones, you just need doctor Grant. So
<v Speaker 4>he considered Harrison Ford, he considered Kurt Russell. Right, he
<v Speaker 4>offered the role to William Hurt, who didn't even read
<v Speaker 4>the script and just said, no, I'm not interested in dinosaurs.
<v Speaker 3>Yeah, William Hurt's kind of famous for turning stuff down.
<v Speaker 4>Yeah, I'm not a fan of his. I don't really
<v Speaker 4>like him, Okay. And then finally they thought about Richard Dreyfuss.
<v Speaker 3>That would have been interesting.
<v Speaker 4>So that's who was considered for the role of doctor
<v Speaker 4>Allan Grant. Now, then doctor Ellie Satler is kind of
<v Speaker 4>like the Susan Sarandon Roland Bull Durham. They considered a
<v Speaker 4>ton of actresses for that role. They looked at Robin Wright,
<v Speaker 4>Gwyneth Paltrow, Julianne Moore, Helen Hunt, Terry Hetcher, Elizabeth Hurley,
<v Speaker 4>cheryln Flynn, and then Christina Applegate was considered. But some
<v Speaker 4>people think that they were looking at her for doctor
<v Speaker 4>Satler or maybe like an older version of Lex. It's
<v Speaker 4>kind of a strange deal. She was young at the time,
<v Speaker 4>she was like twenty, right, But they ended up going
<v Speaker 4>with Lord Dern, who had been in Wild Heart. And
<v Speaker 4>you may know her from The Last Jedi.
<v Speaker 3>I was going to ask you about that one. How'd
<v Speaker 3>you feel about her performance in the Last Jedi?
<v Speaker 4>Jason, we don't talk about the Last Jedi. Uh in
<v Speaker 4>her purple hair, we don't talk about the Last Jedi.
<v Speaker 3>Have you seen Wild at Heart. No, it's pretty weird.
<v Speaker 3>It's pretty weird. This is David Lynch movie, of course.
<v Speaker 4>And David Lynch makes the weirdest movies.
<v Speaker 3>He's got some weird stuff, he really does, and it's
<v Speaker 3>it can be amazing and weird and then it can
<v Speaker 3>be just plain old weird. Yeah.
<v Speaker 4>Okay. For the role of doctor Malcolm, this is where
<v Speaker 4>it gets super interesting.
<v Speaker 3>Yeah.
<v Speaker 4>Spielberg says that he wanted Jeff Goldblum, he offered Jeff Goblum,
<v Speaker 4>and he got Jeff Goblum, And so that really is
<v Speaker 4>the end of it, except listen to these guys that
<v Speaker 4>the casting director wanted, all right, okay, Michael Keaton, Michael J. Fox,
<v Speaker 4>Johnny Yeah, Michael J.
<v Speaker 3>Fox, Yes, Yeah, that's weird.
<v Speaker 4>Okay, go ahead, Johnny Depp, Yeah, Ted Danson, Steve Guttenberg.
<v Speaker 3>Tom Selick, a baby.
<v Speaker 4>Go ahead, and just offer everybody a three minute a baby.
<v Speaker 4>But here the person who did the best in the audition,
<v Speaker 4>this will blow you away. You're ready for this. Jim Carrey.
<v Speaker 4>Jim Carrey was a fraction of a hair away from
<v Speaker 4>getting the role of doctor Gan Malcolm.
<v Speaker 3>That's crazy.
<v Speaker 4>I think he would have been great. I think that
<v Speaker 4>that would have been cool. It would have changed the
<v Speaker 4>trajectory of his career. Right after this, he did a
<v Speaker 4>Centura and The Mask and Dumb and Dumber, and he's
<v Speaker 4>off down that path. And I'm thankful for that. I
<v Speaker 4>enjoyed those movies, but it would have been interesting at
<v Speaker 4>least to see him as that kind of rule.
<v Speaker 3>Yeah, but Jeff Goldbloom, like he set the mold for
<v Speaker 3>the sexy geek, right, Yeah, I mean, was was nerd
<v Speaker 3>them ever as sexy as Jeff Goldbloom was in Jurassic
<v Speaker 3>Part I don't think.
<v Speaker 4>So he got buffed up and yeah.
<v Speaker 3>And he's supposed to be like a math nerd and
<v Speaker 3>he comes and he's all tan and got his long black,
<v Speaker 3>curly hair and all flirting with the ladies and touching
<v Speaker 3>their hands and stuff and rubbing their hair and cheek
<v Speaker 3>in a weird kind of creepy way, but still somehow
<v Speaker 3>sexy because he's so pretty.
<v Speaker 4>All Right, the role of John Hammond. When they were
<v Speaker 4>casting this, they wanted somebody to be a dark Walt Disney.
<v Speaker 4>I thought that was really cool.
<v Speaker 3>So, yeah, the character in the book was certainly a darker,
<v Speaker 3>much much, much darker version of John Hammond than then
<v Speaker 3>it is portrayed in the movie. Have you read it? Yeah? Yeah,
<v Speaker 3>what did you think?
<v Speaker 4>It may be the only book I've ever read where
<v Speaker 4>I think the movie is better than the book.
<v Speaker 3>Did you see the movie first? No, that's impressive.
<v Speaker 4>I just think that the movie was streamline and it's
<v Speaker 4>just action like a bullet, right, And there's a whole
<v Speaker 4>lot of chaos theory and sort of scientific bs that
<v Speaker 4>I didn't.
<v Speaker 3>Care about, right, And and Spielberg has got a knack
<v Speaker 3>for doing that. I don't think he obviously did it
<v Speaker 3>with Ready Player one, which we saw together.
<v Speaker 4>But we need to talk about it.
<v Speaker 1>Yeah, that's a shame podcast, right, But just to speak
<v Speaker 1>about that on Jaws, you know, after he got done
<v Speaker 1>reading the book, Spielberg said, I kind of wanted the
<v Speaker 1>shark to win.
<v Speaker 3>Like nobody, no character in the book was actually likable.
<v Speaker 3>That's why the film is really nothing like the book
<v Speaker 3>at all. He even told Dreyfus, He's like, don't read
<v Speaker 3>the book, Okay, just don't read it.
<v Speaker 4>That makes me want to read the book. I want to.
<v Speaker 4>I want to order Jaws and check it out.
<v Speaker 3>Welcome to a Jurassic Book.
<v Speaker 4>The role for John Hammond, you know who he originally wanted,
<v Speaker 4>Sean Connory.
<v Speaker 3>Shan Connery, And I gotta say, I think he'd have
<v Speaker 3>been awesome. I really if I just imagine him with
<v Speaker 3>his what's the Jungle movie that he was in doctor.
<v Speaker 4>Something or other, medicine man, medicine man.
<v Speaker 3>Oh yeah, the medicine man is right. So I just
<v Speaker 3>imagined him with his medicine man, long white hair and
<v Speaker 3>a pony tail, you know, and his khaki vest saying
<v Speaker 3>welcome to a Jurassic Park. I would get, yeah, that's
<v Speaker 3>awesome when this guy does it. I'm kind of like,
<v Speaker 3>that's a little cheesy, little, a little round cheesy guy.
<v Speaker 3>But doctor so to blasphemy Richard Attenberg. I mean, he
<v Speaker 3>did a good job, but.
<v Speaker 4>He did h Yeah, Sean Connery, I.
<v Speaker 3>Think he would have. I think he would have made
<v Speaker 3>a better like I'm a billionaire developing a park kind
<v Speaker 3>of character. But I don't think he would have been
<v Speaker 3>as good as the lovable old grandfather that he also
<v Speaker 3>has to be in this movie.
<v Speaker 4>That's true. That's true. So Richard Attenborough had been in
<v Speaker 4>the Great Escape and A Bridge too Far, but he
<v Speaker 4>had pretty much been a director so he had directed
<v Speaker 4>the movie Gandhi and he was in the middle of
<v Speaker 4>finishing Chaplain, which stars Robert Downey Junior, which is a
<v Speaker 4>great movie. But he was pretty much a director. And
<v Speaker 4>when Spielberg called him, he's like, well, I'm in post
<v Speaker 4>production for Chaplain. He said, don't worry, we'll work around
<v Speaker 4>your schedule. If you want to come back and shoot
<v Speaker 4>this part, we'll let you have the time you need
<v Speaker 4>to finish Chaplain. And so he said, great, got me
<v Speaker 4>in the part of Muldoon. They hired a guy named
<v Speaker 4>Bob Peck. Shootah, that guy. Yeah, he did a good job.
<v Speaker 4>They considered Tom Sizemore.
<v Speaker 3>Yeah, I can kind of see that. Yeah, I really
<v Speaker 3>feel like that they didn't do that character just in
<v Speaker 3>this movie. I felt like he could have been way
<v Speaker 3>more than he was in this movie.
<v Speaker 4>Yeah, he didn't do a whole lot.
<v Speaker 3>And he's I mean, he's supposed to be the Australian
<v Speaker 3>like out back safari hunter man, the great White hunter, right,
<v Speaker 3>and this guy he's okay, he's just not. I don't know,
<v Speaker 3>he's just not.
<v Speaker 4>At the beginning his watch, a construction worker gets eaten
<v Speaker 4>by a raptor.
<v Speaker 3>Right, you have the ability to make dinosaurs from mosquitoes,
<v Speaker 3>but you can't get a cage that locks. Okay.
<v Speaker 4>So for the part of Lex, Arianna Richards was hired
<v Speaker 4>based mostly because she could scream really loud and really long.
<v Speaker 3>Yeah, and she did a great job at that. She's
<v Speaker 3>a good screamer.
<v Speaker 4>Okay. The part of Tim was played by Joseph Mazzello,
<v Speaker 4>and he had actually auditioned for a part in Spielberg's
<v Speaker 4>previous movie Hook, but they thought he was too young.
<v Speaker 4>But when this part came along, they thought he'll be
<v Speaker 4>just the right age, and they actually flip flopped Lex
<v Speaker 4>and Tim's age.
<v Speaker 3>From the book, Tim is the older brother and to
<v Speaker 3>yeher hacker, hacker.
<v Speaker 4>I'm a hacker. I'm a vegetarian, okay. And then mister
<v Speaker 4>Arnold played by Samuel L.
<v Speaker 3>MF.
<v Speaker 4>Jackson.
<v Speaker 3>Are we going to talk about the bloodsucking lawyer? We're
<v Speaker 3>going to talk about Martin Fierro.
<v Speaker 4>Sure.
<v Speaker 3>So he got cast obviously, and I mean one of
<v Speaker 3>the most memorable roles, and not necessarily for his performance,
<v Speaker 3>but because he's the first guy to get eaten by
<v Speaker 3>t Rex. Love it. And how awesome was that. I
<v Speaker 3>was listening to the soundtrack show on Jurassic Park. Shout
<v Speaker 3>out to d. A. W. Collins, But he's talking about
<v Speaker 3>the first time he's he saw the movies, Like when
<v Speaker 3>it comes to that part the t Rex eats the attorney,
<v Speaker 3>the guy in the middle row stands up and just
<v Speaker 3>starts shouting, how the fuck did they do that? And
<v Speaker 3>it's just so Yeah. Martin Fierro, he if you've seen
<v Speaker 3>Playing Drains and Automobiles, he's got a hilarious little bit
<v Speaker 3>part as the motel clerk and it's great.
<v Speaker 4>Do you have thirty two dollars?
<v Speaker 3>And I've watched.
<v Speaker 4>And finally, we can't do this without talking about Dennis Nedrie,
<v Speaker 4>who was played by Wayne Knight. Spielberg actually Newman, that's right.
<v Speaker 4>Spielberg watched the movie Based Againstinct and really liked this
<v Speaker 4>guy in Based Againstinct and he stayed and he waited
<v Speaker 4>for the credits to roll, and then he was like, Okay,
<v Speaker 4>that guy right there, Wayne Knight, write that down and
<v Speaker 4>that's how he got the part.
<v Speaker 3>That's great and he was perfect. He was a perfect
<v Speaker 3>little slide ball on this one too. Uh uh.
<v Speaker 4>He really does. I like that line where they're like,
<v Speaker 4>find Dennis Nedrie checked the vending machines. All right, So
<v Speaker 4>that's going to wrap it up for our discussion on
<v Speaker 4>the cast and crew. Let's dive into the production of
<v Speaker 4>both of these movies.
<v Speaker 3>Ready.
<v Speaker 4>Flipping back to Jaws. Production started in Martha's Vineyard, Massachusetts.
<v Speaker 4>It was used as Amity Island, primarily because even twelve
<v Speaker 4>miles out to see there was a sandy bottom that
<v Speaker 4>was only thirty feet down and they needed an area
<v Speaker 4>that they could get the mechanical shark. And you couldn't
<v Speaker 4>see a.
<v Speaker 3>Coastline, right, and when the mechanical shark sinks to the bottom,
<v Speaker 3>you don't have that far to go.
<v Speaker 4>Which he did all the time.
<v Speaker 3>Right.
<v Speaker 4>So the big story about production in Jaws was that
<v Speaker 4>the shark, the star of the movie, hardly ever worked right.
<v Speaker 3>The shark is not working. The shark is not working.
<v Speaker 4>This movie had so many production problems it's really interesting
<v Speaker 4>to me. Not only did they pull off a complete movie,
<v Speaker 4>but they managed to make an incredible movie for the ages.
<v Speaker 4>The crew had so much trouble with it that they
<v Speaker 4>called it Flaws rather than Jaws. Spielberg called it the
<v Speaker 4>Great White Turd. You know, you mentioned the first day
<v Speaker 4>the model shark was used it sank to the bottom
<v Speaker 4>of the ocean. This is the really interesting part, Okay.
<v Speaker 4>The fact that the shark did not work caused them
<v Speaker 4>to have to get creative. Yeah, so originally the scene
<v Speaker 4>at the beginning with Susan maclinney, we were going to
<v Speaker 4>have a shark that you could see attacking her. Couldn't
<v Speaker 4>get it to work, and so they said, well, that's
<v Speaker 4>all right, we'll just pull on a rope a few times,
<v Speaker 4>drag her under the water and show screen blood murder
<v Speaker 4>and it'll be effective. And it was.
<v Speaker 3>It was better, and they remember that lesson when it
<v Speaker 3>gets to Jurassic Park time. Because even in that first
<v Speaker 3>scene where the dinosaur is attacking and you get the
<v Speaker 3>extreme close up on Muldoon's teeth, even though you can
<v Speaker 3>see the tonsils, you do not see the dinosaur.
<v Speaker 4>That's right, Okay. So at the beginning we did talk
<v Speaker 4>briefly about the first kill, Susan Becklinny. When they were
<v Speaker 4>shooting the part of the dead body, they had a fake.
<v Speaker 3>Hand and they got a fake hand to look.
<v Speaker 4>Right, the fake hand looked fake.
<v Speaker 3>They buried one of the assistant directors, buried her under
<v Speaker 3>the sand and just had her stick her hand out,
<v Speaker 3>so you've got a realistic looking hand and once again,
<v Speaker 3>the what you can't see is more frightening than what
<v Speaker 3>you can see. And they do it so well because
<v Speaker 3>Brody is there with the teenager and then the deput
<v Speaker 3>is blowing his whistle in panic and vomiting on the
<v Speaker 3>side of the dune there because of what he's looking at.
<v Speaker 3>And we don't see what he's looking at other than
<v Speaker 3>a few fingers coming out of the sand. But with
<v Speaker 3>that hidden image, we let our imaginations run wild on
<v Speaker 3>how gruesome this scene is, that it's causing this deputed
<v Speaker 3>paniclick it is ye yep, it's brilliant. It is accidental brilliance.
<v Speaker 3>Once again.
<v Speaker 4>Also, one of the things that they did sort of
<v Speaker 4>out of necessity, is they got a box that they
<v Speaker 4>made around the camera and they set the camera at
<v Speaker 4>water level, like what you would see if you're barely
<v Speaker 4>treading water.
<v Speaker 3>Spielboirer wanted to give the audience the perception of being
<v Speaker 3>in the water, right because when are you the most
<v Speaker 3>scared of a shark when your head is above the
<v Speaker 3>water and the rest of you is underneath the water,
<v Speaker 3>right where you feel like you're vulnerable. If you're from
<v Speaker 3>the shore. If you just you know, if everything's being
<v Speaker 3>fun from the shore, you don't have that fear. But
<v Speaker 3>you've got you know, when you can't see your body,
<v Speaker 3>when you're out there and vulnerable, that's when you're most afraid.
<v Speaker 3>And so that's why he wanted that perspective super effective.
<v Speaker 4>So here's a couple of things. I want to talk about.
<v Speaker 4>Ben Gardner's head.
<v Speaker 3>Yeah, that's fantastic. So the so what happens with Ben
<v Speaker 3>Gardner's head is Spielberg when they're doing their previewing of
<v Speaker 3>the movie. There is such a reaction at that scene.
<v Speaker 3>And let's just talk about that scene for just a second, okay,
<v Speaker 3>because you have this unbelievably brilliant sequence that begins with
<v Speaker 3>this high angle shot of Roy Scheider dropping fish entrails
<v Speaker 3>into the water as shark bait. And he's mad because
<v Speaker 3>they've been out there and they haven't seen a shark.
<v Speaker 3>And you know, Shaw keeps kind of acting like he's
<v Speaker 3>his favorite, but he gets all the crap jobs right,
<v Speaker 3>and so he's there and he's ticked off because he's
<v Speaker 3>having to do the grunt work and he's the freaking
<v Speaker 3>chief of police. I mean this is I can understand, right,
<v Speaker 3>and this I mean, let me just say this polite company,
<v Speaker 3>you would say, you know, a pinon contest, but this
<v Speaker 3>entire movie is measured. I mean, that's what the whole
<v Speaker 3>movie is about. It's about the masculinity fights that go
<v Speaker 3>on between the Mayor and Brody and Hooper and Shaw
<v Speaker 3>and Hooper and Brody and all of those guys. But
<v Speaker 3>he's so he's ticked off that he's got to be
<v Speaker 3>shoveling these fish guts out into the water, and he says,
<v Speaker 3>why don't you guys come down here and shovel some
<v Speaker 3>of this, And just at the moment that you laugh
<v Speaker 3>that you're just about to laugh, the shark's head comes
<v Speaker 3>out of the water and you swallow that laugh into
<v Speaker 3>a shriek and you're like, oh, and that reaction, Spielberg said, Okay,
<v Speaker 3>I gotta get one more of those into this movie.
<v Speaker 3>And so that's where we get Ben Gardner's head right, right.
<v Speaker 3>So they didn't, you know, they filmed all of this
<v Speaker 3>footage in the ocean and then they're done, right, they're
<v Speaker 3>in post production there, they're editing, they're doing sound, they're
<v Speaker 3>doing stuff like that, and he wants to film an
<v Speaker 3>underwater scene. Again. Well, he's over at vernon Field's house
<v Speaker 3>and she's got a pool, and so they make a
<v Speaker 3>fake boat, they stick it in the pool and they
<v Speaker 3>dump milk into the pool to give it the murky effect.
<v Speaker 4>And it's perfect.
<v Speaker 3>It's fantastic. And that scene, man, you are locked in
<v Speaker 3>just like he is, at the size of that tooth
<v Speaker 3>and then all of a sudden, boiling there's ahead with
<v Speaker 3>one eyeball coming out.
<v Speaker 4>Spielberg said, you only get one really great scare per movie,
<v Speaker 4>because from that point on the audience was on guard.
<v Speaker 3>Yeah, the reaction to the shark was about half what
<v Speaker 3>it was before they put that scene. Yeah, after they
<v Speaker 3>put the scene in, because people were they were prepared
<v Speaker 3>for another scare. But I mean that is part of
<v Speaker 3>the joy of the movie, is that tension that you feel.
<v Speaker 3>I mean, yes, the scares are great, but you know
<v Speaker 3>you're watching a great scary movie if you are on edge,
<v Speaker 3>and if you've seen that head pop out, you're gonna
<v Speaker 3>be on edge for the rest of the movie.
<v Speaker 4>Here's the other thing about that, when that shark makes
<v Speaker 4>it appearance, when he's like, hey, you can come down
<v Speaker 4>here and shove some of those this the shark appears.
<v Speaker 4>First of all, you get a great look at him
<v Speaker 4>for the first time the entire movie, and you don't
<v Speaker 4>have John Williams music training you to know that here
<v Speaker 4>he comes. Right, So the entire movie you see the
<v Speaker 4>fin you get a perspective, and you hear the music right,
<v Speaker 4>dun't dun dun dun dun dun, and it's like warning
<v Speaker 4>you here he is. He's in the water, he's close,
<v Speaker 4>he's coming. That moment, you don't get any of that,
<v Speaker 4>and so it's a complete warning music.
<v Speaker 3>Yeah. Yeah, So they when they originally filmed this one,
<v Speaker 3>Chief Brody has the most memorable line of the movie
<v Speaker 3>immediately after it, which was a Roy Scheider ad lib.
<v Speaker 3>It was totally him. It was not in the script.
<v Speaker 3>He stumbles backwards and he says, you're gonna need a
<v Speaker 3>bigger boat, and it is it's the best line in
<v Speaker 3>the movie. But the way they had initially filmed it,
<v Speaker 3>he delivered it almost immediately after the shark, after the
<v Speaker 3>shark's head pops off, and nobody heard it because everyone
<v Speaker 3>was still screaming from having seen So they added like
<v Speaker 3>ten solid seconds of film in between the shark popping
<v Speaker 3>up and him saying the line just so that people
<v Speaker 3>didn't miss that awesome one.
<v Speaker 4>I've got three big things I really want to talk about.
<v Speaker 3>Okay, Okay.
<v Speaker 4>The first thing is Lee Fierro slapping again and again
<v Speaker 4>and again.
<v Speaker 3>Chief Brody Yes, and god rest is sol Lee Fierro.
<v Speaker 3>We are recording this in May. She passed away last
<v Speaker 3>month from the coronavirus. No way, I didn't know, Yeah
<v Speaker 3>said no, Yeah, she just just passed away. And it
<v Speaker 3>was I read an interesting story today. You know, the
<v Speaker 3>actor who played her son, Alex Kidner. Thirty years after
<v Speaker 3>the movie has been made, she wanders into a restaurant
<v Speaker 3>and sees on the menu the Alex Kittner Sandwich, and
<v Speaker 3>she says to the waitress, She's like, oh, you know,
<v Speaker 3>I was in this movie and he's he's like, oh really,
<v Speaker 3>what part did you play. She's like, actually, I played
<v Speaker 3>Alex's mom. And they're like no way and rush off.
<v Speaker 3>And just a few seconds later, the guy who played
<v Speaker 3>Alex comes out. He's the owner of the restaurant and
<v Speaker 3>he hasn't seen her in thirty years, and it's this
<v Speaker 3>fantastic coincidental reunion that they have very.
<v Speaker 4>Sweet that's really cool, all right, So she had to
<v Speaker 4>slap him again and again and again. They did seventeen
<v Speaker 4>takes of this, right.
<v Speaker 3>She couldn't do a fake slap. She couldn't do it.
<v Speaker 4>Bake, so she hit him so hard she knocked his
<v Speaker 4>glasses off a few times. One time she broke characters.
<v Speaker 4>She's like, oh God, I'm so sorry, and he's like,
<v Speaker 4>don't don't be keep doing it. It'll be worth it.
<v Speaker 3>Oh again. One of the most memorable scenes in the
<v Speaker 3>whole movie. Yeah my boy is dead.
<v Speaker 4>And for the next forty years she had fans coming
<v Speaker 4>up to her and said, will you please slap me?
<v Speaker 3>Yeah? I have kind of, I don't know, a kind
<v Speaker 3>of weird special affection for her because she was a
<v Speaker 3>community theater lady in a small town, and after this movie,
<v Speaker 3>she was a community theater lady small town. I mean,
<v Speaker 3>she teach acting in this little town and do small plays.
<v Speaker 3>But this was her one. You know, brush was stardom,
<v Speaker 3>and I encountered so many of those folks in acting.
<v Speaker 3>It's just yeah, when I read about her passing, it
<v Speaker 3>kind of hit mark strings a little bit.
<v Speaker 4>Yeah, that makes me sad. The next thing I want
<v Speaker 4>to talk about is Cooper, quint and Brody are on
<v Speaker 4>the boat and there was a scene where they shot
<v Speaker 4>a harpoon into the shark and they hooked it to
<v Speaker 4>the back of the boat and they were going to
<v Speaker 4>try and tire the shark out, and the shark runs
<v Speaker 4>and they actually jerks the boat in such a way
<v Speaker 4>that they sort of tumble and it gives a real
<v Speaker 4>big pull on the boat. Right, So they actually to
<v Speaker 4>film this, they hooked up a speedboat and they screwed
<v Speaker 4>in a islet into this side of the boat, and
<v Speaker 4>they hooked to a pulley down on the bottom and
<v Speaker 4>they toild the speedboat to take off, and when when
<v Speaker 4>it pulled the slack, it jerked the boat and it
<v Speaker 4>was really effective looking on screen, but they jerked a
<v Speaker 4>big hole in the bottom of the boat.
<v Speaker 3>Right. They had actually built two orchids. They had one
<v Speaker 3>that was supposed to be the boat that they use,
<v Speaker 3>and they had one that was supposed to be the
<v Speaker 3>boat that sinks. And then they do this little bit
<v Speaker 3>with the speedboat, pull a hole in the one that's
<v Speaker 3>not supposed to sink, and it starts.
<v Speaker 4>Sinking, dropping like the Titanic. I mean, it's going down
<v Speaker 4>like a rock and yeah, Bilburgh's on the speaker, going
<v Speaker 4>get the actors off the boat. Get the actors off
<v Speaker 4>the boat. But they have high dollars sound equipment on
<v Speaker 4>the boat, and the sound guy's like, f the actors, get.
<v Speaker 3>The sound equipment right, Dryfus is like, he's a seventy
<v Speaker 3>year old man. To save him.
<v Speaker 4>I'm fine.
<v Speaker 3>Yeah. They actually they had some film footage that went
<v Speaker 3>into the water as well, and they're like, oh crap,
<v Speaker 3>it's ruined. But as it turns out, back in the seventies,
<v Speaker 3>film was bathed in a saline solution and they sent
<v Speaker 3>it off to a film lab and not a bit
<v Speaker 3>of it was lost.
<v Speaker 4>Did not lose one frame.
<v Speaker 3>See.
<v Speaker 4>Okay, this is the type of crap that I would
<v Speaker 4>do with my twenty year old friends. Okay, yeah, we're
<v Speaker 4>making a multimillion dollar movie. But I got a great idea.
<v Speaker 4>We'll just screw a big thing to the side of
<v Speaker 4>the boat and we'll send a speedboat off and jerk it.
<v Speaker 4>Oh whoops, pulled a hole in it. I mean, that's
<v Speaker 4>just dumb, stupid twenty year old stuff.
<v Speaker 3>Yeah.
<v Speaker 4>Okay, And the last thing that I really really feel
<v Speaker 4>like we need to talk about Spielberg sent Ron and
<v Speaker 4>Valerie Taylor to Australia to film real great white sharks.
<v Speaker 3>We talked about them and talked about them in our
<v Speaker 3>last episode. They were the the spear fishermen turned documentary
<v Speaker 3>filmmakers that devoted their lives to catching footage of real
<v Speaker 3>great white sharks.
<v Speaker 4>Right, this is this is a super cool story. So
<v Speaker 4>they go down to Australia and they're looking around and
<v Speaker 4>they're like, hey, we've got great whites down here, but
<v Speaker 4>the biggest we got are like fifteen sixteen footers. Well,
<v Speaker 4>the great white in the movie is supposed to be
<v Speaker 4>a twenty five footer. So Spider was like, well, why
<v Speaker 4>don't you get somebody that's super small and make the
<v Speaker 4>cage really small and that way the shark looked bigger, right,
<v Speaker 4>makes sense?
<v Speaker 3>Right?
<v Speaker 4>Okay, so they drop.
<v Speaker 3>This find a small man.
<v Speaker 4>It's a jockey. He's like four foot six or something
<v Speaker 4>like the real small guy.
<v Speaker 3>So yeah, so he's come in and he's like, i'll
<v Speaker 3>do it, I'll do anything, and they put him in
<v Speaker 3>there and he's in there with real sharks. I mean, yes,
<v Speaker 3>they're only twelve feet, but they're twelve feet. Yeah, that's
<v Speaker 3>freaking huge. I mean, that's twice as big as a man.
<v Speaker 3>I mean, that's scary, scary.
<v Speaker 4>Stuff, especially if you're four foot tall. It seems really big.
<v Speaker 3>Yeah. So, just as an explanation, you've got a limited
<v Speaker 3>amount of air in your tank, and if you're scared,
<v Speaker 3>you use that air up way faster. Well, not only
<v Speaker 3>did they have to make the man smaller and the
<v Speaker 3>cage smaller, they had to make the tank smaller. So
<v Speaker 3>they've got this tiny man with his tiny tank in
<v Speaker 3>this very very scary situation, and like fifteen minutes, he'd
<v Speaker 3>be like, amout of air matter hair.
<v Speaker 4>So they pull him out. They pull him out, and
<v Speaker 4>while he is on the boat, the shark gets entangled
<v Speaker 4>in the cage and proceeds to freak out and roll
<v Speaker 4>and destroy the cage and the lines. And while they're
<v Speaker 4>filming all this and they're like, this is incredible shot
<v Speaker 4>right here.
<v Speaker 3>Yes, it's like it couldn't be any better, right, right,
<v Speaker 3>couldn't be any better unless the actor had been in
<v Speaker 3>the cage at the time. The cage was empty. And
<v Speaker 3>so for the script, the script called for Hooper to
<v Speaker 3>die at this point, right, Yeah, Hooper was supposed to die,
<v Speaker 3>but They've got this brilliant footage of an empty cage
<v Speaker 3>and it's not like today where you can just computer
<v Speaker 3>digitally stick somebody back in there. And so what did
<v Speaker 3>Spielberg decide to do.
<v Speaker 4>He said, well, the Shark's going to rewrite the script.
<v Speaker 4>Hooper is going to swim off and live. We cannot
<v Speaker 4>let this footage go unused. And you know what, it
<v Speaker 4>makes it to the movie, and it's incredible.
<v Speaker 3>Yeah, and I'm glad that Hooper lives. I do it
<v Speaker 3>would have it would have been a bummer. I mean,
<v Speaker 3>I'm I don't know. I just maybe it's because that's
<v Speaker 3>what you know, I've grown up with. But yeah, they've
<v Speaker 3>got to they've got to be paddling back to shore together.
<v Speaker 4>Right, yeap? All right, So that's that's sort of what
<v Speaker 4>we got production wise on Jaws. Let's flip over to
<v Speaker 4>the drafts and park. Jurassic Park started production August twenty fourth,
<v Speaker 4>nineteen ninety two, in Kawai. The scene that takes place
<v Speaker 4>in Montana was actually shot within a two hour drive
<v Speaker 4>of la It was in the Mohave Desert, and it
<v Speaker 4>saved him three hundred fifty grand just shooting it that
<v Speaker 4>close to the studio, but most of it was shot
<v Speaker 4>in Kawai. While they were shooting, Spielberg was determined not
<v Speaker 4>to get behind schedule. So he had gone way over
<v Speaker 4>scheduled with Jaws and and some other movies that had
<v Speaker 4>kind of gotten away from him, and so he kept
<v Speaker 4>it to like four or five takes, and after four
<v Speaker 4>or five takes he's like, Okay, we're moving on. And
<v Speaker 4>that kept everybody disciplined. They were moving so quickly that
<v Speaker 4>they got like the construction company that was building sets
<v Speaker 4>ahead of them. That guy says, we call it a
<v Speaker 4>successful We never see the crew. Well, there are several
<v Speaker 4>scenes where like there's a guy in the back like
<v Speaker 4>putting the finishing touches while they're getting ready to film
<v Speaker 4>a scene. So back to Kawai for a second. All right, Yeah,
<v Speaker 4>So I know that we mentioned kind of in our
<v Speaker 4>Raiders Lost arc episode that I had recently taken a
<v Speaker 4>trip to Kawai. It's the most beautiful place on Earth.
<v Speaker 4>I loved it there, right. I wish I would have
<v Speaker 4>paid more attention to like shooting locations and stuff. I
<v Speaker 4>did see some stuff, but I think I could have
<v Speaker 4>seen more. I drove right by the spot where Dennis
<v Speaker 4>Nedri says Dodson. Dodson, we've got Dodson here, but I
<v Speaker 4>was right by that place.
<v Speaker 3>But anybody cares.
<v Speaker 4>Nobody cares. Don't get cheap on me, Dickson. But they
<v Speaker 4>built an elect that that giant fence, that giant electrical
<v Speaker 4>fence that Timmy gets zapped on. So that scene was
<v Speaker 4>shot like in Wyamea canyon, which seems strange to think,
<v Speaker 4>but it's like the second biggest canyon in the United States.
<v Speaker 4>And so they had to haul all this construction equipment
<v Speaker 4>to build this giant forty foot fence. If you look
<v Speaker 4>closely at the screen, you can see both edges of
<v Speaker 4>the fence, like literally it's only twenty feet white.
<v Speaker 3>Right, but these can climb over when you could have
<v Speaker 3>just walked around, walk around the edge of it.
<v Speaker 4>Yeah, but they had to haul all this construction stuff,
<v Speaker 4>like for days and days and days deep into the
<v Speaker 4>jump to build this humongous fence. The guys who built
<v Speaker 4>it were like, people do not understand the effort and
<v Speaker 4>time it took to build that sucker and make it
<v Speaker 4>look real and right and everything. And they got a
<v Speaker 4>couple of seeds, They're like, okay, moving on.
<v Speaker 3>I wonder how little is done on that side of
<v Speaker 3>things anymore. It seems like everything is digital, largely because
<v Speaker 3>of this movie. Now that it's not even like all
<v Speaker 3>those costs are cut, because why build it when you
<v Speaker 3>can just generate a perfectly good looking one with a computer.
<v Speaker 4>As I mentioned before, I visited Kawhi, and while I
<v Speaker 4>was there in twenty sixteen, I had several people mentioned
<v Speaker 4>to me Hurricane and Nikki, Well, that happened in nineteen
<v Speaker 4>ninety two. That actually happened on the last day of
<v Speaker 4>shooting for Jurassic Park.
<v Speaker 3>Throw back to our Raiders of the Lost Arc versus
<v Speaker 3>Back to the Future episode in case you haven't heard it,
<v Speaker 3>The pilot with the pet snake, Reggie.
<v Speaker 4>Jack tell us the who he started the engine.
<v Speaker 3>And I mentioned then did I couldn't figure out why
<v Speaker 3>he wasn't in the rest of the movie. Seemed like
<v Speaker 3>such a great guy, and then he wasn't in any
<v Speaker 3>other movies. So I thought they did such a good job.
<v Speaker 3>Because it turns out he's not an actor. He is
<v Speaker 3>a pilot. He was the pilot that was helping them
<v Speaker 3>scout locations. They needed a pilot for the movie, and
<v Speaker 3>they said, Fred, would you like to be our pilot,
<v Speaker 3>and he said, sure, sounds great. So fast forward eleven
<v Speaker 3>years and Hurricane Anik comes in and they suddenly need
<v Speaker 3>to fly people out and the only guy who happens
<v Speaker 3>to be flying into a hurricane is Fred Sorenson, the
<v Speaker 3>guy who played Jacques and Steven Spielberg Raiders the Lost Art.
<v Speaker 4>Okay, so this is a great story. I love the story. So,
<v Speaker 4>Kathleen Kennedy, they're set up to shoot the last day
<v Speaker 4>of shooting it for Jurassic Park. It's a dead on
<v Speaker 4>hit for Kawhi. So they the whole cast and crew
<v Speaker 4>go below ground for their hotel and they waited out
<v Speaker 4>with every other person in flip flops and swimsuits, right right.
<v Speaker 3>Jeff Clobloom describes it as terrifying and boring all the
<v Speaker 3>same time.
<v Speaker 4>Terrifying and boring, and Richard Attenborough slept through the whole thing,
<v Speaker 4>and Spielberg's like, how could you sleep through this? He's like,
<v Speaker 4>my dear boy, I survived the Blitz. So hurricane and
<v Speaker 4>Niki takes the turn north and it's a dead hit
<v Speaker 4>for Kawhi. They actually had one more day of shooting,
<v Speaker 4>which I found interesting. I was like, well, what were
<v Speaker 4>they going to shoot. They were going to shoot the
<v Speaker 4>Gala Mimus herd. They originally were going to shoot that
<v Speaker 4>in Kawai. They later had to come back two weeks
<v Speaker 4>later and shoot it in o Wahu because that hurricane
<v Speaker 4>had knocked down all the trees in Kawai. And they
<v Speaker 4>were going to shoot mister Arnold's death scene. The Raptors
<v Speaker 4>were gonna get Samuel L. Jackson and he was supposed
<v Speaker 4>to fly back, and they thought, well, now we'll just
<v Speaker 4>throw a fake arm in there and we'll we'll just
<v Speaker 4>move on, you know. Once the hurricane moved through, they
<v Speaker 4>realized it's complete devastation. But she's got to get all
<v Speaker 4>these people off the island, so she runs to the
<v Speaker 4>airport to see what's going on. When she gets there,
<v Speaker 4>she realizes there's nobody really getting in and out of
<v Speaker 4>here except for healthcare workers and people that are helping
<v Speaker 4>with the hurricane. And so she's weighing her options, trying
<v Speaker 4>to figure out how to to work this out, and
<v Speaker 4>this guy comes up to her and says, hey, do
<v Speaker 4>you know who I am? And she turns around looks
<v Speaker 4>at him. She's like no, and he says, does the
<v Speaker 4>line that's my pet snake, Reggie mean anything to you.
<v Speaker 4>And that's our guy Fred freaking Sorenson there to rescue
<v Speaker 4>the crew.
<v Speaker 3>Of Jurassic Park.
<v Speaker 4>So when the t Rex is attacking the car, of course,
<v Speaker 4>you have the animatronic t Rex, and you have the
<v Speaker 4>cue the kids. All right, kids scream and Steven Spilber gonna.
<v Speaker 3>Have a megaphone.
<v Speaker 4>You're like, he's doing all that, and it made the
<v Speaker 4>cast crack up, right, uh huh to have this gigantic
<v Speaker 4>animatronic t Rex and you have Steven Spielberg's boice. Okay,
<v Speaker 4>let's talk about the ending for Jurassic Park.
<v Speaker 3>Do you know about the story, well, I mean I
<v Speaker 3>know that the ending was different like the I mean,
<v Speaker 3>obviously John Hammond lives and there wasn't this notion that
<v Speaker 3>the t Rex would come in and saved them from
<v Speaker 3>the raptors. That was something that they came up when
<v Speaker 3>they realized how good the digital design was. When they
<v Speaker 3>realized how good the CGI was, they rewrote the end
<v Speaker 3>of the movie. And not only did they do this
<v Speaker 3>awesome CGI of course with and it's that may be
<v Speaker 3>the best I mean, because you don't have them even
<v Speaker 3>in the dark like you can. You can fake a
<v Speaker 3>lot when something's in the dark, right, but this is
<v Speaker 3>a brightly lit room and they still all of the
<v Speaker 3>dinosaurs look very real, very active, interacting with the skeleton,
<v Speaker 3>smashing it up. It's all awesome. And then you have
<v Speaker 3>that awesome scene where the t rex roars and the
<v Speaker 3>giant banner comes floating down saying dinosaur earlier.
<v Speaker 4>You just talking about that scene gives me Chelsea like,
<v Speaker 4>that's like my favorite scene in the entire movie where
<v Speaker 4>the t rex like defeats the veloss of raptors and
<v Speaker 4>like roars in victory.
<v Speaker 3>The t rex roar was a combination of a dog,
<v Speaker 3>a penguin, a tiger and alligator and an elephant.
<v Speaker 4>Well, whatever it is, it it's awesome.
<v Speaker 3>All right. The I believe that the raptors I think
<v Speaker 3>were dolphin and some other sound some sort of oh,
<v Speaker 3>a lion. I think it was like a mix between
<v Speaker 3>a dolphin and a lion of all things.
<v Speaker 4>I think it's like horny dolphins.
<v Speaker 3>Like the it was did you just say horny dolphins?
<v Speaker 4>Horny dolphins. I think they were like in the process
<v Speaker 4>of mating or something, And yeah, okay, he could you
<v Speaker 4>could you play the dolphins out for me.
<v Speaker 3>No, no, no, not that one, the one where they're screwing.
<v Speaker 3>You play the one where they're screwing, because that's what
<v Speaker 3>I need. I think that's the perfect sound for a
<v Speaker 3>lost raptor. All right, that does it for this episode
<v Speaker 3>of the Surely You Can't Be Serious Podcast. Please join
<v Speaker 3>us next week when we dive into Part three. Dive
<v Speaker 3>just catch that nice we dive into part three of
<v Speaker 3>the Jaws Versus Jurassic Part discussion. I am so excited.
<v Speaker 3>We're going to talk about soundtrack, We're going to talk
<v Speaker 3>about character development, we're going to talk about what happened
<v Speaker 3>in the aftermath of these movies, and then we're going
<v Speaker 3>to give final judgment.
<v Speaker 4>I can't wait to talk about the USS Indianapolis scene.
<v Speaker 4>We haven't talked about that yet.
<v Speaker 3>I'm very, very excited to talk about that as well.
<v Speaker 4>Should we sing? Should we sing the.
<v Speaker 3>Song Farewell and do to ye fair Spanish ladies? Farewell
<v Speaker 3>and I do to ye Ladies of Spain? And I
<v Speaker 3>don't know the rest, so you'll have to listen next time.
<v Speaker 3>Here how it goes when I sing it again? Ah,
<v Speaker 3>that's good. And all music, images and movie clips are
<v Speaker 3>used for the purposes of commentary and education, in conjunction
<v Speaker 3>with the fair Use agreement under the US copyright law