Jaws (1975) vs. Jurassic Park (1993): Part 3

<v Speaker 1>All right, everybody, welcome back to episode three of Jaws
<v Speaker 1>versus Jurassic Park. This is gonna be the Kapper. This
<v Speaker 1>is where we're gonna give our final judgment on these
<v Speaker 1>two great films.
<v Speaker 2>I'm super excited to talk about Quin's speech and the
<v Speaker 2>composer for both of these movies, who is an icon.
<v Speaker 2>But I am not quite as excited as I am
<v Speaker 2>about what's coming up next week, which is Guns N'
<v Speaker 2>Roses Appetite for Destruction versus AC DC, Back and Black.
<v Speaker 2>And the first one that we tackle is Appetite for
<v Speaker 2>Destruction and it's gonna get released on the thirty third
<v Speaker 2>anniversary of the release of the album. How awesome is that?
<v Speaker 2>So you guys, be sure and whatever app you're using
<v Speaker 2>right now, be sure and subscribe or follow or do
<v Speaker 2>whatever you need to do to automatically download so that
<v Speaker 2>you don't miss that episode next week. And without further ado.
<v Speaker 3>Hello everybody, and welcome to the Surely You Can't Be
<v Speaker 3>Serious Podcast, discussing and debating the iconic and the forgotten
<v Speaker 3>of eighties and nineties pop culture with your co hosts
<v Speaker 3>James D.
<v Speaker 2>Graves and Jason Colibn. Welcome back, everybody, to these, surely
<v Speaker 2>you can't be serious podcasts. We are on part three
<v Speaker 2>of our Jaws Versus Jurassic Park episode. We are going
<v Speaker 2>to dive right in forgive the pun there. So both
<v Speaker 2>of the movies start off with a death scene. Right
<v Speaker 2>in Jaws, you have Chrissy being attacked by an unseen
<v Speaker 2>monster underneath the water, and that sets the impetus for
<v Speaker 2>the whole first portion act one of the movie, if
<v Speaker 2>you will, same thing happens in Jurassic Park. We start
<v Speaker 2>off with a death scene. Despite you know, amazing scientific abilities,
<v Speaker 2>for some reason, they can't get cage that just locks
<v Speaker 2>in place, and so guy falls in, and you have
<v Speaker 2>the Muldoon character who's doing everything he can close upon
<v Speaker 2>his teeth closer, closer, one of his teeth. I kind
<v Speaker 2>of want to see.
<v Speaker 1>The cavity the Here's the other thing about that scene
<v Speaker 1>that drives me insane. Okay, whatever they're shooting the velasciraptor
<v Speaker 1>with is not working, okay, right, Okay, the little zappers,
<v Speaker 1>the bug zappers pull out the shotguns. Okay, yeah, shoot
<v Speaker 1>hard with the bazooka.
<v Speaker 2>So both of those set the story going for the
<v Speaker 2>first act of the movie. So with Jaws. You get
<v Speaker 2>this idea that there's a shark out there, maybe we
<v Speaker 2>should shut things down, and then you begin the power
<v Speaker 2>struggle to determine whether the beach gets shut down or
<v Speaker 2>whether it doesn't get shut down. If we switch over
<v Speaker 2>to Jurassic Park, the death is the impetus behind the
<v Speaker 2>lawyer going to the park and putting together the team
<v Speaker 2>of people to establish whether this park is really safe
<v Speaker 2>or not. Do you have the very strange scene where
<v Speaker 2>there's a kid out on an archaeological dig that gets
<v Speaker 2>threatened by doctor Grant.
<v Speaker 1>That's not very scary.
<v Speaker 2>You know, these are incredibly well done movies, but they're
<v Speaker 2>definitely parts that I was just like, why did we
<v Speaker 2>choose to do it this way? Why is there a
<v Speaker 2>kid out there in the middle of this, and why
<v Speaker 2>is he like a smart alecky, little snot nosed brat
<v Speaker 2>kid of all things?
<v Speaker 1>Yeah, somebody's dad needs to whoop him for talking back
<v Speaker 1>to doctor Grant.
<v Speaker 2>Is And they're all around the computer like I mean,
<v Speaker 2>they're hovering. They're hovering over the computer where we established
<v Speaker 2>this idea that doctor Grant doesn't like computer seeing the
<v Speaker 2>machines don't get along, right, So it's that whole man
<v Speaker 2>versus technology thing. And then this kid, who three feet
<v Speaker 2>back from the entire crowd is able to look at
<v Speaker 2>the screen and go that scary. So the impetus is
<v Speaker 2>said in place so that these experts are called in
<v Speaker 2>to establish whether the park is safe or not. And
<v Speaker 2>of of course the lawyer, whose job it is to
<v Speaker 2>come in and really scrutinize this for the investors, once
<v Speaker 2>he sees the dinosaurs, with everybody else, he becomes full on,
<v Speaker 2>let's forget about safety. We're going to make millions and
<v Speaker 2>millions of dollars, which is of course what this is
<v Speaker 2>the big issue in this movie. It's all about money
<v Speaker 2>versus how safe is it.
<v Speaker 1>We're going to make a fortune with this place.
<v Speaker 2>And then, of course the lawyer, the bloodsucking lawyer who's
<v Speaker 2>the only one that's agreeing with John Hammond, is also
<v Speaker 2>the first one to die, and appropriately so toiletting on
<v Speaker 2>top of a toilet.
<v Speaker 1>The toilet, Yeah, thanks to Jeff Goldblum's character, who wouldn't
<v Speaker 1>stay in the car.
<v Speaker 2>Well, no, no, no.
<v Speaker 1>He leaves the team rex to the toilet.
<v Speaker 2>Oh yeah he does. That's right, Yeah, yeah, that's right.
<v Speaker 2>So let me ask you this to the toilet. Yes,
<v Speaker 2>what was your thought whenever you the scene didn't go
<v Speaker 2>the way that originally it wasn't written that way. It
<v Speaker 2>was Jeff Goldbloom's suggestion that he also grab atorch and
<v Speaker 2>try to distract the t Rex. And so you have
<v Speaker 2>this great moment where doctor Grant distracts the t Rex
<v Speaker 2>from the kids. He throws the flare into the park.
<v Speaker 2>The dinosaur looks and makes a motion to follow the flare,
<v Speaker 2>only to be distracted again by another flare. Ian Malcolm,
<v Speaker 2>we're waving another flare who then brings him back, which
<v Speaker 2>I mean, you see the look on doctor Grant's face,
<v Speaker 2>and it's absolutely appropriate. It's like everybody's he is the
<v Speaker 2>audience at that point, Like what the f are you doing?
<v Speaker 1>Supposedly to heroically get the kids, you know, but he
<v Speaker 1>the t Rex right back to him, goes off to
<v Speaker 1>the toilet, gets the lawyer killed and breaks his leg
<v Speaker 1>in the process. Not very heroic in my opinion, but
<v Speaker 1>it was better than the runaway that he was originally
<v Speaker 1>gonna do.
<v Speaker 2>So we've talked before, our Chief Brody was every man right,
<v Speaker 2>He's supposed to be the audience, right, So one of
<v Speaker 2>the big ideas with Jaws, and I mentioned this in
<v Speaker 2>our last episode, is this idea of the power struggle, right,
<v Speaker 2>it's the pissing contest, and it's almost exclusively man and
<v Speaker 2>nature and man and man that's involved. Here we got
<v Speaker 2>Brody versus the mayor and he's the new guy. And
<v Speaker 2>here's a big idea that kind of gets lost in
<v Speaker 2>the movie, but it's there is this idea of an
<v Speaker 2>islander and a non islander, like you know, the kid
<v Speaker 2>at the beginning he talks about, you know, are you
<v Speaker 2>you know, from the island, and he's like, oh, I
<v Speaker 2>live this other place, he says, but I was born here,
<v Speaker 2>which makes him an islander. And then later on the
<v Speaker 2>woman is you know, Brody's wife is like, well, one
<v Speaker 2>am I an island? And she's like, Ellen, you'll never
<v Speaker 2>be an islander. You weren't born here. You'll never it
<v Speaker 2>doesn't matter how long you're here.
<v Speaker 1>Right.
<v Speaker 2>So it's this insider versus outsider thing that goes along
<v Speaker 2>with the power struggle that's going on between Brody and
<v Speaker 2>the mayor, right right. And then you have, of course,
<v Speaker 2>you know the probably the biggest pissing contest is between
<v Speaker 2>Quin and.
<v Speaker 1>Hooper, right, Yes, yes, for sure.
<v Speaker 2>And but before you even get there, even the mayor
<v Speaker 2>and Hooper have their little power struggle as well. You know,
<v Speaker 2>you'd like to prove that would and you get your
<v Speaker 2>name in one of those national geographic magazines or whatever
<v Speaker 2>it is.
<v Speaker 1>He says, right, I'm not talking to a man who's
<v Speaker 1>lining up to be a hot lunch, right, right.
<v Speaker 2>And then you also have this kind of weird dynamic
<v Speaker 2>when they're all on the boat together of Quintin Hooper,
<v Speaker 2>who even though they're warring with each other, they have
<v Speaker 2>a power struggle with Brody. They're not letting Brody do anything.
<v Speaker 2>I mean, We'll get the freaking chief of police on
<v Speaker 2>the boat and he's like subservient to everything that they're saying.
<v Speaker 2>You know, I gets yelled at from messing with the tanks,
<v Speaker 2>and then Shaw he's like, it's okay, you just ask
<v Speaker 2>me like a condescending little It's this neat power dynamic,
<v Speaker 2>and they do a great job both in the script
<v Speaker 2>writing and the acting of without overtly saying it, establishing
<v Speaker 2>that power contest. Right.
<v Speaker 1>Ye.
<v Speaker 2>So back to my original idea, Brody, we see him
<v Speaker 2>and we know from the beginning that he's a protector. Right,
<v Speaker 2>he's talking to the kids, don't swing on the swing.
<v Speaker 2>It's broken, right, And he's willing to admit that he's
<v Speaker 2>wrong when he's made mistakes, specifically not closing the beaches
<v Speaker 2>and letting Alex die is wrong and he's not your fault.
<v Speaker 2>Yes it was. She's wrong, that's what we said. She's wrong. No,
<v Speaker 2>she's not. And so you see this character development of
<v Speaker 2>Brody going through this process, you know, and he has
<v Speaker 2>to he's already kind of left his known spot and
<v Speaker 2>come into this little island that he's not familiar with,
<v Speaker 2>and then he really has to go into the unknown
<v Speaker 2>of the water because we learned at the beginning he
<v Speaker 2>hates the water. Don't know why he moved to be
<v Speaker 2>the chief of police of an island town when he
<v Speaker 2>hates the water.
<v Speaker 1>But yeah, and we don't really get a sense of
<v Speaker 1>why he hates the water, do we. I don't think
<v Speaker 1>that's ever really mentioned. No, huh.
<v Speaker 2>Hooper tells his story in a little bit. We can
<v Speaker 2>talk about Quinn and his story, so we understand why
<v Speaker 2>they don't. But the most we get is, you know,
<v Speaker 2>they call it that fear. What's it called? And he
<v Speaker 2>goes drowning, right, drowning not so good. So Brody goes
<v Speaker 2>through this entire you know, we get to the second
<v Speaker 2>death and then he has to go through this entire
<v Speaker 2>process where he moves from being the guy that everybody's
<v Speaker 2>picking on or condescending to and who he can't have
<v Speaker 2>a voice for. So he's the last guy left. And
<v Speaker 2>where is he. He's in the middle of the water
<v Speaker 2>on a sinking ship. He is facing his biggest fear.
<v Speaker 2>We talked about it with Indiana Jones. We talked about
<v Speaker 2>it with Marty McFly. Chief Brody is stuck in his
<v Speaker 2>biggest fear and what is that. He's in the water sinking,
<v Speaker 2>but he has grown. We watched Chief Brody grow up
<v Speaker 2>and become a man so that he is able to
<v Speaker 2>save everyone else, even and he thinks probably sacrificing his
<v Speaker 2>own life so that everyone else can be said.
<v Speaker 1>Yeah, it's good. When they were filming these types of
<v Speaker 1>scenes out at sea, Spielberg really wanted to make sure
<v Speaker 1>you could not ever see land, because they wanted them
<v Speaker 1>to be isolated. And there was this thought process that
<v Speaker 1>if you could see land, then if they got in trouble,
<v Speaker 1>they just take the boat back. You know, we'll get
<v Speaker 1>them tomorrow, you know. So I wanted them to feel isolated,
<v Speaker 1>and I thought it was funny. This is of course
<v Speaker 1>before digital removing anything. Right. So they would be out
<v Speaker 1>at sea and there would be a sailboat that would
<v Speaker 1>come into like the right edge of the frame, and
<v Speaker 1>they had to wait and wait and wait for that
<v Speaker 1>sailboat to completely cross across all the way from the
<v Speaker 1>right side to the left side, and they had to
<v Speaker 1>pray that there was not another sailboat on the right
<v Speaker 1>side of the screen.
<v Speaker 2>Right. I mean, this was all because Steven Spielberg was like,
<v Speaker 2>we have to shoot this on the real ocean, right right,
<v Speaker 2>that's right. Had they been on a lake, had they
<v Speaker 2>been in a back lot, none of this would have
<v Speaker 2>been a problem. But we also if you look at
<v Speaker 2>this movie, this movie has a reality that I will
<v Speaker 2>go ahead and say our other movie, even though they
<v Speaker 2>were filming in an actual place, it doesn't seem to
<v Speaker 2>have to be like the other movie has a cartoon
<v Speaker 2>quality about it. I don't know what. I don't know
<v Speaker 2>how to describe it exactly, but there is a reality
<v Speaker 2>that I get with Jaws that is missing in Jurassic Park.
<v Speaker 1>What do you think I agree with you that the
<v Speaker 1>elements of Jaws are just as life threatening as the shark.
<v Speaker 1>Whereas the jungle. You know, doctor Grant and the kids
<v Speaker 1>they go to sleep in the jungle, they're sleeping with
<v Speaker 1>giant dino cows, you know what I mean. So it's
<v Speaker 1>just not as threatening as deep ocean.
<v Speaker 2>To that, to Jurassic Park. Our main character, of course,
<v Speaker 2>is doctor Grant, and we learn from the beginning, not
<v Speaker 2>only does he scare the crap out of the little
<v Speaker 2>kid by basically threatening to disembowel him, he doesn't want kids, right,
<v Speaker 2>they smell, yeah, and they're loud, you know it's but
<v Speaker 2>he doesn't like kids. The relationship that he has with
<v Speaker 2>Sadler is so so subtle. I don't know that I
<v Speaker 2>even noticed that they were actually romantically involved for the
<v Speaker 2>first several times I watched it. I mean, what do
<v Speaker 2>they hug? Maybe half a second in the movie. There's
<v Speaker 2>no romance.
<v Speaker 1>I don't think there really is. I think we're supposed
<v Speaker 1>to believe that there is, but I don't see any
<v Speaker 1>kind of chemistry romantically between them at all. Really, No
<v Speaker 1>huh do they kiss?
<v Speaker 2>No, no hug?
<v Speaker 1>Do they hold hands?
<v Speaker 2>I kind of think that maybe Ian Malcolm touches her
<v Speaker 2>more than doctor Grant.
<v Speaker 1>I think you're right.
<v Speaker 2>So doctor Grant doesn't like children, but then is thrown
<v Speaker 2>into this situation again where he has to protect it.
<v Speaker 2>And it's one of my favorite parts in the movie
<v Speaker 2>when Lex screams, he left us, he left us, and
<v Speaker 2>he says, yes, but I'm not going to At that moment,
<v Speaker 2>he becomes responsible for the lives of others, and so
<v Speaker 2>he starts with He starts as this guy who is
<v Speaker 2>interested only in dead old things and doesn't want to
<v Speaker 2>be involved with kids, and ends up with a guy
<v Speaker 2>who hates the dinosaurs and loves the kids. He grows
<v Speaker 2>to be their protector over the course of the movie.
<v Speaker 1>Yeah, I think that's interesting. One of the things that
<v Speaker 1>I did want to talk about is I mean, you
<v Speaker 1>talk about this tension between Quinn and Hooper back to Jaws. Yeah,
<v Speaker 1>there was a tension between Robert Shaw and Richard Dreyfus.
<v Speaker 2>Oh yeah, and it's rather famous. You know, Shaw had
<v Speaker 2>been acting for much of his life at that point.
<v Speaker 2>He's in his late forties. He started acting when he
<v Speaker 2>was in his early twenties, and so he's been around
<v Speaker 2>a while now. Richard Dreyfuss had been in a few
<v Speaker 2>small things, but it hadn't been very much years before
<v Speaker 2>that that he had really gotten his first major film experiences.
<v Speaker 2>He had a couple, he had like two lines in
<v Speaker 2>the Graduate, and then he gets he gets this part
<v Speaker 2>in American Graffiti, right, yep, and that one's a decent
<v Speaker 2>that's a decent supporting role for him. And then he
<v Speaker 2>gets his first starring role that we talked about last episode, in.
<v Speaker 1>The Apprenticeship of Duddy Kravitz, right, And.
<v Speaker 2>So he is he's a young guy. I mean, he's
<v Speaker 2>a young and relatively speaking, inexperienced guy. And so Robert
<v Speaker 2>Shaw would have this this power dynamic put with him
<v Speaker 2>that he said, you know, he was the nicest guy
<v Speaker 2>in the world to me when we weren't on set,
<v Speaker 2>and then once we got on set, it became this
<v Speaker 2>condescending make fun of him, you know, do whatever you
<v Speaker 2>can to go to him for the entire production. And
<v Speaker 2>I have heard this that during the production of this movie,
<v Speaker 2>you know, they're in a beach, right, and so tourists
<v Speaker 2>come in and they're a lot of them are young
<v Speaker 2>girls in bathing suits, and the crew was pretty familiar,
<v Speaker 2>but everybody said that Richard Dreyfus was the man with
<v Speaker 2>regard to the young ladies who might be taking their
<v Speaker 2>vacation in Martha's vineyard.
<v Speaker 1>Yeah, movie crews in general when they come to your
<v Speaker 1>town are pretty popular guys, and Richard Dreyfus and some
<v Speaker 1>of his buddies tried to enjoy as much of the
<v Speaker 1>benefits of being a movie star as they possibly could.
<v Speaker 2>Right, So there may have he Obviously, Richard Dreyfus probably
<v Speaker 2>has a little bit of confidence as he's coming in
<v Speaker 2>and Robert Shaw is trying to put that in place.
<v Speaker 1>Yep.
<v Speaker 2>On the flip side of that, Robert Shaw has a drinking.
<v Speaker 1>Problem, for sure, Absolutely he does.
<v Speaker 2>Now there are a certain contingent of British actors who
<v Speaker 2>are just known for being heavy drinkers. We talked about
<v Speaker 2>Oliver Reed when we had our Gladiator episode and how
<v Speaker 2>he hung with Peter O'Toole and some of those guys,
<v Speaker 2>and it sounds like Robert Shaw probably would have fit
<v Speaker 2>in very well with those folks. Yep, for sure, and
<v Speaker 2>he was willing to admit it. Apparently. I've heard a
<v Speaker 2>couple of different versions of this story, and one version
<v Speaker 2>goes Robert Shaw was, you know, trying to move along
<v Speaker 2>the boat and had to use two hands to do something,
<v Speaker 2>but he had a drink in one hand, and he
<v Speaker 2>says to Richard Dreyfus, can you help me out with this?
<v Speaker 2>And Richard Dreyfus says, you want me to help you
<v Speaker 2>out with it? He says yeah, and the hands in
<v Speaker 2>the glass and Richard Dreyfus immediately just chunks it into
<v Speaker 2>the ocean. And then the other version was I've got
<v Speaker 2>a drinking problem? Can anybody help me? And it's at
<v Speaker 2>that point that Richard Dreyfus takes his drink and throws
<v Speaker 2>it into the ocean. Either way, it's funny. It's a
<v Speaker 2>funny response to the heckling that he's been getting from
<v Speaker 2>this actor all the while that they're on stage.
<v Speaker 1>It was the funny, but the entire crew was like, uh, oh,
<v Speaker 1>we might have a blow up here.
<v Speaker 2>Yeah, I mean, and we don't want to give Shaw
<v Speaker 2>too much credit credit I mean he was He was like,
<v Speaker 2>you're such a pandemic. I bet you won't even climb
<v Speaker 2>to the top of the mast on the ship, right,
<v Speaker 2>And he keeps offering him more and more money to
<v Speaker 2>do it, and finally Spielberg is like, you're not allowed.
<v Speaker 2>I am saying, as the director of this movie, you
<v Speaker 2>are forbidden to climb to the top of that mast
<v Speaker 2>because it looked like Gryfus was about to go do
<v Speaker 2>it right, right, And it's the same power struggle that
<v Speaker 2>you see going on on film.
<v Speaker 1>All right, Well, let's talk about the scene that they
<v Speaker 1>discussed the Indianapolis. I thought this was brilliant.
<v Speaker 2>So that part was not in the book at all.
<v Speaker 2>It was Howard Sackler's idea. He said, hey, you should
<v Speaker 2>have him have been on the USS Indianapolis. And Spielberg
<v Speaker 2>didn't know what it was. I mean, I didn't know
<v Speaker 2>what it was until I saw the movie. It's not
<v Speaker 2>you know now that this movie, being forty five years old,
<v Speaker 2>it's something that everybody knows. But even back in nineteen
<v Speaker 2>seventy five, it wasn't common knowledge. You didn't know about
<v Speaker 2>the event unless you were related to somebody or you
<v Speaker 2>were somebody that was on that ship, right.
<v Speaker 1>Right, right. They needed something for the character to hate sharks.
<v Speaker 1>Why does he hate sharks so much? Why is he
<v Speaker 1>dead set on getting this shark?
<v Speaker 2>Right?
<v Speaker 1>The Indianapolis gives us the reason.
<v Speaker 2>Right, and so Howard Sackler had come up with the idea.
<v Speaker 2>And then I mentioned before John Millius had been involved
<v Speaker 2>with the script and was a good friend of Steven Spielberg.
<v Speaker 2>He was one of the guys there with Spielberg and
<v Speaker 2>Lucas when they came in and broke the Shark, and
<v Speaker 2>he took it upon himself to develop that particular monologue,
<v Speaker 2>that scene, and he wrote a ten page monologue for this,
<v Speaker 2>which is too much. I mean, you got to figure
<v Speaker 2>there's approximately one minute for each page. Somebody talking for
<v Speaker 2>ten solid minutes is too much. And so they had
<v Speaker 2>the scene, they couldn't figure out exactly how to whittle
<v Speaker 2>it down. And it was Robert Shaw who said, can
<v Speaker 2>I take a stab at it? Can I take can?
<v Speaker 2>Will you give it to me and let me work
<v Speaker 2>on it a little bit? And he took it home
<v Speaker 2>and he worked on it, or he took it back
<v Speaker 2>and he worked on it overnight and came back with
<v Speaker 2>roughly a five page script, and Spielberg looked at it
<v Speaker 2>and said this is perfect.
<v Speaker 1>Yes, that's exactly right. And then on the day of filming,
<v Speaker 1>Robert Shaw said, hey, before I do this, I think
<v Speaker 1>I'm gonna have a few drinks and Spielberg is like,
<v Speaker 1>all right, you know, method actor, Sure, go for it,
<v Speaker 1>all right, And he got hammered. He got hammered, he
<v Speaker 1>got hammer headed, and I mean he was slashed and
<v Speaker 1>he couldn't do it. The next day he came back
<v Speaker 1>and said, how bad did I embarrass myself? Spielberg said, well,
<v Speaker 1>I don't really know if we can use much of that. Well,
<v Speaker 1>I'd like another shot at it. Can I have another shot?
<v Speaker 1>And then he came back and he nailed it.
<v Speaker 2>He didn't just nail it, he changed the entire perception
<v Speaker 2>of the movie in one take. He made everyone in
<v Speaker 2>the crew that Steven Spielberg, everyone in the cast, suddenly go,
<v Speaker 2>this is a movie that might be a success. Because
<v Speaker 2>up until that point they had dealt with the shark,
<v Speaker 2>they had dealt with the script problems, they had dealt
<v Speaker 2>with the problems of filming in the ocean, and Steven
<v Speaker 2>Spielberg thought he was going to get fired every single day.
<v Speaker 2>He almost went and quit the production. And then in
<v Speaker 2>a moment, everyone's perception changed.
<v Speaker 1>Yep, that's exactly right. You know, you talk about Steven
<v Speaker 1>Spielberg thinking every day he is going to be fired.
<v Speaker 1>He used to sleep with Celery under his pillow because
<v Speaker 1>it was considered good luck. But you're exactly right. That
<v Speaker 1>scene gave them that sort of emotional connection between the
<v Speaker 1>characters where they thought, Okay, this is more than just
<v Speaker 1>a silly shark movie. We got some here.
<v Speaker 2>Yeah, and it's still watching it. Every time that I
<v Speaker 2>see that scene, I am entranced. I know exactly what
<v Speaker 2>he's going to say. I can almost quote it for
<v Speaker 2>you word for word, and I just sit there and
<v Speaker 2>am totally engrossed in it. And it's at the it's
<v Speaker 2>just after that moment that the shark comes back.
<v Speaker 1>The scars that they're showing, like the scar scene, Yeah,
<v Speaker 1>it's funny, and I think one of them is an
<v Speaker 1>actual scar. Richard Dreyff shows it.
<v Speaker 2>So yeah, so they're comparing scars and it's it is
<v Speaker 2>wonderful because this is the way it is with men. Right.
<v Speaker 2>You know, you you fight and then you become best friends. Right,
<v Speaker 2>you antagonize an antagony. It's like being on a sports team. Right,
<v Speaker 2>It's you are constantly giving the other guy crap, you're
<v Speaker 2>trash talking, and then something happens that brings you guys
<v Speaker 2>together and suddenly you're the best of friends, right, yes,
<v Speaker 2>And so that's what happens when they start talking about
<v Speaker 2>the scars, that somebody points out a scar. What happened
<v Speaker 2>to you? What happened to me? You know? And they're
<v Speaker 2>showing scars of where they were attacked by eels or
<v Speaker 2>attacked by sharks, and suddenly Quin and Hooper have found
<v Speaker 2>their common ground. And Brody has this wonderful little moment
<v Speaker 2>where he lifts up his shirt and looks at an
<v Speaker 2>appendix scar to try to decide whether he should mention
<v Speaker 2>it or and then decides not to mention it. And
<v Speaker 2>that scar, as it turns out, is actually Roy Scheider
<v Speaker 2>actually had an appendectomy. It was a real scar. Wait wait, wait,
<v Speaker 2>let me guess mother. Okay, So with both of these movies,
<v Speaker 2>you have this idea of man versus nature, intellect versus ignorance, right, okay,
<v Speaker 2>So you know, the the intellect for Jaws is obviously
<v Speaker 2>the Hooper and Quint and a little bit of Brodie,
<v Speaker 2>and then the intellect for Jurassic Park is all of
<v Speaker 2>the archaeologists and doctor Ian Malcolm. And then you have
<v Speaker 2>what you believe to be the ignorant animals, right, the
<v Speaker 2>ignorant shark or the ignorant dinosaurs. But what makes these
<v Speaker 2>things truly scary is they don't seem to be that
<v Speaker 2>ignorant for sure.
<v Speaker 1>That's right.
<v Speaker 2>Right, So this it turns from intellect versus ignorance to
<v Speaker 2>intellect versus something almost supernatural, because not only is this
<v Speaker 2>thing gigantic and powerful and deadly, it also appears that
<v Speaker 2>it's smart.
<v Speaker 1>That's right. The scene where the shark goes underneath the boat,
<v Speaker 1>really he's taken by surprise. Now use the audience. You're thinking, man,
<v Speaker 1>this guy's in charge, and he knows exactly what's going
<v Speaker 1>on until now, and now he's like, whoa right?
<v Speaker 2>And that's when, Yeah, that's that's when Quint and Hooper's
<v Speaker 2>power struggle suddenly takes a turn, right, because with them
<v Speaker 2>you had Hooper's intellect versus Quint's know how and experience
<v Speaker 2>and the working class kind of idea, and he Quin
<v Speaker 2>has done nothing but belittle Hooper's fancy gadgets and stuff
<v Speaker 2>until the point that he realizes that the shark is
<v Speaker 2>smart too. And it's at that point that he says,
<v Speaker 2>what exactly can you do with these things of yours?
<v Speaker 1>Yep, that's really cool? Hey, there is something about that
<v Speaker 1>right around that moment that I want to mention. There
<v Speaker 1>is a scene where Chief Brody is loading his revolver
<v Speaker 1>and it's sort of set at dusk, and you see
<v Speaker 1>a massive shooting star. Did you notice this.
<v Speaker 2>When you watch the movie every time?
<v Speaker 1>That is not an optical effect. They just happen to
<v Speaker 1>catch that shooting star at that moment, and it looks
<v Speaker 1>super cool.
<v Speaker 2>Dumb luck to find the movie right, They got so
<v Speaker 2>many it's InCred So we have the Leviathan versus man
<v Speaker 2>in both scenarios, which goes to the idea of super
<v Speaker 2>much supernatural power versus mankind. You've got mythic, unemotional, almost
<v Speaker 2>demonic and unbeatable with intellect with but both with intellect.
<v Speaker 2>Shark and dinosaurs, and I love I love Iam Malcolm's
<v Speaker 2>lines and all of this. He is the guy who's
<v Speaker 2>trying to he's he's mocking, but he is absolutely right
<v Speaker 2>in everything that he says. Right, life will not be contained.
<v Speaker 2>Life finds a way. He says what you call I
<v Speaker 2>call discovery, I call the rape of the natural world.
<v Speaker 2>He realizes that they are just hurtling headlong into this
<v Speaker 2>idea without taking the time to think about it. You're
<v Speaker 2>so preoccup you're so preoccupied with whether they could, they
<v Speaker 2>never stopped to think of what whether they should.
<v Speaker 1>He actually even says the line, boy do I hate
<v Speaker 1>being right all the time. Okay, I've got a couple
<v Speaker 1>of little tidbits that I want to throw at you.
<v Speaker 1>I think you're going to be amazed. I really will
<v Speaker 1>be surprised if you heard this stuff. All right, Okay,
<v Speaker 1>So the shark in Jaws doesn't show up until one
<v Speaker 1>hour and two minutes into the film. Okay, yes, in
<v Speaker 1>Jurassic Park, the full view of the adult Veloci raptor
<v Speaker 1>doesn't show up until one forty three into the movie.
<v Speaker 1>Almost two hours into the movie. You don't get the
<v Speaker 1>full view of the raptor. Here is my tidbit. Okay,
<v Speaker 1>you know the scene where the local fishermen put like
<v Speaker 1>a brisket on a hook and they throw it and
<v Speaker 1>they're sitting on that rickety old doc that's just barely
<v Speaker 1>hanging on by three nails. Sure enough, boom, shark hits it.
<v Speaker 1>The chain starts to go and they're like, well look
<v Speaker 1>at that, Charlie, and the doc falls. He drags it
<v Speaker 1>out to see that's a really tense scene, right, drags
<v Speaker 1>that guy on the dock out to the you know,
<v Speaker 1>one hundred yards off shore, and the dock turns around,
<v Speaker 1>starts to come back, and the guy's going to swim,
<v Speaker 1>Charlie swim.
<v Speaker 2>Yeah, So first is the first point that you suddenly
<v Speaker 2>go this shark is not just a mindless man eater. Yep,
<v Speaker 2>he's coming back. Yep, he's just turned around.
<v Speaker 1>Yeah, he's gonna make Charlie pay for this decision. But
<v Speaker 1>there was a young filmmaker on set that day who
<v Speaker 1>was just stopping by to see how things were going,
<v Speaker 1>and they're like, all right, you, hey, come over here,
<v Speaker 1>grab a hammer and nails and help us put together
<v Speaker 1>this rickety old doc. Do you know who that filmmaker.
<v Speaker 2>Was, No, Jason, I don't know who that is. Can
<v Speaker 2>you tell me.
<v Speaker 1>The young filmmaker on set that day that built that
<v Speaker 1>crappy little doc none other than John Landis, director of
<v Speaker 1>Coming to America Trading Places American werel from London Animal House.
<v Speaker 2>That's awesome, good, has a great tidbit. We're going to
<v Speaker 2>put that one on the trivia card.
<v Speaker 1>Okay. A couple of little tidbits also for you that
<v Speaker 1>I thought were interesting. The voice on the radio on
<v Speaker 1>Quince's boat when Missus Brodie tries to contact her husband
<v Speaker 1>is actually Steven Spielberg's Ye, Peter Benchley has a cameo
<v Speaker 1>as a news reporter on the beaches, yes, which is
<v Speaker 1>kind of cool. Okay, here's another tidbit for you. Quinn's
<v Speaker 1>boat is called the Orca in real life, the Orca whale,
<v Speaker 1>which we typically called the killer whale.
<v Speaker 2>Yes, is the only known.
<v Speaker 1>Predator of the great white shark.
<v Speaker 2>Yep.
<v Speaker 1>Pretty cool, huh yeah. And then finally I thought this
<v Speaker 1>was interesting. Nobody else may find it interesting. But the
<v Speaker 1>sound editor, the sound editor who had to find sound
<v Speaker 1>effects for everything in the movie. When the shark comes
<v Speaker 1>out of the water and onto Quint's boat, yes, the
<v Speaker 1>sound effect that he used right there is a fizzy
<v Speaker 1>bottle of coke poured out on the concrete.
<v Speaker 2>It goes got random.
<v Speaker 1>He jumps out, and it's like, that'd be.
<v Speaker 2>Fun job to have sound editor to just go, this
<v Speaker 2>is a cool sound. Let's see what I can put
<v Speaker 2>this with.
<v Speaker 1>I would love to do fully, artist, you got to need
<v Speaker 1>a bigger potion.
<v Speaker 2>And so then, of course, once they finished filming and
<v Speaker 2>we talked about how they did the editing process and
<v Speaker 2>at Vernon Fields Pool they poured milk in the water
<v Speaker 2>so that they could shoot that scare scene. And I
<v Speaker 2>just to touch on Vernon Fields. She was somebody who
<v Speaker 2>had done like TV editing and wasn't particularly big in Hollywood,
<v Speaker 2>but you know, knew her way around. She started teaching
<v Speaker 2>at USC and a couple of people that happened to
<v Speaker 2>be in her classes were George Lucas and Steven Spielberg.
<v Speaker 1>Who are they?
<v Speaker 2>And so so she had such a great mind that
<v Speaker 2>really hadn't been appreciated at that point. But when George
<v Speaker 2>Lucas like, need I need an editor, I'm gonna go
<v Speaker 2>call Vernie. She was smart as whip. I like Vernon yep,
<v Speaker 2>And so she gets involved there. She gets involved with
<v Speaker 2>Steven Spielberg because she actually worked with him, I think
<v Speaker 2>on Sugarland Express as well. When she was teaching. She
<v Speaker 2>actually hired This is crazy, She hired George Lucas before
<v Speaker 2>he hired her, when he was still just in at USC.
<v Speaker 2>She hired him and also hired a lady named Marcia
<v Speaker 2>Griffin who ended up being his future wife and is
<v Speaker 2>also an editor. And who you know because you were
<v Speaker 2>the one that sent me the video on how Star
<v Speaker 2>Wars was saved by the editing. It was because of
<v Speaker 2>Marcia Griffin that Star Wars probably was the success that
<v Speaker 2>it was instead of a dismal failure.
<v Speaker 1>It's absolutely correct. Yeah, that video is really cool. If
<v Speaker 1>you haven't seen it, you needed to check it out.
<v Speaker 1>But yeah, Marshall Lucas cut Star Wars to get rid
<v Speaker 1>of all the confusing crap and streamlined it to the
<v Speaker 1>to the movie that we know and love today.
<v Speaker 2>Yeah. On first showing, everybody hated it.
<v Speaker 1>This crap. I don't understand any of it.
<v Speaker 2>Yeah, and so as Marsha Griffin that came in and
<v Speaker 2>said it, who had been introduced to George Lucas by
<v Speaker 2>Verna Fields. Verna Fields then gets called by Steven Spielberg
<v Speaker 2>to edit Sugarland Express and they start to call her
<v Speaker 2>the mother cutter. Nice nice, yes, right, and just just
<v Speaker 2>to talk about her amazing abilities. She developed this. She
<v Speaker 2>pioneered a technique called wipe by cut, where the cut
<v Speaker 2>takes place as like a figure crosses between the camera
<v Speaker 2>and the character, which so you're at a distant shot.
<v Speaker 2>Somebody walks in front of the camera and suddenly you're
<v Speaker 2>at a close up shot because you do the cut
<v Speaker 2>right as the person crossed in front of the camera,
<v Speaker 2>and so you were having what would normally be called
<v Speaker 2>a jump cut, where you've got a staggering thing into
<v Speaker 2>something that you don't even notice that it happens. Because
<v Speaker 2>of this wipe by cut type of procedure that verna
<v Speaker 2>Field's pioneered. After editing those movies and Jaws, she was
<v Speaker 2>nominated for the Oscar and she won. She goes on
<v Speaker 2>to be a Hollywood executive. At that point, she moves
<v Speaker 2>from the lady editing TV shows to the lady who's
<v Speaker 2>now ordering people around at major Hollywood studios. And then
<v Speaker 2>once they're done with the editing process, the last thing
<v Speaker 2>left to do put in the soundtrack.
<v Speaker 1>Before we do that, I just want to mention one thing. Yeah,
<v Speaker 1>on Jaws, they were scheduled for fifty five days of
<v Speaker 1>shooting right May first to June twenty eighth, nineteen seventy four.
<v Speaker 1>They actually finished in one hundred and fifty nine days.
<v Speaker 1>That's three times what they were scheduled for. This is
<v Speaker 1>late September when they wrapped Flash Forward nineteen ninety three.
<v Speaker 1>Principal photography was wrapped on November twelfth, nineteen ninety two.
<v Speaker 1>That's twelve days ahead of schedule and on budget. Spielberg
<v Speaker 1>learned a great deal from Jaws, and he applied that
<v Speaker 1>to later movies.
<v Speaker 2>Okay, so onto soundtrack in both of these movies, the
<v Speaker 2>composer is the same. You may have heard of this guy.
<v Speaker 2>His name is John Williams.
<v Speaker 1>The soundtrack for My Youth is John Williams music.
<v Speaker 2>You cannot have watched movies in the eighties and not
<v Speaker 2>heard a soundtrack by John Williams. It's the greatest of
<v Speaker 2>the soundtracks. Like if you put soundtrack greatest hits of
<v Speaker 2>the eighties, it's all John Williams.
<v Speaker 1>Absolutely is.
<v Speaker 2>Yeah.
<v Speaker 1>And if you I don't care who you are, you've
<v Speaker 1>been living in a forest in the entire time for
<v Speaker 1>the past forty years. You've heard the Star Wars theme.
<v Speaker 2>Yeah, anybody, if I come up to you, it's like
<v Speaker 2>it's like the Watch on Bad If I come to you,
<v Speaker 2>come up you and I go, dud. You know exactly
<v Speaker 2>what I'm gonna do. Right. That's two notes, two notes
<v Speaker 2>that he made into something amazing. I'll tell you the
<v Speaker 2>story of John Williams. Okay, yeah, I did So John
<v Speaker 2>was born to John and so most people call John
<v Speaker 2>Williams Johnny because that was his name growing up. His
<v Speaker 2>dad was also a music guy who worked in music
<v Speaker 2>for films. They ended up moving out to la where
<v Speaker 2>he went to high school with his future wife. They
<v Speaker 2>didn't actually date while they were in high school, but
<v Speaker 2>Barbara Ruick met her there. She went on to become
<v Speaker 2>an actress and was in several movies and films and
<v Speaker 2>TV shows in the fifties and was a singer as well.
<v Speaker 2>Had a musical background. And there's this really cool here's
<v Speaker 2>here's my interesting tie in for this particular episode. Right,
<v Speaker 2>So I saw this picture of Barbara Ruick dancing with
<v Speaker 2>Bob Fosse and a couple of other folks w Olds
<v Speaker 2>and somebody else on the affairs of Adobie Gillis. Bob
<v Speaker 2>Fosse went on to direct a semi autobiographical picture about
<v Speaker 2>himself called All That Jazz, which starred Rus Schider. Very good.
<v Speaker 2>He had all ties in, right.
<v Speaker 1>And de Wie Relds is mother of Princess Leah.
<v Speaker 2>Very good, very good. All ties In scored by Johnny Williams.
<v Speaker 2>And so John Williams gets drafted. He does his military
<v Speaker 2>service as a musician does pretty well. Ends up. He
<v Speaker 2>themes his first like a promotional video for the Navy
<v Speaker 2>while he's in the Navy, and then he comes back
<v Speaker 2>and has to decide do I want to go to
<v Speaker 2>Juilliard or do I want to go arrange and compose music.
<v Speaker 2>He is pianist. He plays several instruments, but he is
<v Speaker 2>best at piano, and he says, Okay, I'm gonna go
<v Speaker 2>to Juilliard. So he goes to Juilliard to become a
<v Speaker 2>concert pianist. And after a while there he starts to
<v Speaker 2>look at all of the other pns who are there
<v Speaker 2>and he's like, I'm not as good as these guys.
<v Speaker 2>This is not this is maybe not what I should do,
<v Speaker 2>and that it's crazy. At that moment, he changes movie
<v Speaker 2>history because he decides I'll go back and I'll start
<v Speaker 2>arranging and composing. And that's what he does. He goes
<v Speaker 2>back to la and he before Jaws. He composes dozens
<v Speaker 2>of movies and hundreds of TV show episodes and so
<v Speaker 2>he's getting his ten thousand hours in and through that
<v Speaker 2>process he decides to start conducting because he doesn't want
<v Speaker 2>to leave it to lesser conductors to get the conducting
<v Speaker 2>right as well. And one of the movies that he
<v Speaker 2>happens to write the score for is a movie called
<v Speaker 2>The Reavers starring Steve McQueen, and I was to the
<v Speaker 2>soundtrack and it's very It starts off very folky like
<v Speaker 2>if you listen to the theme, it's got this kind
<v Speaker 2>of folky guitar going and Southern style to it, and
<v Speaker 2>then it moves into the orchestra and you're like, there,
<v Speaker 2>I could see that's John Williams. You're familiar. You get
<v Speaker 2>that John Williams familiarity. And so, of course that movie
<v Speaker 2>came out in sixty nine, right about the same time
<v Speaker 2>that Steven Spielberg is becoming a director of TV shows,
<v Speaker 2>having to write scripts, waiting for his big break, which
<v Speaker 2>is going to be Sugarland Express. And what he does,
<v Speaker 2>because he's the son of a musician, is he goes
<v Speaker 2>and buys soundtracks and listens to them while he writes
<v Speaker 2>his scripts. And I identify with this. I've done this
<v Speaker 2>exact same thing many many times. You just listen. You'll
<v Speaker 2>listen to classical music or you listen to soundtracks and
<v Speaker 2>it inspires you to make a story out of it,
<v Speaker 2>and so that's what he's doing. And so he's at
<v Speaker 2>the album store. He's flipping through the albums and he
<v Speaker 2>sees this album for a soundtrack from the reverse, takes
<v Speaker 2>it home, listening to it, writing a script, writes a
<v Speaker 2>wonderful script, and thinks to himself, Man, this guy is good.
<v Speaker 2>If I ever get a chance to direct a feature film,
<v Speaker 2>I want this guy to be the guy that composes
<v Speaker 2>the soundtrack.
<v Speaker 1>Nice.
<v Speaker 2>And so, just as it happens, a few years later,
<v Speaker 2>he gets the opportunity at a Sugarland Express and he says,
<v Speaker 2>I want John Williams. And so John Williams, who at
<v Speaker 2>this point he's in his early forties. Now, he's been
<v Speaker 2>the young guy most of his life, right, he has been.
<v Speaker 2>The directors have all been older than he is, and
<v Speaker 2>he's been the young guy who's learning the ropes. But
<v Speaker 2>then with Spielberg, I mean, Spielberg's in his early twenties.
<v Speaker 2>He's a young young man, right he's And John Williams says,
<v Speaker 2>he looked like he was eighteen when I went to
<v Speaker 2>go talk to him. And he says, but just within
<v Speaker 2>the first five minutes of talking to him, I realized
<v Speaker 2>that Spielberg knew more about soundtracks of history than I did,
<v Speaker 2>which is as a that's a big statement for John Williams.
<v Speaker 2>Yeah really, and so he's like, I just I'm thinking
<v Speaker 2>this kid's going to be listening to rock and roll music.
<v Speaker 2>But apparently he rebelled against his parents who played classical
<v Speaker 2>music by listening to soundtracks and not listening to led
<v Speaker 2>Zeppelin or whatever. And so they do the Sugarland Express
<v Speaker 2>and he still has that same style. He still has.
<v Speaker 2>You've got this kind of folky guitar, it's very similar
<v Speaker 2>to the Reavers. And then it moves into something that
<v Speaker 2>you can say, yeah, I feel John Williams in this.
<v Speaker 2>I've got the orchestra. I've got the same orchestration going on.
<v Speaker 2>I feel it. But Jaws is different. John Williams talks
<v Speaker 2>about this. He says there's a point in his life
<v Speaker 2>where he lose to somebody very important to him, and
<v Speaker 2>it was his wife, Barbara, when he was young man,
<v Speaker 2>younger than we are right now, early forties. Barbara suddenly
<v Speaker 2>had a brain aneurysm died suddenly and John was left
<v Speaker 2>as the father of three teenage children. But he says
<v Speaker 2>that point in his life it was almost like a
<v Speaker 2>gift where he realized how he needed to do things.
<v Speaker 2>And I can say with certainty if you listen to
<v Speaker 2>his soundtracks before Jaws and then listen to Jaws, you
<v Speaker 2>can hear a difference. And he lost his wife in
<v Speaker 2>March of nineteen seventy four, and he wrote the soundtrack
<v Speaker 2>for Jaws in March of nineteen seventy five.
<v Speaker 1>Dang, let's talk about his meeting with Spielberg. Okay, okay,
<v Speaker 1>So Spielberg is working on the movie and he meets
<v Speaker 1>with John Williams and says, all right, let's hear what
<v Speaker 1>you got. And John Williams goes to the piano and says,
<v Speaker 1>all right, here's what I think the soundtrack for Jaws
<v Speaker 1>is going to be. Ready, dun Bill, why's like that's good,
<v Speaker 1>that's really good. I no, seriously, He's like, no, seriously,
<v Speaker 1>that's it. Two notes become the most recognizable soundtrack of
<v Speaker 1>all time.
<v Speaker 2>And it's perfect. It is perfect because it's frightening. It's frightening,
<v Speaker 2>and with two notes, he he is able to give
<v Speaker 2>you not only here's the shark, but here's how far
<v Speaker 2>the shark is away from you.
<v Speaker 1>Oh, it's so good. How he manipulates the audience with
<v Speaker 1>this theme.
<v Speaker 2>Right, If it's that's too, that's far away, you've got
<v Speaker 2>a long space and poop, he's around, but he's not.
<v Speaker 2>If it's duh, dump dump dump dump dump dump dump
<v Speaker 2>dot dump dump, you're about to get your legs bitten off, right, right,
<v Speaker 2>So I listened to this and thought about it carefully.
<v Speaker 2>When he was still a young man, he worked under
<v Speaker 2>a composer named Bernard Hermann, who you may not know,
<v Speaker 2>but that's the composer of Psycho.
<v Speaker 1>Yeah, I didn't know that.
<v Speaker 2>And so I look back and I listened to specifically
<v Speaker 2>the shower scene. So I listened to the shower scene. Right,
<v Speaker 2>it is almost the reverse of Jaws, and I can
<v Speaker 2>we'll play both of them for you here, and you
<v Speaker 2>can kind of hear out how it's the reverse. But
<v Speaker 2>whereas Psycho starts with and then it goes u uh uh,
<v Speaker 2>it's the reverse. It is the reverse of Jaws, which
<v Speaker 2>is bu It's incredible.
<v Speaker 1>Psycho goes und done done instead of done dune.
<v Speaker 2>So yeah, okay, yeah cool. And just for the for
<v Speaker 2>the musicians out there, he does a fantastic John Williams
<v Speaker 2>does a fantastic thing with the other part of the
<v Speaker 2>melody in this where you've got the and then you
<v Speaker 2>go no, no, you know you've got this other part
<v Speaker 2>to it. But whereas the underlying part is in e,
<v Speaker 2>the higher pitched melodic part is in E flat, which
<v Speaker 2>means they're right next to each other on the keyboard.
<v Speaker 2>Most notes, you've got spaces between the notes for them
<v Speaker 2>to sound good. When you played notes that are a
<v Speaker 2>half step apart, they don't sound right together. They don't
<v Speaker 2>go together, and that creates the discomfort that you feel
<v Speaker 2>whenever you hear those notes that don't belong together. He's
<v Speaker 2>playing notes that don't belong together, and it makes you
<v Speaker 2>on edge. It puts you at the edge of your seat,
<v Speaker 2>in fear of whatever it is that's going on.
<v Speaker 1>The brilliant Well, let's talk about what he did for
<v Speaker 1>Jurassic Park.
<v Speaker 2>All right. So Jurassic Park you have dinosaurs eating people right.
<v Speaker 1>Yes, scary scenes, yes.
<v Speaker 2>But whereas with Jaws you have tension and fear, John
<v Speaker 2>Williams does something completely different with Jurassic Park. With Jurassic
<v Speaker 2>Park you have awe and reference. It is like you
<v Speaker 2>were walking into a cathedral.
<v Speaker 1>Yeah it is. It's fascination and wonder and amazement and
<v Speaker 1>beauty rather than the mindless eating machine that the shark.
<v Speaker 2>Is, right, because Steven Spielberg didn't want this to be
<v Speaker 2>a horror movie, right. He wanted to approach it from
<v Speaker 2>the perception of a little kid. And little kids aren't
<v Speaker 2>scared of dinosaurs. They're in awe of dinosaurs. And so
<v Speaker 2>that was the idea that he conveyed to Williams. And
<v Speaker 2>that's why Williams composed a score that was majestic and
<v Speaker 2>awe inspiring, as opposed to having this discontinent sound of
<v Speaker 2>notes that don't belong together that puts you in fear
<v Speaker 2>and tension.
<v Speaker 1>The scene in Jurassic Park when John Hammond brings doctor
<v Speaker 1>Grant and doctor Sadler and they see the brachiosaur eating
<v Speaker 1>from the trees and the swell of the music and
<v Speaker 1>doctor Grant is about to faint and John Hammond is like,
<v Speaker 1>doctor Grant, my dear doctor Sadler, welcome to Jurassic Park.
<v Speaker 1>That scene I've seen a thousand times. And when that
<v Speaker 1>goes with what I'm seeing on the screen and the
<v Speaker 1>emotion of the music, it's emotional. I mean I get
<v Speaker 1>choked up sometimes when I watch it, it's amazing.
<v Speaker 2>Yeah's incredible. So I want to go back just real quick,
<v Speaker 2>because there is this moment in Jaws. You've got all
<v Speaker 2>of this tension music that gives you fear and trepidation,
<v Speaker 2>but there's this moment when the chase is on. Right,
<v Speaker 2>did you listen?
<v Speaker 1>Did?
<v Speaker 2>Did you get a chance?
<v Speaker 1>Yep?
<v Speaker 2>And suddenly, in the midst of all of this scary,
<v Speaker 2>intense music, suddenly it turns into a swashbuckling adventure. It's
<v Speaker 2>amazing because every time I see it, it just the
<v Speaker 2>whole mood of the movie changes in a moment. And
<v Speaker 2>Steven Spielberg said this. He said that Jaws would only
<v Speaker 2>have been half as successful as it was without John Williams.
<v Speaker 2>And so you look at this and you go, wow,
<v Speaker 2>if if I don't hear the shark, I don't know
<v Speaker 2>what's going on. The shark is invisible because, as we noted,
<v Speaker 2>there were production problems which made them make decisions about this.
<v Speaker 2>But even though you can't see it.
<v Speaker 1>You hear it right right, that's right.
<v Speaker 2>You fear it, you have you understand how near or
<v Speaker 2>far away it is. And then in just a moment,
<v Speaker 2>he switches, he switches gears on you, and suddenly you're
<v Speaker 2>no longer following the shark. You're following the three adventurers
<v Speaker 2>on their quest to conquer the shark, and you think
<v Speaker 2>to yourself, we're going to win. We're going to win.
<v Speaker 2>This is this is the this is where the sailors win,
<v Speaker 2>they take over, they win, and it's this wonderful, exciting,
<v Speaker 2>exhilarating music, which then when it twists again and everything
<v Speaker 2>goes badly, makes it that much more effective.
<v Speaker 1>When John Williams won the Best Score for Jobs, he
<v Speaker 1>was conducting the orchestra at the Academy Awards and when
<v Speaker 1>they announced his name, he had to leave the orchestra,
<v Speaker 1>run up there except his award, and then hustle back
<v Speaker 1>to continue directing the orchestra. Here's a couple of tidbits
<v Speaker 1>I want to throw at you about Jurassic Park that
<v Speaker 1>I thought were pretty cool. Right. One of the things
<v Speaker 1>that Steven Spielberg takes a sort of creative license on
<v Speaker 1>is the height of the velociraptors. Lost raptors are kind
<v Speaker 1>of known archaeologically to be only about six feet tall, right,
<v Speaker 1>six foot turkey ish, but he makes them ten feet tall.
<v Speaker 1>That he just decides they're going to be scarier that way. Well,
<v Speaker 1>during filming, paleontologists uncovered a ten foot tall specimen of
<v Speaker 1>raptor called the Utah Raptors. Pretty cool. They were super
<v Speaker 1>excited when they discovered that while they were filling that's awesome.
<v Speaker 2>I'm going to throw in a tidbit between you dibits here, okay,
<v Speaker 2>because of it. It also involves a discovery three years ago.
<v Speaker 2>On August nineteenth, two thousand and seven, teen forty two
<v Speaker 2>years after the movie Jaws brought the story of the
<v Speaker 2>USS Indianapolis to the world at large, a co founder
<v Speaker 2>of Microsoft named Paul Allen located the wreck of the
<v Speaker 2>USS Indianapolis in the Philippine Sea at a depth of
<v Speaker 2>over eighteen thousand feet.
<v Speaker 1>That is awesome. Love that a couple of tidbits for you.
<v Speaker 1>At Jurassic Park, when Dennis nedri is first introduced, he
<v Speaker 1>is watching Jaws on his computer screen.
<v Speaker 2>Nu.
<v Speaker 1>Huh, Yes, how did I miss that? He is watching
<v Speaker 1>freaking Jaws?
<v Speaker 3>What? Yes?
<v Speaker 2>Scrap Now I got to go look at it again.
<v Speaker 2>Did we already talk about his clothes and his wardrobe change?
<v Speaker 1>No, let's talk about that, okay.
<v Speaker 2>So Dennis Nedri. Wayne Knight has several different outfits that
<v Speaker 2>he wears during the course of this movie. One of
<v Speaker 2>them is a Hawaiian shirt, the other one is like
<v Speaker 2>a member's only jackets, gray jacket as it turns out,
<v Speaker 2>and his yellow raincoat. Yes, the yellow raincoat, right, this
<v Speaker 2>is what the kids each one of the kids, Sean Aston,
<v Speaker 2>Corey Feldman.
<v Speaker 1>And and Chunk Jeff Cohen.
<v Speaker 2>That is the costumes that they are wearing in the movie.
<v Speaker 1>Uneyes, Oh that's incredible man. The yellow raincoat is what
<v Speaker 1>Mikey is wearing. The Hawaiian shirt is what Chunk is
<v Speaker 1>wearing when he does the truffle shuffle. And members only
<v Speaker 1>jacket is what Corey Feldman is wearing over his purple
<v Speaker 1>rain shirt in the Goonies. Really purple rain Okay, a
<v Speaker 1>couple more tidbits if you go back and watch the movie.
<v Speaker 1>When the Dela posaurus is spitting venom at Dennis Nedri, okay, yeah,
<v Speaker 1>the first shot that he spits, he goes and it
<v Speaker 1>hits him kind of in the chest. He actually, if
<v Speaker 1>you watch closely, the actor Wayne Knight has a big
<v Speaker 1>blob of it in his hand and he takes it
<v Speaker 1>and wipes it on his chest to sort of help
<v Speaker 1>the help the effect a little bit of a blooper
<v Speaker 1>that you can see he goes from having a little
<v Speaker 1>bit on his chest to having a whole lot because
<v Speaker 1>he just took a big scoop of it and rubbed
<v Speaker 1>it on himself from his hand. And then finally, one
<v Speaker 1>of the things that a lot of people were kind
<v Speaker 1>of interested in, and it's never really covered, it's kind
<v Speaker 1>of mentioned and then dropped, is is what's wrong with
<v Speaker 1>the triceratops? Why is the triceratops sick? And it's this
<v Speaker 1>sort of mini mystery. In the middle of the movie,
<v Speaker 1>by the way, the big gigantic pile of triceratops dung
<v Speaker 1>that she's digging through to check for lilac berries made
<v Speaker 1>of clay and straw, and they poured honey on it
<v Speaker 1>to draw flies. So it really wasn't that smully, It
<v Speaker 1>wasn't really that big of a deal. But when Lauren
<v Speaker 1>Duran's character is sifting through the poop looking for lilac berries,
<v Speaker 1>she doesn't find any. But the answer to the mystery
<v Speaker 1>is the scene that was kind of cut out was
<v Speaker 1>that the triceratops would swallow stones to help grind up
<v Speaker 1>for digestive purposes, and it had thrown up the stones
<v Speaker 1>after they had rounded out and were no longer of use,
<v Speaker 1>and that's where the lilac barriers were, and that's what
<v Speaker 1>was making the triceratops sick. All right, let's talk about
<v Speaker 1>the reception of these movies.
<v Speaker 2>Okay. So we've mentioned before that Jaws was the first blockbuster, right,
<v Speaker 2>and blockbuster is a word that existed since World War Two.
<v Speaker 2>It's actually where it came out. They would drop bombs
<v Speaker 2>during the Blitz, which our friend John Hammond, you know,
<v Speaker 2>the actor Richard Attenborough, lived through drop bombs that would
<v Speaker 2>take out a whole block. They would call those blockbusters,
<v Speaker 2>and so that there was a little bit of an
<v Speaker 2>idea that you know, hey, a movie can you know,
<v Speaker 2>have a bigger impact. That's what the blockbuster came from.
<v Speaker 2>But it wasn't until nineteen seventy five that the word
<v Speaker 2>became associated with movies that were major hits during the summer,
<v Speaker 2>because in nineteen before nineteen seventy five, summer was considered
<v Speaker 2>a dead period for movies. People were on vacation, they
<v Speaker 2>weren't going, they weren't school, they were doing other things,
<v Speaker 2>and so people did not go and watch movies during
<v Speaker 2>the summer until nineteen seventy five. And you mentioned to
<v Speaker 2>me this movie was originally supposed to be released in December.
<v Speaker 2>That's right, But because of that, because of going long
<v Speaker 2>on the production, it didn't get released until midsummer June
<v Speaker 2>of nineteen seventy five.
<v Speaker 1>But what happened, Yeah, so the release date was pushed
<v Speaker 1>back to the summer of nineteen seventy five. In May,
<v Speaker 1>And keep in mind, at this point, Steven Spielberg and
<v Speaker 1>his crew are still wondering if audio are going to
<v Speaker 1>accept a giant rubber shark as the threat.
<v Speaker 2>They may not. They they didn't know how the public
<v Speaker 2>at large was going to feel about this. But they
<v Speaker 2>had done some screenings, and there is a point in
<v Speaker 2>the movie Steven Spielberg is watching one of the original
<v Speaker 2>screenings that they do for the test audiences. So there's
<v Speaker 2>this scene where Alex Kittner is getting eaten by the
<v Speaker 2>shark and the blood literally shoots up out of the water.
<v Speaker 2>You know, they had to it was it was an
<v Speaker 2>amazingly grotesque scene given that this is a little kid,
<v Speaker 2>and so at this point in the pre screening, someone
<v Speaker 2>jumps out of their chair and runs out of the theater,
<v Speaker 2>and Steven Spielberg thinks, oh no, I went too far.
<v Speaker 2>And he watches this guy and he goes out of
<v Speaker 2>the theater and he sees him throw up in the
<v Speaker 2>trash can. He sees him vomit into the trash can.
<v Speaker 2>He's like, oh God, I've made it too bad. It's
<v Speaker 2>not going to work. Oh no, what's going to happen.
<v Speaker 2>And and the guy, after he gets done throwing up,
<v Speaker 2>turns around and goes back in and watches the rest
<v Speaker 2>of the movie, and he's like, holy cow, this might work.
<v Speaker 1>Yeah. You know. It was tested in Dallas because it
<v Speaker 1>was far from the ocean. He wanted to know if
<v Speaker 1>a shark was scary to people who are landlocked, and
<v Speaker 1>the answer.
<v Speaker 2>Was yep, yes it is. Bat Yes it is.
<v Speaker 1>People were scared to go swimming and swimming pools. After
<v Speaker 1>this movie came out, this was the first movie to
<v Speaker 1>gross over one hundred million dollars at the box office.
<v Speaker 1>That was something that nobody had ever achieved before.
<v Speaker 2>So another thing that had never that did not happen before.
<v Speaker 2>This was a mass release all on the same day,
<v Speaker 2>so they took an entirely different tack with this movie.
<v Speaker 2>When they saw their final product, when they saw how
<v Speaker 2>test the audiences reacted, they thought, wow, we may actually
<v Speaker 2>have a real hit on our hands. And so they
<v Speaker 2>did a marketing campaign where they had all of the
<v Speaker 2>actors come and do all of these TV spots promoting
<v Speaker 2>the movie. And it's it's incredible because if you watch
<v Speaker 2>some of the stuff that Richard Dreyfus did, he's not
<v Speaker 2>he's not complimentary. He's like, if this movie fails, it's
<v Speaker 2>not Steven Spielberg's fault, it's the it's the production company's fault.
<v Speaker 2>I mean, he doesn't look favorably upon it.
<v Speaker 1>He is actually defending the movie before the release, like
<v Speaker 1>he's like, I know people are gonna hate it, and
<v Speaker 1>you know, it's just not going and it's not Spielberg's
<v Speaker 1>fault that this movie is gonna fail.
<v Speaker 2>Right, But they do these promotions the other not everybody
<v Speaker 2>else is as critical as Richard Dreyfus is. They're doing
<v Speaker 2>their promotion and then they do something unprecedented. They release
<v Speaker 2>it in over four hundreds all on the same day. Now,
<v Speaker 2>people listening to this or brother are gonna be like,
<v Speaker 2>why Is that unprecedented? What happens all the time? Yeah,
<v Speaker 2>it didn't before this time. It used to be that
<v Speaker 2>a movie would come out in a few theaters and
<v Speaker 2>then a few more, and it was something that was
<v Speaker 2>a trickle out effect. But with jaw, as they said,
<v Speaker 2>we wanted to all hit all at the same time
<v Speaker 2>so that everyone is talking about it at once, and
<v Speaker 2>it changed. Forgive me for saying this again, it changed
<v Speaker 2>the paradigm. It was a shift, and from that moment on,
<v Speaker 2>every major motion picture would have a gigantic release. I
<v Speaker 2>mean a standard for today is twenty five hundred theaters
<v Speaker 2>on release day. Yep.
<v Speaker 1>The marketing campaign was genius on this deal too. It
<v Speaker 1>included shark related messages like, if you happen to see
<v Speaker 1>a great white here's how you deal with it. This
<v Speaker 1>is part of the marketing, right. Awesome. There was a
<v Speaker 1>great white shark on the cover of Time magazine, and
<v Speaker 1>it also created a boom in tourism at Martha's Vineyard, which.
<v Speaker 2>Oh yeah, it's great. At the time that they filmed this,
<v Speaker 2>the population of Martha's Vineyard was five thousand people. Within
<v Speaker 2>just a few years it had increased to fifteen thousand people.
<v Speaker 1>So let's talk about the reception of Jurassic Park. Okay, So,
<v Speaker 1>Jurassic Park was released June eleventh, nineteen ninety three. The
<v Speaker 1>studio's biggest concern in competition the summer of ninety three
<v Speaker 1>was The Last Action Hero, which also happens to be
<v Speaker 1>the last movie that I walked out of it because
<v Speaker 1>it sucks over.
<v Speaker 2>That's interesting. The first movie I walked out of it
<v Speaker 2>was Jaws three. The last movies you walked out it
<v Speaker 2>was Last Action Hero.
<v Speaker 1>The movie and book generated so much interest in dinosaurs
<v Speaker 1>and paleontology that universities had a record increase in students.
<v Speaker 1>I'm sorry, I get ahead of myself. Jurassic Park was
<v Speaker 1>released on Friday, June eleven, nineteen ninety three, and it
<v Speaker 1>broke box office records its first weekend with forty seven
<v Speaker 1>million dollars on the.
<v Speaker 2>First weekend, first weekend.
<v Speaker 1>Yes, it eventually went to make more than nine hundred
<v Speaker 1>million worldwide. Compared that to what we just discussed with Jaws.
<v Speaker 1>One hundred million, right, nine hundred million. David Kep, who
<v Speaker 1>is the screenwriter, remembers the day it opened. I was
<v Speaker 1>in New York and I walked to the theater that
<v Speaker 1>he was watching, and the guy comes out and announces
<v Speaker 1>this to the giant line ladies and gentlemen. The seven
<v Speaker 1>o'clock show of Jurassic Park is sold out and people
<v Speaker 1>go oh, and he goes. Also, the ten o'clock show
<v Speaker 1>is sold out, and they went oh. Also, Saturday Night
<v Speaker 1>seven and ten o'clock show are sold out. And David
<v Speaker 1>Kep's like, I'm not an expert, but that seems like
<v Speaker 1>it's doing pretty good.
<v Speaker 2>Yeah. Yeah, it's a good sign.
<v Speaker 1>This movie was very well received. It made tons of money.
<v Speaker 1>I thought this was interesting. Spielberg received two hundred and
<v Speaker 1>fifty million dollars from the movie gross and profit participations,
<v Speaker 1>which is the largest sum ever for a director.
<v Speaker 2>Can I just say something about Steven Spielberg and the
<v Speaker 2>finishing up of this movie. We talked about the soundtrack
<v Speaker 2>and what happens with it, but Spielberg, at this time,
<v Speaker 2>I mean, while while Jurassic Park is being finalized, before
<v Speaker 2>it has the soundtrack finished, he's already filming Schindler's List.
<v Speaker 2>It's astounding that he's doing both of these movies almost
<v Speaker 2>at the same time. I mean, he's finishing one as
<v Speaker 2>he's in the midst of directing the other. But what
<v Speaker 2>would happen is he would be directing in Poland. He
<v Speaker 2>would have the weekends off. On the weekends, he would
<v Speaker 2>fly to Paris. Someone from the US would take tapes
<v Speaker 2>of what John Williams had been composing for Jurassic Park,
<v Speaker 2>fly them over to Paris. They would sit and listen
<v Speaker 2>to the tapes and watch the film. At the same time,
<v Speaker 2>Steven Spielberg would give his notes. The guy would fly
<v Speaker 2>back give them to John Williams. Steven Spielberg would fly
<v Speaker 2>over to watch to continue directing Schindler's List, and then
<v Speaker 2>he within the span of two years, he makes two
<v Speaker 2>of his biggest movies of all time as they overlap.
<v Speaker 2>It's astounder.
<v Speaker 1>It is, it really is. Laura Dern when she saw
<v Speaker 1>the dinosaur CGI on screen for the first time, she cried,
<v Speaker 1>people don't appreciate it now because it's so commonplace. But
<v Speaker 1>at that time, when when you looked on the screen
<v Speaker 1>and you saw a freakin dinosaur, it was like nothing
<v Speaker 1>you'd ever seen. Like we were used to giant rubber sharks.
<v Speaker 2>Holy how did they do that?
<v Speaker 1>That's right, all right, so let's get final judgment.
<v Speaker 2>Indeed, Okay, where Are you all right? These are two
<v Speaker 2>iconic movies. Yes, they changed the paradigm in different ways,
<v Speaker 2>nearly twenty years apart from each other. Okay, we've talked
<v Speaker 2>about for two and a half episodes. We've talked about
<v Speaker 2>what they did. Looking back, I just have to say
<v Speaker 2>to myself, Okay, I'm just gonna look and watch these
<v Speaker 2>two movies. As I look and watch these two movies, now,
<v Speaker 2>it's been forty five years since Jaws came out, it
<v Speaker 2>has been twenty seven years since Jurassic Park came out.
<v Speaker 2>They're both old movies at this point. And so I
<v Speaker 2>just looked and I said, okay, what problems do I have?
<v Speaker 2>And how have these movies aged over time? Right? Okay,
<v Speaker 2>I look at Jaws, and it's impressive. As the mechanical
<v Speaker 2>shark comes out of the water and onto the boat,
<v Speaker 2>I'm not thinking to myself, Oh, there's the mechanical shark
<v Speaker 2>coming out of the water. I'm thinking, holy crap, that
<v Speaker 2>guy is gonna eat one of those guys. And sure enough,
<v Speaker 2>that's what happens. As I see the shark's jaws chomped
<v Speaker 2>down on quin and him screaming for mercy, I am
<v Speaker 2>I am not thinking about the production of this movie.
<v Speaker 1>It's great se at all, great scene.
<v Speaker 2>It is a movie that, despite the fact that it
<v Speaker 2>is forty five years old, in its technology, I am
<v Speaker 2>not distracted Jurassic Park. I loved it when it came out.
<v Speaker 2>When I watched it and I saw the dinosaur for
<v Speaker 2>the first time, I was just like everybody else in like,
<v Speaker 2>holy crap, how did they do that? That is astounding.
<v Speaker 2>It changed the way the movies were made. Looking at
<v Speaker 2>back at it twenty seven years later, it's still amazing.
<v Speaker 2>But there are features that I kind of go that
<v Speaker 2>did an age as well as I had hoped it would.
<v Speaker 2>And it's not just me. I watched this with my
<v Speaker 2>children and the first scene that was so amazing back
<v Speaker 2>in nineteen ninety three of the Bracyosaurus when you see
<v Speaker 2>it for the first time, my kids went, that doesn't
<v Speaker 2>appeal and I kind of went, guys, I mean, remember,
<v Speaker 2>this was the first time that this had ever been done,
<v Speaker 2>but it hasn't aged as well. Then i look at
<v Speaker 2>the first scene with doctor Grant and the kid, and
<v Speaker 2>I'm going, why is this kid here? And why is
<v Speaker 2>doctor Grant so mean to him? And then I'm looking
<v Speaker 2>at the scene where the car is falling through the
<v Speaker 2>tree as they're trying to escape and trying to escape,
<v Speaker 2>and I'm thinking, why don't they just go to the
<v Speaker 2>other side of the tree. And so as amazing as
<v Speaker 2>Jurassic Park is, there are problems with it from my perspective,
<v Speaker 2>and I can't say that it is as timeless as
<v Speaker 2>Jaws is. And so that is why I say Jaws
<v Speaker 2>wins the contest between Jurassic Park and Jows.
<v Speaker 1>Okay, your way off base. Here's what we're looking at here,
<v Speaker 1>all right. Yes, these movies are old. Yes, when you
<v Speaker 1>look at them from twenty twenty, there are things that
<v Speaker 1>are not as favorable. I mean, the shark that we
<v Speaker 1>only see for about twenty seconds of Jaws would have
<v Speaker 1>a lot more problems if we got a good look
<v Speaker 1>at it. These two movies are amusement park rides. Think
<v Speaker 1>of the greatest roller coaster, like I'm thinking the Titan
<v Speaker 1>at six Flags over Texas. Okay, that's Jaws. Super high,
<v Speaker 1>super straight drop, exciting thrill ride, still fun today no
<v Speaker 1>matter what. Jurassic Park is like that same ride, except
<v Speaker 1>you have ten loop to loops. So it takes something
<v Speaker 1>that's awesome and it makes it even more awesome. Okay, Now,
<v Speaker 1>do you have Jurassic Park without Jaws? Probably not. Jaws
<v Speaker 1>is the granddaddy of Jurassic Park, and it owes a
<v Speaker 1>lot to Jaws. But I do think it steps up.
<v Speaker 1>Instead of having one threat, you've got two raptors and
<v Speaker 1>a t Rex instead of one shark. You also have
<v Speaker 1>a poison spitting de laphosaurs running around, so you have
<v Speaker 1>more things to be scared of. I do think the
<v Speaker 1>water element makes it more scary, but I know when
<v Speaker 1>I watch these two, the more entertaining movie for me
<v Speaker 1>is Jurassic Park. Do I love them both? Absolutely? Do
<v Speaker 1>we owe a lot to what they've contributed to the
<v Speaker 1>movie culture. Absolutely, Jaws changed everything. But from my perspective,
<v Speaker 1>the most entertaining of these two movies is Jurassic Park.
<v Speaker 2>Okay, I'm gonna give a quick rebuttal argument, ok because
<v Speaker 2>there there's an idea that I wanted to touch on,
<v Speaker 2>and I'll just as as kudos to Jurassic Park. The
<v Speaker 2>same kids who are like, yeah, that doesn't look real
<v Speaker 2>when it when it came to the velociraptors chasing the
<v Speaker 2>children through the kitchen or the t Rex like attacking
<v Speaker 2>people in the land Rovers, they were burying their head
<v Speaker 2>in my shoulder and saying, tell me when it's over right.
<v Speaker 2>I mean they may have been unimpressed initially, but with
<v Speaker 2>Jurassic Park, from t Rex moment on, except for that
<v Speaker 2>car falling scene, it is intense and frightening. But I
<v Speaker 2>talked in our very first episode on this on these
<v Speaker 2>two movies about how the criticism of sugar Land Express
<v Speaker 2>was even though they had these fantastic car chase scenes,
<v Speaker 2>there wasn't any character development. In Jurassic Park. I feel
<v Speaker 2>like he falls back into that same trap. I think
<v Speaker 2>that the character development is minimal. It's there, it's there's
<v Speaker 2>something there, but you do not, from my perspective, emotionally
<v Speaker 2>connect with doctor Graham Sattler. Maybe no, not even Ian Malcolm.
<v Speaker 2>You don't really have the connection with them that you
<v Speaker 2>do with the characters in Jaws. And we talked about
<v Speaker 2>how the movie was about the shark and the movie
<v Speaker 2>was about the dinosaurs, so they weren't as much worried
<v Speaker 2>about the actors. But I just think that Jaws brings
<v Speaker 2>a higher caliber of actor and especially that scene that
<v Speaker 2>we talked about earlier today, the USS Indianapolis, the drunk
<v Speaker 2>talk the comparing of Scars. I can see why that
<v Speaker 2>moment changed everyone's perception about this movie, because it was
<v Speaker 2>that moment that you made a heart to heart connection
<v Speaker 2>with all of the characters, the Holy Trinity that was
<v Speaker 2>fighting against the demonic Shark. You made that connection at
<v Speaker 2>that moment, and I just never had that moment in
<v Speaker 2>Jurassic Park.
<v Speaker 1>No, you're exactly right. I will not argue I don't
<v Speaker 1>really care about the characters in Jurassic Park. The one
<v Speaker 1>character that I do care about the biggest emotional impact
<v Speaker 1>for me character wise is when the raptors are fighting
<v Speaker 1>the t Rex. I want the t Rex to win. Yeah,
<v Speaker 1>everybody else, I'm just like, Oh, who's gonna get it next?
<v Speaker 1>I don't really care, right Les the Hacker.
<v Speaker 2>Eh So, so you felt when you watch Jurassic Park.
<v Speaker 2>You felt the same way Steven Spielberg when he read
<v Speaker 2>the book of the of Jaws. At the end, you
<v Speaker 2>wanted the shark to win. You wanted the t Rex
<v Speaker 2>to win.
<v Speaker 1>I want the t Rex to win.
<v Speaker 2>So they did that. I mean, at least for that,
<v Speaker 2>you can say they did that perfectly because the t
<v Speaker 2>Rex wins and the people still survive.
<v Speaker 1>Right. Yeah, that's well, we sure want to hear from
<v Speaker 1>you guys. Are we way off base? De took Jaws,
<v Speaker 1>I'm taking Jurassic Park. Where are you? Hit us up
<v Speaker 1>on Facebook, hit us up on Twitter, email us. You
<v Speaker 1>might even get a shout out on the next podcast.
<v Speaker 2>We'll see you guys next week.