"Jaws" (1975) vs. "Jurassic Park" (1993): Episode 3 of 3

<v Speaker 1>Hey, everybody, welcome back to the Shirley Can't Be Serious Podcast.
<v Speaker 1>This is episode three of our Jaws Versus Jurassic Park episode.
<v Speaker 1>We're on vacation this week. We hope you're enjoying your
<v Speaker 1>vacation time with your family. The crazy thing about Jaws
<v Speaker 1>and Jurassic Park when we first put this out in
<v Speaker 1>twenty twenty, they were the number one and number two
<v Speaker 1>movies at the box office because of stupid COVID, which
<v Speaker 1>we all freaking hated, but people were still going to
<v Speaker 1>the drive ins and drive in theaters were showing Jaws
<v Speaker 1>in Jurassic.
<v Speaker 2>Park because they are two iconic movies, two big Spielberg
<v Speaker 2>movies from the seventies and the nineties.
<v Speaker 1>Yeah, and this is the fiftieth anniversary of Jaws, so
<v Speaker 1>enjoy this final episode of our Jaws Versus Jurassic Park comparison.
<v Speaker 2>Okay, guys, and we're going to be talking about Jaws
<v Speaker 2>again with our friend Chuck Bryan at the Cinematic Flashback
<v Speaker 2>Podcast where we're going to deep dive into it again.
<v Speaker 2>It's a great podcast, go check it out. It's got
<v Speaker 2>all kinds of good episodes and we're excited to talk
<v Speaker 2>to you about Jaws again now fifty years later.
<v Speaker 1>All right, everybody, welcome back to episode three of Jaws
<v Speaker 1>versus Jurassic Park.
<v Speaker 3>This is gonna be the Kapper.
<v Speaker 1>This is where we're gonna give our final judgment on
<v Speaker 1>these 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 4>Hello everybody, and welcome to the Surely You Can't Be
<v Speaker 4>Serious podcast, discussing and debating the iconic and the forgotten
<v Speaker 4>of eighties and nineties pop culture with your co hosts
<v Speaker 4>James D. Graves and Jason Coliban.
<v Speaker 2>Welcome back everybody to these Surely you can't be serious podcasts.
<v Speaker 2>We are on part three of our Jaws Versus Jurassic
<v Speaker 2>Park episode. We are going to dive right in forgive
<v Speaker 2>the pun there. So both of the movies start off
<v Speaker 2>with a death scene. Right in Jaws, you have Chrissy
<v Speaker 2>being attacked by an unseen monster underneath the water, and
<v Speaker 2>that sets the impetus for the whole first portion Act
<v Speaker 2>one of the movie, if you will, same thing happens
<v Speaker 2>in Jurassic Park. We start off with a death scene.
<v Speaker 2>Despite you know, amazing scientific abilities, for some reason, they
<v Speaker 2>can't get a kid that just locks in place. And
<v Speaker 2>so guy falls in and you have the Muldoon character
<v Speaker 2>who's doing everything.
<v Speaker 5>He can't.
<v Speaker 2>Close up on his teeth closer, closer, and one of
<v Speaker 2>his teeth. I kind of want to see the.
<v Speaker 1>Cavity get close the lling. Here's the other thing about
<v Speaker 1>that scene that drives me insane. Okay, whatever they're shooting
<v Speaker 1>the velasciraptor with is not working, okay, right, Okay, the
<v Speaker 1>little zappers, the bug zappers pull out the shotguns. Okay, yeah,
<v Speaker 1>shoot hard with the bazuka.
<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 3>That's not very scary, you know.
<v Speaker 2>There These are incredibly well done movies, but they're definitely
<v Speaker 2>parts that I was just like, why did we choose
<v Speaker 2>to do it this way? Why is there a kid
<v Speaker 2>out there in the middle of this, and why is
<v Speaker 2>he like a smart alecky, little snot nosed brat kid
<v Speaker 2>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 not 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 the 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. We're going to make a
<v Speaker 2>fortune with this place. And then, of course the lawyer,
<v Speaker 2>the bloodsucking lawyer who's the only one that's agreeing with
<v Speaker 2>John Hammond, is also the first one to die, and
<v Speaker 2>appropriately so toiletting on 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 3>He leads the t Rex to the toilet.
<v Speaker 2>Oh yeah, he does that's right, Yeah, yeah, that's right. 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 he is, he
<v Speaker 2>is the audience at that point, like what the f
<v Speaker 2>are you doing?
<v Speaker 1>Supposedly to heroically get the kids, you know, but he
<v Speaker 1>brings the te 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 how 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 islander? 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. Right. So it's this
<v Speaker 2>insider versus outsider thing that goes along with the power
<v Speaker 2>struggle that's going on between Brody and the mayor, right, right.
<v Speaker 2>And then you have, of course, you know the probably
<v Speaker 2>the biggest pissing contest is between quin and.
<v Speaker 3>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.
<v Speaker 2>Right right. And then you also have this kind of
<v Speaker 2>weird dynamic when they're all on the boat together of
<v Speaker 2>Quinton Hooper, who even though they're warring with each other,
<v Speaker 2>they have a power struggle with Brody. They're not letting
<v Speaker 2>Brody do anything. I mean, we'll get the freaking chief
<v Speaker 2>of police on the boat and he's like subservient to
<v Speaker 2>everything that they're saying. You know, they might gets yelled
<v Speaker 2>at for messing with the tanks, and then Shaw he's like,
<v Speaker 2>it's okay, you just ask me like a condescending little
<v Speaker 2>It's this neat power dynamic, and they do a great
<v Speaker 2>job both in the script writing and the acting of
<v Speaker 2>without overtly saying it, establishing that power contest.
<v Speaker 3>Right yep.
<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, as 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. I don't know why he moved to
<v Speaker 2>be the chief of police of an island town when
<v Speaker 2>he 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.
<v Speaker 2>No, huh. Hooper tells his story in a little bit.
<v Speaker 2>We can talk about Quinn and his story, so we
<v Speaker 2>understand why they don't. But the most we get is
<v Speaker 2>you know, they call it that fear. What's it called?
<v Speaker 3>And he goes drowning, right, drowning not so good.
<v Speaker 2>So Brody goes through this entire you know, we get
<v Speaker 2>to the second death and then he has to go
<v Speaker 2>through this entire process where he moves from being the
<v Speaker 2>guy that everybody's picking on or condescending to and who
<v Speaker 2>he can't have a voice for. So he's the last
<v Speaker 2>guy left. And where is he. He's in the middle
<v Speaker 2>of the water on a sinking ship. He is facing
<v Speaker 2>his biggest fear. We've talked about it with Indiana Jones.
<v Speaker 2>We talked about it with Marty McFly. Chief Brody is
<v Speaker 2>stuck in his biggest fear and what is that. He's
<v Speaker 2>in the water sinking, but he has grown. We watched
<v Speaker 2>Chief Brody grow up and become a man so that
<v Speaker 2>he is able to save everyone else, even and he
<v Speaker 2>thinks probably sacrificing his own life so that everyone else
<v Speaker 2>can be said.
<v Speaker 3>Yeah, it's good.
<v Speaker 1>When they were filming these types of scenes out at sea,
<v Speaker 1>Spielberg really wanted to make sure you could not ever
<v Speaker 1>see land, because I wanted them to be isolated. And
<v Speaker 1>there was this thought process that if you could see land.
<v Speaker 1>Then if they got in trouble, they just take the
<v Speaker 1>boat back. You know, we'll get them tomorrow, you know.
<v Speaker 1>So I wanted them to feel isolated, and I thought
<v Speaker 1>it was funny. This is of course before digital removing anything.
<v Speaker 3>Right.
<v Speaker 1>So they would be out at sea and there would
<v Speaker 1>be a sailboat that would come into like the right
<v Speaker 1>edge of the frame, and they had to wait and
<v Speaker 1>wait and wait for that sailboat to completely cross across
<v Speaker 1>all the way from the right side to the left side,
<v Speaker 1>and then had to pray that there's not another sailboat
<v Speaker 1>on the right side 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 2>What do you think.
<v Speaker 1>I agree with you that the elements of Jaws are
<v Speaker 1>just as life threatening as the shark. Whereas the jungle.
<v Speaker 1>You know, doctor Grant and the kids they go to
<v Speaker 1>sleep in the jungle, they're sleeping with giant dino cows,
<v Speaker 1>you know what I mean. So it's just not as
<v Speaker 1>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 3>I don't think there really is.
<v Speaker 1>I think we're supposed to believe that there is, but
<v Speaker 1>I don't see any kind of chemistry romantically between them
<v Speaker 1>at all.
<v Speaker 3>Really, no, huh, Do they kiss? No, no, hug? Do
<v Speaker 3>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 3>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>And 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 3>Yeah, I think that's interesting.
<v Speaker 1>One of the things that I did want to talk
<v Speaker 1>about is I mean, you talk about this tension between
<v Speaker 1>Quinn and.
<v Speaker 3>Hooper back to Jaws. Yeah, there was a tension between
<v Speaker 3>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 Dreyfus had been in a few
<v Speaker 2>small things, but it hadn't been very many 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 3>The Apprenticeship of Duddy Kravitz, right.
<v Speaker 2>And so he is he's a young guy. I mean,
<v Speaker 2>he's a young and relatively speaking, inexperienced guy. And so
<v Speaker 2>Robert Shaw would have this this power dynamic put with
<v Speaker 2>him that he said, you know, he was the nicest
<v Speaker 2>guy 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 goad him for the entire production. And I
<v Speaker 2>have heard this that during this production of this movie,
<v Speaker 2>you know, they're in a beach, right, and so tourists
<v Speaker 2>come in and there 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 3>Yep.
<v Speaker 2>On the flip side of that, Robert Shaw has a drinking.
<v Speaker 3>Problem, for sure, Absolutely he does.
<v Speaker 2>Now there are certain contingent of British actors who are
<v Speaker 2>just known for being heavy drinkers. We talked about Oliver
<v Speaker 2>Reed when we had our Gladiator episode and how he
<v Speaker 2>hung with Peter O'Toole and some of those guys, and
<v Speaker 2>it sounds like Robert Shaw probably would't fit in very
<v Speaker 2>well with those folks, yep, for sure, and he was
<v Speaker 2>willing to admit it. Apparently. I've heard a couple of
<v Speaker 2>different versions of this story, and one version goes Robert
<v Speaker 2>Shaw was, you know, trying to move along the boat
<v Speaker 2>and had to use two hands to do something, but
<v Speaker 2>he had a drink in one hand, and he says
<v Speaker 2>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 right 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 mask
<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.
<v Speaker 3>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, now, being forty five
<v Speaker 2>years old, it's something that everybody knows. But even back
<v Speaker 2>in nineteen seventy five, it wasn't common knowledge. You didn't
<v Speaker 2>know about the event unless you're related to somebody or
<v Speaker 2>you were somebody that was on that ship, right.
<v Speaker 3>Right, right.
<v Speaker 1>They needed something for the character to hate sharks. Why
<v Speaker 1>does he hate sharks so much? Why is he dead
<v Speaker 1>set on getting this shark right, the Indianapolis gives us
<v Speaker 1>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 how to
<v Speaker 2>whittle it down. And it was Robert Shaw who said,
<v Speaker 2>can 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 3>Yes, that's exactly right.
<v Speaker 1>And then on the day of filming, Robert Shaw said, Hey,
<v Speaker 1>before I do this, I think I'm gonna have a
<v Speaker 1>few drinks. And Spielberg is like, m all right, you know,
<v Speaker 1>method actor, Sure, go for it, all right?
<v Speaker 3>And he got hammered.
<v Speaker 1>He got hammered, got he got hammer headed, and I
<v Speaker 1>mean he was he was slashed, and he couldn't do it.
<v Speaker 1>The next day he came back and said, how bad
<v Speaker 1>did I embarrass myself? Spielberg said, well, I don't really
<v Speaker 1>know if we can use much of that. Well, I'd
<v Speaker 1>like another shot at it. Can I have another shot?
<v Speaker 3>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 3>Yep, that's exactly right.
<v Speaker 1>You know, you talk about Steven Spielberg thinking every day
<v Speaker 1>he is going to be fired. He used to sleep
<v Speaker 1>with Celery under his pillow because it was considered good luck.
<v Speaker 3>But you're exactly right.
<v Speaker 1>That scene gave them that sort of emotional connection between
<v Speaker 1>the characters where they thought, Okay, this is more than
<v Speaker 1>just a silly shark movie.
<v Speaker 3>We got some here.
<v Speaker 2>Yeah, and it it's still watching. 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.
<v Speaker 3>Richard Dreyfas shows.
<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 together,
<v Speaker 2>and suddenly you're the best of friends. Right, yes, And
<v Speaker 2>so that's what happens when they start talking about the scars,
<v Speaker 2>that somebody points out a scar. What happened to you?
<v Speaker 2>What happened to me? You know? And they're showing scars
<v Speaker 2>of where they were attacked by eels or attacked by sharks,
<v Speaker 2>and suddenly Quin and Hooper have found their common ground.
<v Speaker 2>And Brody has this wonderful little moment where he lifts
<v Speaker 2>up his shirt and looks at an appendix scar to
<v Speaker 2>try to decide whether he should mention it, and then
<v Speaker 2>decides not to mention it. And that scar, as it
<v Speaker 2>turns out, is actually Roy Scheider actually had an appendectomy.
<v Speaker 2>It was a real scar. Wait wait, wait, let me
<v Speaker 2>guess mother. Okay, so with both of these movies, you
<v Speaker 2>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 Whooper 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, that's right. Right, So this it turns
<v Speaker 2>from intellect versus ignorance to intellect versus something almost supernatural,
<v Speaker 2>because not only is this thing gigantic and powerful and deadly,
<v Speaker 2>it also appears that it's smart.
<v Speaker 3>That's right.
<v Speaker 1>The scene where the shark goes underneath the boat, really
<v Speaker 1>he's taken by surprise, right, 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.
<v Speaker 2>Right, And that's when, Yeah, that's when. That's when Quint
<v Speaker 2>and Hooper's power struggle suddenly takes a turn, right, because
<v Speaker 2>with them you had Hooper's intellect versus Quint's know how
<v Speaker 2>and experience and the working class kind of idea, and
<v Speaker 2>he Quin has done nothing but belittle Hooper's fancy gadgets
<v Speaker 2>and stuff until the point that he realizes that the
<v Speaker 2>shark is smart too. And it's at that point that
<v Speaker 2>he says what exactly can you do with these things
<v Speaker 2>of yours?
<v Speaker 3>Yep, that's really cool.
<v Speaker 1>Hey, there is something about that right around that moment
<v Speaker 1>that I want to mention. There is a scene where
<v Speaker 1>Chief Brody is loading his revolver and it's sort of
<v Speaker 1>set at dusk and you see a massive shooting star.
<v Speaker 1>Did you notice this 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.
<v Speaker 3>Right, they got so many dumb luck. Yes, it's InCred.
<v Speaker 2>So we have the Leviathan versus man in both scenarios,
<v Speaker 2>which goes to the idea of super much supernatural power
<v Speaker 2>versus mankind. You've got mythic, unemotional, almost demonic and unbeatable
<v Speaker 2>with intellect with but both with intellect. Shark and dinosaurs,
<v Speaker 2>and I love I love Iam Malcolm's lines and all
<v Speaker 2>of this. He is the guy who's trying to he's
<v Speaker 2>he's mocking, but he is absolutely right in everything that
<v Speaker 2>he says. Right, life will not be contained, Life finds
<v Speaker 2>a way. He says what you call I call discovery,
<v Speaker 2>I call the rape of the natural world. He realizes
<v Speaker 2>that they are just hurtling headlong into this idea without
<v Speaker 2>taking the time to think about it. You're so preoccup
<v Speaker 2>you're so preoccupied with whether they could, they never stopped
<v Speaker 2>to think of 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 jet.
<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.
<v Speaker 3>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.
<v Speaker 3>Here is my tidbit.
<v Speaker 1>Okay, you know the scene where the local fishermen put
<v Speaker 1>like a brisket on a hook and they throw it,
<v Speaker 1>and they're sitting on that rickety old doc that's just
<v Speaker 1>barely hanging on by three nails.
<v Speaker 3>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.
<v Speaker 3>Falls apart and he drags it out to see.
<v Speaker 1>That's a really tense scene, right, drags that guy on
<v Speaker 1>the dock out to the to you know, one hundred
<v Speaker 1>yards off shore, and the doc turns around, starts to
<v Speaker 1>come back, and the guy's going to swim, 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 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 was, No, Jason,
<v Speaker 1>I don't know who that is.
<v Speaker 2>Can 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 America.
<v Speaker 3>We're from London, Animal House.
<v Speaker 2>That's awesome. Good, that's a great tidbit. We're going to
<v Speaker 2>put that one on the trivia card.
<v Speaker 3>Okay.
<v Speaker 1>A couple of little tidbits also for you that I
<v Speaker 1>thought were interesting. The voice on the radio on Quint's
<v Speaker 1>boat when Missus Brodie tries to contact her husband is
<v Speaker 1>actually Steven Spielberg's Ye. Peter Benchley has a cameo as
<v Speaker 1>a news reporter on the beaches, yes, which is kind
<v Speaker 1>of cool. Okay, here's another tidbit for you. Quin's boat
<v Speaker 1>is called the Orca in real life, the Orca whale,
<v Speaker 1>which we typically call the killer whale.
<v Speaker 2>Yes, is the only known.
<v Speaker 3>Predator of the great white shark.
<v Speaker 2>Yep.
<v Speaker 3>Pretty cool.
<v Speaker 2>Huh yeah.
<v Speaker 3>And then finally I thought this was interesting.
<v Speaker 1>Nobody else may find it interesting, but the sound editor,
<v Speaker 1>the sound editor who had to find sound effects for
<v Speaker 1>everything in the movie.
<v Speaker 3>When the shark comes out of the water and.
<v Speaker 1>Onto Quint's boat, Yes, the sound effect that he used
<v Speaker 1>right there is a fizzy bottle of coke poured out
<v Speaker 1>on the concrete.
<v Speaker 3>It goes random, he jumps out, and it's like.
<v Speaker 2>That'd be fun job to have sound editor to just go,
<v Speaker 2>this is a cool sound. Let's see what I can
<v Speaker 2>put this with.
<v Speaker 3>I would love to fully artist if.
<v Speaker 2>You would to need a pig poke. And so then
<v Speaker 2>of course once they finished filming and we talked about
<v Speaker 2>how they did the editing process, and at Vernon Field's
<v Speaker 2>pool they poured milk in the water so that they
<v Speaker 2>could shoot that scare scene. And I just to touch
<v Speaker 2>on Vernon Fields. She was somebody who had done like
<v Speaker 2>TV editing and wasn't particularly big in Hollywood, but you know,
<v Speaker 2>knew her way around. She started teaching at USC and
<v Speaker 2>a couple of people that happened to be in her
<v Speaker 2>classes were George Lucas and Steven Spielberg. Of them, who
<v Speaker 2>are they? And so she had such a great mind
<v Speaker 2>that really hadn't been appreciated at that point. But when
<v Speaker 2>George Lucas like, need I need an editor, I'm gonna
<v Speaker 2>go call Vernie. She was smart as whip. I like
<v Speaker 2>Vernon yep, And so she gets involved there. She gets
<v Speaker 2>involved with Steven Spielberg because she actually worked with him,
<v Speaker 2>I think on Sugarland expressed as well. When she was teaching,
<v Speaker 2>she actually hired This is crazy. She hired George Lucas
<v Speaker 2>before he hired her, when he was still just in
<v Speaker 2>at USC. She hired him and also hired a lady
<v Speaker 2>named Marcia Griffin who ended up being his future wife
<v Speaker 2>and is also an editor, and who you know because
<v Speaker 2>you were the one that sent me the video on
<v Speaker 2>how Star Wars was saved by the editing. It was
<v Speaker 2>because of Marcia Griffin that Star Wars probably was the
<v Speaker 2>success that it was instead of a dismal failure.
<v Speaker 3>It's absolutely correct.
<v Speaker 1>Yeah, that video is really cool. If you haven't seen it,
<v Speaker 1>you need to check it out. But yeah, Marshall Lucas
<v Speaker 1>cut Star Wars to get rid of all the confusing
<v Speaker 1>crap and streamlined it to the to the movie that
<v Speaker 1>we know and love today.
<v Speaker 2>Yeah, on first showing, everybody hated.
<v Speaker 3>It 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>say 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.
<v Speaker 3>Nice nice, yes, right, and.
<v Speaker 2>Just just to talk about her amazing ability. She developed this.
<v Speaker 2>She pioneered a technique called wipe by cut, where the
<v Speaker 2>cut takes place as like a figure crosses between the
<v Speaker 2>camera 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 crosses 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 we're
<v Speaker 2>in a Field's pioneered after editing those movies and Jaws,
<v Speaker 2>she was nominated for the Oscar and she won. She
<v Speaker 2>goes on to be a Hollywood executive. At that point,
<v Speaker 2>she moves from the lady editing TV shows to the
<v Speaker 2>lady who's now ordering people around at major Hollywood studios.
<v Speaker 2>And then once they're done with the editing process, the
<v Speaker 2>last thing left to do put in the soundtrack.
<v Speaker 3>Before we do that, I just want to mention one thing. Yeah,
<v Speaker 3>on Jaws.
<v Speaker 1>They were scheduled for fifty five days of shooting right
<v Speaker 1>May first to June twenty eighth, nineteen seventy four. They
<v Speaker 1>actually finished in one hundred and fifty nine days. That's
<v Speaker 1>three times what they were scheduled for this is late
<v Speaker 1>September when they wrapped Flash Forward to nineteen nine tinety 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. Spilberg
<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 3>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 3>Absolutely is 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.
<v Speaker 3>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 up
<v Speaker 2>to you, I go, dud. You know exactly what I'm
<v Speaker 2>going to do. Right. That's two notes, two notes that
<v Speaker 2>he made into something amazing. I'll tell you the story
<v Speaker 2>of John Williams.
<v Speaker 3>Okay, yeah, I did so.
<v Speaker 2>John was born to John and so most people call
<v Speaker 2>John Williams Johnny because that was his name growing up.
<v Speaker 2>His dad was also a music guy who worked in
<v Speaker 2>music for films. They ended up moving out to la
<v Speaker 2>where he went to high school with his future wife.
<v Speaker 2>They didn't actually date while they were in high school,
<v Speaker 2>but Barbara Ruick met her there. She went on to
<v Speaker 2>become an actress and was in several movies and films
<v Speaker 2>and TV shows in the fifties and was a singer
<v Speaker 2>as well. Had a musical background. And there's this really
<v Speaker 2>cool 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, Debbie Reynolds,
<v Speaker 2>somebody else on the affairs of Dobie Gillis. Bob Fosse
<v Speaker 2>went on to direct a semi autobiographical picture about himself
<v Speaker 2>called All That Jazz, which starred Russ Schider. Very good.
<v Speaker 2>He had all ties in right, and de.
<v Speaker 3>Wie Reyalds is mother of Princess Leah.
<v Speaker 2>Very Good, Very Good.
<v Speaker 3>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 piano 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 listened 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.
<v Speaker 5>The orchestra and you're like, there, I could see that's
<v Speaker 5>John Williams.
<v Speaker 2>You're familiar. You get that John Williams familiarity. And so,
<v Speaker 2>of course that movie came out in sixty nine, right
<v Speaker 2>about the same time that Steven Spielberg is becoming a
<v Speaker 2>director of TV shows, having to write scripts, waiting for
<v Speaker 2>his big break, which is going to be Sugarland Express.
<v Speaker 2>And what he does, because he's the son of a musician,
<v Speaker 2>is he goes and buys soundtracks and listens to them
<v Speaker 2>while he writes his scripts. And I identify with this.
<v Speaker 2>I've done this exact same thing many many times. You
<v Speaker 2>just listen. You'll to classical music, or you listen to soundtracks,
<v Speaker 2>and 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 3>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. Yeah. Really,
<v Speaker 2>And so he's like, I just I'm thinking this kid's
<v Speaker 2>going to be listening to rock and roll music. But
<v Speaker 2>apparently he rebelled against his parents who played classical music
<v Speaker 2>by listening to soundtracks and not listening to led Zeppelin
<v Speaker 2>or whatever. And so they do the Sugarland Express and
<v Speaker 2>he still has that same style. He still has. You've
<v Speaker 2>got this kind of folky guitar. It's very similar to
<v Speaker 2>the Reavers. And then it moves into something that you
<v Speaker 2>can say, yeah, I feel John Williams in this. I've
<v Speaker 2>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 loses somebody very important to him, and it
<v Speaker 2>was his wife, Barbara. When he was young man younger
<v Speaker 2>than we are right now, early forties, Barbara suddenly had
<v Speaker 2>a brain aneurysm died suddenly and John was left as
<v Speaker 2>the father of three teenage children. But he says that
<v Speaker 2>point in his life it was almost like a gift
<v Speaker 2>where he realized how he needed to do things. And
<v Speaker 2>I can say with certainty if you listen to his
<v Speaker 2>soundtracks before Jaws and then listen to Jaws, you can
<v Speaker 2>hear a difference. And he lost his wife in March
<v Speaker 2>of nineteen seventy four, and he wrote the soundtrack for
<v Speaker 2>Jaws in March of nineteen seventy five.
<v Speaker 1>Dang, let's talk about his meeting with Spielberg.
<v Speaker 3>Okay, okay, So Spielberg.
<v Speaker 1>Is working on the movie and he meets with John
<v Speaker 1>Williams and says, all right, let's hear what you got.
<v Speaker 1>And John Williams goes through the piano and says, all right,
<v Speaker 1>here's what I think. The sound track for Jaws is
<v Speaker 1>going to be ready done. Bill WREK'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 3>Oh, it's so good how he manipulates the audience with
<v Speaker 3>this theme.
<v Speaker 2>Right. If it's d D that's too, that's far away.
<v Speaker 2>You've got a long space and poops around, but he's not.
<v Speaker 2>If it's du dump dump dump dump dump dump dump
<v Speaker 2>dut 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 3>Yeah.
<v Speaker 2>I didn't know that, and so I look back and
<v Speaker 2>I listened to specifically the shower scene. So I listened
<v Speaker 2>to the shower scene. Right, it is almost the reverse
<v Speaker 2>of Jaws, And I will play both of them for
<v Speaker 2>you here, and you can kind of hear out how
<v Speaker 2>it's the reverse. But whereas Psycho starts with and then
<v Speaker 2>it goes u uh uh, it's the reverse. It is
<v Speaker 2>the reverse of Jaws, which is bu b. It's incredible.
<v Speaker 1>Psycho goes done done, done done instead of done done.
<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, 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. Brilliant.
<v Speaker 3>Well, let's talk about what he did for Jurassic Park.
<v Speaker 2>All right. So Jurassic Park you have dinosaurs eating people right, yes,
<v Speaker 2>scary scenes, yes, But whereas with Jaws you have tension
<v Speaker 2>and fear, John Williams does something completely different with Jurassic Park.
<v Speaker 2>With Jurassic Park, you have awe and reference. It is
<v Speaker 2>like you are walking into a cathedral.
<v Speaker 3>Yeah, it is.
<v Speaker 1>It's fascination and wonder and amazement and beauty rather than
<v Speaker 1>the mindless eating machine that the Shark is.
<v Speaker 2>Right, because Steven Spielberg didn't want this to be a
<v Speaker 2>horror movie, right. He wanted to approach it from the
<v Speaker 2>perception of a little kid. And little kids aren't scared
<v Speaker 2>of dinosaurs, They're in awe of dinosaurs. And so that
<v Speaker 2>was the idea that he conveyed to Williams, and that's
<v Speaker 2>why Williams composed a score that was majestic and awe inspiring,
<v Speaker 2>as opposed to having this discontinent sound of notes that
<v Speaker 2>don't belong together that puts you in fear 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.
<v Speaker 3>Screen and the emotion of the music.
<v Speaker 1>It's emotional.
<v Speaker 3>I mean I get choked up sometimes when I watch it.
<v Speaker 3>It's amazing.
<v Speaker 2>Yeah, it's incredible. So I want to go back just
<v Speaker 2>real quick, because there is this moment in Jaws. You've
<v Speaker 2>got all of this tension music that gives you fear
<v Speaker 2>and trepidation, but there's this moment when the chase is on. Right,
<v Speaker 2>did you listen? Did did you get a chance?
<v Speaker 4>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, you hear it, right, right,
<v Speaker 2>that's right, you fear it, you have you understand how
<v Speaker 2>near or far away it is. And then in just
<v Speaker 2>a moment, he switches, He switches gears on you, and
<v Speaker 2>suddenly you're no longer following the shark. You're following the
<v Speaker 2>three adventurers on their quest to conquer the shark. And
<v Speaker 2>you think to yourself, we're going to win. We're going
<v Speaker 2>to win. This is this is the this is where
<v Speaker 2>the sailors win, they take over, they win, and it's
<v Speaker 2>this wonderful, exciting, exhilarating music, which then when it twists
<v Speaker 2>again and everything goes badly, makes it that much more effect.
<v Speaker 1>When John Williams won the Best Score for he was
<v Speaker 1>conducting the orchestra at the Academy Awards, and when they
<v Speaker 1>announced his name, he had to leave the orchestra, run
<v Speaker 1>up there except his award, and then hustle back to
<v Speaker 1>continue directing the orchestra. Here's a couple of tidbits I
<v Speaker 1>want to throw at you about Jurassic Park that I
<v Speaker 1>thought were pretty cool.
<v Speaker 2>Right.
<v Speaker 1>One of the things that Steven Spielberg takes a sort
<v Speaker 1>of creative license on is the height of the velociraptors.
<v Speaker 1>Lost raptors are kind of known archaeologically to be only
<v Speaker 1>about six feet tall, right, six foot turkey ish, but
<v Speaker 1>he makes him ten feet tall that he just decides
<v Speaker 1>they're gonna be scarier that way. Well, during filming, paleontologists
<v Speaker 1>uncovered a ten foot tall specimen of raptor called the
<v Speaker 1>Utah Raptors.
<v Speaker 3>Pretty cool. They were super excited when they discovered that
<v Speaker 3>while they were filming.
<v Speaker 2>That's awesome. I'm going to throw in a bit between
<v Speaker 2>your digbits here, okay, because it also involves a discovery
<v Speaker 2>three years ago. On August nineteenth, twenty seventeen, 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 3>Nu uh, yes, how did I miss that? He is
<v Speaker 3>watching freaking Jaws?
<v Speaker 1>What?
<v Speaker 3>Yes?
<v Speaker 2>I 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 3>No, let's talk about that.
<v Speaker 2>Okay. So Dennis Nedri Wayne Knight has several different outfits
<v Speaker 2>that he wears during the course of this movie. One
<v Speaker 2>of them is a Hawaiian shirt, the other one is
<v Speaker 2>like a member's only jackets, a gray jacket as it
<v Speaker 2>turns out, and his yellow raincoat. Yes, the yellow raincoat, right,
<v Speaker 2>this is what the kids each one of the kids,
<v Speaker 2>Sean Aston, Corey Feldman.
<v Speaker 3>And and Chunk Jeff Cohen.
<v Speaker 2>That is the costumes that they are wearing in the movie.
<v Speaker 1>Uneys, 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 Felderman is wearing over his purple
<v Speaker 1>rain shirt in the Goonies.
<v Speaker 3>Really purple rain purple. Okay, a couple more tidbits.
<v Speaker 1>Okay, if you go back and watch the movie, when
<v Speaker 1>the Delaphosaurus 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.
<v Speaker 3>He actually, if you watch closely, the actor.
<v Speaker 1>Wayne Knight has a big blob of it in his hand,
<v Speaker 1>and he takes it and wipes it on his chest
<v Speaker 1>to sort of help the help the effect a little
<v Speaker 1>bit of a blooper that you can see he goes
<v Speaker 1>from having a little bit on his chest to having
<v Speaker 1>a whole lot because.
<v Speaker 3>He just took a big scoop of it and rubbed
<v Speaker 3>it on himself from his hand.
<v Speaker 1>And then finally, one of the things that a lot
<v Speaker 1>of people were kind of interested in, and it's never
<v Speaker 1>really covered, it's kind of mentioned and then dropped, is
<v Speaker 1>is what's wrong with the triceratops? Why is the triceratops sick?
<v Speaker 1>And it's this sort of mini mystery. In the middle
<v Speaker 1>of the movie, by the way, the big gigantic pile
<v Speaker 1>of triceratops dung that she's digging through to check for
<v Speaker 1>lilac berries made of clay and straw, and they poured
<v Speaker 1>honey on it to draw flies. So it really wasn't
<v Speaker 1>that smully, It wasn't really that big of a deal.
<v Speaker 1>But when Lauren Duran's character is sifting through the poop
<v Speaker 1>looking for lilac berries, she doesn't find any. But the
<v Speaker 1>answer to the mystery is the scene that was kind
<v Speaker 1>of cut out was that the triceratops would swallow stones
<v Speaker 1>to help grind up for digestive purposes, and it had
<v Speaker 1>thrown up the stones after they had rounded out and
<v Speaker 1>were no longer of use, and that's where the lilac
<v Speaker 1>barriers were, and that's what was making the triceratops sick.
<v Speaker 1>All right, let's talk about 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, the summer was
<v Speaker 2>considered a dead period for movies. People were on vacation,
<v Speaker 2>they 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.
<v Speaker 3>In May.
<v Speaker 1>And keep in mind, at this point, Steven Spielberg and
<v Speaker 1>his crew are still wondering if audiences are going to
<v Speaker 1>accept a giant rubber shark as the threat.
<v Speaker 2>They may not. They didn't know how the public at
<v Speaker 2>large was going to feel about this. But they had
<v Speaker 2>done some screenings and there is a point in the
<v Speaker 2>movie Steven Spielberg is watching one of the original screenings
<v Speaker 2>that they do for the test audiences. So there's this
<v Speaker 2>scene where Alex Kittner is getting eaten by the shark
<v Speaker 2>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 then 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 3>Yeah.
<v Speaker 1>You know, it was tested in Dallas because it was
<v Speaker 1>far from the ocean.
<v Speaker 3>He wanted to know if a shark was scary to
<v Speaker 3>people who are landlocked, and the answer was.
<v Speaker 2>Yep, yes it is. Bat Yes it is.
<v Speaker 3>People were scared to go swimming and swimming pools.
<v Speaker 1>After this movie came out, this was the first movie
<v Speaker 1>to 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 gonna 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 hundred theaters all on the same day. Now,
<v Speaker 2>people listening to this brother are gonna be like, why
<v Speaker 2>is that unprecedented? What happens all the time? Yeah, it
<v Speaker 2>didn't before this time. It used to be that a
<v Speaker 2>movie would come out in a few theaters and then
<v Speaker 2>a few more, and it was something that was a
<v Speaker 2>trickle out effect. But with Jaws, they said, we wanted
<v Speaker 2>to all hit all at the same time so that
<v Speaker 2>everyone is talking about it at once, and it changed.
<v Speaker 2>Forgive me for saying this again, it changed the paradigm.
<v Speaker 2>It was a shift, and from that moment on, every
<v Speaker 2>major motion picture would have a gigantic release. I mean
<v Speaker 2>a standard for today is twenty five hundred theaters on
<v Speaker 2>release day.
<v Speaker 3>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.
<v Speaker 3>This is part of the marketing, right.
<v Speaker 2>Awesome.
<v Speaker 1>There was a great white shark on the cover of
<v Speaker 1>Time magazine, and it also created a boom in tourism
<v Speaker 1>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,
<v Speaker 1>So Jurassic Park was released June eleventh, nineteen ninety three.
<v Speaker 1>The studio's biggest concern in competition the summer of ninety
<v Speaker 1>three was The Last Action Hero, which also happens to
<v Speaker 1>be the last movie that I walked out of it
<v Speaker 1>because it sucks of it.
<v Speaker 2>That's interesting. The first movie I walked out of was
<v Speaker 2>Jaws three. The last movies you walked out it was
<v Speaker 2>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 eleventh, 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 first weekend, first weekend. Yes, it
<v Speaker 1>eventually went to make more than nine hundred million worldwide.
<v Speaker 3>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 open. 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.
<v Speaker 3>The seven o'clock show of Jurassic Park is sold out.
<v Speaker 1>And people go oh, and he goes Also, the ten
<v Speaker 1>o'clock show is sold out, and they went oh. Also,
<v Speaker 1>Saturday night seven and ten o'clock show are sold out.
<v Speaker 1>And David Kep's like, I'm not an expert, but that
<v Speaker 1>seems like it's doing pretty good.
<v Speaker 2>Yeah. Yeah, it's a good sign.
<v Speaker 1>This movie was very well received.
<v Speaker 3>It made tons of money. I thought this was interesting.
<v Speaker 1>Spielberg received two hundred and fifty million dollars from the
<v Speaker 1>movie gross and profit participations, which is the largest sum
<v Speaker 1>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 3>It's astounder it is, it really is.
<v Speaker 1>Laura Dern when she saw the dinosaur cgi on screen
<v Speaker 1>for the first time, she cried, people don't appreciate it
<v Speaker 1>now because it's so commonplace. But at that time, when
<v Speaker 1>when you looked on the screen and you saw a
<v Speaker 1>freakin dinosaur, it was like nothing you'd ever seen. Like
<v Speaker 1>we were used to giant rubber.
<v Speaker 2>Sharks, holy how did they do that?
<v Speaker 3>That's right? All right, so let's get final judgment. Indeed, okay,
<v Speaker 3>where are you?
<v Speaker 2>All right? These are two iconic movies. Yes, they change
<v Speaker 2>the paradigm in different ways, nearly twenty years apart from
<v Speaker 2>each other. Okay, we've talked about for two and a
<v Speaker 2>half episodes. We've talked about what they did. Looking back,
<v Speaker 2>I just have to say to myself, Okay, I'm just
<v Speaker 2>gonna look and watch these two movies. As I look
<v Speaker 2>and watch these two movies, now, it's been forty five
<v Speaker 2>years since Jaws came out. It has been twenty seven
<v Speaker 2>years since Jurassic Park came out. They're both old movies
<v Speaker 2>at this point. And so I just looked and I said, okay,
<v Speaker 2>what problems do I have? And how have these movies
<v Speaker 2>aged over time? Right?
<v Speaker 3>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 3>It's great scene 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 do they do that? That is astounding.
<v Speaker 2>It changed the way that 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 Jaws.
<v Speaker 3>Okay, your way off base. Here's what we're looking at here,
<v Speaker 3>all right. Yes, these movies are old.
<v Speaker 1>Yes, when you look at them from twenty twenty, there
<v Speaker 1>are things that are not as favorable. I mean, the
<v Speaker 1>shark that we only see for about twenty seconds of
<v Speaker 1>Jaws would have a lot more problems if we got.
<v Speaker 3>A good look at it. These two movies are amusement
<v Speaker 3>park rides.
<v Speaker 1>Think of the greatest roller coaster, like I'm thinking the
<v Speaker 1>Titan 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.
<v Speaker 3>Okay, now, do you have Jurassic Park without Jaws? Probably not.
<v Speaker 3>Jaws is the granddaddy of Jurassic Park, and it owes
<v Speaker 3>a lot to Jaws. 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 la Vosaurus running around, so you
<v Speaker 1>have more things to be scared of.
<v Speaker 3>I do think the water element makes it more scary.
<v Speaker 1>But I know when I watch these two, the more
<v Speaker 1>entertaining movie for me.
<v Speaker 3>Is Jurassic Park. Do I love them both? Absolutely?
<v Speaker 1>Do we owe a lot to what they've contributed to
<v Speaker 1>the 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. Okay, because
<v Speaker 2>there's there's an idea that I wanted to touch on, and
<v Speaker 2>I'll just as as kudos to Jurassic Park. The same
<v Speaker 2>kids who are like, yeah, that doesn't look real when
<v Speaker 2>when it came to the velociraptors chasing the children through
<v Speaker 2>the kitchen, or the t rex like attacking people in
<v Speaker 2>the land Rovers. They were burying their head in my
<v Speaker 2>shoulder and saying, tell me when it's olf right. I
<v Speaker 2>mean they may have been unimpressed initially, but with Jurassic Park,
<v Speaker 2>from t Rex moment on, except for that car falling scene,
<v Speaker 2>it is intense and frightening. But I talked in our
<v Speaker 2>very first episode on this on these two movies about
<v Speaker 2>how the criticism of sugar Land Express was even though
<v Speaker 2>they had these fantastic car chase scenes, there wasn't any
<v Speaker 2>character development in Jurassic Park. I feel like he falls
<v Speaker 2>back into that same trap. I think that the character
<v Speaker 2>development is minimal. It's there, it's there's something there, But
<v Speaker 2>you do not, from my perspective, emotionally connect with doctor Grantler.
<v Speaker 2>Maybe no, not even Ian Malcolm. You don't really have
<v Speaker 2>the connection with them that you do with the characters
<v Speaker 2>in Jaws. And we talked about how the movie was
<v Speaker 2>about the shark and the movie was about the dinosaurs,
<v Speaker 2>so they weren't as much worried about the actors. But
<v Speaker 2>I just think that Jaws brings a higher caliber of actor,
<v Speaker 2>and especially that scene that we talked about earlier today,
<v Speaker 2>the USS Indianapolis, the drunk talk, the comparing of scars.
<v Speaker 2>I can see why that moment changed everyone's perception about
<v Speaker 2>this movie because it was that moment that you made
<v Speaker 2>a heart to heart connection with all of the characters,
<v Speaker 2>the Holy Trinity that was fighting against the demonic Shark.
<v Speaker 2>You made that connection at that moment, and I just
<v Speaker 2>never had that moment in Jurassic Park.
<v Speaker 3>No, you're exactly right.
<v Speaker 1>I will not argue I don't really care about the
<v Speaker 1>characters in Jurassic Park. The one character that I do
<v Speaker 1>care about, the biggest emotional impact for me character wise
<v Speaker 1>is when the raptors are fighting the t Rex. I
<v Speaker 1>want the t Rex to win. Yeah, everybody else, I'm
<v Speaker 1>just like, Oh, who's going to get it next? I
<v Speaker 1>don't really care, right, let's the hacker?
<v Speaker 3>Eh.
<v Speaker 2>So so you felt when you watched Jurassic Park. You
<v Speaker 2>felt the same way Steven Spielberg when he read the
<v Speaker 2>Book of Jaws. At the end, you wanted the shark
<v Speaker 2>to win. You wanted the t Rex to win.
<v Speaker 3>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. Right. Yeah, that's good.
<v Speaker 3>Well, we sure want to hear from you guys. Are
<v Speaker 3>we way off base? De took Jaws, I'm taking Jurassic Park?
<v Speaker 3>Where are you? Hit us up on Facebook, hit us
<v Speaker 3>up on Twitter, email us. You might even get a
<v Speaker 3>shout out on the next podcast.
<v Speaker 2>We'll see you guys next week.
<v Speaker 4>Yeah,