1
00:00:15,410 --> 00:00:27,090
Speaker 1: Pushkin. It was a shark bigger than anything previously seen

2
00:00:27,130 --> 00:00:31,250
Speaker 1: in these waters, far bigger the great white as an

3
00:00:31,290 --> 00:00:35,290
Speaker 1: apex predator, but this specimen was truly at the top

4
00:00:35,330 --> 00:00:39,810
Speaker 1: of the food chain. Normally, a shark reaching fourteen, fifteen

5
00:00:39,890 --> 00:00:44,450
Speaker 1: or sixteen feet would be considered large, but snout to tailfin,

6
00:00:45,010 --> 00:00:49,450
Speaker 1: this monster measured twenty five feet, the length of a

7
00:00:49,530 --> 00:00:54,410
Speaker 1: school bus. Its body was thicker too, and its huge

8
00:00:54,570 --> 00:00:58,730
Speaker 1: jaws were set with rows of jagged teeth, each one

9
00:00:58,890 --> 00:01:03,610
Speaker 1: the size of a shot glass. Most Great Whites are

10
00:01:03,650 --> 00:01:07,770
Speaker 1: content to feast on seals, small whales, or other sharks,

11
00:01:08,290 --> 00:01:11,810
Speaker 1: but this creep was billed as a true man eater.

12
00:01:13,130 --> 00:01:17,690
Speaker 1: This shark would swallow you whole, a little shaking, a

13
00:01:17,730 --> 00:01:26,010
Speaker 1: little tenderising, little downyard girl. Rumors of its existence had

14
00:01:26,170 --> 00:01:30,490
Speaker 1: swirled around the island community of Martha's Vineyard since the

15
00:01:30,610 --> 00:01:34,290
Speaker 1: early summer of nineteen seventy four, but the creature only

16
00:01:34,410 --> 00:01:38,530
Speaker 1: surfaced in the waters of Nantucket Sound as July gave

17
00:01:38,570 --> 00:01:43,330
Speaker 1: way to August. When it breached, it did so in

18
00:01:43,610 --> 00:01:49,610
Speaker 1: full view of several boatloads of horrified witnesses. This bad

19
00:01:49,650 --> 00:01:53,090
Speaker 1: fish was the stuff of nightmares, and many there that

20
00:01:53,250 --> 00:01:59,090
Speaker 1: day had endured sleepless nights dreading this encounter, but the

21
00:01:59,090 --> 00:02:05,010
Speaker 1: reality was so much worse than their feared. We were

22
00:02:05,170 --> 00:02:10,810
Speaker 1: very scared, said one onlooker, Richard Zanuk. The shark came

23
00:02:11,170 --> 00:02:19,610
Speaker 1: arching out of the water, only it rose tale first,

24
00:02:20,290 --> 00:02:25,810
Speaker 1: as if mooning Xanak and his crew. This animatronic prop

25
00:02:26,210 --> 00:02:29,250
Speaker 1: would have been funny had so much money and so

26
00:02:29,330 --> 00:02:35,850
Speaker 1: many reputations not been in serious jeopardy. Jesus Christ said

27
00:02:35,930 --> 00:02:39,610
Speaker 1: movie producer Xanak. We're making a picture called Jaws, and

28
00:02:39,690 --> 00:02:44,730
Speaker 1: we don't have a fucking shark. I'm Tim Harford, and

29
00:02:44,730 --> 00:03:09,530
Speaker 1: you're listening to another cautionary tale. Marking fifty years of Jaws.

30
00:03:14,330 --> 00:03:19,010
Speaker 1: The fiasco of the flopping and flailing mechanical shark was

31
00:03:19,050 --> 00:03:22,690
Speaker 1: many months in the future when Hollywood producers Richard Zannak

32
00:03:22,730 --> 00:03:26,410
Speaker 1: and David Brown sat down to a sumptuous lunch with

33
00:03:26,530 --> 00:03:32,170
Speaker 1: the author of Jaws. Peter Benchley, a jobbing journalist, had

34
00:03:32,210 --> 00:03:36,090
Speaker 1: only recently completed his story of an Atlantic resort town

35
00:03:36,650 --> 00:03:41,370
Speaker 1: terrorized by a giant shark, devouring locals and vacationers alike.

36
00:03:42,490 --> 00:03:46,930
Speaker 1: Being an unknown, Benchle's advance on the hardback had been modest.

37
00:03:47,730 --> 00:03:49,770
Speaker 1: In fact, he had been down to the last six

38
00:03:49,850 --> 00:03:53,010
Speaker 1: hundred dollars in his checking account when a bidding war

39
00:03:53,210 --> 00:03:57,250
Speaker 1: erupted over the paperback rights to his still unpublished novel.

40
00:03:58,650 --> 00:04:02,930
Speaker 1: This in turn excited the interest of the movie studios.

41
00:04:04,170 --> 00:04:07,850
Speaker 1: At least one film company had sniffed at Jaws and

42
00:04:07,930 --> 00:04:10,370
Speaker 1: concluded that it would be fighting off more than it

43
00:04:10,410 --> 00:04:13,810
Speaker 1: could chew. It seemed like an impossible tale to bring

44
00:04:13,850 --> 00:04:17,850
Speaker 1: to the screen, requiring an absurd budget and pushing the

45
00:04:17,890 --> 00:04:22,570
Speaker 1: bounds of any special effects then available. But Xanak and

46
00:04:22,730 --> 00:04:27,850
Speaker 1: Brown fell hook line and Sinker for Jaws. They weren't

47
00:04:27,890 --> 00:04:31,450
Speaker 1: any richer than the other movie execs bidding for the rights,

48
00:04:31,730 --> 00:04:34,570
Speaker 1: but they were confident that they could whoo Peter Benchley

49
00:04:34,690 --> 00:04:38,330
Speaker 1: into signing with them. They just promised to make Jaws

50
00:04:38,370 --> 00:04:44,170
Speaker 1: a better film than their rival suitors. But over lunch

51
00:04:44,570 --> 00:04:48,970
Speaker 1: things were off to a shaky start. The producers, aware

52
00:04:49,050 --> 00:04:51,890
Speaker 1: that this would be a tricky film to handle, had

53
00:04:52,050 --> 00:04:56,290
Speaker 1: hired a well regarded, well established director to take the helm.

54
00:04:56,970 --> 00:05:00,410
Speaker 1: This lunch was an opportunity to introduce him to Benchley.

55
00:05:01,450 --> 00:05:06,210
Speaker 1: The director seemed enthusiastic enough and explained his big plans

56
00:05:06,530 --> 00:05:13,490
Speaker 1: for filming The Whale. Eventually winced. The director plowed on

57
00:05:13,610 --> 00:05:17,130
Speaker 1: opining more about the whale. It was on the third

58
00:05:17,330 --> 00:05:22,530
Speaker 1: mention of a whale that Richard Zanak exploded, for God's sake,

59
00:05:23,050 --> 00:05:27,610
Speaker 1: this is a fucking shark. The director was duly fired.

60
00:05:29,410 --> 00:05:33,090
Speaker 1: For his replacement, Zanak and Brown were excited about a

61
00:05:33,170 --> 00:05:37,730
Speaker 1: precocious young talent that'd recently worked with, but did he

62
00:05:37,850 --> 00:05:41,370
Speaker 1: have the maturity and authority to keep such a movie

63
00:05:41,450 --> 00:05:46,170
Speaker 1: from careering off into disaster. The kid can bring visual

64
00:05:46,170 --> 00:05:49,290
Speaker 1: excitement to it, said Zanak, and will give him the

65
00:05:49,330 --> 00:05:57,530
Speaker 1: support he needs. The kid was Steven Spielberg. If we'd

66
00:05:57,610 --> 00:06:01,530
Speaker 1: read Jaws twice, said Richard Zanak, we might never have

67
00:06:01,610 --> 00:06:05,810
Speaker 1: made the movie. To make a picture called Jaws, you

68
00:06:05,930 --> 00:06:10,330
Speaker 1: definitely need a shark. The titular Great White is the

69
00:06:10,370 --> 00:06:13,570
Speaker 1: heart of the story, and the power of the novel

70
00:06:13,690 --> 00:06:17,530
Speaker 1: is in the realistic portrayal of its deadly attacks on humans.

71
00:06:18,410 --> 00:06:22,130
Speaker 1: Reading the book, twenty seven year old Stephen Spielberg had

72
00:06:22,170 --> 00:06:26,730
Speaker 1: been left terrified. I felt like I'd been attacked, he admitted.

73
00:06:27,770 --> 00:06:31,570
Speaker 1: In turn, he wanted audiences jumping out of their cinema

74
00:06:31,610 --> 00:06:34,770
Speaker 1: seats as if they'd been hit with an electric cattle

75
00:06:34,810 --> 00:06:38,050
Speaker 1: prod and that wasn't going to happen with some scale

76
00:06:38,450 --> 00:06:42,050
Speaker 1: model shark and actors on a sound stage in front

77
00:06:42,090 --> 00:06:48,010
Speaker 1: of a blue screen Jaws. The movie would get laughed

78
00:06:48,050 --> 00:06:53,010
Speaker 1: out of town. Spielberg insisted they film on the actual

79
00:06:53,130 --> 00:06:57,730
Speaker 1: ocean and that the shark be as believably scary as possible.

80
00:06:58,570 --> 00:07:03,330
Speaker 1: He had no idea what he was demanding. An early

81
00:07:03,370 --> 00:07:06,650
Speaker 1: suggestion from the producers was to use a real shark.

82
00:07:07,290 --> 00:07:11,530
Speaker 1: Hollywood had a long history of hiring animal wranglers thed

83
00:07:11,610 --> 00:07:16,170
Speaker 1: coaxed performances from Lassie the Collie, Flipper the Dolphin, and

84
00:07:16,250 --> 00:07:21,290
Speaker 1: cheat At the Chimpanzee. The producers had innocently assumed they

85
00:07:21,290 --> 00:07:25,210
Speaker 1: could get a shark trainer, said screenwriter Carl Gottlieb in

86
00:07:25,290 --> 00:07:29,450
Speaker 1: his behind the scenes book The Jaws Log With enough money,

87
00:07:29,810 --> 00:07:33,130
Speaker 1: Gottlieb wrote that trainer could get a great white to

88
00:07:33,210 --> 00:07:39,410
Speaker 1: perform a few simple stumps on Q. No great white

89
00:07:39,610 --> 00:07:44,010
Speaker 1: has ever been successfully held in captivity, and wild ones

90
00:07:44,210 --> 00:07:48,450
Speaker 1: show scant interest in doing anything but swim and eat

91
00:07:49,010 --> 00:07:54,130
Speaker 1: and make little sharks, and even had a wild fish

92
00:07:54,330 --> 00:07:59,330
Speaker 1: been enticed into performing on que. Steven Spielberg had no

93
00:07:59,770 --> 00:08:03,690
Speaker 1: intention of getting into the water to film the creature.

94
00:08:04,370 --> 00:08:08,370
Speaker 1: He was wise. A second unit had been sent to Australia,

95
00:08:08,490 --> 00:08:12,210
Speaker 1: where dem foot great whites were common. They were to

96
00:08:12,250 --> 00:08:16,650
Speaker 1: film underwater sequences with the diminutive actor standing in for

97
00:08:16,690 --> 00:08:21,530
Speaker 1: one of the movie's principal stars. Less than five feet tall.

98
00:08:21,810 --> 00:08:25,610
Speaker 1: This former jockey would make the real sharks looked much bigger.

99
00:08:26,770 --> 00:08:30,410
Speaker 1: The pint sized stuntman was protected from harm by a

100
00:08:30,450 --> 00:08:35,250
Speaker 1: steel cage, but as he prepared to enter it, an

101
00:08:35,250 --> 00:08:38,970
Speaker 1: excited great white lunged for the boat and became tangled

102
00:08:38,970 --> 00:08:42,250
Speaker 1: in the lines, lowering the cage into the water. A

103
00:08:42,370 --> 00:08:46,730
Speaker 1: frenzy thrashing and rolling of the wan Ton shark crushed

104
00:08:46,770 --> 00:08:55,290
Speaker 1: the cage like a beer cat. The actor then reportedly

105
00:08:55,570 --> 00:08:58,770
Speaker 1: locked himself away in a cabin, refusing to come out

106
00:08:59,050 --> 00:09:03,170
Speaker 1: until they were safely tied up at the dock. The

107
00:09:03,210 --> 00:09:06,850
Speaker 1: footage was great that this was clearly no way to

108
00:09:06,890 --> 00:09:10,490
Speaker 1: make a whole film, As Carl got leeb Riley observed,

109
00:09:10,970 --> 00:09:13,970
Speaker 1: you couldn't work with a star who when you shouted

110
00:09:14,170 --> 00:09:20,890
Speaker 1: action instead heard lunchtime guys. Right now. Hold that Spielberg,

111
00:09:21,170 --> 00:09:26,970
Speaker 1: a film buff since childhood, had the answer. Disney The

112
00:09:27,050 --> 00:09:31,090
Speaker 1: Giants Squid in Disney's twenty thousand Leagues under the sea

113
00:09:31,410 --> 00:09:35,970
Speaker 1: had been terrifyingly realistic. Let just hire the guy who

114
00:09:36,010 --> 00:09:41,290
Speaker 1: made that to create their giant mechanical shark. So sixty

115
00:09:41,330 --> 00:09:44,530
Speaker 1: four year old Bob Matty was brought out of retirement

116
00:09:44,970 --> 00:09:48,610
Speaker 1: and in a Californian shed, he began work on three

117
00:09:48,770 --> 00:09:54,290
Speaker 1: fake sharks. One hundred and seventy five thousand dollars had

118
00:09:54,290 --> 00:09:58,090
Speaker 1: been budgeted for each of these three automatons at a

119
00:09:58,170 --> 00:10:01,850
Speaker 1: time when a luxury Cadillac coup Deville could be yours

120
00:10:02,370 --> 00:10:07,890
Speaker 1: under eight thousand jewels was slated for release in time

121
00:10:07,930 --> 00:10:12,410
Speaker 1: for Christmas ninety teen seventy four, less than a year. Hence,

122
00:10:12,930 --> 00:10:17,730
Speaker 1: so time was incredibly short. The fake fish would need

123
00:10:17,810 --> 00:10:21,130
Speaker 1: to be working and in the waters off Martha's Vineyard

124
00:10:21,250 --> 00:10:26,010
Speaker 1: in May, so principal photography could wrap before pesky tourists

125
00:10:26,130 --> 00:10:31,970
Speaker 1: flocked to the resort come July. As Spielberg began storyboarding

126
00:10:32,010 --> 00:10:37,250
Speaker 1: his film with a rearing, snapping shark. In scene after scene,

127
00:10:37,690 --> 00:10:43,010
Speaker 1: the mechanical creatures took shape what Mattie was, indeed a

128
00:10:43,210 --> 00:10:48,250
Speaker 1: special effects wizard. His models could swim and flap their tails,

129
00:10:48,410 --> 00:10:51,970
Speaker 1: their jaws were chomped, and their eyes would roll. It

130
00:10:52,050 --> 00:10:57,210
Speaker 1: was all quite magnificent. The film crew headed east to

131
00:10:57,290 --> 00:11:01,810
Speaker 1: start work, confident that the shark team would follow close behind.

132
00:11:02,610 --> 00:11:08,010
Speaker 1: Spielberg playfully nicknamed the sharks Bruce, after Bruce Raemer, one

133
00:11:08,050 --> 00:11:13,890
Speaker 1: of his lawyers. Each Bruce was a marvel and by

134
00:11:13,930 --> 00:11:19,690
Speaker 1: far the most ambitious practical movie effects ever created. If

135
00:11:19,890 --> 00:11:27,490
Speaker 1: only someone had tested them in seawater, putionary tales will

136
00:11:27,530 --> 00:11:39,090
Speaker 1: return in a moment. Steven Spielberg and his exasperated crew

137
00:11:39,490 --> 00:11:44,490
Speaker 1: soon had new nicknames for the malfunctioning model sharks. Jaws

138
00:11:44,890 --> 00:11:49,650
Speaker 1: was replaced by Flaws. The special effects team were rechristened

139
00:11:49,970 --> 00:11:54,970
Speaker 1: Special Defects. When things got really bad, Spielberg called his

140
00:11:55,130 --> 00:12:02,850
Speaker 1: mechanical actors great white turds. Each Bruce had performed well

141
00:12:02,890 --> 00:12:06,610
Speaker 1: in freshwater tests, but on the rough ocean and in

142
00:12:06,770 --> 00:12:14,410
Speaker 1: corrosive saltwater, every began to fail. The lifelike neoprene sharkskins

143
00:12:14,450 --> 00:12:18,570
Speaker 1: soaked up water, adding vast weight to the model. This

144
00:12:18,890 --> 00:12:24,330
Speaker 1: seawater also degraded the special paint coating, requiring new pigment

145
00:12:24,450 --> 00:12:28,410
Speaker 1: to be flown out from California every day at great expense.

146
00:12:29,530 --> 00:12:33,930
Speaker 1: The sharks were bolted to intricate platforms attached to the seabed,

147
00:12:34,330 --> 00:12:39,330
Speaker 1: which became gummed up with barnacles and kelp. The hydraulic

148
00:12:39,410 --> 00:12:43,690
Speaker 1: hoses that made each bruce waggle began to fray, and

149
00:12:43,810 --> 00:12:48,330
Speaker 1: worst of all, the electric switches that controlled their complex

150
00:12:48,410 --> 00:12:53,890
Speaker 1: movements shorted out. The first time a bruce was towed

151
00:12:53,930 --> 00:12:57,410
Speaker 1: out to sea and placed in the water, it sank.

152
00:13:00,170 --> 00:13:05,770
Speaker 1: Bob Matty, like Victor Frankenstein, defended his monstrous creation from

153
00:13:05,770 --> 00:13:09,530
Speaker 1: the angry film crew and promised things would sooner improve,

154
00:13:10,410 --> 00:13:14,810
Speaker 1: but it was clear Steven Spielberg's plans were in tatters.

155
00:13:15,970 --> 00:13:20,610
Speaker 1: The script was filled with shark. He lamented, shark here,

156
00:13:21,290 --> 00:13:27,090
Speaker 1: shark there, shark everywhere. The young director filmed what he could,

157
00:13:27,730 --> 00:13:31,610
Speaker 1: interior scenes, scenes on the docks, scenes on the beach,

158
00:13:32,250 --> 00:13:36,970
Speaker 1: street scenes, all the time hoping Bob Matty would perform

159
00:13:37,010 --> 00:13:42,130
Speaker 1: a miracle, but deep down fearing that his burgeoning directorial

160
00:13:42,210 --> 00:13:48,650
Speaker 1: career was about to sink without trace. The producers had

161
00:13:48,690 --> 00:13:52,810
Speaker 1: budgeted for a tight fifty five day location shoot that

162
00:13:52,850 --> 00:13:56,250
Speaker 1: when the last of those days rolled around June the

163
00:13:56,290 --> 00:14:01,290
Speaker 1: twenty sixth, not a single frame of mechanical shark footage

164
00:14:01,570 --> 00:14:08,330
Speaker 1: had been captured. The opening scene of Jaws. Both a

165
00:14:08,410 --> 00:14:12,730
Speaker 1: book and film is the savage death of lone swimmer

166
00:14:12,930 --> 00:14:18,730
Speaker 1: Chrissy Watkins. Chrissy, oblivious to the killer shark cruising nearby,

167
00:14:19,410 --> 00:14:25,250
Speaker 1: takes a leisurely moonlight skinny dip. The awfulness of Chris's death,

168
00:14:25,690 --> 00:14:28,930
Speaker 1: with the shark toying with her as she cries for help,

169
00:14:29,530 --> 00:14:34,050
Speaker 1: sets the tenor for the rest of the story. Spielberg

170
00:14:34,130 --> 00:14:38,090
Speaker 1: thought that having Bruce burst from the water jaws agape

171
00:14:38,250 --> 00:14:42,050
Speaker 1: would have been a spectacular opening for the film that

172
00:14:42,330 --> 00:14:47,170
Speaker 1: just wasn't going to happen. In Peter bench His's novel,

173
00:14:47,530 --> 00:14:51,210
Speaker 1: Poor Chrissy never sees the beast that attacks her in

174
00:14:51,250 --> 00:14:56,730
Speaker 1: the dark, and Spielberg followed suit, using a specially designed

175
00:14:56,810 --> 00:15:00,530
Speaker 1: waterproof box and put his camera at water level to

176
00:15:00,610 --> 00:15:04,810
Speaker 1: show Chrissy being tossed and mauled by an assailant just

177
00:15:04,850 --> 00:15:09,410
Speaker 1: beneath the surface. The actor playing Chrissy was strapped into

178
00:15:09,410 --> 00:15:13,090
Speaker 1: a harness with ropes, leading to two teams of stage

179
00:15:13,090 --> 00:15:16,330
Speaker 1: hands on the beach on queue they'd whip her to

180
00:15:16,570 --> 00:15:19,970
Speaker 1: and throw in the sea, though the instructions became confused

181
00:15:20,170 --> 00:15:23,090
Speaker 1: and the woman was pulled both ways at once, dragging

182
00:15:23,130 --> 00:15:32,970
Speaker 1: her under. It's this take where the actor's terror is

183
00:15:33,130 --> 00:15:40,570
Speaker 1: possibly real that made the final film, but she wasn't

184
00:15:40,610 --> 00:15:43,890
Speaker 1: the only person on set struggling to keep her head

185
00:15:43,930 --> 00:15:49,650
Speaker 1: above water. Spielberg's bosses back in Hollywood started to suggest

186
00:15:49,730 --> 00:15:53,170
Speaker 1: that the film be shut down. The young director was

187
00:15:53,210 --> 00:15:56,570
Speaker 1: losing confidence in the project too, fearing it would be

188
00:15:56,650 --> 00:16:00,610
Speaker 1: a turkey. His demands for realism were coming back to

189
00:16:00,690 --> 00:16:11,130
Speaker 1: haunt him. We were a bunch of upstarts who thought

190
00:16:11,210 --> 00:16:16,090
Speaker 1: we could take on the ocean, said Spielberg. And you

191
00:16:16,170 --> 00:16:22,010
Speaker 1: can't take on the ocean. Filming one scene, again using

192
00:16:22,130 --> 00:16:24,770
Speaker 1: cinematic sleight of hand to make up for the lack

193
00:16:24,850 --> 00:16:28,410
Speaker 1: of a working bruce, a boat was being tugged and

194
00:16:28,530 --> 00:16:32,130
Speaker 1: towed to simulate an unseen shark that was ramming it.

195
00:16:33,210 --> 00:16:36,850
Speaker 1: The motion proved too violent and the boat sprang a

196
00:16:36,930 --> 00:16:41,050
Speaker 1: leak and began to list. She's going over went up

197
00:16:41,050 --> 00:16:44,450
Speaker 1: the cry as a rescue craft race to save the actors.

198
00:16:45,530 --> 00:16:48,810
Speaker 1: This concern for the talent annoyed both the camera crew,

199
00:16:49,090 --> 00:16:51,610
Speaker 1: who were about to lose one thousand feet of precious

200
00:16:51,650 --> 00:16:55,330
Speaker 1: film to the sea, and the seventy year old soundman

201
00:16:55,730 --> 00:16:59,050
Speaker 1: who held his fifty thousand dollars tape recorder over his

202
00:16:59,170 --> 00:17:04,210
Speaker 1: head and bellowed, fuck the actors, save the sound apartment.

203
00:17:06,370 --> 00:17:11,490
Speaker 1: Such incidents didn't exactly endear Spielberg to his crew. They

204
00:17:11,570 --> 00:17:15,130
Speaker 1: viewed him as a sort of Captain Blygh and mutiny

205
00:17:15,330 --> 00:17:19,730
Speaker 1: was only ever a whisker away. They didn't have scurvy

206
00:17:19,810 --> 00:17:24,410
Speaker 1: or anything, said Spielberg, explaining their anger. But I wouldn't

207
00:17:24,450 --> 00:17:31,770
Speaker 1: let them go home. Screenwriter Carl Gottlieb thought the filmmakers

208
00:17:31,810 --> 00:17:37,970
Speaker 1: were falling apart before his eyes. Cold bored missing home

209
00:17:38,050 --> 00:17:41,570
Speaker 1: and missing out on other work, he worried that mental

210
00:17:41,610 --> 00:17:47,490
Speaker 1: exhaustion and alcoholism was on the horizon. Sensibly, a beer

211
00:17:47,610 --> 00:17:52,970
Speaker 1: ban was introduced at sea. Shooting a movie on location

212
00:17:53,330 --> 00:17:58,570
Speaker 1: is a laborious business, but on water progress proved glacial

213
00:17:59,570 --> 00:18:04,130
Speaker 1: even without the misbehaving bruces. The tides dragged boats off

214
00:18:04,170 --> 00:18:09,490
Speaker 1: their marks, Unexpected storms brewed, and actors fell over board,

215
00:18:09,970 --> 00:18:13,850
Speaker 1: causing more delay as dry costumes and fresh makeup were

216
00:18:13,890 --> 00:18:18,970
Speaker 1: sent for. The script also called for a horizon clear

217
00:18:19,130 --> 00:18:23,090
Speaker 1: of other craft, since when the film's hero set off

218
00:18:23,090 --> 00:18:26,090
Speaker 1: to kill Jaws, they're supposed to be far from help

219
00:18:26,130 --> 00:18:29,890
Speaker 1: of any kind. But as the summer of nineteen seventy

220
00:18:29,930 --> 00:18:34,890
Speaker 1: four progressed, Martha's vineyard became its usual magnet for yachts

221
00:18:34,930 --> 00:18:39,530
Speaker 1: and pleasure boaters. Each time a boat came into frame,

222
00:18:40,010 --> 00:18:43,490
Speaker 1: the camera stopped and the crew moodily waited for it

223
00:18:43,570 --> 00:18:48,690
Speaker 1: to pass. Every hour of filming at sea was costing

224
00:18:48,770 --> 00:18:52,850
Speaker 1: two thousand dollars, and back on land the budget for

225
00:18:52,930 --> 00:18:57,290
Speaker 1: food and accommodation was rocketing as the island's economy switched

226
00:18:57,330 --> 00:19:02,330
Speaker 1: to summer pricing. No one has ever taken a film

227
00:19:02,410 --> 00:19:07,730
Speaker 1: one hundred days over schedule, fretted Spielberg. I'll never work again.

228
00:19:09,850 --> 00:19:15,890
Speaker 1: Jaws should never have been made. It's a piece of shit.

229
00:19:16,930 --> 00:19:21,650
Speaker 1: Actor Robert Shaw, himself an accomplished novelist, was no fan

230
00:19:21,770 --> 00:19:25,730
Speaker 1: of Peter Benchley's story. The forty eight year old British

231
00:19:25,810 --> 00:19:29,010
Speaker 1: star was a late addition to the cast, signing on

232
00:19:29,290 --> 00:19:34,490
Speaker 1: just days before production started. Despite his reservations about the

233
00:19:34,490 --> 00:19:39,450
Speaker 1: source novel, the Experience Shakespearean reluctantly agreed to play quint,

234
00:19:39,930 --> 00:19:45,530
Speaker 1: a grizzled and fiery shark fisherman. Shaw was a masterful actor,

235
00:19:45,930 --> 00:19:49,530
Speaker 1: but he had a flaw. I do tend to drink

236
00:19:49,730 --> 00:19:54,130
Speaker 1: when totally bored, he admitted, and with the constant delays

237
00:19:54,130 --> 00:20:00,050
Speaker 1: on set, Shaw got bored totally bored. A production assistant

238
00:20:00,170 --> 00:20:03,410
Speaker 1: was charged with keeping the actor off the booze, but

239
00:20:03,490 --> 00:20:07,170
Speaker 1: the second Spielberg's boat chugged out of the harbor, Share

240
00:20:07,250 --> 00:20:11,450
Speaker 1: would nod his head towards the nearest bar. Let's go kid.

241
00:20:13,410 --> 00:20:18,450
Speaker 1: Another of Robert Shaw's predilections proved even more disruptive than

242
00:20:18,490 --> 00:20:22,970
Speaker 1: his drunkenness. Shaw developed a deep antipathy for one of

243
00:20:23,010 --> 00:20:26,930
Speaker 1: his co stars, and as they spent hour after hour

244
00:20:27,050 --> 00:20:30,690
Speaker 1: at sea together, Shaw made his dislike for the man

245
00:20:31,090 --> 00:20:36,690
Speaker 1: all too clear. He could be vicious, said Richard Dreyfus,

246
00:20:37,130 --> 00:20:41,490
Speaker 1: the young actor playing a cocky marine biologist to Shaw's

247
00:20:41,530 --> 00:20:48,250
Speaker 1: weatherbeaten seafarer. Shaw didn't appreciate Dreyfus's approach to acting, nor

248
00:20:48,370 --> 00:20:52,330
Speaker 1: his lack of stage credits. He'd even whisper criticisms of

249
00:20:52,370 --> 00:20:56,570
Speaker 1: his co star's performance seconds before a scene. Just as

250
00:20:56,610 --> 00:21:02,690
Speaker 1: Spielberg was shouting action, the older star began calling Dreyfus

251
00:21:02,890 --> 00:21:07,610
Speaker 1: fat and sloppy, and complained that Dreyfus never stopped talking.

252
00:21:08,770 --> 00:21:14,570
Speaker 1: It got ugly, said Spielberg. A particular low came when

253
00:21:14,610 --> 00:21:18,210
Speaker 1: a scene required Dreyfus to be showered with sea spray,

254
00:21:18,730 --> 00:21:23,050
Speaker 1: so Shaw, off camera grabbed the fire hose supplying the

255
00:21:23,090 --> 00:21:26,650
Speaker 1: water and directed it straight into his co star's face.

256
00:21:28,410 --> 00:21:33,450
Speaker 1: The cycle of humiliation was repeated day after day. Shaw's

257
00:21:33,530 --> 00:21:37,610
Speaker 1: frustration and boredom prompted him to drink, and the drink

258
00:21:37,850 --> 00:21:42,770
Speaker 1: awakened in Shaw what Dreyfus described as an evil troll.

259
00:21:44,170 --> 00:21:48,250
Speaker 1: Shaw's a perfect gentleman whenever he's sober, said an observer.

260
00:21:49,210 --> 00:21:52,170
Speaker 1: All he needed was one drink, and then he turned

261
00:21:52,170 --> 00:21:57,050
Speaker 1: into a son of a bitch. Perhaps weary of attacking

262
00:21:57,130 --> 00:22:00,650
Speaker 1: Dreyfus over his acting, Shaw began to set his co

263
00:22:00,850 --> 00:22:05,570
Speaker 1: star outlandish challenges, asking Dreyfus to perform press ups and

264
00:22:05,650 --> 00:22:10,250
Speaker 1: sit ups to prove himself. Finally, Sure proposed a wager

265
00:22:11,050 --> 00:22:14,530
Speaker 1: for one hundred dollars, would Dreyfus climb to the top

266
00:22:14,570 --> 00:22:17,490
Speaker 1: of a tall mast on their boat and jump off

267
00:22:17,530 --> 00:22:21,850
Speaker 1: into the ocean. He had my number, said Dreyfus, who

268
00:22:21,930 --> 00:22:29,730
Speaker 1: found himself unable to just ignore Shaw's bullying. Jaws was

269
00:22:29,810 --> 00:22:34,210
Speaker 1: now weeks behind schedule and millions over budget. The crew

270
00:22:34,250 --> 00:22:38,010
Speaker 1: were rebelling, the locals were increasingly resentful of their presence,

271
00:22:38,530 --> 00:22:44,770
Speaker 1: and Bruce, the mechanical shark, was still not working. Could

272
00:22:44,770 --> 00:22:49,050
Speaker 1: things get any worse? Perhaps if one of the movie's

273
00:22:49,130 --> 00:22:51,930
Speaker 1: lead actors took a high dive off a mast and

274
00:22:52,170 --> 00:23:04,450
Speaker 1: into the brooding ocean, cautionary tales will be back. I

275
00:23:04,490 --> 00:23:06,810
Speaker 1: don't care how much money he offers you. You're not

276
00:23:06,930 --> 00:23:11,650
Speaker 1: jumping off the mast. Not in my movie. Steven Spielberg

277
00:23:11,770 --> 00:23:16,290
Speaker 1: had finally intervened in the battle between his stars. Shaw's

278
00:23:16,330 --> 00:23:21,130
Speaker 1: bet with Dreyfus was off. The director could stall the studio,

279
00:23:21,290 --> 00:23:25,130
Speaker 1: shutting him down over the malfunctioning sharks and the unreliable weather,

280
00:23:25,690 --> 00:23:28,410
Speaker 1: but not if he let one of his stars drown

281
00:23:28,530 --> 00:23:33,410
Speaker 1: on a Dare this excitement over the more normal rhythm

282
00:23:33,490 --> 00:23:41,370
Speaker 1: of the location shoot resumed? Delay, delay, delay, and still

283
00:23:41,770 --> 00:23:43,130
Speaker 1: no working roofs.

284
00:23:43,850 --> 00:23:45,890
Speaker 2: Have that belt fully anchor up and reset?

285
00:23:45,930 --> 00:23:49,370
Speaker 1: About Gerald. We spent a lot of time trying to

286
00:23:49,370 --> 00:23:52,650
Speaker 1: figure out how to make this movie, sitting around for

287
00:23:52,770 --> 00:23:59,050
Speaker 1: seven eight hours waiting for the shark to work, said Spielberg.

288
00:24:00,530 --> 00:24:07,330
Speaker 1: This all sounds infuriating, but maybe these delays made Jaws

289
00:24:07,370 --> 00:24:15,890
Speaker 1: not worse, but better. Do you do your best work

290
00:24:16,010 --> 00:24:19,410
Speaker 1: under a bit of time pressure against a tight deadline.

291
00:24:19,410 --> 00:24:23,170
Speaker 1: Say if your answer is yes, then you're not alone.

292
00:24:23,930 --> 00:24:27,970
Speaker 1: It's certainly not uncommon to hear people say that creativity

293
00:24:28,090 --> 00:24:33,010
Speaker 1: is spurred on by a ticking clock. In April nineteen seventy,

294
00:24:33,450 --> 00:24:40,410
Speaker 1: an explosion wrecked the oxygen tanks inside Apollo thirteen yestin

295
00:24:40,810 --> 00:24:45,610
Speaker 1: we've had a problem. The three astronauts inside were headed

296
00:24:45,610 --> 00:24:48,930
Speaker 1: for the Moon, but now had to hunker down in

297
00:24:49,010 --> 00:24:53,650
Speaker 1: the small lunar module designed to hold just two. If

298
00:24:53,650 --> 00:24:56,850
Speaker 1: the men were to survive the trip home, they'd need

299
00:24:56,890 --> 00:25:01,090
Speaker 1: to improvise a system to remove deadly carbon dioxide from

300
00:25:01,170 --> 00:25:06,090
Speaker 1: the air in their craft, using only the items available inside,

301
00:25:06,490 --> 00:25:12,690
Speaker 1: from bits of cardboard to plastic. Okay, that's two lithium

302
00:25:12,770 --> 00:25:16,850
Speaker 1: hydroxide canisters and one roll of that special gray ape.

303
00:25:18,690 --> 00:25:24,010
Speaker 1: At mission control, engineers work feverishly to bodge something together

304
00:25:24,490 --> 00:25:27,730
Speaker 1: and compose a list of verbal instructions which would be

305
00:25:27,810 --> 00:25:32,850
Speaker 1: clear enough for the cold, tired and oxygen starved astronauts

306
00:25:32,890 --> 00:25:37,930
Speaker 1: to follow. Okay, removed the inner bag from the outer bag,

307
00:25:38,770 --> 00:25:41,650
Speaker 1: cut the inner bag along the heat seal along one

308
00:25:41,770 --> 00:25:46,890
Speaker 1: side the filter built in this way wasn't pretty, but

309
00:25:47,170 --> 00:25:51,690
Speaker 1: it worked and the men were saved. A win. Then,

310
00:25:51,850 --> 00:25:58,250
Speaker 1: for creativity under pressure, an evidence that deadlines focused the mind. Well,

311
00:25:58,970 --> 00:26:04,050
Speaker 1: The Harvard Business Review wasn't convinced. Two thousand and two

312
00:26:04,090 --> 00:26:09,410
Speaker 1: paper Creativity under the Gun examined examples where indeed time

313
00:26:09,450 --> 00:26:14,210
Speaker 1: pressure had produced impressive results, such as the Apollo thirteen explosion,

314
00:26:15,170 --> 00:26:22,250
Speaker 1: but the author's actual research findings were more surprising. Theresa A. Marblay, Constance,

315
00:26:22,330 --> 00:26:27,250
Speaker 1: Noonan Hadley, and Stephen Kramer collected nine thousand diary entries

316
00:26:27,330 --> 00:26:31,770
Speaker 1: from one hundred and seventy seven employees across seven US companies,

317
00:26:32,610 --> 00:26:36,010
Speaker 1: then asked those workers to note how time pressure they

318
00:26:36,010 --> 00:26:39,530
Speaker 1: felt during the day, but also described something that stood

319
00:26:39,570 --> 00:26:43,010
Speaker 1: out in their minds about each day. In a sad

320
00:26:43,130 --> 00:26:47,130
Speaker 1: indictment of the modern workplace, most of the diarists felt

321
00:26:47,130 --> 00:26:52,050
Speaker 1: they were operating under time pressure nearly every day. While

322
00:26:52,130 --> 00:26:55,770
Speaker 1: some workers felt burned out by this, others did renish it,

323
00:26:56,250 --> 00:26:59,690
Speaker 1: writing that their teams were pulling together and making progress.

324
00:27:00,730 --> 00:27:03,130
Speaker 1: But when the half of business reviewed team dug a

325
00:27:03,130 --> 00:27:06,730
Speaker 1: little deeper, they found that far from being spurred on

326
00:27:06,930 --> 00:27:11,610
Speaker 1: like NASA's Apollo thirteen engineers, workers under the gun were

327
00:27:11,730 --> 00:27:16,730
Speaker 1: usually less creative. Working in a hurry often means firefighting

328
00:27:16,770 --> 00:27:22,090
Speaker 1: and multitasking, scheduling meetings, replying to emails, attending meetings, applying

329
00:27:22,130 --> 00:27:25,530
Speaker 1: to more emails, leaving precious little time to focus on

330
00:27:25,610 --> 00:27:30,490
Speaker 1: the primary work task at hand. One comment that summed

331
00:27:30,570 --> 00:27:33,850
Speaker 1: up most of the diaries was the faster I run,

332
00:27:34,330 --> 00:27:38,330
Speaker 1: the behind it I get, and the first thing to

333
00:27:38,370 --> 00:27:42,690
Speaker 1: get jettisoned when time was tight seemed to be creativity.

334
00:27:43,650 --> 00:27:47,250
Speaker 1: Just five percent of the thousands and thousands of diary

335
00:27:47,370 --> 00:27:51,090
Speaker 1: entries written on busy days reported that any playful and

336
00:27:51,210 --> 00:27:55,930
Speaker 1: creative work had been produced. The Harvard Business Review authors

337
00:27:56,130 --> 00:28:00,250
Speaker 1: argued that, of course creativity was possible under a time crunch,

338
00:28:00,690 --> 00:28:06,210
Speaker 1: but only in very specific circumstances. The Apollo thirteen engineers

339
00:28:06,290 --> 00:28:09,850
Speaker 1: were able to give the carbon dioxide problem therefore attention,

340
00:28:10,610 --> 00:28:14,130
Speaker 1: no multitasking for them, and the imminent deaths of the

341
00:28:14,170 --> 00:28:17,490
Speaker 1: astronauts gave them more than enough motivation to see their

342
00:28:17,530 --> 00:28:22,850
Speaker 1: task through. But in most situations, the experts concluded that

343
00:28:22,890 --> 00:28:29,770
Speaker 1: the cornerstones of creative work exploration, idea, generation, and experimentation

344
00:28:30,770 --> 00:28:35,370
Speaker 1: just didn't happen when workers were scrambling against the deadline.

345
00:28:35,650 --> 00:28:39,450
Speaker 1: Don't be fooled into thinking that time pressure will in

346
00:28:39,490 --> 00:28:45,250
Speaker 1: itself spur creativity, the Harvard Business Review warned bosses. That's

347
00:28:45,410 --> 00:28:55,130
Speaker 1: a powerful illusion, but an illusion. Nonetheless, Jaws began as

348
00:28:55,210 --> 00:28:59,890
Speaker 1: the ultimate tight deadline movie. The producers wanted the film

349
00:28:59,930 --> 00:29:03,530
Speaker 1: to wrap in just fifty five days before high summer

350
00:29:03,570 --> 00:29:07,690
Speaker 1: on Martha's vineyard and ready for Christmas nineteen seventy four,

351
00:29:08,170 --> 00:29:12,370
Speaker 1: the traditional release season, but also in time to benefit

352
00:29:12,370 --> 00:29:17,930
Speaker 1: from the buzz around the novel. This was a mammoth task. First,

353
00:29:18,090 --> 00:29:22,730
Speaker 1: Spielberg had to turn Peter Benchley's sprawling book, with its

354
00:29:22,970 --> 00:29:27,730
Speaker 1: endless side plots and incongruous sex scenes, into a workable script.

355
00:29:28,770 --> 00:29:31,170
Speaker 1: Robert Sure wasn't the only person to think that the

356
00:29:31,210 --> 00:29:35,890
Speaker 1: novel was a piece of shit. Spielberg supposedly said the same,

357
00:29:36,410 --> 00:29:41,490
Speaker 1: which got back to Peter Benchley. Spielberg knows flatly zero,

358
00:29:41,810 --> 00:29:46,290
Speaker 1: retorted the novelist, he is b movie literate. The round

359
00:29:46,290 --> 00:29:49,970
Speaker 1: blew over. But Spielberg then had to find someone other

360
00:29:50,010 --> 00:29:54,970
Speaker 1: than Benchley to crank out a screenplay, storyboard, the resulting script,

361
00:29:55,370 --> 00:29:58,930
Speaker 1: cast the roles, set Bob Matty to work on his sharks,

362
00:29:59,330 --> 00:30:03,890
Speaker 1: and establish a floating location shoot. All this in a

363
00:30:03,930 --> 00:30:12,130
Speaker 1: matter of weeks. Talk about multitasking. Much as Peter Benchley

364
00:30:12,330 --> 00:30:17,290
Speaker 1: was wrong to insult Spielberg's storytelling skills, the director himself

365
00:30:17,370 --> 00:30:20,450
Speaker 1: admits that in all the hurry, he was in danger

366
00:30:20,530 --> 00:30:25,130
Speaker 1: of making a fairly standard monsterflick, one where the shark

367
00:30:25,330 --> 00:30:28,930
Speaker 1: might be seen in the very first scene. But the

368
00:30:29,090 --> 00:30:35,490
Speaker 1: constant delays gave him room to reconsider. It was good

369
00:30:35,530 --> 00:30:40,170
Speaker 1: fortune that the shark kept breaking, says Spielberg, because I

370
00:30:40,210 --> 00:30:43,770
Speaker 1: had to be resourceful figuring out how to create suspense

371
00:30:43,890 --> 00:30:49,170
Speaker 1: and terror without seeing the shark itself. The script went

372
00:30:49,210 --> 00:30:52,770
Speaker 1: through several iterations that what made it to the screen

373
00:30:53,250 --> 00:30:56,570
Speaker 1: was the version Spielberg hammered out at night in the

374
00:30:56,610 --> 00:31:01,130
Speaker 1: house he shared with Carl Gottlieb on Martha's vineyard. This

375
00:31:01,290 --> 00:31:05,730
Speaker 1: fits with another finding of the Harvard Business Review. Creativity

376
00:31:06,090 --> 00:31:11,130
Speaker 1: comes with collaboration, but most especially when just two confederates

377
00:31:11,250 --> 00:31:16,290
Speaker 1: work together. The paper argued that having a single focal

378
00:31:16,370 --> 00:31:20,170
Speaker 1: point to bounce new ideas off might help people stay

379
00:31:20,410 --> 00:31:25,410
Speaker 1: oriented toward the work. The other thing that Spielberg had

380
00:31:25,490 --> 00:31:29,490
Speaker 1: spare time for thanks to the delays was working with

381
00:31:29,570 --> 00:31:35,570
Speaker 1: his actors. The director had found the characters in Benchley's

382
00:31:35,610 --> 00:31:39,770
Speaker 1: novel too flat and unlikable, but he hit on a

383
00:31:39,810 --> 00:31:43,370
Speaker 1: way to make them more appealing and relatable. He encouraged

384
00:31:43,410 --> 00:31:48,090
Speaker 1: his cast to improvise sure Dreyfuss and the rest would

385
00:31:48,170 --> 00:31:51,770
Speaker 1: belly ache about sitting around waiting for the shark to work,

386
00:31:52,210 --> 00:31:55,850
Speaker 1: but they also had time to really think about their performances.

387
00:31:56,770 --> 00:32:01,090
Speaker 1: One of the film's greatest lines, when Jaws surfaces right

388
00:32:01,170 --> 00:32:05,170
Speaker 1: beside Robert Shaw's fishing vessel, the Orca, and he's told,

389
00:32:05,810 --> 00:32:09,530
Speaker 1: you're going to need a pleigo Podge, was pure insation

390
00:32:10,010 --> 00:32:14,810
Speaker 1: and never in the script. Likewise a monologue delivered by

391
00:32:14,930 --> 00:32:20,090
Speaker 1: share In it, his character explains that his deep hatred

392
00:32:20,210 --> 00:32:25,810
Speaker 1: for sharks stems from a grizzly wartime experience being shipwrecked

393
00:32:25,850 --> 00:32:27,730
Speaker 1: in waters infested with them.

394
00:32:28,050 --> 00:32:30,050
Speaker 2: No distress signal of vincent.

395
00:32:32,010 --> 00:32:35,210
Speaker 1: This speech had already passed through the hands of several

396
00:32:35,250 --> 00:32:38,890
Speaker 1: script doctors, but Shaw edited the lines and took them

397
00:32:38,930 --> 00:32:42,730
Speaker 1: to Spielberg and Gottlieb after dinner one evening. I think

398
00:32:42,770 --> 00:32:46,490
Speaker 1: I have a version that will work. He told them.

399
00:32:46,530 --> 00:32:50,850
Speaker 1: It was a showstopper, said Richard Dreyfus, whose character sits

400
00:32:50,890 --> 00:32:54,530
Speaker 1: beside shore as he tells the grim tale of his

401
00:32:54,610 --> 00:32:58,170
Speaker 1: shipmates getting eaten one by one.

402
00:32:58,450 --> 00:33:03,050
Speaker 2: You know the thing about a shaggy again, lifeless eyes,

403
00:33:03,370 --> 00:33:08,210
Speaker 2: black eyes like a doll's eye. When he comes Outdie

404
00:33:08,490 --> 00:33:12,610
Speaker 2: doesn't seem to me Lewin until he bides you, and

405
00:33:12,650 --> 00:33:18,170
Speaker 2: those black eyes roll over white and then ah, then

406
00:33:18,210 --> 00:33:22,530
Speaker 2: you hear that terrible, high pitched screaming, the ocean turned

407
00:33:22,650 --> 00:33:26,170
Speaker 2: redden speed of all the pound and the horror and

408
00:33:26,290 --> 00:33:33,130
Speaker 2: the arkme in the repeated pieces.

409
00:33:33,010 --> 00:33:37,530
Speaker 1: Dreyfus and Shaw had been at loggerheads throughout production. Sitting

410
00:33:37,530 --> 00:33:42,410
Speaker 1: together hour after hour in boredom had sparked a bitter conflict,

411
00:33:43,370 --> 00:33:47,530
Speaker 1: but more canny observers saw some method to Shaw's mad

412
00:33:47,650 --> 00:33:51,690
Speaker 1: baiting of his co star. I think it was absolutely planned,

413
00:33:52,090 --> 00:33:55,810
Speaker 1: said one of the crew. Sure knew the plot called

414
00:33:55,810 --> 00:33:59,930
Speaker 1: for antagonism between his salty old mariner and the cocky,

415
00:34:00,130 --> 00:34:04,770
Speaker 1: upstart marine biologist. If Shaw could get Drayfus to hate

416
00:34:04,810 --> 00:34:08,650
Speaker 1: him in real life, then further acting wouldn't be required.

417
00:34:09,730 --> 00:34:13,930
Speaker 1: The malfunctioning Bruss just gave Shaw the time he needed

418
00:34:14,210 --> 00:34:20,970
Speaker 1: for his plan to play out, and interestingly, Shaw's show

419
00:34:21,130 --> 00:34:26,250
Speaker 1: stopping monologue marks a pivot in the script by showing

420
00:34:26,290 --> 00:34:31,130
Speaker 1: his vulnerability and humanity. The fisherman wins over the marine biologist,

421
00:34:31,690 --> 00:34:36,530
Speaker 1: and of friendship blossoms in real life. Shaw's baiting of

422
00:34:36,650 --> 00:34:45,410
Speaker 1: Dreyfuss also stopped the second Spielberg called cut on the scene.

423
00:34:45,570 --> 00:34:50,970
Speaker 1: On August eighteenth, nineteen seventy four, weeks and weeks behind schedule,

424
00:34:51,490 --> 00:34:56,170
Speaker 1: Bob Matty's Sharks began to work as planned. Filming wrapped

425
00:34:56,210 --> 00:35:00,130
Speaker 1: on September the eighteenth, though the director hadn't stuck around

426
00:35:00,170 --> 00:35:02,970
Speaker 1: for the final shots. He had caught wind of a

427
00:35:03,050 --> 00:35:05,850
Speaker 1: coup plot to throw him in the water. The second

428
00:35:05,970 --> 00:35:10,370
Speaker 1: the camera stopped rolling, he wisely fled back to La

429
00:35:10,570 --> 00:35:16,490
Speaker 1: to avoid their disgruntlement. The endless delays had taken their toll.

430
00:35:17,250 --> 00:35:21,170
Speaker 1: Spielberg began having nightmares regularly for the next three months.

431
00:35:23,650 --> 00:35:27,610
Speaker 1: There were still pickups to shoot, including a scene completed

432
00:35:27,650 --> 00:35:33,450
Speaker 1: in the warm tranquility of an La swimming pool and editing. Jaws,

433
00:35:33,930 --> 00:35:39,170
Speaker 1: now wildly over budget, would miss its lucrative Christmas release window.

434
00:35:41,330 --> 00:35:46,970
Speaker 1: But the film was good, excellent. Even test audiences loved it,

435
00:35:47,450 --> 00:35:51,570
Speaker 1: and the critics were bowled over. A problem plagued film

436
00:35:51,970 --> 00:35:58,570
Speaker 1: turned out beautifully, wrote Variety. The critics were especially impressed

437
00:35:58,610 --> 00:36:02,250
Speaker 1: by Spielberg's restraint in not showing the shark for the

438
00:36:02,250 --> 00:36:06,810
Speaker 1: first eighty two minutes of the film, making the unseen

439
00:36:06,930 --> 00:36:11,930
Speaker 1: beast all the more terrifying for its invisibility. The lack

440
00:36:11,970 --> 00:36:16,050
Speaker 1: of explicit carnage also had the added bonus of making

441
00:36:16,170 --> 00:36:20,450
Speaker 1: Jaws a PG movie, meaning whole families could go see it,

442
00:36:20,850 --> 00:36:26,130
Speaker 1: and widening its box office potential. Summer was until then

443
00:36:26,530 --> 00:36:30,570
Speaker 1: a dead zone for new releases, but Jaws upended that.

444
00:36:31,410 --> 00:36:35,050
Speaker 1: It turned a profit just two weeks after opening in

445
00:36:35,130 --> 00:36:38,610
Speaker 1: June nineteen seventy five, and by Labour day it was

446
00:36:38,650 --> 00:36:43,930
Speaker 1: the most successful motion picture in history. The age of

447
00:36:44,010 --> 00:36:49,730
Speaker 1: the summer blockbuster had dawned and Hollywood was transformed, and

448
00:36:49,810 --> 00:36:54,290
Speaker 1: this runaway success of Jaws was in no small part

449
00:36:54,890 --> 00:36:59,530
Speaker 1: down to the delays caused by Bob Matty and his

450
00:36:59,730 --> 00:37:09,730
Speaker 1: mooning fish. The key sources for this episode were the

451
00:37:09,930 --> 00:37:14,970
Speaker 1: Jaws log by Carl Gottlieb and Joseph McBride's Steven spielberg

452
00:37:15,290 --> 00:37:18,530
Speaker 1: a biography. For a full list of sources, go to

453
00:37:18,650 --> 00:37:30,450
Speaker 1: Timharford dot com. Cautionary Tales as written by me Tim

454
00:37:30,490 --> 00:37:34,530
Speaker 1: Harford with Andrew Wright, Alice Fines, and Ryan Dinny. It's

455
00:37:34,530 --> 00:37:38,530
Speaker 1: produced by Georgia Mills and Marilyn Rust. The sound design

456
00:37:38,650 --> 00:37:42,410
Speaker 1: and original music are the work of Pascal Wise. Additional

457
00:37:42,450 --> 00:37:47,050
Speaker 1: sound design is by Carlos San Juan at Brain Audio Bender.

458
00:37:47,090 --> 00:37:51,490
Speaker 1: Dapfhaffrey edited the scripts. The show features the voice talents

459
00:37:51,530 --> 00:37:56,930
Speaker 1: of Melanie Guttridge, Stella Harford, Oliver Hembrough, Sarah Jupp, Messaam Monroe,

460
00:37:57,170 --> 00:38:01,130
Speaker 1: Jamal Westman, and rufus Wright. The show also wouldn't have

461
00:38:01,170 --> 00:38:04,450
Speaker 1: been possible without the work of Jacob Weisberg, Retta Cohne,

462
00:38:04,890 --> 00:38:10,010
Speaker 1: Sarah Nix, Eric Sandler, Carrie Brody, Christina Sullivan, Pose and

463
00:38:10,170 --> 00:38:15,130
Speaker 1: Owen Miller. Cautionary Tales is a production of Pushkin Industries.

464
00:38:15,250 --> 00:38:19,450
Speaker 1: It's recorded at ward Or Studios in London by Tom Barry.

465
00:38:20,010 --> 00:38:22,810
Speaker 1: If you like the show, please remember to share, rate

466
00:38:23,090 --> 00:38:25,210
Speaker 1: and review. It really makes a difference to us and

467
00:38:25,290 --> 00:38:27,930
Speaker 1: if you want to hear the show, add free sign

468
00:38:27,970 --> 00:38:30,610
Speaker 1: up to Pushkin Plus on the show page on Apple

469
00:38:30,610 --> 00:38:45,370
Speaker 1: Podcasts or at pushkin dot Fm, slash plus