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Monday, March 3, 2014

icons -JAWS Spielberg

TWO pieces of info
the production schedule was supposed to take place over 55 days,
 but instead, it took 159 days. 
Disgruntled members of the crew walked up to Spielberg 
and testily asked him, “When are we going to finish this movie?”

And it is still in our imagination. Wasn't Alien sold as Jaws into Space?




jaws
Image Credit: Everett Collection

Jaws’ budget may have ballooned to $9 million
– more than double its original estimate – 
but the movie became a phenomenon, 
making more than $430 million worldwide. 

From the chaos of production, Spielberg and his filmmakers
had assembled a masterpiece of precisely controlled suspense, 
and audiences found it irresistible.

THE FAMOUS USS Indianapolis MONOLOGUE
On July 30, 1945, the USS Indianapolis, which had just delivered key components of the Hiroshima atomic bomb to the Pacific island of Tinian, was torpedoed by a Japanese submarine. 
Only 316 out of 1,196 men survived the sinking and shark-infested waters.
Sincere kudos to those brave soldiers who did (and did not) make it out of the water.

When it came time to shoot the infamous USS Indianapolis Scene, Shaw attempted to do the monologue while intoxicated as it called for the men to be drinking late at night. Nothing in the take could be used. 
A remorseful Shaw called Steven Spielberg late that night and asked if he could have another try. The next day of shooting, Shaw's electrifying performance was done in one take.
 




 Indianapolis speech written by uncredited writers Howard Sackler, John Milius, and Robert Shaw
Hooper (Richard Dreyfuss): You were on the Indianapolis?
Brody (Roy Scheider): What happened?
Quint:
 Japanese submarine slammed two torpedoes into our side, chief. It was comin' back, from the island of Tinian to Laytee, just delivered the bomb. The Hiroshima bomb.
Eleven hundred men went into the water. Vessel went down in twelve minutes. Didn't see the first shark for about a half an hour. Tiger. Thirteen footer. You know how you know that when you're in the water, chief? You tell by lookin' from the dorsal to the tail. What we didn't know... was our bomb mission had been so secret, no distress signal had been sent. Huh huh. They didn't even list us overdue for a week. Very first light, chief.
The sharks come cruisin'. So we formed ourselves into tight groups. You know it's... kinda like ol' squares in battle like a, you see on a calendar, like the battle of Waterloo. And the idea was, the shark comes to the nearest man and that man, he'd start poundin' and hollerin' and screamin' and sometimes the shark would go away. Sometimes he wouldn't go away. Sometimes that shark, he looks right into you. Right into your eyes.
You know the thing about a shark, he's got...lifeless eyes, black eyes, like a doll's eye. When he comes at ya, doesn't seem to be livin'. Until he bites ya and those black eyes roll over white. And then, ah then you hear that terrible high pitch screamin' and the ocean turns red and spite of all the poundin' and the hollerin' they all come in and rip you to pieces.
Y'know by the end of that first dawn, lost a hundred men! I don't know how many sharks, maybe a thousand! I don't know how many men, they averaged six an hour.
On Thursday mornin' chief, I bumped into a friend of mine, Herbie Robinson from Cleveland. Baseball player, boson's mate. I thought he was asleep, reached over to wake him up. Bobbed up and down in the water, just like a kinda top. Up ended. Well... he'd been bitten in half below the waist.
Noon the fifth day, Mr. Hooper, a Lockheed Ventura saw us, he swung in low and he saw us. He's a young pilot, a lot younger than Mr. Hooper, anyway he saw us and come in low.
And three hours later a big fat PBY comes down and start to pick us up. You know that was the time I was most frightened? Waitin' for my turn. I'll never put on a lifejacket again. So, eleven hundred men went in the water, three hundred and sixteen men come out, the sharks took the rest, June the 29, 1945.
Anyway, we delivered the bomb.

Quint's tale of the USS Indianapolis was conceived by playwright Howard Sackler, lengthened by screenwriter John Milius and rewritten by Robert Shaw following a disagreement between screenwriters Peter Benchley and Carl Gottlieb. Shaw presented his text, and Benchley and Gottlieb agreed that this was exactly what was needed.

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