Jaws (1975) / Smile, You Son of a Pod: Celebrating 50 Years of Jaws

Episode Transcript
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(00:04):
In the dying embers of human existence.
As the asteroid, a behemoththe size of Texas, hurtles relentlessly
toward Earth, the world bracesfor an apocalyptic end.
Deep beneath the bunker, arefuge plunges into the bowels of
the earth.
Here the chosen gather theirpurpose clear to preserve the very
soul of our civilization.
The 35 and 70 millimeterprints that encapsulate the magic,

(00:27):
the emotion and the dreams ofgenerations past.
These masterpieces, each framea testament to the human spirit,
are carefully cataloged andcradled in the cavernous confines
of the bunker.
Perhaps there was room formore, for friends and family yearning
for salvation.
But sacrifices must be made.
The movie nerds stand united,the keepers of a flame, promising

(00:49):
a future where the art ofstorytelling endures, transcending
the boundaries of time and space.
God help us all.
Welcome to Back to the FrameRate, part of the Weston Media Podcast

(01:09):
Network.
In the cinematic crusade, wejourney through films on VOD and
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(01:31):
I am Nathan Shore, andaccompanying me is the mayor of Shark
City, Sam Cole.
Amity means friendship.
We need summer dollars.
We do.
We need your dollars, everyone.
Send them over.
Yeah.
Sam, how are you doing?
It's.
It's good to be back.
I'm doing great.
It's amazing to be back.
It's been a little while.
It's been about six months.

(01:52):
But dare I say, do you realizethat at this exact moment, do you
know what we are doing?
We are in fact, going back tothe frame rate.
We are literally.
I don't want to confuse thepeople out there.
We're doing this as a one off episode.
We might do this againsometime when we feel like it.

(02:12):
But this is a special episodebecause I think you and I can agree
this episode we're going to betalking about, Jaws, it is a special
time because it is the 50thanniversary of it.
We're recording this on June18th and it's going to become.
This episode will come out inlike five days or so, but June 20,
1975, Jaws comes out.

(02:34):
I don't know.
I think this is considered thefirst, like, real blockbuster when
people look back at thehistory of this.
So this is.
I think this kind of defineswhat we're all about as cinema goers,
cinema lovers.
This has had a profound impacton my life.
I know it did on yours.
Oh, God, Yes.
Yes.
This movie has justinfiltrated the zeitgeist.

(02:56):
The way it was shot, thecinematography, the quotes in this.
It's the acting, it's.
This will be a lot of fun to dissect.
I worry, though, what are wegonna add to this?
I know.
It's like, by the way, thismovie's really good.
Yeah.
I will say, I will address theelephant in the room.
As we all know, the bestmotion picture ever made is 1988's

(03:21):
the Great Outdoors.
But we have to.
So we've decided to give Jawsa pity review because it came out
in 1975.
Yeah.
And no one saw it.
So join us as we review the shitter.
Exactly.
Let's see.
Well, I guess we gotta getinto this.
We're out of practice, everyone.

(03:43):
We don't really know whatwe're doing because after six months,
it's like, how do we begin a show?
All I know is that some guynamed Steven Spielberg directed this.
We have reviewed a couple ofhis films on back to the frame rate.
In fact, I think he might bewinning as far as the amount of movies
we've reviewed of his.
We did.

(04:03):
We've done Duel, we've doneWar of the Worlds.
We did Amistad.
What was in our.
In that retrospective?
I'm trying to think what elsewe did.
Amistad, Duel, War of theWorlds, and.
Oh, we.
Empire of the Sun, I think.
Yeah.
Empire, the sun was there.
One more.
We started it all off withalways, though.
That's right.
That's right.
Yes.

(04:23):
Yeah.
Oh, of course.
You know what we did, we alsowent through the whole Indiana Jones
franchise, too.
That was a lot of fun.
Yeah, that was really cool.
And so this film, 1975, it wasdirected by Steven Spielberg, produced
by Richard Zanuck, DavidBrown, screenwriters.
Carl Gottlieb.
The book was published, waswritten by Peter Benchley, and I

(04:45):
think he also did some of thescreenwriting on this as well.
John Williams, the composer onthis, Bill Butler, the cinematographer.
Yeah, yeah.
And of course, I feel sillyjust going through the main players
in this because they're.
Everybody knows these, youknow, Roy Schneider, Robert Shaw,
Richard Dreyfus were the mainplayers in this.
But when I look at, like, thedeep cuts of the people in this,

(05:07):
like.
Like Murray Hamilton, mar.
Credible in this.
Lorraine Gary, Ellen Brody, Idon't know.
There's just.
It's really wonderful castingup and down this movie.
And I was actually kind oflooking at some of the other information
on here.
I don't know, Sam, if youprepared any movie facts, like, we
didn't really know.
I was gonna say, literally, Ijust bought like a newer edition

(05:32):
of the Jaws log and I've.
I had an old copy that and.
Which I borrowed from a friendand never returned.
I feel.
Still feel terrible about that.
But I just, I've been readingit recently and literally it's fascinating.
Things I didn't even know,like, Charlton Heston really wanted
Roy Scheider's role and theproducers didn't want to go with

(05:52):
him because he was in bigblockbusters like Airport 75.
Yeah.
And then another movie.
And they thought that he wastoo large of a personality.
So they're like, what isgigantic star Charlton Heston want
to do with a small seaside NewEngland community?
But Carl Gotlib, actually, andI literally just read this like two
days ago.
Peter Benchley wrote the firsttwo drafts or three drafts of the

(06:15):
screenplay.
Spielberg liked certainscenes, but they were worried, like,
the characters weren'tdeveloped enough.
Carl Gottlieb was gonna act init and he did.
He was put on the payroll as ascreenwriter in late April of 1974,
right before they started shooting.
And.
And while they were castingsome actors in Boston, he was in

(06:37):
like a next door suite with atypewriter furiously typing pages
per Spielberg's like,instruction and oversight.
So Carl Gottlieb and Spielbergreally are responsible for like putting
more depth into thecharacters, improving the dialogue.
Like, I think they really justwent at those drafts and fixed them
and they had to start shootingas they were rewriting.

(07:00):
Like, it was terrifyingbecause they had to film like they
were out of time.
And like, the script wasn'teven quite there yet.
So it was like right by theseat of their pants kind of thing.
Like, impressive.
And I think I read that theywere up against a.
Was it a writer strike or anact that was happening in the summer
of 1973.

(07:20):
And they had to do this in thespring of that year, otherwise they
wouldn't be able to do it.
And this was like a raceagainst time to get it done in the
spring of 73, I believe.
So it was.
They shot in like, they wereshooting in 74.
So they.
In this.
Was it 74.
Okay, maybe it was.
And then like, and so December73, like, he met with Spielberg,

(07:41):
met with Richard Zanuck andDavid Brown.
Martha's Vineyard, they wereshooting spring of 74 and they scheduled
all the beach filming scenesin like, early maybe.
What they didn't realize isthe water is freezing.
Then.
And they had to push that backon the schedule at one point.
And I'm glad they didn't do this.
I thought this would have been ridiculous.

(08:01):
But they were going to havestuntmen in like scuba outfits but
like painted like skin to goswimming as like background exits.
That's a terrible idea.
And so the schedule, they hadto push it all around.
You'll you notice at thebeginning of the movie, like there's
a lot of.
It doesn't detract in any way,but there's a lot of like land dialogue
scenes where if you look inthe background, there's.

(08:22):
There's no leaves on the trees.
Like it's the 4th of July andthey're shooting in like early May
and it's still pretty cold.
Like everyone's in jackets.
It's cold.
Oh, everyone's.
Yeah, everyone is in.
Yeah.
They're.
Yeah, yeah.
It doesn't matter.
It's just like it's you.
If you look for it, it's there.
Yeah.
A couple other things I justnoted here.
It's the.

(08:43):
Had a budget of 9 million originally.
It was supposed to beprojected to be about 4 million.
And opening weekend made 7million but grossed in its original
run 260 million.
I think I saw here somewhere worldwide.
470.
And this is over the course ofall its re releases or so.
But it's one of the mostprofitable films of all time.

(09:06):
So.
Yeah, until Star Wars I think superseded.
Until Star wars they literallyhad a 55 day production schedule
and it ballooned to 150 dayslike it was.
Spielberg describes literallywaking up with panic attacks wondering
if they were going to get asingle shot that day.
Like that movie literally likemade his career like it was a trial

(09:27):
by fire movie.
Like in a kind of metaphorical way.
I feel like once he wentthrough the hell of that, it made
him like battle hardened andthen turned him into like Steven
Spielberg of today.
Like it was a trial by fire.
He was 27 years old.
It blows my mind.
I know.
What have you done with yourlife, huh?

(09:48):
I know.
I.
Oh my God.
Oh God.
I was.
I made a YouTube skit calledAttack of the Phone and I added some
laser effects to it.
Woo.
Right.
Looking at some of the awards,it did get a couple Best film editing.
It won best original score,which rightfully so.

(10:08):
And best sound.
And it got nominated for best picture.
Did not win a lost out to OneFlew over the Cuckoo's Nest.
And also nominated was Barry Lyndon.
Dog Day Afternoon in Nashville.
That was a tough competition.
That year.
But Spielberg did not get nominated.
I think there's a famousvideo, you can actually see it on

(10:28):
YouTube, where he's filminghimself waiting for the call that
he got nominated.
I've seen that.
And it's like, I feel so muchempathy for him because he's sitting
there and he's like, what dowe get nominated for?
And one of them was Best Screenplay.
He's like, best Screenplay.
That's it.
And then he's like, this iswhat they call.
I forget the phrase.
But he.
There's a quote, and he sayssomething like, everybody likes a

(10:50):
winner, but nobody likes a winner.
But you know what?
It was tough competition thatyear because Kubrick got nominated.
Sidney Lumet got nominated.
Robert Altman got nominated.
Fellini got nominated.
Milos Foreman got nominatedand won one for Cuckoo's Nest.
So, oh, Spielberg should havegotten on me.

(11:11):
He should have.
And also at that time, he waslike, the new kid on the block, like,
young hotshot guy.
These are, like, establisheddirectors that were, like, had been
around.
These are legends in theindustry, all these guys.
Yeah, he got his later.
Okay.
I was looking at this, though.
Like, no.
No acting nominations.
And I'm not that surprised,but I would say Robert Shaw should

(11:35):
have got a nomination.
He was great.
Yeah.
In this.
So that's the only thing Iprobably could have.
I think, should have got anacting nomination.
But whatever.
I don't remember.
I can't remember the name ofthe director.
Like, I think they kept thisguy's name out, out of, like, to
hide his embarrassment.
But there was some other dieHard, like, action director or a

(11:57):
director that they were, like,trusting the two producers to do
the movie.
But when they keptinterviewing this director, like,
at a dinner with him, he keptreferring to the shark as a whale.
He was like, the whale doesthis and the whale does that.
And, like, Richard Zanuck waslike, no, it's a shark.
It's a shark.
And so at the end of that,like, lunch meeting, they were like,
nah, not this guy.

(12:18):
Well, let's talk about thefilm a little bit here.
If anyone spoilers for Jaws,we'll put that out there right now.
It's about shark.
You know this.
I watched this again, probablyfor, like, the.
I don't know, 40th time thispast week.
I always still find thingsthat surprise me.
When you watch a movie thatmany times, you start to, like, almost

(12:39):
not follow the main plot line,and you start to look at, like, what
are the background actors doing?
What is all these other thingshappening and which is Fascinating,
because I know this moviebackwards and forwards now, but it's
wonderful catching all thelittle nuances.
And actually, later on I'mgoing to mention something that a
little interaction I neverpicked up before, but I just.

(12:59):
It was such a great charactermoment that I discovered, which was
amazing.
But first thing, I just wantto talk about, like, the cinematography
in this film at.
It's just incredible.
And I don't think people,like, go to that initially.
I think they think about thestory, the.
The horror of this and some ofthe shock value of this and maybe

(13:21):
in probably some of the acting.
But the.
This is just shot soincredibly well.
And I think it even starts inthe very beginning.
The way that they staged thisopening death scene where it was
at Chrissy.
What's.
What's the girl's name?
Oh, Chrissy Watkins.
Yeah, Chrissy Watkins.
This.
The way this is staged in thatopening is incredible.

(13:41):
I mean, I noticed something,though, that I don't think I ever
caught before.
There's this visual continuityin the beach scenes that is just
out of all.
Out of sequence and doesn'treally make any sense.
Sometimes the sun is setting,like, over.
Over the ocean horizon.
Then it's setting like.
Or I don't know if it'ssunrise or sunset.
I'm not too sure, but it's.
Then it's like over the beachthe other way.

(14:04):
And sometimes the sky is likecompletely, like, cast over.
And then like, there's thisbeautiful golden, like, sun behind
a cloud.
It's all gorgeous, so itdoesn't matter.
But I never really noticed,like, the.
How the continuity in all thisis, like, all out of whack, but screw.
I mean, I don't think nobody.
Anybody really notices this.

(14:24):
I totally hear that.
Like, it's a littlediscombobulated, but I think it's
because if they were justtrying to find a way to have a little
bit of light so you can seewhat's going on.
So it's like when they're onthe beach, it's like the dead of
night when they're running bythe fence.
It's like gray twilight.
When the drunk guy falls down,he's like, take it easy, take it.
It's like sunset or sunrise inthe background.

(14:46):
It just kind of like trickeryto make it visible.
I think they chose that asopposed to doing straight up, like,
day for night, which wouldkind of flatten it.
They kind of messed aroundwith it, like.
Yeah, totally.
Every shot is gorgeous.
I don't think it's even that noticeable.
But it's just likeeverything's beautiful.
But it's funny that they justuse what they could to get the best
looking shots.

(15:07):
It didn't matter if.
If they probably shot thisover three or four different days
or nights.
They just.
Great looking coverage andfootage of all of this.
It's so atmospheric.
It just sets the tone.
And when she gets likebrutally eaten, that just sets a.
That feels so terrifyingly realistic.

(15:28):
What I love about that sceneis it doesn't feel like there's a
lot of.
There's like 70 slasher flickswhere the murders are not campy.
But when she dies, there'ssomething about it where it sets
the tone for the rest of the movie.
And you watch her drowning andyou picture what's going on underneath
her and it's really.
Every single time it'sunsettling to me.

(15:49):
And I've seen the movie amillion times and you just feel like
you're watching someone dieright in front of you and it's like,
oh my God.
Sets the tone.
I agree.
Yeah.
I also con contrasting that.
But also setting the tone ishow we are introduced to Amity Island.
And I love this.
I mean we are both from NewEngland and you've been to Martha's

(16:13):
Vineyard where this was shotmany times.
I almost think of you as likethis being maybe your second or third
home.
You're there so much, you know.
But I love in the verybeginning at an Amity say Yod.
And it's just a humorous bitof regional flavor that just sets
the location and the tone for this.
And then you got that billboard.
Mini island welcomes you 50thannual regatta July 4th.

(16:36):
So you set this location atime of the year and you know, kind
of adds like this little tension.
We know something deadly lurksbeneath the surface.
And even as this town ispreparing for the celebration.
So I, I just love this.
It was funny.
I was re watching one of the documentaries.
They had to construct thatwhole sign, shoot all that and then

(16:59):
take it down all in one day.
That was because Martha'sVineyard is very strict with the
rules about filming there.
This is the first film thatever had any film, any major film
production coming through there.
I don't know how many othershave shot.
I know Nantucket has had a lotmore productions out there.
I don't know about Martha'sVineyard though.
Martha's Vineyard is really strict.
Even Quint's house, like whenthey go there to Quint's place before

(17:23):
they go off.
That was constructed, right?
It was Constructed, but it wasright on the border, I think between
Mana and Chill Mark.
And there were all these likelaws and they were not getting permission
to build it.
And there was going to be aboard of review in four months time.
So what they did was theybuilt it and they filmed all the
scenes before the board ofreview occurred.

(17:46):
And then they took it down andwe're like, what are you talking
about?
We didn't build anything.
We're done.
Like, like they had so much.
And not only that, but therewere islanders that like were lending
them boats and doing transportation.
But then they realized howsmall their pay was compared to the
filmmakers pay, so they boycotted.
But what they didn't realizeis that the filmmakers were getting

(18:07):
paid more.
Because in Hollywoodproductions you're not working all
the time.
So when you have a movie it's.
You tend to get paid more.
So there was a whole scale thing.
So the business negotiations,which I knew nothing about, literally
only reading it in the Jawslog, I was like, oh my God, they
had some logistical nightmareson that island.

(18:28):
Wow.
Yeah, yeah.
What else?
I mean this movie also, when Ithink about it, is just so great
at just setting the tone,setting the scene for like another
example is like we talkedabout the background characters getting.
Not just getting to know themain ones, but like all the background

(18:50):
extras and all the littlescenes in the shops and Brody walking
around town interacting with them.
These are these little minorcharacters that they feel like they're
so lived in.
And there's.
I know several years before,several years before this, Robert
Altman made the whole thingabout cross dialogue very famous,

(19:13):
even kind of controversialwith like MASH and things like that.
Right.
But I love what Spielberg doesin this movie because I like Altman.
But it also is kind of.
Sometimes it's a lot to takein and difficult to enjoy when you've
got six conversations allcrossing over one another.

(19:33):
But somehow Spielberg was ableto take that kind of idea and refine
it in this film.
And I love all of these.
The, the like what were whatI'm trying to say.
The select.
Like when the select board orwhen all these people are getting
together, having these townmeetings and stuff like that and

(19:54):
all this crazy cross, cross chatter.
But you actually can pick outthese conversations.
It's not just a big jumbled mess.
And I think he does afantastic job with the writing of
this and the dialogue and theway it's sound mixed as well.
And all these characters, youreally know what their motivations
are.
Their woman's like concernedabout like, are you going to close

(20:16):
the beaches?
And everyone's interested inthese in their business.
And it really paints a reallydetailed picture of this community
and their concerns.
And I really just love howwell it's fleshed out.
All of these minor charactersand you only sometimes see them for
like a moment.
The guy that, you know, thatBrody says, that's a bad hat, Harry.

(20:40):
I forgot that we see him atleast one or two of the times before
that.
Like, it rewards you onmultiple viewings, seeing all these
side characters, littlecharacters that keep popping up.
There's such a naturalism toit too.
When you watch all thesecharacters in the overlapping dialogue,
I feel like I'm watching reallife unfold on the island.

(21:00):
When there's family scenes, itdoesn't feel stagy, it just it all.
The wonderful thing aboutSpielberg's direction is of course
it's directed and of courseit's blocked, but the manner in which
it unfolds, you feel as ifyou're witnessing real life on this
island and somehow throughthis invisible camera, you just happen
to see what's actually taking place.

(21:21):
And one thing that I thoughtwas awesome, that I was literally
reading in the Jaws log wasearly on, before they were shooting
or anything, when Spielbergwas talking to Richard Zanuck and
David Brown, his specific M.O.
about the directing, he said,he demanded it.
He said, in this movie we haveto be able to see the shark, the

(21:44):
three actors, and the oceanand the horizon all in the same shot,
as opposed to cutting to aclose up of a shark and then cutting
a close up of a face.
And I realized, oh my God,that style of directing is what Steven
Spielberg does in all hisfilms to different degrees.
But one of the things thatfeels so amazing about Jaws, that

(22:04):
makes it feel so real, there'sno moments that feel stagey or they
have those kind of clichehorror buildups that you're literally
watching shots where the sharkwill just pop into and you're not
expecting it to be there.
You'll see it in thebackground or your eye will be drawn
to one place.
But it's because it's soimmersive like that that there's

(22:25):
so much going on in a singleangle that just sets a whole atmosphere
and feel for the whole film.
Yeah, yeah.
And I think spot on, Sam.
And there's so much of thatand he uses so many amazing techniques
as well.
I think it's on full display alittle bit late in at the beach scene,

(22:47):
the first one of the firstbeach scenes where you Get a lot
more of these character interactions.
You get those, like, splitdiopter shots.
And of course, this is thescene with the Alex Kintner death
as.
As well, which we should talkabout for a moment.
But you got that amazing.
Like, Zolli or Doom.
Zolli, dolly zoom shot, allthese trickery.

(23:07):
And even before that, you.
It's so well staged becauseyou've got Brody, who's, like.
He's already on edge.
He's skating the beach, andyou feel the anxiety peeking at.
People are passing by.
And you've got so much visualtension mounting here.
And what Spielberg has done, he.

(23:30):
I was reading that he reallywanted this whole thing to be a single
take, which would have been great.
That would have been.
But how he.
But he.
In a way, he kind of does itbecause he uses, like, people passing
by.
They see, like, these bathingsuits passing in front of Roy Scheider.
And by using that, it's likethese wipes that then you punch in
on his face more and more.

(23:51):
And these are cuts, but itcreates this tension focusing in
on his eyes, and it justraises the anxiety that we see in
him.
But also prior to that, we'reintroduced to these characters and
you just realize this tension,it just keeps mounting throughout
the whole thing.
But let's talk about Alex'sdeath, because this is a.

(24:14):
I think it's just a technicalmarvel as well.
Oh, yeah, this attack, it's,like, graphic and it's chaotic.
What I love about this, Idon't mean to hijack all this, but,
like, I would just love, kindof, like, how avant garde this is
as well, because you see theblood spraying, and we get just a
subtle glimpse of the shark,but it's so fragmented.

(24:37):
And the horror comes from notreally understanding what's going
on.
Him get taken under, but yousee, like, the shark kind of roll
over him a little bit and.
But the real horror is ineveryone's reaction, who.
And everyone has kind of adifferent reaction.
And nobody really fullyunderstands what.
What just happened.
And it's just such a greatpiece of visual storytelling.

(25:00):
It's incredible.
And also, like, that wholescene with his death, what you were
talking about with the wipes,it puts you inside Brody's headspace
because he's sitting there andhe's so nervous and uptight because
he knows there's a shark andhe knows no one else.
Everyone else is oblivious.
And so the guy comes up andstarts talking to him and is like,

(25:20):
hey, I need you to check thiszoning issue.
And then the girl in thebackground is like, and it's her
boyfriend coming up beneathher, or someone is swimming beneath
someone else.
And so when Alex Kittner doesdie and you see the shark roll over
and it cuts to reaction shotsand you see him dragged down with
like a fountain of bloodspurting up, Roy Scheider's worst

(25:40):
fears are consumed.
And that's when it's like thezoom in and the pullback shot on
Roy Schider's face andeveryone is confused again.
It has that real world pointof view feeling.
Because if it was in the handsof a different director, not necessarily
a bad director, the AlexKittner's death would have been more

(26:01):
on the nose or there wouldhave been this kind of hyped up sort
of money shot.
But when you see the sharkroll over, your view is kind of blocked.
So you know somethinghappened, but you can't quite see
it.
And you're like, wait aminute, oh my God, did that just
happen?
And it makes it realistic andworse and more intense because if

(26:21):
an attack like that happenedon a beach in real life, there would
be confusion.
You, you would be like, did Ijust see that?
Like it's got that real lifefeeling of like, oh my God, what's
going on here?
Yeah, oh, absolutely.
It's a wonderfully shot.
It's one of my favorite scenesin the movie.
Yeah, I love that scene.
And like you, I've watchedthis movie a million times.

(26:43):
And one thing I notice ingeneral that it does really well
thematically is you have twoworlds in this movie.
You have the human world onthe island and they're all focused
on modern human things likethe economy and summer dollars and
bureaucratic issues.
But they're on an islandsurrounded by the ocean and the ocean

(27:06):
is the ancient world.
And there's many shots at thebeginning when like, if you see Roy
Scheider, you see ChrissyWatkins hand in the sand, Roy Scheider
kind of just turns behind himand just looks out at the ocean.
And the movie really gives youa sense that almost like not, I mean
this is like a metaphor, butlike it's like a.

(27:26):
In puritan times or way in thepast, if there's a little Walden
village in the middle of thislike ancient forest, there's mystery
out there.
And they're on the shore ofanother world.
And the movie really leansinto that.
And that's why I like it whenthey do go out after the shark.
Finally they're going into thesharks ancient world.

(27:48):
And that's when you hear whalenoises and you see shooting stars
and you.
Oh, my God.
We're going into.
There's this underlying, like, mythology.
Mythology might not be theright world, but, like, the human
world is new and the sharkworld is ancient.
And this movie is about thetwo worlds colliding as a shark literally

(28:10):
feeds on humans.
So it has, it operates on thatdeeper level really well.
Like, and especially if yousee it in the movie theater again,
when the, when this thing ison a big screen, that sense of the
mysteries of the ocean is,like, expanded.
It's just, it's really amazing.

(28:31):
Well said, Sam.
Yes, we take one moment here.
I, I'm gonna play a clip, takea break and we'll come back and talk
some more.
I love this little thing here.
I, I saved this conversationwith Brody and the mayor.
And a pen, Larry.
Yeah, pen.
You know, because you're to dowhat you do best.

(28:56):
We're going to sign thisvoucher so I can hire a contractor.
I, I don't, I don't know if Ican do that without.
I'm going to hire Quinn tokill the shark.
What.
What.
What are you talking about?
Larry, the summer is over.
You're the mayor of Shark City.
These people think you wantthe beaches open.
I love the mayor so much.

(29:17):
And he is like just a peoplebureaucratic tool.
Oh, he's great.
Yeah, he is great.
And his.
He's got some of the bestquotes here for.
Of course, you brought it upin the very beginning.
This one.
I'm pleased and happy torepeat the news that we have in fact
caught and killed a largepredator that supposedly injured

(29:38):
some bathers.
But as you see, it's abeautiful day.
The beaches are open andpeople are having a wonderful time.
Amity, as you know, meansFrench ship.
Literally.
When he, when, when he arrivedon the island to play Mayor Vaugh,
his first few nights, he wentout and this story has so many iterations,

(29:58):
like it's told over and overagain and written.
So I'm.
It's probably not entirelyaccurate, but he had several drinks
and before shooting, he's onhis way, walking back to his hotel
room, and he sees what hethinks is a cat.
So he goes down to pet it.
It's a skunk.
He gets sprayed.
And on his first day offilming, he stinks.
Like, he just smells to high heaven.

(30:19):
And everyone is like, oh, God,like, holding their nose, doing scenes
with him.
So unfortunately, it was not a cat.
So what else we haven't talked about?
Some of the other charactersshow up here.
So Richard Dreyfus Hooperarrived here.
Yeah.
This is.
He is so good in this.

(30:39):
And he's got.
I like how everybody is sogood at counterbalancing the other
characters in this.
The trifecta of Hooper, Quintand Brody is just so balanced in
this.
So he kind of, like,punctures, like, the town's denial
in this.
And I love his humor andcontrast and.

(31:01):
Because Brody is very reserved and.
Yes.
So I just love.
He's the one that's alreadycoming in there saying, this is not
a boating accident.
He knows what's going on.
By the way, Ben Gardner.
I just want to mention one thing.
I.
For the longest time, I was so confused.
Ben Gardner and Quint, I thinkwhen I was a young kid, I thought
they were the same actor, thesame character.
I can see that.

(31:22):
Yeah, I can understand that.
Ben Gardner was a local.
I didn't realize this until recently.
He's not an actor.
And I saw an interview withSteven Spielberg.
If he couldn't get Robert Shaw.
Ben Gardner was on the secondtier of list of actors that could
have been cast to play Quint,although I don't think he would have

(31:43):
done nearly as well.
But he's not a true actor.
But he was.
He was authentic.
He was the real deal.
That's cool.
He definitely had the look.
It's just when it comes toRobert Shaw, who had that gravitas,
especially with some of hisdialogue, it's funny.
I will say, there's so manyincredible shots in this movie.
I will mention a shot that Ithink is my least favorite shot in
the movie that I find cheesy.

(32:04):
It's not that bad because,like, the movie is, like, 100%.
So it's like I struggle tofind it, but I think it's Ben Gardner
and another guy, and they'reon a dock and they put the hook into
the roast and they throw itout into the ocean.
This is when the shark rips off.
The Garden's not one of thosetwo kids.
Oh, that's right.
He's not one of those two.
I confused that.
So the two guys in the dock, Ilove that whole sequence.

(32:27):
There is one shot, just one,where you see the chain flying away
into the water.
And the camera zooms in on theone guy who's whistling and he stops
whistling and he looks at thechain being pulled into the water
and he's like, what?
And it's just the cheesiest reaction.
There's like a kind of a.
A zoom there that I don't like.
This shot, I'm talking About afour second shot.

(32:49):
But like trying to analyze it,I'm like, that is the one shot in
the movie.
I just think because the guy'slike, duh, what's going on here?
Interesting.
I don't recall exactly.
But speaking of that scene, the.
There is one of the greatestmoments of the movie, I think takes
place when that pier is rippedoff and going out to sea and one
of those two characters fallsinto the water.

(33:10):
And it's almost likeHitchcockian how that Pierce slowly
turns around and comes back.
You don't see the shark, butyour imagination seeing that and
that suspense of building, youdon't know, you assume that guy's
not gonna make it.

(33:31):
And I think even though I'vesaw this movie several times growing
up, I kept thinking that guydoes not make it, you know.
Yeah, that whole scene isincredible like that.
That I'm just being nitpickywith that one shot.
It's just a zoom in on theguy's face when he stops whistling.
But when the doc turns around,it is so suspenseful.

(33:51):
And that to me is scarier thanseeing an actual underwater because
your imagination.
And this will sound likesacrilegious to like some like film
students and lovers of film,but there is a lot of Hitchcockian
suspense in this movie and inthis movie and music and in this
movie in particular.
In particular, I actually feelthat Spielberg bests Hitchcock in

(34:16):
this one particular film,Jaws, because I love Hitchcock.
I love a lot of his films, buthis characters are colder and the
dialog can be a little bit stiffer.
Spielberg has incredibleHitchcockian suspense with, mixed
with human empathy and thewarmth of, of these characters that
you care about.
And the blending of that makesfor just an incredible movie experience.

(34:40):
Yes.
And I think that kind ofsegues into another scene that I
want to mention, which is avery memorable scene.
And that is when we skippedthrough a few things here.
But I love.
It's a very quiet moment, veryquiet scene back at Brody's house
where he.
It's a dinner scene and it'sactually proceeded with a really
nice moment with his son wherehe's doing the whole thing with the

(35:01):
hands.
And I love that.
And he's got a really cool,you know, moment where I, you know,
give your dad a kiss orsomething like that because I need
it.
Because he really felt like hedid need.
I needed it at that moment too.
Oh yeah.
And.
But this dinner table scene Ijust love.
Hooper comes in with a lot ofenergy and he's dressed up, which

(35:22):
is kind of Funny.
And I just, I just reallythink it's.
There's a.
Actually this is one of thetwo moments that, that I laughed
out loud with this linedelivery that I never really picked
up before.
And it's when Hooper istalking to.
I think, oh yeah, he's talkingto Ellen.

(35:42):
And Brody's not really sick.
He's really quiet and he'sjust opening the wine, pours like
a gigantic glass.
And this is what I always findfunny, is that I actually captured
this dialogue and this crackedme up.
They caught a shark.
Not the shark.
Not the shark that killedChrissy Watkins and probably not
the shark that killed thelittle boy, which I wanted to prove

(36:05):
today by cutting the shark open.
But you, you know, you want tolet that breathe for nothing.
Nothing.
And I know it's so simple, butlike it's those little moments that
there's so much humor in thisand I feel like that probably was
not in the script.
Like you want to let thatbreathe a little bit.
Oh, nothing, nothing.
Right.
But it's those littlecharacter moments that I don't think

(36:26):
I ever really laughed at thatscene before, that piece of dog before
I like rolled over in my chairwatching it that time.
Because of course Hooper wouldbe like pause his story to like,
you know, this, you gotta letthat breathe.
And that's.
The wine is important.
So that scene is hysterical.
I also love it when Hooper islike, is anyone eating this?

(36:47):
And he just like takes, takesthe food.
Like he basically inviteshimself and he's like, I didn't know
red or white.
I didn't know what you guyswould be serving.
And like when I was younger,like I loved and enjoyed the scene.
But as an adult watching itnow, you realize just how like drunker
and drunker Brody gets for thecourse of the night.
Like first he pours this bigtall glass and then when it cuts

(37:07):
to him on the boat, he's like,I'm telling you, the crime rate in
New York will kill you.
Rip offs muggings.
But an amity, one man can makea difference.
And you're like, oh my God, Inever noticed before that he is literally
like three sheets to the windin this scene.
He ends it up with, I can doanything on the chief of police.
But there's a subtle, likethere are tons of those.

(37:30):
There's even a little momentlike jumping around for a sec.
But when they're in Quint'sshack, Quint like makes his own drink
and Brody has it and he'slike, this is awful.
And it's so subtle and it's soquick you barely catch it.
But he hands it to.
He's like, don't drink thatRichard Dreyfus grab.
He's like, don't drink that.
He's like, it's like, it's awful.

(37:52):
You brought something up thatI actually didn't catch that I've.
I caught before.
But what I want to say is alsoabout the acting.
We could jump ahead to theacting performance of Robert Shaw,
but this is something I nevercaught before.
And I love this so much.
And it is that moment.

(38:12):
I have a note on this herebecause it is.
It's really about the overall,like, what I want to call is, like,
face acting, which is maybelike a really simple way of putting
this, but it's the subtext ina lot of the performances here.
Quint, when, like you said,when Quint offers Brody that homemade
drink, I don't know if it'smoonshine or.

(38:32):
It probably is like somethinglike that or ethanol.
Who knows what it is?
Right, Right.
Like you said, he sips it in.
But Quint.
What I never really picked upbefore is Quint's reaction to when
Brody drinks it.
And Quint sees through thewhole thing.

(38:53):
His smile fades.
And it's not about the drink.
It's kind of like a test ofBrody's spirit.
And Quint is silently judging Brody.
And when he sees that hedoesn't like it, he has no worries.
But he does this brilliant.
Like, we see his, like, smilekind of like fade and he, like, this
is not.
He's not seaworthy or he's notone of.

(39:15):
And if you watch that sceneand it's a little hard to see because
it's kind of like soft focus,I think, when Quinn's back there.
But it's an amazing momentwhen where, like, he drinks it, he's
like, yeah, okay.
And it's such a beautifulcharacter moment from Robert Shaw
that I love.
Yeah, no, I hear.

(39:36):
I love those character moments.
And like you were sayingearlier, there's so such a good,
gritty, like, lived in feel tothis movie.
Like, I am.
I enjoy Jurassic Park.
Jurassic park to me is shinier.
It's more like clean and ithas a different feel.
Feel this movie.
There's like.
It feels like there's dirt anddust and it's like Bill Butler cinematography.

(39:57):
Everything is so rich.
You just reminded me of thatwhen you said that was sort of that
soft focus shot on Quint.
But it's.
There's such a lived in,gritty feel to this, that, like,
Quint's house.
When you're there, even thoughthe place, like, was built and destroyed
really quick, you feel likehe's been living there for, like,
10 years on that island.
Just in a brief scene.
It's amazing.

(40:18):
Oh, yeah.
I actually wrote notes on whenthey hire Quint, what Quint's demands
were.
Do you ever, like.
Like, write these out and makenote of what they are?
He's getting, what, $10,000plus expenses, including $200 a day,
case of apricot brandy,champagne, pate for gras, Iranian

(40:38):
caviar, and a color tv.
I love the color tv.
It's like, oh, a color tv.
Wow.
Between the three of them,there's like, testosterone on the
boat, but there's also alittle bit of, like, an undercurrent
of, like, class warfare,because it's like, Richard Dreyfus,
young, rich kid, rich family.

(40:59):
And like, Robert Shaw isresentful, and he's like a working
class fisherman.
And he respects Chief Brodybecause Brody is like a chief and
a cop, and he's nicer to him and.
And him and Richard Dreyfusdon't get along.
But in real life, too, theywere very competitive.
Like.
Like in real life, like, theywere at each other's, not at each

(41:22):
other's throats.
But I.
From what the sense that I getis Richard Dreyfus was a lot nicer.
Robert Shaw was definitelydrinking too much, and he would be
like, hey, Richard, why don'tyou go, like, climb to the top of
the mast?
Like, I dare you to do that.
So that competition, yeah,kind of bled off the screen a little
bit.
Not quite competition, butjust like, they.
They butted heads a lot.

(41:44):
And Roy Scheider was kind ofquieter, famously, I think there
was one scene where they weretrying to film something, and Roy
Scheider took Robert Shaw'slike, bottle or liquor or glass out
of his hand and threw it intothe ocean.
And all the crew was like.
Because they were worried it.
He was going to be really mad.
Y.

(42:07):
What else?
Let's get into the boat.
You know, orca that sets sail again.
One of the greatest shots film history.
That orca pulling out of theharbor, looking through the shark's
mouth.
And I love that music also.
It's actually kind of like Williams.
Part of the score was reallyuplifting, I remember.
Yes, I love.
I love that.

(42:27):
I also love how, like, anothermovie, them going out to catch the
shark would be like the last20 minutes.
And technically it's thebeginning of the third act.
But it's like the whole secondhalf of the film is a different movie
on that boat.
And that's why I like itbecause you have all these.
All the characters, dizzyingamounts of characters on the island.

(42:50):
You almost feel like the moviecould continue to go in that direction
where they're trying to coverit up.
And then reporters are comingin and the shark maybe kills someone
else, but instead the three ofthem go out on the boat and the movie
becomes this, like, old man onthe sea adventure.
And structurally, I love that.
Just the way this movie flowsand how it's almost split down the

(43:12):
middle between the populatedfirst half and the three of them
on the open ocean for like thelast 45 minutes of the movie.
I just.
I love that.
Like, that's when I saw it.
I saw it as a little kid, thenI forgot about it when I saw it again
when I was 13.
It was that whole second halfwhere I was just like, this movie
is incredible.

(43:33):
Yeah.
And actually it is pretty muchbisected in half, but each half has
its own three act structure also.
Right.
Which is pretty cool.
So it's almost like a six act movie.
But.
Yeah, it is.
Yes, it's.
It is unusual in a structuring.
Yeah.
So.
Yeah, yeah, go ahead.

(43:54):
No, I was just gonna say I'mjust amazed with the difficulty of
the production and the writingand rewriting of the script while
they were shooting.
It's amazing how well thismovie turned out.
Sometimes when there'sproduction disasters, you can feel
some of that anguish on the screen.
Totally different movie hasnothing to do with this.
Big fan of David fincher.

(44:15):
I find Alien 3 atmospheric and fascinating.
I enjoyed the movie, but whenyou watch it, you can feel the tough
making of it and disjointed scenes.
Jaws worked out so well thatthe difficult making of it is so
legendary because it turnedout so amazingly.
When you hear about what wentinto making that movie and what it

(44:37):
was like shooting it, it's awonder they left the island with
any footage.
They would.
They weren't even aware of tides.
They would set up shots, theboat would drift and like, sailboats
would go by and they'd have tostart over like it was a nightmare.
Y.
All right, one more clip.
Take a quick break, then we'llwrap up our discussion in the.
For Jaws, you go inside the cage.

(45:02):
Cage goes in the water.
You go in the water.
Sharks in the water.
Our shark.
Farewell and to you, fairSpanish ladies, farewell and ado,
you ladies of Spain.
For we've received orders forthe sail back to Boston and soon

(45:28):
evermore.
Shall we see you again.
The best part about that is,is Hooper who's smiling and I think,
punch him in the face.
He's smiling.
He's like, this guy, man.
This freaking guy is too much.

(45:49):
I honestly, I think myfavorite shot in the whole movie.
And I wanted to give a shoutout to our mutual friend John Trafton.
He has a podcast.
This movie saved my life.
They did great podcast.
Did a Jaws review.
I have a little self interestbecause I had a little cameo appearance
on it.
But his favorite shot as wellas mine, it's only a five second
shot.

(46:10):
It is Quint against the.
Silhouetted against the sunseton the orca.
And like Brody is like.
But we should radio in and weshould go back.
And the scene just abandonshim and cross dissolves and it's
just him black against the sunset.
It's not even this like wide,spectacular money shot.
It just sets such a mood.

(46:32):
I was hypnotized by that shotas a kid.
And that's one of my favoritefavorite shots.
It just.
There's something about it.
I interpreted it as.
And this is just me.
I mean, obviously this is notthe meaning of the shot at all.
But for me watching it when Iwas younger, when I was 13 and I
saw Quint against the twilightsky, it seemed to be like a portent

(46:54):
of things to come.
And I got this feeling oflike, this is the beginning of Spielberg's
career and there's amazingthings out there on the horizon.
That.
That shot just gives me thisfeeling which still to this day,
it gives me the chills.
I just.
It's like five seconds long,but I love it.
I like that.
Yeah, yeah.

(47:14):
No.
What else happens on this boatthat we can talk about?
There's the.
There's a lot of.
Just so many great moments in here.
I.
I love the beer can.
Plastic cup.
Yes.
Moment that was written.
That was.
Carl Gotle wrote that.
And like he was.
They were trying to enticeRichard Dreyfus because they.
He came to Boston and he justdone this movie called like the Apprenticeship

(47:35):
of Diddy Kravitz, which he didnot like.
And Carl Gotlib in the Jawslog says, apparently it's kind of
a poorly made film, but well acted.
I've never seen it.
Richard Dreyfus said he'd likethe script, but like he wanted to
watch the movie rather than bein it.
And they were trying to entice him.
And Spielberg literally said,I don't want to make a film I want

(47:56):
to make a movie.
And Jaws is really a great.
Jaws is a movie movie.
It's a movie, movie, movie.
I remember watching thatinterview with Richard Dreyfuss where
he said that same thing.
This is a film he wants towatch, not be in.
And then he was.
I think the movie came outthat he was in previous.

(48:17):
That the previous movie was in.
And he said that he saw hisface and really big on the screen,
and he's like, oh, my God, I'm terrible.
And he's like, oh, my God, Igotta take whatever movie I can get
next.
So he called up StevenSpielberg, like, I'll take it.
I'll take it.
Whatever it is, I'll take it.
And he's in Jaws.
So, yeah, it's amazing.
And I love how career.

(48:38):
He's like, oh, my God, I gottado something quick before they find
out how terrible this is.
But, like, I love howSpielberg is so focused on entertaining
the audience because, like,everything on the boat starts out
suspensefully, but once he'sgot you locked in and you're buying
the concept and you're just onboard for Jaws, the climax gets larger

(49:00):
than life.
I mean, the shark goes underthe boat.
It's dragging the boat.
It's.
The boat is sinking, and thethree barrels are chasing them into
shore.
As Quint, I also like howcleverly they invent problems to
get the situation worse for them.
So Quint destroys the radio,this baseball bat, which obviously
could have saved them.
And then Quint, because of hisego, pushes the ship too hard.

(49:24):
So Quint, in a sense, createsproblems for the suspense to get
worse.
And so when he has thishorrific death, there's kind of this
poetic justice of like, oh, myGod, he survived the Indianapolis
only to get eaten by Jaws inthe end.
It's like a vicious circle.
It's his character arc.
Like he.
He went down with the beast.

(49:44):
Like Ahab.
I have, well, speed.
The whole Ahab comparison isall over.
And I think that there'ssomething that, in fact, I want before
we get to that, because I.
The whole Indianapolis speechis obviously a very iconic moment
in this.
There's also.
In that scene is anothermoment that I really love, and that
is the everyone comparingtheir scars in their injuries.

(50:09):
And it's just.
It's just great.
But the Indianapolis monologueis a wonderful moment.
Moment harrowing like that.
The whole scene.
One of those.
I think, one of the mostpowerful monologues in cinema.
Really?
Yeah, it's definitely great.
And then comes after that, amoment of levity.

(50:30):
Where Richard Dreyfus starts singing.
And you want to do it with me?
Yes.
And one, and a two and a one,two, three.
Show me the way to go home.

(51:10):
Does it get worse and worse aswe go?
You will always have mesinging this song.
Yeah.
I'll play the real thing for asecond here.
They do it better, sort of.
This is in my head all thetime, Sam, actually.

(51:34):
Where we're going.
Wherever I may roam by land or.
Sea or f.

(52:01):
Show me the way.
To go home I'm tired and I.
Want to go to bed.
But, like, honestly, anytime,like, I.
I'm stuck at work late.
Like, this song pops into myhead, and then I think, like, some
sharks gonna probably attackme through the window.

(52:23):
No, it's brilliant.
And I love that moment rightbefore that in the scar comparing
scene where, like, there's one.
One shot of Roy Scheider andhe just, like, looks at a scar.
He's like, no, I can't compete.
I can't.
Ahab was obviously a majorinfluence on this.
I think, like, Spielbergmentioned somewhere that he wanted

(52:45):
to, like, somehow get rightsto Ahab to be somehow more in the
story.
I don't really know.
Like, to make.
They actually, like.
They shot a scene where the.
Where there was anintroduction of Quint watching Moby
Dick.
That's what it was, maybe.
And they filmed it, but thenthey had a rights issue where, like,
the Moby Dick team was like,no, you can't use that.

(53:06):
I've seen that scene.
I don't know where I saw it.
It was good.
Kind of jarring.
I like it.
But I do prefer his blackboardfinger entrance.
I just.
Yeah, that's what they did instead.
And.
But so clearly he goes fullAhab in this movie.
He clearly.
Obviously.
And.
But what I think is reallyneat about the twist on this, in

(53:28):
some ways is that there'sactually a scene in this where.
During this where Quint isshooting the harpoon and the shark
is dragging the orca.
And this is, like, where Quintis really gone now.
Full Ahab.
And there's a turning pointwhere he is.
Quint knows he's met his matchand he's ready to die.

(53:48):
And it's become where I thinkmany times I watch this where, like,
you kind of, like, in someways hate Quint because, oh, man,
this guy's so arrogant.
But really, it's fatalism.
Like, he.
He is like, he's destroyingthe radio because he doesn't not.
He wants to go down with the ship.
He wants to fight the Shark tothe death.
And he takes.
He's accepted that he'sprobably gonna die.

(54:10):
In this and he wants the glory too.
He's like, yeah, but what'sinteresting twist on this is that
when Quint actually does die,he goes down like a chump and he
is screaming at his fear andhe's going down kicking and screaming.
It is not a noble death.
No, it's violent and awful and it's.

(54:31):
Like, just like undignified.
And it's.
Yes.
And that's what's so ironicabout this, that it's actually not
what he envisioned it would be.
And he's scared.
I love how scared he is.
And I.
I like.
I love.
At the end.
Towards the end, where, like,you see, Quint's really afraid.

(54:52):
And also Richard Dreyfus isterrified once the boat stopped.
And he's realizing, like,there's that one line where Roy Scheider
is.
Looks at Richard Dreyfus.
He's like, have you ever seena shark do this before?
And Richard Dreyfus cuts himoff and is like, no.
Like, they are just.
They are.
I love how terrified they areat the end because all their expertise

(55:13):
and everything goes out the window.
They've never seen a shark dothis before.
Jaws is like, no pun intended,showing its teeth because, well,
this is a shark.
Regular shark behavior.
Then towards the end, theshark is like, full on predator,
hunting them down.
And both Shaw and Dreyfus arelike, holy.

(55:35):
Like, we can't believe it'sdoing this.
It's chasing us.
I can't believe it.
That's what I love about it.
It just Spielberg knows thathe's got the audience and he just
ratchets it up as high as itcan go and.
Yeah, but no, I hear you.
Quint's death, that's what Ilove about it.
It's so preferable if he hadthis cool, like, smooth, like, I'll

(55:55):
take him and, like, shoots himand then just gets sucked underwater.
It wouldn't have had the same impact.
I love the fact that hisdeaths was messy and violent and
screaming and just like, itwas just raw.
It was great.
Yeah.
So I think at the end, Brodyhas a stand.
That boat's going down and shewas the oxygen tank.
I think mythbusters has saidthat this is not possible, but whatever.

(56:17):
But I love it.
I just.
It's like, it's such asatisfying, like, even though it's
impossible, it's such asatisfying, like, blow up smile,
you son of a.
Proof.
It's perfect.
I think in the picture PeterBenchley novel.
Yeah, multiple times.
And the shark just, like,sinks to the bottom.
And like, that would have beenso anticlimactic after all that.

(56:37):
I love the explosion.
Spielberg, early on, beforethey were shooting, said this hilarious
thing where the producers,Richard Zanuck and David Brown hired
him, and they're like, you didso well with duel in the truck.
And Spielberg wanted to doJaws, but he said something along
the lines of, I don't want tobe known as just a shark and a truck
director.

(56:58):
Which I thought was funnybecause he's like, come on, guys,
I want to be known for morethan that.
Right.
Which is hilarious.
And speaking of duel, he didrecycle that.
The sound of.
I don't know what.
I forgot what animal was.
But that roar, when thathustles over the cliff, you hear
the truck, like, dying and roaring.
Same thing when jaw.

(57:19):
When the shark is descendinginto the ocean after it's been blown
up, you hear that same.
Exactly the same piece ofaudio, I think, is what he said.
Recyc.
Exact same audio, recycled audio.
I love how he, like,thematically tied that in.
I also like how the movie endsperfectly as they're swimming away.
He's like, what day is this?
And they're like, Wednesday orTuesday, I think.

(57:40):
I love that the movie juststops there and it shows a wide shot
of them coming up on the beach.
And the John Williams music is emotional.
I like that.
There's no.
I don't.
It for.
It's just perfect.
Like, it didn't need anotherfive minutes where they're heroes
and they're peopleinterviewing them on the beach.
Like, what happened out there, guys?
Like, I find that movie, theend of the movie, surprisingly emotional.

(58:04):
And one thing you reminded meof how Quint's death is so brutal.
I feel like all the.
Everyone's death in that movieis very violent and animalistic.
No one has a kind of stylizedHollywood death.
Alex Kitner or Chrissy Watkinsand Quint.
All their deaths are sovisceral and brutal.

(58:26):
And especially the guy in the pond.
Oh, God.
He's like, you guys okay over there.
His death is brutal.
Then when his leg just sinksout, like.
Oh, my God.
Yeah, yeah, absolutely.
Yeah.
I think we've.
We've covered a lot of this.
I think we're good.
I would like to get to ourrating and our decision on this.

(58:49):
But.
But, Sam, before we do that,something in this field could be
releasing the chemical intothe air when there's too many of
us together.
Don't eyeball Me boy.
I see mother driving up and down.
The street looking at me.
I'll be your stepfather abouta week.
It's a bad time, Bob.
I'm serious.
If I leave now, I'm not coming back.
You ever hear the expression,you got.
A face only a mother can love?
Let's just stay ahead of the wind.
It is time for wall castingwhere we recast somebody from this

(59:13):
movie with Mark Wahlberg.
Now this after I want to dothis, I want to surprise you with
this, Sam.
And after I did this, Irealized that this is actually not
could be easy or hard, butMark Wahlberg was in a movie not
that unlike this with thePerfect Storm.
So it feels like this would betoo easy.
So I want to challenge you, Sam.
Find somebody, maybe a deepcut in this movie.

(59:35):
I have one.
But you know, where would yougo with this?
Because it feels too easy tojust throw it.
Like you could replace Quintwith Mark Wahlberg because he's done
this.
So when you.
When you say deep coat a deepcut, you mean use.
Try to use Mark Wahlbergsomewhere in the movie in a role
very.
That you would not think ofhim at first is what you're saying.

(59:56):
Maybe not.
I.
And I got one.
You go first.
I got to think about.
I'm fascinated.
What do you think?
I want to recast him as Deputy Hendrix.
What's the matter with my printing?
So Hendrix, he's that likeawkward under prepared.
He's that small town deputywho I.

(01:00:16):
He's.
I don't.
I'm trying to figure out whatother movies I've seen him in, but
he's really good in this.
But I just think that MarkWahlberg would add something huge
to this tiny role becausepicture Mark running out like he's
in Lone Survivor, screaminglike, everybody out of the water
now.
I don't care if you're in the kayak.
Sharks don't care about badges.

(01:00:36):
He would over commit to every task.
Like Brody says, mark, tapeoff the area.
And he's like, you want policetape or electrical tape?
He'd be overthinking everything.
I got both in the truck.
We gotta lock down the beachtighter than Fenway park during the
playoffs.
He would totally over committo everything that Brody asked him
to do.
That is brilliant.
He would be.
He would definitely be intense.

(01:00:58):
That's a good one.
I, by the way, speaking ofHendricks, I will say a really brief
mention.
I'm not going to go into it.
We'll.
Maybe we'll talk about someother time.
JAWS 2 is a decent sequel.
Obviously it does not hold acandle to this film, but I've always
enjoyed Jaws 2.
I must say not to throwHendrix under the bus, but the actor
who played Hendrix gets a lotof screen time in Jaws too.

(01:01:23):
And, man, some of his actingweaknesses come through.
I feel cruel saying that, butthat's like.
Because he's this perfect sideSpielberg in character, but, but
in Jaws 2, Hendrix is frontand center a lot.
And some of his lines, man, Ifeel bad.
Acting is a challenge.
I'm throwing him under thebus, but I have to say what I feel.
My apologies.

(01:01:44):
And I know his name and I'mblanking, but let me see.
Mark Wahlberg, boy, that is.
There's such, as you say, lowhanging fruit.
Jeffrey Kramer is the actor.
Jeffrey Kramer.
Jeffrey Kramer.
I apologize.
You did a worthy job.
Maybe it's not your fault.
Gino Zwark directed Jaws too.
And yeah, you got, you see.
But hey, you got a bigger partin the sequel.
It's pretty cool.

(01:02:05):
Jeffrey Kramer's still with us.
He's 79 years old.
Oh, happy to hear that.
And I'm gonna.
I will.
My apologies.
Send them a link to the show.
Not only he has been dissed byyou, he has been recast by me.
Poor guys.
He's a good guy.
Mark Wahlberg.
Oh, my God.
I don't, I'm trying to think of.

(01:02:28):
Oh, God, who the hell, whowould I pick, man?
I mean, I was going to go withthe obvious Brody, but it's way too.
I can't do it.
I mean, his Brody would be so energetic.
He'd be like, well, not only.
We're not only going to haveto close the beaches, we're going
to have to hire someone tokill the shock.
This is a big deal, Bob.
You can't do this.

(01:02:48):
I don't know.
Maybe I cast him as one of the.
As the guy.
I think it's Ben Gardner whohas that shot where he's like going
and he's like, wait a.
Like, see what our mothers chase?
A blobbity blah.
And he has.
I would do that.
But with Mark Wahlberg's high,like M.
Night Shyamalan energy wherehe's like, guys, we gotta catch it.
Get the dynamite.
We're gonna get the shot.
If we don't get it first, they're.

(01:03:09):
Gonna get the money.
We need the money.
I got a wife and I got kids.
And the summer season'srunning out.
I need $5,000.
Throw that thing in the water.
So, yeah, I guess I'd cast himas Ben Gardner.
That's good.
All right, let's get to.
I don't.
I forget, do I have a.

(01:03:29):
Do I have a bumper for our verdict?
I don't remember.
I don't know.
It's been a long time.
It's getting late, too.
So let's talk about our ratingand vault decision on this.
Sam, what is this movie?
Is this.
Is this a good movie?
Is this a.
What do you get this from oneto five?
I would give it two and a half.

(01:03:51):
Not very suspenseful.
No, I can't even.
I can't even joke about it.
Like, it just.
I was like, hurting my body ona cellular level.
I mean, for me, it's a.
It's.
This is the movie that got meinterested in movies and is the reason
why I took an interest in.
In directing in the first place.

(01:04:12):
So many people say that thismovie is just iconic.
It's beloved across the world.
I'd have to give it, for mepersonally, five stars.
And absolutely, I'd put it inthe ball.
Bet you didn't see that one.
Didn't see that one coming.
And I had nothing more to sayabout this.
I don't think we've said asingle bad thing.
Except for the one shot thatyou just think is.

(01:04:32):
And the shot isn't that bad.
I just thought the guy'sacting was really cheesy.
When he stops, he's like,what's going on?
Yes.
This is a five star movie.
Yeah, it's in the vault.
Yeah.
All right.

(01:04:53):
We've added to it, so yay.
It's been a while.
Let's see what's left here.
We are just going to.
We.
Let's do our recommendation shelf.
Sir.
What?
Are either one of these any good?
I don't watch movies.
Well, have you heard anythingabout either one of them?

(01:05:14):
I find it's best to stay outof other people's affairs.
You mean you haven't heardanybody say anything about either
one of these?
Nope.
Well, what about these two?
Oh, they suck.
All right, time forrecommendation shelves where we recommend
a movie that to.

(01:05:36):
I guess as a double featurewith Jaws.
And to this episode, we wantedto go with High Seas Adventures,
something as a theme with Jaws.
I just pulled this out of my ass.
All right, you know, what canI say, Sam?
I was kind of like throwingthis idea.
I was predicting you weregoing to go with Master and Commander,

(01:05:58):
so I was hoping that you wouldn't.
But I will not go.
I will not go with Master and Commander.
The joke here, for anyonelistening, is that I've recommended
that movie about 4,000 timesduring the 100 episodes previous
to this.
That's more recommendationsthan we have episodes, Sam.
How is that?
Yeah, so basically Irecommended it like 200 times per

(01:06:20):
episode.
That's terrible math.
But something like that.
Do recommend it.
Love that movie.
But for this I will go with adifferent route.
I would say if we're doing adouble feature, it's hard because
after you watch Jaws, it's.
There's nothing that can top it.
So I don't know what orderthis would come in.
This is a movie that I find interesting.
It's very flawed.
It's not perfect.
I've always been a big RonHoward fan.

(01:06:42):
Sometimes his films are hit or miss.
His great ones are great, great.
And some of the ones thatmiss, really miss.
This movie is kind of in the middle.
It's called in the Heart ofthe Sea.
Came out in 2015 earlyDecember and got smoked by the Force
Awakens like it just did.
Not box office death.
But it's an interesting movieabout a novel that is based off the

(01:07:08):
real white whale that HermanMelville was inspired by what he
based his novel Moby Dick on.
And I forgot to write notes,but I think the name of the ship
in the movie is the Endeavoror something like that.
But it's based on a real story.
There was a white whale thatwreaked havoc on a whaling ship and

(01:07:32):
kind of put a chink in thearmor of the whaling industry because
this had not happened before.
Really interesting movie.
Chris Hemsworth is in it.
I like it.
It's flawed.
It has some not great computergraphics and a kind of an odd pace.
But it starts in New Bedfordand we see the world of that.
Ron Howard makes someinteresting directorial choices and

(01:07:54):
it really is a high seas adventure.
They go way out into thedoldrums, out past South America,
around into the Pacific.
Some really cool spectacularscenes with the whale.
And not, I mean not to getreveal everything, but they do get
stuck on an island and theyhave to resort to cannibalism.
So it's an up and down movie.

(01:08:15):
But I've always enjoyed it.
I've watched it a couple times.
I would cautiously recommend it.
It might not be for you.
It's oddly filmed, strangeediting style, weird color grading.
It's.
There's a lot of green hue inthis movie.
But it's an experimental film.
I enjoyed it.
I would recommend in the Heartof the Sea.
Interesting Ron Howard movieand I love the score.

(01:08:38):
I'm blanking on the name ofthe composer.
I know that.
But the music is amazing andI've played it in my car over and
over again.
So I see Roque Banos.
Yes, Roque Banos.
That's it.
He just.
It is a moving score.
I love it.
The score is like, makes themovie for me.
I think.
I'm glad you brought this upbecause this is a movie that I saw

(01:09:00):
and then completely wiped frommy memory.
I know I saw this and I thinkit's because I was really looking
forward to this and I think Iwas disappointed by this.
I don't remember much aboutit, but I'm curious if it might land
on me differently now.
I can really understand that.
It really is not great.

(01:09:21):
It's kind of all over the place.
And if you were really lookingforward to it, like, I can see it.
Disappointing.
I just came into it blank withno expectations and I find it very
atmospheric.
And I like the scenes wherewith Brendan Gleon and the actor
who plays Herman Melville alsoplayed Q in the last few Daniel Craig
movies.
Ben Wishaw.

(01:09:41):
Yeah, Ben Witcha.
Yeah.
Their interaction is great.
I just find the atmosphere andso it's flawed.
But it's a really interesting movie.
I like it.
I would give it a solid three stars.
But you, you can't.
If you're expecting thisincredible movie that's going to
be like.
That's gonna rival Jaws or belike spectacular, you will be.

(01:10:01):
You'll definitely be disappointed.
Yeah, I think, yeah, I'm notgonna comment because I don't really
remember much about it.
I just think that it wasprobably in 2012 that I actually
did read Moby Dick and I wastrying to like get that cinematic
experience and it was like.
And it was just, just.
I know it didn't land on me,but hey, you know what?
I might be worth watchingagain sometime.

(01:10:21):
I don't know.
The trailer for it was incredible.
Probably better than theoverall film, but yeah.
All right, well, thanks forthat recommendation.
The movie that let's see, I amrecommending is called all is Lost.
Have you seen this one, Sam?
I have seen that movie.
I enjoy it.
Yeah.
This is one I really like andit holds a couple special places

(01:10:44):
in my life.
So first off, I got to meet JCChander back in, I think 20, 2012
and he just came off hisdebut, Margin Call, which love, love
that movie.
It's a really interesting.
It's almost like a Sorkinesque story about an investment banking
firm which is trying tonavigate this financial crisis.

(01:11:06):
It's a really.
It's a cool film.
Zachary Quinto is in that.
Yes, yes.
He spoke at Indie Film Weekand I got to ask him a few questions
afterwards.
And they're both probablyreally stupid questions, I'm sure,
but I won't forget that moment.
So he was almost like a nobodyback then.
I think that movie hadn't evencome out yet.
I'm pretty sure he was talkingabout it.

(01:11:27):
So anyways.
But years later, All Is Lostcame out and actually many years
later.
And that became one of myfavorite films.
But I've returned to this filmseveral times for various reasons
and just to give some context.
It's about a man played by Robert.
Robert Redford, I think, in astunning performance, battling the
elements in a fight forsurvival, alone in the open ocean.

(01:11:49):
But what I love about thisfilm, that it's almost entirely dialogue
free.
And when you think about it,it almost makes complete sense.
If you're stranded at sea andno one around, you're not probably
talking all the time.
You're just doing right.
And Redford emotes so much with.
With is just his eyes andexpressions and that's what.

(01:12:10):
Actually I think he's perfectfor that because he's got.
At his age, he's got such thislike wrinkled up face and his eyes
say so much.
Even more before he had allthat plastic surgery, which is too
bad.
But still it's perfect casting.
And honestly, it's probably myfavorite performance of his in the
last 25 years.
Maybe since the Last Castle,which is one of my favorite films

(01:12:32):
of his in the last.
Last.
That's a good movie too.
I love that.
I saw that recently, actually.
Yeah.
So this film also had a biginfluence on me when I was preparing
for one of my own projects afew years ago called the End Is Nigh.
And I made that with mydaughter Chloe.
And this, this was likemandatory viewing for me and Chloe
as I want her to studyRedford's performance to see how

(01:12:55):
you can communicate withoutsaying anything at all.
All.
And I think Chloe actually dida really good job in her performance.
And so I guess I shouldprobably go ahead and thank Robert
Redford for that and how wellshe did it.
But it's really truly, Ithink, a master class in.
In that style of acting.
Yeah.
This is why I love the film so much.

(01:13:15):
And it's just so much tensionand that mounts in this film.
So I love this film.
And it's just one man byhimself, battling the elements moments.
I love movies like this.
It's also brutally realisticand suspenseful.
You just watch and you'relike, oh my God.
Totally unrelated.
Literally just made thisconnection now.
But in in the Heart of theSea, there's the actor Benjamin Walker.

(01:13:39):
He is like one year youngerthan me.
I really like him a lot.
He plays Gilgalad in the Ringsof Power and I just now realized
it was the same person.
He plays the captain in theHeart of See Random Fact.
But I like him as an actor a lot.
I always wonder where elseI've seen him in things I have to.
Yeah, yeah.
I literally that did not thinkof that until just now.

(01:14:00):
I was like, wait a minute.
That's the same guy.
Wow.
I feel like there was.
I.
Yeah, I know you mean.
Yeah.
All right.
So that is.
Those are our recommendationsfor this episode.
That probably brings us to the end.
Is there anything else we wantto mention and anything recently
you saw that you want to talk about?

(01:14:22):
I would just give a quickshout out to.
I saw the live action the 2025how to train your Dragon and I honestly
thought it was decent.
I agree with all the reviewsthat say, honestly, there isn't quite
a justifiable reason for themovie to exist because the third
animated film only came outsix years ago and clearly like they

(01:14:43):
want to milk the profitbecause what Hollywood company doesn't?
But I must say I found it tobe a cut above a lot of other Disney
live action remakes.
It's not Disney, it's Universal.
But I thought the heart of thestory was there.
I thought the flying sequenceswere great.
I actually really enjoyed it.
This is just a stylistic thing.

(01:15:04):
They look like the costumedesign and the look of the movie.
They look like sometimes likeamusement park.
Cause players and I would havepreferred to have seen a very gritty,
realistic, dark viking world.
But that being said, I thoughtGerard Butler's performance was excellent.
I thought he added a lot and Ithought the other actors were good.

(01:15:26):
But if you want to see thatmovie, I would see it.
For his performance.
He added a lot.
And I thought the director,Dean Dublois did a good job of.
Clearly he's remaking theanimated film, which he also directed,
but he adds human weight andhe puts in some story moments and
changes it up where he can.
Because I think Universal'sultimatum for him was to make the

(01:15:48):
exact same movie again.
And to his credit, he changessome things up, some improvements,
some interesting characterdevelopment developments which for
me made it worth seeing.
So I was pleasantly surprised.
I did not think it was goingto be great.
I enjoyed it.
I'd give it Like a BB plus.
Well, you say like how do they justify.
Why does this movie exist?

(01:16:08):
Well, as of today, $220million is why it exists.
That's exactly why it exists.
Exactly.
And already the sequel hasbeen greenlit, so duh.
Yeah.
Which I don't mind because Ithought the second animated film
was okay, but I'm actuallylooking to the live action sequel
because it might be better.
The first one's a classic.
The second one I feel ismuddier storytelling.

(01:16:29):
So I can't wait to see whatthey do with whole the live at.
Why not?
I'm on board.
Do all three of them.
I'll be there.
Yeah.
Yeah.
Excellent.
Yeah.
I don't know if I was to see.
I was not in a big rush to seethis because I am just really down
on the liveaction remakes, but.
Oh, I hear you, man.
Me too.
Yeah.
But I would surprise.
I was not expecting to like it.
I was kind of surprised.
I will say.
I did take my kids to see theLilo and Stitch live action which

(01:16:55):
I actually thought was not,not bad at all.
So you can't really.
I'm contributing to thisproblem and it actually wasn't bad.
It wasn't bad.
The only other thing, I havenot been to many movies out and about.
I've been so busy, we didn'treally do a catch up session.
You know, we could have donethat up front.
But I think it's good that wegot into the movie.

(01:17:16):
The one thing I'll just say ismy movie watching has been limited
lately.
I've been so busy.
I did a play in the month ofMay which was a lot of fun, rewarding,
but kind of glad we're past that.
It was great.
The only other movies I sawout I saw you had on your list here
as well was Sinners andMission Impossible 8.
Sinners I thought was fantastic.
I thought that amazing.

(01:17:37):
One of the best movies I'veseen in the last year or two.
Mission Impossible 8.
I'd like to actually ask youabout that.
Where does that, where doesthat rank on your Mission Impossible
oeuvre?
Well, here's the thing.
I liked it.
I thought the submarinesequence with Tom Cruise and the
biplane sequence were amazing.
I must say though, I felt themovie was top heavy with an enormous

(01:18:00):
amount of expository dialogueand callbacks and hyping you up and
remembering other movies so much.
So remember that.
It's like, remember this,remember that?
Remember this character?
What about this?
There was so much hype and so,so much building.
I Found the movie to be alittle bumpier and less fluid than
what I felt were superiorentries from the same director like

(01:18:23):
Fallout or Rogue Nation.
I didn't think it was bad.
I just thought it was a little.
The stakes were so high.
It was so hyped up.
There was so much repetitive,expository dialogue.
I honestly think the filmcould have been a half an hour shorter.
And I wish that there was moresmaller action sequences peppered

(01:18:45):
in.
There was this really coolfight in the log cabin in the Arctic.
And I felt that what some ofthe other films had were you always
have a huge spectacular actionsequence in all the Mission Impossibles.
That's a given.
I felt this film was missingsome of those smaller scale set pieces.
If they had a little more ofthat peppered in, a little bit shorter

(01:19:05):
bit, a little.
A little less bludgeoningexpository dialogue, I would have
liked it better.
I'm.
I don't know where it falls inthe ranking, but I think I even enjoyed
the Final Reckoning.
I mean, Dead Reckoning Part 1,slightly more than this film.
Good.
But I was just.
I found I was kind ofexhausted by it, but it wasn't bad.

(01:19:26):
Decent review, but just a little.
It put so much into it.
It was like, this is the finalone is huge.
It's huge that I just felt rundown by it a little bit, if that
makes sense.
Yeah, I know.
Totally get that.
I did like it.
I totally hear you on the callbacks.
There was a lot of like.
And not just like.

(01:19:46):
It was almost like just takingclips of like little montages of
past scenes to jog our memory.
I actually did take the timeto watch the previous seven films
leading up to this last.
This pre.
This last film in like a twoweek period, which was exhausting.
But I'm glad I did it becausemy God, if I didn't.

(01:20:08):
There were so many callbacksto, I think almost every single previous
Mission Impossible movie.
And some deep cuts too.
Deep cuts and callbacks.
And I don't mind callbacks.
Like, I think they're great,but the problem is when there's so
many of them, they remind youof your experience of the other movie.
And it's like.
But wait a minute.
We're supposed to be tellingthe story of this movie.

(01:20:29):
Yeah.
This might be an unfairquestion, but I'm curious.
Do you have a favorite Mission Impossible?
I was going to ask you that as well.
I think it might be a.
Well, my.
It still could be GhostProtocol, because the.
The.
What is the tower?
The tall.

(01:20:50):
Oh, The Burj Khalifa in Dubai.
Yeah, that.
That still is the pinnacle ofMission Impossible for me.
That whole sequence andfallout is great.
Rogue Nation is great.
I don't know which of those three.
It probably changes betweenthose three, but those three is the
sweet spot for the franchisefor me.

(01:21:12):
I agree wholeheartedly.
Honestly, I think GhostProtocol might be my favorite one.
Even though I've seen Rogueone, I find.
I can't believe.
Rogue Nation I find is reallygood for repeat viewings, but I feel
like Ghost Protocol isprobably a better.

(01:21:32):
Ghost Protocol might be myfavorite, but what you just said.
I'm on the same exact.
I feel the same exact way.
Yeah.
And I'm high on MissionImpossible 3 too, because I think
it actually is the best villain.
Oh, Philip Seymour is great.
Mission Impossible 3 has gone up.
I saw it in 2006.
I hadn't seen it for years.
I watched again recently.
I like it a lot.

(01:21:53):
It's a good one.
Yeah.
It's got the least amount ofstakes, except for it's got the best
villain.
But Philip Seymour Hoffman'slike saying, like, I'm gonna hurt
her.
I'm gonna hurt her.
Like, he is just.
I just love him so much in that.
And I There.
It's a flawed movie.
The.
There's so much.
There's a lot of flaws in that movie.
And when I watch.
Watched it again about a monthago, like, there's so much good in

(01:22:15):
this movie.
I think this is where we areintroduced to Simon Pegg and a lot
of the team in that.
But yeah, when Phil.
See what happened is like,Ethan, you hung me out of an airplane.
You can always tell someone'scharacter when they don't have to
be nice to someone.
Yeah.
There's a lot of good stuff.
And there's a lot of things inthat that set the tone for the franchise

(01:22:36):
going forward.
Forward.
And even more so with GhostProtocol in Brad Bird, the way he
handled it.
But I go back to MissionImpossible 8 for just a moment because
it is very.
It's very bloated.
And I do kind of look at.
There's one.
There's two things just wantto mention.
The major callback isobviously one of the characters that
they brought back from thefirst Mission Possible.

(01:22:58):
I forget his name now.
I'm blanking at it.
I liked that.
That was great.
It's not just a little cameohe has.
He's not just.
He's not just there.
He delivers a really fullcharacter and has stakes and his
wife in it.
Like, I was really Invested inhis character.
I want him to do more.
I hope he gets worked thiscat, this actor, because he's really

(01:23:20):
good in this movie.
Me too.
He was great.
Yes.
On the flip side of this, Ithink one of the problems with Final
Reckoning and also with DeadReckoning is the villain that we
have this character, the badguy really is not a bad guy.
It's AI.
It's this thing.
And I think that was actuallyin the.

(01:23:42):
When they were conceiving thistwo parter was a mistake.
Because the only thing we haveis a 1:1 person played by I think
Esai Morales.
I think that's.
Is that right or am I get thewrong person person here?
No, I think, yeah.
Morales plays like.
Like the human personificationof somebody who's sympathetic to

(01:24:04):
this AI taking over the world.
He is not a strong enoughvillain to carry this.
And I wish there was something else.
The fact that the bad guy isnot really even a person.
It's this entity.
I hate the thing called theentity so much.
I think it sounds cheesy.

(01:24:25):
It sounds like they could notthink of anything better.
I don't like that.
And I think it's a weakness towhat I think is like one movie, this
Dead Reckoning.
I hear that.
I thought the entity was sortof mysterious in Dead Reckoning Part
one, but by the second filmwhen like Tom Cruise hooks into it
and like has all these likevisions, I was like, what am I watching?

(01:24:46):
Like a Star Trek dooms?
What is this?
It becomes like science fiction.
Exactly.
I think that MissionImpossible needs to stay in its lane
and year it off.
Stick with the stunts, keepinto like espionage and stakes that
maybe might need to be more tangible.
I think it was a mistake goingthis route with the entity being

(01:25:08):
the Big Bad.
So that's all.
I really got it.
I think it was okay.
Would you say that despitesome entertaining set pieces that
Mission Impossible to two isprobably the weakest?
It is.
It is my least favorite.
I think that's me too.
Yeah, I think, although againrewatching that it is.

(01:25:29):
It is John Woo.
I mean, honestly, I love John Woo.
Like there's someentertaining, some great entertaining
scenes.
It just.
Overall, tonally, the movie isa weird kind of misfire somehow.
But I like I.
I was watching it againrecently and I enjoyed it more than
I remembered.
But comparing it to theothers, especially Brian De Palma's

(01:25:51):
the first one that's like thisfull on like spy thriller, it just.
It doesn't quite work for me,I think.
I think as the franchise Movedon and kind of found its traction.
The second one becomes aweaker entry because it's such a

(01:26:11):
oddball in the franchise.
Yeah, that's the other thing.
Like, it's.
Yeah.
I don't know.
But that's.
Yeah, I guess that's how I feel.
Yeah.
Well, anyways, I can't think.
We've probably.
There's more movies we couldprobably catch up on, talking about.
But I think that's okay for now.
I would just want to ask youone other question, Sam.
I know.
This summer.

(01:26:31):
All right.
If you're going to see onemovie this summer, what's it going
to be?
If I could only see one movie.
Coming out in the theater.
If I could only see one moviecoming out in the theater, just one,
and there's a bunch of themthat I want to see, but if I was
only allowed to see one, Iwould see Nobody 2 with Bob Odenkirk.

(01:26:51):
Because that looks sohysterically interesting.
Just exactly like.
I love the first one, and I just.
The trailer is so over the top.
It knows exactly what it is.
I have a feeling I'm going tohave a boat blast at that movie.
If it's what I think it'sgoing to be like.
I can't wait to see it.
Okay.

(01:27:11):
Interesting.
Okay.
There's others I want to see.
If I had one choice that Ithought totally.
Well, I know you weren't.
You were kind of soft on theJurassic World trailer.
You were saying?
I thought I.
I'm definitely.
I'm really looking for, like,I'm gonna see it.
No question.
I'm gonna go see it.
I'm gonna see it on imax.
Like, I will.
Will absolutely not miss it.

(01:27:32):
I love Gareth Edwards.
He did Rogue One, and I evenliked his 2014 Godzilla movie.
Like, he does action in a wayI enjoy.
I'm on board for Jurassic, butI just chose Nobody, too.
Because if it was the only oneI was allowed to see, it has a slight
edge.
But of course I'm gonna go see.
I never get tired of dinosaurschasing people.

(01:27:54):
I know.
Okay, but one movie.
You're seeing Nobody too.
That is the.
Is Nobody Too.
Nobody too Official.
I'll just say I.
I think I have to seeSuperman, you know?
Oh, yeah.
Oh, my God.
I forgot about that.
Yeah, of course.
Yeah.
No, you're seeing nobody, too.
All right.
I'm seeing nobody, too.
No, you know what?
Nobody Too still wins for me.
If I had one choice, it'sNobody too.
I'm standing by that.

(01:28:14):
Okay.
I'll be in my Theater.
You be in your theater.
Okay.
I'll see you at the popcorn stand.
Okay, fine.
Fine, fine.
That's fine.
All right, well, I think thatabout does it, right?
We did it.
We made 101 episodes.
I feel like now we have thisodd number.

(01:28:36):
We're now screwed.
We're committed to going to200 now.
No, I'm only kidding.
We should.
We should definitely do theOdyssey next summer.
I think that'd be fun.
The Odyssey, which.
Wait, what's the Odyssey?
The Chris Nolan Odyssey movie.
I forgot that's what it was called.
I.
Maybe I thought it was still untitled.
Okay, cool.
Maybe it is untitled.
I don't know.
But it's based on the Odyssey.
Whatever it is.
Yeah.

(01:28:56):
All right, well, that is it.
Unless I'm thinking I'm forgetting.
No, that's it.
Let's just go.
Let's go to bed.
All right, we're done.
All right.
Hey, it was fun.
We did it.
All right.
And.
Oh, I should probably do thehost outro, because that's what I
used to do, right?
That is our show for the week.
Back to the frame rate is partof the of the Weston Media Podcast

(01:29:16):
Network.
Thank you to Brian Ellsworthfor our show opening.
On behalf of all of us, we bidyou farewell from the fallout shelter.
If you're enjoying the show,please subscribe and leave a rating
review on Apple Podcasts,Spotify, or your favorite podcast
platform.
Because you never know, wemight do another episode someday.
Yeah, you never know.
You will always find ourepisodes@backtotheframeright.com this

(01:29:39):
is the end of our transmission mission.
Back to the frame rate.
Signing off.

(01:30:00):
Wants you to know it's over.
Well.
Bye.

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