Tag Archives: Jurassic Park

Jaws #30DaysOfFright

jawsaTo paraphrase Matt Hooper (Richard Dreyfuss) in Jaws, when he is trying to explain why the art work ‘paint happy bastards’ have produced on the Amity Island board is anatomically correct to the Mayor (Murray Hamilton) in the presence of  Chief of Police, Martin Brody (Roy Scheider). Jaws is the perfect eating machine of a movie.

It went over production, over budget and the mechanical shark, fondly nicknamed Bruce after Director Steven Spielberg’s Lawyer, often didn’t work. The film should never have worked, but all of this extra time meant the film matured, like a fine wine (red and white of course), to become the classic that we have today.

Hands down it is my favourite film of all time and without fail I set sail with it – on whatever format – every year on my birthday. So what better time to post this than on my actual birthday.

Over the years I have bought it several times, first as a pan and scan CIC Video VHS copy that I bought in 1987, my widescreen VHS copy and both the 25th and 30th anniversary DVDs, and now the 35th anniversary edition Bluray all cleaned up. Jaws may be 41 but it really has never looked better.

It may be about to sound better those as news has just broke that the Boston Pops Orchestra, once presided over by Jaws composer John Williams, is to perform a live screening of Jaws next summer with full orchestra.

BRITISHQUAD134-2This would follow the pattern of several other Steven Spielberg films, E.T., Raiders of the Lost Ark and Jurassic Park, to get the live orchestra treatment. They all came to the UK so it can only be a matter of time before a dorsal fin breaks the water to a live rendition of William’s still astonishing and gripping score. William’s score isn’t a piece of music for the film; it is essentially the ‘voice’ of the shark itself.

The 1975 film is based on the best-selling book by Peter Benchley, he also write a draft of the screenplay and has a cameo as a TV news reporter on the beach.

Amity Island, a seaside town off Long Island is getting ready for the summer season, but it could have never been ready for the murderous shadow of a Great White Shark. As the victims continue to wash up the town hire a grizzled fisherman to catch it and kill it. Joining him at sea are a marine biologist and the town’s chief of police. It’s sink or swim for the thrust together threesome as they fight against the elements, against each other and against the shark.

As a piece of cinema,  Jaws was always the near perfect film and now, cleaned up frame by frame for its 35th anniversary it looks like it was practically shot last week. This lean mean thriller machine became the closest to cinematic perfection it has ever got.

jaws chrissie watkins 1975Jaws still packs a punch (or should that be bite radius) of a juggernaut. The opening night Chrissie attack sequence has never looked so uncomfortably clear, her nakedness making you almost feel voyeur like – making it even closer akin to the shower scene it Psycho in that respect – right up until that moment of impact that’s like a train, when the John Williams score and sound effects really kick into high gear. It’s the perfect opener for a movie (indeed Spielberg even copied it himself of sorts in 1993 in the opening of Jurassic Park).

It effectively sets the shark up as a Jack the Ripper like monster. The noise, the screams and the music all blend to still create a sense of dread in the pit of your stomach. Also one of the most iconic, and oft-imitated, poster images ever. She was the first…

However, it’s not the 25 foot shark; all three tonnes of it, that dominates the film though, each and every piece of the film he is in is dominated by Robert Shaw as Quint. Scheider and Dreyfuss are no slouches for sure and the way the threesome ping off each other is a joy to behold (the script coupled with the beauty of the extra rehearsal time due to operating problems with the shark et al) but Quint has never been so dominant, so alive.

robert-shaw2He chews scenery like the shark chews his boat, the Orca, at the end of the film and his eyes, his eyes are just so piercing a blue that they make Daniel Craig’s look practically dull in comparison. It confirmed to me that more classic Shaw films should be viewed on the big screen but also left a genuine feeling of loss, for the man, Shaw died only three years after the release of Jaws, and for cinema generally. He carved such an impression up there on the big screen, seen as he should be and not on a box – no matter what its size – in the corner of the room.

Jaws never puts a foot wrong, it still has fantastic pace, still thrills and scares a little in all the right places and also makes people laugh in all the places that it is meant to do. Rubber shark or no rubber shark it, like Alien after it, which after all was pitched as Jaws in Space, still taps into that primeval fear and when each and every person bringing that to life is working at the top of their game you can’t go wrong, critically, commercially or for longevity.

jawsiIt’s hard to think that the then 27 year old Steven Spielberg almost turned down the chance to direct the movie that launched a thousand nightmares. It was the first film to smash the $100 million barrier and upon initial release it is estimated some 67 million Americans went to see it,

At the time the Director felt that the film was too similar to the man versus (mechanical) beast of Duel (1971). He wasn’t too worried about the lorry and shark having the same dinosaur death cry though, one as it lurches over a cliff, the other as its carcass sinks to the bottom of the sea. Spielberg felt both had a kinship of sorts – both leviathans targeting everyman

The original schedule of 52 days tripled due to the problems of filming on location, not so much the filming at Martha’s Vinyard, which doubled as the quaint Amity Island, but more the filming at sea, which almost left the whole production at sea. Previously most movies set at sea were filmed in giant tanks with a pre-filmed backdrop but being on a real sea, on a real boat it made the experience that much more successful.

The 12 hour days were not wholly productive as only four were devoted to actual filming, due to the poor weather and the not wholly co-operative shark (it sank on its first test and practically exploded on its second), but in the end these were the elements that helped make the film the success it was.

Initially the Producers, Richard Zanuck and David Brown, thought(!) that they might be able to hire a man to train a Great White to perform a few simple tricks and do the rest with miniatures. Thankfully this route was not pursued and it soon became very clear that there was only one man who could make this monster fish a reality, the retired Bob Mattey, who created the giant squid for Disney’s 20,000 Leagues Under the Sea some 20 years earlier.

BN-EU471_jawsph_G_20141001063022Jaws and Christian Bale both might have too many teeth but his strops pale into insignificance next to ‘Bruce’, who was cross-eyed and his jaws would not shut.

This, however, proved to be Spielberg’s masterstroke as he had to be more inventive and hide the shark behind the camera for as long as possible, its presence suggested by twisting camerawork and the now unmistakable primeval music composed by John Williams, thus allowing the audience’s mind to create the horror of the shark, all 20, I mean 25 feet of him. And of course those rather cannily placed yellow barrels!

No matter how well the shark performed or how well it was hidden when it didn’t the filmmakers knew that the audience would need to see real sharks, and that is exactly what they got with amazing footage from Australian husband and wife diving team, Ron and Valerie Taylor.

jaws16Thankfully Great Whites do not grow to 25 feet in length so to make the shark look larger for the Hooper cage dive a smaller cage and midget were used to get some spectacular footage.

But the best was yet to come when the shark destroyed the cage and almost the boat, thankfully the pint size stuntman, Carl Rizzo, was not in it at the time and after seeing the ‘attack’ on the boat promptly locked himself in the toilet. The footage remains in the film, which effectively meant the shark helped rewrite the book and ensure the survival of Richard Dreyfuss’ character.

Peter Benchley, and old pal of Spielberg, Carl Gottlieb, are listed as the screenwriters of the project but beneath the surface of the credits it is revealed that several different people helped stamp their authority on the project.

Benchley had two passes at the script and then the Pulitzer winning playwright (and scuba diver), Howard Sackler, was brought in to beef up the script. One of his greatest additions was the Quint USS Indianapolis monologue, which is now being mooted in various quarters as a prequel. There is a script floating about.

This one moment, more than any other, has been the one that has become fabled in who should take the credit for the powerful moment when Robert Shaw’s character retells his World War 2 shark encounter. Future Apocalypse Now and Conan scribe, John Milius, had a crack at it with Shaw himself, an accomplished playwright, also gave it a polish and honed it to the perfection you see on scream, depending on whose tale you listen to of course.

The great thing about the hours of waiting to film meant that the main actors (Scheider, Dreyfuss and Shaw) all got to hone their characters, got to know each other and also got to rework their dialogue with co-screenwriter, Gottlieb (who also played opposite Mayor of Sharksville, Murray Hamilton) who often updated dialogue only 24 hours before the shoot, which perhaps goes someway to explaining why these three characters and their words – which even Tarantino would be proud of – and every nuance is so spot on and crisp over 40 years later.

Brody shoots the shark in JawsOther unsung heroes of the movie also had to include camera operator, Michael Chapman, who practically filmed the last third of the movie handheld, which helped give it that realistic, fresh look. And he even saved vital film from a sinking Orca, narrowly saving his skin and the dailies.

Finally, there is Editor, Verna Fields, who won one of the three Oscars (it was nominated for four) for the film and edited the movie on location as the footage slowly crept in, not only editing around the underperforming shark but also continuity problems of an ever changing sea and sky, not that you’d notice.

jaws (1)She was also instrumental to adding the ‘head in the boat’ scene that was shot in a swimming pool and added long after filming had wrapped. And that scene gave the extra jump that the film needed, even after all those viewings it is still hard to judge exactly when it will pop out.

By the end of the film the shark may have been dead but the blockbuster as we know it today had been born. The sea (or the bath when I was little as I was convinced he was going to get in there) and cinema would never be the same again.

Jaws

 

 

 

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Close Encounters of the Four Designs: inside the BFI Spielberg posters

 

“Spielberg had to sign off the artwork himself. The reaction was very positive.”

Steven Spielberg, his movies have not just changed Hollywood but shaped our lives. Throughout June and July the BFI have been spoiling us with an amazing season celebrating the films – and some television – of Steven Spielberg, covering everything from Duel (released theatrically here in Europe) to Amazing Stories and of course his summer blockbusters. Close Encounters, Indiana Jones, E.T. and the granddaddy of the modern summer blockbuster as we know it, Jaws.

To accompany such a breadth of work, the BFI commissioned four pieces of work promoting the season utilizing striking and iconic imagery that is ingrained not just in film culture, but that of popular culture. Images were chosen from Jaws, E.T., Raiders of the Lost Ark and Jurassic Park, each riffing on a Spielberg classic that celebrates both the man and his movies.

As a lifelong-Spielberg and Jaws fan, I, Dean Newman (DN), took the opportunity to interview its designer, Kyle Robertson (KR), who works for the BFI as part of their in-house design team, he’s also a senior digital designer and illustrator.

I took the opportunity to speak to him about Spielberg’s films, the changing face of film posters and tips for anyone wanting to get into film poster design

Raider of the Lost ArkDN: The four designs are simple yet inspired, how difficult was it coming up with a new take on such classics?

KR: The main objective of this campaign was to capture the iconic films of Spielberg. We decided to feature his well-known summer blockbusters; E.T, Jaws, Jurassic Park and Raiders of the Lost Ark. I wanted to design a suite of posters that would show these well-known movies in a new light, but also take people back to their childhood memories of seeing these for the first time.

DN: Were you given these four films as design options or did you have any say? Was it only these four or were any others in contention, such as Schindler’s List or Close Encounters?

KR: There was a long conversation over the titles we were going to feature. In the end we settled on his summer blockbusters due to the fact we were screening the season in the summer and wanted to create a lighter mood than say featuring Schindler’s List or Saving Private Ryan.

DN: Jaws, Jurassic Park, Raiders and ET, classic films, classic scores but also classic posters. How did you approach these film posters and associated imagery that are so ingrained in our pop culture?

KR: I started by watching the films again, doing a lot of reading and image research. Looking at the classic film posters, book covers, fan art, and everything else out there. This gives you a good idea of what works and what doesn’t. While designing the early sketches I would even listen to the soundtracks. The goal was to capture the essence of the film that everyone knows and loves, but come at it from a different angle.

JawsDN: Once you had the fin, dinosaur head, Indy’s head etc, were there several options for main images to be included in them? Any spring to mind?

KR: We were limited in terms of imagery as we only used imagery from our own BFI Image Database, with exception for the Jurassic Park still which we got from the studio directly. We wanted to use iconic imagery that creates a certain mood. A good example was Jaws. Using the image of the woman in the water screaming within the shark fin shape stirs up all kinds of fear and emotion. We used these themes across the four designs. Fear for Jaws, wonder for E.T., Adventure for Raiders and Thrills for Jurassic Park.

DN: Four posters for one season, normally I’ve only ever seen one, was it unusual to have so many?

KR: It is quite unique to do several pieces of artwork for one season. Ordinarily we use just one poster for a season. But for big seasons which span several months there was an opportunity to do several.

DN: Did you have to pitch for the job with the design we see or do you do a lot for the BFI?

KR: Pitching for the work was not necessary as I work at the BFI as an in-house designer.

E.TDN: Which one are you most pleased with and why? My personal favourites are Jurassic Park and Jaws.

KR: I like the concept of Jaws, but E.T is probably my favourite due to it being one of my favourite films and the colours work well.

DN: Do you have many alternative designs/sketches/scamps that weren’t used? 

KR: Sorry, not allowed to share these designs, but yes many were created. Some photographic, some illustrative.

DN: Have you heard any reaction from Spielberg himself, or anyone associated with him re the designs?

KR: We worked very closely with Spielberg’s production company and Steven Spielberg had to sign off the artwork himself. The reaction was very positive.

DN: You mention ET as being one of your favourite films, why that film?

KR: It’s just a one-of-a-kind film that has everything; adventure, excitement, laughs and takes me right back to my childhood. I saw it recently at the BFI on the big screen and it still gives me chills watching the bikes take off with that amazing John Williams score.

Jurassic ParkDN: What was the first Spielberg film you saw at the cinema and how old were you?

KR: Jurassic Park was the first film I saw on the big-screen and I must have been 11.

DN: There have been lots of great designers and artists work on Spielberg posters, such as Drew Struzan (Indy), John Alvin (E.T.) and Jaws (Roger Kastel). As a designer what’s your favourite Spielberg film poster and why?

KR: The Drew Struzan posters for Indy are great. His style is so amazing and when you see his work you know it’s a Drew Struzan poster immediately.

DN: What’s been the reaction across social media to your work?

KR: The reaction to the work has been great. A lot of people making nice comments about it reminding them of their childhood and going to the movies which is great to hear.

Jaws Tube BillboardDN: The designs have an immediate impact, how was it seeing them writ large on the giant billboards?

KR: I cycled past the Jaws billboard in Shoreditch and nearly fell off my bike when I first saw it. It’s a great feeling to see any artwork on a big scale, but the Jaws artwork looked very cool.

DN: The posters – like many film posters today – rely heavily on photographic images, do you miss the era that the likes of Alvin, Struzan and Kastel were working in with their detailed artistic designs?

KR: A lot of the BFI posters are based on photographic elements due to the nature of us portraying film and the moving image. We still do illustrative design work such as our current ‘Architecture on Film’ series. I am a big champion of the illustrative style and feel when handled correctly it can make a big impact.

DN: I guess it’s the same with the James Bond posters – I loved the likes of The Living Daylights, the last of the art designs. It all seems to be Adobe Illustrator/Photoshop these days.  Do you lament what some people see as the dying art of film posters?

KR: I think it’s inevitable for methods and practices to change regarding this. In my experience this is mostly due to time restraints. To illustrate a poster takes a lot of time and what you have to remember about film season artwork is that it is hugely political and involves a huge amount of people’s input from many departments.

So unfortunately there just isn’t the time to do this. We quite often pencil sketch concepts roughly and then take them into the Adobe suite to design and artwork. This gives you a huge amount of flexibility and freedom to work.

DN: Any tips for anyone wanting to design posters?

KR: You have to have a love of film naturally and spend most of your spare time watching films! You should also have a good knowledge of different design techniques and treatments. I try not to design the same thing twice.

DN: What do you think makes a great film poster?

KR: A simple but effective idea. Keep it fairly minimal. The more you add, the more the impact is lost from the design.

DN: Are you working on any other exciting projects?

KR: I am currently working on a big campaign for the BFI celebrating black talent in film.

 

The Steven Spielberg season continues into July with cinematic delights to offer everyone, whether its Jurassic Park, Schindler’s List, Saving Private Ryan, A.I., Catch Me If You Can, War of the Worlds, Lincoln, The Lost World: Jurassic Park, Amistad, Minority Report, The Terminal, Munich, Bridge of Spies, The Adventures of Tintin – The Secret of the Unicorn and War Horse.

E.T Tube PosterOther highlights include a whole day devoted to the Indiana Jones films – Saturday 9 July – although they can also be caught individually across the month on other days as well, and there is also a very special screening of E.T. on Sunday 26 June which features a Q&A with producer Kathleen Kennedy – her first producing credit – and director Edgar Wright, who collaborated on Tintin. Access the remaining programme here.

If your reaction to the Spielberg season posters designed by Kyle Robertson is as positive as the director himself, then you are in luck as you can now buy copies of the designs from the BFI Printstore.

Credit belongs to the British Film Institute (BFI) for all images that appear in this article.

Jurassic World: a raptor-ous return

3039097-inline-i-2-jurassic-worldFirst things first, Jurassic World is not a remake or a reboot or a reimagining, it is a continuation, some 20 years down the line, of events post the original Jurassic Park. In the ensuing years let’s just say that the Park, now World a la Disney, Sea and er Peppa Pig, has evolved somewhat in the last two decades to become a giant tourism monster which now needs even bigger monsters to ensure the return of punters.

Jurassic World, like the two sequels to the original before was never ever going to be able to play the sense of wonder card of the original Spielberg blockbuster, but it knows it and that actually forms part of the plot. In a sense, in part, it is a love letter to the original and perhaps that is why it has struck such a chord and made more money than expected, After all it is 14 years since the last Jurassic Park and that is a whole generation that has only grown up with it on TV.

jw2And the ethos of the park: having bigger and newer monsters to pull in the punters, is something not lost on the writers and filmmakers for that exact reason, Not only have there been three previous Park movies but we’ve also seen the return of Godzilla (twice) and King Kong take on a pair of T-Rex, not to mention a whole plethora of creatures in the likes of Harry Potter and Lord of the Rings, so the film has to pull something out of the bag that we haven’t seen before either…with a brand new dinosaur.

The scope and scale of this entry into the series practically makes the original look like a small independent film, the original in comparison was a more intimate affair on a smaller scale,if such a thing could ever be said about the still impressive Jurassic Park. World certainly ups the spectacle with a fully operational park with nods aplenty to SeaWorld with its Mosasaurs attraction (nice touch with it essentially eating Bruce the Great White), DisneyWorld with its take on Main Street – where at one point it’s as if we hear echoes of Dr Ian Malcolm’s laconic wit from the first film when he says ‘but the pirates of the Caribbean don’t start eating the public’ when things start to go very, very wrong – and the giant escalators that reminded one of Universal Studios Hollywood.

It’s like the Park you dreamed of visiting as a child. And as with the original you do get the oh and ah of all the delights the new World has to offer, mostly seen through the eyes of Gray (Ty Simpkins), whose excitement we readily share. And because we know the dinosaurs the wonderful Jurassic Park theme reprise, amazing work by Giacchino, is utilised not for the introduction of a dinosaur but fr the wonder of the very park itself. And there is wonder and wow factor to be had as we see the park in all its splendour, even though we know it is going to end way out Westworld.

Of course the musical theme is as much a part of the Jurassic series as the dinosaurs, I couldn’t get it out of my head for at least the next day, but that isn’t the only footprint of Jurassic Park. Story wise it is essentially a retelling of sorts, writ large in every single way imaginable, but then so has pretty much every James Bond film. There are plenty of nods and winks to the first film though, that really celebrate and embrace it with confidence.

JURASSIC-WORLD-8Both the children in the original and World have a family that is breaking down (a Spielberg staple, here Executive Producer) and are only on the island to take their minds off it, well at least it does do that. There’s a lovely moment where the eldest son, Zach played by Nick Robinson, is in denial but the youngest, visibly upset, has googled his mum and dad’s lawyers and discovered they are divorce lawyers. it was very well handled on a monorail, where one of the passengers is reading a Dr Ian Malcolm book, Jeff Goldblum’s character. Later it is nice to see glimpses of a John Hammond statue, as well as cameos by Mr DNA (voiced by the film’s director Colin Trevorrow) and also a delightful moment from a Dilophosaurus, the spitting dino that killed Dennis Nedry.

And then there’s the more obvious, in a wonderful sequence, where the boys find the old Jurassic Park centre and the auditorium which housed the ‘when dinosaurs ruled the earth exhibition’, even coming across the infrared goggles that get discarded, a fantastic example of the audience knowing more than the characters. It was a genius idea that the boys find the original JP jeeps and get one of them working, In a way it was Jurassic World: Parks of Future Past.

There is also some fabulous juxtaposition in the scene where there is a field of decimated dinosaurs, there’s a real sense of dystopia and negative as opposed to the hope and positivity of when we first glimpse the vista of Jurassic Park after Dr Alan Grant (Sam Neill) and Dr Ellie Sattler (Laura Dern) see their first dinosaur. It’s also the scene where these aren’t just dinosaurs (or CG or animatronics for that matter) you care for them and you are sad when the dinosaur breathes its last. It evoked memories of Baby: Secret of the Lost Legend and the death of Littlefoot’s mum in The Land Before Time, the latter also executive produced by Spielberg.

Empathy built we also start to care and have feelings for other dinosaurs, especially when it comes to a major scene with the raptors where they are given their moment to shine as man’s beast friend.

For all its boom and bang, of which there is plenty and often, the film also relishes its smaller moments of focus or dialogue that also reminds one of the cleverness of the original and makes it just more than a bloated summer blockbuster lurching from one set piece to another. That Spielberg dust has clearly been strewn to ensure some of those little moments and nuances are just as remembered as the big and noisy ones.

The only returning character we get from the original series is Dr Wu, who is clearly as rubbish as he was in the first film but is played with relish by BD Wong, best known for being good on Law and Order: SVU, although he really does think what he is doing is not wrong. Last seen with an attaché case of specimens he will surely feature in any sequel, and at some point will end up being devoured by one of his creations.

Chris Pratt cements his position as a viable A-lister, and it is perhaps his biggest calling card for the part of one Dr. Jones, certainly he has the presence, likability and delivery. Pratt is a man of action in this, with a neat touch being that he is essentially a velociraptor whisperer and despite all the dinosaurs the ‘money shot’ of the film is definitely Pratt on his motorbike flanked by raptors. It works, is delightful and just brings joy. It may as well be us up on that bike exuding McQueen like cool.

He doesn’t really grow as a character, he’s been right all along like Charlton Heston in Earthquake, but he is something of a loner, he’s friendlier with dinosaurs than people but does become part of a family unit, with Claire, Gray and Zach by the climax.

Bryce Dallas Howard also impressed, as Claire, she saw the biggest change in terms of (limited) development of character and effortlessly switched from almost robotic towing the party line to all out Lara Croft protective Aunt.

There was lots of nice interplay between Pratt and Howard and they really fizzed, the sort of polar opposite dislike that you get in Raiders between Marion and Indy and original chalk and cheese, Hannay and Pamela, in The 39 Steps.

It’s Jurassic World, it was never going to be a deep and meaningful character study and to be honest we didn’t want it to be. We want a roaring dino romp and on that it delivers.

Ultimately this film is about working together as one, as a team, on several levels, as will become apparent to anyone seeing it. And ultimately that message is a deeply satisfying one, both from a human and dinosaur point of view.

I did miss Grant or Malcolm, perhaps next time we’ll get to see Pratt call on their services, and after a $500 million opening weekend, and the world’s fastest film to smash the $1 billion barrier, we won’t be waiting 14 years for the next instalment.

T-Rex_DigitalJurassic Park ended with the roar of the T-Rex as the banner proclaiming ‘When dinosaurs ruled the earth’ drops to the floor. With that opening weekend, the biggest in history, and it being the number one film in the 66 countries it was released in and the fastest film past the $1 billion barrier, that time is now.

DEATH BECOMES THEM: TOP TEN DEATHS IN JAWS (AND ITS SEQUELS)

Jurassic World has taken a bit of a beating in some quarters over some of its horrible deaths, but then the previous films in the series didn’t exactly skimp on that either and neither did the Jaws series. Before Freddy, before Final Destination and (just) before The Omen, that is what we wanted, inventive and exciting death scenes. The Jaws series has them aplenty.

They say that Hollywood has a habit of chewing up and spitting out talent, little wonder then that Spielberg ‘fondly’ nicknamed the first films creature after his Lawyer, ‘Bruce’. Such a phrase has not been truer when looking at Jaws and its three sequels, all with deaths aplenty. The sequels have all taking a bit of a bashing, certainly they don’t a candle to the original, but they still hold a fondness and even Jaws the Revenge has its moments, well okay then maybe that should be singular.

Anyway ‘Open Wide!’ and ‘Smile, you sons of bitches!’ as we celebrate the best Jaws deaths…ever!

Is yours below? If not, which is it and why?

JAWS (1975) AKA THE ORIGINAL AND BEST

Chrissie Watkins

jaws chrissie watkins 1975The opening night time attack is up there with the shower seen from Psycho and even after all this time packs a punch like a train. It’s the perfect opener for a movie (indeed Spielberg even copied it himself of sorts in 1993 in the opening of Jurassic Park). It effectively sets the shark up as a Jack the Ripper like monster. The noise, the screams and the music all blend to still create a sense of dread in the pit of your stomach. Also one of the most iconic, and oft-imitated, poster images ever. She was the first…

Pippet the retriever

Ishot-1297You may scoff but one moment this dog was happily jumping around the surf, the next we see a floating piece of wood, which can’t be good. Showed that anyone could be next and that this fish didn’t care who it devoured. It takes someone with balls to have an animal die on screen.

Estuary victim

As a child this death haunted me when I closed my eyes. A man in a row boat comes to help Michael Brody and chums on their boat when the unfortunate soul is tipped from his boat and seen hanging to the side of his upturned craft to only have the open mouthed shadow of the Great White sweep up to him and drag him sinking beneath the waves, For me, at that moment I certainly don’t see a mechanical shark.

Only his leg is left, which can be seen drifting to to the bottom of the ocean floor. I used to try and convince myself that perhaps he survived but I think his estuary victim credit tells me what really happened…

Ben Gardner

jaws (1)We might not see him meeting his maker but we join Matt Hooper in the fright of his life when his head comes bob, bob bobbing along. Even now you know it’s coming but just not exactly when. This moment was captured in the safety of Editor Verna Fields’ swimming pool due to the film needing a jump moment. It certainly got it.

Quint

Ironic as Quint is roughly translated as five in Italian and he is the fifth human victim of the movie. Early he and the crew of the Orca drank to their legs so it was only fitting that this was the way he went, legs first. Nice blood explosion in the mouth as well before he is dragged to his watery grave.

Jaws

Well I say watery grave as he exploded with the shark several minutes later. A master stroke of tension as the Orca slowly sinks with Brody and rifle on its mast, which if you notice is ticking down to his ‘death’ like the second hand of a clock. Smile you son-of-bitch indeed.

JAWS 2 (1978) AKA THE ONE WITH THE ANNOYING TEENAGERS ON BOATS

Water skier

Also the poster girl for Jaws 2. A technically brilliant scene that showed that even those on water skies were not immune to the jaws of doom. The photography and tension in this scene is one of the highlights and showed how much more versatile the shark models and special effects were only three years later. Clearly lots of lessons had been learnt. It’s two for one on the deaths front here as the boat manages to pour petrol all over herself and then fire a flare at the shark blowing herself up and scarring the shark, just to make her all the more sinister (boo, hiss). We do get another payoff though as the corpse comes in one the tide straight into Chief Brody’s arms.

Boy on boat

Much of the film is spent routing for the shark to pick off the annoying teenagers, something of a pre-curser to Halloween and Friday the 13th as the shark is basically stalking and slashing (or should that be gnashing) them. The best death from these has to be that of Eddie Marchand who is dragged (echoing Chrissie in the first film) across the water and slammed into his boat – he hangs on for dear life and even pulls part of his boat with him as he is dragged under leaving his now hysterical girlfriend alone.

Helicopter pilot

Hey we are safe! Don’t count you chickens yet kids. Shark Vs quite frankly rubbish 70s helicopter and kills pilot with a quite frankly lame beard. In the original we never see what happens but on the Jaws 2 DVD there is great footage of him under the water as well. Worth checking out.

JAWS 3D (1983) AKA THE ONE AT SEA WORLD

Philip FitzRoyce, played by Simon MacCorkindale

A shame TVs ‘Manimal’ couldn’t change into a fish as he might have escaped this monster. Notable as we see and hear him being crunched up inside the shark’s mouth and then have him dangling like a piece of food stuck between his teeth. Was nice they tried something different with a death.

Now I know this film has been slammed but I actually really like the concept, essentially Jurassic World of sorts in many ways, and the ending to the movie. It’s a variation on the original but I like the original way they tried to do it. I certainly found it tense and exciting. I even like the 3D explosion – the blood and guts quota is certainly all here – and even have a soft spot for the upper and lower 3D jaws.

JAWS THE REVENGE (1987) AKA THE ONE WITH MICHAEL CAINE AKA THE ONE THAT’S NOT MUCH COP…REALLY IT ISN’T

Sean Brody

A film of little note, this could be included alone for the death of the franchise. It does have its moments in places though and none more than the death of the youngest Brody, Sean, who is now a cop in Amity like his old dad was (Scheider decided against this one so they killed his character off screen – as shameful as the whole Alien 3 Newt death – what a waste). Still Sean Brody is worth a mention as one of the main original characters to kick the big yellow barrel, juxtaposed with Christmas Carols and sepia shots of the original, just to remind us how crappy this film is.

A whole new world: welcome to Jurassic World

The teasing is over and the park is almost open, welcome back to Jurassic Park.

The opening image of the first trailer is of course us entering through those infamous gates, it’s a familiar scene but also unfamiliar at the same time as this is those King Kong style gates writ large as this time it isn’t 4x4s journeying through the gates but a slinking monorail.

And we know that from the likes of the 1976 remake of Kong and The Simpsons that monorails never work out.
The original Jurassic Park was written by Michael Crichton, and that concept was then was very much initially seen as Westworld with dinosaurs, a film that was both written and directed by Crichton.

And now this return of the franchise takes that and creates a Walt Disney come Sea World theme park experience, from the panicked runners in ‘main street’ to the Shamu moment given extra spice with it being a giant swimming dinosaur, a  mosasaur eating a great white shark whole.

That’s a huge upgrade from the sacrificial goat of the original and is the perfect example of how the new Jurassic experience will be much bigger in scope than the 1993 original.

It’s of course a giant nod and wink to Executive Producer Steven Spielberg, who both directed the original and Jaws, so what better way to signpost that where gonna need a bigger dinosaur film in the wake of the Peter Jackson Kong remake, Pacific Rim and Godzilla.

We see old favourites such as the velociraptors, seemingly being raced like greyhounds, and a newly engineered dinosaur is quite rightly left in the shadows…before it escapes and the tourists get to run away (must run faster) from it echoing Jeff Goldblum’s Dr. Ian Malcolm in the first film when he says “Oooh, ahhh, That’s how it always starts. Then later there’s running and screaming.”

It may not have appeared in the trailer but don’t think we won’t be seeing the T-Rex, there is no Jurassic World without him, he’s still top of the iconic pile and we’ll all get a nice fuzzy inside feeling when he stomps onto screen, think of it as the cinematic version of a special guest star on a sitcom getting a huge whoop and cheer. Besides he is the logo so he is contractually obliged to roar, sniff and get those gnashers out.

We do know of course that there will be no return for Lord Attenborough’s John Hammond (hopefully there will be a portrait or something as a nice nod) And FX master Stan Winston who created the physical dinosaurs, both are no longer with us and that melancholy reverberates through the single piano notes echoing the Jurassic Park theme that punctuate the latter part of the trailer.

The scope and feel of the new film is truly epic, who thought that anyone would ever say that the summer theme park ride of a movie, Jurassic Park would ever feel like a small and intimate film…it looks like it might next June.