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Among other things, the shark's first victim—a young woman—falls prey to the giant fish after she meets a guy at a hippie-ish party on the beach.
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Everyone else seemed to enjoy it, however, since Scheider repeats some version of it two more times. Jaws is known at least as much for the singular theme music written by composer John Williams as it is for any shot or line.
This movie is not exactly an endorsement of men. That was nature intervening on the set.
That leaves her alone in the water, where the great white pulls her to her death. But the tanks are mentioned well before, when the sea-averse Brody accidentally knocks them over on the ship.
That was apparently cuddly enough for a reference in Finding Nemowhich features a great white named Bruce. Fierro had trouble credibly faking a slap, so she used force. So the ending was rewritten.
The shooting star that appears behind Brody as he loads his gun during a night scene on the boat looks magical for a reason: The director was essentially an unknown at the time, his only theatrical film having been the modestly successful The Sugarland Express.
A Jaws crew in Australia captured footage of a real-life great white thrashing an empty cage, however, and Spielberg wanted to use it.
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Because of the requirements of the acting gig, Spielberg cast a stuntwoman, Susan Backliniewho specialized in swimming scenes. He swims up to Brody and the two immediately share a laugh over their good fortune, while nearly in the same breath Hooper discovers that Quint has just died.
Spielberg and Williams have been tight collaborators ever since. Though it looks impressively lifelike, the prop shark was a headache to operate, often failingwhich helps explain why Spielberg used it so sparingly.
Hooper chastises him, warning him that they could explode. But what did you really have in mind for the theme of Jaws? An underwater camera stalks the shallow floor of the ocean near the island, approaching soon-to-be victims frolicking in the water.
Backlinie was actually fitted with a harness attached to a pound weight, which crew members moved using ropes to drag her through the water. Seventeen takes later, Scheider was genuinely hurting.
Kintner Lee Fierrothe mother of the boy killed by the shark. He chases her toward the ocean, where she skinny-dips.
Dog deaths are normally traumatic events reserved for the climaxes of movies, but Spielberg pulled out the big guns early. But Spielberg commented on a similar anxiety of his own. It generally goes against decorum to express joy in the early stages of mourning.
In fact, Spielberg decided the prop looked too fake, so he opted to have a female crew member buried in the sand, leaving her arm above the surface.
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