The Jaws Log
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The Jaws Log
The Jaws Log is a diary and retrospective of how the movie came about, and was later made. It's written by Carl Gottlieb, who shares screenplay writing credits with Peter Benchley, but we quickly learn this was never the original plan. Benchley submitted several drafts while collaborating continuously with Spielberg, after which a second writer was brought in to punch things up. Eventually Gottlieb, who was a friend of Spielberg's and was originally just set to act in a bit part (newspaper writer Harry Meadows, a part that became even bit-ter as Gottlieb had to write himself out of many scenes for the good of the film), was then later tapped as the third, and primary writing force on the movie.
Gottlieb's history was in comedy writing, for shows like the Smothers Brothers, the Odd Couple, the Bob Newhart Show and others, and later for films like The Jerk. This explains both some of the funnier, lighter moments in the movie, as well as the very readable, enjoyable and often hilarious book he wrote about the experience.
In the years since the book was published, it's attained a high degree of renown for its accurate and telling depiction of how things work in movies, both in the big head offices where the decisions about who gets to make what and for how much money are made, as well as the daily goings-on of the entire cast and crew, particularly on a project which was seen as a very hot commodity before anyone knew if it was any good. At the time, Benchley's book was nearly as much of a phenomenon in the book publishing world as the movie would become in the history of film. Several folks in the business have stated it should be required reading for anyone interested in setting foot in Hollywood's alien landscape.
To me, the most interesting thing about it was that the book was originally published before the film was released. There had been a few preview screenings to indicate that it was going to be a hit, but it had not become the legendary, iconic film it is today. Nor had the stories around the film become the larger-than-life stories you may have heard. This has the quite welcome effect of showing you in a more realistic, down-to-earth fashion how, yes, there were problems, and the Sword of Damocles hung precariously over the production as it went over time and budget, but many of the stories seem like they've been embellished and overblown in the years since. One gets the sense that the film was never really in that much danger, because the book was still the biggest thing in the world at the time, and nobody was going to pull the plug on a property this potentially valuable.
There are plenty stories about the shark not working, and delays in shooting caused both by that, by weather issues, by other failing equipment, and by Martha's Vineyard locals who were not pleased with what was happening to their parochial, xenophobic island, but eventually these were all ironed out, and he mentions that by the time they were nearing the end of shooting the last act, "the shark worked", which none of the other dramatic retellings mention.
The supposed feud between Benchley and Spielberg is also downplayed to a more reasonable level. They took a few swipes at each other in newspaper interviews (not always intentionally), but once Benchley visited the production house on the island, he was drinking and playing poker with everyone (including Spielberg) within the hour, and the two seemed to have maintained a friendship -- however distant -- in the years since.
The 30th anniversary edition includes footnotes and other additions to acknowledge the phenomenon the movie became, and other corrections and additions. There seems to be no lasting animosity between any of the major players, and the only slight bit of snark comes in the form of Gottlieb's comments about the Indianapolis speech. This appears in the 25th Anniversary notes, because at the time the book was written, the scene figured to be just a bit of dialogue to stick in between the action, but since has become one of the defining moments of the film, and one of film's most legendary monologues. Gottlieb throws some passive-aggressive shade at John Milius, who has taken credit at times for writing that speech, and Gottlieb points out that Milius was never actually there, and he personally gives most of the writing credit to Robert Shaw himself. This is done in a light-hearted, tongue-in-cheek manner you'd expect from a comedy writer, but it's telling nonetheless.
Any fans of the movie would be hard-pressed to find a more entertaining and intimate portrait of What Really Happened, and fans of moviemaking in general will find plenty of behind-the-scenes material to really paint a picture of how movies really get made.
Or at least used to. The book was written at a time where the big, monolithic studios were getting replaced by a new paradigm, and Gottlieb expresses with some degree of melancholy watching the new supplant the old. In the later notes, it's clear that that "new way" has already been replaced again by corporate monstrosities that gobbled up all the studios, and now there's none of the old way, or even "new old way" left.
And so it goes, as he concludes.
Gottlieb's history was in comedy writing, for shows like the Smothers Brothers, the Odd Couple, the Bob Newhart Show and others, and later for films like The Jerk. This explains both some of the funnier, lighter moments in the movie, as well as the very readable, enjoyable and often hilarious book he wrote about the experience.
In the years since the book was published, it's attained a high degree of renown for its accurate and telling depiction of how things work in movies, both in the big head offices where the decisions about who gets to make what and for how much money are made, as well as the daily goings-on of the entire cast and crew, particularly on a project which was seen as a very hot commodity before anyone knew if it was any good. At the time, Benchley's book was nearly as much of a phenomenon in the book publishing world as the movie would become in the history of film. Several folks in the business have stated it should be required reading for anyone interested in setting foot in Hollywood's alien landscape.
To me, the most interesting thing about it was that the book was originally published before the film was released. There had been a few preview screenings to indicate that it was going to be a hit, but it had not become the legendary, iconic film it is today. Nor had the stories around the film become the larger-than-life stories you may have heard. This has the quite welcome effect of showing you in a more realistic, down-to-earth fashion how, yes, there were problems, and the Sword of Damocles hung precariously over the production as it went over time and budget, but many of the stories seem like they've been embellished and overblown in the years since. One gets the sense that the film was never really in that much danger, because the book was still the biggest thing in the world at the time, and nobody was going to pull the plug on a property this potentially valuable.
There are plenty stories about the shark not working, and delays in shooting caused both by that, by weather issues, by other failing equipment, and by Martha's Vineyard locals who were not pleased with what was happening to their parochial, xenophobic island, but eventually these were all ironed out, and he mentions that by the time they were nearing the end of shooting the last act, "the shark worked", which none of the other dramatic retellings mention.
The supposed feud between Benchley and Spielberg is also downplayed to a more reasonable level. They took a few swipes at each other in newspaper interviews (not always intentionally), but once Benchley visited the production house on the island, he was drinking and playing poker with everyone (including Spielberg) within the hour, and the two seemed to have maintained a friendship -- however distant -- in the years since.
The 30th anniversary edition includes footnotes and other additions to acknowledge the phenomenon the movie became, and other corrections and additions. There seems to be no lasting animosity between any of the major players, and the only slight bit of snark comes in the form of Gottlieb's comments about the Indianapolis speech. This appears in the 25th Anniversary notes, because at the time the book was written, the scene figured to be just a bit of dialogue to stick in between the action, but since has become one of the defining moments of the film, and one of film's most legendary monologues. Gottlieb throws some passive-aggressive shade at John Milius, who has taken credit at times for writing that speech, and Gottlieb points out that Milius was never actually there, and he personally gives most of the writing credit to Robert Shaw himself. This is done in a light-hearted, tongue-in-cheek manner you'd expect from a comedy writer, but it's telling nonetheless.
Any fans of the movie would be hard-pressed to find a more entertaining and intimate portrait of What Really Happened, and fans of moviemaking in general will find plenty of behind-the-scenes material to really paint a picture of how movies really get made.
Or at least used to. The book was written at a time where the big, monolithic studios were getting replaced by a new paradigm, and Gottlieb expresses with some degree of melancholy watching the new supplant the old. In the later notes, it's clear that that "new way" has already been replaced again by corporate monstrosities that gobbled up all the studios, and now there's none of the old way, or even "new old way" left.
And so it goes, as he concludes.
I don't have to say anything. I'm a doctor, too.
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Re: The Jaws Log
Jaws was ok.
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Re: The Jaws Log
That's quality content. You're moving up the MVP chart in leaps and bounds. Everyone, take note. Add your own dumb three word replies to take your shot at the prize!
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Re: The Jaws Log
Jaws was overrated.
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Re: The Jaws Log
I disagree, but object more to your terrible participation on this BBS.
Can you elaborate, do you want to have a discussion, or are you content soldiering on as the obvious worst poster here?
Can you elaborate, do you want to have a discussion, or are you content soldiering on as the obvious worst poster here?
I don't have to say anything. I'm a doctor, too.
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Re: The Jaws Log
Reallly you asshole? You shit on my drunk base post but expect me to let your bullshit about a mediocre cheesy b-movie pass? Fuck you.
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Re: The Jaws Log
Alright, well, there was my review of The Jaws Log. Hope everyone enjoyed it.
What a fuckhead.
What a fuckhead.
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Re: The Jaws Log
Yeah you are.
Theres another three words for you.
Theres another three words for you.
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Re: The Jaws Log
You ruined my thread because you are butthurt that I made fun of you drinking girl drinks in the fucking TROLL ROOM base? Are you high, or just awful at this?
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Re: The Jaws Log
Well, that's okay then. I would enjoy a discussion about the film with you if you really think it's a cheesy B-movie, as I cannot understand how that's possible, and would love to better understand your viewpoint. But if you were just trolling for lulz, that's okay too. We're all friends here!
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Re: The Jaws Log
I'm gonna get that book and read it please don't be mad if it takes me a long time to read it or if I do so with Kool-Aid and gin.
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Re: The Jaws Log
I'm going to have to disagree with CO here. Jaws did to the ocean what Psycho did to showers 25 years earlier; scared the shit out of people who would use it. Jaws created the concept of the "summer blockbuster" and additionally, cemented the reputation of an otherwise unknown director who only had done one film, the made for TV movie with essentially the same premise: Duel with Dennis Weaver as the person trying to escape a relentless killer, and an 18 wheeler as the shark.
Jaws was an enormous success, and it changed how films were made and marketed.
Hey! Only eight lines!
Jaws was an enormous success, and it changed how films were made and marketed.
Hey! Only eight lines!
"I really feel that I'm losin' my best friend
I can't believe this could be the end."
- No Doubt, Don't Speak
I can't believe this could be the end."
- No Doubt, Don't Speak
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Re: The Jaws Log
Duel was great, a true classic. Thank you commander for making that connection which i had no idea about but no, Duel is nothing like Jaws. Duel is quiet, brooding, a wussy man persued by a relentless trucker finally grows balls and defeats the persuer in a game of chicken. The only magic of jaws exists in the chemistry between Richard Dreyfuss, Robert Shaw, and that guy from Seaquest DSV. The two films couldnt be more different in every aspect. I'd watch Duel every day before consenting to Jaws one more fucking time.Tdarcos wrote: ↑Tue Jul 14, 2020 5:25 pm I'm going to have to disagree with CO here. Jaws did to the ocean what Psycho did to showers 25 years earlier; scared the shit out of people who would use it. Jaws created the concept of the "summer blockbuster" and additionally, cemented the reputation of an otherwise unknown director who only had done one film, the made for TV movie with essentially the same premise: Duel with Dennis Weaver as the person trying to escape a relentless killer, and an 18 wheeler as the shark.
Jaws was an enormous success, and it changed how films were made and marketed.
Hey! Only eight lines!
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Re: The Jaws Log
I mean, I guess there's no discussion to be had here. Duel was an impressive debut, especially for a made-for-TV movie, and showed a ton of Spielberg's potential, but to suggest it's better than Jaws in any way whatsoever seems absurd to me. But there ya go.
Anyway, it's a good book.
Anyway, it's a good book.
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Re: The Jaws Log
Good points, does the book mention any of this?Tdarcos wrote: ↑Tue Jul 14, 2020 5:25 pm I'm going to have to disagree with CO here. Jaws did to the ocean what Psycho did to showers 25 years earlier; scared the shit out of people who would use it. Jaws created the concept of the "summer blockbuster" and additionally, cemented the reputation of an otherwise unknown director who only had done one film, the made for TV movie with essentially the same premise: Duel with Dennis Weaver as the person trying to escape a relentless killer, and an 18 wheeler as the shark.
Jaws was an enormous success, and it changed how films were made and marketed.
Hey! Only eight lines!
the dark and gritty...Ice Cream Jonsey!
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Re: The Jaws Log
That my post was only eight lines? i don't think so.
As for mentioning the other movie or its details, I doubt it. The Jaws Log is a book about the making of a movie, not with Spielberg's chops as a director.
I only happened to catch the connection when I was writing the previous post. Duel is about one man's attempt (Dennis Weaver) to defeat an inexorable killer (an 18 wheeler). Jaws was one man's attempt (Roy Schneider) to defeat an inexorable killer (the shark).
Dennis Weaver's problem is with a tractor-trailer rig (an '18 wheeler") trying to kill him if it can. Roy Schneider's problem is with a shark trying to kill him if it can. Weaver isn't fighting the driver, in fact, we never see the driver. Duel is a pure example of deus ex machina. He's fighting a killing machine, a thing that can move faster, he can't attack hand-to-hand, has no emotions, and without tools, he has no hope. All of these apply to Jaws.
Let's not forget the climax of both, the defeat of the antagonist in both is exactly the same, a spectacular explosion where the antagonist is utterly destroyed (I have seen both movies.)
"I really feel that I'm losin' my best friend
I can't believe this could be the end."
- No Doubt, Don't Speak
I can't believe this could be the end."
- No Doubt, Don't Speak
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Re: The Jaws Log
And in fact, the exact same "dinosaur roar" sound effect is played over the villains' death scenes in each movie!
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Re: The Jaws Log
Can we all acknowledge that there are not one but TWO TDARCOS posts here that are concise, on-topic, and meaningfully contribute to the discussion?
Best Of? Best Of.
Best Of? Best Of.
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Re: The Jaws Log
Jaws is great, it's one of the few movies I get so attached to that I will talk through the entire film. "Here comes that motherfuckin' shark, ooh I hate that motherfuckin' shark." As for the rest of what's going on here I can't read any of it.