Analysis Of The Movie Jaws

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Analysis Of The Movie Jaws

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Discussing Jaws

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We know she is isolated because she is not going along w I thought the oat was going to sink right at the last minute and Brody would die despite all his brave attempts to kill the shark. The tension really starts to happen here as the shark draws nearer and nearer, Brody's quick thinking and actions helped him to defeat the shark. Steven Spielberg's use of camera angles and shots plus the dramatic and chilling music in a repetitive manner, builds suspense and fear of what will happen next.

The final dramatic scene when it almost becomes a battle of mind of muscle Brody v The shark Is a truly brilliant piece of direction. The technique the dire In Jaws the lighting is similar. The boat scene lightning is very dark, but light is over the men's faces. It feels like they are going to be attacked from behind by the shark The reaction I think from the audience in both scenes is that they will be very scared. I think the audience will be very jumpy as the shark attacks the boat and the murder is happening in the shower. A menacing great white shark decides that Amity, a small beach town, was ideal for its new feeding ground.

Consuming everything in site, 3 men set out to kill this beast; a police chief, a scientist, and an old fisherman. As the movie takes the audience through the journey of tracking down the creature, this animal is portrayed as a terrifying monster. I know a lot of people my age who are still frightened of sharks because of this film. Everyone has seen the movie Jaws, or if not, at least they have heard the eerie shark music. They would rather prey off of seals or other small mammals in the sea.

Sharks are territorial animals and feel threatened by humans in their water. Our fears—and appetites—fuel an industry that hunts more than million sharks each year and threatens to purge these vital predators from the oceans. The shark is an enchanting creature, over different swim in the ocean today. Too many, sharks symbolize the terrible essence of ruthlessness, representing the ultimate savages of the seas. Although many folks would rather not deliberately socialize with these fearsome predators of the depths, I appreciate swimming among sharks.

Sharks in addition to their direct predecessors are swimming within the world's oceans for well over three hundred million years, and were going about their business long before dinosaurs walked the world. These different two v One of the most memorable scenes was the dramatic finale where the humans and shark come face to face. The survivors reach the top of Aquatica, with one shark still on the loose. Come to mama. Suddenly the shark attacks the boat and makes a whole where water starts coming in, however none of the men heard the attack and kept on singing. It was scary because the tension is lowered and then suddenly the shark attacks unsuspected, but on this occasion it didn't. That scene was scary and surprising and made audience to jump out of their seat. Home Page Film Analysis of Jaws.

Film Analysis of Jaws Good Essays. Open Document. Essay Sample Check Writing Quality. Steven Spielburg directed some great well known films, e. T, Close Encounters of the 3rd kind and this film is a good example. The film Jaws is about a gargantuan great shark which is a man eating shark. Moreover, most hot studio projects in those days enjoyed limited releases, with exclusive premieres in a couple of cinemas in Los Angeles and New York. The Godfather , for instance, spent its first week in only five theaters, before a large expansion later.

Jaws opened simultaneously in no less than American theaters, basically burying the practice of controlled, step-by-step releases the studios favored up to that point. In addition to that, the film premiered only after an expensive, elaborate and intensive marketing campaign which would later become the ABCs for expected blockbusters. On its 9-million-dollar budget, Jaws went on to gather as much as million dollars in cinemas across the world. The film, therefore, practically singlehandedly established summer as the best season for the release of projects with the biggest box-office potential, bringing with it a second crucial change within the industry: auteur films were suddenly in a less desirable position when compared to big-budget movies, and studios gradually took control from the hands of filmmakers, ending the period usually classified as the New Hollywood era of filmmaking.

Noticing certain thematic parallels with his highly praised TV debut film Duel —the fact the story was about ordinary people battling dangerous, unreasonable predators—Spielberg expressed his desire to direct the film. Spielberg, on the other hand, also had his doubts, but the producers managed to convince him that Jaws would open all the doors he needed to pursue making exactly the type of films he wanted to make. Benchley, the author of the book, was also hired as the screenwriter, but when his three drafts proved unsatisfactory, Spielberg took it upon himself to write the script.

After two weeks of writing his own version, the filmmaker realized he needed help, which is why playwright and Pulitzer Prize winner Howard Sackler was hired to reshape the script. As Spielberg later revealed, the esteemed filmmaker John Milius also worked on the screenplay, as well as the whole crew, led by one of the main actors, Robert Shaw, who himself had previously written a play called The Man in the Glass Booth. The music was scored by John Williams, the composer with whom Spielberg established a long-lasting partnership on the first film they made together, The Sugarland Express.

Jaws was also the last film the great editor Verna Fields ever edited. The shooting was supposed to last 55 days, but this stretched for two additional months, raising both the budget and the pressure for Spielberg to deliver what the studio expected from him. The mechanical sharks, created under the supervision of experienced special effects master Robert A. Funnily enough, the movie that decimated the number of swimmers across the American coast actually did wonders for the tourism of this little town that opened its welcoming arms to Spielberg and his crew. The shooting might have been a nightmare, but the trouble paid off generously in the end, as Spielberg succeeded in creating a classic that changed the rules of the game and is still viewed as a master class in filmmaking that thousands of film students can look up to for inspiration and guidance.

A monumentally important screenplay. NOTE: For educational and research purposes only. Absolutely our highest recommendation. It makes Amity feel like a real town. So, I was wondering if we could talk a little bit about how you pulled so many locals into the movie and how much of that was a creative choice and how much of that was political to help you ease the troubled waters of filming on location.

I was just trying to find as much naturalism to play against the basic size of the shark. That was also your reasoning for wanting to actually shoot on the ocean as well, right? Right, exactly, because if I made the movie in a tank it would have had that same mythological feel that the Spencer Tracy film, The Old Man and the Sea , has. Or 20, Leagues Under the Sea. When you see Kirk Douglas fighting a giant squid, as awesome as that is, you know they shot that on a backlot somewhere. Yeah, exactly. But had I to do it all over again I would have gone back to the sea because it was the only way for the audience to feel that these three men were cast adrift with a great white shark hunting them. Right, right. I know it was a headache, but I would hope looking back on it now you could say all the aggravation and stress was worth it.

It was worth it because, for number one, Close Encounters , which was a film I had written and a film nobody seemed to want to make, everybody seemed to want it right after Jaws was a hit. So, the first thing Jaws did for me was it allowed a studio, namely Columbia, to greenlight Close Encounters. For number two, it gave me final cut for the rest of my career.

But what I really owe to Jaws was creating in me a great deal of humility, about tempering my imagination with just sort of the facts of life. It took its toll. Ask the tides! Everything on land went normal! Everything I shot on any form of land went like a normal movie. I actually was on schedule for the first part of the picture. So, when we were shut out many days because of mechanical problems and weather problems, all we could do was wait and bounce up and down on the waves and watch each other vomiting over the side. The shark not working was a godsend. It made me become more like Alfred Hitchcock than like Ray Harryhausen in the sense that Ray Harryhausen in his day could do anything he wanted because he had control of his art. Losing that creative thinking is something that worries me today when I see so many filmmakers using CG as a crutch.

I worry that we lose some of give and take that often times forces creativity. I fall victim to that, too. The sequel, that I directed, there were four times more digital shots than that. In the first film it was actually Stan Winston actually working together with Dennis Muren putting their heads together to try to figure out how to make these blends from mechanical full-sized puppeteering to the digital wider shots.

We have to talk about the casting of your leads. First I went to Lee Marvin and he said no. Then I went to Sterling Hayden and he said no. That was a simple story, although it took six months to cast Quint. And I went to several actors before Roy Scheider. I tested dozens of possible Brodys. What about you? Will you make my movie? And then he read the script and loved it, which was good because he could have read the script and thrown it back in my face. But he loved it. And Richard Dreyfuss was my first choice. Richard Dreyfuss and Lorraine Gary were both my first choices and they said yes when I asked, so that was all good.

Those were guys who were both leading men and character actors. Is there any character in the film that I can identify with; that I can experience these events through their eyes. Harrison Ford, who is iconic now, was so full of vulnerabilities in both Star Wars as Han Solo as well as then casting him as Indiana Jones, even though he was a big hero with a whip and a resolve to achieve all of us could identify with him. You also beat the shit out of him in that first movie! So, do you remember shooting that scene? What was the vibe on the set? Was it weighty?

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