Tag Archives: Spielberg

Jaws – Fan Trailer

Or should that be fin trailer?

Whilst studying film and television at university at the latter part of the 20th Century I decided to try and hone some of my editing skills by putting together a contemporary trailer for my all time favourite film, Jaws.

With its re release at cinemas earlier this year it was granted a new trailer which got my thinking about the one I produced back in that edit suite, I still had a copy of it somewhere knocking around on VHS so decided to hunt it out.

If memory serves I put it together at some point in 1997 and used a piece of Hans Zimmer music from Crimson Tide, a submarine thriller from late Director Tony Scott. That score though is perhaps most famous for being used on one of the greatest trailers of the 90s, Independence Day, or ID4 as it was known in some quarters. I hear that the film itself is being released in 3D sometime next year.

In my Jaws trailer I went for setting the scene in Amity and then slowly building a sense of dread and foreboding before finally revealing the shark. Of course there was a mixture of the classic scenes, such as that first attack, and some of the classic lines,that are just so iconic.

All in all I was still pleased with what I produced all those years ago, I especially liked the juxtaposition between Hooper (Richard Dreyfuss) during the autopsy and the first victim he is looking, which worked rather well in the section where he splashes water on his face which seems to mimic poor Chrissie making her way through the ocean at night.

My trailer is perhaps a tad long but the stand out moment for me is the bit where Quint (Robert Shaw) delivers his “too many captains on this island” talk to the whole town and Chief Brody (Roy Scheider). I love it where the music begins to swell up again just as the camera is moving in on him.

The widescreen really shows off some of the wonderful framing and beauty of the film, including the sweeping light shot on the boat at night, Spielberg loves his light and it really shows here acting almost as a pre-cursor to Close Encounters.

Both my trailer and the re release one share many of the same key characteristics and shots (which of course they would,they are from the same film) so I was pleased that in marketing terms I seemed to be hitting the same kind of notes as the boys at Universal.

Jaws is released on Bluray for the first on Monday 3rd September.

Without further ado, here is my Jaws trailer:

And here is the re release one:

Jaws – still top of the blockbuster food chain

Jaws is released on Bluray for the first time in the UK on Monday 3rd September, I look back to my first viewing of this newly spruced up print of the classic Spielberg thriller on the big screen back in June. And yes, I’ll be buying it again, adding it to my pan and scan VHS copy, my widescreen VHS copy and both the 25th and 30th anniversary DVDs.

My journey to see Jaws, my all time favourite film, has been 10 years in the making and after all that time, all those viewings, it didn’t disappoint. Put simply it was Jawsome.

It is somewhat fitting that Jaws has been re released as part of the centenary celebrations of Universal Studios in June, smack bang in the middle of the summer blockbuster season, as Jaws is the grandaddy of them all, the first film to have such a large (at the time) opening, and the first to hit that magic $100 million mark. In more ways than one it is the big fish.

37 years have passed since Jaws first swam onto our screens but it still more than holds its own against today’s output, in fact it is the filmic equivalent of what Matt Hooper (Richard Dreyfuss) calls the shark, ‘the perfect eating machine’.

As a piece of cinema Jaws was always the near perfect piece of cinema and now, cleaned up frame by frame and looking like it was practically shot last week, this lean mean thriller machine became the closest to cinematic perfection it has ever got.

Put simply, you can forget your Star Wars, forget your toying with special effects, nipping, tucking or even adding here and there (yes you Mr Cameron, Mr Lucas – sounds like Are You Being Served – and Mr Scott), this is cleaned up but otherwise untouched, and still has the same shark and still has that primal fear in buckets, along with the chum.

Spielberg has clearly learnt from his ‘walky talky’ medling with E.T. and left Jaws exactly as it was, save for giving it a fresh lick of paint and thankfully modification free.

It may sound obvious but never having seen the film on the big screen the first thing that hit me was that it all looked so big, from the (thankfully) old fashioned Universal logo to each and every character introduction, counting the fictional Amity Island in that.

With such a large canvas, that had also expertly been cleaned up, we are able to feel even closer to that (really rather sunny and bright for the most part) world and see and notice so many small things in the background that I hadn’t done before. It was practically like seeing the film for the very first time.

Jaws still packs a punch (or should that be bite radius) of a juggernaut. The opening 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 when the John Williams score and sound effects really kick into high gear. If anything its heightened more than ever with the Alex Kitner lilo attack, which in many ways seemed even more powerful. They both form part of my article, Death Becomes Them, charting the ‘best’ death scenes in the Jaws series.

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 – read Man vs Beast for my take on the making of) but Quint has never been so dominant, so alive. He 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 as he carved such an impression up their 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.

The decade wait was well worth it, and I’m pleased that Bruce, as the shark was nicknamed by Spielberg, came back for his noon feeding to mark the hundredth anniversary of Jaws,it mattered not that most of us in that small screening room had seen it hundreds of times, knew exactly what shot or line of dialogue came next we were all in awe of the remastered Jaws and to paraphrase Chief Brody at the end of the film as he blows the great white shark out of the water as it races toward him, we were all smiling like sons of bitches. 

 

Independence Day

It’s over an astounding 15 years since giant shadows cascaded across our cinema screens and Independence Day was unleashed upon the world. In that time it’s been easy to deride this sci-fi epic but as alien invasions go they have never looked so stunning. In fact, it’s fair to say that any alien invasion movie since (or before for that matter) cannot fail to be compared.

Essentially it’s very much War of the Worlds meets Irvin Allen-esque menagerie of characters – mostly cardboard – but played by a host of recognisable actors. So far so Earthquake or The Towering Inferno with aliens, and like those films the main leads are oh so engaging, in this case Bill, Will and Jeff (essentially the same character as he played in Jurassic Park). But, to be fair, as witty as we find Mr Smith exclaiming he is going to “whoop ETs ass”, what we’ve really paid our money for is to see the wanton death and destruction.

And boy, does it deliver that in spades, especially with perhaps the most iconic shot of 90s cinema, the obliteration of the White House. Of course, shots such as that and the destruction of several other buildings take on a whole new meaning in this post 9/11 world.

ID4 was uber American gung ho. It was a different time with a different President. Post Iraq and post 9/11 it’s a world that, rather ironically, looks completely alien. It’s as if it was a much simpler time ‘back then’. And although some of the dialogue (thank you Mr Smith) was trite in places you can’t deny the power and force of the President’s speech before the final (Star Wars-esque) run at one of the saucers.

Sure, we had seen giant saucers before, most notably in V some 12 years earlier, but never with such foreboding and with such aplomb, what with the giant clouds and those introductory shadows, Emmerich doing for UFOs what Spielberg did for sharks and not showing the audience until he absolutely had to, ramping up that alien fear factor to 11. The music is a bravo score by David Arnold, in his pre Bond days and hot off scoring duties from another Emmerich sci-fi epic, Stargate.

Just like those 70s disaster movies that it so perfectly emulates, the film also has that nice old skool Hollywood feel to it as the special effects were still very much in the early days of digital effects so many of the memorable moments, such as the White House exploding and fire raging through the city were done as practical effects so look real because, well, they were.

Far from a perfect film, with its clichés galore and film lore of dog evading certain death (that leap in the tunnel is great though) it is pretty much the perfect example of a summer blockbuster. It’s dumb, but dumb with style, but plenty of fun. Certainly compared to some of the efforts we’ve seen in recent years it could even be argued it’s not even that dumb.

Some of the characters are weak in places but there are so many of them, or they are snuffed out so soon, that it doesn’t really matter. Some of the jumps in logic defy, well logic, but it all works together, it all gels and above all else it makes you come out of a screening feeling that little bit more alive. No pun intended, but even after all these years, and numerous films filled with digital pokery, the film is still, rather fittingly, a huge visual feast of a blast that provides plenty of bang(s) for your buck.

Dean Devlin and Roland Emmerich tried pretty much the same trick with Godzilla a couple of years later, but this time round the lightning in the bottle just couldn’t be recaptured, so it was certainly more than about hurling cash at the screen in the form of impressive special effects.

The marketing campaign was also something of a masterstroke, almost preparing us as if there were an actual alien invasion, with great posters and trailer campaign (with great use of Hans Zimmer’s score from Crimson Tide), complete with the destruction of the White House first being unleashed on an unsuspecting audience during the Super Bowl. Now, that’s how to grab attention!

There’s long been a mooted ID42 and post Iraq, post 9/11, post Transformers and Emmerich’s other disaster epics, The Day After Tomorrow and 2012, it would certainly be interesting to see what they did next and if any of the original characters were involved. Certainly it would need a return from Smith, Paxton (as President obviously now retired) and Goldblum.

The sequel might not be invading theatres anytime soon but the 3D version of Independence Day (duck at that fire truck rolling through the air) is scheduled to set the world – along with box office tills – on fire sometime next year. Technically that’s ID43D then!

Gremlins

To describe Gremlins as a kid’s film would be like describing the Bates Motel as a swell place to stay.

Cutesy in a typical Spielbergian world at the very beginning, sure, but it is soon revealed that we, the audience, and indeed the Peltzer family are sorely mistaken and have somewhat misread the situation in the ultimate ‘always heed the instructions’ moment in cinematic history

An animal is for life, not just for Christmas, such is the number one life lesson that we can all learn from the Spielberg Executive Produced, Joe Dante Directed, Gremlins. Rounding out this trio of talent is then scriptwriter – later Harry Potter Director, Chris Columbus – who was on something of a roll after penning scripts for both The Goonies and Young Sherlock Holmes around the same period. This ‘E.T. with teeth’ captivated and entertained and still stands tall as a comedy horror Christmas classic, and you don’t get many of those.

Originally a spec script by the young Columbus the feature was set to be a very different ‘beast’ with the Gremlins being even more dark and twisted, with the irresistibly cute Gizmo turning into Stripe, Barney the dog getting hung and Billy’s mum’s head rolling down the stairs!

Being a Joe Dante film it is a veritable reference of film and cartoon delights, from a cameo by the legendary animator Chuck Jones to a blink and you’ll miss it Steven Spielberg disappearing in a Time Machine

It’s a deliciously wicked and rich film, even until this day and has an almost timeless charm about it like that other 8o’s classic Back to the Future, which also shared the Universal backlot as its main set that created the town, Kingston Falls, and it does so spectacularly.

We get suckered into the cute, furry routine just like the Peltzers. It’s a family movie alright, but more about a families survival than in the traditional sense of the word. As such it caused such shockwaves Stateside and was one of two films that year, 1984, that helped create the PG 13 rating in America, the other film being Indiana Jones and the Temple of Doom.

For all the Gremlins’ attacking from a Christmas tree, driving a bulldozer into the Futterman house, causing mayhem in the streets it’s a very low key scene that lingers in the memory and proves to be the most distressing, that classic monologue by Phoebe Cates on why she hates Christmas, a chilling story of them finding her dead dad stuck up the chimney dressed as Santa Clause. Inspired and perhaps only pipped by the SS Indianapolis story speech by Quint in Jaws for its powerfulness and evococativeness.

The set pieces and the imagery, their swirling lights of the swimming pool when Stripes throws himself in at the deep end, the tension of the death of the college tutor scene played against the rapidly beating heart on the projector, on par with anything in The Howling. Not to mention the discovery of the pods and the classic kitchen scene.

It’s a shame that Dante went for out and out comedy in the sequel as it would have been an interesting study in terror to see them go really, really dark. Of course, a remake or reimagining has been mentioned but it really does remain to be seen whether the Gremlins would hold the same appeal us knowing that they were merely pixels. The Gremlin creations by Chris Wallas are pretty much pitch perfect in design, that other unsung hero of the film is also Jerry Goldsmith and his blistering score that manages to be both comical and scary in equal measure.

It really is a nasty piece of work, and is all the more beloved and beautiful for it. Full of great energy, Dante clearly has great fun letting the Gremlins run riot in the usual Spielberg-like world, albeit one full of B-movie horror high jinks, and it all works wonderfully thanks to the film’s humour and the charm of its young leads. It maybe a special effects lead film but it’s the story that drives it, just like Back to the Future again in many respects, remember when that happened?

Alien is often mooted as the monster sci-fi movie of reference but for me it will always be Gremlins, for me it will always be a great big little monster movie.