WEBVTT

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She inadvertently dumps gasoline all over herself,

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shoots a flare gun, and the boat explodes to

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high heaven. And it's just like, oh, my God.

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That escalated very quickly. And then it gives

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the shark a scar. Then we have Scarface the shark,

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which is just the touch that I love with this

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movie. Hello and welcome to Camp Kaiju Monster

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Movie Podcast. We are your hosts, Vincent Hannum

00:00:43.979 --> 00:00:47.640
and Matt Levine. And we are talking about all

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of our favorite monster movies, the good, the

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bad, and the downright campy, and asking if they

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stand the test of time. Traditional kaiju, creature

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features, space invaders, the supernatural, and

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everything in between. All strange beasts welcome

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here. Camp Kaiju is sponsored by Zach Linder

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and the Zach Pack, powered by Coldwell Banker

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Realty. Your source for real estate, home rehab,

00:01:12.560 --> 00:01:14.680
fixing and flipping for investor clients and

00:01:14.680 --> 00:01:17.439
residential buyers. Reach out to the Zach Pack

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today for real estate services. Follow the Zach

00:01:20.359 --> 00:01:22.859
Pack on social media and contact the Zach Pack

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for investment opportunities. Link in the show

00:01:25.599 --> 00:01:40.629
notes. The terror continues. In all the vast

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and unknown depths of the ocean, how could there

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have been only one? Chief Brody, can we go, please?

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I think we may have another shark problem. Are

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you serious? Roy Scheider. I lost him, my guy!

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The holdings look incredible. Lorraine Gary.

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And Murray Hamilton. Look at this. That's a shark.

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You started a panic on a public beach. Now what

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if somebody decides to sue us? It's a shark.

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Did you ever stop to think about that? And I

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know what a shark looks like because I've seen

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one up close. And you better do something about

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this one because I don't intend to go through

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that hell again. Don't press it this time. My

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kid's out there. Here we are. Second episode,

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Matt. Season five, part two. Yeah, good to be

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back. Yeah. How are you? I'm doing all right.

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Summer is nearing its end. But aside from that,

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I'm doing well. How are you doing? I'm good.

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Also, in soaking up the last bit of summer here,

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not like September is not often summer weather,

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but something changes when the calendar flips

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to September. Yeah, for sure. I love fall, so

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I'm not necessarily complaining, but there's

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always something a little bit bittersweet about

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the end of summer. Maybe it's just the nostalgia

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from being a kid, but you got to hold on to those

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last days. It's like so many movies. I'm thinking

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about Stand By Me. It's just all about, or the

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Sandlot, it's about youth in summer, and then

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it fades away, like your own youth, and then

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you become a bitter old person in the winter,

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only to be reborn again in the youthful spring.

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I'm glad you had that ending there, because I

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was about to get very depressed, but then you

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turn it around. I like that. It's true. It's

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the cycle that we all go through. And not to

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remind you of this, but you, as you've mentioned

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on the podcast before, you're a teacher. So you're

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like wonderful summer off of just like watching

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four monster movies a day. That's what I assume

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you do during your summer. It's about to come

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to an end. So I'm sure that's bittersweet. I

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can no longer fall asleep in my chair at midnight

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watching some B movie. I mean, I could, but I

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will pay for it the next day. Yeah, yeah. You'll

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have to do it less often than usual. Well, speaking

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of that, watching movies and old movies and new

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movies, what have you seen lately? I've seen

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a lot of good stuff, although I don't know how

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many of them are monster movies per se, but I

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guess the first thing that comes to mind, I have

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to shout out Weapons. I loved it. So good. From

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the director of Barbarian, which I would say

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is a monster movie. I don't know if Weapons is

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exactly a monster movie, but it's a great horror

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movie. Very scary, very unpredictable and stylish.

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Really loved it. So if you haven't seen Weapons

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yet, check it out. That's awesome. I haven't,

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but everyone's talking about it. I was impressed

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with Barbarian. So yeah, I'll check out Weapons.

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I saw that The Monkey is finally streaming on

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Hulu. I have not seen it yet, but I am very excited

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to finally watch that movie. I'm holding off

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on sinners until October, but there's just like,

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I'm excited to watch some recent new horror films

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and finally check those off the list. Cause the

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hype is good. Yeah. I feel like we're in kind

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of a golden age of horror. There's a lot of good

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stuff out there. Sinners is great. I really like

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Together a lot, which is, I would say that's

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actually a monster movie, sort of unexpectedly.

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But it's also kind of a comedy, a very dark comedy,

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and a relationship drama at the same time. So

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I like Together quite a bit as well. Okay. Yeah.

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Final Destination, Bloodlines, another horror

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movie that I want to see. Haven't gotten to yet.

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That's a whole series that I would... You know,

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the appeal to me is there. I just have not...

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like summoned up the not the courage, but the

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the willpower to watch any of those movies. Yeah,

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I have a soft spot for them. I do like that series.

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I feel like those movies and the Fast and the

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Furious are kind of the same thing for me where,

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you know, they fall into the guilty pleasure

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category. There are so many of them and I like

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don't really love the assembly line nature of

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them. And yet at the same time, they're very

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fun, very entertaining, high concept. you know,

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just pop entertainment. And there's something

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very fun about those movies. Well, that's a series

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that I think would do, it would serve me well

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to watch it with somebody else. Yeah. Yeah. So

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we can laugh and we can just roll our eyes together

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at what is happening. I think you're right about

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that. And like maybe even like a packed theater

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full of people all like laughing at the same

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time, you know. Sadly, I didn't see Bloodlines

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in the theater, so I kind of missed my opportunity

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for that. But I've heard good things. Yeah. Okay,

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cool. What have I watched recently? I watched

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Clash of the Titans. Have you ever seen that?

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The original or the more recent one? Both. I

00:07:51.269 --> 00:07:54.149
watched both of them, actually. I guess I don't

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know why I asked because I have not seen either

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of them. Well, the first one from the 80s, Ray

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Harryhausen's special effects. Laurence Olivier

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plays Zeus. Maggie Smith is a goddess. There's...

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There's a lot of entertaining things going on.

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And then in the remake, and it is a remake from

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2010, starring Liam Neeson as Zeus. And you get

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the meme -ified line, release the Kraken. And,

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you know, I gave it a solid three out of five

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stars. I expected so much worse. But actually,

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it's a solid adventure fantasy picture. They

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both sound kind of great. I want to see both

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of those. And I feel like some of those ancient

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Greek movies, right? Ancient Greek or is that

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ancient Roman? That's Greek, right? No, they're

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Greek. You know, like there's a lot of guilty

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pleasure potential there as well. Like even if

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they're bad, like you have, you know, actors

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like Laurence Olivier, Liam Neeson, like hamming

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it up the whole time. That's great. How can you

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not have fun watching that, you know? I'm assuming

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anyway. I haven't seen it yet, but. No, you're

00:09:04.620 --> 00:09:06.519
right. You don't even just see it. You just,

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that's it. Well, I still plan on seeing them

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someday. Who knows when? Good, good. All right.

00:09:16.379 --> 00:09:19.480
But tonight we are continuing our August Bites,

00:09:19.480 --> 00:09:24.179
August series. We are following up killer gorillas

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in the Congo with a killer shark in New England.

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That's right. Jaws 2, everybody. Maybe we should

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have led with that. But why would you be listening

00:09:34.480 --> 00:09:36.750
to this if you didn't know what? It was, it's

00:09:36.750 --> 00:09:41.190
in the title jaws too. It is it this, this time

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it's just when you thought it was safe to go

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back in the water. That's it. Yeah. One of the

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most famous taglines of all time. It is. Yeah.

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Whether or not, whatever you think about the

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movie, I think the legacy is there and I'm excited

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to dig into this film. There's a lot of behind

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the scenes stuff to get into some drama between

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actors and director. And the producers, there's

00:10:07.269 --> 00:10:11.549
things going on with the shark. If you know the

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history behind the production of Spielberg's

00:10:14.110 --> 00:10:17.570
Jaws, a lot of that comes back into play as well

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with the mechanical shark and the ocean and whatnot.

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So celebrating Jaws' 50th anniversary, I said,

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let's do the sequel. Which I love. And, you know,

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I do want to remind our listeners that we did

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talk about Jaws the Revenge also on the podcast,

00:10:33.919 --> 00:10:35.940
maybe like two years ago, something like that.

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Well, so I'm sure we'll talk about that movie

00:10:38.679 --> 00:10:41.480
as well. Maybe even Jaws 3D a little bit later

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in this episode. Yeah, there. Well, yeah, I won't

00:10:47.139 --> 00:10:49.139
get into too much detail about the sequels yet.

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They are hit or miss. I'll just say that at this

00:10:51.600 --> 00:10:55.320
point. I love it. I'm so excited. Okay. Some

00:10:55.320 --> 00:10:57.860
nuts and bolts, though. We got to thank our listeners

00:10:57.860 --> 00:11:01.039
and all our friends of the pod for hanging out

00:11:01.039 --> 00:11:03.600
with us here. If you like what you're listening

00:11:03.600 --> 00:11:06.620
to, please rate and review. Send us listener

00:11:06.620 --> 00:11:09.720
comments at campkaiju at gmail .com, Instagram

00:11:09.720 --> 00:11:13.320
at camp underscore kaiju underscore podcast.

00:11:13.940 --> 00:11:16.240
If you'd like to be a featured voice on the show,

00:11:16.340 --> 00:11:18.740
let us know what you think about the Jaws sequels.

00:11:18.980 --> 00:11:24.500
Our voicemail number is 612 -470 -2612. Check

00:11:24.500 --> 00:11:27.919
out our website, campkaijupodcast .com, where

00:11:27.919 --> 00:11:30.580
you'll never miss any of our content. But if

00:11:30.580 --> 00:11:33.879
you really want to get the inside scoop on all

00:11:33.879 --> 00:11:38.720
things Camp Kaiju, check out our Patreon at patreon

00:11:38.720 --> 00:11:43.000
.com slash campkaiju. And you can join the ranks

00:11:43.000 --> 00:11:47.059
of Jason, B -Stroll, Chris B, Sean, our anonymous

00:11:47.059 --> 00:11:51.629
patron, and Peggy. And just like them. Maybe

00:11:51.629 --> 00:11:53.570
we'll send you a magnet. Maybe we'll send you

00:11:53.570 --> 00:11:56.950
a sticker. Discounts on t -shirts. You know,

00:11:56.970 --> 00:11:59.250
I'm not complaining that you all don't hit us

00:11:59.250 --> 00:12:01.450
up for those discounts. But honestly, if you

00:12:01.450 --> 00:12:04.529
wanted a shirt, patrons, I will just send you

00:12:04.529 --> 00:12:07.649
a shirt. Really. You can't give them away. So

00:12:07.649 --> 00:12:13.110
please drop us a line. Let us know if you want

00:12:13.110 --> 00:12:17.450
a shirt or a pillowcase or anything with our

00:12:17.450 --> 00:12:22.799
logo on it. It's yours. What a deal, man. What

00:12:22.799 --> 00:12:26.740
a deal. So check out patreon .com if you haven't

00:12:26.740 --> 00:12:31.360
yet. Matt, I got to know, you mentioned during

00:12:31.360 --> 00:12:34.519
our Congo episode that you and your friends played

00:12:34.519 --> 00:12:38.220
a board game that you all created. I wanted to

00:12:38.220 --> 00:12:40.159
hear more about that. And I feel like I just

00:12:40.159 --> 00:12:44.419
ran my mouth and didn't give you time. So please

00:12:44.419 --> 00:12:47.360
tell us about Congo, the board game. Oh, well,

00:12:47.480 --> 00:12:49.320
first of all, I wouldn't say that. I feel like.

00:12:49.580 --> 00:12:52.379
You know, we're both running our mouths throughout

00:12:52.379 --> 00:12:54.600
the entire recording. I mean, that's kind of

00:12:54.600 --> 00:12:56.460
the name of the game, right? So it's, you know,

00:12:56.500 --> 00:12:59.740
it's cool. I didn't want to spend too much time

00:12:59.740 --> 00:13:01.720
on that board game, but it is awesome. My friend

00:13:01.720 --> 00:13:04.700
Chris made it. It's called The Lost City of Zinj.

00:13:05.080 --> 00:13:07.299
which of course is the name of the ancient city

00:13:07.299 --> 00:13:10.039
in Congo. And yeah, you play where you start

00:13:10.039 --> 00:13:12.799
off on the continent of Africa. You go from one

00:13:12.799 --> 00:13:16.039
city to another. You have to find resources to

00:13:16.039 --> 00:13:18.779
prepare to go into the jungle. Much like in the

00:13:18.779 --> 00:13:22.159
movie, you have to pay off warlords. It's equally

00:13:22.159 --> 00:13:24.679
offensive in the board game as it is in the movie.

00:13:24.720 --> 00:13:26.940
I'll just say that. And then eventually you make

00:13:26.940 --> 00:13:29.480
it into the jungle. You have to go past tiger

00:13:29.480 --> 00:13:33.200
traps. You do set up the... the automatic sentry

00:13:33.200 --> 00:13:35.200
guns like they have in the movie as well, like

00:13:35.200 --> 00:13:37.279
that's part of the board game. And then, yeah,

00:13:37.340 --> 00:13:40.620
you have to find the priceless diamonds in the

00:13:40.620 --> 00:13:42.740
lost city of Zinj and then make it back out alive.

00:13:43.379 --> 00:13:46.700
It's a lot of fun. Chris did a great job on that

00:13:46.700 --> 00:13:49.360
board game. So if he's listening, I told him

00:13:49.360 --> 00:13:52.299
to listen to the Congo episode. I don't know

00:13:52.299 --> 00:13:55.320
if he's going to or not, but thanks, Chris. Many

00:13:55.320 --> 00:13:59.159
hours of fun playing that game. Wow. He should

00:13:59.159 --> 00:14:02.480
patent it. I would buy that. Yeah, I don't know

00:14:02.480 --> 00:14:04.000
how much we would have to pay for the rights

00:14:04.000 --> 00:14:06.500
to Congo. Honestly, probably not very much at

00:14:06.500 --> 00:14:08.519
this point, but I could be wrong. I could be

00:14:08.519 --> 00:14:11.519
wrong about that. The rights holders are like

00:14:11.519 --> 00:14:14.279
me with our Threadless store. They can't give

00:14:14.279 --> 00:14:19.139
away their intellectual property. Yeah. Please

00:14:19.139 --> 00:14:22.679
rip off Congo for free is what Universal Studios

00:14:22.679 --> 00:14:25.899
is telling people right now. And still nobody's

00:14:25.899 --> 00:14:32.860
doing it. I love a good monster movie themed

00:14:32.860 --> 00:14:36.759
board game. I won't go. That's a conversation

00:14:36.759 --> 00:14:40.779
for another time. But let's get into this month

00:14:40.779 --> 00:14:43.980
in monster movie history. It's August. What do

00:14:43.980 --> 00:14:47.779
we got here? We have a whole bunch of titles.

00:14:47.899 --> 00:14:52.600
The Abyss. We have Prophecy. That's coming up

00:14:52.600 --> 00:14:56.639
later in our season. Suspiria, I just watched.

00:14:57.080 --> 00:15:01.289
I'm going to shout out. Jason and the Argonauts

00:15:01.289 --> 00:15:05.809
from 1963. Speaking of Ray Harryhausen, Greek

00:15:05.809 --> 00:15:11.070
mythology, motion pictures. Jason and the Argonauts

00:15:11.070 --> 00:15:13.590
is a lot of fun. It's an adventure fantasy film,

00:15:13.690 --> 00:15:18.129
but it is the film that features the iconic scene

00:15:18.129 --> 00:15:21.330
where a bunch of skeleton warriors come to life

00:15:21.330 --> 00:15:24.690
and attack and Jason has to fend them off. So

00:15:24.690 --> 00:15:28.340
it's a great like sword. battle hand -to -hand

00:15:28.340 --> 00:15:33.100
combat scene but he's Jason is fighting a small

00:15:33.100 --> 00:15:36.220
army of skeletons and it's awesome just look

00:15:36.220 --> 00:15:39.019
it up on YouTube everybody if you haven't Jason

00:15:39.019 --> 00:15:42.500
and the Argonauts I've always wanted to see that,

00:15:42.580 --> 00:15:45.279
and I feel like I really need to learn more about

00:15:45.279 --> 00:15:47.720
Ray Harryhausen. That's one of the blind spots

00:15:47.720 --> 00:15:50.980
in my cinematic education, and we've started

00:15:50.980 --> 00:15:53.879
to compensate for that here on the podcast. We

00:15:53.879 --> 00:15:56.120
talked about The Beast from 20 ,000 Fathoms,

00:15:56.120 --> 00:15:59.080
but hopefully there will be more Harryhausen

00:15:59.080 --> 00:16:01.340
in the future because I need to see a lot more.

00:16:01.820 --> 00:16:04.799
Well, you're bringing one such film to the show

00:16:04.799 --> 00:16:08.279
later this year. Oh, yeah. 20 million miles to

00:16:08.279 --> 00:16:11.190
Earth, right? Yeah. Honestly, I forgot that was

00:16:11.190 --> 00:16:13.669
Ray Harryhausen. So it's like I planned this,

00:16:13.769 --> 00:16:15.409
but I didn't actually plan it. It's all just

00:16:15.409 --> 00:16:19.009
coming together. Well, you're in for a nice surprise.

00:16:20.429 --> 00:16:22.970
Can't wait, man. And Jason and the Argonauts

00:16:22.970 --> 00:16:25.129
sounds awesome. I can't wait to watch it. Yeah,

00:16:25.149 --> 00:16:28.350
it's fun. All right. What do you want to shout

00:16:28.350 --> 00:16:30.669
out here? I think I'm going to shout out the

00:16:30.669 --> 00:16:33.090
first movie on this list, which is The Ghost

00:16:33.090 --> 00:16:36.769
and the Darkness from 1996. For whatever reason,

00:16:36.850 --> 00:16:39.460
I think I've had like... an obsession maybe with

00:16:39.460 --> 00:16:42.220
like nineties monster movies. Like, you know,

00:16:42.240 --> 00:16:44.820
we talked about Congo on the last episode. We

00:16:44.820 --> 00:16:46.820
also recently talked about the relic, the Island

00:16:46.820 --> 00:16:49.779
of Dr. Moreau, some other movies from that time.

00:16:50.000 --> 00:16:52.480
And. The Ghost in the Darkness came out when

00:16:52.480 --> 00:16:54.460
I was 12 years old. And I feel like it's one

00:16:54.460 --> 00:16:56.720
of those movies where once you get a little bit

00:16:56.720 --> 00:16:58.659
older, like nowadays, you're like, oh yeah, that

00:16:58.659 --> 00:17:01.720
movie. I vaguely remember that. And as Val Kilmer,

00:17:01.899 --> 00:17:05.140
Michael Douglas, it's about killer lions. I feel

00:17:05.140 --> 00:17:07.240
like it actually would have been a good choice

00:17:07.240 --> 00:17:09.480
for August Bites. So we might have to keep that

00:17:09.480 --> 00:17:13.819
in mind for next year. Yeah, yeah. I've never

00:17:13.819 --> 00:17:16.240
seen it, no. But when I was a kid, I learned

00:17:16.240 --> 00:17:19.220
about, they're called the man -eating lions of

00:17:19.220 --> 00:17:23.859
Savo. But basically, in Africa, around like the

00:17:23.859 --> 00:17:26.779
early 1900s, the British were building a railway.

00:17:27.380 --> 00:17:30.019
And of course, they hired a bunch of locals to

00:17:30.019 --> 00:17:36.759
build that railway. But the lions in the area

00:17:36.759 --> 00:17:40.440
actually got a taste for human flesh. And dozens

00:17:40.440 --> 00:17:43.740
of people were eaten and stolen out of their

00:17:43.740 --> 00:17:47.240
beds at night. And I learned about this when

00:17:47.240 --> 00:17:49.279
I was a kid, and I still have nightmares about

00:17:49.279 --> 00:17:52.750
it. Like, honestly, the man -eating lions of

00:17:52.750 --> 00:17:56.589
Savo. Yeah. And that's what this movie is based

00:17:56.589 --> 00:17:58.970
on. It's set in Africa in the early 20th century,

00:17:59.049 --> 00:18:01.549
and it's exactly that story, basically. Oh, my

00:18:01.549 --> 00:18:05.150
gosh. Yeah. And, you know, I did see it when

00:18:05.150 --> 00:18:07.849
I was a kid. I remember it kind of traumatizing

00:18:07.849 --> 00:18:09.990
me when I was, like, 12 or 13 years old whenever

00:18:09.990 --> 00:18:12.789
I saw it. I have no idea if it holds up or not,

00:18:12.869 --> 00:18:14.970
but I really want to rewatch it sometime soon.

00:18:15.589 --> 00:18:17.890
Yeah, I'd be interested in seeing that. Nice.

00:18:18.960 --> 00:18:21.140
Well, speaking about new releases, we talked

00:18:21.140 --> 00:18:23.680
about weapons. But there's a movie that came

00:18:23.680 --> 00:18:26.980
out in July, actually, that I never got around

00:18:26.980 --> 00:18:29.880
to shouting out. But it's called Dangerous Animals.

00:18:30.740 --> 00:18:34.299
And it's a survival horror film. But there are

00:18:34.299 --> 00:18:36.519
sharks in this movie. It was produced through

00:18:36.519 --> 00:18:40.039
Shudder, which just makes me want to get a Shudder

00:18:40.039 --> 00:18:42.819
subscription. But Dangerous Animals, from what

00:18:42.819 --> 00:18:45.240
I understand, is about a serial killer who takes

00:18:45.240 --> 00:18:49.180
people out on his boat. But he feeds them. to

00:18:49.180 --> 00:18:53.539
the sharks and i'm like wow that's that sounds

00:18:53.539 --> 00:18:59.319
campy and horrific and i want to see it yeah

00:18:59.319 --> 00:19:01.980
totally i love that premise and that kind of

00:19:01.980 --> 00:19:03.400
came out of nowhere i didn't really hear about

00:19:03.400 --> 00:19:06.359
that till recently and it fits in perfectly with

00:19:06.359 --> 00:19:10.799
tonight's episode yeah dangerous animals shark

00:19:10.799 --> 00:19:15.900
genre like the shark genre in and of itself is

00:19:17.359 --> 00:19:19.240
Surprisingly, something I haven't watched a lot

00:19:19.240 --> 00:19:21.539
of. Like, I know Open Water is supposed to be

00:19:21.539 --> 00:19:24.299
pretty good, actually. Yeah. But honestly, it

00:19:24.299 --> 00:19:28.220
looked too scary for me when it came out. Yeah.

00:19:28.940 --> 00:19:33.200
But something like Deep Blue Sea is exactly in

00:19:33.200 --> 00:19:36.359
my wheelhouse. Have you seen that movie? Yeah,

00:19:36.359 --> 00:19:38.880
I love Deep Blue Sea. That's great. It has one

00:19:38.880 --> 00:19:41.180
of the best character deaths of all time. And

00:19:41.180 --> 00:19:44.720
that's all I'm going to say. Ooh. It's been years

00:19:44.720 --> 00:19:47.819
since I've seen it. Because they used to be on

00:19:47.819 --> 00:19:51.559
TBS a lot, I think. Yeah. Yeah, which is probably

00:19:51.559 --> 00:19:55.579
like 20 years ago. Right, yeah. It might make

00:19:55.579 --> 00:19:57.960
the rounds again sometime, but that's a good

00:19:57.960 --> 00:20:02.140
cable movie for sure. Love Deep Blue Sea. I also

00:20:02.140 --> 00:20:04.259
really want to see The Shallows. I think Blake

00:20:04.259 --> 00:20:06.579
Lively is in that movie. Never seen that. That's

00:20:06.579 --> 00:20:08.940
another shark -themed movie, I think. The Meg,

00:20:09.099 --> 00:20:11.019
I would like to see. I've heard mixed things

00:20:11.019 --> 00:20:13.759
about that. Oh, yeah. See that one for yourself.

00:20:14.099 --> 00:20:16.480
Unfortunately, you know, it is what it is to

00:20:16.480 --> 00:20:20.160
each their own. It just wasn't my cup of tea,

00:20:20.259 --> 00:20:22.619
surprisingly. You know, sometimes I surprise

00:20:22.619 --> 00:20:25.660
myself where, you know, a movie like The Meg

00:20:25.660 --> 00:20:29.380
should be something that I love. And people are

00:20:29.380 --> 00:20:31.339
a little surprised to hear that I didn't love

00:20:31.339 --> 00:20:34.740
it. I mean, just like seeing the trailers and

00:20:34.740 --> 00:20:37.200
everything, I don't assume it's actually very

00:20:37.200 --> 00:20:39.200
good, but I feel obligated to see it at some

00:20:39.200 --> 00:20:42.109
point. Yeah, it's all spectacle, which, hey,

00:20:42.190 --> 00:20:45.609
if that's what you want, no harm, no foul. Yeah,

00:20:45.670 --> 00:20:48.349
a lot of CGI though, right? Which, as we've talked

00:20:48.349 --> 00:20:51.809
about many times, is not my cup of tea. Right,

00:20:51.869 --> 00:21:00.230
right. Your cup of chum. Indeed. Nice. I did

00:21:00.230 --> 00:21:04.549
not expect that. Well done. That was good. I

00:21:04.549 --> 00:21:06.710
sort of hope we never talk about the Sharknado

00:21:06.710 --> 00:21:09.769
movies on Camp Kaiju, but we'll see. We'll see

00:21:09.769 --> 00:21:11.589
what happens. Maybe somebody brings them to the

00:21:11.589 --> 00:21:13.789
pod someday and then I'm going to have to eat

00:21:13.789 --> 00:21:18.210
my words. But yeah, let's hold off on that for

00:21:18.210 --> 00:21:23.450
a while, preferably. No Sharknado. I'm not saying

00:21:23.450 --> 00:21:26.950
I'm bringing Sharknado anytime soon, but it has

00:21:26.950 --> 00:21:30.910
been in my back pocket for a while. Yeah, it's

00:21:30.910 --> 00:21:33.890
a good like in case of emergency break glass

00:21:33.890 --> 00:21:36.690
sort of title like that's sitting there if we

00:21:36.690 --> 00:21:39.930
ever need a backup plan. I've never seen it.

00:21:40.190 --> 00:21:44.190
Me either. So I shouldn't assume. Yeah, I know.

00:21:44.309 --> 00:21:48.210
I hate it. All right. But yeah, forget about

00:21:48.210 --> 00:21:52.069
Jaws 2. Let's let's cancel this recording. Watch

00:21:52.069 --> 00:21:55.609
Sharknado and that's. Oh, God, I brought this

00:21:55.609 --> 00:21:59.509
upon myself. It's fair. No. I love Jaws and its

00:21:59.509 --> 00:22:02.049
sequels too much to do that. All right, but what

00:22:02.049 --> 00:22:04.849
are we talking about next time on Camp Kaiju?

00:22:04.890 --> 00:22:07.809
Give us a little sneak peek. Next time we're

00:22:07.809 --> 00:22:10.730
talking about Space Amoeba. Honestly, I don't

00:22:10.730 --> 00:22:12.410
really know too much about this movie. It was

00:22:12.410 --> 00:22:15.690
directed by Ishiro Honda, I believe, but it's

00:22:15.690 --> 00:22:19.029
not part of the Godzilla canon, or is it? It

00:22:19.029 --> 00:22:22.109
is not a Godzilla film. It's a Toho film, so

00:22:22.109 --> 00:22:25.569
you could say it inhabits the same universe.

00:22:26.089 --> 00:22:30.220
Okay. But I love the title. I'm kind of just

00:22:30.220 --> 00:22:33.099
reading the plot right now. I love the general

00:22:33.099 --> 00:22:36.160
plot synopsis. You have an alien amoeba, space

00:22:36.160 --> 00:22:39.779
probes, gigantic monsters of native life forms

00:22:39.779 --> 00:22:42.680
in the Pacific Ocean. I'm so excited for this

00:22:42.680 --> 00:22:46.039
movie. It sounds great. It sounds great. I'm

00:22:46.039 --> 00:22:47.440
not going to say anything about it. Let you make

00:22:47.440 --> 00:22:50.259
your own opinion. But it is a Shiro Honda. And

00:22:50.259 --> 00:22:52.880
yeah, does it stand the test of time? We'll see.

00:22:53.789 --> 00:22:56.569
After Space Amoeba, which is a great title, we

00:22:56.569 --> 00:23:00.250
have King Kong Lives. And friend of the pod and

00:23:00.250 --> 00:23:04.789
musician of the pod, Ben Cook -Felts. He does

00:23:04.789 --> 00:23:08.569
our music for Minya's Mailbox, that little interlude

00:23:08.569 --> 00:23:13.609
there. Ben joined us previously for Mothra and

00:23:13.609 --> 00:23:16.990
Mothra vs. Godzilla years ago. So we're very

00:23:16.990 --> 00:23:20.190
excited to have him back on the show. He says

00:23:20.190 --> 00:23:23.440
King Kong Lives. is like the movie that got him

00:23:23.440 --> 00:23:27.700
into kaiju films. Whoa. Super passionate fan

00:23:27.700 --> 00:23:31.359
there, despite all of its flaws, because I've

00:23:31.359 --> 00:23:33.519
never seen it, but I've heard mixed things about

00:23:33.519 --> 00:23:37.160
King Kong Lives. So we'll find out. I'm excited

00:23:37.160 --> 00:23:40.380
for that one too. That's from the director of

00:23:40.380 --> 00:23:44.539
the 1976 King Kong, right? I don't know if it's

00:23:44.539 --> 00:23:46.779
the same director, but I believe it's the same

00:23:46.779 --> 00:23:50.039
producer, which would be Dino De Laurentiis.

00:23:50.339 --> 00:23:55.059
Oh, yeah. Nice. Cool. I'm excited for that one.

00:23:55.400 --> 00:23:59.180
Yeah. I love a Dino De Laurentiis motion picture.

00:23:59.519 --> 00:24:03.279
Yeah. All Dino all the time. Maybe that'll be

00:24:03.279 --> 00:24:04.819
one of our seasons coming up. That'd be fun.

00:24:05.500 --> 00:24:09.359
Yeah, he did. I think he produced Orca that we

00:24:09.359 --> 00:24:14.680
did on the show. Yeah, he's he had a real ying

00:24:14.680 --> 00:24:19.400
zing a real a real yang for that kind of stuff.

00:24:19.900 --> 00:24:23.640
Yeah. I don't know what the expression is either.

00:24:23.759 --> 00:24:26.220
Yeah. Yen? I don't think Yen is totally right.

00:24:26.400 --> 00:24:29.099
He had a knack for it. No, that is what I was

00:24:29.099 --> 00:24:35.119
trying to say. But, you know, here we go. Sorry.

00:24:35.980 --> 00:24:40.859
Leading us astray as always. There is a creature

00:24:40.859 --> 00:24:45.079
alive today who has survived millions of years

00:24:45.079 --> 00:24:50.180
of evolution without change, without passion.

00:24:50.890 --> 00:24:57.130
And without logic, it lives to kill. A mindless

00:24:57.130 --> 00:25:04.730
eating machine. It will attack and devour anything.

00:25:06.009 --> 00:25:11.450
It is as if God created the devil and gave him

00:25:11.450 --> 00:25:34.309
jaws. From the best -selling novel, Jaws. Rated

00:25:34.309 --> 00:25:38.450
PG. Maybe too intense for younger children. Who

00:25:38.450 --> 00:25:42.109
could have imagined they were there? Who could

00:25:42.109 --> 00:25:45.509
have predicted they would attack? And now, who

00:25:45.509 --> 00:25:56.960
would survive? Your Honor. They're here. Piranha.

00:25:57.660 --> 00:26:03.519
They're hungry. What's the matter with you? Piranha.

00:26:04.200 --> 00:26:10.099
They're unstoppable. Stop that! Keep your hand

00:26:10.099 --> 00:26:12.720
out of the water. What's wrong with the water?

00:26:12.920 --> 00:26:17.339
The water is filled with carnivorous fish. Piranha.

00:26:18.059 --> 00:26:21.180
They call them the devil fish because wherever

00:26:21.180 --> 00:26:25.539
they go, hell waits below. They breed like flies.

00:26:25.900 --> 00:26:29.319
There'll be no way to stop them. Suddenly, no

00:26:29.319 --> 00:26:35.400
one is safe. And everyone must be warned. The

00:26:35.400 --> 00:26:38.339
water is now a human death trap. Two people have

00:26:38.339 --> 00:26:39.819
been killed up there and more have been killed

00:26:39.819 --> 00:26:41.279
all along the river. You've got to believe us.

00:26:47.880 --> 00:26:50.319
These are the man -eaters who go beyond the bite

00:26:50.319 --> 00:26:58.559
of all other jaws. Sharks come alone. Piranha

00:26:58.559 --> 00:27:03.140
come in thousands. Crazed by the scent of blood,

00:27:03.339 --> 00:27:10.839
they live by the taste of flesh. With razor teeth,

00:27:10.980 --> 00:27:13.180
they can strip a man to the bone in a frozen

00:27:13.180 --> 00:27:34.910
instant of terror. So, what is your personal

00:27:34.910 --> 00:27:40.210
history with Jaws 2? I had seen it before this

00:27:40.210 --> 00:27:43.210
most recent rewatch, but it was a long time ago.

00:27:43.410 --> 00:27:45.329
And I think it was the kind of thing where, like,

00:27:45.329 --> 00:27:47.349
I did see it all the way through once a long

00:27:47.349 --> 00:27:50.180
time ago, but, like... Since then, it's like

00:27:50.180 --> 00:27:52.880
always on cable TV. So I see like bits and pieces

00:27:52.880 --> 00:27:54.599
here and there, like a couple minutes, you know,

00:27:54.599 --> 00:27:59.119
and sometimes I'll turn it on on like TBS or

00:27:59.119 --> 00:28:01.319
whatever it is and be like, oh, this actually

00:28:01.319 --> 00:28:03.099
looks pretty good. And then other, you know,

00:28:03.119 --> 00:28:05.559
like a certain other like stretch of time in

00:28:05.559 --> 00:28:07.079
the movie, you might flip it on and be like,

00:28:07.180 --> 00:28:09.700
wow, this is terrible. I mean, maybe that's the

00:28:09.700 --> 00:28:12.380
movie in a nutshell, like the two extremes. But

00:28:12.380 --> 00:28:14.920
yeah, that's been my kind of like. Scattershot

00:28:14.920 --> 00:28:17.539
history with this movie. I had seen it a long

00:28:17.539 --> 00:28:19.500
time ago and then kind of just like fragments

00:28:19.500 --> 00:28:22.819
here and there. Yeah, I'm with you. Scattershot's

00:28:22.819 --> 00:28:25.900
a good word to use with this film because like

00:28:25.900 --> 00:28:28.480
I had the VHS with my brother growing up, but

00:28:28.480 --> 00:28:32.059
I never watched it. I've seen Jaws more times

00:28:32.059 --> 00:28:35.519
than I can count. I know it by heart. But Jaws

00:28:35.519 --> 00:28:39.000
2 and the sequels, but Jaws 2, I just weirdly

00:28:39.000 --> 00:28:44.380
never watched. It was only a few years ago I

00:28:44.380 --> 00:28:47.720
gave the whole series a concerted watch through,

00:28:47.880 --> 00:28:53.799
and I was like, okay, okay. Jaws 2 is worthy

00:28:53.799 --> 00:28:58.339
of a discussion, I think. I don't know. Yeah,

00:28:58.440 --> 00:29:01.099
I think there's a lot to like, and there's a

00:29:01.099 --> 00:29:06.319
lot to critique. So I'm with you. Let's unfurl

00:29:06.319 --> 00:29:10.000
the sails, shoot our cyanide -tipped bullets

00:29:10.000 --> 00:29:15.079
into the ocean. And, you know, electrocute us

00:29:15.079 --> 00:29:23.859
a shark. Yeah. Open wide and say, ah. I'm glad

00:29:23.859 --> 00:29:29.059
you caught that, too. Not quite the same as smile,

00:29:29.259 --> 00:29:32.940
you son of a bitch. Yeah. Yeah. It's trying to

00:29:32.940 --> 00:29:34.680
be the same, but it's not. I can't live up to

00:29:34.680 --> 00:29:40.079
it, of course. I know. Which defines Jaws 2 as

00:29:40.079 --> 00:29:44.890
a whole, perhaps. Perhaps. Okay. Let's get into

00:29:44.890 --> 00:29:49.089
the select crew and cast of this film. Now, the

00:29:49.089 --> 00:29:52.390
director, forgive me, I've heard his name pronounced,

00:29:52.509 --> 00:29:54.529
but I know I'm going to mispronounce it so hard.

00:29:55.369 --> 00:30:02.130
Gino Schwark. Gino Schwark. He is a French director

00:30:02.130 --> 00:30:06.009
of Polish Jewish ancestry. He and his family

00:30:06.009 --> 00:30:08.210
actually were in Paris when the Nazis invaded

00:30:08.210 --> 00:30:11.559
and they fled. And that was in 1940 when he was

00:30:11.559 --> 00:30:14.200
a kid. He moved around a bit, but he ended up

00:30:14.200 --> 00:30:17.920
back in France in the late 40s. And he did not

00:30:17.920 --> 00:30:20.960
go to school for film. He kind of had an informal

00:30:20.960 --> 00:30:25.200
training. He left an advertising job in the 60s

00:30:25.200 --> 00:30:28.779
to work on Charade, the film, the Stanley Donnan

00:30:28.779 --> 00:30:33.299
film in 1962, I think. So he just kind of kicked

00:30:33.299 --> 00:30:35.980
around the industry for the better part of a

00:30:35.980 --> 00:30:41.039
decade. He made in 1975 a movie called Bug, which

00:30:41.039 --> 00:30:43.339
Matt, I think you have mentioned on this podcast.

00:30:44.259 --> 00:30:45.940
I might have mentioned it, but I've never seen

00:30:45.940 --> 00:30:48.740
it before. I do like the more recent Bug by William

00:30:48.740 --> 00:30:51.980
Friedkin, but I've never seen the 1975 one. Okay,

00:30:52.039 --> 00:30:54.240
maybe that's what you were talking about. But

00:30:54.240 --> 00:30:57.119
yeah, that just had my feelers up. So I was like,

00:30:57.180 --> 00:31:01.640
oh, making connections. Okay, cool. But Jaws

00:31:01.640 --> 00:31:05.420
2 really was his breakout. And he was direct.

00:31:05.710 --> 00:31:07.670
I'll get to that bit later, but Jaws 2 is his

00:31:07.670 --> 00:31:11.849
breakout. Other well -known credits include 1980s

00:31:11.849 --> 00:31:14.990
Somewhere in Time, which looks really good to

00:31:14.990 --> 00:31:18.730
me. I'd like to see that time travel drama. Supergirl

00:31:18.730 --> 00:31:22.349
in 1984, and then related to Superman, he directed

00:31:22.349 --> 00:31:25.849
some episodes of Smallville in the 2000s, and

00:31:25.849 --> 00:31:29.349
he just died this past year at 87. Yeah, rest

00:31:29.349 --> 00:31:33.339
in peace. Yeah, long career. despite, you know,

00:31:33.339 --> 00:31:35.579
just kind of, well, I wouldn't say he fell into

00:31:35.579 --> 00:31:38.420
the, into filmmaking. Like he worked really hard.

00:31:38.460 --> 00:31:41.140
He had a long time interest in the photography

00:31:41.140 --> 00:31:43.819
and the cinematography. Honestly, I started typing

00:31:43.819 --> 00:31:46.380
up Gino Schwark notes and I told myself, wait,

00:31:46.539 --> 00:31:49.140
wait, this is not an episode about the director.

00:31:49.339 --> 00:31:52.000
It's an episode about Jaws 2. So I, that was

00:31:52.000 --> 00:31:56.000
my truncated version. Nice. I do the same thing.

00:31:56.019 --> 00:31:57.900
I fall into that trap too, where I'm like, I

00:31:57.900 --> 00:32:00.380
want to talk about everything, but we can't really

00:32:00.380 --> 00:32:04.019
do that. But yeah, Jeannot Schwark, I believe,

00:32:04.259 --> 00:32:06.859
I'm also, I apologize if I'm not pronouncing

00:32:06.859 --> 00:32:09.200
that well, but I think he kind of started in

00:32:09.200 --> 00:32:12.019
TV. Like I know he also directed some episodes

00:32:12.019 --> 00:32:14.619
of the Rockford Files and some other TV shows

00:32:14.619 --> 00:32:17.240
in the 1970s. And then, like you said, kind of

00:32:17.240 --> 00:32:20.420
came back to TV with Smallville and I think like

00:32:20.420 --> 00:32:22.599
Law and Order, maybe even like some other shows.

00:32:23.559 --> 00:32:26.559
A big TV director as well. Yeah, yeah. Night

00:32:26.559 --> 00:32:29.420
Gallery is where he met production designer Joe

00:32:29.420 --> 00:32:34.000
Alves. And it was Alves who recommended Schwark

00:32:34.000 --> 00:32:38.839
for the job of Jaws 2. And Verna Fields, the

00:32:38.839 --> 00:32:42.759
Academy Award winning editor on Jaws by Jaws

00:32:42.759 --> 00:32:45.819
2 had been promoted to VP at Universal Studios,

00:32:46.160 --> 00:32:49.920
which tremendous, terrific. Love to see that.

00:32:50.339 --> 00:32:54.559
And she hired. Schwark for the show, for the

00:32:54.559 --> 00:32:59.140
movie. Yeah, I read that Alves and Verna Fields

00:32:59.140 --> 00:33:01.700
were going to co -direct this movie, but they

00:33:01.700 --> 00:33:03.700
weren't allowed to do that by the Directors Guild

00:33:03.700 --> 00:33:06.299
of America for a variety of kind of arbitrary

00:33:06.299 --> 00:33:08.519
reasons. So they got Schwark instead, which I

00:33:08.519 --> 00:33:10.619
think is kind of interesting. That's right. Yeah,

00:33:10.759 --> 00:33:13.559
yeah, yeah. Well, speaking of Joe Alves, I think

00:33:13.559 --> 00:33:16.039
we just kind of said what there's to say with

00:33:16.039 --> 00:33:18.859
him related to this film, but he was the production

00:33:18.859 --> 00:33:22.150
designer on Jaws 2. He had that same job. with

00:33:22.150 --> 00:33:24.990
spielberg's jaws and then he would actually go

00:33:24.990 --> 00:33:28.190
on to direct jaws 3d this episode is not about

00:33:28.190 --> 00:33:31.769
jaws 3 but i think that movie is also worthy

00:33:31.769 --> 00:33:35.430
of discussion for for good bad and campy elements

00:33:35.430 --> 00:33:40.509
totally agree with that yes i've seen jaws 3d

00:33:40.509 --> 00:33:42.589
more often than i've seen jaws 2 for whatever

00:33:42.589 --> 00:33:47.289
reason same yeah i don't know but yeah okay music

00:33:47.289 --> 00:33:50.029
john williams came back for an original score

00:33:50.670 --> 00:33:52.910
Which surprised me. I thought it was just going

00:33:52.910 --> 00:33:56.829
to be a rehash of his Jaws score. But no, it's

00:33:56.829 --> 00:34:00.950
a new theme that he took pride in elaborating

00:34:00.950 --> 00:34:05.390
on and adding new elements to his composition.

00:34:06.710 --> 00:34:09.989
The film, must be said, it was produced by Richard

00:34:09.989 --> 00:34:12.949
D. Zanuck and David Brown, longtime Hollywood

00:34:12.949 --> 00:34:17.869
producing duo. They produced the first Jaws.

00:34:18.480 --> 00:34:21.139
and gave Spielberg his start with The Sugarland

00:34:21.139 --> 00:34:24.139
Express. Those are the only two films that come

00:34:24.139 --> 00:34:28.480
to mind, but Zanuck and Brown, they are well

00:34:28.480 --> 00:34:33.280
-known Hollywood producers. Zanuck, I think the

00:34:33.280 --> 00:34:36.659
son, maybe the grandson of Daryl Zanuck, one

00:34:36.659 --> 00:34:39.619
of the great super producers of all time. That's

00:34:39.619 --> 00:34:42.619
right. Ah, it might be Zanuck. And I'm off the

00:34:42.619 --> 00:34:45.199
cuff here, but he produced Planet of the Apes

00:34:45.199 --> 00:34:47.719
as well. I think that was his first producing

00:34:47.719 --> 00:34:52.199
job, doing Planet of the Apes at Fox. I think

00:34:52.199 --> 00:34:55.380
you're right, yeah. That's quite a first credit.

00:34:55.820 --> 00:34:58.820
Like, what an auspicious beginning. Seriously.

00:35:00.019 --> 00:35:02.900
So they're cool guys. I don't say that about

00:35:02.900 --> 00:35:05.420
a lot of producers. I don't know their histories

00:35:05.420 --> 00:35:10.300
in detail, but I feel like producers are often...

00:35:10.650 --> 00:35:13.050
behind the scenes. Like they don't, they're not

00:35:13.050 --> 00:35:17.010
as famous oftentimes as the other creatives on

00:35:17.010 --> 00:35:19.809
the team. But with Zanuck and Brown, I've known

00:35:19.809 --> 00:35:22.050
their names my whole life because I've loved

00:35:22.050 --> 00:35:25.489
Jaws my whole life. Yeah. And, you know, I think

00:35:25.489 --> 00:35:28.030
you could say that Spielberg, you know, largely

00:35:28.030 --> 00:35:30.210
deserves credit for like inventing the modern

00:35:30.210 --> 00:35:32.929
day blockbuster by directing Jaws. But, you know,

00:35:32.969 --> 00:35:34.670
some of that credit goes to Zanuck and Brown

00:35:34.670 --> 00:35:38.969
as well for producing it. Yeah. Screenplay. is

00:35:38.969 --> 00:35:43.510
by Carl Gottlieb, who also penned the first Jaws

00:35:43.510 --> 00:35:46.449
script. And he's returning, not without some

00:35:46.449 --> 00:35:49.650
drama. We'll get into that. Howard Sackler is

00:35:49.650 --> 00:35:53.750
co -writer of Jaws 2. He was a noted dramatist.

00:35:53.750 --> 00:35:55.670
He wrote a play called The Great White Hope,

00:35:55.829 --> 00:35:59.989
which is a callback to Congo with Ernie Hudson.

00:36:00.309 --> 00:36:03.349
And we talked about that Great White Hope connection

00:36:03.349 --> 00:36:07.989
there. So that's a lot of fun. He also, Howard

00:36:07.989 --> 00:36:11.630
Sackler, had an uncredited role doing rewrites

00:36:11.630 --> 00:36:15.429
on the first Jaws screenplay. And he actually

00:36:15.429 --> 00:36:19.449
co -wrote the Indianapolis monologue with Robert

00:36:19.449 --> 00:36:24.869
Shaw. So Howard Sackler, thank him and Shaw for

00:36:24.869 --> 00:36:28.610
that iconic monologue. One of the best scenes

00:36:28.610 --> 00:36:31.030
in that movie. Honestly. But now Howard Sackler

00:36:31.030 --> 00:36:34.409
is definitely credited with the screenplay on

00:36:34.409 --> 00:36:37.460
this movie. Yeah, for sure. We have a lot of

00:36:37.460 --> 00:36:40.480
returning actors this time around in Jaws 2.

00:36:40.800 --> 00:36:43.539
We have Roy Scheider returning as Police Chief

00:36:43.539 --> 00:36:47.280
Martin Brody. Lorraine Gary playing his wife,

00:36:47.380 --> 00:36:50.920
Mrs. Ellen Brody. Murray Hamilton returning as

00:36:50.920 --> 00:36:53.719
Mayor Vaughn, one of the most detestable mayors

00:36:53.719 --> 00:36:56.139
in film history. Maybe a little bit more likable

00:36:56.139 --> 00:36:58.760
this time around, though. We also have Jeffrey

00:36:58.760 --> 00:37:01.980
Kramer returning as Deputy Hendricks, who's kind

00:37:01.980 --> 00:37:04.780
of a, you know, provides some comic relief in

00:37:04.780 --> 00:37:08.159
a supporting role. And last but not least, we

00:37:08.159 --> 00:37:11.260
have Joseph Mascolo. I don't know if I'm pronouncing

00:37:11.260 --> 00:37:14.480
that right, as Len Peterson. I feel like Len

00:37:14.480 --> 00:37:17.019
Peterson, the character, is kind of filling the

00:37:17.019 --> 00:37:19.420
Mayor Vaughn role this time around, where he

00:37:19.420 --> 00:37:23.039
is despicable, he's weaselly, he's glad -handing,

00:37:23.039 --> 00:37:24.480
he doesn't believe there's any kind of shark

00:37:24.480 --> 00:37:27.360
threat. And of course, it swims up to bite him

00:37:27.360 --> 00:37:30.440
on the ass in Jaws 2. And then we also have a

00:37:30.440 --> 00:37:33.920
lot of teenagers who are playing like spoiled

00:37:33.920 --> 00:37:36.099
rich kids on the island. We won't really talk

00:37:36.099 --> 00:37:38.059
about them too much, though. The actors anyway.

00:37:38.920 --> 00:37:42.199
Right, right. The actors are they're not the

00:37:42.199 --> 00:37:46.920
stars of this movie. A lot of the extras were

00:37:46.920 --> 00:37:51.679
locals who were hired. The teenagers, a lot of

00:37:51.679 --> 00:37:54.559
them were local high school kids who were hired

00:37:54.559 --> 00:37:56.900
to play these parts. Some of them went on to

00:37:56.900 --> 00:38:02.420
do other. work in TV and film, but our main cast

00:38:02.420 --> 00:38:04.880
are exactly who you just mentioned, so a lot

00:38:04.880 --> 00:38:09.219
of returning players. With the production backstory,

00:38:09.820 --> 00:38:12.340
there's more to it than I thought, honestly.

00:38:12.860 --> 00:38:16.440
There are two main sources of references I want

00:38:16.440 --> 00:38:19.940
to just give credit to. The first is a 45 -minute

00:38:19.940 --> 00:38:22.579
documentary called The Making of Jaws 2 by Laurent

00:38:22.579 --> 00:38:27.260
Bozero on the Jaws 2 DVD and Blu -ray. I watched

00:38:27.260 --> 00:38:31.280
that, so I'm coming in with that info. But there's

00:38:31.280 --> 00:38:34.440
also a book that I'm dying to get my hands on

00:38:34.440 --> 00:38:37.219
called Jaws 2, The Making of the Hollywood Sequel.

00:38:37.900 --> 00:38:43.000
And I'm crediting that even though most of my

00:38:43.000 --> 00:38:45.440
research, to be honest, is coming from Wikipedia.

00:38:45.940 --> 00:38:49.300
But I know Wikipedia is sourcing all of its stuff

00:38:49.300 --> 00:38:52.880
from both this documentary and this book, The

00:38:52.880 --> 00:38:57.349
Making of Jaws 2. So just letting you know. Nice.

00:38:58.010 --> 00:39:02.489
All right. We have Zanuck and Brown. They decided

00:39:02.489 --> 00:39:06.409
to do a sequel to what Jaws may have been the

00:39:06.409 --> 00:39:09.369
highest grossing movie of all time. Yeah. At

00:39:09.369 --> 00:39:11.929
that point in 75, I think it might've been. Yeah.

00:39:12.030 --> 00:39:14.250
So I think it makes all the sense in the world

00:39:14.250 --> 00:39:17.269
from a producing standpoint to make a follow

00:39:17.269 --> 00:39:22.510
-up film. However, this is big context. Sequels

00:39:22.510 --> 00:39:25.320
at this time were not a thing. They just weren't

00:39:25.320 --> 00:39:28.559
not at this level. They were seen as cheap and

00:39:28.559 --> 00:39:33.679
gimmicky, tawdry maybe. They were nothing to

00:39:33.679 --> 00:39:36.380
be taken seriously. Steven Spielberg wanted no

00:39:36.380 --> 00:39:39.960
interest in it. Many of the casts like Roy Scheider,

00:39:40.199 --> 00:39:42.340
Richard Dreyfuss, they did not want anything

00:39:42.340 --> 00:39:45.320
to do with it. But Zanuck and Brown ultimately

00:39:45.320 --> 00:39:48.940
decided to do a sequel because they said if they

00:39:48.940 --> 00:39:52.579
didn't do it, somebody else would. So they did

00:39:52.579 --> 00:39:57.619
a sequel. I also want to enlighten listeners

00:39:57.619 --> 00:40:02.320
on some other context. It's 1978 or 77 when all

00:40:02.320 --> 00:40:05.300
this pre -production is happening. At this time

00:40:05.300 --> 00:40:11.039
in the wake of Jaws, we have so many spinoffs

00:40:11.039 --> 00:40:16.400
and ripoffs. Orca, Grizzly, Joe Dante's Piranha,

00:40:16.599 --> 00:40:21.420
Tentacles. There's a whole sub -genre all of

00:40:21.420 --> 00:40:26.860
a sudden. movies ripping off the Jaws formula

00:40:26.860 --> 00:40:31.119
and it's interesting for me to think about Jaws

00:40:31.119 --> 00:40:37.400
2 as prestige as it is as like another clone

00:40:37.400 --> 00:40:41.039
in that tradition of Jaws ripoffs you know what

00:40:41.039 --> 00:40:44.400
I mean Yeah, for sure. And I would say some of

00:40:44.400 --> 00:40:46.320
those other ripoffs, like Orca, for example,

00:40:46.320 --> 00:40:48.840
are actually a little bit more original and interesting

00:40:48.840 --> 00:40:51.800
than Jaws 2, in my opinion. Like, you can definitely

00:40:51.800 --> 00:40:55.679
tell that this sequel is really trying to follow

00:40:55.679 --> 00:40:59.460
the template of Jaws, like, line by line, basically.

00:40:59.639 --> 00:41:02.059
It's really kind of... Of course, there are differences,

00:41:02.119 --> 00:41:04.460
and we'll talk about those, but, like, yeah,

00:41:04.579 --> 00:41:08.079
it's... One could argue that like a lot of sequels,

00:41:08.079 --> 00:41:10.019
there's not really a reason for them to exist

00:41:10.019 --> 00:41:13.099
aside from just like studios making money. And

00:41:13.099 --> 00:41:18.139
that is absolutely 100 % true in this case. Not

00:41:18.139 --> 00:41:21.079
to be too hard on it. Like it's, you know, it's,

00:41:21.260 --> 00:41:23.139
but yeah, I mean, like it's not really bringing

00:41:23.139 --> 00:41:26.619
anything new to the formula, you know? I agree.

00:41:26.760 --> 00:41:30.260
Yeah. And I think, yeah, I have critiques along

00:41:30.260 --> 00:41:34.480
those lines for sure. This is interesting. Howard

00:41:34.480 --> 00:41:38.179
Sackler pitched a prequel to Zanuck and Brown

00:41:38.179 --> 00:41:44.059
and Universal head Sidney Scheinberg. His idea

00:41:44.059 --> 00:41:48.159
was actually a prequel where it would be a movie

00:41:48.159 --> 00:41:51.480
about the sinking of the Indianapolis, basically

00:41:51.480 --> 00:41:56.280
Quint's monologue in feature film length. And

00:41:56.280 --> 00:42:01.940
they liked it, but they decided that that idea,

00:42:02.019 --> 00:42:08.050
that premise. wasn't in line with the the the

00:42:08.050 --> 00:42:11.750
jaws world that they had established which i

00:42:11.750 --> 00:42:15.210
get that i think that makes sense again from

00:42:15.210 --> 00:42:16.869
if you're like you want to make a sequel that

00:42:16.869 --> 00:42:19.829
you you know you just want to make as close to

00:42:19.829 --> 00:42:23.130
the original as possible what howard sackler

00:42:23.130 --> 00:42:27.510
is proposing i believe is way too rarefied like

00:42:27.510 --> 00:42:31.659
that movie to me actually sounds like a best

00:42:31.659 --> 00:42:34.619
picture winner you know like a really prestige

00:42:34.619 --> 00:42:37.440
drama action movie you know what i mean yeah

00:42:37.440 --> 00:42:39.519
which i would love to see it's actually kind

00:42:39.519 --> 00:42:42.159
of a great concept for a movie but definitely

00:42:42.159 --> 00:42:44.760
not jaws 2 it went in a totally different direction

00:42:44.760 --> 00:42:50.579
i know you know for for better and worse probably

00:42:50.579 --> 00:42:54.980
yeah yeah you want to read any other stuff yeah

00:42:54.980 --> 00:42:58.630
sure so Like you just said, Sid Sheinberg and

00:42:58.630 --> 00:43:01.730
Universal rejected that idea. Sackler around

00:43:01.730 --> 00:43:04.969
this time did recommend director John D. Hancock

00:43:04.969 --> 00:43:08.940
to direct Jaws 2. and he was hired to do so.

00:43:09.420 --> 00:43:11.639
Hancock, however, had little film experience.

00:43:11.739 --> 00:43:14.099
He directed a movie called Bang the Drum Slowly.

00:43:14.420 --> 00:43:16.940
He also directed a cult movie, like a low -budget

00:43:16.940 --> 00:43:19.599
horror movie called Let's Scare Jessica to Death,

00:43:19.840 --> 00:43:22.420
which a lot of people like. I'm not a huge fan

00:43:22.420 --> 00:43:24.840
of that one, but, you know, generally he did

00:43:24.840 --> 00:43:27.300
kind of like low -budget atmospheric thrillers.

00:43:27.800 --> 00:43:31.420
And probably the high budget and the high pressure,

00:43:31.539 --> 00:43:34.820
the great expectations of Jaws 2 might have been

00:43:34.820 --> 00:43:37.380
a little bit too much for him. After 18 months

00:43:37.380 --> 00:43:40.699
of production, John D. Hancock was fired for

00:43:40.699 --> 00:43:43.840
basically that reason. The movie was becoming

00:43:43.840 --> 00:43:47.219
a little bit too dark and serious in tone. Universal

00:43:47.219 --> 00:43:49.239
execs wanted something a little bit lighter,

00:43:49.300 --> 00:43:52.119
more action -oriented, more entertaining. So

00:43:52.119 --> 00:43:54.039
that's one of the reasons that Hancock was fired.

00:43:54.139 --> 00:43:55.940
He also believes that he was fired because he

00:43:55.940 --> 00:43:58.360
was... caught in the middle of an argument between

00:43:58.360 --> 00:44:01.260
Richard D. Zanuck and Scheinberg about having

00:44:01.260 --> 00:44:03.559
Lorraine Gary's character go out on the boat

00:44:03.559 --> 00:44:06.039
to save the teens and kind of becoming a little

00:44:06.039 --> 00:44:09.400
bit more of the hero of the film. Gary, Lorraine

00:44:09.400 --> 00:44:11.619
Gary, happened to be Scheinberg's wife at the

00:44:11.619 --> 00:44:14.539
time, so certainly there was some conflict of

00:44:14.539 --> 00:44:16.880
interest there. Hancock did not want that to

00:44:16.880 --> 00:44:19.460
happen. He did not want that elevated sort of

00:44:19.460 --> 00:44:21.980
role for her character in this movie, and he

00:44:21.980 --> 00:44:24.260
thinks that he might have been partially fired

00:44:24.260 --> 00:44:27.389
for that reason as well. Yeah. You know, it's

00:44:27.389 --> 00:44:31.789
funny. In Jaws 4, Lorraine Gary goes out on the

00:44:31.789 --> 00:44:35.750
boat to save the day. Yeah. And I, you know,

00:44:35.769 --> 00:44:38.829
I like Jaws the Revenge, a .k .a. Jaws 4. Like,

00:44:38.829 --> 00:44:40.889
I think it's definitely not a great movie, but

00:44:40.889 --> 00:44:42.309
they're trying to do their own thing with it.

00:44:42.369 --> 00:44:44.769
And it's kind of cool to see her in that more

00:44:44.769 --> 00:44:48.610
leading role, which she does not have here. Yes.

00:44:48.610 --> 00:44:52.230
I'll give that point to Jaws 4 over Jaws 2. And,

00:44:52.230 --> 00:44:55.289
you know... Look, I think there's a total conflict

00:44:55.289 --> 00:44:58.269
of interest that I wish wasn't there. And it's

00:44:58.269 --> 00:45:00.650
also like nepotism and all that kind of stuff.

00:45:00.769 --> 00:45:04.969
But with that said, I think there is an argument

00:45:04.969 --> 00:45:08.269
to be made for elevating Ellen Brody to more

00:45:08.269 --> 00:45:11.590
than just the wife of Chief Brody. Yeah. Which

00:45:11.590 --> 00:45:14.010
I think could have been an interesting flavor

00:45:14.010 --> 00:45:18.590
to add to Jaws 2. For sure. Yeah. In the finished

00:45:18.590 --> 00:45:21.050
film, she kind of just does. Pretty much the

00:45:21.050 --> 00:45:22.909
same thing that she did in the first Jaws movie,

00:45:22.989 --> 00:45:28.650
unfortunately. Yeah. Yep. But for the tone that

00:45:28.650 --> 00:45:31.349
Universal wanted for the film, they instead hired

00:45:31.349 --> 00:45:35.289
Jeannot Schwark after Hancock was fired. Carl

00:45:35.289 --> 00:45:37.789
Gottlieb was brought on to punch up the script

00:45:37.789 --> 00:45:41.150
and pre -production, or actually production at

00:45:41.150 --> 00:45:44.570
that point. Three new mechanical sharks were

00:45:44.570 --> 00:45:47.630
built because the old ones had been left on the

00:45:47.630 --> 00:45:51.170
studio backlot to rot and rust. I read that they

00:45:51.170 --> 00:45:53.750
were just like in a basement and like in one

00:45:53.750 --> 00:45:56.789
of Universal's film studios. And it's like Jaws

00:45:56.789 --> 00:45:59.090
was your highest grossing movie and you're just

00:45:59.090 --> 00:46:00.809
going to leave the mechanical shark there to

00:46:00.809 --> 00:46:03.869
rust and rot. Why would you do that? My thought

00:46:03.869 --> 00:46:06.510
exactly, because my thought was, didn't you?

00:46:06.989 --> 00:46:09.449
Did no one have any foresight that they would

00:46:09.449 --> 00:46:13.090
make a sequel and want to use these again? Right.

00:46:13.329 --> 00:46:15.570
Maybe we're just like fully stuck in our own

00:46:15.570 --> 00:46:17.570
period of movie making where like sequels are

00:46:17.570 --> 00:46:19.670
all over the place. But it's like, how is that

00:46:19.670 --> 00:46:22.550
not their first thought when Jaws made like 50

00:46:22.550 --> 00:46:24.789
million dollars or whatever, you know? I think

00:46:24.789 --> 00:46:29.090
that is is telling of the mindset. And it's so

00:46:29.090 --> 00:46:32.510
different than today. Today, you don't make a

00:46:32.510 --> 00:46:36.769
movie without considering the. three or four

00:46:36.769 --> 00:46:40.230
sequels down the road, you know? Exactly. Yeah.

00:46:40.409 --> 00:46:44.050
But clearly in 75, they would, no, they did not

00:46:44.050 --> 00:46:47.690
want to even go near that idea. Yeah. It also

00:46:47.690 --> 00:46:50.010
reminds me a little bit of a beer, a horror of

00:46:50.010 --> 00:46:51.489
the deep, which we talked about like a month

00:46:51.489 --> 00:46:53.909
and a half ago where like, you know, Toho studios

00:46:53.909 --> 00:46:57.610
would just like reuse any props and like suits

00:46:57.610 --> 00:46:59.570
that were lying around like, Oh, there's the

00:46:59.570 --> 00:47:01.550
Mothra suit. Let's just bring Mothra into this

00:47:01.550 --> 00:47:04.320
movie. Like that's. You know, why did Universal

00:47:04.320 --> 00:47:06.719
not do that in this case? It's an illuminating,

00:47:06.719 --> 00:47:10.219
a different approach, you know? Totally. What

00:47:10.219 --> 00:47:13.940
I also wanted to say, oh, so I grew up in Orlando

00:47:13.940 --> 00:47:17.139
and one of my favorite places in the world is

00:47:17.139 --> 00:47:20.579
Universal Studios Orlando, the theme park. But

00:47:20.579 --> 00:47:24.119
especially back in the 90s and early 2000s, it

00:47:24.119 --> 00:47:29.300
was very much still a functioning studio. Like

00:47:29.300 --> 00:47:31.699
they would use the backlots of the theme park.

00:47:32.090 --> 00:47:36.909
in various productions of TV, especially, but

00:47:36.909 --> 00:47:39.829
there was, as you snake through the lines to

00:47:39.829 --> 00:47:45.469
one ride or another, you, you would pass one

00:47:45.469 --> 00:47:48.590
of the mechanical sharks. It was from jaws, the

00:47:48.590 --> 00:47:52.510
revenge, I think, but I grew up just like walking

00:47:52.510 --> 00:47:57.050
by one of the shark props. Yeah. Now I'm like,

00:47:57.110 --> 00:47:59.190
wow, that's, that's special. But at the time

00:47:59.190 --> 00:48:01.989
I took it for granted, but. Yeah, just on the

00:48:01.989 --> 00:48:05.210
back lot, just sitting there. Amazing. I wonder,

00:48:05.389 --> 00:48:07.230
I mean, I doubt they really have like similar

00:48:07.230 --> 00:48:09.289
things there now, right? I think they have a

00:48:09.289 --> 00:48:11.730
Jaws ride or they used to, but I'm sure it's

00:48:11.730 --> 00:48:16.090
not the same. Yeah. No, the Orlando Park is totally

00:48:16.090 --> 00:48:18.550
remodeled with newer franchises, Harry Potter,

00:48:18.650 --> 00:48:22.170
Transformers, everything like that. But I think

00:48:22.170 --> 00:48:26.710
the Jaws ride still exists in Universal Tokyo,

00:48:27.030 --> 00:48:30.400
maybe? Don't quote me on that. It might still

00:48:30.400 --> 00:48:33.840
exist in Universal Hollywood. Listeners, let

00:48:33.840 --> 00:48:37.300
us know. But if you ever get a chance, it's a

00:48:37.300 --> 00:48:40.559
really fun ride. Man, I would love to. Let's

00:48:40.559 --> 00:48:44.500
go to Tokyo. This is finally the thing that will

00:48:44.500 --> 00:48:49.659
motivate us to go there. The Jaws ride. Yeah.

00:48:50.579 --> 00:48:53.179
Not Toho Studios. It's the Jaws ride. That's

00:48:53.179 --> 00:48:56.039
a little bit sad. Yeah. Just kidding, of course.

00:48:57.420 --> 00:49:00.739
Well, Going back to our notes here, I do want

00:49:00.739 --> 00:49:03.159
to say that live shark footage in Jaws 2 was

00:49:03.159 --> 00:49:06.260
once again provided by shark documentarians Ron

00:49:06.260 --> 00:49:09.059
and Valerie Taylor, who did the same work for

00:49:09.059 --> 00:49:11.880
Spielberg in the first Jaws. And actually, I

00:49:11.880 --> 00:49:16.280
think that their live shark footage, now that

00:49:16.280 --> 00:49:19.420
I'm thinking about it, I think is more seamlessly

00:49:19.420 --> 00:49:23.360
cut into Jaws 2 than it was in the first Jaws.

00:49:24.010 --> 00:49:25.929
Yeah, I think generally I would agree with that

00:49:25.929 --> 00:49:28.289
there. I think there are some cases where like

00:49:28.289 --> 00:49:31.469
the underwater footage is not really intercut

00:49:31.469 --> 00:49:33.969
with like the shark attack scenes very convincingly.

00:49:34.030 --> 00:49:36.309
But it's it's hit or miss. That was one of the

00:49:36.309 --> 00:49:38.170
bad things that I was going to bring up in my

00:49:38.170 --> 00:49:40.869
breakdown later. But yeah, the footage itself

00:49:40.869 --> 00:49:43.369
is good. It's not always like edited or incorporated

00:49:43.369 --> 00:49:45.969
well into the surrounding scenes, I would say.

00:49:46.030 --> 00:49:49.289
Yeah, no, I get that. And honestly, that's kind

00:49:49.289 --> 00:49:51.860
of a critique I have in the first Jaws. Like,

00:49:51.880 --> 00:49:53.420
it's really cool that it's there, and I love

00:49:53.420 --> 00:49:57.679
that element of the live, of real shark footage.

00:49:58.539 --> 00:50:01.199
But in the first Jaws, I feel like the mechanical

00:50:01.199 --> 00:50:05.059
shark is so monstrous that it just doesn't look

00:50:05.059 --> 00:50:09.079
like the same shark. Yeah, yeah. That is true,

00:50:09.179 --> 00:50:12.380
for sure. And yeah, I think you're right, because

00:50:12.380 --> 00:50:14.679
like, there are also the scenes in Jaws 2 where

00:50:14.679 --> 00:50:17.820
like, we see, you know, one of the three mechanical

00:50:17.820 --> 00:50:19.820
sharks that they had for this movie was like,

00:50:19.920 --> 00:50:23.650
a full length, 20 whatever foot shark that we

00:50:23.650 --> 00:50:26.469
like sometimes see, you know, going really fast

00:50:26.469 --> 00:50:28.309
under the water. And that's pretty convincing.

00:50:28.329 --> 00:50:30.630
Like when the movie cuts back and forth between

00:50:30.630 --> 00:50:32.769
those shots and like actual underwater footage,

00:50:32.829 --> 00:50:34.909
that, that stuff I think is really well done.

00:50:35.210 --> 00:50:40.110
Yeah. Yeah. There's the, there's the, the famous

00:50:40.110 --> 00:50:44.170
scene of the, the water skier and there's a live

00:50:44.170 --> 00:50:47.630
shark of a great white, like lunging to bite

00:50:47.630 --> 00:50:51.050
something. And that happens right before the

00:50:51.050 --> 00:50:55.590
water skier is taken off her board. And that's

00:50:55.590 --> 00:50:59.429
one example where I think that works really well,

00:50:59.550 --> 00:51:03.170
that intercutting. Yeah, we'll get into it. We'll

00:51:03.170 --> 00:51:05.690
get into it. Well, my next note here is that

00:51:05.690 --> 00:51:07.829
Schwark decided to show as much of the shark

00:51:07.829 --> 00:51:11.190
as possible. Right off the bat, his choice was,

00:51:11.289 --> 00:51:13.929
or his thought was, look, Spielberg did such

00:51:13.929 --> 00:51:16.449
a masterful job of hiding the shark and building

00:51:16.449 --> 00:51:21.019
suspense. By what you can't see. I can't recreate

00:51:21.019 --> 00:51:23.559
that. Because everyone knows it's a shark movie.

00:51:23.699 --> 00:51:29.559
It's Jaws. The secret's out. Which I get. I was

00:51:29.559 --> 00:51:31.739
going to talk about that more too. I do sort

00:51:31.739 --> 00:51:34.099
of understand that mindset. But at the same time

00:51:34.099 --> 00:51:36.929
it's like. It goes against the rules of film

00:51:36.929 --> 00:51:40.469
suspense. You should not show the threat in full

00:51:40.469 --> 00:51:42.670
view immediately and repeatedly in your movie.

00:51:42.849 --> 00:51:46.570
I feel like even if audiences have seen the shark

00:51:46.570 --> 00:51:50.130
already in the first Jaws, to build up that suspense

00:51:50.130 --> 00:51:53.849
and to prolong the terror for as long as possible,

00:51:54.250 --> 00:51:58.030
I just don't think it works to show it so immediately

00:51:58.030 --> 00:52:01.369
and so fully. I think it does sap the movie of

00:52:01.369 --> 00:52:04.260
a lot of its suspense. And, you know, it reminds

00:52:04.260 --> 00:52:08.079
me of Hitchcock, who just he like wrote the rules

00:52:08.079 --> 00:52:10.219
of cinematic suspense, basically. And it just

00:52:10.219 --> 00:52:12.320
like goes against everything he would teach you

00:52:12.320 --> 00:52:14.820
about how to make a movie, in particular a thriller,

00:52:14.880 --> 00:52:18.239
where like the joy of it for the audience and

00:52:18.239 --> 00:52:20.360
also like the thrill and the terror of it is

00:52:20.360 --> 00:52:22.679
like knowing something is going to strike, but

00:52:22.679 --> 00:52:24.820
not knowing when, not knowing what exactly it

00:52:24.820 --> 00:52:27.780
is. So hypothetically, I understand where Schwark

00:52:27.780 --> 00:52:30.599
is coming from, but I just don't think it works,

00:52:30.639 --> 00:52:33.920
and I think he's incorrect in this case. I'm

00:52:33.920 --> 00:52:35.860
not going to say it doesn't work. I think he

00:52:35.860 --> 00:52:38.940
makes a strong choice, and he makes it work for

00:52:38.940 --> 00:52:42.559
what it is. But to your point, I don't think

00:52:42.559 --> 00:52:47.099
it would have not worked to have hid the shark

00:52:47.099 --> 00:52:50.320
and build the suspense. Because if I'm going

00:52:50.320 --> 00:52:53.360
into Spielberg's jaws, I've probably already

00:52:53.360 --> 00:52:57.570
read the book. I've seen the poster. Like, I

00:52:57.570 --> 00:53:02.289
know it's a shark. Like, it's not like even in

00:53:02.289 --> 00:53:05.150
Spielberg's film, it's a great surprise what

00:53:05.150 --> 00:53:07.590
the creature is. Like, I know what it's going

00:53:07.590 --> 00:53:11.630
to be. So I think Schwark also could have made

00:53:11.630 --> 00:53:14.730
that movie and still knocked it out of the park.

00:53:15.250 --> 00:53:19.429
Yeah. Yeah, and I think you're right. I understand

00:53:19.429 --> 00:53:21.090
where you're coming from because some of the

00:53:21.090 --> 00:53:24.030
really intense shark attacks earlier in the movie

00:53:24.030 --> 00:53:27.250
where we do see it just lunge in full view out

00:53:27.250 --> 00:53:29.630
of the water, they're pretty effective. So I'll

00:53:29.630 --> 00:53:33.429
give you that for sure. They are effective. Yeah,

00:53:33.449 --> 00:53:35.630
but you're right. I'm not buying the, it's not

00:53:35.630 --> 00:53:37.429
going to work because Spielberg already did it.

00:53:37.769 --> 00:53:42.780
No, it could still work. Yeah, pretty much everybody

00:53:42.780 --> 00:53:45.480
has seen a suspense movie before. Like we know

00:53:45.480 --> 00:53:47.699
we basically know what's going to happen, but

00:53:47.699 --> 00:53:49.780
it's still so fun to like wait for it, you know?

00:53:50.119 --> 00:53:53.719
Yep. Yep. Do you want to talk about Roy Scheider's

00:53:53.719 --> 00:53:57.400
experience? Roy Scheider is back for Jaws 2,

00:53:57.480 --> 00:54:00.079
but he's not especially happy about it. He, of

00:54:00.079 --> 00:54:02.099
course, is so great in the first Jaws, but had

00:54:02.099 --> 00:54:04.780
no interest in doing the sequel at all. However,

00:54:05.099 --> 00:54:08.159
he had recently quit The Deer Hunter for creative

00:54:08.159 --> 00:54:10.679
differences. That was a somewhat chaotic shoot,

00:54:10.800 --> 00:54:12.360
and I think he didn't really get along with the

00:54:12.360 --> 00:54:14.119
director of that movie, Michael Cimino, very

00:54:14.119 --> 00:54:16.480
much. So he dropped out of The Deer Hunter, but

00:54:16.480 --> 00:54:18.320
he was still under a three -picture contract

00:54:18.320 --> 00:54:21.699
with Universal. So, you know, Universal would

00:54:21.699 --> 00:54:24.559
allow him to break that contract if he appeared

00:54:24.559 --> 00:54:27.159
in Jaws 2, which he really, really did not want

00:54:27.159 --> 00:54:30.550
to do. As a result, He and Schwark butted heads

00:54:30.550 --> 00:54:33.829
a lot during the shooting of Jaws 2. Scheider

00:54:33.829 --> 00:54:36.730
would complain about Schwark ignoring principal

00:54:36.730 --> 00:54:39.030
actors and obsessing over technical details.

00:54:39.590 --> 00:54:41.789
Scheider thought that Schwark was just approaching

00:54:41.789 --> 00:54:45.769
the material all wrong and had strong thoughts

00:54:45.769 --> 00:54:48.269
about how he should do it instead. Zanuck and

00:54:48.269 --> 00:54:50.389
Brown had to call them into a meeting to settle

00:54:50.389 --> 00:54:53.079
their differences. And, you know, maybe not surprisingly,

00:54:53.219 --> 00:54:55.219
both these guys were pretty stubborn. I think

00:54:55.219 --> 00:54:57.079
they were pretty unapologetic and set in their

00:54:57.079 --> 00:55:00.559
ways, as a lot of larger -than -life film artists

00:55:00.559 --> 00:55:03.980
tend to be. A letter that Schwerk wrote to Roy

00:55:03.980 --> 00:55:06.179
Scheider is kind of interesting. Schwerk wrote

00:55:06.179 --> 00:55:08.699
in his letter to Roy Scheider, Time and pressure

00:55:08.699 --> 00:55:11.599
are part of my reality, and priority is something

00:55:11.599 --> 00:55:14.260
I must deal with. You have been consulted and

00:55:14.260 --> 00:55:16.360
your suggestions made part of my scenes many

00:55:16.360 --> 00:55:19.059
times, whenever they did not contradict the overall

00:55:19.059 --> 00:55:21.340
concept of the picture. If you have to be offended,

00:55:21.519 --> 00:55:24.159
I deplore it, for no offense was meant. At this

00:55:24.159 --> 00:55:26.579
point in the game, your feelings or my feelings

00:55:26.579 --> 00:55:29.440
are immaterial and irrelevant. The picture is

00:55:29.440 --> 00:55:32.300
all that matters. I love that last line. It's

00:55:32.300 --> 00:55:35.360
great. I am the director. Let's just finish this

00:55:35.360 --> 00:55:37.179
thing basically the way I want to do it, you

00:55:37.179 --> 00:55:39.420
know? You know, I feel like that's what a director

00:55:39.420 --> 00:55:41.500
kind of has to do. Like they have to butt heads

00:55:41.500 --> 00:55:43.320
with like the actors and the crew sometimes and

00:55:43.320 --> 00:55:45.360
be like, you know what? We're doing it my way.

00:55:45.440 --> 00:55:48.059
I'm the director. Let's finish this thing. It

00:55:48.059 --> 00:55:52.059
makes me think about how Richard Stanley on the

00:55:52.059 --> 00:55:56.900
Island of Dr. Moreau absolutely could not do

00:55:56.900 --> 00:56:01.420
what Geno Schwark did to Roy Scheider. And he

00:56:01.420 --> 00:56:04.159
let Brando and Val Kilmer walk all over him.

00:56:04.659 --> 00:56:08.829
Totally. Yeah. I think, you know, It's kind of

00:56:08.829 --> 00:56:10.690
unfortunate that so many directors seem to be

00:56:10.690 --> 00:56:14.030
such egotists, and so they're like war generals

00:56:14.030 --> 00:56:16.869
leading their troops or whatever, but yeah, they

00:56:16.869 --> 00:56:19.530
probably kind of have to be with this level of

00:56:19.530 --> 00:56:23.789
expectation and power. That's why I find film

00:56:23.789 --> 00:56:27.289
directors so fascinating. Yeah. Despite all that,

00:56:27.650 --> 00:56:30.750
Roy Scheider did commit to doing his best in

00:56:30.750 --> 00:56:33.929
this movie, and I've read a lot of reviews that

00:56:33.929 --> 00:56:36.980
back that up, that say, you know... He's actually

00:56:36.980 --> 00:56:40.760
doing a pretty damn good job, despite not wanting

00:56:40.760 --> 00:56:43.619
to be there. Yeah, I would agree with that. He's

00:56:43.619 --> 00:56:48.099
giving it his all. Yeah. Richard Dreyfuss declined

00:56:48.099 --> 00:56:50.139
to return because Spielberg wasn't directing.

00:56:51.000 --> 00:56:53.980
Now, this is interesting and fascinating. Murray

00:56:53.980 --> 00:56:56.739
Hamilton, he plays Mayor Vaughn. He attempted

00:56:56.739 --> 00:56:59.900
to quit this movie. He had his bags packed. He

00:56:59.900 --> 00:57:06.519
was headed out the door of the hotel. Murray

00:57:06.519 --> 00:57:08.480
Hamilton in the lobby and said, Murray, what's

00:57:08.480 --> 00:57:12.019
going on? Murray said, I don't care about my

00:57:12.019 --> 00:57:14.260
career. My wife is having a biopsy right now

00:57:14.260 --> 00:57:19.039
for potential cancer. I'm leaving. I'm out. And

00:57:19.039 --> 00:57:22.320
David Brown said, OK, fine. I understand. What

00:57:22.320 --> 00:57:26.780
if we film all your scenes first and you could

00:57:26.780 --> 00:57:28.880
be out of here in two days? And that's what they

00:57:28.880 --> 00:57:32.219
did. And the story ends up well. Murray Hamilton's

00:57:32.219 --> 00:57:35.789
wife did not have cancer. But that's just Murray

00:57:35.789 --> 00:57:38.349
Hamilton's story. And I have to say, watching

00:57:38.349 --> 00:57:41.510
this movie, before I knew that tidbit, I really

00:57:41.510 --> 00:57:45.710
want to know if you saw what I saw. But I'm watching

00:57:45.710 --> 00:57:49.409
Mayor Vaughn in this movie. And Murray Hamilton

00:57:49.409 --> 00:57:56.369
seems so distraught. And me and Ellen were watching

00:57:56.369 --> 00:57:59.170
it. And is he going to throw up? He looks so

00:57:59.170 --> 00:58:05.070
sad and flummoxed. And now I know why, because

00:58:05.070 --> 00:58:07.590
his mind was elsewhere on his wife. And he's

00:58:07.590 --> 00:58:09.849
like, I'm just going to say my lines. I'm going

00:58:09.849 --> 00:58:12.110
to get out of here. And that's, that'll be it.

00:58:12.969 --> 00:58:15.670
Yeah, I kind of thought the same thing. I did

00:58:15.670 --> 00:58:18.090
know that backstory before I saw the movie, so

00:58:18.090 --> 00:58:19.349
that might have played a role in that a little

00:58:19.349 --> 00:58:21.989
bit. But yeah, the Mayor Vaughn character just

00:58:21.989 --> 00:58:24.449
seems kind of like tired in this movie, you know,

00:58:24.489 --> 00:58:27.030
like he's yeah, he doesn't have the strength

00:58:27.030 --> 00:58:29.949
to go on almost. And there's a really fascinating

00:58:29.949 --> 00:58:32.829
scene where Chief Brody has like a picture that

00:58:32.829 --> 00:58:35.630
he thinks shows a shark underwater and he shows

00:58:35.630 --> 00:58:37.909
it to the whole town council and like nobody

00:58:37.909 --> 00:58:39.929
except for Mayor Vaughn really believes him.

00:58:39.989 --> 00:58:41.750
They're all like, whatever, Chief Brody, this

00:58:41.750 --> 00:58:44.489
is nothing at all. And it's kind of a reversal

00:58:44.489 --> 00:58:46.570
of the first film because Mayor Vaughn is the

00:58:46.570 --> 00:58:48.210
only one who really kind of sticks up for him.

00:58:48.429 --> 00:58:51.550
And in a deleted scene from the movie, I read

00:58:51.550 --> 00:58:54.530
that the mayor is the only one who doesn't vote

00:58:54.530 --> 00:58:58.170
to fire Chief Brody from his police chief position.

00:58:59.130 --> 00:59:02.469
And this just kind of goes back to Murray Hamilton's

00:59:02.469 --> 00:59:04.980
performance a little bit because like... It almost

00:59:04.980 --> 00:59:07.139
seems like he's disgusted with the people he

00:59:07.139 --> 00:59:09.679
works with. He's disgusted that like this is

00:59:09.679 --> 00:59:12.079
all happening all over again. But of course,

00:59:12.079 --> 00:59:15.159
there's that kind of like real life context that

00:59:15.159 --> 00:59:17.139
probably like add some gravity to that, you know?

00:59:17.480 --> 00:59:20.340
Yeah. So really interesting backstory there.

00:59:20.519 --> 00:59:24.650
Yeah. So principal shooting began or took place

00:59:24.650 --> 00:59:28.170
in the later half of 1977. The team worked the

00:59:28.170 --> 00:59:30.369
last month without a single break to stay on

00:59:30.369 --> 00:59:33.130
schedule. I think it started in New England,

00:59:33.150 --> 00:59:35.010
but then they moved down to Florida where the

00:59:35.010 --> 00:59:37.610
weather obviously was nicer and they had, I think,

00:59:37.610 --> 00:59:40.469
deeper water to like have some of the like platforms

00:59:40.469 --> 00:59:42.570
for the cameras and some of the special effects.

00:59:42.849 --> 00:59:46.429
Chirac was given permission by his crew to. to

00:59:46.429 --> 00:59:48.329
to agree to this shooting schedule where they

00:59:48.329 --> 00:59:50.650
basically didn't have a break as long as they

00:59:50.650 --> 00:59:53.449
got a big party every saturday night which seems

00:59:53.449 --> 00:59:55.710
like it's totally fitting for this movie like

00:59:55.710 --> 00:59:58.050
all the spoiled rich kids just like drinking

00:59:58.050 --> 00:59:59.909
and sailing and flirting the whole time like

00:59:59.909 --> 01:00:01.989
that's basically the crew of this movie is what

01:00:01.989 --> 01:00:05.639
i imagine yeah So this kind of goes back to what

01:00:05.639 --> 01:00:07.679
I just said, but town scenes were filmed in Martha's

01:00:07.679 --> 01:00:09.780
Vineyard, and then the ocean scenes were filmed

01:00:09.780 --> 01:00:11.860
in Florida and the Gulf of Mexico. Production

01:00:11.860 --> 01:00:14.380
at sea was extremely challenging, as it was in

01:00:14.380 --> 01:00:17.260
the first movie. The Cable Junction Island, which

01:00:17.260 --> 01:00:19.480
is the island set that most of the movie's climax

01:00:19.480 --> 01:00:23.260
takes place at, was made entirely of fiberglass

01:00:23.260 --> 01:00:27.000
and during a storm broke its anchors. The Coast

01:00:27.000 --> 01:00:29.860
Guard at one point called Jeannot Schwark to

01:00:29.860 --> 01:00:32.119
tell him that his island was floating to Cuba.

01:00:32.880 --> 01:00:35.159
Which, man, like the things you have to deal

01:00:35.159 --> 01:00:36.920
with as a movie director, how would you respond

01:00:36.920 --> 01:00:38.460
to that phone call in the middle of the night?

01:00:38.679 --> 01:00:42.579
So he's like, Roy, I don't need your crap right

01:00:42.579 --> 01:00:46.179
now. My island is floating towards Cuba. Just

01:00:46.179 --> 01:00:49.280
learn your lines and do your job, please. Yeah.

01:00:49.380 --> 01:00:51.619
We have an international incident here. I don't

01:00:51.619 --> 01:00:56.219
care about your feelings. Love that story, man.

01:00:57.289 --> 01:00:59.969
There was another case where hammerhead sharks

01:00:59.969 --> 01:01:03.269
circled the teen actors. So like late in the

01:01:03.269 --> 01:01:05.010
movie, all the teen actors are like in various

01:01:05.010 --> 01:01:08.050
sailboats and they're all kind of just adrift

01:01:08.050 --> 01:01:10.329
at sea. And there were actual hammerhead sharks

01:01:10.329 --> 01:01:12.750
that were surrounding the actors. all these teenage

01:01:12.750 --> 01:01:16.050
actors like tried to like notify the crew and

01:01:16.050 --> 01:01:17.690
be like, Hey, help us. There are real sharks

01:01:17.690 --> 01:01:20.530
here. But you know, these actors were supposed

01:01:20.530 --> 01:01:22.550
to be in distress. So the crew just thought they

01:01:22.550 --> 01:01:24.530
were in character and they didn't really know

01:01:24.530 --> 01:01:26.909
exactly what was going on at first, which is

01:01:26.909 --> 01:01:30.090
another hilarious story to me. Like, again, just

01:01:30.090 --> 01:01:31.929
like the ridiculous things that happen on a film

01:01:31.929 --> 01:01:36.510
set, you know? Oh, beyond ridiculous. Yeah. That's

01:01:36.510 --> 01:01:40.769
crazy. luckily the hammerhead sharks did not

01:01:40.769 --> 01:01:44.190
actually endanger the cast too much yes yes they

01:01:44.190 --> 01:01:50.409
all survived yeah oh sorry no well yeah just

01:01:50.409 --> 01:01:52.289
we had some deleted scenes one you mentioned

01:01:52.289 --> 01:01:54.989
earlier but um there were some deleted scenes

01:01:54.989 --> 01:01:58.929
that were cut for as the the studio wanted a

01:01:58.929 --> 01:02:03.170
more briskly paced film so we cut some scenes

01:02:03.170 --> 01:02:07.369
with ellen laughing at brody's jealousy like

01:02:07.369 --> 01:02:10.840
there's a like The Len Peterson character, he's

01:02:10.840 --> 01:02:15.219
really flirting with Alan like in front of Martin

01:02:15.219 --> 01:02:18.239
this whole time. So some deleted scenes actually

01:02:18.239 --> 01:02:21.619
address that, including another scene where this

01:02:21.619 --> 01:02:24.059
is such a great scene. It's on the DVD Blu -ray,

01:02:24.099 --> 01:02:28.760
but Martin Brody writes up Len a parking ticket

01:02:28.760 --> 01:02:32.380
and it's purely out of spite. And Len's like,

01:02:32.440 --> 01:02:34.019
what? Really? You're going to do this to me?

01:02:34.380 --> 01:02:37.739
And Brody's like, yeah, yep. Yep, I need your

01:02:37.739 --> 01:02:41.300
license and registration, please. Oh, that's

01:02:41.300 --> 01:02:46.019
great. I want to watch that scene. Yeah. This

01:02:46.019 --> 01:02:48.000
is already a pretty long movie. It's almost two

01:02:48.000 --> 01:02:49.719
hours, so I understand why they had to cut some

01:02:49.719 --> 01:02:53.000
stuff out of it. You know, I don't mind peppering

01:02:53.000 --> 01:02:56.840
in just some critiques now. I feel like I would

01:02:56.840 --> 01:03:00.760
have preferred those scenes over some action

01:03:00.760 --> 01:03:05.579
scenes that I feel are filler. For example...

01:03:06.030 --> 01:03:11.750
There's a scene with diving swim class and great

01:03:11.750 --> 01:03:15.469
action. But ultimately, that scene could be cut

01:03:15.469 --> 01:03:17.710
and you lose nothing because it doesn't add to

01:03:17.710 --> 01:03:21.230
like the story story. So I don't know. That's

01:03:21.230 --> 01:03:24.349
me. My personal taste. Subtract some of those

01:03:24.349 --> 01:03:26.849
set pieces and add in some of that character

01:03:26.849 --> 01:03:30.610
development. That's really going to give me some

01:03:30.610 --> 01:03:33.969
something to chew on. No pun intended. Nice.

01:03:35.230 --> 01:03:39.230
Yeah, I agree, but I would actually use other

01:03:39.230 --> 01:03:41.510
scenes as stuff that I would want to be cut out

01:03:41.510 --> 01:03:44.389
of this movie, including everything with the

01:03:44.389 --> 01:03:47.869
kids in this movie. I don't care about them.

01:03:48.389 --> 01:03:52.610
I read a funny Letterboxd review. There was a

01:03:52.610 --> 01:03:55.070
Letterboxd review where somebody was like, Did

01:03:55.070 --> 01:03:57.969
you find Brody, Quint, and Hooper boring in the

01:03:57.969 --> 01:04:00.309
first Jaws and cared more about the spoiled rich

01:04:00.309 --> 01:04:02.550
kids on the island? Well, have I got a movie

01:04:02.550 --> 01:04:05.530
for you, which is totally accurate. And every

01:04:05.530 --> 01:04:09.570
time we see the nerds who can't get a date or

01:04:09.570 --> 01:04:14.289
the girl's cousin, she's trying to set up her

01:04:14.289 --> 01:04:17.150
cousin with Brody's son. There were several times

01:04:17.150 --> 01:04:19.050
while watching this movie where I asked myself

01:04:19.050 --> 01:04:22.389
out loud, why do I care? Why do I care about

01:04:22.389 --> 01:04:25.630
this or these characters? So I'm definitely like

01:04:25.630 --> 01:04:27.829
peppering in my critique here, obviously. But

01:04:27.829 --> 01:04:29.730
that's the stuff that I would want to be cut

01:04:29.730 --> 01:04:31.650
and like put in some of that character development

01:04:31.650 --> 01:04:34.369
stuff instead. Yeah, you're not wrong there.

01:04:34.590 --> 01:04:38.630
I mean, this movie Jaws 2 gets compared to a

01:04:38.630 --> 01:04:40.829
typical slasher film because you have all these

01:04:40.829 --> 01:04:44.590
forgettable teenage characters. And I agree.

01:04:44.710 --> 01:04:46.690
I like it by the end of it. I'm like, yeah, they

01:04:46.690 --> 01:04:49.650
serve their purpose. But this movie really could

01:04:49.650 --> 01:04:52.920
have. been something special had we gotten to

01:04:52.920 --> 01:04:55.659
know these people instead of oh there she is

01:04:55.659 --> 01:04:57.980
screaming again great screamer like that's a

01:04:57.980 --> 01:05:00.980
good like you're really good at that but who

01:05:00.980 --> 01:05:03.739
are you like what are your wants your fears your

01:05:03.739 --> 01:05:06.739
cares where you come from what's your background

01:05:06.739 --> 01:05:08.780
like i want to know what you're struggling with

01:05:08.780 --> 01:05:11.980
and what what this shark is a metaphor for you

01:05:11.980 --> 01:05:16.329
yeah totally And maybe there are just too many

01:05:16.329 --> 01:05:18.389
characters. Like, if you focus on two of those

01:05:18.389 --> 01:05:20.369
young characters, then that could work, you know?

01:05:21.010 --> 01:05:24.909
Totally. Like, I want to focus on the Brodies,

01:05:24.989 --> 01:05:29.829
first and foremost. And I want to focus on some

01:05:29.829 --> 01:05:32.409
girls, get some romance in there. But then, yeah.

01:05:32.510 --> 01:05:34.349
I mean, everyone else at the end of the day is

01:05:34.349 --> 01:05:41.050
just fodder. Just there to be killed. Yeah. Just

01:05:41.050 --> 01:05:44.639
chum, to use that metaphor again. yeah just chum

01:05:44.639 --> 01:05:49.260
in the water yeah the film opened in june of

01:05:49.260 --> 01:05:53.940
1978 it was for a mere 30 million dollar budget

01:05:53.940 --> 01:05:57.719
the most expensive film universal had ever made

01:05:57.719 --> 01:06:01.639
at that point which is crazy to me but also it

01:06:01.639 --> 01:06:04.559
ended up grossing 200 over 200 million worldwide

01:06:04.559 --> 01:06:10.030
so gangbusters retrospective reviews highlight

01:06:10.030 --> 01:06:12.969
the lead actors and the score by john williams

01:06:12.969 --> 01:06:16.750
it's also these days regarded as the best of

01:06:16.750 --> 01:06:19.730
the jaws sequels but that is a very low bar one

01:06:19.730 --> 01:06:22.130
could make the argument that it's not the worst

01:06:22.130 --> 01:06:24.349
of the jaws sequels but we'll return to that

01:06:24.349 --> 01:06:26.849
idea oh sorry not the best of the jaws sequels

01:06:26.849 --> 01:06:28.849
is what i meant i'm sorry about that yeah totally

01:06:28.849 --> 01:06:31.710
i think i think those among those three sequels

01:06:31.710 --> 01:06:35.110
it's like what kind of flavor of ice cream do

01:06:35.110 --> 01:06:37.769
you want like it's all it's all gonna be delicious

01:06:39.279 --> 01:06:43.059
But for different reasons, I guess. Yeah. Delicious,

01:06:43.079 --> 01:06:47.179
but maybe not very satisfying in the end. There

01:06:47.179 --> 01:06:49.780
are parts of Josh 3 that I love. Dennis Quaid

01:06:49.780 --> 01:06:51.960
is in it, apparently on Coke the whole time.

01:06:52.420 --> 01:06:57.139
Yeah. Lou Gossett Jr. is in that as well. I love

01:06:57.139 --> 01:07:00.179
him in that movie. He's very good in that. Sorry

01:07:00.179 --> 01:07:03.340
to, I feel like I'm kind of. diverting us again

01:07:03.340 --> 01:07:05.320
but then in the fourth one we have Michael Caine

01:07:05.320 --> 01:07:07.780
like and and he didn't care about that movie

01:07:07.780 --> 01:07:09.239
at all but he's still a pleasure to watch in

01:07:09.239 --> 01:07:11.800
that you know and the ridiculous plot of Jaws

01:07:11.800 --> 01:07:14.880
the Revenge I love it it's so so absurd it's

01:07:14.880 --> 01:07:18.320
great I know like they're not unwatchable movies

01:07:18.320 --> 01:07:22.579
right sorry I just had to throw that in there

01:07:22.579 --> 01:07:25.900
because I I'll talk more about that later sorry

01:07:25.900 --> 01:07:31.409
okay all right all right Now, contemporary reviews

01:07:31.409 --> 01:07:36.190
were not so kind, mixed to negative. A couple

01:07:36.190 --> 01:07:38.210
that I want to shout out, Roger Ebert called

01:07:38.210 --> 01:07:41.550
it pure trash, which is awesome. Vincent Camby

01:07:41.550 --> 01:07:43.809
of the New York Times said some of the action

01:07:43.809 --> 01:07:45.849
sequences have been well staged, but they've

01:07:45.849 --> 01:07:48.269
been dropped into this film so indiscriminately

01:07:48.269 --> 01:07:51.050
that Jaws 2 never builds to a particular climax.

01:07:51.389 --> 01:07:54.050
It simply drones on and on like a television

01:07:54.050 --> 01:07:56.650
movie. Someone also made a mistake in showing

01:07:56.650 --> 01:07:59.429
us so much of the mechanical shark so early in

01:07:59.429 --> 01:08:01.409
the film. I only threw that in there because

01:08:01.409 --> 01:08:04.010
I think Vincent Canby is echoing a lot of, or

01:08:04.010 --> 01:08:06.489
sorry, we're echoing a lot of what Canby is saying

01:08:06.489 --> 01:08:11.510
in that like three sentence bite there. No pun

01:08:11.510 --> 01:08:18.829
intended. So many shark puns. I love it. But

01:08:18.829 --> 01:08:21.130
with all it said and done, the legacy is actually.

01:08:21.899 --> 01:08:24.699
long for this movie. It established the viability

01:08:24.699 --> 01:08:30.979
of sequels as a worthwhile venture in Hollywood.

01:08:31.180 --> 01:08:34.819
So you're welcome, pop culture. We talked about

01:08:34.819 --> 01:08:38.039
the tagline and the ride at Universal Studios.

01:08:38.460 --> 01:08:43.319
So, you know, Jaws 2. Yeah, yep. I think it was

01:08:43.319 --> 01:08:46.159
the highest grossing sequel of all time for one

01:08:46.159 --> 01:08:50.260
year. But then in 1979, Rocky 2 broke that record.

01:08:50.859 --> 01:08:56.020
Oh, yes. All right. On that note, Camp Kaiju

01:08:56.020 --> 01:08:58.119
is sponsored by Zach Linder and the Zach Pack,

01:08:58.199 --> 01:09:00.720
powered by Coldwell Banker Realty, your source

01:09:00.720 --> 01:09:02.899
for real estate, home rehab, fixing and flipping

01:09:02.899 --> 01:09:04.899
for investor clients and residential buyers.

01:09:05.239 --> 01:09:07.560
Reach out to the Zach Pack today for real estate

01:09:07.560 --> 01:09:10.399
services. Follow the Zach Pack on social media.

01:09:10.659 --> 01:09:13.199
Contact the Zach Pack for investment opportunities.

01:09:13.779 --> 01:09:19.500
Links in the show notes. We have some comments.

01:09:20.329 --> 01:09:24.069
to share with you all in Minya's mailbox. Just

01:09:24.069 --> 01:09:27.710
let me pull those up. These are in response to

01:09:27.710 --> 01:09:31.909
our special episode from Peter Lorre, the Poverty

01:09:31.909 --> 01:09:40.090
Row Picture Show. And we have Superfan Don. The

01:09:40.090 --> 01:09:42.810
Peter Lorre appearances on the podcast are great,

01:09:42.930 --> 01:09:47.449
but putting them all together, awesome. Thank

01:09:47.449 --> 01:09:50.880
you, Don. We appreciate that. And then we have

01:09:50.880 --> 01:09:55.859
Mark on Spotify as well, says, fun episode. Thank

01:09:55.859 --> 01:09:59.199
you, Mark. We also appreciate that. Thank you.

01:09:59.619 --> 01:10:02.600
Yeah, we'll get those comments over to Peter,

01:10:02.880 --> 01:10:06.560
wherever he is. I hear the screams have stopped,

01:10:06.579 --> 01:10:11.340
though. Yeah, I haven't gone in there for several

01:10:11.340 --> 01:10:14.100
days, so who knows what's going on. There's an

01:10:14.100 --> 01:10:17.779
increasingly foul odor from his room. So I don't

01:10:17.779 --> 01:10:20.199
have high hopes, but at least he's quiet. I can

01:10:20.199 --> 01:10:23.060
finally get some sleep around here. Nice. Good

01:10:23.060 --> 01:10:26.079
for you. Yeah. Take advantage. It may not last

01:10:26.079 --> 01:10:31.680
long. Right. I also just want to shout out Jonathan

01:10:31.680 --> 01:10:37.939
who reached out to me and let me know that he

01:10:37.939 --> 01:10:41.920
also found the poverty row picture show compilation

01:10:41.920 --> 01:10:45.789
episode. Really fun. And did point out in the

01:10:45.789 --> 01:10:47.909
editing faux pas on my part, which I have now

01:10:47.909 --> 01:10:51.449
addressed. So your listening experience should

01:10:51.449 --> 01:10:53.829
be seamless. Folks, go back and listen to that

01:10:53.829 --> 01:10:58.229
episode. A lot of fun, as our listeners have

01:10:58.229 --> 01:11:05.199
stated. Indeed. All right. So coming up on the

01:11:05.199 --> 01:11:08.039
Poverty Row Picture Show is a 1943 movie called

01:11:08.039 --> 01:11:11.020
Ghosts on the Loose starring Bela Lugosi and

01:11:11.020 --> 01:11:15.000
the Dead End Kids. Letterboxd likes to share

01:11:15.000 --> 01:11:18.659
maybe like the tagline of the film. And I love

01:11:18.659 --> 01:11:21.319
this tagline. It says, you'll yell with glee

01:11:21.319 --> 01:11:23.899
when these happy -go -lucky hooligans invade

01:11:23.899 --> 01:11:27.579
the shivery domain of the man of a thousand horrors.

01:11:27.939 --> 01:11:35.789
It's chilarious. That's a good word. Check out

01:11:35.789 --> 01:11:41.470
Ghosts on the Loose and join Peter Lorre. I'm

01:11:41.470 --> 01:11:43.310
surprised we haven't really talked too much about

01:11:43.310 --> 01:11:46.109
the Abbott and Costello meet blah, blah, blah,

01:11:46.149 --> 01:11:48.949
fill in the blanks movies. I'm guessing we'll

01:11:48.949 --> 01:11:50.569
maybe bring some of them into the podcast at

01:11:50.569 --> 01:11:52.109
some point, but I'm curious about your thoughts.

01:11:52.890 --> 01:11:55.710
Abbott and Costello meet Frankenstein is one

01:11:55.710 --> 01:11:59.010
of the funniest movies ever made. Yeah. Arguably.

01:11:59.479 --> 01:12:03.060
Like that's a common no contest argument there.

01:12:03.159 --> 01:12:09.640
It's hilarious. Yeah. Or chill areas. One might

01:12:09.640 --> 01:12:14.079
say. One might say. The other ones I've seen

01:12:14.079 --> 01:12:19.239
Abbott and Costello meet the mummy is so tired

01:12:19.239 --> 01:12:22.920
in its presentation. It's the last film they

01:12:22.920 --> 01:12:26.760
made as a duo and they seem tired. The jokes

01:12:26.760 --> 01:12:30.579
are tired. The mummies are tired. Abbott and

01:12:30.579 --> 01:12:33.140
Costello meet Dr. Jekyll and Mr. Hyde is fun.

01:12:33.319 --> 01:12:36.960
Boris Karloff plays Dr. Jekyll in that. And then

01:12:36.960 --> 01:12:38.520
there's Abbott and Costello meet the invisible

01:12:38.520 --> 01:12:43.500
man, which is also fun, but, but they're just,

01:12:43.579 --> 01:12:46.619
you know, they're worthwhile for the gags, but

01:12:46.619 --> 01:12:50.439
something about meet Frankenstein is just, it's

01:12:50.439 --> 01:12:54.539
just like a complete movie in ways that it's

01:12:54.539 --> 01:12:59.029
more than just gags. So I, that's my, two minute

01:12:59.029 --> 01:13:03.489
review of those, of those movies. Yeah. I think

01:13:03.489 --> 01:13:05.329
the Frankenstein one is the only one that I saw

01:13:05.329 --> 01:13:08.390
like a long time ago when I was a kid. And maybe

01:13:08.390 --> 01:13:10.430
there's one where they meet the Wolfman also,

01:13:10.489 --> 01:13:14.010
right? That's in that one. Okay. Yeah. So that

01:13:14.010 --> 01:13:19.449
plot is they, they, they run across Larry Talbot

01:13:19.449 --> 01:13:23.289
played by Lon Chaney Jr. And of course he's like,

01:13:23.329 --> 01:13:25.760
I got to find a cure for my lycanthropy. And

01:13:25.760 --> 01:13:27.579
they're like, OK, buddy, every man turns into

01:13:27.579 --> 01:13:30.140
a wolf at the full moon. And he's like, no, you

01:13:30.140 --> 01:13:34.800
don't understand. I'm really a wolf. I vaguely

01:13:34.800 --> 01:13:36.479
remember that, I think, from a long time ago.

01:13:36.619 --> 01:13:40.119
Yeah. So then they go find Dr. Frankenstein and

01:13:40.119 --> 01:13:44.979
Dracula shows up. And yeah, it's hilarity ensues.

01:13:45.420 --> 01:13:51.960
Chilarity ensues. Yeah. Chilarity. I'm sorry

01:13:51.960 --> 01:13:54.560
to lead us on that tangent, but I hope we bring

01:13:54.560 --> 01:13:56.460
one of those movies to the podcast at some point.

01:13:57.159 --> 01:14:12.859
Absolutely. Yeah, they're great. Welcome to the

01:14:12.859 --> 01:14:16.479
Poverty Row Studios on the other side of Hollywood,

01:14:16.680 --> 01:14:19.720
where the stars were dimmer. and the red carpets

01:14:19.720 --> 01:14:22.840
dripped with blood. Together we will watch the

01:14:22.840 --> 01:14:26.039
best of the worst, movies known for their limited

01:14:26.039 --> 01:14:29.760
budgets, outlandish concepts, and questionable

01:14:29.760 --> 01:14:32.899
performances. But with enough haunted houses,

01:14:33.119 --> 01:14:36.600
zombies, ape men, and devil bats to keep you

01:14:36.600 --> 01:14:40.020
up at night, this is the Poverty Row Picture

01:14:40.020 --> 01:14:43.720
Show, and I dare you to sleep through these nightmares.

01:14:49.680 --> 01:14:52.819
Hello there. I am Peter Lorre, coming to you

01:14:52.819 --> 01:14:56.359
from inside the belly of my beloved yet admittedly

01:14:56.359 --> 01:15:00.460
bloodthirsty lilac plant. Yes, I have been swallowed

01:15:00.460 --> 01:15:03.500
by the monster, but fret not. As I have been

01:15:03.500 --> 01:15:07.739
consumed limb by broken limb, I managed to grab

01:15:07.739 --> 01:15:11.119
a hold of a sharp and pointed tooth. It broke

01:15:11.119 --> 01:15:14.520
off in my hand and now, deep within the digestive

01:15:14.520 --> 01:15:18.789
tract of the lilac. I wield it as a sword and

01:15:18.789 --> 01:15:23.270
will soon be free of my captor's stomach. But

01:15:23.270 --> 01:15:27.470
I better act quick, lest I be liquefied by these

01:15:27.470 --> 01:15:41.090
acidic juices. Yes, I am free. Yes, take that,

01:15:41.229 --> 01:15:44.789
you infernal beast. Back to the hell from whence

01:15:44.789 --> 01:15:55.369
you came. Now, on with the show. This week's

01:15:55.369 --> 01:15:58.829
movie is called Ghosts on the Loose. It is a

01:15:58.829 --> 01:16:03.449
tired 1943 outing with the East End kids running

01:16:03.449 --> 01:16:06.670
amok in a haunted house with Bailey Lugosi playing

01:16:06.670 --> 01:16:10.529
a gangster and Nazi agent out to get them. And

01:16:10.529 --> 01:16:14.189
while the synopsis promises chillerity, the film

01:16:14.189 --> 01:16:18.529
is anything but. Clocking in at 64 minutes, much

01:16:18.529 --> 01:16:20.989
of the film is comprised of antics fit for a

01:16:20.989 --> 01:16:23.649
first grader, but hardly worthy of any of the

01:16:23.649 --> 01:16:27.329
talents involved. Mr. Lugosi doesn't even show

01:16:27.329 --> 01:16:30.789
up until halfway through. Now, it is interesting

01:16:30.789 --> 01:16:33.989
to see the great Eva Gardner in an early role,

01:16:34.130 --> 01:16:37.229
but it is as thankless as anything else. You're

01:16:37.229 --> 01:16:39.930
much better off viewing the similar, but actually

01:16:39.930 --> 01:16:44.010
hilarious, Spooks Run Wild. Alright, alright.

01:16:44.170 --> 01:16:46.949
Well, next time we will cover another zombie

01:16:46.949 --> 01:16:50.109
picture called Revenge of the Zombies starring

01:16:50.109 --> 01:16:54.029
John Carradine. And until then, I'll need to

01:16:54.029 --> 01:16:58.029
clean up this disgusting mess. Yuck! Perhaps

01:16:58.029 --> 01:17:01.390
Matthew might be so kind as to lend a hand, but

01:17:01.390 --> 01:17:04.329
fat chance knowing what care he has shown me

01:17:04.329 --> 01:17:08.050
until now. Fighting for my life and an area.

01:17:08.130 --> 01:17:11.609
How are you, Peter? Do you need a hand, Peter?

01:17:13.079 --> 01:17:16.479
A spade and shovel, Peter. Curse you, Matthew.

01:17:16.760 --> 01:17:30.199
Curse you. Curse you. A creature alive today

01:17:30.199 --> 01:17:34.359
has survived millions of years of evolution.

01:17:34.979 --> 01:17:41.319
It lives to kill a mindless eating machine that

01:17:41.319 --> 01:17:46.319
will attack. and devour anything. One, terrified

01:17:46.319 --> 01:17:49.479
you like nothing you have ever experienced when

01:17:49.479 --> 01:17:52.420
it captured your imagination and tapped your

01:17:52.420 --> 01:17:56.819
fear like no movie before it. Then, just when

01:17:56.819 --> 01:17:58.960
you thought it was safe to go back in the water,

01:17:59.500 --> 01:18:03.359
two, continued the legend and spread the fear.

01:18:04.239 --> 01:18:07.770
And now... Nature's most terrifying creature

01:18:07.770 --> 01:18:11.489
takes on an all -new dimension in an all -new

01:18:11.489 --> 01:18:15.270
adventure. And for the first time, the terror

01:18:15.270 --> 01:18:18.710
of Jaws will not stop at the edge of the cliff.

01:18:25.289 --> 01:18:44.079
Jaws 3D. The third dimension is terror. Instinctively,

01:18:44.079 --> 01:18:49.560
man has always been drawn to the sea. Its beauty.

01:18:51.180 --> 01:19:01.239
Its mystery. Its secrets. But there is also a

01:19:01.239 --> 01:19:04.939
vague uncertainty. A sense of intrusion into

01:19:04.939 --> 01:19:11.689
an alien world. Where man is unwelcome. And completely

01:19:11.689 --> 01:19:14.789
at the mercy of the most terrifying predator

01:19:14.789 --> 01:19:20.869
on Earth. Man's deepest fear has risen again.

01:19:24.189 --> 01:19:29.789
Jaws. The Revenge. This time, it's personal.

01:19:30.710 --> 01:19:32.909
Where are we at? Oh, themes. Let's talk about

01:19:32.909 --> 01:19:36.789
themes of this movie. What are the thought -provoking

01:19:36.789 --> 01:19:40.079
questions this movie is... begging us to answer

01:19:40.079 --> 01:19:45.600
yeah are there themes in this movie i mean this

01:19:45.600 --> 01:19:47.520
isn't a theme per se but i like what you said

01:19:47.520 --> 01:19:49.140
before and i kind of read this and doing some

01:19:49.140 --> 01:19:53.460
research just how jaws 2 kind of does foreshadow

01:19:53.460 --> 01:19:55.680
slasher movies a little bit where like the young

01:19:55.680 --> 01:19:58.920
kids are all like pleasure hedonism they don't

01:19:58.920 --> 01:20:01.359
care about anything like chief brody's older

01:20:01.359 --> 01:20:05.060
son whose name i forget right now michael yeah

01:20:05.060 --> 01:20:07.470
that's it you know, like defies his parents.

01:20:07.529 --> 01:20:09.189
He doesn't want to get a job, all this stuff.

01:20:09.409 --> 01:20:11.149
And then it's almost like all these kids are

01:20:11.149 --> 01:20:13.869
punished for their like, just living in pleasure,

01:20:13.970 --> 01:20:15.850
you know, like the shark devours all of them

01:20:15.850 --> 01:20:17.909
or not all of them, but like some of them, a

01:20:17.909 --> 01:20:20.170
couple of them. And it's similar to like the

01:20:20.170 --> 01:20:23.689
killer and slasher movies, like, you know, punishing

01:20:23.689 --> 01:20:26.329
promiscuous young people. Like, I don't know

01:20:26.329 --> 01:20:27.970
if there's really a deeper theme, but it's just

01:20:27.970 --> 01:20:30.590
kind of interesting that that looks forward to

01:20:30.590 --> 01:20:32.630
what would be a very popular genre in the next

01:20:32.630 --> 01:20:36.840
decade or so. Yeah, there are two teens that

01:20:36.840 --> 01:20:40.579
we focus a lot on. Actually, they are a romantic

01:20:40.579 --> 01:20:46.920
couple, Tina and Ed, and they are canoodling

01:20:46.920 --> 01:20:49.699
every chance they get. I mean, we follow them

01:20:49.699 --> 01:20:52.819
a lot, but Ed ends up dying a really horrific

01:20:52.819 --> 01:20:55.260
death, I think. And I think that that sequence

01:20:55.260 --> 01:20:57.800
is really well done. Yeah, it's really frightening.

01:20:57.859 --> 01:21:01.970
And like that, that boy gets butchered. yeah

01:21:01.970 --> 01:21:06.409
to talk about slasher movies and and maybe coincidentally

01:21:06.409 --> 01:21:10.550
maybe not they're the the the real couple that's

01:21:10.550 --> 01:21:14.689
really again trying to make out and have sex

01:21:14.689 --> 01:21:19.100
whenever they can yeah right Again, I'm trying

01:21:19.100 --> 01:21:20.899
to think of a shark pun and it's not coming to

01:21:20.899 --> 01:21:23.560
me right away. But yeah, no, and like the actress

01:21:23.560 --> 01:21:25.939
who plays Tina is really good because after Ed

01:21:25.939 --> 01:21:28.520
is killed, like you believe in her trauma. She's

01:21:28.520 --> 01:21:30.199
like really messed up by what she witnesses.

01:21:30.800 --> 01:21:33.380
And I think you could say that too about the

01:21:33.380 --> 01:21:38.600
cousin who Michael's friend tries to set him

01:21:38.600 --> 01:21:41.300
up with. And, you know, she's a little bit, you

01:21:41.300 --> 01:21:42.939
know, like when Michael can't hang out, she's

01:21:42.939 --> 01:21:44.180
like, all right, I'll just make out with another

01:21:44.180 --> 01:21:46.819
boy. And then like, you know, later on some like

01:21:46.819 --> 01:21:49.319
really violent stuff happens and it happens right

01:21:49.319 --> 01:21:52.079
in front of her. And she also like is totally

01:21:52.079 --> 01:21:54.979
messed up by it. And even though before I said

01:21:54.979 --> 01:21:56.779
that I don't care about any of the stuff that

01:21:56.779 --> 01:21:58.560
happens to the kids in this movie, and that's

01:21:58.560 --> 01:22:00.659
kind of true, you know, the actors are pretty

01:22:00.659 --> 01:22:03.020
good. And like for some of them, you believe

01:22:03.020 --> 01:22:05.340
that they are traumatized by the carnage that

01:22:05.340 --> 01:22:08.159
they see right in front of them. 100%. I don't

01:22:08.159 --> 01:22:11.100
think those, especially those two actresses and

01:22:11.100 --> 01:22:13.979
then Schwartz direction, I suppose, like those

01:22:13.979 --> 01:22:18.039
aren't thrown away. Like those are really dug

01:22:18.039 --> 01:22:23.039
into portrayals of fear and trauma that I appreciate.

01:22:23.159 --> 01:22:25.220
I think that gives it a much needed gravity.

01:22:25.859 --> 01:22:29.039
Yeah. I want to talk about Martin Brody in this

01:22:29.039 --> 01:22:32.479
movie. I think thematically, I do enjoy seeing

01:22:32.479 --> 01:22:36.050
his character develop a little. bit and wrestle

01:22:36.050 --> 01:22:38.750
with what he went through the trauma he went

01:22:38.750 --> 01:22:43.270
through in jobs one like there is a scene where

01:22:43.270 --> 01:22:45.909
he believes he sees a shark in the water on a

01:22:45.909 --> 01:22:50.270
crowded beach and he does fire his gun into a

01:22:50.270 --> 01:22:54.310
crowd of people and nobody's hurt or killed but

01:22:54.310 --> 01:22:57.250
this ultimate this act ultimately gets him fired

01:22:57.250 --> 01:23:02.029
and it's like this guy needs therapy he has clearly

01:23:02.029 --> 01:23:05.409
been affected traumatically from his events in

01:23:05.409 --> 01:23:07.689
jaws one and he does not know how to handle it

01:23:07.689 --> 01:23:10.250
he probably shouldn't be police chief anymore

01:23:10.250 --> 01:23:13.430
and i i just found that a really interesting

01:23:13.430 --> 01:23:18.109
and needed character arc from the first film

01:23:18.109 --> 01:23:23.649
yeah i agree and you know like the public humiliation

01:23:23.649 --> 01:23:26.270
that he goes through in that scene is pretty

01:23:26.270 --> 01:23:29.140
hard to watch and You know, Scheider plays it

01:23:29.140 --> 01:23:31.359
really well. And then like his interaction with

01:23:31.359 --> 01:23:34.340
his younger son, Sean, I think is his name. You

01:23:34.340 --> 01:23:37.279
know, Sean, his younger son, like looks at all

01:23:37.279 --> 01:23:39.619
like the spent bullets on the sand that like

01:23:39.619 --> 01:23:42.659
his father is like just shot for no reason. That's

01:23:42.659 --> 01:23:44.680
a really touching moment. And I agree that that

01:23:44.680 --> 01:23:46.960
is like one of the deeper character elements

01:23:46.960 --> 01:23:50.659
in the movie. Yeah. Yeah. Okay. Well, let's talk

01:23:50.659 --> 01:23:52.140
about the good, the bad and the can't be here.

01:23:52.500 --> 01:23:55.079
What do you, what do you think? I do think there

01:23:55.079 --> 01:23:58.220
are some. Very frightening, very intense scenes,

01:23:58.300 --> 01:24:01.380
like the part where it's like one of the first

01:24:01.380 --> 01:24:03.380
shark attacks. I'm pretty sure it's actually

01:24:03.380 --> 01:24:06.079
right after the water skier scene that you were

01:24:06.079 --> 01:24:08.880
talking about, where like this other person on

01:24:08.880 --> 01:24:11.260
the boat like tries to like fend off the shark

01:24:11.260 --> 01:24:14.579
and lights it on fire. And then her like she

01:24:14.579 --> 01:24:17.659
explodes. The whole boat blows up in this like

01:24:17.659 --> 01:24:22.520
fiery. conflagration. Sorry, I rarely say that

01:24:22.520 --> 01:24:24.800
word in my life. But it's a really intense scene.

01:24:24.859 --> 01:24:26.640
It's very frightening. Like, honestly, up until

01:24:26.640 --> 01:24:28.739
that part of the movie, I was pretty bored. And

01:24:28.739 --> 01:24:30.039
then that happened. And I was like, oh, shit,

01:24:30.119 --> 01:24:32.239
something's happening. Like, so that was intense.

01:24:32.479 --> 01:24:34.819
There's some other moments where like, the shark

01:24:34.819 --> 01:24:37.100
just like, it's kind of a jump scare. But like

01:24:37.100 --> 01:24:40.239
the shark, you know, jumps out of the water and

01:24:40.239 --> 01:24:42.439
you don't totally expect it. Like with the helicopter

01:24:42.439 --> 01:24:45.359
towards the end, for example. And those are really

01:24:45.359 --> 01:24:48.270
effective scenes. And I guess that kind of contradicts

01:24:48.270 --> 01:24:50.069
what I said before that like maybe having just

01:24:50.069 --> 01:24:52.229
like brief glimpses would be more effective but

01:24:52.229 --> 01:24:55.090
yeah the movie's frightening and intense at times

01:24:55.090 --> 01:24:57.869
it it looks good like some of it's shot very

01:24:57.869 --> 01:25:01.550
well Roy Scheider is great yeah I think I'll

01:25:01.550 --> 01:25:04.590
leave it at that for my good category okay yeah

01:25:04.590 --> 01:25:07.890
I'll echo those I think I think the action set

01:25:07.890 --> 01:25:10.569
pieces are I think they're done really well I

01:25:10.569 --> 01:25:14.090
was I was compelled by them I think the framing

01:25:14.090 --> 01:25:16.750
is done really well with a lot of these And I

01:25:16.750 --> 01:25:20.289
think the shark is used well. That's what I said

01:25:20.289 --> 01:25:22.310
earlier. Like, yeah, you see a lot of the shark,

01:25:22.449 --> 01:25:26.710
but that's a strong choice that's done really

01:25:26.710 --> 01:25:30.090
well. I think with the skier, the way that shot,

01:25:30.270 --> 01:25:33.149
you see the fin behind her come up and then the

01:25:33.149 --> 01:25:36.590
fin is racing parallel to her board. And it's

01:25:36.590 --> 01:25:38.810
like, yeah, I know the shark's there. I'm in

01:25:38.810 --> 01:25:41.890
suspense. And you're following the board under

01:25:41.890 --> 01:25:44.689
the water. There's a lot of POV shots of the

01:25:44.689 --> 01:25:50.399
shark. which I liked the helicopter scene is

01:25:50.399 --> 01:25:55.340
so just over the top, but it's like, that's an

01:25:55.340 --> 01:25:58.279
action movie set piece that I love because, but

01:25:58.279 --> 01:26:01.640
the, the way that you see the shark come up from

01:26:01.640 --> 01:26:05.060
the side of the pilot through the window. And

01:26:05.060 --> 01:26:08.239
I jumped a little bit. I was like, Oh shit. Yeah.

01:26:09.979 --> 01:26:12.939
And the pilot doesn't stand a chance. And you're

01:26:12.939 --> 01:26:15.640
just like, man, this shark just ate. a helicopter

01:26:15.640 --> 01:26:23.819
yeah that scene is great too sorry yeah no i

01:26:23.819 --> 01:26:26.859
can well you know like the the kids think they're

01:26:26.859 --> 01:26:28.800
about to be rescued like you can see the relief

01:26:28.800 --> 01:26:30.699
on their faces they're like oh thank god we're

01:26:30.699 --> 01:26:33.380
not gonna either starve to death on the sea or

01:26:33.380 --> 01:26:36.960
be eaten by a shark and then the the pilot lands

01:26:36.960 --> 01:26:40.170
in the water and like immediately It's like everything

01:26:40.170 --> 01:26:42.550
goes to hell. And you can see, like, on the kids'

01:26:42.649 --> 01:26:45.470
faces, they're like, all their elation just,

01:26:45.510 --> 01:26:47.689
like, crashes back down to Earth, you know? Like,

01:26:47.750 --> 01:26:49.510
they're not going to get rescued. Like, they're

01:26:49.510 --> 01:26:52.449
still screwed. They might not survive this. Like,

01:26:52.449 --> 01:26:55.510
you know, that's a pretty intense moment. Yep,

01:26:55.529 --> 01:27:00.029
yep. The, I do like the ending. The shark is

01:27:00.029 --> 01:27:04.250
electrocuted in a fiery conflagration. Very Green

01:27:04.250 --> 01:27:09.399
Mile, just, oh, just singed. I think it's awesome.

01:27:09.680 --> 01:27:12.460
But that's some campy stuff. So I'll save that

01:27:12.460 --> 01:27:16.479
too for campy. Quick shout out. There's a painting

01:27:16.479 --> 01:27:21.619
of all things that Schwark mentions in the making

01:27:21.619 --> 01:27:24.479
of documentary called The Raft of the Medusa.

01:27:25.760 --> 01:27:30.060
And it is a painting about a bunch of people

01:27:30.060 --> 01:27:33.720
hanging for dear life on a raft in the ocean.

01:27:34.180 --> 01:27:39.260
And he used this as an inspiration for... for

01:27:39.260 --> 01:27:43.420
shooting the kids, they all bring their own rafts

01:27:43.420 --> 01:27:47.239
together to float. So I just loved a little art

01:27:47.239 --> 01:27:50.680
history being thrown in there. Yeah. Cool. For

01:27:50.680 --> 01:27:54.279
what it's worth. I'm looking at that painting

01:27:54.279 --> 01:27:56.899
right now. I don't see a lot of formal similarities

01:27:56.899 --> 01:27:59.859
between that and Jaws 2, but it's, you know,

01:27:59.880 --> 01:28:01.739
it's cool that he brought that idea into it.

01:28:02.180 --> 01:28:05.220
Yeah. There's a really cool painting from about

01:28:05.220 --> 01:28:09.619
like the 1700s. of a shark attack in Havana Harbor.

01:28:09.899 --> 01:28:12.479
So if you Google shark attack in Havana Harbor

01:28:12.479 --> 01:28:16.279
painting, it's a really cool painting of a shark

01:28:16.279 --> 01:28:18.260
attack. You do that, I'm gonna talk about the

01:28:18.260 --> 01:28:21.760
bad of Jaws 2. I'm like, the mayor doesn't believe

01:28:21.760 --> 01:28:25.140
him again? And this is why I wanted that deleted

01:28:25.140 --> 01:28:27.979
scene where we see Mayor Vaughn vote to keep

01:28:27.979 --> 01:28:31.659
Brody on staff. Because without that scene, I'm

01:28:31.659 --> 01:28:34.760
like, the mayor sucks even more in this movie.

01:28:35.390 --> 01:28:38.689
why don't you believe him that's my problem with

01:28:38.689 --> 01:28:43.609
a sequel that it does its own thing but it's

01:28:43.609 --> 01:28:47.130
also like why why don't why are people hating

01:28:47.130 --> 01:28:53.189
on Brody he deserves none of this yeah I it was

01:28:53.189 --> 01:28:55.789
hard for me to get over that because that didn't

01:28:55.789 --> 01:29:00.409
make any sense as a continuation of Jaws 1 I

01:29:00.409 --> 01:29:05.140
could feel this love triangle between Brody,

01:29:05.199 --> 01:29:08.739
Ellen, and Len Peterson. But the movie didn't

01:29:08.739 --> 01:29:12.479
go there because they deleted the scenes. And

01:29:12.479 --> 01:29:15.800
I was left kind of just like, this is an interesting

01:29:15.800 --> 01:29:18.399
nugget that the film's giving me, but ultimately

01:29:18.399 --> 01:29:21.500
abandons. And I wish it had. I wish it had delved

01:29:21.500 --> 01:29:25.779
into some conflict between Brody and Ellen because

01:29:25.779 --> 01:29:28.560
ultimately she ends up supporting him again.

01:29:29.180 --> 01:29:31.720
But there's so much that Brody does in this movie.

01:29:32.170 --> 01:29:34.310
That threatens her livelihood because she's now

01:29:34.310 --> 01:29:37.289
like a real estate developer and she's embarrassed.

01:29:37.670 --> 01:29:41.189
I mean, there's reason for tension that I think

01:29:41.189 --> 01:29:44.409
could have heightened the dramatic chops of this

01:29:44.409 --> 01:29:48.310
movie. But ultimately, they don't do that with

01:29:48.310 --> 01:29:52.270
Ellen and all that potential is just kind of

01:29:52.270 --> 01:29:55.670
discarded. Well, first of all, let me say that

01:29:55.670 --> 01:29:58.689
I found this painting, Watson and the Shark from

01:29:58.689 --> 01:30:03.199
1778. by John Singleton Copley. And it's terrifying.

01:30:03.560 --> 01:30:06.060
It's a really beautiful painting. But yeah, it's

01:30:06.060 --> 01:30:07.960
like a bunch of people on this small boat and

01:30:07.960 --> 01:30:10.539
this terrifying shark is about to just chomp

01:30:10.539 --> 01:30:12.619
into one of them who's like submerged in the

01:30:12.619 --> 01:30:15.779
water. So thank you for pointing out this painting.

01:30:15.939 --> 01:30:19.800
It's incredible. I love it. Yeah. But yeah, bad

01:30:19.800 --> 01:30:22.250
stuff about Jaws 2. I agree with everything you

01:30:22.250 --> 01:30:24.789
said. And in particular, like way too much time

01:30:24.789 --> 01:30:27.470
is wasted on the kids. I know I already talked

01:30:27.470 --> 01:30:29.369
about that a little bit, but it's like you could

01:30:29.369 --> 01:30:32.529
focus on Brody and his wife and Len and that

01:30:32.529 --> 01:30:34.710
love triangle. You could focus on the Brody's

01:30:34.710 --> 01:30:36.829
kids a little bit more. Maybe if it's just like,

01:30:36.909 --> 01:30:39.920
you know. Michael and like one other teenager

01:30:39.920 --> 01:30:42.079
that might have worked. You could focus on the

01:30:42.079 --> 01:30:44.880
shark because honestly, for like the first hour

01:30:44.880 --> 01:30:46.840
and 15 minutes of the movie, we don't get a lot

01:30:46.840 --> 01:30:49.319
of it. It's like the last 45 minutes are very

01:30:49.319 --> 01:30:51.680
action heavy. But up until that, I think the

01:30:51.680 --> 01:30:53.619
movie is honestly kind of boring and tedious

01:30:53.619 --> 01:30:56.479
because like we spend so much time with these

01:30:56.479 --> 01:30:59.939
kids sailing and flirting and trying to get laid.

01:31:00.100 --> 01:31:02.739
And like, it's like, yeah, you know, we've seen

01:31:02.739 --> 01:31:04.880
this in any teen movie. I get it. I understand

01:31:04.880 --> 01:31:08.170
it. Like, so I really hate all that stuff. And

01:31:08.170 --> 01:31:12.189
I, you know, I think in, I, so first of all,

01:31:12.229 --> 01:31:16.229
Janoschvark, I'm sorry to speak ill of you, rest

01:31:16.229 --> 01:31:18.069
in peace. But like, I do think there are some

01:31:18.069 --> 01:31:23.010
TV movie aesthetics in Jaws 2. Like, I think,

01:31:23.029 --> 01:31:26.430
you know, so like a month and a half ago when

01:31:26.430 --> 01:31:28.710
we talked about Eberra, Horror of the Deep, I

01:31:28.710 --> 01:31:31.550
was like, I love a Shiro Honda, don't love Jun

01:31:31.550 --> 01:31:34.350
Fukuda. And if you put... movies by both of them

01:31:34.350 --> 01:31:37.109
side by side, you could see how to make a movie

01:31:37.109 --> 01:31:40.229
effectively and impactfully, and how to make

01:31:40.229 --> 01:31:43.789
a movie... sloppily and sort of dully, you know?

01:31:43.890 --> 01:31:46.149
And I think the same is true here. And like,

01:31:46.149 --> 01:31:48.489
of course, if you compare Jaws 2 to the first

01:31:48.489 --> 01:31:50.369
Jaws, the second one's not going to be as good,

01:31:50.409 --> 01:31:53.770
of course. But like Spielberg, you know, of course

01:31:53.770 --> 01:31:56.170
he knows how to craft a scene. He uses cinematography,

01:31:56.289 --> 01:31:59.229
editing, music, blocking, all the above to like

01:31:59.229 --> 01:32:02.689
make a scene as suspenseful as possible or like

01:32:02.689 --> 01:32:04.729
emotional as possible, whatever he's trying to

01:32:04.729 --> 01:32:07.350
do. But like Schwerk, I don't think really tries

01:32:07.350 --> 01:32:09.869
to do that all that much in this movie. You mentioned

01:32:09.869 --> 01:32:14.069
that first scene with the scuba divers, and it's

01:32:14.069 --> 01:32:17.170
totally true of that scene. It's such a good

01:32:17.170 --> 01:32:20.989
opportunity. We could build suspense through

01:32:20.989 --> 01:32:23.050
music. We could know that something is in the

01:32:23.050 --> 01:32:25.850
water before it suddenly jumps out. We could

01:32:25.850 --> 01:32:28.930
have that atmosphere of dread built up from the

01:32:28.930 --> 01:32:31.210
start, but we don't. The movie doesn't even attempt

01:32:31.210 --> 01:32:33.390
that. It's kind of just like a very sloppy opening.

01:32:33.750 --> 01:32:35.649
And I think the same is kind of true in that

01:32:35.649 --> 01:32:37.329
other scene with the scuba divers, which you

01:32:37.329 --> 01:32:40.359
talked about before. where there's some underwater

01:32:40.359 --> 01:32:43.840
footage, and the footage itself looks good, but

01:32:43.840 --> 01:32:46.000
it clearly is not from the point of view of the

01:32:46.000 --> 01:32:48.880
shark. It's kind of just floating among some

01:32:48.880 --> 01:32:51.779
seaweed or whatever. You know, I mean, it's not

01:32:51.779 --> 01:32:55.840
a very well -crafted scene, because ideally that

01:32:55.840 --> 01:32:58.560
scene should be presented from the point of view

01:32:58.560 --> 01:33:01.430
of the shark. The suspense should be unbearable

01:33:01.430 --> 01:33:03.130
because we know that something terrible is about

01:33:03.130 --> 01:33:05.609
to happen. But that's not the case here in Jaws

01:33:05.609 --> 01:33:08.229
2 because it's kind of just like a bunch of shots

01:33:08.229 --> 01:33:10.789
that make logical sense but are thrown together,

01:33:10.989 --> 01:33:15.470
yeah, sloppily, a little bit lazily. Throughout

01:33:15.470 --> 01:33:18.489
the entire movie, I was like, this is not a bad

01:33:18.489 --> 01:33:20.869
movie, but it could be so much better. If it

01:33:20.869 --> 01:33:24.390
was told by a great visual storyteller, this

01:33:24.390 --> 01:33:26.310
could be so much more suspenseful and exciting.

01:33:27.069 --> 01:33:29.590
And I think every step of the way, Jeanneau -Schvark

01:33:29.590 --> 01:33:32.109
misses the boat. That's another bad pun. But

01:33:32.109 --> 01:33:34.630
like, you know, it just kind of, it should have

01:33:34.630 --> 01:33:37.789
so much more care and precision. And it just

01:33:37.789 --> 01:33:40.949
doesn't have that. So sorry again, Jeanneau -Schvark.

01:33:41.069 --> 01:33:43.430
I just think this movie could be so much better

01:33:43.430 --> 01:33:47.810
than it is. Word. Yeah, I agree with that, actually.

01:33:48.149 --> 01:33:51.050
Because I think this movie offers a lot of camp.

01:33:51.840 --> 01:33:53.619
I don't know if it's intentional. No, it's not

01:33:53.619 --> 01:33:56.039
intentional, but that's just the way it is with

01:33:56.039 --> 01:33:59.100
this movie. It might be it's saving grace aside

01:33:59.100 --> 01:34:02.420
for me. I love the action set pieces, but some

01:34:02.420 --> 01:34:05.819
of them just completely veer into over the top,

01:34:05.939 --> 01:34:11.220
just extraordinary levels of, of action. Like

01:34:11.220 --> 01:34:13.979
when, after the water skier goes down, which

01:34:13.979 --> 01:34:19.060
was like a traditionally suspenseful chase scene,

01:34:19.239 --> 01:34:23.220
then the shark. jumps into this boat. The poor

01:34:23.220 --> 01:34:27.539
woman, she's screaming her head off. She inadvertently

01:34:27.539 --> 01:34:31.000
dumps gasoline all over herself, shoots a flare

01:34:31.000 --> 01:34:36.699
gun, and the boat explodes to high heaven. And

01:34:36.699 --> 01:34:41.380
it's just like, oh my God. That escalated very

01:34:41.380 --> 01:34:45.439
quickly. And then it gives the shark a scar.

01:34:45.779 --> 01:34:49.140
Then we have Scarface the shark. which is just

01:34:49.140 --> 01:34:53.619
the touch that I love with this movie. Yeah.

01:34:54.539 --> 01:34:58.560
I love that too. A great villainous shark. Yeah.

01:35:01.260 --> 01:35:04.939
There was a, there was a point, there's a scene

01:35:04.939 --> 01:35:06.720
where all the teenagers are hanging out in a

01:35:06.720 --> 01:35:09.880
bar and they're drinking. And you know, I know

01:35:09.880 --> 01:35:12.079
the drinking age was lower back then, but even

01:35:12.079 --> 01:35:15.390
the bartender looks like a teenager. And again,

01:35:15.470 --> 01:35:17.430
I was watching this movie with Ellen and she

01:35:17.430 --> 01:35:21.729
said, who's running this bar? Is it just a bar

01:35:21.729 --> 01:35:25.970
for teenagers? I was like, yeah, it looks like

01:35:25.970 --> 01:35:28.729
that. Honestly, everyone in this room is a teenager.

01:35:30.069 --> 01:35:32.649
I would watch a spinoff that focuses on that

01:35:32.649 --> 01:35:37.689
bar for teenagers. That could be fun. Yeah. So

01:35:37.689 --> 01:35:39.930
a lot of this movie actually made me laugh or

01:35:39.930 --> 01:35:44.590
chuckle. Same. Yeah. I know you like the quip

01:35:44.590 --> 01:35:46.609
that Brody says at the very end, right? Before

01:35:46.609 --> 01:35:49.270
the shark is killed? No, that's your favorite

01:35:49.270 --> 01:35:53.350
part. Well, I do. Yeah, I do love that part.

01:35:53.449 --> 01:35:56.250
So the shark is like electrocuted at the end

01:35:56.250 --> 01:35:59.710
in a very improbable way. And, you know, in an

01:35:59.710 --> 01:36:02.470
effort to imitate the end of the first Jaws,

01:36:02.529 --> 01:36:05.109
when he says, smile, you son of a bitch. This

01:36:05.109 --> 01:36:07.869
time around, Chief Brody is carrying like an

01:36:07.869 --> 01:36:11.109
electrical wire. waiting for the shark to come

01:36:11.109 --> 01:36:14.189
at him and he's like open wide and say ah and

01:36:14.189 --> 01:36:16.689
the shark bites into the wire and gets electrocuted

01:36:16.689 --> 01:36:19.590
and it's like you know if a shark if that huge

01:36:19.590 --> 01:36:22.229
gray white shark is like barreling at you and

01:36:22.229 --> 01:36:24.649
you're holding an electrical wire you're not

01:36:24.649 --> 01:36:26.689
gonna have the time to make some stupid quip

01:36:26.689 --> 01:36:28.569
you know and like that's in so many movies of

01:36:28.569 --> 01:36:31.010
course but it's like really ridiculous in this

01:36:31.010 --> 01:36:33.229
movie especially because it's such a blatant

01:36:33.229 --> 01:36:35.859
ripoff of the first one So that is probably,

01:36:35.920 --> 01:36:38.220
I think, the campiest moment in the entire movie.

01:36:38.520 --> 01:36:41.479
But I do also love the moment where Brody is

01:36:41.479 --> 01:36:44.680
trying to get some... driftwood basically out

01:36:44.680 --> 01:36:46.520
of the ocean and like he's waiting for it to

01:36:46.520 --> 01:36:48.260
come to him and it doesn't so then he has to

01:36:48.260 --> 01:36:50.899
go into the ocean and he like grabs the driftwood

01:36:50.899 --> 01:36:53.760
and like immediately a corpse that's somehow

01:36:53.760 --> 01:36:56.319
attached to the driftwood just like lunges up

01:36:56.319 --> 01:36:59.260
at him with this like shrill musical sting from

01:36:59.260 --> 01:37:01.800
john williams and again that's a ripoff of the

01:37:01.800 --> 01:37:03.420
scene in the first jaws where like the floating

01:37:03.420 --> 01:37:05.960
head comes out of the boat hole or whatever the

01:37:05.960 --> 01:37:09.050
boat window And it's just like, is the corpse

01:37:09.050 --> 01:37:11.770
holding on for dear life, like just to scare

01:37:11.770 --> 01:37:14.050
Chief Brody? What's going on here? It makes no

01:37:14.050 --> 01:37:17.449
sense. It's really ridiculous. Yep. Yep. Yep.

01:37:18.170 --> 01:37:21.729
But it made me laugh. So, you know, it's the

01:37:21.729 --> 01:37:24.609
epitome of campy, right? Yeah. And the scene

01:37:24.609 --> 01:37:27.510
with the killer whale that's gotten bites taken

01:37:27.510 --> 01:37:30.270
out of it. And it's another moment where Brody

01:37:30.270 --> 01:37:32.510
knows what he's talking about. And there's a

01:37:32.510 --> 01:37:36.029
marine biologist doctor there. And she's just

01:37:36.029 --> 01:37:38.310
placating him like, okay, sure, you know things

01:37:38.310 --> 01:37:41.390
about sharks. And I'm like, why don't you listen

01:37:41.390 --> 01:37:43.869
to him? Nobody's listening to the man who literally

01:37:43.869 --> 01:37:46.210
fought and killed a shark in the last movie.

01:37:47.390 --> 01:37:51.390
Yeah. It's probably a good thing that Brody's

01:37:51.390 --> 01:37:53.670
not in Jaws 3D because once again, nobody would

01:37:53.670 --> 01:37:55.810
listen to him. Even though this time around,

01:37:55.949 --> 01:37:58.250
all the kids in the city saw him electrocute

01:37:58.250 --> 01:38:00.409
a shark, they still would not listen to him.

01:38:00.529 --> 01:38:02.430
In the hypothetical version that's playing in

01:38:02.430 --> 01:38:05.039
my head right now. Yeah. And the movie ends,

01:38:05.119 --> 01:38:08.439
Jaws 2 ends real quick. But final breakdowns,

01:38:08.439 --> 01:38:11.920
take us away. Yeah, so as always on Camp Kaju,

01:38:12.039 --> 01:38:14.800
we give the film a rating. Number one, it's a

01:38:14.800 --> 01:38:16.880
timeless classic. It definitely stands the test

01:38:16.880 --> 01:38:19.279
of time. Our second rating, there may be some

01:38:19.279 --> 01:38:21.140
antiquated moments, but overall, it's great.

01:38:21.239 --> 01:38:23.979
It stands the test of time. Our third rating,

01:38:24.060 --> 01:38:26.600
it may be historically significant or just fun,

01:38:26.739 --> 01:38:29.470
but it does not stand the test of time. And our

01:38:29.470 --> 01:38:32.470
lowest rating, it is not worth revisiting. It

01:38:32.470 --> 01:38:35.270
definitely does not stand the test of time. I'll

01:38:35.270 --> 01:38:38.350
try to keep it brief. I think for me, this movie

01:38:38.350 --> 01:38:41.090
may be historically significant. And I guess

01:38:41.090 --> 01:38:43.050
you could say that it is by following up one

01:38:43.050 --> 01:38:45.350
of the biggest blockbusters of all time. It is

01:38:45.350 --> 01:38:48.569
fun at times, so I think it checks that off the

01:38:48.569 --> 01:38:50.789
list. But for me, it does not stand the test

01:38:50.789 --> 01:38:53.850
of time. I think long stretches of this are pretty

01:38:53.850 --> 01:38:56.289
boring and slow. There's a lot that I don't really

01:38:56.289 --> 01:38:59.210
care about. But of course, some good things that

01:38:59.210 --> 01:39:01.770
are pretty fun as well. And with the sequels,

01:39:01.770 --> 01:39:04.189
with the other Jaws sequels, I was going to mention

01:39:04.189 --> 01:39:09.590
this very briefly. Jaws 3D is sleazy and ridiculous.

01:39:09.890 --> 01:39:12.170
And there's just so much about it that's so over

01:39:12.170 --> 01:39:14.829
the top. Jaws, The Revenge, I love Michael Caine

01:39:14.829 --> 01:39:17.369
in that movie. Mario Van Peebles in a small role,

01:39:17.510 --> 01:39:19.949
I love him in that movie as well. And just the

01:39:19.949 --> 01:39:23.710
storyline is so ridiculous in that one too. Honestly,

01:39:23.909 --> 01:39:26.329
I think you can make the case that Jaws 3 and

01:39:26.329 --> 01:39:29.729
4 are more entertaining than Jaws 2. Maybe not

01:39:29.729 --> 01:39:33.789
better than Jaws 2, but this movie is pretty

01:39:33.789 --> 01:39:36.010
dull at times, and that's kind of unforgivable

01:39:36.010 --> 01:39:38.369
to me. So I'm going to give this our second lowest

01:39:38.369 --> 01:39:42.250
rating. I think that's accurate, because it's

01:39:42.250 --> 01:39:47.210
Rocky 2 again. It's too similar to the first

01:39:47.210 --> 01:39:50.710
one, where it's unable to carve its own identity.

01:39:51.560 --> 01:39:56.579
Unlike three and four, which as bad as they are,

01:39:56.640 --> 01:39:59.720
they, they are their own movies. They don't have

01:39:59.720 --> 01:40:02.720
their own tone. That's completely different.

01:40:02.880 --> 01:40:05.439
And I appreciate that for the sequels. However,

01:40:05.579 --> 01:40:10.760
I think there's enough in jaws to, to be charmed

01:40:10.760 --> 01:40:14.060
by your, you're going back to Amity. You're seeing

01:40:14.060 --> 01:40:18.810
Brody and the mayor. You get to see Roy Scheider

01:40:18.810 --> 01:40:21.189
actually develop his character a little bit more.

01:40:21.430 --> 01:40:26.609
And then I'm really taken by Schwartz's direction

01:40:26.609 --> 01:40:32.270
of the set pieces and the action moments. So

01:40:32.270 --> 01:40:34.590
I'm going to give it the second highest rating.

01:40:34.850 --> 01:40:37.770
There are antiquated moments, but I think this

01:40:37.770 --> 01:40:39.989
movie does stand the test of time, especially

01:40:39.989 --> 01:40:44.329
if you contextualize it as any of the other Jaws.

01:40:45.700 --> 01:40:49.920
copies from the late 70s i love it i do think

01:40:49.920 --> 01:40:52.539
it's kind of a repeat of our last episode congo

01:40:52.539 --> 01:40:54.920
where like you know i was a little more forgiving

01:40:54.920 --> 01:40:57.479
and you were rightfully so a little bit harder

01:40:57.479 --> 01:40:59.579
on it i think our roles have kind of like flipped

01:40:59.579 --> 01:41:02.680
this time around that's well let's see what space

01:41:02.680 --> 01:41:06.100
amoeba does it could bring us together or drive

01:41:06.100 --> 01:41:12.380
us further apart yeah we'll see can't wait Alright,

01:41:12.500 --> 01:41:14.640
well thank you Matt. Thank you all for listening.

01:41:14.859 --> 01:41:17.930
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01:41:21.050 --> 01:41:24.210
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01:41:24.210 --> 01:41:27.489
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01:41:27.489 --> 01:41:30.430
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01:41:30.430 --> 01:41:32.489
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01:41:45.819 --> 01:41:48.140
Kaiju is recorded in Minneapolis, St. Paul with

01:41:48.140 --> 01:41:50.600
Minya's mailbox music by Ben Cook Phelps. Thank

01:41:50.600 --> 01:41:52.979
you, friends. And until next time, stay campy.

01:41:53.699 --> 01:41:55.979
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