Episode II: The Shark

Blockbuster. Can I get a reach out? Hollywood.

Steven Spielberg is struggling to rewrite his script for Jaws. He's meeting his friend George Lucas for lunch. The open ocean? How'd you sell him on that? I told them it had to be. It it has to have that that sense of movement and trepidation.

The two felt like brothers. They understood each other's grand ambitions. They were still relatively anonymous, but they'd both grown into working directors. Georgia's American graffiti would premiere later that year, and Stephen had landed his first big budget film. Shooting days. Fifty five. We should be done by the end of June. That's very... I'm proud of you, buddy. Thanks, man. Hey, you should come out for a couple days when we're shooting. Hm. You think? Of course.

I'll show you the shark. You should see what they're building. George loved Steven's excitement. It was inspiring. And while Steven had his mechanical shark, George was dreaming up big plans for his space adventure. You know how all the spaceships and movies are kind of uh shaky? Yeah. They put a m a a model of a ship on a wire so it's uh it's really jumpy. It looks terrible.

So for the Star Wars I I was thinking we could build a robotic camera that rotates around the model on a black background. And then we could do a really intense dogfight battle. Oh wow. Real. You're gonna make a robot camera? I'm gonna try. Totally smooth. Totally smooth. Neither of them knew it would take years of development and millions of dollars to create the technology that would eventually revolutionize the movies.

As the two finished their lunch, Stephen confided in George he was having trouble casting. Hooper. I can't find my hooper. Who's Hooper again? The police chief? Oh no, the oceanographer who goes with him on the boat. Oh right, right, right. I don't know what to do. John Voigt can't do it. We're out to Jeff Bridges now. Bow bridges, you mean? No, his little brother, Jeff. Oh. Eh, we'll see though. George had an idea. Ridge track?

Richard Dreyfus had starred an American graffiti, loosely based on George's own teenage years. He was incredible on graffiti. Super thoughtful, really took on the role. He'd be great. Stephen trusted George's advice. He offered the role to Dreyfus, who first declined, then called back to accept. Jaws had its cast. The shark and set pieces shipped off to Martha's Vineyard, an island south of Massachusetts, were filming.

20th Century Fox Studios. For weeks, George and his producer Gary Kurtz have been shopping around a 14 page treatment of The Star Wars. The first to pass was United Artists, then Universal. Now they're in the office of Alan Ladd Jr. at Fox. Thanks for coming in, guys. 一般上 Nice to see you, Laddie.

George is trying to hide his desperation. But if Fox won't make the Star Wars, it's possible no one will. If needed, he's ready to pitch another project he's been working on with Francis Ford Coppola, titled Apocalypse Now. Guys, I'll get right to the point. We love the vision. We love the sci-fi, and we want the Star Wars here at Fi. It was a huge moment. George and Gary wanted to smile, but strained to stay composed.

So what we can offer is a three million dollar budget, and George will give you ten thousand now to write. It was as good a deal they could hope for. and George can have full creative control of the project. Absolutely. And and and I I want Gary to produce. We get to run it all through Lucasfilm. That's exactly why we want you guys. You have passion for this. Done. The memo is finalized. Pending the official contract, the Star Wars had finally found a home at Fox.

Action. Summer nineteen seventy four, Martha's Vineyard. I said action The shark's not working. Steven Spielberg's insistence on shooting on the ocean is backfiring, and it's wearing everyone thin. Action Cue the shark. Steven had three mechanical sharks, and none of them worked. He was starting to panic. Hey, cue the shark! The shark's not working. You kidding me? Cut! Guys, we need the shark for this scene. It's not working, Steve. What are we gonna show?

The shark and the production are not working, and Steven's crew's falling behind. A week, then a month. A writer named Carl Gottlieb is helping fix the problems in the script the day before they shoot, but so far this movie about a shark still doesn't have one. And the ocean isn't making it any easier. Hey, can you lock that down so it doesn't fall? Yeah, we got it, I think. Doesn't look like it's locked down. Hey, hey, hey, the camera's gonna fall! Thank you.

All right, let's take a break, everybody. Stephen was losing his mind and things were spinning out of control. The actors were annoyed, and the crew was windblown, and sunburnt, and seasick. You guys got that end tied down. Yes, sir. Rope secured, cue the speedboat. They didn't have a shark, so Steven was trying to film reaction shots instead. One was their fishing boat, the Orca, getting bumped from below by the shark. All right everybody, listen up. Hey, hey, gosh, listen up. Okay.

Well we got a speedboat over on that pier with this long rope tied between it and the orca. In 500 feet, the speedboat will run out of rope and we'll give the orca a good jolt. It'll look just like the shark. And the boats will be fine, right? We have actors on board. Yeah yeah it's a lightweight rope so it'll break. Okay, let's do it. Positions, everyone! Give the speedboat. All right. Easy. Here we go. Whoa, what was that? That was more than a jolt.

Something had snapped in the hole of the Orca. Hey, where are those bubbles coming from? Hey hey, hey hey, it's sinking! You guys! You guys see this? In less than a minute, the back end of the orca was several feet in the water. Grab the gear! Grab the gear! Out of here. Hey, get the actors off! Get him off the- Steve, we got sound guys on the boat too. Everyone made it off the boat, but in three and a half minutes the orca had. Nice and easy. Guys. We're gonna need another boat.

More money, more rewrites. On some days the crew couldn't get a single shot. Steven feared he'd blown his big break. Yeah, it's Steven. Dick and David would call from LA to check in. They weren't happy. The mechanical shark still wouldn't work, and the budget had more than doubled. Stephen's crew would be stuck shooting on Martha's Vineyard through the end of June, then July, then August, then September. Jaws was devouring Steven Spielberg.

Summer 1958. Modesto, California, a small town two hours from anywhere 10-year-old George Lucas wanted to be. It's starting, hurry. George looked like O. P. Taylor from the Andy Griffiths show. Short hair, freckles. He was scrawny, but acted mature for his age. His best friend was John Plummer, who'd later encourage him to apply to film school. John was lots of people's best friend, actually, because his dad had a television set in the garage.

The rich mahogany magic box with two dials on the front and a rounded black and white window to someplace far away from their little Norman Rockwell town. We're gonna miss it guys, come on. Hurry, hurry! Channel four! Okay, channel four. Channel 4, it turns out, was Cron TV in San Francisco, and it picked up strong enough signal to watch afternoon reruns of old movie serials. To George they felt like pictures from another planet, especially his favorite, Flash Gordon.

Flash is an ordinary guy whose rocket ship is captured in outer space by a cruel dictator. Run! Flash is imprisoned and his friends are made slaves to the Empire. He'd have to escape before he could save his friends. Flash Gordon had played in theaters in the 1930s. Universal Studios made them on the cheap, using recycled sets and props from other movies. In this episode, the Emperor's daughter takes pity on Flash, but they both fall through a trapdoor right as the episode ends. How lousy.

I see it, we fought off those guards! Oh, hey, that's my dad! Be careful! The storylines were simple, frowned upon by adults, which is why they'd been relegated to this new medium, television. George loved every second of it. He always sat as close to the screen as he could. Already he was noticing the editing. with moving wipes like he'd later use on his own space adventure. And the music. It was grand and heroic. Good versus evil.

Stories were pure fantasy, fairy tales, adventure. George would never be the same.

Fall 1974. Universal Studios George Lucas has finished a first draft of the Star Wars and he's still waiting for a contract from Fox. He knows nothing in Hollywood ever moves quickly, but it was taking too long. It had been almost a year. Marty? Thank you, George. Martin Scorsese's been shooting a romantic comedy for Warner Brothers titled Alice Doesn't Live Here Anymore. He'd hired George's wife, Marcia Lucas, to edit the film. How's Alice coming along?

Yeah, it's coming. We're trying to get the timing right for the jokes, you know? Oh, I forgot the Star Wars. You read it? Well, uh part of it. I like the idea, but it's uh it's a lot at the beginning. I'm not sure I get the backstory. One by one, George was calling his friends for feedback on his script. Francis, what do you think? Like it. bit campy. Even Stephen from Martha's Vineyard was trying to help his friend, and he welcomed the distraction. Stephen, c can I read you a new scene?

Yeah, absolutely. Bit by bit, the story evolved. George began to assemble a team of cutting-edge special effects experts. prove he could pull it all off. Fox eventually took the bait. The Star Wars would be greenlit with a budget more than double the original offer, thanks to George's vision and Alan Ladd Jr. convincing the board it was worth the investment. Georgia's company, Lucasfilm, would get$7 million for its sci-fi adventure movie.

Fall nineteen seventy four. It's been a long six months for John Williams. He spent a lot more time at home, often at the piano. Stephen would call from set periodically to check in on. Muito melhor. Obrigado, Steve. I don't want to be a burden. I know how busy things are. Stephen sometimes called John Max, a nickname because John reminded him of the great Hollywood composer Max Steiner, who'd scored King Kong. It was also a nickname that cheered John up. Thank you, Stephen.

John was still wrestling with the loss of his wife, but felt the duty for life to return to normal for him and his kids. Listen, Stephen, I've been thinking a lot about this, and I'd really love to work with you again on JAWS if the invitation is still. You wanna do it, of course. I'd love that, Max. That's wonderful to hear. I think I'd rather enjoy getting back into things.

John and Steven would continue to talk about the music for Jaws and the sweeping melodic scores Steven wanted. It wasn't what he'd end up with. Thank you.

For several weeks, John Williams has been writing music for Stevens movie in a small music studio in Hollywood. Just a baby grand piano, pencil, and lots of paper. Hi, Steven Spielberg, here for John. Go right ahead. He's ready for you. John was meeting with Stephen today for the first time. Max, my friend. Why does he you back on Dry Lake. Oh boy am I glad.

Steven is twenty-seven now, but five months on the ocean has aged him. His hair bleached by the sun, skin dark with tan lines in the shape of his aviator sunglasses he'd worn for months. He looked scrawny and frazzled, but beamed with delight seeing John. The music was one of his favorite parts of filmmaking. Oh good to see you, pal.

John too had aged. He was forty-two. His hairline had been creeping back for years, but he now had a touch of gray in his golden brown beard. It made him look older, but wiser, sophisticated, like a musical wizard. Oh got anything to make it scare? That was Steven's biggest worry. At some test screenings, people found the film slow, boring. And when the shark finally appeared, it looked silly and made people laugh.

It was the worst feeling in the world for Steven, who thought he'd made a serious movie. I think what it really needs is something beautiful and eerie, melodic, kind of kind of aquatic. Mmm. The truth was Steven didn't really know what he wanted. If you'll indulge me, Stephen, I was thinking something a little more like this. Ha! You've got it. Stephen thought it was a joke. John always had a great sense of humor, and it was some much needed comedic relief after his stress. Menacing.

Wait, you're you're serious? Oh yes, yes. You need something scary, Stephen. You've made a very primal movie. Yeah. Oh, absolutely. But when the shark is present, even if we don't see him, we can sort of signal Yeah. Ah, so sort of a scary musical motif. Mm-hmm. And maybe vary it a little bit so it's Stephen suddenly gave him is the shark. And I'll tell you what, at the end when the shark pops up, we won't score him. So the audience doesn't see it coming.

No. Oh, that's genius, Mac. They'll never expect it. Brilliant. When John's music is complete, there are no more laughs in the theater. Just terror. Stephen would later credit John's score for at least half of Jaw's success. Executives at Universal see a massive hit on their hands. A sensation is coming, and Steven will be at the center of it.

George Lucas for you. Oh great, patch him over. Spring nineteen seventy-five. The Jaws marketing campaign has just begun. and compare with the reality. And word is already spreading about how terrifying the movie is. Roy Scheider, Robert Shaw. Richard Dreyfus. Jaws. Before you go swimming. Hello? Hey buddy, it's George. George. I cannot believe the hype I'm hearing about Joe. You're gonna have the biggest movie of all time.

I keep pinging myself. George, it was a mess. I made a mess of it and and somehow we fixed it. No, well, actually Johnny was the one who really saved. Well that was the other reason I was calling. I I know you're a music guy. I need to. George knew music would be crucial, just like it was in the old Flash Gordon serials. Johnny can do it, I guarantee you, you'd be crazy not to call him. George had heard about John's shark theme for Jaws. It was simple, not big and grand like what he needed.

Oh, George. I used to listen to his soundtracks for years before I worked with him. The Reavers, the Cowboys. George, I literally nicknamed him Max. You gotta call Johnny. Let me introduce you guys. Stephen called John right away. Johnny, there's a good friend I want you to meet. He's shooting a modern space opera and needs big music, like Max Steiner stuff. You gotta meet with him. Hi. Hello, can I help you? I'm here for George, John Williams.

John. Ten thirty. Ah, yes. I'll tell him you're here. Just down the hall emerged a dog, an Alaskan Malamute. A powerful looking creature that began to trot toward John. The dog disappeared back into the office and out came George in his plaid shirt, wavy brush back hair, and thick rimmed glasses. For some reason John had expected someone older. This was just a kid. De plaisir Jean-Marc. Don't mind Indiana, he's friendly. He he's actually in the movie. Oh. Come on in.

George's office was full of illustrations and drawings and stacks of paper. There was a vision here, but a messy one. George started from square one. Have you heard of Joseph Campbell? I'm afraid I have not. He the main character? Ah. He developed something called the heroes journey? I think I've heard of that. It's basically the ideal example of what a hero is through all of mythology, Shakespeare, the Bible, the ancient stories.

And that's who Luke Starkiller is. Ah Ah very dramatic story arc thing. Exactly. And and he's the main storyline but also there's romance and And tragedy and redemption all interwoven. all at once a little bit of everything. On a galactic scale, yes. With a big budget uh on different planets. George's ideas and characters were exciting, inspiring. John saw the vision immediately. The music could be grand and tuneful and romantic. It could be dark and hopeful. And it could be triumphant.

So every character could sort of have their own theme that could also George H. Composer. John was one of the only people trusted with a copy of the script more than a year before filming would start. And the entire project would begin to unravel. On the next episode of Blockbuster. The shark is working. Oh George, it's unbelievable. Unbelievable. John Williams finds himself among the stars. And the winner is. And George Lucas. Okay, go ahead. Searches the galaxy for his cast.

I'm Christopher Walken. I'm reading for Hands Solo. That's coming up on episode three of Blockbuster. This season of Blockbuster took months to research, write, cast, record, sound design, and compose the original score, and we're constantly sharing our work, research, and pictures on social media. Plus the latest news about Blockbuster, including this series winning Ad Week's Podcast of the Year Award for Best Creative Podcast.

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Plus, we'll put your name in the official credits as a thank you for being part of our Blockbuster team. Just go to getblockbuster.com and click donate. Blockbuster is written and narrated by Matt Schrader. Sound designed by Peter Bawviet. Original score by Ryan Tobbard and Benjamin Botkin. Produced by Elena Bawviet. An original podcast series from Epic Left Media.

Hi, this is Peter Bawiec, lead sound designer and editor of Blockbuster. Stay tuned for a short conversation about how we made this episode. But first. Would you please take a quick moment to give us a five-star review and share us with a friend? And for extras and exclusives, follow us on Facebook, Twitter, and Instagram, or support us at getblockbuster.com. Thanks for listening to Blockbuster. I'm Peter Baviatz, lead sound designer and editor of Blockbuster.

And I'm Matt Schrader, creator and narrator of the series, and uh welcome to this behind the scenes conversation uh about the episode you just heard. Uh each week we're discussing a little piece of the creative process and today it's Amazing creative problem. The amazing creative process and today is uh the best part of the whole series. The sound design from Peter Bavier. I think Matt is the only person that appreciates sound design as much as I want.

Listen, we are doing things on this series um that have never been done before in a podcast, and I have to credit you for most of that genius. Um and the scene, you know, we went through this early on, but that scene on the open ocean at Martha's Vineyard

Um, Steven Spielberg's trying to shoot Jaws, the shark's not working. We wondered if we should just do it all through walkie talkies at one point and said, Can we just tell the story through uh uh but we really kind of wanted to have it come to life also and be immersive and so

You found this amazing sequence. It was the speedboat revving, the the rope unwinding. We hear that that Slipping and then it snags, and we hear these crack or wooden kind of break, and then the bubbles start to come up from the boat, and the crew starts to panic.

I think the secret to the entire podcast as we were discovering what the secret sauce of it was, mm-hmm was to keep in mind that there's multiple layers of sound that will go into the fine finished product, the finished story as we were t trying to tell. And that wasn't just the dialogue, right? That was also all the sound design. But also like we were doing things like foley recording, meaning the footsteps, everyone touching each other, grabbing glasses and keys and

Uh and as well as we had a loop, a phenomenal loop group that came and we spent an entire day recording these people. So that on the example of the JAS scene, we had the actors, all their voices, we had a loop group. uh as the background crew of that shoot of Jaws. And then we had all those sound effects and all the Foley coming all together. Yeah, I actually kind of forced it on you. I think

It was kind of like, Matt, we gotta do a loop groove. We knew we were gonna do a lot of sound design and just creating a world around our characters. A lot of people think sound design is huge. And different like weird sounds, but very often sound design is more natural things, but actually trying to emote a story around it. But how can you emote a story if all you have is your beautifully recorded clean dialogue and then your work? Right.

But you have no people in that world at all that give it context of time and place and what's happening there. So w all the s the scenes we had were very challenging also because we were talking about film sets. Right. A lot of film sets, a lot of studio environments, meaning like executives' offices and and things like that, where we knew like this is so specific, there's no library of this.

So we knew that we're looking for very specific things and loop group is basically a group of people that go into a s recording studio, we put up microphones and we tell them guys There's no picture, there's no video, but imagine this is happening. Go and they start acting it out. So on the example of Jaws, like you can hear that crew. And of course, our lead actors, they were recorded separately in a studio, and then we had our

loop group people come into a studio on a totally separate day, actually probably a month later or so, take a listen, they listen to the scene and we're like, Okay, let's try it. We need this, we need that, we need this to give it all flavor and context. And I think when you'll be listening to the remaining episodes, tune in. Listen to what's happening in the background because that's that's where we're really trying to work hard to make it as real as possible, not to make it, you know, dry.

Peter Bobia's the true genius behind the sounds you'll be hearing for this entire two and a half hour experience. Thanks for doing this. Enjoy it. My pleasure. Thanks, Matt. Please remember to subscribe and leave us a five star review to get all episodes of the video. Follow Blockbuster on social media for extra content and read our behind the scenes blog or visit our store at getblockbuster.com.