Los Angeles (AP) – Why everyone holds props from a set of “Jaws?”
Steven Spielberg While making his 1975 marine classic, I was meditating on how it felt and how important he thought he was when filming the upcoming opening scene of a woman passing the Ocean Buoy. His main concern was to maintain his job as a 26-year-old supervisor amid the unfolding of disaster.
“Did anyone know that you’ve taken the buoys home and then sat for 50 years?” he said.
That prop is one of the first things visitors will see when they enter the 50th anniversary “Jaws” exhibit, which opens on Sunday and runs through July. Academy Museum Movies.
Featuring more than 200 works by Blockbuster, the exhibition is the first full show in the museum’s four-year history dedicated to one film. It is among a flock of five years of life celebrations in the film, including a re-release of last week’s play.
After touring the exhibit, Spielberg spoke to a media gathering at the museum. This took three acts from the film to visitors over time, with relics and recreations from almost every scene.
“I’m very proud of the work they’ve done,” said the 78-year-old. “What they put together here at this exhibition is fantastic. Every room has a detailed room about how this photo was brought together.”
“Obviously this is a very historic initiative for us,” said the museum director. Amy Homa Before introducing the director, the museum’s plans announced in 2028 that they plan a full retrospective.
What’s in the Jaws exhibition
“Jaws” is essential to the Academy Museum, which opened in 2021 and is run by an organization that offers Oscars.
Only surviving full-scale mechanical shark from production, 25 feet long, nickname “Blues” By Spielberg after his lawyer, it was permanently hung on an escalator since it opened.
Homma said Bruce has become an “unofficial mascot” “which helps to define this museum.”
Media preview was accompanied by a 68-piece orchestra performance. John Williams Score. Two musicians performed original.
The exhibit includes a keyboard with instructions on how to play Williams’ famous two-note refrain.
A similar novelty includes a Dolly Zoom setup where visitors can attach a phone to shoot their own faces, perhaps recreating the film’s most famous shots.
There is also a small scale model of the film’s mechanical shark, allowing patrons to operate manually, just like the crew of the time. And photo-friendly recreation of Orca’s galley – the ship that Cedar urged to say, “You need a bigger boat” – Richard Dreyfus and Robert Shaw sit, drink, Sang Sea Shanties Then we compared the stories of scars and sharks.
But it’s a production that actually creates a show using artefacts from both sides of the camera.
Before selling to collectors in 1988 there is the buoy first held by Lynn Murphy, a Marine Corps mechanic who worked on the film, who lived in Martha’s vineyard where the film was filmed.
And then there are dorsal fin props and theatre movie fans who have terrified with the movie beach fans, and the real great white shark jaws used by filmmakers who have appeared on screen to refer to.
Film nerds can see the aquatic cameras used by filmmaker Bill Butler and his team, as well as the Moviola used by editor Verna Fields. And they get a track record of the process of a team of screenwriters, including casting director Shariroths and novel author Peter Benchley.
“Jaws” – Cursed Production and the 50 Years of Winning
For him, Spielberg said the exhibition, among other things, “proves that this film industry is truly a collaborative art form. There is no place for Auther.”
He said the crew friendship was the only thing that kept production together.
Their creation of the riveting film was, oddly enough, marked well, mainly by boredom. There was an endless wait as adverse conditions, unwanted ships in the background and broken equipment led to 100 days of filming beyond the schedule.
“I was not prepared to start with Mother Nature and withstand the amount of obstacles thrown into our path,” Spielberg said. “My hubrifying was being able to take a Hollywood crew and go 12 miles into the Atlantic and shoot the entire film with a mechanical shark.
People played a lot of cards. Others tried to consider seasickness.
“I’ve never seen that much vomiting in my life,” he said.
In the end it’s worth it.
“The film certainly spent a pound of meat on me,” he said, “but it gave me a lot of career.”
